Masters of Architecture Thesis

Armadale Exchange Designing for a more inclusive public space at Armadale Station

William White [997959] An Architectural Design Thesis Studio 1: Exchange Semester 2 The university of Melbourne 1

This thesis acknowledges members of the Kulin nation who are the Traditional Custodians of Melbourne.

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“Public spaces are not neutral. They are shaped by the male gaze, and they are designed for use by particular groups.”

Professor Pippa Catterall ‘Queering Public Spaces’(2021)

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“Queer, as the antithesis of binarism, is used as a process and as an action enacted through spatial design and experience to challenge normative assumptions in architecture” Andrew Logan ‘Blurring Binaries: A Queer Approach to Architecture’ (2017)

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Queerness and Society Queer spaces are designed for bodies that don’t feel comfortable existing within societies binary structure. These include physical, social and constituted by and through social relations. As the diagram articulates, heteronormativity is the predominant perspective that exists within society. Despite many individuals not existing within this construct, society - and by extension architecture- are built under an assumed mode of inhabitation. This therefore marginalises those that dont identify with heteronormativity and places them at the corners of society or alternatively, live a life that isn’t there’s.

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Queerness and Society To retain the impression of superiority, heteronormativity has boxed in culture into four corners that reinforce male dominance within society, these include: race, gender, sexuality, and class status. By breaking these social categorizations apart, normativity functions to offer false ways out of its reach, when in reality if the individual attempts to leave normative culture by taking one of these four routes, they return to the confines of normative culture ; reinforcing a systemic embedding of male supremacy. The diagram illustrates the riddle of navigating through binary culture with the aspiration of rejecting the predisposition of superiority stemming from an ideal conceptualization of normalcy.

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Queerness and Society The only way to actively challenge these social structures is to break down each area into certain barriers, and then challenge these assumptions. Some key questions that need to be challenged is how society perceives the individual, how the individual perceives themselves? and how does the individual perceive the culture of self?

Only once these questions are answered can queer space be bought out of marganlised spaces and out into the public realm?

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Table of Content:

Preliminary findings: 1-15 Introduction: 15-31 Ethnographic: 32-37 Transport precedent: 38-45 Concept development-form: 46-65 Concept development- light and colour 66-79 Site development: 80-99 Site proposal: 100-137 Conclusion: 138-143

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Introduction

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Elaboration:

Queer population above state average LGBTQI+ Population above the state average

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Site: Armadale

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Site: Armadale

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Site: Armadale

The Suburb of Armadale is a part of the Stonington municipality and home to a significant LGBTQI+ population. The station of this suburb, which is greatly underutilised, exists as a connection point between high street shopping district and the surrounding residential area. Yet has not been significantly altered since 1879’s when it was constructed (2006, Stonnington Thematic environmental history). As a point of exchange, the queering of this area through the elevation of marginalized voices is a means to encourage placemaking and visibility to this community within the public realm.

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Site Visit

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Hypothesis: Armadale station, which was built in 1897, was constructed during a period where sexuality, gender, class, and race were considered outside the scope of architectural discourse.

A counter narrative is missing for these marginalised communities and thus is an opportunity for heteronormative architecture to be challenged.

How can architecture enhance, improve, and support members of the queer community, whilst fostering a public space in which all demographics can coexist and learn from one another?

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Response: The dichotomy between safety and privacy as well as visibility and exihibition is critical in placemaking for the disenfranchised queer community of armadale.

This thesis aims to challenge the behaviour, rules, expectations, and situations framed by the built enviroment. Existing public spaces are designed under an assumed mode of inhabitation and norms; often rooted in cismale heterosexual perspectives. As a place of exchange, the station is a location for all demographics to-coexist, learn and feel safe with each other; promoting visibility through diversity.

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Elaboration: 2020 marked 40 years since homosexuality was decriminalised in Victoria. Yet, it’s hard to believe that up until 1949, the death penalty could be applied to cases of queerness in this state. It wasn’t until 1984 under the Sex Discrimination Act that ‘discrimination based on a person’s sexual orientation, gender identity and intersex status’ became outlawed in Australia (Australian Human Rights Commission, 2021). And only recently in 2017 that same-sex couples could legally marry each other under the marriage amendment bill (Parliament of Australia, 2017). Whilst equality and autonomy from discrimination are fundamental human rights, the LGBTQI+ population of Australia still experience discrimination and hostility in many parts of everyday life.

Despite mass shifts in perspectives and visibility towards queer people in Australia, Systematic stigmatisation and discrimination persist. In 2014, it was reported that 60% of gay, lesbian, bisexual and transgender people had experienced verbal homophobic abuse (6/10 people), 20% had experienced physical homophobic abuse (2/10 people) and the demographic itself was 3 times more likely to experience depression (Australian Human Rights Commission). Based on these figures, it is apparent that the lawful recognition of minority groups is only one component of equality, with social and physical barriers still favouring a heteronormative enviroment. Bell Hooks, an American activist, feminist, and author points out in the will to change men, masculinity, and love (2004), that ‘when culture is based on a dominator model, not only will it be violent, but it will frame all relationships as power struggles’. In this way, the rules and behaviours that govern our society will inevitably favour gender conforming individuals and the act of ‘coming out’ by queer people will be framed as destructive and violent, going against the heteronormative mainstream.

One way to challenge these norms is through the built enviroment. “Architecture”—describing in this context to both the built environment and the act of building—is often perceived as a transformation of “space”—as in the dimension of physical and immaterial reality in which we live (choquette,2018). By challenging assumed behaviours and rules through the spaces in which we design for, architecture can celebrate these ostracized groups whilst accommodating for the wider community. When constructing in the way, it is important to make the distinction between a ‘queer’ and ‘queered’ space. Whilst a ‘queered’ space is designed exclusively for that marginalised community, the queering of space caters towards gender non-conforming people but still acknowledges the presence and participation of the wider population. This distinction will be critical in the design of this proposal, as the exchange of ideas and behaviour between the surrounding community and the LGBTQI+ population is the foundation in which this space will grow from.

to a world that constantly tried confining queerness to the margins of society, and more commonly, to eradicate it completely. This mindset of hiding is still embedded within society today, with many queer spaces being exclusively bars and clubs which is limited to both the queer community and the wider public.

Looking to the future, we can learn from these ‘non-places’ and create a public place that is both safe for LGBTQI+ people to occupy and fosters relationships with the wider community. Today, despite 87% of Stonington residents identifying as heterosexual, 7.8% classify themselves as LGBTQI+ and 3.7% were unaccounted for (Health and wellbeing, 2017). These figures find the municipality with the 6th highest percentage of same-sex couples in Victoria, making it an epicentre for this community within Melbourne (Health and wellbeing, 2017). Yet, many individuals still don’t feel safe.

Research suggests that around 40% of gender non-conforming people did not feel safe when waiting for public transport - compared to 12% of men (Veale, 2019), and around 50% of queer people modified how they present in public spaces to avoid being targeted (Catterall, 2021).

This project will be in the neighbourhood of Armadale at the heritage station site. Designed as a place for social cohabitation, the station represents a point of exchange between all the members of society. Unlike other public places, the train station not only connects individuals to a larger urban fabric but has historically connected individuals to new ways of living. In its current form, Armadale station and the surrounding public spaces are designed under an assumed mode of inhibition and norms; rooted in a cis-mal heterosexual perspectives. This is attributed to its construction; occurring in 1879 when sexuality, gender, class, and race were considered outside the scope of architectural discourse. This thesis aims to challenge the behaviours, rules, expectations, and situations framed by this built environment. By looking to queer theory to rationalise inclusive architecture, the architecture proposed a dynamic exhibition space that uses projections and light to tell stories of the queer community. Further, it will be a place that marginalized voices can impose agency and empower themselves through placemaking; representing back to the community to expand acceptance.

The municipality of Stonington, 3 kilometres southeast of Melbourne’s CBD has a long history with the queer community. Anecdotal evidence suggests that South Yarra and Prahran- two suburbs of this municipality- have long been popular places for the gay and lesbian community to live, a fact that is contributed to the high proportion of flat accommodation that existed in the area since the 1920s (City of Stonington, 116). Consequently, establishments such as the exchange and the market hotel began catering towards this demographic in the 1980s. Soon after, other businesses began opening along commercial road including Hares and Hyenas, Melbourne’s first gay and lesbian bookshop (City of Stonington, 116). These ‘non-places’, as coined by anthropologist Marc Auge (Choquette, 2018 ), became significant, meaningful, and closely linked to the queer peoples identity as a place of safety and acceptance. The occupation of these hidden spaces was a reaction 30

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Ethnographic Research

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Existing Public Spaces

Ethnographic research suggests that queer couples do not feel comfortable with existing public spaces. Victoria Garden in Prahran is located within the Stonington municipality.

First opened in 1885, the area was planned during a time where sexuality and gender were outside the planning discourse; using gendered assumptions of space to rationalise its layout. The park consists of three main areas: the entrance, the oval and the exit. The main built elements within the site consist of seating that line the perimeter of the oval and sit inwards. When analysing the space, it became apparent that the inward facing benches facilitate gazing into the distance rather than face to face interactions. For a queer person who is already limited in their ability to express themselves publicly, this layout can contribute to them being targeted. In my observation, I saw two queer couples utilise the park and both opted to stay near the entrance as a means to guarantee privacy and limit the gazing facilitated by the oval layout. Ultimately, this highlights the way in which planning has historically used binary assumptions of space to rationalise layout.

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Public Garden

Entrance

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Heteronormativity at Armadale Station

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Transport Precedents

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Grade Seperation

An alternative Perspective

Ground Level Grade Seperation

Heteronormative Perspective:

Queer Perspective:

- Limited Weather coverage - No network benefits - Long ramps/ stairs - Little development potential - Saftey concerns of narrow circulation

- Seating facilitates male gazing - Limited agency in movement - Lack of privacy -Limited space for expression

- Little connectivity - Likely loss of pedestrian access - Limited development potential - High cost of decking - Trench creates negative visual impact - Highest service disruption - Restricts station intergration

- High level of privacy - Below ground is a queer metaphor - Above ground can be activated -Similar to existing site

Below Ground Level Grade Seperation

Below Ground Level Grade Seperation

- Can overshadow - Visual privacy is compromised - impacts on skyline

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- Limits privacy on ground floor - Facilitates gazing from multiple angles

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Transport Precedent: Vinge Train Station Typology: Train Station and Community Park Grade Seperation: Below Ground Date: 2017 City: Frederikssund, Denmark Maintaining a similar site to Armadale station, this proposed transport hub for Vinge is a new connection link between the new city to regional areas. The train termal sits below ground level with an eliptical opening. The white curved roof dips and rises around the platform to from a bridge on either side of the opening. This structure will include recreational space that acts as an extension to the nearby parkland and aims.

Key Points: • Visual porosite allows queer people to see their surroundings • Dynamic architecture that differs from homogenous surroundings • Intergration of enviroment and other services • Agency in how individuals can move through the space • Same site conditions as existing Armadale site 42

Figure 1: Vinge Train Station Note. Arch Daily. https://www.archdaily.com/557629/henning-larsen-wins-competition-for-future-vinge-train-station-in-denmark?ad_ source=search&ad_medium=projects_tab&ad_source=search&ad_medium=search_result_all (2014)

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Transport Precedent: World Trade Center Oculus Typology: Train Station, Subway Station and Oculus Grade Seperation: Below Ground Date: 2008 City: Manhattan, New York This undergroud station located in New York is an intermodal exchange terminal that consists of bus, train and subway connectivity. Despite the scale difference, the World Trade Centre is an underground station just like armadale. Further, the ground is peirced by oculus to commemorate those lost in the 9/11 terrorist attack and shine a metaphorical light through the darkness of this once tragic site.

Key Points: • Visual porosite allows queer people to see their surroundings • Dynamic architecture that differs from homogenous surroundings • Mulitple transport exchange options • Metaphor that uses light and commemorates a disenfranchised community • Same site conditions as existing Armadale site 44

Figure 2: World Trade centre station Note.cgarchitect. https://www.cgarchitect.com/projects/2421ddb4-westfield-world-trade-center (2012)

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Concept Development Form

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Concept Development

Parti Diagram

General Idea: The queer community has historically been marginalised and forced underground. This proposal aims to peel back the layers hidden from the wider community to facilitate social cohesion

Ampitheatre

Concept: Challenging the behaviours of existing architecture and acknowledgement of queer community through architecture

Architecture: Ampitheathre, Exhibition Space and Train station

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What is Queer Space?

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Existing Queer Spaces

This graph explores the existing infostructure that caters to the queer community within Melbourne. Queered architecture that exists is either exclusively for the LGBTQI+ population or only exists as a temporary public enviroment such as a festival. Both examples place queer people at the margins of society and are a continuation of heteronormative social structures that still exists today. So, this proposal would situate itself as a permanent queer space that is designed for both this group and the wider community. It would seek to address the dichotomy that queer architecture must acknowledge which is the need for visibility but also privacy.

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Concept Model

To articulate how the queer community have historically been marginalised, they are depicted as been hidden. The piercing of the paper represents the freeing of the queer population from the historic confines of bars, clubs and temporary festivals as the only area in which they can exist. Using the need for visibility and privacy to guide the cut strokes, experimentation with different openings took place that could physically and metaphorically accomodate the queer population. The motivation being to symbolically shed light into a community that has historically been neglected from public architecture.

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Concept Model

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Scale of Openings

The piercing of the ground is a metaphor for freeing the community. These openings will occur at multiple scales and represents a common language or toolbox that this proposal will utilise. The three main scales that will be focusing on is the urban scale, the community scale, and the human scale. All upholding a non-binary formation that encourages agency from it occupants.

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Concept Development Form and Intention

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Stakeholders

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Concept Development Non-Binary Architecture Pavilion for Exhibition and sales this structure is inspired by and catering for gender non-conforming people, I think that the architecture should also reflect that. Similar to Barrios Escuderos pavilion for exhibition and sales, distinct programs won’t be given to the built structural elements. For example, a seat, wall, and table may appear indistinguishable from each other as to challenge the assumed behaviour often expected within public spaces. Soo at aramadale station, the way the cut lines will alter the ground plane is intended to be ambiguous and can act as a canvas in which a similar non-binary architectural element could take place.By giving the object no explicity role its challenges the behaviours associated with its original function.

Key Points: - Doesnt conform to societies binary expectations - Aligns with the way queer people identify themselves - Asethetically interesting to look at - Facilitates exploration 64

Figure 3: Pavilion for exhibition and sales Note: Arch20.https://www.arch2o.com/pavilion-for-exhibition-and-sale-of-furniture-barrios-escudero/ (2020)

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Concept Development Light and Colour

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Light and Dynamic Story Telling

The existence of the LGBTQI+ community is confusing to those who choose and live within the hegemonic conscripts of polar binaries. One way to challenge these norms and misunderstandings is through Art- and more specifically- Queer Art. Queer Art challenges the viewers own assumptions of the world and how they fit within it. By drawing on personal feelings and experiences in a world that can sometimes be un-accepting of these individual, queer art is a medium in which stories can be shared and preserved for generations to come.

Yet, the stagnant nature of traditional exhibition spaces facilitates the commodification of art. This project seeks to promote visibility through dynamic story telling that doesn’t equate to consumption of queer narratives and cultures by others. A great example of this style of art is exhibited during the White Night Festival located throughout the world. In this festival the building represents a canvas in which light, stories and memories are imprinted on. Not only does this change the way we interact with the built environment, it is engaging and inviting for the wider community.When this art is exposed to the wider community, people can learn from the plight of gay people. Through this exchange, individuals can find similarities between groups which facilitates social cohesion and challenges the way we relate to one another.

Further, lighting is a way to increase citizens sense of trust towards public spaces and the people who inhabit it. When a space is aiming to promote occupation, lighting can improve ones experience in the area and encourage people to remain and interact, thus facilitating social cohesion within the urban community.

Figure 4: White Night Festival Melbourne: Note. The guardian. https://www.theguardian.com/artanddesign/2017/feb/20/white-night-melbourne-shifting-hues-revealthe-citys-many-faces (2020)

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Light Concept Model

During daylight hours, the light from the sun would pierce the alternating ground plane to represent the freeing of the queer community. At night-time, the ambiguous planes would become a canvas in which queer art and cinematic story telling can be projected. The light generated from this is intended to move through opening to the exterior where streams of light pierce the ground in a reverse way. This inverse projection would act as a wayfinding tool for people in the area; specifically used for the gender non-conforming individuals who are most at risk during this time. In this way, the streams represent a beacon of safety for this disenfranchised community.

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Example of Heteronormativity in Public Spaces

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How lighting can mitigate these issues?

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Colour pallete of surrounding context

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Colour and Emotion

Figure 5.

Emotion Association.

Note: Colledge student jounral. https://www.researchgate.net/publication/279689917_Relationship_between_ Color_and_Emotion_A_Study_of_College_Students (2004)

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Colour and Emotion Colour therapy, or chromotherapry, is the use of colours and their frequencies to deal with emotional and physical problems. The different wavelengths of colors creates electrical impulses in our brains that causes chemical and hormonal processes that can either calm or stimulate us. Throughout the site, various programs will use colour to reinforce their function.

Optimistic Cheerful Energetic Associated with food Agressive Success Associaited with youth

Intense Energetic Strength

Mysterious Luxury Calming

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Wealth

Yellow

Green Nature

Orange

White Clean

Red

Black Powerful

Purple

Blue

Freshness Easiest color for eye to process

Simplicity Innocence Honest

Formal Sophisiticated

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Trust Security Peaceful

Site Development

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Program

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Program and Site

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Program and Colour

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Form Exploration on Site

Cutting

Ripping

Overlapping 88

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Site Massing Existing Site

Existing Transport

Built Enviroment [Station, Commercial and Residentia]

Tram, Bus, Road, Train

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Site Massing Building Removal

Decking

Expanding Ciruclation through building removal

Broaden access to intermodal exchanges

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Site Massing Program

Circulation

Dividing station into programs

Promoting agency through circulation to the station

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Site Massing Surface Cuts

Opening Cut

Piercing the ground plane to create spatial openings

Opening ground plane

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Site Map Unprogramed Roof Space

Programed Internal Spaces

The roof becomes occupiable unprogrammed space

Internal spaces are housed underneath the cuts

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Site Proposal

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Site Axonometric - Day

Site Axonometric - Night

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Site Map

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Floorplans: Ground Level

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Floorplans: Platform Level

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Site Section Section AA

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Site Moment ‘The interchange’

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Site Moment Section BB

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Site Moment ‘The Agora’

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Site Moment Section CC

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Site Moment ‘The Ampitheathre’

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Site Moment Section DD

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Site Moment ‘The Exhibition’

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Site Moment Section EE

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Renders

‘The Agora’ Reimagining gender neutral bathrooms

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Renders

‘Chance Encounters’ Embedding queerness into everday life

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Renders

‘The Ampitheathre’ A place for queer voices to be heard

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Renders

‘Subversive Materials’ Materiality indicates the transition into a more diverse space

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Renders

‘The Exhibition’ An interactive display of queer art

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Renders

‘Piercing of light’ Metaphorically shedding light into the queer community

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Reflection

In week one we were assigned a project to look at objects throughout the day. For me, I chose my house plant. Throughout the day, the enviroment shaped the composition of the plant. When the plant was exposed to rain and subsequent sun, the plant lengthened. And when these resources were taken away, the plant responded accordingly. A similar observation can be made for humans. When a human isn’t provided with the correct enviroment-either social, economic, or physical- it can limit their ability to express themselves.

Members of the queer community often lack this support in their enviroment which is what inspired me to create an architectural intervention tailored to their needs. By recognizing the needs of individuals and the diversity among us, architecture can challenge assumed behaviours and expectations framed by the built enviroment. And through acknolwedgment and exposure to queerness, the structure of society may one day change.

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Bibliography • • • • • • • • • • •

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Ingram, Sarah (2018). “Queer Art”. The Art Story.Australian Human Rights Commission (2021) “Sex discrimination” https://humanrights.gov.au/our-work/employers/sex-discrimination Parliament of Australia (2017). “Marriage Amendment bill 2017” https://www.aph.gov.au/Parliamentary_Business/ Bills_Legislation/bd/bd1718a/18bd054 Australian Human Rights Commission (2014) “Face the facts: Lesbian, Gay, Bisexual, Trans and Intersex People” Face the facts: Lesbian, Gay, Bisexual, Trans and Intersex People | Australian Human Rights Commission Hooks, Bell (2004). “The Will to Change: Men, Masculinity, and Love” (New York: Atria Books, 2004), 115 Elio Choquette (2018 ) Queering Architecture: (un)making places. Queering Architecture: (Un)MakingPlaces — THE SITE MAGAZINE City of Stonington (2006) Stonnington Thematic environmental history. https://www.stonnington.vic.gov.au/files/ assets/public/planning-and-building/planning/strategic-planning/major-plans-and-strategies/stonnington-thematic-environmental-study.pdf Health and wellbeing: municipal scan 2021-2025 (2021) City of Stonington https://www.stonnington.vic.gov.au/files/ assets/public/about/corporate-documents/major-plans-and-strategies/municipal-scan-2021-2025.pdf Veale, J., Byrne, J., Tan, K. K., Guy, S., Yee, A., Nopera, T. M. L., & Bentham, R. (2019). Counting Ourselves: The health and wellbeing of trans and non-binary people in Aotearoa New Zealand. Transgender Health Research Lab. Catterall, P., & Azzouz, A. (2021). Queering Public Space: Exploring the relationship between queer communities and public spaces. https://www.arup.com/-/media/arup/files/publications/q/queering-public-space-report.pdf Kaya, Naz, and Helen H. Epps. “Relationship between color and emotion: A study of college students.” College student journal 38, no. 3 (2004): 396-405. Caldwell, A. L. (2017). Blurring Binaries: A Queer Approach to Architecture.

Figure 1: Archdaily (2014) “Henning wins competition for future vinge train station in Denmark” https://www. archdaily.com/557629/henning-larsen-wins-competition-for-future-vinge-train-station-in-denmark?ad_source=search&ad_medium=projects_tab&ad_source=search&ad_medium=search_result_all Figure 2: :Cgarchitect. (2012) ‘World Trade center oculus’ https://www.cgarchitect.com/projects/2421ddb4-westfield-world-trade-center (2012) Figure 3: Pavilion for exhibition and sales(2020) Arch20.https://www.arch2o.com/pavilion-for-exhibition-and-sale-of-furniture-barrios-escudero/ Figure 4: The guardian (2017) ‘White Night Melbourne: spontaneous moments stand out on night of unsettling ironies’. https://www.theguardian.com/artanddesign/2017/feb/20/white-night-melbourne-shifting-hues-revealthecitys-many-faces Figure 5: aya, Naz, and Helen H. Epps. “Relationship between color and emotion: A study of college students.”

College student journal 38, no. 3 (2004): 396-405. Caldwell, A. L. (2017). Blurring Binaries: A Queer Approach to Architecture.

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William White [997959] An Architectural Design Thesis Studio 1: Exchange Semester 2 The university of Melbourne

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