Ribbon of Senses by Yuqian Lin

Portfolio

BAEN3002 Design Integration Lab: Capstone Yuqian Lin 480306812

Content

Pillar one - urban Pillar two - culture Pillar three - material Model Photos Appendix - Postcards

- Mid-term progress

References

Introduction

Three Design Pillar

Located in Sir David Martin Reserve, “Ribbon of Senses” is a museum and exhibition space dedicated to sensory, immersive cultural and historic experiences. The museum emphasises a coherence of urban, culture, material, atmosphere and curated nature like light, wind and water. All the sensory visitor-related program spaces are interspersed along with the ribbon of continuous exhibition spaces.

Pillar - Urban

Senses like views, smells, textures and sounds are four essential elements in the Reserve and they impact how people perceive the space. Textiles like clothes can represent one’s identity and culture. Even the simplest textile has the potential to carry memories, tell stories and express emotions. Surrounded by substantial semi-transparent fabric blinds and innovative fabric glass brick partition walls, visitors could sense the history and stories that are told in here. “Ribbon of Senses” Museum is a good collaboration of hardness and softness, light and shadow, broad and narrow, transparent and opaque, inside and outside. It functions as a highlighted node in Sydney Harbour Walk and designed to encourage passersby to stop, relax, linger and marvel with great views towards Sydney skyline, harbour and parklands.

Pillar - Culture

Pillar - Material 4

Urban Theory In The uses of Side walks: Safety” from the death and life of Great American Cities (1961), Jane Jacobs expressed her concerns about personal safety issues in the city. She questioned what kind of space is safer, parks or neighborhood sidewalks. She pointed out that safety, especially for women and children, mainly comes from “eyes on the street”, which is the involved autonomous neighborhood surveillance of public space. And this makes the narrow, crowded, multi-use streets the safest public space in a city. A standard of a successful city district is that a person must feel personally safe and secure on the street among all the strangers. In some common sense, many people will consider whether a common space safe or not by the class of people who use the space. However, in some of the safest sidewalks in New York city, are those along where poor people or minority groups live. (Jacobs, 1961) This illustrates that the level of safeness is not all about the kinds or classes of people that occupied the street. Jane Jacobs (1961) believed that people can identify whether a city street is equipped to handle strangers and make people feel safe can be seen from 3 main qualities. Firstly, there should not be any blurriness between public and private space, the streets should be unequivocally public. Secondly, Eyes from the natural proprietors of the street must be upon the street as continuously as possible. Thirdly, The sidewalk must have users on I fairly continuously, both to add to the number of effective eyes on the street and to induce the people in the building along the street to watch, which base on the fact that people often enjoy watching street activities instead of empty street.¬ Jane Jacobs (1961) said that “The basic requisite for such surveillance is a substantial quantity of stores and other public places sprinkled along the sidewalks of a district; enterprises and public places that are used by evening and night must be among them especially.” And there are also many solutions to create a safe sidewalk. One is to give pedestrians concrete reasons to use the sidewalk, which could mean some stores, restaurants, and so on. For example, the activity generated by people aiming for food or drink is an attraction to still other people. And the storekeepers are great natural street watchers and guardians of sidewalks. The other is create more human activities on the streets and sidewalks, because the sight of people potentially can attract other people. Most people naturally love to watch human activity on the street. (Jacobs, 1961) The Jane Jacobs reading reveal the relation between user, architecture and urban regarding to safety issue. The importance to allow neighbourhood surveillance, which means having eyes from the street side windows on the street. Then in Kevin Lynch’s the City Images and Its Elements from The Image of The City (Lynch,1991), he illustrated 5 elements of how to understand the way people perceive their environments and how design professionals can respond to the deepest human needs. These 5 elements include paths, edges, districts, nodes and landmarks. The public image of any given city is always the overlap of many individual images. And this vary with each individual. Because what the individual experienced, went, seen in the city is different. But the major picture of the city might still be similar. Paths are what tie the city together and give the observers the sense of their bearings whenever they cross them. Edges are considered the strongest, because they are not only visually prominent, but also continuous in form and impenetrable to cross movement. It is the most differentiated on one part of the urban fabric from another. Nodes are strategic spots where observers can enter, cross or they could be places of break in the transportation as well. Then landmarks are a city’s external point references. And the scales of landmarks vary from doorknobs to building to urban plaza. Everything can be landmark of a city. For example, small as doorknobs can be a good representative of a district. Last but not least, districts are the strengthener of the city image. Each district is different from the 2other, visitors can easily tell what area they are in. (Lynch,1991)

Pillar one - Urban Located in Sir David Martin Reserve, “Ribbon of Senses” is a museum and exhibition space dedicated to sensory, immersive cultural and historic experiences. The museum emphasises a coherence of urban, culture, material, atmosphere and curated nature like light, wind and water. All the sensory visitor-related program spaces are interspersed along with the ribbon of continuous exhibition spaces.

Precedent related to urbanism and place - Lascaux IV Lascaux IV, also known as the new International Centre for Cave Art in Montignac, France is a precedent that well performed in urbanism, sustainability and interior from three aspects. It is situated at the intersection of two unique landscapes, between a densely forested, protected hillside and the agricultural Vezere Valley. (Lascaux IV / Snøhetta + Duncan Lewis Scape Architecture, 2017) Three aspects include connection between ground plane, open space and nature, façade composited with local sources materials and internal spatial journey. Firstly, from the aspect of urbanism, the cave museum is designed to conceive the museum as a fine cut in the landscape, inviting visitors into a curious world of prehistory. And there are patios across the building, which provide opportunities to re-adjust to the exterior context after the intense visceral and emotional experience of the Cave replica. The relationship to the sky, the presence of plants and the sound of flowing water frame this moment. And the accessible green roof provides a natural look out for visitors towards the joyful view of forest. Secondly, speaking from sustainability perspective, Lascaus IV makes full use of the local sources, including the rocks from the surrounding hills, while respecting and utilizing the existing site typography. The use of sky light and reasonable openings allow adequate accessible solar energy to the building throughout the year. The materiality and geometry of the design allow visitors to understand that they are in the presence of a reproduction of ancient cave. Thirdly, speaking from internal journey, the visitor experience is carefully sequenced. Visitors can ascend by a lift to the belvedere out on the roof, where they can enjoy the joyful and magnificent panoramic view of Montingnac and the Vezere Valley. Or they can descend a gentle slope towards the cave facsimile, which follows the incline of the roof towards the edge of the forest until reaching the entrance to the replica. Also, the hallway is located in the middle, which not only access to skylight, but also provides a welcoming atmosphere to arouse visitors’ curiosity to find out what is inside each of the exhibition section spaces. Inside the cave facsimile, the atmosphere is damp and dark, which recreates the humidity within the actual cave. Sounds are muffled, the temperature drops to about 16 degrees Celsius. Throughout the cave museum, the visitor experience sequences a balance of stark differences in atmospheres, light and intensities – from the enclosed exhibition spaces ensconced in the hill, to the light-filled lobby and transition spaces. This allows visitor to enjoy the experience of what the caves used to like. Said the designers, “As an interpretation center featuring stateof-the-art experiential storytelling technology paired with a facsimile of the caves, Lascaux IV offers an opportunity to discover the caves in a unique way that reveals a sense of wonder and mystery.” (Lascaux IV / Snøhetta + Duncan Lewis Scape Architecture, 2017)

Image2- Ground Plane and relation to the open space and nature（by author）

So, there are a few things that I learn from this precedent study. Firstly, the journey of the visitor starts from the outside of the building. The urban gesture should form a welcoming atmosphere. Secondly, the narration of the journey is essential for a story telling building. Thirdly, building can be used to frame views, which can zoom in the highlights of the site or the culture elements or the architecture highlights to attract passing-by to be curious and attract more visitors.

Image1- Material, local sources and façade composition（by author）

Image3- Internal Journey and spatial condition（by author）

Precedent related to urbanism and place - Ningbo History Museum

Completed in 2008, the Ningbo History Museum is a 30,000-square-metre building located in the city of Ningbo in Zhejiang province, China. Ningbo History Museum designed by Wang shu of Amateur Architecture Studio reunites the characteristics of three pillars: urban placement, cultural linkage, and sustainability. The museum is the symbol of the culture of Ningbo. It is a comprehensive museum with geographic, showing the history and the arts. ‘Ningbo elements’ can be seen everywhere in the building. Water is one important ‘Ningbo element’. Visitors enter the main entrance of Ningbo History Museum, they will first see a water flowing across the channel and around the building to the north, so that the building environment has a rural style of water in the south of the Yangtze River. At the same time, this stream implies the development of Ningbo from the ferry to the river estuary to the port. The main entrance of the passageway, which the designer regards as a weir of its mountain weirs, give visitors the impression of stepping into the museum on the history of Ningbo’s unique water culture and history. The entire roof consists of five buildings, forming an ‘old block’ with water flowing over the ground, like a river in the ancient city. “The five buildings are of different sizes and shapes. With the addition of largen open slope, passageways, glass roofs and green scences, the designer will create the atmosphere of Ningbo’s historical and cultural streets and the sense of landscape architecture, highlighting the interest of Ningbo’s old streets. In addition, patios in traditional buildings in the south of the Yangtze River are also used in the interior space of the museum. They are distributed in the public spaces except the exhibition hall. The ‘dialogue’ between light and walls in the patios may become a unique ‘exhibition’ in the eyes of visitors.

All in all, what I learned from this precedent is how it use recycled materials to carry the memory. What I proposed in the Sydney Oral History Museum, the Fabric Glass Brick, is expected to work similar with the old tiles in Ningbo History Museum. Not only environmentally friendly, functioning well in acoustic and thermal performances, but also, help architecture tell the stories by itself. In one interview, one old lady from the previously demolished village went to the museum multiple times, because she felt like she was home again by watching, touching, feeling the recycled tile façade. This is what I try to achieve in the Sydney Oral History Museum – a building that bear memories throughout its spatial narration, tell stories by itself and bring immersive experience to visitors.

The three-storey museum's distinctive facade is largely composed of debris collected from the surrounding area, where traditional Chinese towns and villages were demolished to make way for new developments. "Originally in this area there were about thirty beautiful villages and they demolished every village," The architect said, "Everywhere you go, you find ruins of buildings that have been demolished. But there are materials, beautiful materials everywhere." That is why he wanted to build this museum for the people who were originally living here so they can keep some memories by using the old and existing material from the villagers’ demolished house. The walls of the Ningbo History Museum feature a wide range of recycled bricks and tiles – some of which date back over a thousand years. Wang also used large amounts of concrete in the building to contrast with the recycled elements, with the two different materials often meeting in the same wall. Bamboo is also a very symbolic element in Ningbo’s local culture. So, the use of bamboo molds to cast the concrete means the building is more than just a simple juxtaposition between old and new. On the huge concrete walls, you will find a very rich bamboo texture, while the use of traditional recycled materials has a relation to tradition, but it's presented in a new way." (Hobson, 2016) (Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio, 2009).

(Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio, 2009).

Sir Matin David Reserve Site Theory -the "Plan of Management"

Site Analysis

Sir David Martin Reserve is valued as a harbour front open space that is available to the public. It is recognised as a component of a system of open space along the southern shoreline of Sydney Harbour form the Royal Botanic Gardens to South Head. The Reserve is highly valued for the opportunity that it provides for convenient public access to the edge of Sydney Harbour, within a park environment. A feature of Sir David Martin Reserve is the parkland character within proximity to culturally significant heritage buildings on a foreshore location. Retention of this unique character is identified as a primary value to be retained. (Sir David Martin Reserve | Woollahra Municipal Council, 2004) The predominant character of the Reserve is parkland. Supported by large mature trees and wide expanses of open space, the parkland character of New Beach Road, that incorporates Rushcutters Bay Park, Sir David Martin Reserve, the Plantation Reserve and Yarranabbe reserve is overlooked by private residences of Darling Point. The Reserve is approximately 0.61 hectares of waterfront land facing directly onto the marinas and moorings in Rushcutters Bay. The Reserve is a component of the wider open space corridor that is approximately 9.7 hectares in area. Vegetation on the Reserve is limited to two large Camphor Laurel trees, one Palm, one Frangipani, one Fig tree and some minor shrubs and an area of lawn. According to Clause 3.7.4 Social Plan 2002-2005, it is expected to create a social environment characterized by the strength of its vision is to support and promote active community participation to achieve a healthy social environment, appropriate cultural services and an efficient infrastructure on the site. (Sir David Martin Reserve | Woollahra Municipal Council, 2004) In cultural plan, it focuses more on the result of community benefits, including enrichment of people’s lives, informal learning and skills development, improved tolerance and understanding of diverse cultures as well as an enhanced sense of local identity and community spirit. A demographic analysis of the Woollahra Municipality indicates a rend 25% of the population are over the age of 55 years and one third of these are over the age of 76 years. For the recreation, cultural plan also wants to identify and provide a range of accessible, imaginative and affordable arts and cultural programs that respond to the needs of all age groups.

Sir David Martin Reserve has good views access to YANNABEE Park in the North, Rushcutter Bay in the Southwest, and city skyline including the iconic Sydney Harbour Bridge. Also, St.Mark’s Church point can be seen from a far distance.

The beautiful Harbor Walk from Rushcutters Bay to Watsons Bay, links many of the Harbor Foreshore Parks within the Woollahra Council area. Sir David Martin Reserve is part of the Harbor Walk. So, on one hand, relative signages about the key site of the harbor walk should be installed within the Reserve to promote the recreational activity. On the other hand, there should be continue foreshore access, ongoing management of the slipway and maximize usable open space. At night, lighting within the Reserve is necessary to promote the safe environment and must not impact adversely on surrounding neighbors. And Council has selected a palette of outdoor seating, picnic tables and garbage bin enclosures for use at the site. (Sir David Martin Reserve | Woollahra Municipal Council, 2004) So, in the Sydney Oral History Museum program, the heritage slipway, the palm tree and most of the vegetation will be preserved. And open space will be maximized to form a welcoming atmosphere in the community. What’s more, the fluent and continuous shoreline walk will be kept unobstructed with slightly modification and a proper alternative scheme.

The major human activities are walking dogs, jogging, enjoying the scenery, enjoying family time, taking photos, strolling along the shoreline, boating from the existing RANSA Boatshed and passing by. Through site visit and observation of pedestrian activities multiple times, I marked out main access points for boat, pedestrian and vehicle, pedestrian’s active points and different types of fences, including continuous high fences and discontinuous low fences. These different fences directly impact how people feel about the space. And these first impressions determine whether pedestrian will use and occupy the space or not and how they are going to interact with the space as well. So, under the map – exclusiveness levels, I divided spaces into different zones, including pedestrian only zone that is accessible at all time, pedestrian only zone that is rarely in use, pedestrian and vehicle mix-use zone and boat only zone. And the collage at the bottom of the page show diverse human activities that happened in the Reserve. Sound, smell and tactus are three other important things that influence occupant’s feeling about a space. Sound of tide, sound of sea gulls, sound of traffic, sound of pontoon’s friction, sound of pedestrian and even the slight silvery sound of metal parts bumping into each other when there is wind can bring occupant various feelings. And the combination of smell of ocean, smell of the grass, trees, and plum blossom. What’s more, Sir David Martin Reserve has abundant textures under foot, providing occupants various tactus. There are timber, concrete, grass, water and slipway. Through observation, many people are attracted to the plum blossom tree. But after taking photos of it or taking a look at it, they will leave because there are no other things on the Sir David Martin Reserve that is attractive enough to make them stay. And the most impressive thing on site, in my opinion is the slipway. Due to the different shades of water, its color and reflection changes as well. But under the current situation, nobody can really realize the beauty of it. Because it is blocked by a high metal frame on the Northeast side and blocked by idle, piled tables and chairs on the Southwest side. These are the reasons why the heritage slipway and the plum blossom are two important existing elements that should be considered to preserve in the Sydney Oral History Museum design.

Access points and fences

Keltie Bay

Texture under foot

Yarrana bbe Park

Site Analysis

Rushcutters Bay Park

Texture details

120

160

200m

Sir David Martin Reserve has good views access to YANNABEE Park in the North, Rushcutter Bay in the Southwest, and city skyline including the iconic Sydney Harbour Bridge.

Concrete

Slipway

Grass

Timber

Water

Smell map

Sound map

Exclusiveness levels

Views

Sound map

Small map

Two iconic Things on site that will be preserved Sound, smell and tactus are three other important things that influence occupant’s feeling about a space. Sound of tide, sound of sea gulls, sound of traffic, sound of pontoon’s friction, sound of pedestrian and even the slight silvery sound of metal parts bumping into each other when there is wind can bring occupant various feelings. And the combination of smell of ocean, smell of the grass, trees, and plum blossom. What’s more, Sir David Martin Reserve has abundant textures under foot, providing occupants various tactus.

texture under foot

Human actiVitieS Main taccess exture detailS points for boat, pedestrian

Taking pictures

Boating

walk the dog

Reading newspaper

Covid-19 testing Enjoying the view

Family time Stroll

and vehicle, pedestrian’s active points and different types of fences are marked out on the maps, including continuous high fences and discontinuous low fences. These different fences directly impact how people feel about the space. And these first impressions determine whether pedestrian will use and occupy Grass the space Concrete Slipway or not and how they are going to interact with the space as well.

Timber

Original Views in Sir David Martin Reserve

Views shaped by Ribbon of Senses Museum

C a.

YANNABEE PARK St. Mark's Church Point c. Rushcutters Bay 14 d. Sydney Harbour Bridge (skyline) b.

The site is relatively exclusive for people passing by. Even the reserve is located between two beautiful parks, it doesn’t link them together. And most people are just passing by without thinking of accessing the reserve. This is due to a few reasons, including the countless fences, blank building façade and hard edges. These issues directly impact how people feel about the space. And these first impressions determine whether pedestrian will use and occupy the space or not and how they are going to interact with spaces as well.

Viewing Sydney Harbour Bridge (skyline) Harbour Walk towards YANNABEE Park c. Harbour Walk towards Sir David Martin Reserve d. View towards Sydney Harbour Bridge (skyline) b.

Local Element Extraction

Design Process Diagrams

Circulation Diagrams The ribbon is a major part of the building form. Starting from the ground floor to the first floor the back to the ground floor, the tourist circulation is cyclic and well connectEd. All the visitor-related program spaces are placed along with the ribbon, which is linked by the continuous exhibition spaces. And other more functional spaces like library office object storage and mechanical space Are placed under the elevated ribbon on the ground floor.

Parkland

Reserve

harbour

Reserve

harbour

Site Plan

Ground Floor Plan

Roof Plan

Urban Position Double Glazing Roof

Recording space for group

Timber Cladded Roof

Story Telling Space (indoors)

Recording Space for interview

Timber Framed Pitch Roof Library ( Listening Space)

Concrete Ceiling Slab Restroom

The Drill Hall, Drill Hall Extension, Sail Loft, Sayonara Slipway will be preserved. The Sydney Oral History Museum will be built on the location of RANSA Boatshed, which will be demolished. However, the slipway in front of the RANSA Boatshed will be preserved. The Palm tree will be relocated. And one part of the lawn will be adjusted into new landscape. The Sydney Oral History Museum has only one entrance and one exit for the exhibition area, which is located on the first floor. The whole exhibition is a one-way journey. The object storage space is underground. Library, offices and mechanical space and one mini counter café are located on the ground floor. Library and office forms two separate building block, and the gap in between framed out the magnificent harbor view and Sydney skyline. Following the “Sir David Martin Reserve Plan of Management”, the shoreline and the Harbor Walk will still be a continuous fluent circulation. The ground floor building will not block the Harbor Walk, and the first floor is 4m high providing capacious space to walk through and weather protection for the part of the Harbor Walk route beneath. And the main museum exhibition journey will start from the outdoor story telling spaces directly facing the Cottage. Then visitors will be led up to the lookout space with public seating areas and then walk into the semi-open permanent exhibition space. The total height of the Sydney Oral History Museum is 8.5m, which will not block the surrounding neighborhood’s view towards the parkland, harbor, Sydney skylines. With adjusted landscape and various open space, the Sir David Martin Reserve will be reactivated to attract more passers-by and visitors to the site. There are FOUR urban principles :

First Floor Library

Outdoor story tellilng space 1

Office & Office Kitchen

- Public & Heriatge

An outdoor story telling space facing right towards the Heritage building on site - the Cottage. Visitors and passersby could both enjoy the inclusive public museum with great views and senses to vegetation, water and heritage.

- Framed views

Ground floor's building form framed out the magnificent view towards the harbour and Sydney skyline, which could attract passersby and visitor to stop, linger and marvel.

- connection Ground Floor

Object Storage

Outdoor story tellilng space 2

- Inclusive Cafe

The original typography is recreated into a more interactive and interesting outdoor story telling space and pontoon walkway as a new node to the harbour walk. And people have great visual connections to both first floor and ground floor, both harbour and parkland. The Ribbon of Senses museum is a inclusive public space for everyone any time of the day. To avoid too much unoccupied time and space, the auditorium is combined with the temporary exhibition space with great harbour view and adjustable blinds around, which is suitable for both functions.

urban principle one

- Public & Heriatge

urban principle two

- Framed views

Ground floor's building form framed out the magnificent view towards the harbour and Sydney skyline, which could attract passersby and visitor to stop, linger and marvel.

urban principle three

- connection

urban principle four

- Inclusive

The Ribbon of Senses museum is a inclusive public space for everyone any time of the day. So, to avoid too much unoccupied time and space, the auditorium is combined with the temporary exhibition space with great harbour view and adjustable blinds around, which is suitable for both functions.

The Intangible Cultural Heritage

Pillar two - Culture Senses like views, smells, textures and sounds are four essential elements in the Reserve and they impact how people perceive the space. Textiles like clothes can represent one’s identity and culture. Even the simplest textile has the potential to carry memories, tell stories and express emotions.

According to Jan Gehl (1987), there are three types of outdoor activities, which are influenced by the physical environment and different demands. These three categories include necessary activities, optional activities, and social activities. Necessary activities are in some level of compulsory or can be understood as the activities that are involving certain degree required to participate. For example, going to work, going to school and grocery, waiting for a public transport or someone, running errands and so on. Generally speaking, most of the everyday tasks fall in this category. Necessary activities can only be influenced slightly by the physical framework, which is more independent of the exterior environment. On the other side, optional activities are those activities might happen when the exterior environment allowed or inviting. For example, going for a walk after dinner, sunbathing, standing outside for fresh air and so on. So, the connection between physical planning and recreational activities and outdoor environments are particularly important. These categories of activities are highly dependent on the exterior physical conditions. However, the third kind of activity varies depending on where it occurs. Social activities are very freely interpreted, it happens every time there are two persons together in the same place, seeing and hearing, meeting each other. Social activities have interweaved the communal spaces in the cities and makes spaces meaningful and attractive. She also pointed out that people are subconsciously attracted to other people. People always gather with and move about with others and seek to place themselves near others. This is the reason why new activities often happen in the adjacent to the events that are already there. All in all, Jan Gehl considers people and human activities are the greatest object of attention and interest. (Gehl, 1987) So, Jan Gehl’s work inspired the public design in the Sydney Oral History Museum as well. Many new public seating, functioning spots like story telling spaces, weather protection spots are intentionally spread across the whole public area and the semi-open public ribbon-form exhibition space, which brings more opportunities for people to see, to hear, to meet and active the previously exclusive Dir David Martin Reserve site.

Program - Sydney Oral History Museum

In the City of Sydney’s Oral History Collection. There are 6 main sections of stories, including ‘our city’, ‘belief’, ‘shared terrain’, ‘art and culture’, ‘shelter’, ‘open all hours’. Each of them is telling one specific category of people’s everyday story and memory. These voices extend from past to present, neighborhoods to nature, creeds to culture, childhood to changes of the living memories of Sydneysiders. In the section of ‘our city’, diverse neighborhoods and their distinct personalities characterize the City of Sydney. Interviewees here tell about their story and memory in different places in Sydney, in which they have lived, and their significance, meanings and transformations. Under this section, people can have a glance at different people’s life and memory in a historic neighborhood - Millers Point. Interviewees talked about, infrastructure, history, demographic change, community, tourism, social mix of the area, resident action group activity and so on. (Sydney Oral History, 2020) Under the “Belief” section, there is an extraordinary range of organizations and individuals that represent the creeds and convictions in the City of Sydney’s religious, secular, ideological and ethical ideas. In this collection of interviews, interviewees are telling stories about the history of these organizations about their origins, purpose and communities, which is a good way to show the diversity in Sydney’s cultural, religious and philosophical aspects. Then ‘Share Terrain” includes many citizens’ story relating to nature, which is about the urban ecology. This urban ecology includes the relationship between the natural and built environment in Sydney, changes in the population of native fauna and vegetation, weather patterns, water resources and environmental management. For example, from the interview of Geoff Wyatt (n.d.), the cultural value of the night sky is emphasized, and the light pollution is lamented through his observation of the sky – increasingly invisible night sky from Sydney. There are also many visual artists, performers, Sydney Festival’s directors and others being categorized under the ‘Art and Culture’ group. They discussed their art pieces, their role of art in the urban setting and some issues that affect the Sydney cultural life. What’s more, to a more social and economic focus, interviews that talked about housing, urban environment, homeless issue, and personal experiences in private residential space and so on in the “Shelter” section. And the “Open All Hours” section includes inside perspectives on a wide range of occupations from industrial and craft-based manufacture industry, small business and retails. (Sydney Oral History, 2020)

So, the Sydney Oral History Museum will contain multiple story telling space indoors and outdoors for all these stories or inviting some of the interviewee to give a brief talk. And to enrich the collection of Sydney oral history, there are two small professional recording spaces for interviews and one large recording studio for groups. All these recording spaces are aiming to provide a safe and comfortable atmosphere for the interviewees to help them recall their memory and tell their story. There are temporary exhibition, permanent exhibition and a 100-person auditorium in the Sydney Oral History Museum program. However, the normal occupied time of a auditorium are maximum 3-4 hours a day. And the space will be exclusive to the public for the rest of the day. To avoid the exclusiveness, the temporary exhibition space is merging with the auditorium space. When there is no events for the use of auditorium, the stage of the auditorium will be the space for temporary exhibition, and the platform and seats for the audiences will become a leisure space for public to rest and relax.

Precedents related to the program - Jewish Museum, Berlin

The Jewish Museum in Berlin by Daniel Libeskind. Libeskind creates and display the sense of emptiness, loss of direction, and disorder through the formation of spaces. It resides an architectural metaphor of invisibility, emptiness and anarchy forged by the Second World War upon the Jewish citizens. (The Profound Symbolism of the Jewish Museum, Through the Lens of Bahaa Ghoussainy, 2019) The Jewish Museum is a good example of story-telling architecture conveying emotions to visitors. The story that the museum is going to tell might be overwhelming for some visitors. So, the major issue is how to balance visitors’ emotions while telling the immersive history. Starting from the outer facades are made of enormous zinc plates, which are ripped open, just like scratched skins. The from the interior, well-designed and well-thought spatial conditions are presented. For example, spaces from narrow to wide, high-ceiling spaces with massive columns crossing in the air creating depressive emotions and feelings. However, according to Dr Leanne Domash (2014), the museum’s form helped facilitate an experience of presence of mind, courage and the inspiration to think further. The narration of the building is the fullness of the Jewish contributions throughout the museum. But on the contrary, the voids represent the destruction and loss. They are set at intervals within the straight line running through the zigzag form – symbolizing emptiness, cuts, and disruptions. （Jewish Museum Berlin， 2020)

Libeskind tell the story by conjuring a spatial experience of both fullness and emptiness. His zigzag design is a powerful container for the narration of the nearly 2,000 years of Jewish life in Germany and also the monumental contributions of Jews to German culture. This visually beautiful narrative is one of fullness, richly symbolic with numerous inter-active exhibits, all of which were deeply absorbing. Some of these positive emotions from the flourishing cultures, tone down the experience of horror at the memorialization of the atrocities of the Holocaust. (Domash, 2014) So, there are two elements I took from these two precedents. One is that the combination of light, fabric, human activity, movement and shades could visually connect to how memory works. The other is that, the use of fullness and emptiness can create different emotions and sensations of visitors. The void spaces are just black and empty; there are no exhibits in them. While visitors are scared, sad, or furious about the Holocaust history, large part of the thoughtful building design will prevent these feelings from overwhelm visitors. The structure of the museum allowed visitors to confront the horror of the Holocaust in the context of a safe space. Visitors can remember, to grasp, the Holocaust trauma within the context of a caring environment. The building form and interior spatial design help them to re-contextualize their relationship to this history and have the strength and ability to face the history properly.

(Jewish museum berlin axis of continuity - Google Search | Jewish museum berlin, Jewish museum, Daniel Libeskind, 2020)

(AD Classics: Jewish Museum, Berlin / Studio Libeskind, 2010)

Cultural Identity Analysis

In Australia The Loi Krathong Festival tradition is so strong that has been continued in Australia by the migrants coming here. Loy Krathong is a traditional Thai festival that is celebrated annually in the city of Parramatta in Sydney, is also known as the ‘festival of lights’. The highlight is the view that floating baskets with candles creating an amazing array of lights. Locals and visitors will be able to participate in Loy Krathong by simply heading over to the Parramatta River. People can bring their own krathong or join one of the krathong making workshops there. And people always make a wish as you launch your krathong or toss in a coin to appease the river spirits and bring good luck. Watching the krathongs float away is an exciting and intriguing experience. The sight of thousands of lights, drifting away and the gentle breeze causing the flames to flicker in the calm of the night is a breathtaking experience. (Loy Krathong 2020 - Sydney, Dates, Times, Address, Paramatta Foreshore,2020) The Parramatta event also provides traditional Thai food, Singha beer in the beer garden, kite painting workshops, children’s cooking school and cultural performances including Thai traditional dances and music. (Loy Krathong 2020 - Sydney, Dates, Times, Address, Paramatta Foreshore,2020)

Inspiration 1

Cultural Identity Analysis - Loy Krathong Festival, Thailand

Loi Krathong is celebrated all over Thailand. The festival can be enjoyed almost everywhere in the country where it has water. Loy krathong is often celebrated with Yipeng Festival. These two festival are both celebrated with light. One is sending floating containers into the water, the other is launching lanterns to the sky. The view is magnificent.

Clothing places a really important role in Thai, it represents one's identity and culture. They have so many types of traditional clothing and each represents differently. I believe clothing no just have the power of representing cultural identity. Even the simplest cloth have the potential to carry memories and stories, which is the reason why I decided to combine clothing and glass brick to form Sydney Oral History Museum facade. Used clothes can be recycled and put into the facade to achieve sustainable goal as well.

Inspiration 2

Atmosphere Model 1：50

By just picturing standing in darkness, spots of lights area floating in the sky and in the river. The grand view is breath-taking when these two events happen together. So that forms my atmosphere model, which is putting little holes in the roof and reflective surface on the floor to simulate the similar atmosphere as loy kathrong.

Outdoor story telling spaces with central garden and pontoon walkways are inspired by the Thai Loy Krathong Festival. With light and shadown from above and refection of the water under. The space can be so interesting across time. People could sense time and beauty here. And also, sound of tide, sound of brids, sound of people, light, shadow, wind, movement of the curtain and smell of the vegetation 40 and harbour.

Connection to the tangible Theory It is important to recognise the value of natural environments. Architectural and urban design can benefit from nature’s services for minimising the use of water and energy resources, reducing pollution and improving human health. Natural elements such as planting, and water features can help moderate water and energy use and water disposal in individual building development. Also, natural environment affects people at a psychological and physical level. A sustainable building design needs to consider the depletion and the environmental and social impacts associated with their use. And there are some issues to consider when selecting materials, material resourcing, manufacturing process, materials, energy and transport, materials in use, material disposal. The impacts associated with manufacturing can include pollution to air, water and ground. (Ecological Building: Strategies for Sustainable Architecture: Free Download, Borrow, and Streaming: Internet Archive, 2014)

Pillar three - Material Success in creating proper building atmosphere depends on the selection of materials. To emphasize the ribbon part of the building, the functional space under the elevated ribbon structures are painted light grey. And most of the ribbon platform structures are made of timber. The interspersed boxes of the rooms are made of innovative glass bricks and the underwater and underground structures are made of concrete. And base on the research of the precedent of Sanaa Taichung Culture Center similar external transparent fabric blinds isused to create blurriness inside and outside.

Auditorium and temporary exhibition spaces

The sustainable design features of the Sydney Oral History Museum include 6 perspectives. Firstly, from site and ecology aspect, the museum will minimize the disruption to the local natural environment. And because the Sydney Oral History Museum is in a densely populated part of Inner Sydney. The site is adjacent to excellent bus and train connection, which avoids the need for driving and therefore car parking. And many of the existing buildings were retained. The new building is constructed on previously built land. The landscaping is enhanced, and newly planted areas fits the existing ecology species population. Secondly, speaking from health perspective, the close contact with nature has a restorative effect on visitors. And the materials used are mainly natural and non-toxic. Also, visitors have access to external and semi-open public space, without feeling of exclusiveness. Thirdly, about material, Low VOC materials are selected for their reduced impact on health, and recycled materials were selected to reduce the use of primary materials. Fourthly, the building is designed to enable cross-ventilation. Natural light is available for most of the spaces and is controllable, by the means of blinds and shadings, to suit the weathers, external light levels, functions and events. PVs and solar shadings are considered as part of a cost-saving and sustainable exercise. Last but not least, rainwater is collected through pitched roof towards the middle gutter space forming a waterfall when it is raining and redirected back to the harbour. Some argues that places have an atmosphere, an aura or a spirit, which is the quality that affects the feelings and senses of those experiencing the place or even those only recalling it. (Ecological Building: Strategies for Sustainable Architecture: Free Download, Borrow, and Streaming: Internet Archive, 2014) The Sydney Oral History Museum’s atmosphere of Sydney Oral History Museum are invigorating, calming, uplifting, inviting. The spirit of museum will positively impact on a person’s well-being. The museum will be a place, where visitors can relax from stress and regain a status of mental well-being, by bringing out feelings of wonder, discovery and pleasure. It will also be a place for visitors to retreat and gain reflection or relaxation through the connection to history and nature. According to the Ecological Building: Strategies for Sustainable Architecture: Free Download, Borrow, and Streaming: Internet Archive (2014), sustainable architecture should make such experiences not be limited by location or time, but rather part of everyday life. And designing spaces to enhance human well-being requires and understanding of how people respond to their environment. People associate memories, thoughts and feelings with individual buildings, styles of building, materials, light quality, atmosphere and perceived meaning.

Long Section

the ribbon connects all the sensory spaces like receptions recording spaces auditorium storytelling spaces and exhibition spaces. And the building is a good combination between hardness and softness, shadow and light, broad and narrow, shaded and open, inside and outside. For example spaces between the boxes of rooms are designed from wide to narrow and function as balconies to look down to the outdoor story telling space. And the entrances of the rooms are placed 2- sided to fully activate these small balconies.

Construction Sections Timber Cladding floor

Glass Roof

Timber Clad Roof

Timber Batten

Roller Blind Steel Frame

Timber Column

Level Plate under Timber Collumn

Concrete Footing

Concrete Slab and Recycled Fabric concrete flooring Glass brick

3 External Fabric Blinds Precedent - SANAA Taichung culture centre

Construction Detail one 1

Construction Detail two

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1 19mm threaded rod with 19mm hex nut and washer 2 19mm lag bolts with washer 3 T-shaped steel knife placte 4 19mm threaded rod with 19mmmm hex nut and washer 5 380*130mm Glu-laminated beam 6 Peeled log column 7 380*130 mm Glu-luminated beam

8 460*130 mm Glu-laminated beam 9 19mm threaded rod with 19mm hex nut and waser 10 19mm lag bolts with washer 11 Continuous Douglas fir blocking 12 19mm threaded rod with 19mm hex nut and washer 13 380*130 mm Glu-laminated beam 14 T-shaped steel knife plate 15 Peeled log column

Timber Column to Double Glu-lam Beam Connection Detail 1. Continuous Douglas Fir blocking 2. Douglas Fir blocking 3. 380*130mm Glu-laminated beam 4. Douglas fir spacer with slot for knife plate 5. Continuous Douglas fir blocking 6 Douglas Fir blocking 7. T-shaped steel knife plate 8. 380*130 mm Glu-laminated beam 9. 19mm threaded rod with 19 mm hex nnut and washer 10. Peeled timber column with routed knife plate slot

Construction Detail three Double Glu-Lam to Roof Glu-lam Beam Connection Detail 1. 460*130mm Glu-laminated beam 2. Hex nut and washer 3. 380*130mm Glu-laminated beam 4. 19mm threaded rod and steel plate assembly 5. 19mm lag blots with waster 6. 380*130mm Glu-laminated beam 7. Routed Glu-laminated beam to accept threaded rod and steel plate assembly 8. 380*130mm Glu-laminated beam

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Two key materials in the museum 3

4 Innovative Textile mixed Glass Brick + Transparent Fabric Blindings

“Ribbon of Senses” Museum is a good collaboration of hardness and softness, light and shadow, broad and narrow, transparent and opaque, inside and outside.

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I nnovative T extile M ix G lass B rick Simulation

Nature and Materiality According to research (2020), the fashion industry is the second largest polluter in the world, just after the oil industry. Here are some facts. 85% of human-made debris on the shorelines around the world are microfibers. 190,000 tons of textile microplastic fibers end up in the oceans every year. Twice as many particles are released by older garments compared to new ones. 1.5 Trillion liters of water are used by the fashion industry each year. 200 tons of fresh water are needed to dye one tone of fabric. 70 million trees are cut down each year to make our clothes. And 15% of our clothing only are recycled or donated. 3 years is the average lifetime of a garment today. (Environmental Impacts of the Fashion Industry — SustainYourStyle, 2020) What’s more, 85% of all textiles go to the dump each year. The equivalent of clothes is burned or dumped in a landfill every second. In total, up to 85% of textiles go into landfills each year, which is enough to fill the Sydney harbor annually. (McFall-Johnsen, 2019) There are fewer and fewer natural resources to build with but more and more waste. FabBRICK transforms old clothes into an innovative building material. Clarisse Merlet, an entrepreneur and architect, made bricks from end-of-life garments. According to Clarisse Merlet’s calculation (2020), in three years, FabBRICK has transformed 8 metric tons of textiles into more than 17,000 bricks. Any pieces that are too damaged to be reused become excellent building materials, offering both sound and heat insulation. By using FabBrick, we could free up waste disposal sites and cut the cost for the environment. (FabBRICK makes bricks out of our old clothes! 2020) The used-cotton t-shirts, bound with a natural binder and then compressed in a madeto-measure mould become an innovative, ecological building material. FabBRICK can also be used in insulating, structural, auto-blocking bricks and seats, partition walls, tables, flooring and so on. (FabBRICK | FAIRE 2017 | Projects, 2017) Reusing leftover materials in building sector is a new way out of the problem of environmental pollution and help preserve natural resources for future generations. The various types of textiles have different properties in the construction and other aspects. Textile fibers can be used to make mats or panels, energy efficient bricks, innovative concrete or plaster mortar, which are performing good in sustainable thermal and acoustic aspects. Because textile materials have highly efficient acoustic performance, with higher thermal performances than other traditional building materials. (Rubino 2018) Reusing textile wastes leads to greater environmental benefits compared to recycling. (Sandin and Peters,2018) In summary, textile materials are promising materials for buildings, although there is still a lot of work to do. (Rubino 2018) Also, based on the cultural identity analysis, clothing places a really important role in Thai, it represents one's identity and culture. They have so many types of traditional clothing and each represents differently.

a truck unloads garbage at a temporary dump on the edge of Beirut. (Azakir, 2015)

I believe clothing no just have the power of representing cultural identity. Even the simplest cloth has the potential to carry memories and stories, which is the reason why I decided to combine clothing and glass brick to form Sydney Oral History Museum façade. Used clothes can be recycled and put into the façade to achieve sustainable goal as well. The various color and texture of clothing combing with glass brick can bring life to the façade. Then cooperate the patterns formed by Transparent and opaque glass bricks; the façade will be able to project interesting shadows too.

Modelling process - Fabric mix glass brick 1:1 Fabric Glass Brick prototype

1:20 Fabric Glass Brick Combination prototypes

Transparent Fabric Blindings simulation

Precedent related to material - Taichung culture centre

SANAA’s proposal is an abstracted arrangement of white cubic volumes. the façade is not composed of strict vertical walls, but rather a draped and curved transparent mesh exterior, which expresses movement and openness from both inside and outside. programs include permanent exhibition spaces, administration offices, multimedia and internet resource center, special collections area, and several reading zones and rooftop terraces, which are linked by floating walkways. these circulation belts are defined by architectural voids, continuing this feeling of physical lightness, as well as offering expansive views of the interior. The competition sought out a vision for the development of taichung, a metropolis where arts and culture lie at the heart of its identity, while also being a key contributor to the economy and its presence on the global stage.

(SANAA plans taichung city cultural center in taiwan, 2013)

The new ‘taichung city cultural center’ is part of a cultural park plan located in the gateway city district. it will assist taichung’s urban development and is set to become a landmark in taiwan’s third-largest city, linking tourism and municipal marketing resources to enhance its cultural brand. construction is expected to be completed in 2020, and the building will be officially launched in 2022.

(SANAA plans taichung city cultural center in taiwan, 2013)

Lumion render - material

Reality Renders

- Materials & Activities & Surroundings 62

Viewing From The Bay With the surrounding Darling Point Residential buildings and two heritage buildings in the Sir David Martin Reserve. The Ribbon of Senses Building will not obstruct any view of the residential buildings towards the harbour and parks.

Viewing From New Beach Road From the New Beach Road, passersby and drivers will be attracted to the interesting contrast of the building materials. Light timber structure above, where boxes of colorful glass brick partitional walls are like lanterns floating along the ribbon. And light grey colored ground floor framed out the view and emphasizes the highlights of the design: nature (light, water, texture) and the elevated ribbon structure.

Viewing towards the centre of ribbon The interesting roof patterns create more fascinating shadows through time, combining with the transparent blinds and reflection of the water, the space quality and tourist experiences are guaranted.

Connected Harbour Walk

The original harbour walk was cut out by extremly exclusive metal fences. Now with the new "Ribbon of Senses" museum on ground, the harbour walk is recreated to be connected to all directions. And while people enjoy the harbour walk, they could be attracted by the interesting moment of the building and decided to find out more abou 71 it.

Accessibility Ramps and elevators are equipped in the museum to provide full accessibility to all kinds of people. And this ensure the inclusiveness of the museum. 72

Blurrness of Inside and outside Visitors are able to enjoy great day light outside the blinds with great views towards the YANNABEE Park, while the people who is enjoying the exhibition could avoid the direct daylight from overheating the exhibition space. The blinds provide blurrness bewteen inside and outside of the builidng.

Activities People are free to relax, rest, talk, gather and marvel in many spots of 78 the museum.

Final Model Photos

83 Viewing from YARRANABBE Park

Viewing from the harbour 85

Conclusion The whole First floor of the Sydney Oral History Museum is an inclusive public space with some function spaces intersperse in the Ribbon of exhibition spaces. Starting with a few steps combining with an outdoor story telling spot facing directly towards the heritage building – the Cottage, then a lookout platform towards the magnificent harbor view and Sydney skyline. Then it will be the exhibition’s reception. The exhibition area is under weather protection but there is no door for the exhibition space. So that everyone could feel inviting, comfortable and inclusive here. The Fabbric mixed Glass Brick that made by the recycled textiles will be used as partition walls of visitor-related rooms and tour guides along the whole journey. The fab-glass brick partition walls not only can perform well in acoustic and thermal aspects, but also able to project interesting shadow in day and create colorful lantern-like vibe at night, as if colorful lanterns are floating in the ribbon. Between the boxes of function rooms are many balcony leisure spaces. These balcony spaces are all activated by the bilateral entrances of every function rooms. Visitors can view down for the newly created water feature and another story telling spot on pontoon walkways. In the ground floor aquatic story telling spots, visitors can enjoy the starlight of sunlight shining through the glazed hollow panel roof in a sunny day, and senses the surrounding sound, smell, view, wind. The shadow change dramatically through time, that is how visitor sensing the time in a physical way.

Appendix

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The proliferation of Thailand's street food culture is attributed to both internal and external factors: the Thai way of life that revolved around agriculture and food production, the rich culinary tradition, the readily accessible and affordable food is engrained in Thai culture, rapid urbanization that created local demand and subsequently opportunities in food service especially in urban areas, as well as rising demand for local foods by foreign visitors. (Street food of Thailand, 2020). Street vending contributes relationships between places, people and social values to support each other as they maintain the integration of their society. Street vendors are generally seen at many entrances to the sub-street where people usually change transport modes to get home. Street vending supports affordable food for waiting passengers as well as helping people feel more safety. The crime rates might be effective evidence to show that of the reduction in numbers of street vendors around. Cheaper food is needed in workers’ daily life and most vendors have regular customers and interaction between each other, creating a strong degree of closeness. However, street vending is not only a survival strategy for the urban poor, it is also a choice of every class of society, including people who do not feel moneyless who buy food from vendors. The qualitative analysis has identified groups of individuals whose buying and selling behavior indicates that they might be experiencing street vendor-related social cohesion and socioeconomic prosperity. Street vendors reflect the urban poor’s survival strategy. On the economic aspects as a main advantage of street vending across the world, which is threatened by the concept of ‘World-Class cities. Social cohesion in Thai society Thailand’s street vending is beyond just a cheap source of food and goods as socio-economic prosperity: it can be seen as a social object which plays a role in contributing social cohesion between diverse people, backgrounds and classes, enabling them to share the same values and have a sense of community where there is a stronger social bond. It is closely related to the country’s social cohesion and socio-economic prosperity. Thai street vending plays a key role, beyond being a survival strategy, with the vendors contributing socio-economic prosperity and social cohesion in society, especially in Thailand which has a culture related to food as a social object. In Australia, some famous Thai restaurants put a street vendor in front as a cultural symbol.

Postcard 5

In Thailand Loi Krathong is celebrated all over Thailand. You can go and enjoy the festival almost everywhere in the country where it has water. (Things You Should Know About Loy Krathong: Thailand’s Festival of Lights, 2020) It takes place on the evening of the full moon of the 12th month in the traditional Thai lunar calendar. (Loi Krathong, 2010) People makes their own krathongs or buy one and then light up the candle can launch them to the river, canal or a pond, as long as there is water. As they launch, they do it with the wish of appeasing the river spirits and bringing good luck. The festival is thought to have been introduced to Chiang Mai in 1947 and have since been incorporated into Thai culture. (Loi Krathong, 2010) Loy means 'to float', while krathong has various meanings, one of which is 'a small container made of leaves which can be floated on water during the Loi Krathong festival. A krathong is traditionally a small floating container fashioned of leaves which is made to hold a small portion of goods like a traditional Thai dish or dessert. The traditional krathong used for floating at the festival are made from a slice of a banana tree trunk or a spider lily plant. Nowadays, Modern Krathongs are recommended to be made of bread instead of Styrofoam, which are decomposable natural materials and will disintegrate after a few days and can be eaten by fish. On the other hand, the Styrofoam Krathongs will pollute the rivers and oceans. And in 2016, according to the Bangkok Metropolitan Administration, government had cleaned six tonnes of rubbish from the city’s waterways on the day after Loi Krathong. In Australia The Loi Krathong Festival tradition is so strong that has been continued in Australia by the migrants coming here. Loy Krathong is a traditional Thai festival that is celebrated annually in the city of Parramatta in Sydney, is also known as the ‘festival of lights’. The highlight is the view that floating baskets with candles creating an amazing array of lights. Locals and visitors will be able to participate in Loy Krathong by simply heading over to the Parramatta River. People can bring their own krathong or join one of the krathong making workshops there. And people always make a wish as you launch your krathong or toss in a coin to appease the river spirits and bring good luck. Watching the krathongs float away is an exciting and intriguing experience. The sight of thousands of lights, drifting away and the gentle breeze causing the flames to flicker in the calm of the night is a breathtaking experience. (Loy Krathong 2020 - Sydney, Dates, Times, Address, Paramatta Foreshore,2020) The Parramatta event also provides traditional Thai food, Singha beer in the beer garden, kite painting workshops, children’s cooking school and cultural performances including Thai traditional dances and music. (Loy Krathong 2020 - Sydney, Dates, Times, Address, Paramatta Foreshore,2020)

Postcard 6

Damnoen Saduak Floating Market is known as the first floating market in Thailand. But the roaming forms of transportation have shifted from waterway to on land according to the progress of technology and economy. This is reflected in the new picture of the floating market community which is called a visual representative of the fact that it has changed form an agricultural community to a tourism community. Identity is divided into two overlapping levels: personal identity and social identity. Social identity consists of two parts: virtual identity and actual identity. The identity can reflect its meaning to explain ‘how their community is’ and who they are in their community’. The identity of the floating market community can be changed if the context and times change, especially when the identity in modern society is considered as being associated with the job and careers with the community base. Identity is created by the interaction of the people in the society. The identity can be changed. The impact of the floating market community identity on the people of Damnoen Saduak community was to form both positive and negative characteristics. The positive impacts included the occurrence of a floating market which became known to outsiders and the employment and monetization of community members. The negative impacts included the changes to the traditional lifestyle such as the change from a barter system to a trading system and the change in the types of relationship from generosity to competition. the identity construction of Damnoen Saduak Floating Market community can be divided into three eras. During each era, the community identity has been changed according to the social and economic context.

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Administrating Eternity (2011) Location: Museum of Contemporary Art Australia, Sydney Exhibition: Sip my Ocean - Pipilotti Rist Artist: Pipilotti Rist, Swizerland Nowadays, information is not only consumed in one sense, but always coalesce with multiple sense, including hearing, vision, tactus and so on. So, the Sydney Oral History Museum cannot be a museum only focus on sound. To make visitors’ interaction and experience more efficient and productive, the space should be able to allow visitors to walk in, to slow down, to engage, to touch, to think, to enjoy. In Administrating Eternity (2011), visitors are surrounded by images and sound, and fabric swaying in the air creating tactus. The shadow created by the visitor’s body also fused into a part of the work. Administrating Eternity is made from a maze of translucent veils hung from the ceiling, multiple projections from different corners of the room and a soundscape. The projection of nature images combines with the background sound create shifting atmospheres. The artist named the work to represent the management and care for the future. The artist Rist says: ‘Not curtains remind me of the lapses that occur in the brain. Images projected onto one curtain inevitably fall apart on the ones behind. They help diffuse the image in the same way our memory of the past encroaches on our waking consciousness.’ (Pipilotti Rist, 2020)

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Pixelwald (Pixel Forest) (2016) History can also be separated into pixels and fragments to provide visitors the easier process of receiving information. Oral history is related to sound and often various personas’ life story and personal experience, which will be more intriguing for visitors to follow. Pixelwald is simulating a television screen exploding into a room. The art piece expands pixels into forms that float in 3D space. Produced in collaboration with Kaori Kuwabara, the work is made from a forest of 300 LED lights suspended from cables that overlap across the ceiling like the vines of a jungle forest. Visitors can walk on a predetermined path through the hanging light vines of the work. Each sculptural LED is operated by a separate video signal that reacts to music in the corresponding exhibition spaces. The work is ever changing, with sequences of light that twinkle or surge like a wave of vibrant colour in respond to the music. (Pipilotti Rist, 2020)

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4th Floor to Mildness (2016) The Sydney Oral History Museum should be a space that induces visitor to slow down and provide an immersive experience of the Sydney oral history. Walk visitor through the history step by step and stay interested in it. 4th floor to mildness is and underwater experience. The visitors are invited to lie down on one of eighteen beds and look up at two large abstract-shaped panels hanging from the ceiling onto which underwater images of plants, limbs and sea grass are projected. With the sound and the scintillant light, visitor will breath with the rhythm of the video and see where this experience will take them. About this work the artist has written ‘The work itself describes the fantasy of being and organic plant ourselves and simulates our dissolution into water, mud, slime, molecules and atoms.’ (Pipilotti Rist, 2020)

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Views after Sydney Oral History Museum on site

Mid-term progress

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Four Principles

Harbour view is framed by the building and attract people's attention and curiosity. Transforming the former sail boat building back into a 110

welcoming facade.

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Elevatiing pedestrian flow with lookout and public seating areas towards both side, which can provide people choices to relax facing either stillness to the heritage cottage building or joy to the water.

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Using mirror as a reflection screen to capture the view of constently changing tide in the heirtage slipway towards inside. 113

Programs

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Function Diagrams

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Detail Plans

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Exploded Axonometric

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Glass brick facade detail

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Section elevation In the ground level, there are two blocks framing the harbour view. Base on the user category, office, office kitchen and object storage are put in one building block. And library and listening space in the other. Most frequently used space by visitors are located in the first floor. Including temporary exhibition in a relatively open area towards the huge mirror reflecting view of slipway, permanent exhibition space, storytelling spots indoors and outdoors and recording spaces for groups and interviews. Due to the frequent use and two direction of main pedestrian flow. I set up two receptions, one near the elevating landscape, the other is accessible through the stairs facing the YANNABEE Park. And an walkway is put around the edge between fabric glass brick and concrete wall. On one hand, ensuring the possibility to control the internal light condition incase some exhibition's special needs. On the other hand, with people walking on the walkway, people from the outside could see some blur profiles though the transparent and opaque glass brick. And this might be able to attract people's attention and make them curious about the museum. Then the 100 people auditorium is placed on the second floor, to ensure the satisfied sound effect for both auditorium and downstairs' recording spaces.

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Mid-term Model

Other versions [after mid-term]

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Version 1 - perspectives

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Version 2 -plans

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Version 2 - perspectives

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Version 3 -plans

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Version 3 - perspectives

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YUQIAN LIN The University of Sydney Bachelor of Architecture and Envrionments 0452262201 ylin7737@uni.sydney.edu.au