Something Rich and Strange by UNSWBE

Something Rich and Strange: Graduating Project Process Log

Sam Lockwood z5195224

Introduction

Contents 5 Introduction 9 Research 20 Site - Analysis 25 Visual Studies 30 Trimester 2 - Focus on Public Domain 37 Final Project - Glebe Island Remembered 46 The Site: Glebe Island Today 52 Plan of Site 57 Cove 1 68 Headland Park 77 Cove 2 84 Sculpture

Introduction

I entered this degree seeking to understand the relationship between the individual and their surrounding landscapes, and how the landscape informs the creation of individual and collective identities. I have always understood landscapes as contested territories, an issue that is heightened in Australia due to our nation existing on stolen land. Even so, I have constantly been challenged by the fact that I still feel ‘at home’ here particularly in the landscapes of NSW.

It is not that I wish to solely focus on histories of tragedy and exploitation, it is more that I have realised that the landscape is an essential forum where we discuss these things, a place where we deal with these difficult histories. From a few years of looking at landscape design approaches in Australia and around the world, it has become apparent that the landscape is the single most effective way at dealing with historic trauma, truth-telling, and offering us a chance to move onwards.

This is the confusion that I sought to clarify. I feel that it is an issue particular to colonial settler nations. As Simon Schama notes in Landscape and Memory, the landscape is where we find the roots of our national myths; it is the place where our identity is conceived. So then in Australia, how can we successfully form a sense of identity via the landscape, when/where there has been so many challenging moments of violence and dispossession?

It is here that my studies are focused. How to ethically, effectively, sensitively memorialise the past in the landscape. To reveal past injustices, to create a sense of place that is founded on material reminders of what has happened in particular landscapes.

Even post-invasion, what does our landscape say about our relationship to the land? How have we modified the land to make it bow to our systems of capital extraction? What do our landscapes convey regarding our exploitation of our natural resources, and each other?

Most importantly, however, I’m interested in creating a sense of optimism via landscape design in these landscapes. How can we both memorialise, and offer a path out - some kind of collective redemption vis a vis what has occurred in/on any particular site?

Left Rise by John Nicholson Tamarama, NSW Sculpture to victims of LGBTQIA+ violence Middle Memorial to the Murdered Jews of Europe Peter Eisenman/Buro Happold Berlin, Germany Right Cretto di Gibellina Alberto Burri, Sicily, Italy Memorial to the town of Gibellina, lost to an earthquake Each landscape response to tragedy seeks to instill a sense of permanent memorialisation. There is no other means in our cultural/linguistic toolbox to more effectively instill a sense of historic inquiry and acknowledgment of past wrongs/natural disasters. Landscape based truth telling has immense power.

z5195224 Sam Lockwood

Landscape, History and Nostalgia Curating historical objects and materials at White Bay

Figure 2: Twisted impact steel from the 9/11 Memorial Museum. To Marita Sturken, these objects act as stand ins for the violence wrought on human bodies.

https://inhabitat.com/911-memorial-museums-design-honors-the-history-and-recovery-of-ground-zero/911-memorial-museum-impact-steel-below/ visited 20th April 2021

Reflections on history that are designed via the landscape use materiality and relics as their main mode of communication. The spirit of the past is captured in the physical make up of objects of the site.

The landscape architect has the ability to approach White Bay, to preserve histories for remembrance and to create a deeply meaningful sense of place in reference to the site’s challenging histories.

The use of these materials in design is a powerful way to communicate and transfer meaning from the past to the present. The Bays Precinct, with its defunct Power Station, extensive concrete aprons and crumbling edges with emergent novel ecologies is a place where material history can be easily noticed, and touched. The site has a contested history, from invasion where all signs of First Nation use has been either quarried or in-filled. Port-side working class culture has been replaced with million dollar property. A once magnificent natural landmark of Glebe Island has been flattened. What we have left on this contested ground is a collection of forms and materials that are now needed to be ‘curated’.

stand-ins for people and their histories (and subsequently their communities’ histories). This on the one hand heightens their value, but also reinforces the need to display with care. The style of representation has immense weight in how historical objects and materials are received. Objects that are over-aestheticised have the potential to lose their ability to memorialise history, becoming

Figure 3: Rusted digesters at Waterfront Park, Pyrmont. These objects at first appear as sculptures representing an industrial past. They are in fact actual parts of an industrial process that took place on site - digesters for the extraction of cellulose from wood. Do these objects memorialise? Photo by author

Dialectical Relationship Humans People The existing forms and materials of Glebe Island are products of the dialectical relationship that exists between us and the landscape. We had the industry to quarry and flatten a 20m high island, to infill its borders and to create an immense deep water port. But also, in reverse, natural forces have eroded concrete, have rusted steel, have crumbled bricks, and have infiltrated liminal spaces with novel native and weedy ecologies. What we now have is a complicated synthesis of natural and human forces.

Potential

Landscape

When visiting the site, we observe a totality of visual and material reminders of the site’s industrial history. But also, some elements don’t fit. The casuarinas clumping chaotically - the pampas grasses appearing as islands in concrete deserts. These outbreaks of nature in such a desolate landscape offer a disconnect in understanding the site. They open up conceptual thoughts of what the site could become.

Then

Future

Now

I believe there is beauty in this complicated relationship, and it is this relationship that forms a sense of place. I think it is tangible in the landscape - our destruction and industrial use of Glebe Island has created an extremely unique space.

Current form of landscape - never static

Theoretical Framework

Research

Gentriﬁcation Social Processes under capitalism Bourdieu: Fields Habitus

We were required to create a research mind map of topics and themes to be explored for our graduating project.

Working Class Subject

Savage Bourdieu and Housing

Levebvre: Production of Space

Zukin Gentriﬁcation

Abstract Space Alienation

Zukin Gentriﬁcation

Neoliberal Subject

Capital Then

Now

Savage Bourdieu and Housing

Sociology

I looked at the representation of working class culture in the landscape, seeing a necessary point of inquiry in relation to Glebe Island.

Zukin Gentriﬁcation

Demographics

Labour

Identity Pride

Pride

Culture/ History

Economics

Karamanea Landscape and Memory

Working Class Objects in Middle Class Neighbourhoods: The Aestheticisation of Labour in Pyrmont

Landscape as palimpsest

Exploitation

Recreation of Social Relations

Design

Landscape

Folkerts Landscape as memory

Bach Memory Landscape

Absence/ Prescence

Physicality of Objects

Voids Sturkin 9/11 Materiality

SAM LOCKWOOD Z5195224

Seeing

Object/ Memory Bach Memory Landscape

Aura/ Objects

Bricks, Anchors, Ex industrial materials on site

Sculpture

Sturkin 9/11 Materiality

Resilience Bodies/ Objects Karamanea Landscape and Memory

Revelation

Folkerts Landscape as memory Palermo The (Extra)Ordinary Brick

Notes on Indigenous History

North Sydney

Wallumedegal

Cammeraigal

Drummoyne

Balmain

Wangal

Site

Gadigal Sydney CBD

Map Source: Mulvaney, D J & White, J Peter 1987, Australians to 1788, p. 345 Mapping my own. ‘Borders’ between groups left out due to lack of certainty with their arrangement

Indigenous History Wangal Clan of the Eora Nation Pre 1788 - Wangal Country A coastal group from wider Eora Nation used site as resource - area with reliable food and fresh water sources, as well as stone for the making of tools.

Bennelong - Wangal man Source: https://www.artlink.com.au/images/ Moar-2.jpg

Wangal Industry Common belief that ‘industry’ began after settlement. Re-think needed? Wangal people used the natural surroundings for their livelihoods and also traded goods with neighbouring groups.

Wangal, Wallumedegal, Gadigal and Cammeraigal Three different clans, each a part of the Eora nation. Wangal land, on which our site sits, extends from Goat Island westward almost to Parramatta. The Wangal were amongst the first groups to encounter Europeans.

Evidence of Original Landuse

Port Jackson Lithograph Source: https://www.sl.nsw.gov.au/sites/default/files/a1477011h.jpg

Due to extensive land reclamaition and alteration, archaelogical record of original land use is scarce. There are two sites on Goat Island (a midden and a cave (B Rich, 1985: Goat Island Archaeological Survey and Assessment of Aboriginal Sites). However, because of large-scale infil, there is potential for preservation of materials across the Glebe Island/White Bay area. This would be a key concern in the remodelling of the site in the future.

Heritage Still Underground? Potential for site of Wangal archaelogical significance below the original White Bay Hotel built in 1860. Infill of area done in the early 20th century would have preserved archealogical deposits. (Artefact: The Bays road relocation works – Aboriginal heritage assessment p. 14)

White Bay Hotel (No longer existing) Noel Butlin Archives, Australian National University

The Bay Babes

Harry Dunn Phoebe Jong Chris Liu Samuel Lockwood Yee To Ng

Notes on Industrial History

Everything Changes: White Bay as Industrial Site Due to White Bay’s long waterfront and it’s location next door to the burgeoning Sydney CBD, it became a site of development. In Sydney’s early days roads were tricky to navigate. Water was the main form of transport and connection between each outpost on the harbour.

The Industrialisation of The Bays

Source: Artefact The Bays - Road relocation works - Statment of heritgae impact 2020

Pre 1788 Wangal Country Bay as sustainable resource 1800 Large land grant to William Balmain - whole of Balmain Peninsula

1799 First land grant on White Bay - John White, a surgeon from the first fleet

1840’s Copper smelting works on Johnstones Bay

1840’s Boiling down works established by W.Bell Allen on Blackwattle Bay

1899 Tender put out for the design and construction of ‘Pyrmont Bridge’ connecting Pyrmont to Glebe Island. Large land reclamation takes place to form a causeway below bridge 1875 Australian Gas Light Company (Today’s AGL) construct gasworks along White Bay waterfront

1850-1863 Government claims land to build an abbatoir on Glebe Island via act of Parliament. Tanners, tripe makers, soap and candle makers build industries adjacent to large abbatoir

1913 - 1916 Further large-scale works to reclaim land for wheat and coal handling at Glebe Island 1912 - 1917 Construction of the White Bay Powerstation by the NSW Railway Commission. Built to power Sydney’s expansive tram network.

1916 -1921 Metcalfe and Co built six silos, within works was continuation of land reclamation areas

1850-1863 Government claims land to build an abbatoir on Glebe Island via act of Parliament. Tanners, tripe makers, soap and candle makers build industries adjacent to large abbatoir

Balmain 1800’s

Today

Pyrmont Glebe Island

Glebe Island: Flat as a tack

The dismantling of Glebe Island Source: https://pyrmonthistory.net.au/glebe-island

The Bay Babes

Harry Dunn Phoebe Jong Chris Liu Samuel Lockwood Yee To Ng

a sense of balance and harmony in landscapes that have historically been contested ground for communities and their exploitation/displacement. Furthermore, objects and materials that remain Instead of these statues - a ‘restorative’

I found a theoretical foundation in the work of Svetlana Boym. Boym was a cultural theorist whose work had a strong focus on the concepts of nostalgia. Boym grew up in the USSR, and saw the way that history was used as a political tool to control contemporary thought. Patriotic national myths were reconstructed out of the ruins of the two world wars, to support the totalitarian tendencies of Europe. Immense statues were constructed to memorialise important chauvinistic histories.

nostalgia, Boym argues for ‘reflective’ nostalgia. To examine the rubble rather than to clear it away for a sanitised version of history. Indeed, it is the patina, the ruins that hold the most important meaning.

in the landscape, following Sturken, could be bodily metaphorical representations of people and communities who have come before, so therefore need to be treated and displayed with utmost sensitivity.

As we’re dealing with a lot of rubble and ruin at Glebe Island, her analysis was very helpful in interpreting the site.

To respond to these complex issues, this essay looks to Svetlama Boym’s notions of

reflective and restorative nostalgia as guides in the act of landscape site curation. Restorative nostalgia puts emphasis on nostos and proposes to rebuild the lost home and patch up the memory gaps. Reflective nostalgia dwells in algia, in longing and loss, the imperfect process of remembrance (Boym p. 41)

Boym, S. 2001. The Future of Nostalgia, Basic Books, New York (p.41)

For Boym, restorative nostalgia is about reconstructing ‘truths’, and ‘characterises nationalist revivals and … myth-making’. Reflective nostalgia ‘ lingers on ruins, the patina of time and history, in the dreams of another place and another time.’ (41) A design ethic that took inspiration from Boym’s reflective nostalgia may allow space for different, difficult histories to be told. Figure 4

R e p r e s e n t i n g

H i s t o r i e s

Materiality and History in Pirrama Park and Barangaroo Headland Theoretical Understanding

Whose History? Which History?

Country Management Climax Cool Burns Connection Tree Plant Animal Water Stone

Before Invasion

History can play a central role in the creative direction of site design (Heyde, 2015). Pirrama and Barangaroo are examples of this - where different histories have been highlighted. Materials play a large part in this. Preservation, modification or the removal of existing site materials guides the narrative of a landscape intervention. Therefore, what is left on site, and what is new on site, should be clear markers of the designer’s intent, and reveal what kind of history has been intended to be told.

Barangaroo

~1850

Figure 1

1788

Contact Settlement Sandstone Timber Handwork

Figure 2

Three main periods in Sydney’s History: Pre-settlement in 1788; The early years of Sydney’s colonial expansion (1788 ~ 1850) and then the years of the harbour as industrial port ~1850 onwards. These three historic periods - and their inherent ‘themes’/materials are typified in foreshore areas across Sydney. The foreshore is thus a living museum, with objects, materials and stories being told. What ever period is most ‘in focus’ gives a foreshore space a dominant character.

Pre 1788 - Deep Time

Labour Capital Docks Wharves Exploitation Community Metal Hardwood Concrete Machinery

Industry

Panita Karamanea, in her article Landscape, memory and contemporary design argues that landscapes are historical palimpsests. Layers upon layers of human intervention and action have, in certain places, created landscapes of deep historical and cultural meaning. These landscapes reflect our cultural history and therefore the landscape is a key element in the formation of our collective and individual identities. Karamanea formulates a design argument - almost a design ‘ethic’ - regarding designing with and in respect to the history of a site. Designers should try to ‘awaken’, ‘reveal’ and ‘underline’ histories that exist on site, but do so with a resilient mix of architectural and natural elements. This poster uses Karamanea’s idea of landscape as historical palimpsest to study and cross-analyse two parks on Sydney Harbour: Barangaroo Headland Park and Pirrama Park. It seeks to understand how these parks reveal and underline different historic layers. It is particularly focused on the history of these waterfronts as working ports, and how this history is represented through objects, materials and storytelling on site. The analysis sometimes includes the parks’ adjacent streets and areas - as these neighbouring sites contribute to the story that is being told within each park.

S y d n e y ’s K e y P e r i o d s

Pirrama

Key Layers - Palimpsest

Settlement

Theoretical Framework

Figure 3

Pirrama Park

Landscape Architects: ASPECT Pirrama Park is a foreshore tract of open space looking north and east towards Balmain and Rozelle. Its topography is flat - evidence of its previous use as a wharf. It is dominated by a hardwood walkway apron. This too reminds us of the area’s previous life as a working port.

Client: City of Sydney

Barangaroo Headland

~ 3.5 Ha

balmain

Landscape Architects: PWP

pirrama park

sydney cbd pyrmont Image source: NearMaps

Barangaroo Headland is a park that seeks to recreate the natural shoreline, as well as the bushland that would have been growing there. Its focus is on the natural form and also on the First Nation heritage of the site. There is an art installation called Wallema by Alison Page & Nik Lachajczak, which highlights the significance of Sydney Harbour to First Nations people.

Image source: NearMaps

~ 7 Ha

balmain

barangaroo

sydney cbd pyrmont Image source: NearMaps

Site & Landform Original

Client: Barangaroo Delivery Authority

Image source: NearMaps

Site & Landform Today

Pirrama Park’s shoreline is completely transfigured. Straight lines have replaced curves. Timber, concrete and sandstone have all been run in lengths

Original

Post Industrial

Today 14

Barangaroo, like Pirrama, was a flattened wharf-front. Today it has been re-naturalised, with a large hollow hill below the recreated

signifying industrial streamlining and efficiency. These materials are a mixture of existing and introduced - although now it is difficult to discern what has been added.

rise. It’s materials follow it’s natural ambition: Predominately sandstone and decomposed granite.

A period hidden?

Signs of Ageing At the water’s edge old piers have been left to decay, a keen representation of the history that has been, and the movement of time.

2004

Today

The re-naturalisation process has removed and industrial materials from Barangaroo Headland. However, clues still remain. For example, this straight section of shoreline at the eastern extreme of the park. 2004

Section - Waters Edge

Today

Section - Waters Edge

The topography forms the canvas upon which the materials sit. Pirrama Park is generally flat. This contributes to a feeling of industrial scale. This single topographic layer gives a sense of place to all of the industrial materials across the park.

Timber

Concrete

Barangaroo’s topography is sloping - a curved movement that is further highlighted by the curved pathways. There are no straight lines in nature - and the ‘natural’ movements of the landscape give natural elements a logical context.

Turf + Trees

Sand stone

Deco gran.

Stone paved

Recreated bushland

Flat across to cutaway

Pirrama: Historic materials and signification

Barangaroo: Historic materials and signification

2 3 6 7 1. 2. 3. 4.

8 3

4 6

Marine Hardwood+ Lichen Wharf/nautical history Corroded steel rail Industry/machinery Concrete wharf relic Industry/machinery Corten-encased sandstone Labour/manufacturing

5. 6. 7.

Branding from ex factory Historic companies/Old world Large Digesters Immensity of previous industry Gumleaf in concrete Nature as hidden history?

8 8.

Sandstone marking Stone in working environment now plaything in childrens playground.

1. 2. 3.

Sandstone Pillar Monolith entrance / saw cuts as signifier of artificiality Serpentine Paths Following ‘natural’ contours Cave ‘Hollow’ heart - statement of nonnatural design / hi grade concrete

5 4. 5. 6.

Wayfinding Modern materials / ancient languages Natural foreshore Sandstone blocks in curved pattern The complete picture Recreated ecological community convincing that this is as it once was

Conclusion

References

Both parks included in this precedent study strongly convey the notion that parks are palimpsests, but in their own unique way. Pirrama Park and its surrounds have maintained a visual and textural link to the working history of Pyrmont. When walking around Pirrama, the strongest history to be felt is that of marine hardwood, concrete, steel and salt water. These are the materials of a period when working

Figure 1. http://archives.anu.edu.au/files/styles/anu_full_920_518/public/online-exhibition/2.-z432-86-lumpers-at-work.jpg?itok=jEdthV6m Figure 2 95 and 97 Cumberland St, H Stuart Wilson, 1902, State Library of NSW ML 1436

nue

ti con e p o Sl ards upw

Gilles Clement’s landscapes at Saint Nazaire, France, convey this idea with beauty. The submarine base’s concrete is stained and crumbling. How uncanny to see a flourishing coastal ecology amongst the brutal militaristic forms? What does this suggest about our history and what is possible in the future?

Anti-spectacle

Fig. 8 Svetlana Boym

Fig. 9 Submarine Base Roof Top Saint-Nazaire, France

Theoretical Framework

Fig. 10 Giles Clement “Jardin du Tiers Paysage” (third-landscape garden) 2009-2012

JMD’s clifftop walk at Cockatoo Island is a local example of Boym’s ideal of a reflective nostalgia. The design intervention is a simple and functional set of walkways - to allow safe transition across a deeply meaningful landscape. JMD have understood that no typical landscape design could compete with the deep level of meaning coming from what is there now. Other similar approaches are evident across the harbour - in particular Illoura Reserve with its natural simplicity, and Pirrama park with its fading port forms

These were inspiring precedents for speculations at Glebe Island.

Fig. 11 Illoura Reserve

Fig. 12 Pirrama Park

An open-ended experience A direct connection with the past

Fig. 13 Cockatoo Island

Part Precedent 2: Precedent Studies Materiality

z5195224 Sam Lockwood

Representation

Landscape, History and Nostalgia Curating historical objects and materials at White Bay

Pirrama Park

z5195224 Sam Lockwood

Landscape, History and Nostalgia Curating historical objects and materials at White Bay

Figure 5: Words in wood. Text inset and painted bright red indicating prior use of Pirrama’s site.

Figure 6: Historic plates are arranged to display the workings of the CSR sugar factory. Their small size mean they are stumbled upon, rather than dominate the landscape.

Figure 7: Lichen on marine hardwood at the water’s edge suggest reflective nostalgia.

Figure 8: Concrete and steel: New surface materials that connect to the industrial utility of the site’s history.

Waterfront Park Figure 9: A segment of the previous wharf sits stranded from the shore. This brutalist artifact of the past reads as ruins. It evokes the past in a contemplative way, appearing solid but also through its surface conveying a sense of time passing.

Figure 11: Metamorphosis by Anton James. The shapes rotate and shift along the path’s side. The shapes represent the landscape in that it always stays the same, but our perception changes. Landscape is the constant in this essay’s discussion. What changes is the treatment of the surface elements. Photo by author

outlines this below: Precedents were chosen for their proximity to the studio site, and because both parks have endeavored to portray their site’s previous industrial history. Within Pirrama Park, this essay Figure 12: Pressings into sculpture. The concrete surface has formed an aging patina. On each leaf are fine cracks, heightening the intimate sense of time’s effect on landscape.

Today

2004

will focus on the section of Pirrama Park that was upgraded in 2010, at the western side of the

Figure 10: A feature of the shoreline at Pirrama is the remaining old wharf structures, which are falling apart before our eyes. This is a powerful statement which reveals the sites maritime history, but also conveys time’s ever pressing need to wear away at things. This is the opposite of a heroic history: it is acknowledging frailty. Source: nearmaps.com

headland.

Pirrama Park

A collection of anti-precedents - not that these types of designs are not correct, it’s just that they are already a well trodden path. The form and materiality of a site is totally transformed - the connection with a site’s challenging history is lost and a totally new experience is created. It is a handy way to forget.

sp e c t a cle

o f

c ap i t a l

Fig. 14 Proposed Fishmarkets

Fig. 15 Darling Quarter

Fig. 16 Architectus’ Vision of The Bays Precinct

Site - Analysis

Landuse

Green Open Space

Ecological Areas

Early analysis of proposed neighbourhood plans for the Bays Precinct

Proposed Circulation

Key Cycle Routes

How can we memorialise the destruction to both the First Nations who called this area home, but also the actual natural landform that was so completely flattened and transformed?

Fig. 3 Glebe Island 1835

Fig. 4 Glebe Island 1911

Fig. 5 Glebe Island 1916

Fig. 6 Glebe Island 1923

Fig. 7 Glebe Island 1945

TEND 3 Impressive Height, Natural Bathymetry

18m

15m

12m

Seeking to understand the original form and sub-soil structures to what was there. If one is to remember something, one must research all fragments of information to form the best picture possible.

-3m Glebe Island Bridge American & Australasian Photographic Company 1870-1875

-6m

Glebe Island (Original) -9m

The seafloor is a 'soup' of clay, sand and silt sitting on bedrock largely dredged in places.

DEEP CUT

Existing

-12m H A W K E S B U R Y S A N D S T O N E

s a n d

cla y s a n d y s il

sa nd

s o ft c l a y s T S I L

k oc ft r o s

ro ck b e d

c o al

s a n d y c la y so ft ro ck

s e a m

A wider view of the island, in its immediate context. I used historic maps to overlay what was there, and what it became

24 24 24

Balmain

24 24

Glebe Island

24 24 24 24 24

Sandstone Heaths, Woodlands and Forests

Escarpment

Glebe Island Bridge

Now Infill

Original Extents of Island

Sandstone Heaths, Woodlands and Forests

Future Infilled Concrete Wharf

Turpentine Ironbark Forest

Hills of Future Rozelle & Balmain

Long Section: East West

Pyrmont

24 24

Visual Studies

TEND 4 Natural & Today Undulating, Textural, Alive Undulating, textural, alive

Dead Flat,flat, Capped Dead capped

Explorative Drawing 2 (Disintegration) Looking at movement, both of time and of the individual’s position in the landscape.

Visual montages were created to explore different themes and approaches to the site, bringing together the theoretical and design intentions.

Explorative Drawing 1 (Disintegration)

We witness disintegration - and witness very clearly at White Bay. Perhaps we shouldn’t ‘clean it up’ - maybe leave the signs of disintegration?

I tried to find evidence via Trove online for imagery of the original Glebe Island - and found images of the quarry on the island. These images show the beauty and size of the island, and the immense human effort to reduce it to a flat surface.

Explorative Drawing 3 (Renewal) Explorative Drawing 4 (Renewal) Re-establishing the island as a natural shore front moving from disintegration to renewal - through a process of the disintegration of the hard edge of the port-front. We have a perfect living precedent of a natural harbour up at the Hawkesbury, so I grabbed screen shots of the Hawkesbury’s shoreline and montaged them on the White bay shore front and recreated the island.

The idea of perspective and the harbour. It’s so rare to get down to the water level in Sydney Harbour (especially in the city), not to mention walk on the seafloor. What would that feel like?

Explorative Drawing 5 (Disintegration and Renewal)

But also, what has been built can disappear

I wanted to interrogate the meaning of nature’s re-capturing of the site.

I created a grid to mark out the scaled form of the site. What was discovered was that after the tide had reclaimed the land, what was left was the grid and the frame. Ideas in the superstructure out last physical form. What ideas will be brought to the Island?

Exploring ways to represent the celestial movements and their relationship to a fluid tidal edge. I was looking to interrogate the natural forces still existing on site. These forces may take centre stage once again.

Decisions came about via exploration of themes through note and sketches. The size of the site and the type of response required writing and sketching to understand where I was at in the process.

Trimester 2 - Focus on Public Domain

Theoretical Understanding

In the second trimester, We looked at particular areas of the site to explore our themes. I chose the area around the Power Station, as I felt this was an area with the most palpable sense of history.

A scheme was created that brought focus to the history of the site, but also the forward looking opportunities of novel ecosystems.

I main design move was to do little - to preserve what was there and through a bit of cutting, get down to the original sandstone bed rock to reveal a foundation in natural history.

Final Project - Glebe Island Remembered

A main intention was to acknowledge the divide in accessibility to wonderful places in Sydney. The harbour offers some of the most beautiful beaches in the world, however there are all in the wealthiest areas of Sydney. The waterways of western Sydney are generally in poor condition, and are inaccessible. How can we tip this balance?

Burrabru

Mosman

Camp Cove Balmoral

North Sydney Waverton

Watson’s Bay

Chowder Bay

Sirius Cove Beach

Nielsen Park Wa-rea-mah

Fern Bay

Warrang

Burra.wa-ra

White Bay Site

Pannerong Circular Quay

Rozelle Bay

Sydney Rose Bay

Pollution and Water Recreation: A Tale of Two Cities

Darling Harbour Swimmable/ Polluted Divide

Annandale

Blackwattle Bay

Redleaf Rose Bay

Metro To Parramatta

Site Definition - Site Context

Refurbished Glebe Island Bridge

White Bay Power Station As New Cultural Centre

Metro Station

Cycleway To City & East Completed Bay Active Transport Link Sports grounds and parkland above Westconnex New Fish Markets

High density residential development

2.3 km from site to CBD

A dormant site to be activated

Development Context & Relation to Sydney CBD

How would we approach this site if it was covered in native ecologies? The sites to the north of the harbour are precious and protected. Could we create something like that, and instill a sense of value to a site that is currently awkwardly ignored?

Warrungarea Blues Point

Bradleys Head

Natu ra Divid l Headlan d e

Site Warrang

Sydney

How would we value this landscape if it was a natural habitat like those on the North Shore headlands?

Harbour Headland Typologies

From Blacktown/ Penrith

Parramatta Metro Station

From Fairfield/ Liverpool

Bringing people to the park, via the proposed new Metro Station.

The Bays Metro Station

The metro station will be around 100m from the harbour. If this edge to the harbour was made swimmable, it would provide the most accessible beach in Sydney.

“ Let’s get the metro to the Bays and go for a walk through the reserve. “

“ OMG totally. Should we pack our swimmers?

Remember last time we saw that rare bird and that bloody snake!...

Equitable Access to Wonderful Places

Testing

Visual sketch/render of what could be...

Coastal Heath Ecology

Hind-Dune Ecology

Rockpools

Metro Station Beach

Coastal Dune Ecology

Testing

Caroline Pidcock: 3 Design Principles Our site offers us a chance to make an example of what is possible

Culturally Rich

Ecologically Restorative

Interpretation History conveyed through form and materiality Historic Justice ‘Light Touch’ Reflective Nostalgia Land form

Science Remediation Novel Ecologies Functioning, perpetual living systems

Socially Just Planning/Social Geography Accessibility to inspiring natural spaces as right

But also Dismantle, recycle, reuse

Guiding Principles

Useful resource: Future artificial reef? Tunneling for Westconnex through deep bedrock

Fig. 18

Recycled concrete

Fig. 17

Fig. 19

Any new land-forming will be done using spoil materials from the nearby tunneling (Westconnex/Metro West), in combination with existing soil remediation on site This could be a profitable exercise

New mounded parkland - built on spoil

Existing Slab - Ground Level

Typical section - Park creation on apron

Concrete and Fill

The Site: Glebe Island Today

Balmain

Chosen site: Glebe Island’s Northern extents from the foregrounds of the power station to the Glebe Island Bridge. This is the heart of our site.

Pyrmont

Annandale

2.3 km from site to CBD

Site

Unplanned natural area

Fundamental Assets: Past and Future Problematic Spaces Industrial Use White Bay Powerstation 'Dead' space adjoining freeway

Green space at edge of raised landing to Glebe Island Bridge

Extreme under-usage of land represents awkward position of site

Non-utilized edge abutting Motorway

Parking area?

Functioning Wharf

Fenced off

Some areas are currently important holding yards for Westconnex/Metro West.

Anzac Bridge

Underutilised Concrete Apron

ina

tiv

Under-utilized

edge

Fenced off

Functioning Wharf

Lim

Active

Limina

l Spac e

Maritime Warehousing

White Bay

50m

Active Use

Active Edge Industrial Use Land Use

Active Water’s Edge The White Bay Powerstation will become cultural hub The Metro West will activate the site Glebe Island Bridge will be re-connected

100m

Unplanned natural area

Fundamental Assets: Problematic Spaces White Bay Powerstation 'Dead' space adjoining freeway

Green space at edge of raised landing to Glebe Island Bridge

Water’s edge is a ‘Liminal Space’ - other than some stretches of shipping frontage it is fenced off.

Fenced off

Limina

l Spac e

Novel unplanned ecologies exist across the site.

Anzac Bridge

Fenced off

White Bay Lim

ina

In-between liminal areas

50m

Fenced-off areas with evidence of novel urban ecologies

Liminal Spaces

100m

Fundamental Assets: Original Topography White Bay Powerstation

Original Glebe Island Indicative location and topography

Indicative representation of original Island Most of the Liminal and underused spaces exist beyond the outline of the original island

Anzac Bridge

White Bay

50m

Original Island

100m

Fundamental Assets: Apron of Opportunity White Bay Powerstation

Original Glebe Island Topography

Could we use this as a meaningful boundary of a future park?

Anzac Bridge

New Park

Original Island

50m

100m

50m

100m

White Bay

Original Island flattened and industrialised

Apron - 'unnatural' but ours for the taking

Give Them Their Island Something Rich and Strange

Unnatural concrete apron as park? 50m

100m

50m

Apron - 'unnatural' but ours for the taking

New Park?

100m

Plan of Site

Continuing on from the second trimester, the main thematic inspiration was to leave the site as it is, in the main. See what can come from what it there, to allow the sites history to be a palpable main player in the experience of the site. Glebe Island has been heavily engineered and its form is one of the main historical signifiers. I sought to maintain the form of the island in the main. The concrete apron remains, with spoil on top from the nearby tunnelling for Westconnex and the new Metro line to Parramatta.

It is a celebration and examination of the sites challenging history, and the addition of waste products from the nearby mega projects adds to this theme of challenging, acknowledging and accepting our destruction of natural landscapes. The aim is to take these ingredients of destruction and create something hopeful and beautiful.

Silo

8 2

6 Silo

1 White Bay Power Station

Silo Silo

3 Metro

16 17

Cove 1 w/ Artificial Reef

Affordable high-density housing

Covered Deck Area

Metro Station

Sculpture of Original Island Footprint

Dunal Ecosystem

Art and Cultural Centre

Rambling Paths

Headland Sculpture, Swimming Area

Artificial Reef

Deconstructed/Operating Wharf

Deconstructed Caissons

Reconnected Glebe Island Bridge

Deck Viewing Platform

Operating Wharf

Network of Water Retention Swamps

Sculpture Garden

General Plan - Glebe Island in 20 Years

Cove 2

50m

100m

10 m

Move the park and its guiding principles into the public domain of the remaining developed areas of Glebe Island

Push the Park’s Principles into the Public Domain

50m

100m

High Density Affordable Housing

Silo

White Bay Power Station Cultural Centre

Silo

Affordable Housing Creative Industries

Silo

High Density Affordable Housing Metro

High Density Affordable Housing

50m

A new suburb with a public domain that is Socially Just Culturally Rich Ecologically Restorative

Ecological Suburb - Glebe Island in 40 Years

100m

Headland

Cove 1

Cove 2 0m

10 m

50 50m

Three Indicative Areas

100m

Cove 1

The first cove is a place of reconnection to the water. An uncanny combination of a working port adjacent to a swimming spot is an untried landscape typology in Sydney Harbour. Why can this not be a possibility? With simple cuts and fills, and with a bit of sand from the spoil of the Westconnex tunneling, a new beach is formed.

Importantly, the industrial elements remain - the artificial reef is created by stacking units of the concrete apron. The wharf is deconstructed to reveal a new edge condition. The site is already spectacular - we need not do much to facilitate a spectacle. Importantly, the less we do, the more tangible the sites history becomes

What has been done? Beach

Edge 'disintegrated' - refer model

Industrial context maintained

Planting of local species

Some sand from the Westconnex tunnel has been deposited - that is all.

Design with Fundamental Assets 2 58 Something Rich and Strange

Elevated Walkway

Deconstructed Wharf

Concrete Swimming Steps Tidal Pools

Dune Ecology

Artificial Reef

Island Border Planting

Cove

Single Vehicle Carriageway Separated 2m Bi Directional Cycleways

Kiosk Land sculpture

Creative Industries Affordable Housing

10 m

Metro Station

50m

Cove 1

50m 100m

80m

Recycled Concrete Wharf Units

Beach of remediated fill and ground Westconnex spoil

Existing ground line

Rockpools at High Tide

Speaking to the artificial reefs/edges of Barangaroo, but with concrete units, not sandstone

Artificial Reef

Kiosk Swimming Steps Current Ground Level

Pre-Invasion Ground Level

Artificial Reef

Cove 1 - General Section

The wharves were constantly a place of examination. They are impressive solid hard wood structures. How can these be used/dismantled to create wonderful places to be in, but also as a source of materials for the rest of the site?

Mend: Healing The Edge

Mend - Roots of Industry

Dismantling the wharf

Section: Model 2

A model exploration of the interaction of the levels under water, the wharf, and how it could be deconstructed.

What is happening water?

Section: Model 1

Something Rich and Strange

Something R

Elevated Walkway

Concrete Steps

A new engagement with the water’s edge through dismantling the wharf. Remnants remain however, as material reminders.

Pirrama Park

Dismantled Wharf - New Edge

Our site is already a striking landscape

Existing Conditions

Dismantle the slab, add plantings and sand - a hybrid experiential landscape

Slightly Modified - Completely Transformed

Headland Park

The Headland Park is where the main novel/restorative ecological design moves occur. It’s wide open expanses are eerily similar to the heath-headlands of the outer Sydney Harbour. I had been walking through La Perouse and Cape Banks during lockdown, and noticed similarities in the landscape both there and at White Bay. A huge flat area is an opportunity for a unique heath-based ecology.

Headland Beach and Sculpture

Central necklace of swamps and detention basins

Rambling Network of Paths

Forrested Interior Heath Transition Dunal Edges Deconstructed Caissons to create tiered edge 0m

3.5m Active Transport Direct Route m

50 50m

Headland Park

50m 100m 80m

Fig. 20 Plans and Elevations of Piles at White Bay

Fig. 22 Section of Wharf

Site has been engineered heavily to withstand forces of large ships and heavy on-deck loading

Fig. 21 Section of Wharf

Engineered Landscape

It is a resilient landscape currently, and a question arises what are the (environmental) costs/needs in changing anything?

The restored ecologies will move from dune, to heath/fore-dune, to a typical Sydney Coastal Heath ecological community Dune

... containment by physical covering in conjunction with appropriate control measures is considered appropriate for the impacted fill/disturbed natural materials proposed to be covered such that there are no opportunities for future exposure of site users to impacted fill material UrbanGrowth NSW Site Wide Remedial Concept Plan The Bays Precinct Urban Transformation Area 4 December 2015

Ecologies

Spinifex sericeus

Banksia ericifolia

Angophora Costata

Red Bellied Black Snake

Atriplex cinerea

Epacris microphilla

Eucalyptus camfieldii

Wallum Frog

Austrofestuca littoralis

Dillwynia floribunda

Allocasuarina distyla

Little Eagle

Canavalia rosea

Grevillea oleoides

Xanthorrea resinifera

Common Bent-Wing Bat

Heath/Fore-dune

Hind Dune/Coastal Heath Forest

Re-introduced Fauna

New fill from Westconnex Slab Fill

Sandstone Bedrock

An Uncanny Experience

Tube Stock

1 Year

New Fill Slab Existing Sandstone Ballast Edge

Precedent: Ballast Point Park

Existing Fill

Sandstone Bedrock

Emerging Heath

5 Years New Fill Slab Existing Sandstone Ballast Edge

Fig. 23

Existing Fill

Sandstone Bedrock

Established, weather-attuned plantings Onshore winds

Sea spray

10-15 Years New Fill Slab Existing Sandstone Ballast Edge

Fig. 24

Existing Fill

Sandstone Bedrock

Tubestock Planting Strategy

Imported Spoil as Coastal Soil Slab Maintained as Walkway

Contaminated Fill Bed Rock

Disintegrating Concrete

The sandstone and dredged infill sits below a disintegrating concrete slab and mounds of imported spoil The sub surface layers are highly modified but also uncannily at home in the landscape.

Planting/Slab/Contaminants

Recycled Piers from adjacent deconstruction Existing Slab

The structures take inspiration from Bruce Mackenzie’s structures at Illoura Reserve. Bruce Mackenzie: Drawings for Timber Stairs at Illoura Reserve

Hardwood wharf timbers are so suggestive of the Sydney water’s edge. They bring a strong sense of place to the headland. The wood is recycled from the dismantling of the adjacent wharf outlined previously.

A A

Viewing Platforms

Recycled concrete

Dismantled Slab - Material for Paths

Along the path, where the levels are above the slab, the path is laid with deconstructed recycled concrete sections of the existing slab

Cove 2

The story of the site matters let it tell that story to us. Novel ecosystem

Pier

'New' beach

Lighting

Marked path

Edge incision marking the original Island's extent

An early stage of the site’s transformation? Simple measures plantings, painted walkway and lighting.

Design with Fundamental Assets 3 78

Dock Maintained

Arts Industries and Affordable Housing

New Silo/Dry Storage

Sculptural Historical Interpretation

Artificial Reef New Cove Tidal Pools Enhancing of existing novel ecosystems

High Density Residential

Glebe Island Bridge as Cycling Highway

10 m

50 50m

Cove 2

60m 100m

80m

New Ground Level New Ground

Existing Ground Existing Ground Level Slab Removed Slab Removed

Remediation

Level

Fill Fill

Level

Cut Cut New Sand New Sand (Mix of Westconnex (Mix of Westconnex Spoil and recycled concrete)and recycled Spoil

White Bay White

concrete)

Post 1900 Infill

Bed Rock

Bedrock

Cut and Fill

Existing Rock Sea Wall

Post 1900 Infill

An illustration of the simple methoed of cut and fill to create the beaches on the site. The underwater level drop offs are quite dramatic. The sea is held in Post 1900 Infill place be an artificial reef created by the stacking of units from the concrete apron.

Bay

Original Island Levels

Glebe Island Bridge: Active Transport Highway Connection to Cove from Cycle Highway

Original Fill Artificial Reef/ Structural Barrier Holding Beach in situ

General Section - Cove 2

Rock pools at Low Tide

Two paths diverge, both offer a dramatically different experience. Highlighting the value of maintaining current landscape use

A Walk in the Park

A speculative view to Pyrmont and the city - which is achievable with remediation, effective use of spoil and native plantings.

Cove 2

Sculpture

How to memorialise this?

Reduction

People

Sculpture

Landscape

A main intention was to memorialise Glebe Island. I wished to create a sense of the majesty that was once there, that had been completely flattened. I came to the conclusion, following my research, that what might be appropriate is a visual reminder - a suggestion of what was there. To spur a question in the visitors to the park and passers by.

Theoretical Framework - Sculpture

Using industrial materials, the aim is to represent the landscape/human dialectic in sculptural form. Oxidised finished steel framing and steel wiring will hold lighting that outlines the original islands profile. By day it will be a jarring angular linear sculpture, by night a constellation of pearls lighting up a line of topography showing how the island once was.

Land Sculpture outlining original Island footprint

Not prominent recessive and within the trees

Theoretical Framework - Sculpture

A model was made to explore scale and interactions with paths across the headland

The Landscape/ Human Dialectic in sculpture form across the Island

Model - Landscape Memorial

Like a pearl diver who descends to the bottom of the sea, not to excavate the bottom and bring it to light, but to pry loose the rich and the strange, the pearls and the coral in the depths and carry them to the surface Hannah Arendt on Walter Benjamin’s Method

Like the pearl diver, the landscape architect need not bring up the sea floor, rather bring to the surface the pearls - the rich and the strange. Our site is covered in pearls - fundamental assets - of infinite scale. Our effort need not be great. I argue that with small design interventions and strategic planting, the pearls of the site can be revealed to create a challenging but inspiring landscape and public domain.

The intention was to use this final project as a means to explore my own questions regarding the landscape and identity, and what could be possible with a response to a landscape question that is grounded in a certain type of theory. Landscape memorials need not be singular and distant from experience. If one was to incorporate existing historic forms and materials into a new landscape design, the past will be tangibly there for all to interpret, touch and understand. We don’t need to put the past on plinths and describe what was once there what was there is still there, and is part of an ongoing process of becoming and disintegration. It is quite popular to put aside a few key elements found on site to ‘represent’ the history of a space, and then clear the rest of the site in a violent transformation cutting off the site from its history and its previous physical form. Artifacts that were set aside are then used as mantle pieces to suggest what was there. I believe this enters the realm of the tokenistic and opportunistic - a simple way to clear the slate, create a tabla rasa for a complete departure from the sites complex landscape dialectic.

Ideas of sustainability and the restoration of ecologies were intended to go hand in hand with the themes of historical representation on site. The jarring ideas of an industrial nowhere-land and a flourishing restored heath/dune ecosystem would be the perfect landscape contradiction to represent the previously described landscape dialectic. Such a style of intervention would naturally question our horrible history of the destruction of Glebe Island, but also offer a sense of redemption, in that we have the opportunity to re-adjust the meaning of the headland from industrial exploitation to natural reclamation.

Glebe Island, and the Bays precinct, offer Sydney a chance to convey something different to its residents. A sustainable, historically-aware and accessible harbour foreshore that is both conceptually challenging but also historically and naturally wild. A place that unavoidably represents our destructive relationship to the land post invasion, but also at the same time a proposition of redemption, where the same site of destruction reveals flourishing ecosystems - a sense of hope in what has been repeatedly described as a wasteland.

Finally, the idea of social geography and Western Sydney’s access to spaces like this is a major design influence. The proposed Metro station at White Bay would open up the site directly to people of Western Sydney. I believe it should be an imperative to offer people with restricted access to beautiful places a direct, affordable, equitable access to the harbour and the chance to swim in a beautiful cove.

Glebe Island is facing this problem. Most of the current speculative responses to redeveloping Glebe Island involve a radical redesign of what is there. Why can’t we keep what is there in the main? What is more meaningful than a site with complex layers of history - no matter how brutalist they appear?

List of Referenced Figures

References

All other figures in this document are by the author. Base mapping from nearmap.com, GIS Data from NSW Government’s Clip and Ship Service. 1. Glebe Island: American & Australasian Photographic Company 1870, Glebe Island Bridge 2. Wheat Galleries Image of Bulk Wheat Galleries, State Library NSW 3. Glebe Island 1835 Mason, Walter G & Mason, Walter G. Australian picture pleasure book 1857, Glebe Island, Port Jackson, J.R. Clarke, [Sydney] 4. Detail of map ‘Shewing Main Wharfage of the Port of Sydney’ attained from the Port Authority of NSW - Dated at 1911 5. Detail of map ‘Shewing Main Wharfage of the Port of Sydney’ attained from the Port Authority of NSW - Dated at 1916 6. Detail of map ‘Shewing Main Wharfage of the Port of Sydney’ attained from the Port Authority of NSW - Dated at 1923 7. Detail of map ‘Shewing Main Wharfage of the Port of Sydney’ attained from the Port Authority of NSW - Dated at 1945 8. Portrait of cultural critic Svetlama Boym, accessed in November 2021 at https://media.newyorker.com/photos/59096f91ebe912338a376e0a/master/w_2794,h_1864,c_limit/Gessen-Postscript-Svetlana-Boym.jpg 9. Naval Base at Saint Nazaire https://commons.wikimedia.org/wiki/File:Le_toit_de_la_base_sous-marine_(Saint-Nazaire)_ (7716934422).jpg accessed November 20121 10. Gilles Clement - Garden of the Third Landscape https://www.pca-stream.com/en/articles/gilles-clement-favoringthe-living-over-form-115 accessed November 20121 11. Detail of Illoura Reserve https://www.innerwest.nsw.gov.au/explore/parks-sport-and-recreation/parks-and-playgrounds/parks-by-suburb/balmain-parks/illoura-reserve accessed November 20121 12. Author’s own - Image of Pirrama Park wooden pylons 13. Detail of JMD’s Clifftop Walk at Cockatoo Island https://jmddesign.com.au/projects/cockatoo-island-clifftop/ accessed November 20121 14. Render of proposed Sydney Fishmarkets: https://www.sydneyfishmarket.com.au/Corporate/Redevelopment accessed November 20121 15. Aspect’s Darling Quarter: https://www.aspect-studios.com/au/project/darling-quarter accessed November 20121 16. Architectus’ speculative render of Glebe Island proposal: https://architectus.com.au/insight/bays-west-the-resilientcity/ accessed November 20121 17. Westconnex - https://www.westconnex.com.au/media/tfdma23p/image-80.jpg accessed November 20121 18. www.nearmap.com 19. Concrete Rubble - https://cf.specifyconcrete.org/img/IMG_8690.jpg accessed November 20121 20. Detail of engineering drawings, attained from the Port Authority of NSW 21. Detail of engineering drawings, attained from the Port Authority of NSW 22. Detail of engineering drawings, attained from the Port Authority of NSW 23. McGregor Coxall’s Ballast Point: https://mcgregorcoxall.com/project-detail/125 accessed November 20121 24. McGregor Coxall’s Ballast Point https://mcgregorcoxall.com/project-detail/125 accessed November 20121

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References

Something Rich and Strange

Articles inside

Introduction

Sculpture