This book and project is dedicated to my father, who passed when I started this journey of architectural pursuit.
Thank you to Michael, Dave, Derren, Brendan and Pete for the continous support from start to to finish. Huge thank you to the studio monkeys for making this course fun and memorable.
5
O ZYMA N D I AS
E D I F I C E TO M A N K I N D ’ S E N D E AVO U R
BY VICTOR CHIN FOR UON MASTER OF ARCHITECTURE
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I met a traveller from an antique land Who said: “Two vast and trunkless legs of stone Stand in the desert . . . Near them, on the sand, Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed: And on the pedestal these words appear: ‘My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!’ Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away.” Percy Bysshe Shelley
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This book and project is part of University of Newcastle’s School of Architecture and Built Environment Final Year Master Degree. The project is a self-directed and briefed, assisted by the prolific professors and tutors of the school. This book is a documentation of the project from the inception to the outcome.
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Contents
START OF THE JOURNEY EARLY CONCEPT
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THE SITE VISIT & ANALYSIS 41 SCHEMATICS 93 DEVELOPED & DETAILED DRAWINGS 111 FINAL DRAWINGS AND MODELS 141 END 175
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START OF THE JOURNEY & E A R LY CONCEPT
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I was always captivated by the human pioneering spirit of old and new. In this case, heavily towards the our adventurous endeavours to Mars and beyond. With that passion, I’ve always wanted to do something unique, something challenging. What if I could do it in Mars? One of the location is the Marathon Valley (pictured left), one of the most viable location for the first colony on Mars. Is my project going to be something on Mars? A colony or something more?
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Mars, the first step in space colonisation. Further than the moon but more feasible to colonised. One of main gripe with using Mars as a site is the technicality of project and convincing others, this project is more than just an engineering project but one of that architect could be useful. No breathable air, no water or moisture, limited resources and tools. Many factors led to many problems. I found it is hard to convince why it is important for us to think about settling in the new frontier. In the end, it seems like a project I couldn’t do over a year.
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I turn back to Earth, where is the most Mars-like? I do not want to lose my research. Of that places, is the Death Valley in Antarctica. Mild in comparison to Mars, but NASA has listed it as one of the most hazardous and Mars-like environment on Earth. With time running out, I had to do it.
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As the name implies, nothing lives here and even if it strays into it, it will not survive long. A very desolate place, alien, and yet it is here on Earth. Once, it was a popular place during the 70s because of the unique landscape, but to preserve it, the Antarctica community had to limit human contact to it except for certain spots on the area. That soon become a problem for me.
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It was never off limits to humans, but the only humans there are only field researchers who do regular dives into the icy waters to observe extremophiles. Yet, they only stay there for a brief amount of time in the summer. The endless night is the unique and dangerous phenomena of Antarctica. The homes of the researchers reflect their needs and requirements. Both portable and touching the earth so very lightly to reduce our footprint in such delicate place.
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McMurdo (USA)
Station
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I look at the permanent Antarctica bases. I see what is common and similar. They are all merely shipping containers, shifted to accommodate human living. Scattered reminiscing of a village with small roads interlocking, into the direction of their gateway back to civilisation; the bases’ port. Pictured left, clockwise from top left: Casey (AUS), Mawson (AUS), McMurdo (USA), Scott (NZ), Esperanza (ARG), Davis.(AUS) Pictured top: Villa Las Estrellas (CHI), Zuccheli (ITA)
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In the earliest concept, I envisioned a portable based where instead of being on delicate land, it harbour itself on the coast, creating a protective area for work and observe. Slowly, my project is leaning towards becoming a station for both science and tourism. However, similarly to Mars, some are not convinced why we should inhabit somewhere we the land should be pristined and undisturbed from human touch. This questions me, how could we start to relight the pioneering and adventurous spirit of man of old in todays world?
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From there, I took the concept further; what if the whole station is a ship? What if, like the Australian Aurora Australis, it could travel back and forth, from base to base, to Antarctica and back to civilisation? A travelling museum? Through that single drawing, I look even further from Antarctica, and into our very self.
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The idea of self and discovering knowledge become a theme in my next concept drawings. What if architecture of space could influence a person’s understanding? As you go down one level, you go deeper in understanding the universe around us? This is similar to Borobudur in Indonesia, where one would go up one level, the relief would show a new knowledge of enlightenment, to the very top; nirvana.
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The concept is very similar to the works of Étienne-Louis BoullÊe but I try to take it deeper. Light and shadows together with the scale of it creates a place that invokes our spiritual sense and scientific curiosity. To the very middle, the built environment makes you feel you are the center of the universe. I was hoping through architecture, we can propagate the idea that, we as a human race should not be a sedentary species but keep looking towards the stars.
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As I lacked the site as I could not use both Mars and Antarctica, I turned to what all site on earth have in common, the Sun. Using NSW’s latitude, I look at how a monumental structures could utilise and gave meaning to the Sun’s position, much like how the Egyptian modelled their tombs and monuments.
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From there I dabble myself into the idea of ruins and monumental structures which I was very interested in getting myself into, and how I could implement them in my project. Structures, even as they lose their original purpose as they decay with time, can be reborn into something else or something simple as a landmark for future generations. The concept was a helpful process in helping me aligning what I needed to do and where. Unconsciously, I was putting myself into understanding the human endeavour.
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THE SITE VISIT & A N A LY S I S
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The search and research of endeavour brought me to Broken Hill, NSW. All the way in the far western edge of NSW, bordering South Australia, it questions me; How and why did we get there and stay there? To the aborigines, Broken Hill was one of the few stops of refuge before resuming travelling. Even today, there watering holes yet to be discovered, that were once used in the past. For me, travelling there was a huge undertaking. A single trip there took me 5 hours on the train from Strathfield to Dubbo, then another 13 hours on bus through the great outback of NSW. Certainly not an ideal travel plan, but many take this route weekly to visit their relatives or even for work. I sympathize the bus driver who had to take the same daily route. The remoteness of it reminds of me the long pilgrimage one had to take in the past. In a way, I’m taking a pilgrimage for my master degree.
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I notice art and sculptures in Broken Hill has that one thing in common; the vast landscape. They strengthen it and gives it a unique take in understanding the landscape.
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Whatever are left behind, they slowly return to the Earth. Rusting away into dust, whose carcass becomes one with the landscape.
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And yet they are those that try to defy the wrath of the land. Surviving and adapting into something unique.
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Ruins and decay, bring Broken Hill to life. The inhabitants had to make use whatever is available and that brings an iconic aesthetic.
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The mindset and aesthetics of that is evident in the movie Mad Max, in which, Mad Max 2 was set here in Broken Hill. Props from the movie were left behind and now, becomes a part of a private museum.
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The very first Muslim community in Broken Hill were a group of Afghans who became camel-herders. This led to the very first mosque in Australia.
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Until today, Broken Hill attracts people from all different background and culture. Here, I stayed with a Persian lady who seeks to share her Bahá’í faith and teachings to young aborigines.
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Although it seems like a white-men town, the little town is vibrant with cultures and welcoming to all. On my first night, the bar was lit with people playing two-ups; a game that become a cultural identity to the night life of Broken Hill.
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Broken Hill is and still a mining town, but with dwindling ore prices, mining is slowly going away. Mining structures and equipment litter the town but create this unique, steam-punk like environment.
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The council itself seeks to use the town’s mining history to bring tourism in. Broken Hill is one of the best equipped and largest town in a far stretch of the outback, and that made it a very good ‘base camp’ for tourist to visit the surrounding outback from there.
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The Mining Lode Hill, overlooks the whole town. Once, a mount of spoils, now become an iconic landmark.
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On top of the hill is the Miners Memorial. Designed beautifully in respect to the site and surroundings. The main feature; the corten steel sheets, blends beautifully with the landscape.
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The suburbs are quiet, as everyone heads to town or stay inside, even during the weekends. Hardly anyone is seen outside walking or playing.
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Interestingly, heavy structures last very well with the environment here. Together with the lighting, any structures, be it some ruins or newly constructed, gave a welcoming sense of shelter.
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On the suburbs of the town, corrugated sheets are a norm as they are a relic from the mining days. Easy to erect and fits the environment, nobody thought they were going to stay that long there. Although horrendous during the summer, the house can quickly cool down as the sun sets. During my stay in the winter, it was so chilly but during the afternoon, any shade is a good shade.
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Steel is everywhere. It resonates with hardy needs to adapt to environment and it is easier to get than other materials.
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The Living Desert, one of the national parks nearby, represents how the landscape used to be before human exploitations. Minerals are everywhere, protruding from the land.
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On the very top of the hill in the Living Desert lies the Sculptures Symposium. Left with minimal supervision and little to none accommodation for tourists, it become one of the most popular destinations here. That responds to the land is one thing I wanted to mimic in my own project. Rather than babysitting the visitors, they should understand the harshness of the environment to take them out of their comfort zone. Only then, we can truly appreciate the landscape.
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With minimal moisture, many of these sculptures are meant to last many generations into the future. This also means structures, if they hardy in nature, could also last.
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One of the site that interests me is the Potosi Silver Mine. One of the smaller open pit mine near Broken Hill, and still being in used, although mainly for underground mining operations. Located north east of Broken Hill, at least 10 minutes away from the main street, Argent Street. Perilya Limited leased it until 2021, and it will be abandoned soon after like many of the mines in Broken Hill.
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Hills of spoils blocked any view into the mine, and road trains on a small stretch of dirt road are the only indications of mining operations there.
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The satellite images and old maps reveal the scar that mining has done. The open pit mine goes down 105m and the bottom there is pit water. Although there no longer open pit mining done as all mining are done underground, the current infrastructure is still used to support current operations.
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Early hand drawings of the site using satellite images and old maps as references.
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The first thing I did for the site was to draw and model the site for me to easily set out what to design. The contour lines and 3D model was a huge help to set out what I could do with the site.
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SCHEMATICS
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Main precedent I used for the schematic is Sir David Adjaye’s Mass Extinction Memorial Observatory. With each extinct species, the spiralling walls will be carved with the images of it. In a way, this project aims to record and remind the visitors of our actions here on Earth. We are either the destroyer of saviour of the other species on this planet.
97 The complex is laid out based upon existing roads and benches, synergising both new structures and the mining environment.
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The journey into the complex starts with a narrow Entryway. Narrow and constricting space forces the visitors to bow in respect to the land. Only when they reached the bottom, they are greeted by the immense landscape of the mine as the view of the mine is blocked from the outside.
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The Gallery houses areas of exhibition that chronicles the endeavour of mankind either here on earth or up there, in the new frontier. Utilising the talent and skills of local and international craftsmen. The spaces are cut into the rock faces that reveals the long history of the land.
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The Theatre of Pergamon is another precedent is used for the complex. Utilising the landscape and although no longer usable, it offers a thought play what it could become, even as a ruin.
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Guest are treated with the immensity of the Theatre as they exited the gallery where the edges slowly blends with the landscape. Utilising the already layered landscape of the mining benches, little terraforming is needed for the space to work. Rather than becoming a performance space, the layered landscape become a blank canvas on what is possible on the site. In one instance, as a solar farm.
107 And a tenth part of Okeanos is given to dark night a tithe of the pure water under earth so that the clear fountains pour from rock face, tears stream from the caverns and clefts, down-running, carving wondrous ways in basalt resistance, cutting deep as they go into layers of time-layed Gaia where She sleeps— The cold water, the black rushing gleam, the moving down-rush, wash, gush out over bed-rock, toiling the boulders in flood, purling in deeps, broad flashing in falls— And a tenth part of bright clear Okeanos his circulations— mists, rains, sheets, sheathes— lies in poisonous depths, the black water. Styx-this carver of caverns beneath us is. Styx-this black water, this down-pouring. The well is deep. From its stillness the words our voices speak echo. Resonance follows resonance. Waves of this sounding come up to us. We draw the black water, pure and cold. The light of day is not as bright as this crystal flowing. Three thousand years we have recited its virtue out of Hesiod. Is it twenty-five thousand since the ice withdrew from the lands and we came forth from the realm of caverns where the river beneath the earth we knew we go back to. Styx pouring down in the spring from its glacial remove, from the black ice. Fifty million years—from the beginning of what we are— we knew the depth of this well to be. Fif ty million years deep—but our knowing deepens —time deepens—this still water we thirst for in dreams we dread.
Robert Duncan
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The Star Pond gives the mythical sense to the site. Something to remember it by. Utilising the calm pit water, it reflects the stars at night, giving a sense that you are in the middle of the universe when you are at the middle. The journey to the middle mimics the mythos of Charon, the ferryman of the dead for Hades. Ferrying the dead across the dead river Styx but here the polluted and still pit water.
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DEVELOPED & DETAILED DRAWINGS
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From the feedback of the schematics and few rounds of tutoring, I believe that exhibiting art works or sculptures may be the best way to communicate my intentions. Thus, with the support of one of the tutor, I intend to include death to my project.
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Dead trees by Menindee Lake.
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Broken Hill Cemetery.
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The Columbariums houses the ashes of the dead, poetically bringing the term, ashes to ashes, dust to dust.
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01
900x700mm pre-casted reinforced concrete column. Rough sawn timber formwork in vertical ar-
rangement. Mining spoils as aggregates, giving minimal dark reddish tint. Shot-blasted finish to exposed mining spoils aggregate details. Steel connections installed after column is set on. 02
Gravel roof and steel beam element. Refer to A3.3 for details.
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Steel connectors to concrete columns. Weatherproof coating and painted black.
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100mm insitu reinforced concrete roof and ceiling. Entry cut into rock face. Rough sawn timber form-
work. Mining spoils as aggregates, giving minimal dark reddish tint. Left unfinished for heavy and rough look. 05
Rough exposed granite. Excavator or jackhammer impression.
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100mm insitu reinforced concrete edge. Entry cut into rock face. Rough sawn timber formwork. Mining
spoils as aggregates, giving minimal dark reddish tint. Left unfinished for heavy and rough look. 07
400x400mm columbarium compartment. Cut into the rock face with hand tools. Interior smooth out.
08
Loose gravel flooring. Gravel made from 10-110mm size mining spoils. Spread 150mm deep after
all room elements are installed and finished. 150mm concrete floor footing. Broom finish. 100mm compacted hardcore made from mining spoils and excavations. 09
40mm maximum screed. Straight brush broom finish, perpendicular to the wall. Neutral grey in colour.
250mm concrete floor footing. 100mm compacted hardcore made from mining spoils and excavations. 10
Perforated pre-oxidised steel sheet. Fixed to steel beams. 150mm above the floor.
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200x200mm reinforced concrete L-column. Mining spoils as aggregates, giving minimal dark reddish
tint. Shot-blasted finish to exposed mining spoils aggregate details. Adding additional structural support to the columbarium. 12
600mm long carved rock wall engravings. Refer to A2.3 and A2.4 for details.
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Smooth carved rock face. Carved from ceiling to floor. Edges are kept sharp.
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Gravels are pour up to this level.
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Perforated corten steel sheet. Fixed to steel beams. 150mm above the floor.
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The Rooms of Grieving houses the soul of the guest for rest and contemplations,
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01
900x700 pre-casted reinforced concrete column. Rough sawn timber formwork in vertical arrange-
ment. Mining spoils as aggregates, giving minimal dark reddish tint. Shot-blasted finish to exposed mining spoils aggregate details. Steel connections installed after column is set on. 02
Gravel roof and steel beam element. Refer to A3.3 for details.
03
Steel connectors to concrete columns. Weatherproof coating and painted black.
04
Insitu reinforced concrete roof and ceiling. Hallway cut into rock face. Rough sawn timber formwork.
Mining spoils as aggregates, giving minimal dark reddish tint. Left unfinished for heavy and rough look. 05
Copper sheet roofing. Bolted to concrete opening at 45 angle. Highly finished when installed. Left to
weathered to allow copper patina to takeover. 06
In-situ reinforced concrete wall. 500mm at base tapered to 200mm at the top. Smooth timber form-
work, 300mm wide planks, placed in vertical arrangement. Using fine aggregates and given neutral grey tone. 07
In-situ 150mm reinforced concrete wall. Smooth timber formwork, 300mm wide planks, placed in
vertical arrangement. Using fine aggregates and given neutral grey tone. 08
Loose gravel flooring. Gravel made from 10-110mm size mining spoils. Spread 150mm deep after
all room elements are installed and finished. 150mm concrete floor footing. Broom finish. 100mm compacted hardcore made from mining spoils and excavations. 09
300mm deep seating, 250mm high from gravel floor level. Concrete as structure to the seating. Same
concrete finish and formwork as the wall. Polished grey granite tiles as top finish. 10
Concrete ramp. Broom concrete finish, perpendicular to the wall. Rough sawn timber formwork to cre-
ate texture to prevent slippage. 11
Handrails cut into rock face. Refer to A1.3 for details.
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40mm maximum screed. Straight brush broom finish, perpendicular to the wall. Neutral grey in colour.
250mm concrete floor footing. 100mm compacted hardcore made from mining spoils and excavations. 13
In-situ reinforced concrete wall. Smooth timber formwork, 300mm wide planks, placed parallel to the
main entry. Using fine aggregates and given neutral grey tone. 14
Copper sheet. Bolted to concrete ceiling at 45 angle. Highly finished when installed. Left to weathered
to allow copper patina to takeover. 15
Light fixture housing. Formed by formwork.
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Existing geological rock. Mainly granite.
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Rough exposed granite.
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Smoothed exposed granite. Handrail element cut into the rock face.
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Rough exposed granite. Excavator or jackhammer impression.
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Perforated corten steel sheet. Fixed to steel beams. 150mm above the floor.
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The Corridor prepares the visitors to the elements of the complex.v
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01
900x700mm pre-casted reinforced concrete column. Rough sawn timber formwork in vertical arrangement. Mining spoils as aggre-
gates, giving minimal dark reddish tint. Shot-blasted finish to exposed mining spoils aggregate details. Steel connections installed after column is set on. 02
150mm loose gravel channel. Gravel made from 10-110mm size mining spoils. Steps element formed using sharp, smooth, detailed
timber formwork. 03
300mm insitu reinforced concrete knee wall. Rough sawn timber formwork, 300mm planks, place in horizontal arrangements. Mining
spoils as aggregates, giving minimal dark reddish tint. Left unfinished for heavy and rough look. Steps element formed using sharp, smooth, detailed timber formwork. 04
300mm gabion wall. Steel heavy duty basket, 150-200mm gaps, left to oxidised. 200-400mm mining spoils as gabion infill.
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30° sloped concrete edge. Let stained and coloured by steel and infill runoff .
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40mm maximum screed. Straight brush broom finish, perpendicular to the knee wall. Neutral grey in colour. 250mm concrete floor
footing. 100mm compacted hardcore made from mining spoils and excavations. 06
300mm insitu reinforced concrete edge. Entry cut into rock face. Rough sawn timber formwork. Mining spoils as aggregates, giving
minimal dark reddish tint. Left unfinished for heavy and rough look. 07
Rough exposed rock/granite. Excavator or jackhammer impression.
08
40mm diamater capped galvanised steel post for gabion structural integrity. Atleast 100mm away from gabion edge. Laid onto hard
core bed atmost 900mm apart. 09
200-400mm selected rock from excavation and mining spoils as gabion infill.
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10mm exposed steel wire. Left to oxidised.
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20mm thick steel connector plates. 35mm bolts bolted into concrete columns. Waterproofed and coated black.
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65mm diameter steel pivot connection. Built together with the structural beam. Pivot allows ease of connecting to respective concrete
columns. 13
100-400mm selected rock from excavation and mining spoils as roof infill. Spread sparingly to allow slithers of light to sneak through
the roof. 14
20mm steel grating with 45mm wide gaps. Welded onto supporting beams. Waterproofed and coated black.
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12mm steel T channel acting as supporting beams for steel grating. Welded on to structural beam.
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20mm steel L channel acting as supporting beams for steel grating. Welded on to structural beam.
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200mm custom steel beam. Casted with structural and decorative flanges.
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Support beams for corten steel sheet facade.
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The Star Pond offers a spot of self realisation and alighment in one self and the universe.
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FINAL DRAWINGS AND MODELS
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The main changes from developed was modifications to the corridors, strengthening the theatre into a terraced graves, repositioning the grieving room and detailing the bridge to the star pond.
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SITE MODEL
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ENTRANCE OF VENERATION
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COLUMBARIUMS
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CORRIDOR OF EARTH AND STEEL
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CORRIDOR OF REPERCUSSION
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ROOM FOR GRIEVING
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BRIDGE OF REVERBERATIONS
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STAGE OF CONTEMPLATION
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END
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Thank you to Michael, Dave, Derren, Brendan and Pete for the continous support from start to to finish. Huge thank you to the Studio monkAs for making this course fun and memorable.
But a bigger thanks to the universe that I was able to finish everything without the earth or sun getting blown up. Thank you DotA and PUBG for wasting my time where I should be doing extra work.
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Victor ‘Wolfe’ Chin is Master Architecture Student in University of Newcastle of Australia. Graduated with Bachelors of Architecture from the same uni, Victor specialised in doing out-of-the-ordinary stuff. Much of this is due to Victor hailing all the way from the tropical island of Borneo, his home land.
Experienced with harsh and unrelenting environment of South East Asia, Victor is always there to tell you his wonderful journeys through this magical land.
INSTAGRAM: @vicwolfe EMAIL: victorwolfeworkmail@gmail.com TEL: 0426 519 178