Luminocity 2021 Catalogue

LUMINOCITY

Built Environment 2021 Catalogue

Luminocity

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UNSW Built Environment

Dr Ainslie Murray and Dr Cathy Smith Luminocity is a major annual exhibition that presents a selection of undergraduate student work from the UNSW School of the Built Environment.

This year the exhibition is jointly curated

by Dr Ainslie Murray and Dr Cathy Smith and is designed and developed by James Hargrave and Louise Jewiss.

Luminocity 2021 is a conscious departure from conventional relationships between physical and virtual exhibitions, reflecting our commitment to innovative design through creative practice. The virtual exhibition is designed to accompany a physical installation which will be presented, post-lockdown, in the Red Centre Gallery. These mutually evocative environments are designed to create curiosity as the audience explore a series of atmospheric elemental spaces. Fields of fog, tunnels of light and pools of water subtly reference our unique harbour city whilst inviting viewers to discover the exhibition content. Playful fireflies prompt possible routes through the online show and an ambient soundtrack

by Zane Trow evokes watery landscapes.

In both its physical and virtual forms, Luminocity 2021 presents a new mode of exhibition practice that not only profiles a remarkable collection of exhibited works, but also provokes creative responses to navigating space.

The collection of works in Luminocity includes recent drawings, videos, models, interviews and essays made by students across seven disciplines within the School of the Built Environment.

These works are assembled to convey a collective critical response to contemporary urban, social, and environmental issues and together they celebrate the immense creativity and diversity of our school. The unique voices of students, staff and alumni come to the fore as we trace individual trajectories through key experiences in our undergraduate degrees. From smallscale products to large-scale plans, the works in the exhibition collectively reveal our ambition in fostering graduates who make meaningful and impactful work that actively shapes our future environments.

To view the complete exhibition please visit https://luminocity.unsw.edu.au/

UNSW Built Environment

Contributo Curators Dr Ainslie Murray UNSW Arts, Design & Architecture

Luminocity

Dr Cathy Smith UNSW Arts, Design & Architecture

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ors Exhibition Design and Development James Hargrave @ ABSTRACT8

Graphic Design Louise Jewiss @ ABSTRACT8

Videography Tom Gilligan & Wendy Lee Jungle House Creative

Sound Zane Trow https://zanetrow.net

Fabrication UNSW Design Futures Lab Design Futures Lab | UNSW Making

UNSW Built Environment

Contributo

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Exhibitors

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Jaya Bray

Daisy Hannaford

Lauren Chandler

Riley Hungerford

Caitlin Duffus

Nicole Jelwan

Hayley Farrell

Jesslyn Johanna

Anthony Franco

Isabelle Kleijn

Tailin Gao

Timothy Lau

Jing Yong Goh

Sarah Lee

Shuyi Gong

Kate Lynch

Kaitlin Gordon

Henrick Michael

Ranine Hamed

Anthea Mihalatos

ors Jennifer Nguyen

Matthew Short

Samala Norman

Renee Stavroulakis

Nadia Nursalim

Matthew Thrum

Kristen Obeid

Lucy Tudehope

Aaron Petersen

Claire Waddington

Orchhna Pheap

James Wong

Sabrina Piro

Joshua Woo

Jack Ralph Scarlett Rogers Anaiis Sarkissian

UNSW Built Environment

Contributo Thanks Benjamin Allen

Dr Paul Hogben

Erin Arthur

Nichola Jephcott

Melonie Bayl-Smith

Bronwen Jones

Dr Kate Bishop

Dr Chyi Lin Lee

Benita Chen

Tom Loefler @ Hullbot

Luminocity

Hayden Co’Burn

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Benjamin Driver

Cushla McFadden @ Tom Mark Henry

Luis Gito

Dr Philip Oldfield

Dr Hank Haeusler

Dr Sara Padgett Kjaersgaard

Dr Mike Harris

Dr Simon Pinnegar

ors Gonzalo Portas Dr Samad Sepasgozar Dr Sara Shirowzhan Michael Stonham Dr Christian Tietz Lisa Zamberlan

UNSW Built Environment

Contributo Video contributors Ben Allen (ARCH) Associate Lecturer in Architecture, UNSW Erin Arthur (ARCH) Associate Lecturer in Architecture, UNSW Melonie Bayl-Smith (ARCH) Associate Professor in Architecture, UNSW Hayden Co’Burn (ARCH) Associate Lecturer in Architecture, UNSW Jing Yong Goh (ARCH) Bachelor of Architectural Studies, UNSW Dr Paul Hogben (ARCH) Discipline Director of Architecture, UNSW Nadia Nursalim (ARCH) Student – Bachelor of Architectural Studies, UNSW Daisy Hannaford (PLAN) Bachelor of City Planning (Hons), UNSW Dr Simon Pinnegar (PLAN) Discipline Director of City Planning, UNSW

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James Wong (PLAN) Bachelor of City Planning (Hons), UNSW

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ors Dr Hank Haeusler (CODE) Discipline Director of Computational Design, UNSW Madeleine Johanson (CODE) / from COX architecture Cox Architecture, Graduate – Bachelor of Computational Design, UNSW

Benita Chen (IA) Graduate – Bachelor of Interior Architecture (Hons), UNSW Luis Gito (IA) Associate Lecturer, Graduate – Bachelor of Interior Architecture (Hons), UNSW

Nazmul Khan (CODE) / from COX architecture Cox Architecture, Bachelor of Computational Design, UNSW

Cushla McFadden (IA) Director of Tom Marks Henry, Graduate – Bachelor of Interior Architecture (Hons), UNSW

Scarlett Rogers (CODE) Bachelor of Computational Design, UNSW

Alee Sibal (IA) Graduate – Bachelor of Interior Architecture (Hons), UNSW

Lauren Chandler (CM&P) Graduate – Bachelor of Construction Management and Property, UNSW Dr Chyi Lin Lee (CM&P) Discipline Director of Construction Management and Property, UNSW

Michael Stonham (IA) Associate Lecturer, Graduate – Bachelor of Interior Architecture, UNSW Ranine Hamed (LAND) Bachelor of Landscape Architecture (Hons), UNSW

Caity Duffus (IDES) Graduate – Bachelor of Industrial Design, UNSW

Dr Mike Harris (LAND) Senior Lecturer, Landscape Architecture, UNSW

Tom Loefler (IDES) Director of Hullbot and Graduate – Bachelor of Industrial Design, UNSW

Sam Lockwood (LAND) Bachelor of Landscape Architecture (Hons), UNSW

Dr Christian Tietz (IDES) Discipline Director of Industrial Design, UNSW

Dr Sara Padgett Kjaersgaard (LAND) Senior Lecturer, Landscape Architecture, UNSW

UNSW Built Environment

Address Dr Philip Oldfield Head of School, UNSW Built Environment

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Faculty of Arts, Design and Architecture

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Welcome to Luminocity 2021 Luminocity is UNSW Built Environment’s annual exhibition that captures our undergraduate student work, experiences and successes. It is in this exhibition that we celebrate the outstanding achievements of students across our seven programs: Architectural Studies, City Planning, Computational Design, Construction Management and Property, Industrial Design, Interior Architecture and Landscape Architecture.

We spend so much of our time in buildings and constructed landscapes – more so than ever now. This means the built environment shapes our lives, our emotions, our health and well-being, and our relationship with the natural environment. Across our undergraduate degrees we work with our students and award-winning industry professionals to explore how we can make this experience better – for both people and the planet.

We explore how we can plan and design more inclusive cities and buildings, how we can keep people comfortable as our climate warms, and how we can create cities in a more efficient and sustainable way.

As you take a tour through the exhibition, and this accompanying catalogue, you will see the breadth and diversity of our students’ work, their creativity, empathy, and passion. You’ll hear from staff and students in short videos providing insight into their experiences in our degrees, and from alumni about how the industryfocussed education we offer has helped them establish their careers while also becoming agents of change in their chosen profession.

I do hope you enjoy Luminocity 2021, and find ideas, experiences and designs that engage your talent and ignite your passion. I look forward to welcoming you to UNSW Built Environment in the near future.

UNSW Built Environment

Contents Bachelor of Architectural Studies Jing Yong Goh

18

Timothy Lau

22

Kate Lynch

28

Henrick Michael

36

Nadia Nursalim

42

Bachelor of City Planning Jennifer Nguyen

48

Anaiis Sarkissian

50

Matthew Short

52

Joshua Woo

54

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Bachelor of Computational Design Anthony Franco

58

Orchhna Pheap

62

Bachelor of Construction Management & Property 14

Lauren Chandler

68

CMP experiences

70

Bachelor of Industrial Design Caitlin Duffus

76

Anthony Franco

80

Jesslyn Johanna

84

Samala Norman

88

Sabrina Piro

92

Bachelor of Interior Architecture Tailin Gao

98

Kaitlin Gordon

100

Isabelle Kleijn

104

Bachelor of Landscape Architecture Hayley Farrell

110

Shuyi Gong

114

Ranine Hamed

118

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UNSW Built Environment

UNSW Built Environment Bachelor of Architectural Studies Jing Yong Goh

18

Timothy Lau

22

Kate Lynch

28

Henrick Michael

36

Nadia Nursalim

42

UNSW Built Environment

Jing Yong Goh

Axis House

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The dwellings will be designed to fit different household types, the spaces will be flexible and can be adapted to meet personal preferences. Using architecture and structure, the users will find their everyday lives animated through different methods. Daily activities and journeys will a perceptual sequence, or planned moments designed to make architecture interact with the occupants spiritually and physically. Unconsciously, the way the occupants live is directed a little by architecture.

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A cohesive design that knits the three different dwellings as one, each dwelling will be unique to their occupants, but not limited to. People behave differently and have different preference. Thus, spaces created must respect these differences, the occupants within the lot can choose to be alone or share their moments with someone else using adaptable architecture.

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UNSW Built Environment

UNSW Built Environment

Nova Via Timothy Lau

Can architecture present form as a secondary vernacular to social cohesion?

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The technocratic insurgence upon educational and social systems are gradually eroding the integrity of authentic interaction. Where anthropocentrism remains innate to social functioning, the intimacy of dialogue is gradually being forfeited to digital governance and efficiency. “Nova Via” or “A New Road” presents itself as a catalyst towards optimising social richness as a defining architectural vernacular; an attempt to break the austere delineation of space through walls, but rather the richness of anthropomorphic dialogue.

22

It is the induced urban porosity of the proposal which frames social cohesion as the edifice of architectural form, reversing the traditional stigma of efficiency and progress.

The form of “Nova Via” is first defined by the poetic movement of society within a space, and subsequently by the axial tensions of Hay Street, Darling Drive, Macarthur Street, with the intention of the site to be the missing green link to Darling Harbour, collecting a series of increasingly pedestrianised vectors across Ultimo.

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UNSW Built Environment

UNSW Built Environment

The Canvas T H E C A N VA S N E W TOW N

T H E C A N VA S N E W TOW N

RENDER Luminocity

T IMOT H Y LAU

26

TH

“The Canvas” seeks to facilitate the dialogue across multiple constructs and these figurative notions become manifest within the structure’s built form.

The dialogue between light and shadow; the dialogue between the temporal and permanence; the dialogue be tween built form and street. Firstly, the Hollis Park E CANV A facing S facade should be read as a ‘canvas’, a singular and sculptural form N E W T O W N which harnesses the dramatic movement of light and shadow throughout the day.

However, by establishing a solid and towering form, the blunt opaqueness of the structure would have proved to be far

T H E C A N VA S N E W TOW N

FACADE TIMOTHY LAU

too intimidating for both the occupants of the dwellings and passers by. Instead, by implementing towering battens across the face of the building, these elements create a sense of transparency without compromising the integrity of the ‘canvas’ whilst accentuating the fluidity and sculptural nature of the facade. When addressing the activity of the site, there are both permanent and temporary occupants (i.e. those living in the dwellings and those visiting the park) and hence, introduces the dialogue between temporal and permanence.

UNSW Built Environment

Radicals of Austr Architectural His

Radicals of Australian Architectural History Introduction

Harold Desbrowe-Annear

Architectural identity and cultural context feature prominently in Australian

Harold Desbrowe-Annear features prominently in Australian architectural

history under a nationalist framework seeking to represent Australian

history through domestic architecture of the Arts and Crafts movement

life and a regionalist framework articulating value of place, both of which

in Melbourne, under a strong nationalist framework, with underlying

have been subject to international influences. Harold Desbrowe-Annear

international influences of American-Romanesque and English Queen Anne

was committed under a nationalist interpretation during the early 20th-

Revival.1

century Arts and Crafts movement, as commented on by Harriet Edquist, while Edmond and Corrigan were predominantly responding to regionalist

Desbrowe-Annear was educated in Melbourne, becoming articled in 1883

values in the late 20th-century post-modernism era, as commented on by

to a British architect before starting his own practice in 1889.2 The work

Richard Munday. Both practices are described as pioneers of Melbourne,

of Desbrowe-Annear revolved around his “commitment to architecture as

for their architectural achievements and ideologies, influenced by American

an art”3 built primarily for function,4 encouraging collaborations between

and European sources in their respective periods.

artists and architects.5 Geoffrey Woodfall labels Desbrowe-Annear as

The most intriguing connection drawn between these architects are the

an ‘Australian Nationalist’ believing that “our own necessities, our own

prolific claims of radicalism, their respective work defying conventional

climates and our own method of pursuing health and happiness”6 should

styles to instead design for Melbourne’s suburban lifestyles.

define architectural ideas, positioning him within a nationalist framework.

George Tibbits reiterates this as Desbrowe-Annear “expressed his desire for a universal Australian domestic architecture … which included modest villa designs featuring open-air rooms, American West Coast bungalow forms and rough-cast walls.”7 responding to Australia’s sense of identity enhancement

Luminocity

in the years around Federation.8

28

ralian story

tectural History

Kate Lynch 1

1

Harold Desbrowe-Annear The Eyrie, Eaglemont

The Inglesby Eyrie, Eaglemont

Edm

Harold Desbrowe-Annear featuresexhibits prominently in Australian architectural The Eyrie in Eaglemont (1902) dominant English Queen Anne

The EyrieininSouth Eaglemont dominant English Queen Anne Inglesby Yarra (1902) (1915),exhibits now demolished, is another domestic

Edm

history through domestic of the and Arts American-Romanesque and Crafts movement influences of a formal andarchitecture decorative nature

influences a formal and decorative nature American-Romanesque example of of Desbrowe-Annear’s “Australian styleand evolving out of the English

thro

in Melbourne, under sense. a strong nationalist framework, with underlying influences in a spatial

influences a spatial with sense. tradition”17incombined American-Romanesque adapted climatically and

- an

international influences American-Romanesque and English Queen Anne Combined influence of of Queen Anne aesthetics with planning reflecting

18 Combined influence of Queen Anne aesthetics reflecting geographically to Melbourne.

Edquist exemplifieswith this planning through Desbrowe-

influ

1 Revival.

American Shingle Style, The Eyrie was a “romantic response to the landscape”9

American Shingleof Style, Eyrie was a “romantic responsegarden to the landscape” Annear’s design theThe pergola, “a favourite Edwardian element”199

manoeuvred to capture views and attuned to the informality of Melbourne’s

manoeuvred to capture and attuned to the informality of Melbourne’s to link architecture andviews landscape at a time when City Beautiful theories

Pete

suburban families.10was Desbrowe-Annear Tibbits educated describes in Melbourne, the Englishbecoming influence demonstrated articled in 1883 as

suburban families.10 Tibbits were reconceptualising Melbourne’s The bold use of the pergola describes suburbs. the English influence demonstrated as

Ven

to “free a British and decorative architect adaptations before starting of a half-timbered, his own practice roughcast, in 1889. and2 Marseilles The work

at Inglesby, designed to provideofshade and modulate light, reinforces the “free and decorative adaptations a half-timbered, roughcast, and Marseilles

Lou

tilesDesbrowe-Annear genre”11 with built-in of revolved around “commitment to architecture as furniture, buthisunusual to this Queen Anne Style

11 “strong influence the English Arts and onto Desbrowe-Annear’s work tiles genre” withofbuilt-in furniture, but Crafts unusual this Queen Anne Style

in 1

4 an art” was the3 free of rooms, sequence of “interconnected spaces separated builtflow primarily forafunction, encouraging collaborations between

at the time”. was the free20flow of rooms, a sequence of “interconnected spacesadaption separated Tibbits attributes Desbrowe-Annear’s functionalist of

arch

only sliding doors” which artistsbyand architects.

Geoffrey is characteristic Woodfall labels of American-Romanesque.

Desbrowe-Annear as

12 only by sliding doors” the pergola as his “continuing to create anofAustralian architecture”21 whichdesire is characteristic American-Romanesque.

pur

Harriet an ‘Australian Edquist’sNationalist’ “Legends inbelieving Australianthat Architecture” “our owndiscusses necessities, the influence our own

Harriet Edquist’s “Legends ininterpretation Australian Architecture” discusses the influence solidifying the nationalist of Desbrowe-Annear’s work in

Ham

6 of climates Frank and Lloydour Wright own on method Desbrowe-Annear’s of pursuing health later and works happiness” manifesting itself should

of Frank Lloyd Wright on Desbrowe-Annear’s later works manifesting itself Melbourne.

mod

12 5

“in planning and in detail”. define architectural ideas, positioning him within a nationalist framework.

Conrad Hamann supports Desbrowe-Annear’s

“in planning and in detail”. Conrad Hamann supports Desbrowe-Annear’s

with

George Tibbits reiterates this aslinks Desbrowe-Annear “expressed his desire for connection to Wright, drawing between Wright’s written work and the

connection drawing linksarchitectural between Wright’s writtenrecognise work and the Recordings toofWright, the mentioned historians

with

a universal Australian domestic … translation which included modest villa Prairie School, but Hamann alsoarchitecture identifies the of this American

Prairie School, Hamann also theinterpretations translation of this American significance of but reconstitution andidentifies effects of on perceiving

with

designs featuring rooms, American Westwriting Coast bungalow forms and influence under anopen-air Australian nationalist scope, “he expressed these

influence an Australian nationalist scope, writing “he expressed history –under Edquist and Tibbits claim that Desbrowe-Annear has these been

pre

rough-cast walls.” on plans differently the exterior, giving each of of the houses … a strong responding to Australia’s sense identity enhancement

plans differently on at thetimes. exterior, each oftothe houses … a strong portrayed incorrectly Thusgiving it’s important note that commentator

sug

Federation flavour which8 overrode any Shingle Style allusions”.14 in the years Villa around Federation.

14 Federation Villa flavour which any Shingle Styleofallusions”. interpretation plays a major roleoverrode in authenticating the work Desbrowe-

pur

National significance of The Eyrie is examined by Edquist through locational

Annear.23significance of The Eyrie is examined by Edquist through locational National

Mel

value associated with the Heidelberg School of impressionist painting, “an

value associated with the Heidelberg School of impressionist painting, “an

integral part of Australian nationalist culture”15 that Desbrowe-Annear

integral part of Australian nationalist culture”15 that Desbrowe-Annear

responded to by embodying a “particularly Australian ethos associated with

responded to by embodying a “particularly Australian ethos associated with

relaxation and family.”16 at The Eyrie.

relaxation and family.”16 at The Eyrie.

Left Column Figure 1. The Eyrie, Eaglemont, Victoria, Harold Desbrowe-

Left Column Figure 1. The Eyrie, Eaglemont, Victoria, Harold Desbrowe-

Annear, 1902, House lot no. 32

Annear, 1902, House lot no. 32

Centre Column Figure 2. The Eyrie, Eaglemont, Victoria, Harold Desbrowe-

Centre Column Figure 2. The Eyrie, Eaglemont, Victoria, Harold Desbrowe-

Annear, 1902, House lot no. 38

Annear, 1902, House lot no. 38

13

7

13

22

lish

and

we-

nt”19

UNSW Built Environment

stic

Edmond and Corrigan

The Church of the Resurrection

Edmond and Corrigan are highly involved in Australia’s architectural history

The Church of the Resurrection in Keysborough (1976) exhibits dominant

through both architectural and theoretical contributions under regionalist

American influences in a spatial and tectonic sense and minor German

- and minorly nationalist - themes, introducing European and American

influences of a formal nature.

influences to Australian culture, particularly in Melbourne’s outer suburbs.24

2 The influence of Venturi’s and Denise Scott-Brown’s passion for “an

Radicals of Australian Architectural History

architecture of complexity and contradiction”34 on the work of Edmond and

Peter Corrigan was educated at Yale where he was tutored by Robert

Corrigan’s community buildings is widely published among commentators,

Venturi25 and worked for five years with American architects,26 including

however Richard Munday in “Passion in the Suburbs” agrees the Keysborough

Louis Kahn,27 before returning to Australia to work with Maggie Edmond

Church is “Venturi inspired” but “not a naive transplant of Venturi’s idiom.”35

Edmond Introduction in 1974.28and In Corrigan a period of post-modernism, Edmond and Corrigan embraced

Harold Desbrowe-Annear The Church of Resurrection suggesting thethe effect of regionalism, and to an extent nationalism, as

nstic of

Architectural identity and culturalinvolved context feature prominently in Australian Edmond and Corrigan are rejecting highly in Australia’s architectural history architectural complexity, the modernism of “simplified tasks and

36 Harold Desbrowe-Annear features prominently in Australian architectural The Church the Resurrection in Keysborough (1976) exhibits dominant Edmond andofCorrigan “attempt[ed] to reintegrate culture with society”.

21

lish e”

history form”, under aand nationalist framework seeking represent Australian through both architectural theoretical contributions under regionalist purified insteadand reflecting intricacies ofto modern living.

Conrad

history through domestic architecture ofin the Arts and Crafts movement American influences in a spatial and tectonic sense and minor German Venturi’s approach reflected “ambiguities the programs intentions ... they

kand in

life and a regionalist framework articulating valueEuropean of place, and both of –which -Hamann’s and minorly nationalist - themes, introducing American “Savage and Scarlet” states “Corrigan’s interest is wide and

37 underlying in Melbourne, under ahierarchy strong nationalist framework, with influences of asome formal nature. should devise fluid applicable to the situation” progressing

we-

have beento to international influences.

Harold Desbrowe-Annear influences Australian culture, Melbourne’s outer suburbs.24 modernist –subject and constant in itsparticularly search forincritique of and confrontation

ries

gola

the

ork

29

30

19

was committed under a nationalist interpretationpositioning during the the early 20thwith a current condition through architecture”, practice

38and English international influences ofwith American-Romanesque Queen The influence of spaces Venturi’s and Denise Scott-Brown’s passion forAnne “an towards multi-use “facilities for Mass”.

Louis Kahn was another 2 1 34 39 Revival. influence architecture of complexity and acontradiction” the workto offixed Edmond and American advocating “certain level ofon resistance usage”

ries the

century Arts and Crafts movement, as commented onCorrigan

by Harriet Peter Corrigan was educated at Yale wheredeclares he was tutored

by Edquist, Robert within a regionalist framework.

Rory Spence was “armed

Corrigan’s community buildings is widely among commentators, demonstrated at Keysborough Church withpublished moveable furniture, including the

gola ving

25 32 while aEdmond andinterpretation Corrigan responding to26regionalist Venturi and worked for fivewere years with American architects, including with personal ofpredominantly Venturi’s ideas about suburbia”, a

40 Richard Munday however in “Passion the Suburbs” agrees the Keysborough Desbrowe-Annear wasqualities educated in in Melbourne, becoming articled in 1883 altar.

Domesticated of the Church, such as the window presence, 2

the een

valuesKahn, in the late 20th-century post-modernism era, as1970/80s. commented on by Louis before returning to Australia to work with Maggie Hamann Edmond precursor of27Edmond and Corrigan’s work during the

2 35 Church isradicalism “Venturi inspired” but “not a naive transplant ofinVenturi’s idiom.” to a British architect before starting his practice 1889.

The work sparked claims as Edmond andown Corrigan repelled British post-

ork ator

Richard Bothofpractices are described asasand pioneers of Melbourne, in 1974. Munday. a period post-modernism, Edmond Corrigan embraced suggests aInresponsiveness to nationalist themes Edmond and Corrigan

suggesting of Desbrowe-Annear the effectrevolved regionalism, around his and“commitment to Melbourne. an extent to41nationalism, architecture as modernism imbedded inofthe street aesthetic of

nweof

for their architectural achievements andmodernism ideologies, influenced bytasks American architectural complexity, rejecting the of “simplified and pursued architecture of the Australian suburbs, specifically responding to Edmond and Corrigan 29 33 periods.of modern living.30 Conrad and European sources in their respective purified form”,suburban and instead reflecting Melbournian community life.intricacies Edmond and Corrigan are highly involved in Australia’s architectural history The most “Savage intriguingand connection drawn “Corrigan’s between these architects the Hamann’s Scarlet” states interest is wideare – and through both architectural and theoretical contributions under regionalist Introduction Edmond and Corrigan prolific claims of constant radicalism, their respective work defying conventional modernist – and in its search for critique of and confrontation - and minorly nationalist - themes, introducing European and American 31 prominently Architectural identity and cultural context feature in Edmond and Corrigan arefor highly involved in Australia’s architectural history stylesa to instead design Melbourne’s suburban lifestyles. with current condition through architecture”, positioning theAustralian practice influences to Australian culture, particularly in Melbourne’s outer suburbs.24 historya under a nationalist framework seeking to Corrigan represent Australian through both architectural and theoretical contributions underwas regionalist within regionalist framework.

Rory Spence declares “armed

4 36 Edmond an art”3 built and Corrigan “attempt[ed] toencouraging reintegrate culture with society”. primarily for function, between Hamann suggests a German influence on the collaborations Keysborough Church The Church of the Resurrection 5 Venturi’s artists and approach architects. reflected “ambiguities in thelabels programs intentions ... they Geoffrey Woodfall as identifying the affinity of Edmond and Corrigan’s work,Desbrowe-Annear “linking his ideas, in The Church of the Resurrection in Keysborough (1976) exhibits dominant 37 should devise some fluid applicable to the an ‘Australian Nationalist’ believing thatof“our ownsituation” necessities, our own progressing their resolution, with thehierarchy German reform church architecture by Rudolf American influences in a spatial and tectonic sense and minor German Harold Desbrowe-Annear 42 ofour The Church Resurrection climates and own method of this pursuing health38 by and happiness” towards multi-use spaces with “facilities Mass”.

Louis Kahn was 6another should Schwarz”.

Thethe formal nature of isfor examined Greg Missingham as influences of a formal nature.

39 Harold Desbrowe-Annear features prominently in Australian architectural The Church of the Resurrection in Keysborough (1976) exhibits dominant American define architectural influence ideas, positioning a “certain him level within ofpolygons resistance a nationalist fixed framework. usage” “the angularity andadvocating the dominance of irregular intothe plan forms The influence of Venturi’s and Denise Scott-Brown’s passion for “an history through domestic architecture of the Arts and Crafts movement American influences intoathis spatial tectonic sense and minor German George as Desbrowe-Annear “expressed his43desire for demonstrated atreiterates Keysborough Church with moveable furniture, including the … mightTibbits be compared those ofand the German Expressionists”.

Munday architecture of complexity and contradiction”34 on the work of Edmond and 40 in Melbourne, under a objectivism, strong nationalist framework, with modest underlying influences ofAustralian a formal nature. a universal domestic … which included villa altar.

Domesticated qualities ofarchitecture the Church, such as window presence, also references German commenting onthe traditional activities Corrigan’s community buildings is widely published among commentators, international influences American-Romanesque andrepelled English Queen Anne The influence of Venturi’s and Denise passion forpost“an designs featuring open-air rooms, American West bungalow and sparked radicalism claims as Edmond Corrigan British when attending church –of“dawdling on and the Scott-Brown’s way inCoast and loitering onforms the way however1 Richard Munday in “Passion in the Suburbs” agrees the Keysborough 34 7 41of Edmond and Revival.

44 architecture of complexity and contradiction” on the work rough-cast walls.” modernism imbedded in theEdmond street aesthetic of Melbourne. responding to Australia’s sense of identity enhancement out”, subtle rhythms that and Corrigan adopt in formal planning.

Church is “Venturi inspired” but “not a naive transplant of Venturi’s idiom.”35 Corrigan’s community widely published commentators, Hamann in the years suggests around Federation. a buildings German 8is influence on the among Keysborough Church suggesting the effect of regionalism, and to an extent nationalism, as Desbrowe-Annear was of educated inand Melbourne, becoming articled in 1883 however Richard Munday in “Passion in the Suburbs” agrees the Keysborough identifying the affinity Edmond Corrigan’s work, “linking his ideas, in The Church St Joseph Edmond andofCorrigan “attempt[ed] to reintegrate culture with 2society”.36 35 to a British architect before starting his own practice in 1889.

The work Church is “Venturi inspired” but “not a naive transplant of Venturi’s idiom.” theirChurch resolution, the German reform of church architecture by Rudolf The of Stwith Joseph in “ambiguities Box Hill (1978) also demonstrates dominant Venturi’s approach reflected in the programs intentions ... they 42 the effectrevolved of Desbrowe-Annear around his “commitment to architecture suggesting of regionalism, and to an extent nationalism, as Schwarz”. influences The formalinnature of this is examined

by Greg Missinghamthe as American a spatial and tectonic emphasising 37 should devise some fluid hierarchy applicable to thesense, situation” progressing 3 4 36 an art” built primarily for function, collaborations between Edmond and Figure Corrigan toencouraging reintegrate culture with society”.

Left Column 3. “attempt[ed] Inglesby, South Yarra, Victoria, Harold Desbrowe“the angularity and the dominance of irregular polygons in the plan forms 45 “humanistic socialspaces traditions”, grounded in a regionalist nature of social 38 towards multi-use 5 with “facilities for Mass”. Louis Kahn was another 43 artists and architects.

Woodfall Desbrowe-Annear as Venturi’s approach reflected “ambiguities in thelabels programs intentions ... they Annear, 1915, Pergola … might be compared to Geoffrey those of the German Expressionists”.

Munday 46 and suburban habitats of Melbournians.

American influence advocating a “certain level of resistance to 37 fixed usage”39 an ‘Australian Nationalist’ believing that “our own necessities, our own should devise some fluid hierarchy applicable to the situation” progressing Centre Column Figure 4.

The Church of the Resurrection, Keysborough, also references German objectivism, commenting on traditional activities Missingham alludes to the people based character of including Edmond and demonstrated at Keysborough Church withdesign moveable furniture, the 38 and happiness”6 should climates and ourchurch own method of pursuing health towards multi-use spaces with “facilities for Mass”.

Louis Kahn was another Victoria, Edmond and Corrigan, 1976, Domesticated qualities when attending – “dawdling on the way in and loitering on the way Corrigan’s Box Hill Church asofideas inspiredsuch by as Venturi’s public spaces altar.40 Domesticated qualities the Church, the window presence, 44 architectural define ideas, him within a nationalist framework.

American influence advocating a “certain level of resistance to fixed usage”39 out”, subtle rhythms that positioning Edmond Corrigan adopt in formal planning. attuned daily activities againand incorporating atmosphere sparked for radicalism claims and as Edmond and Corrigana domestic repelled British postGeorge Tibbitsatreiterates this as Desbrowe-Annear “expressed his desirethe for demonstrated Keysborough Church with moveable furniture, including 47 and more accessible ‘God’s lounge-room’. modernism imbedded experience in the streetinaesthetic of Melbourne.41“At St Joseph’s 40 a universal Australianqualities domesticofarchitecture which included modest villa altar.

Domesticated the Church, … such as the window presence, Church, narthexa allows congregation to Keysborough tidy their hairChurch or to Hamann the suggests Germantheinfluence on the designs featuring American Coast bungalow formspostand sparked radicalismopen-air claims rooms, as Edmond and West Corrigan repelled British 48 straighten tieaffinity as a preparation for entry into work, the chapel”, a ideas, passage identifying athe of Edmond and Corrigan’s “linking his in 7 41 enhancement rough-cast walls.” responding to Australia’s sense of identity modernism imbedded in the street aesthetic of Melbourne. activity commonly overlooked in spatial considerations and an unorthodox their resolution, with the German reform of church architecture by Rudolf in theColumn years around Left Figure Federation.

Inglesby,8 influence South Yarra, Harold DesbroweHamann suggests a3. German on Victoria, the Keysborough Church 49 inclusion byThe Edmond Corrigan.

Taylor’s “Suburban Passion” Schwarz”.42 formaland nature of this isJenifer examined

by Greg Missingham as Annear, 1915, identifying the Pergola affinity of Edmond and Corrigan’s work, “linking his ideas, in also describes and the the articulated “progression spaces that “the angularity dominance of irregularofpolygons in thecomfortably plan forms Centreresolution, Column 50Figure 4. German The Church of of thechurch Resurrection, Keysborough, their with the reform architecture

by Rudolf and pleasantly” definetothe church, drawing on Expressionists”. elements of daily 43 activity … might be compared those of the German Munday 42 Victoria, Edmond and Corrigan, 1976, qualities Schwarz”.

The formal nature of this Domesticated is examined by Greg51Missingham as which she attributes to Corrigan’s tutorage under Venturi.

The theatrical also references German objectivism, commenting on traditional activities “the angularity and the dominance of irregular polygons in the plan forms 52 influence of interest to Corrigan, said beway affiliated Charles when attending church – “dawdling ontothe in andwith loitering on Moore, the way … might be compared to those of the German Expressionists”.43 Munday also intorhythms spatial articulation for theinnecessities at the 44 out”,plays subtle that Edmondand anddesigning Corrigan adopt formal planning. also references German objectivism, commenting on traditional activities Box Hill Church. Taylor comments on the American connection in a tectonic when attending church – “dawdling on the way in and loitering on the way sense, noting that the Church is “closely related to Venturi’s restrained early out”,44 subtle rhythms that Edmond and Corrigan adopt in formal planning. works … such as the delineating steel frame”53 likening it to the “steel frame

nt”

31

Radicals of Australian Architectural History 28

e”21 stic k in lish

and stic welish the nt”19 and ving ries weeen gola 19 nt” ator the ries weork gola n of the e”21 ork k in n of

32 life and a regionalist framework articulating value ofabout place, and bothAmerican of which -with and nationalist - themes, introducing European aminorly personal interpretation of Venturi’s ideas suburbia”, a Peter Corrigan was educated at Yale where he was tutored by Robert 24 have been subject to international influences.

Harold Desbrowe-Annear influences to Australian culture, particularly in Melbourne’s outer suburbs. precursor of Edmond and Corrigan’s work during the 1970/80s. Hamann Venturi25 and worked for five years with American architects,26 including was committed under a nationalist interpretation theand early 20thsuggests a responsiveness to nationalist themes asduring Edmond Corrigan Louis Kahn,27 before returning to Australia to work with Maggie Edmond century Arts and Crafts movement, as commented on by Harriet Edquist, Peter Corrigan was educated at Yale suburbs, where hespecifically was tutored

by Robert pursued architecture of the Australian responding to in 1974.2528 In a period of post-modernism, Edmond and Corrigan embraced 33 while Edmond and Corrigan predominantly responding to26regionalist Venturi andsuburban worked for fivewere years with American architects, including Melbournian community life. architectural27complexity, rejecting the modernism of “simplified tasks and valuesKahn, in the late 20th-century post-modernism era, with as commented on by Louis before returning to Australia to work Maggie Edmond 29 purified form”, and instead reflecting intricacies of modern living.30 Conrad Richard Munday.

Bothofpractices are described as and pioneers of Melbourne, in 1974.28 In a period post-modernism, Edmond Corrigan embraced Hamann’s “Savage and Scarlet” states “Corrigan’s interest is wide – and for their architectural achievements andmodernism ideologies, of influenced bytasks American architectural complexity, rejecting the “simplified and modernist – and constant in its search for critique of and confrontation 29 and European in their respective periods.of modern living.30 Conrad purified form”, sources and instead reflecting intricacies with a current condition through architecture”,31 positioning the practice The most “Savage intriguingand connection drawn “Corrigan’s between these architects the Hamann’s Scarlet” states interest is wideare – and within a regionalist framework. Rory Spence declares Corrigan was “armed prolific claims of constant radicalism, their respective work defying conventional modernist – and in its search for critique of and confrontation with a personal interpretation of Venturi’s ideas about suburbia”,32 a 31 lifestyles. stylesa to insteadcondition design for Melbourne’s suburban with current through architecture”, positioning the practice precursor of Edmond and Corrigan’s work during the 1970/80s. Hamann within a regionalist framework. Rory Spence declares Corrigan was “armed suggests a responsiveness to nationalist themes as Edmond and Corrigan with a personal interpretation of Venturi’s ideas about suburbia”,32 a pursued architecture of the Australian suburbs, specifically responding to precursor of Edmond and Corrigan’s work during the 1970/80s. Hamann Melbournian suburban community life.33 suggests a responsiveness to nationalist themes as Edmond and Corrigan 2 pursued architecture of the Australian suburbs, specifically responding to

e”21

k in the

ving

een the ator ving weeen

ator

we-

Melbournian suburban community life.33

The Church of the Resurrection

ory

The Church of the Resurrection in Keysborough (1976) exhibits dominant

alist

American influences in a spatial and tectonic sense and minor German

can

influences of a formal nature.

bs.24

The influence of Venturi’s and Denise Scott-Brown’s passion for “an

outline of the Benjamin Franklin House in Philadelphia”.54

architecture of complexity and contradiction” on the work of Edmond and

Left Column Figure 3. Inglesby, South Yarra, Victoria, Harold Desbrowe-

bert

Corrigan’s community buildings is widely published among commentators,

The interplay the mentioned commentator interpretations assess elements Annear, 1915,ofPergola

ding

however Richard Munday in “Passion in the Suburbs” agrees the Keysborough

ond

Church is “Venturi inspired” but “not a naive transplant of Venturi’s idiom.”35

ced

suggesting the effect of regionalism, and to an extent nationalism, as

and

Edmond and Corrigan “attempt[ed] to reintegrate culture with society”.36

of international influence Corrigan similarly,Keysborough, expressing a Centre Column Figure 4. on TheEdmond Church and of the Resurrection, Left Column Figure 3. Inglesby, South Yarra, Victoria, Harold Desbrowestrong affiliation with Robert Venturi, and discuss the radical Victoria, Edmond and Corrigan, 1976, Domesticated qualities undertones Annear, 1915, Pergola distinguishing Melbournian suburban identity.

Centre Column Figure 4. The Church of the Resurrection, Keysborough,

nrad

and

tion

tice

Luminocity

34

Venturi’s approach reflected “ambiguities in the programs intentions ... they should devise some fluid hierarchy applicable to the situation”37 progressing towards multi-use spaces with “facilities for Mass”.38 Louis Kahn was another

30

American influence advocating a “certain level of resistance to fixed usage”39

med

demonstrated at Keysborough Church with moveable furniture, including the

a

altar.40 Domesticated qualities of the Church, such as the window presence,

2

Victoria, Edmond and Corrigan, 1976, Domesticated qualities

and more accessible experience in ‘God’s lounge-room’.47 “At St Joseph’s Church, the narthex allows the congregation to tidy their hair or to straighten a tie as a preparation for entry into the chapel”,48 a passage

Left Column Figure 5. The Church of St Joseph, Box Hill, Victoria, Edmond

activity commonly overlooked in spatial considerations and an unorthodox

and Corrigan, 1978, Articulation of space and form

inclusion by Edmond and Corrigan.49 Jenifer Taylor’s “Suburban Passion” 1 also describes the articulated “progression of spaces that comfortably

3

and pleasantly”50 define the church, drawing on elements of daily activity which she attributes to Corrigan’s tutorage under Venturi.51 The theatrical

Th

influence of interest to Corrigan, said to be affiliated with Charles Moore,52 also plays into spatial articulation and designing for the necessities at the The Church Eyrie, Eaglemont of StTaylor Joseph Box Hill Church. comments on the American connection in a tectonic Conclusion

Conclusion Endnotes cont.

The Eyrie inofthat Eaglemont St Joseph (1902) in Box exhibits Hill influence (1978) dominant also demonstrates English Queen dominant Anne sense, noting the Church isEnglish “closely related to Venturi’s restrained early TheChurch strength of American and on nationalist and regionalist

The strength of American and English influence on nationalist and regionalist 9. Harriet Edquist, “Golden Summer, Harold Desbrowe-Annear at Eaglemont”, 26.

American influences influences of in a formal inand aisspatial decorative and nature tectonic andsense, American-Romanesque the works … such as the delineating steel frame” likening toemphasising the “steelidentity frame architecture Australia protracted, engrained in itour cultural 53

45 54 nature of social “humanistic influences insocial adomestic spatial traditions”, sense. grounded in a regionalist outline ofthe the Benjamin Franklin House in Philadelphia”. through revolution of Desbrowe-Annear and public gathering 46 Combined influence ofofQueen Anne aesthetics planning reflecting and suburban Melbournians. innovations ofhabitats Edmond and Corrigan with the with ultimate goal of placing

American Shingle Style, The was a “romantic response toassess the landscape” Missingham alludes to the Eyrie people based design character of Edmond and9 The interplay of the mentioned commentator interpretations elements lifestyles at the core of design.

This study has discussed broad interpretations Corrigan’s manoeuvred Box to capture Hill Church views asand ideas attuned inspired thebyinformality Venturi’s of public Melbourne’s spaces of influence on Edmond andto Corrigan similarly, expressing a ofinternational these architects and positioned their progressive architecture in the 10 attuned suburban for daily activities and again incorporating acentury. domestic atmosphere Tibbits describes English influence demonstrated as strong with Robert Venturi, and discuss the radical undertones 1 contextaffiliation offamilies.

Melbourne’s suburban lifethe over the past 47 and accessible experience ‘God’s lounge-room’. “freemore and decorative adaptations ofina half-timbered, roughcast, and “At StMarseilles Joseph’s distinguishing Melbournian suburban identity.

tiles genre” Church, the11 narthex allows the congregation tidyQueen their Anne hair or to with built-in furniture, but unusual to this Style 48 straighten tie as a5.preparation for entry into Box the Hill, chapel”, was freea flow of rooms, sequence of Joseph, “interconnected spaces aseparated passage Leftthe Column Figure TheaChurch of St Victoria, Edmond Conclusion 12 only by commonly sliding1978, doors” activity overlooked considerations and an unorthodox whichinisspatial characteristic of American-Romanesque. and Corrigan, Articulation of space and form The strength of American and English49influence on nationalist and regionalist inclusion

by Edmond andinCorrigan.

Harriet Edquist’s “Legends Australian Jenifer Architecture” discusses the influence Taylor’s “Suburban Passion” architecture in Australia is protracted, engrained in our cultural identity Eyrie, Eaglemont The Church of St Joseph of Frank Lloyd Wright on Desbrowe-Annear’s works that manifesting itself also describes the articulated “progression later of spaces comfortably through domestic revolution of Desbrowe-Annear and public gathering 50 13 Box exhibits The Eyrietheinof Eaglemont (1902) dominant English Queen Anne Church Stin Joseph in HillHamann (1978) also demonstrates dominant “in planning and detail”. and pleasantly” define the church, Conrad drawing on supports elements Desbrowe-Annear’s of daily activity innovationsofofa Edmond anddecorative Corrigan nature with the goal of placing 51 influences formal and andultimate American-Romanesque American a spatial and tectonic sense, emphasising which connection she influences attributes to Wright, toin drawing Corrigan’s linkstutorage between under Wright’s Venturi. written work and the The theatrical lifestyles at the core of design.

This study has discussed broad interpretations 45 52 influences a spatial “humanistic social inaffiliated atranslation regionalist nature of social Prairie School, but traditions”, Hamann also grounded identifies this American influence ofininterest tosense.

Corrigan, said to bethe with of Charles Moore, of these architects and positioned their architecture in the 46 progressive Combined influence of Queen Anne aesthetics with planning reflecting and suburban habitats of Melbournians. influence an Australian nationalist scope, writing “henecessities expressedat these also playsunder into spatial articulation and designing for the the context ofShingle Melbourne’s suburban lifeaover the past century.

American Style, The Eyrie was “romantic response toof theEdmond landscape” Missingham alludes theexterior, people based design character and9 plans ontothe giving each of the houses …aatectonic strong Box Hilldifferently Church.

Taylor comments on the American connection in

14 manoeuvred to capture views attuned to theby informality of Melbourne’s Corrigan’s Box Hill Church asand ideas inspired Venturi’s public spaces Federation Villa flavour which overrode any Style allusions”. sense, noting that the Church is “closely related toShingle Venturi’s restrained early 10 53 suburban families.

Tibbits describes the English influence demonstrated as attuned daily activities again incorporating a domestic atmosphere Image Source References works … for such as the delineating steel frame” National significance of Theand Eyrie is examined by Edquist through locational likening it to the “steel frame Conclusion Left Column Figure 5. The“Documents Church of St Joseph, Box Hill, Victoria, Edmond 1. Source: Geoffrey Woodfall, on Australian Architecture Harold Desbrowe Annear: 54 47 “At “free and decorative adaptations of a half-timbered, roughcast, and Marseilles and more accessible experience in ‘God’s lounge-room’.

St Joseph’s value associated with Architecture the Heidelberg School ofon impressionist painting, “an outline of theofBenjamin Franklin in, Philadelphia”.

1866-1933, Victoria”, inHouse Australia no.56 (February 1967):and 100.

The strength American and English influence nationalist regionalist and Corrigan, 11 1978, Articulation of space and form Geoffrey Woodfall, “Documents onbut Australian Architecture Annear: 2. Source: 15 tiles genre” with built-in furniture, unusual this Queen Anne Style Church, the narthex allows the congregation to that tidyHarold theirDesbrowe hair or to integral part of Australian nationalist culture” Desbrowe-Annear architecture Australia is protracted, in our cultural 1866-1933,in Victoria”, Architecture in Australiaengrained , no.56 (February 1967): 101. identity 48 separated was the free flow of rooms, a sequence of “interconnected spaces straighten a of tie as a preparation for Australian entryAustralian into the ethos chapel”, aelements passage responded bythe embodying a “particularly associated with The mentioned commentator interpretations assess Source: Geoffrey Woodfall, “Documents Architecture Harold Desbrowe Annear: 3. interplay through thetodomestic revolution of on Desbrowe-Annear and public gathering 12 1866-1933, Victoria”, Architecture in Australia , no.56 (February 1967): 103.

16 whichin only by commonly sliding doors” is characteristic of American-Romanesque. activity overlooked spatial considerations and anexpressing unorthodoxa relaxation and family.” of international influence on Edmond and Corrigan similarly, at The Eyrie. & Corrigan”, Architecture & Urbanism , no.4 1981): 4. Source: Greg innovations ofMissingham, Edmond “Edmond and Corrigan with the ultimate goal of(April placing 49 Architecture” discusses the influence Harriet “Legends inCorrigan.

Australian 57. Edquist’s inclusion

by Edmond and Jenifer Taylor’s “Suburban Passion” strong affiliation with Robert Venturi, and discuss thebroad radical undertones lifestyles at the core of design.

This study has discussed interpretations 5. Source: Greg Missingham, “Edmond & Corrigan”, Architecture & Urbanism, no.4 (April 1981): of Frank Lloyd Melbournian Wright on Desbrowe-Annear’s later works that manifesting itself also describes the articulated “progression of spaces comfortably distinguishing suburban identity.

38. of these architects and positioned their progressive architecture in the 50 in detail”.13 Conrad Hamann supports Desbrowe-Annear’s “in planning and and pleasantly” define the church, drawing on elements of daily activity context of Melbourne’s suburban life over the past century.

51 work and the Endnotes connection to Wright,todrawing linkstutorage betweenunder Wright’s written which she attributes Corrigan’s Venturi.

The theatrical

1. George Tibbits, “Annear, Harold Desbrowe (1865-1933)”, Australian Dictionary of Biography,

Prairie School, but 1979 Hamann also2020), identifies translation this American influence of7, interest to Corrigan, saidhttp://adb.anu.edu.au/biography/annear-haroldto bethe affiliated with of Charles Moore,52 Volume (MUP), (October

desbrowe-5036 influence an Australian nationalist scope, writing “henecessities expressedat these also playsunder into spatial articulation and designing for the the 2. Ibid.

Left Column Figure 5. The Church of St Joseph, Box Hill, Victoria, Edmond Image Source References Ibid.

3. plans differently on the exterior, giving each of the houses … a strong Box Hill Church. comments the American connection in a tectonic 1. Source: GeoffreyTaylor Woodfall, “Documentson Australian Architecture Harold Desbrowe Annear: and Corrigan, 1978, Articulation ofon space and form Edquist, “Harold Desbrowe-Annear & ,The City Beautiful, Melbourne 1901-1927”, 4. Harriet Victoria”, Architecture Australia no.56 1967): 100.allusions”.

14 Federation which overrode any(February Shingle Style Left1866-1933, Column Figure 1.

The Eyrie, Eaglemont, Victoria, Harold Desbrowesense, noting,Villa thatflavour the(1998): Church isin“closely related to Venturi’s restrained early Transition no.59-60 49.

2. Source: Geoffrey Woodfall, “Documents on Australian Architecture Harold Desbrowe Annear:

5. 1866-1933, Harriet Edquist, “Golden Summer, Harold Desbrowe-Annear at Eaglemont”, Monument, 53by National significance of Eyrie is examined Edquist through locational Victoria”, Architecture Australia , no.56 (February 101.

Annear, House lotThe no.

32insteel works … 1902, such as the delineating frame” likening it1967): to the “steel frame no.78 (2007): 26.

Geoffrey Woodfall, “Documents on Australian Architecture Harold Desbrowe Annear: 3. Source:

54Desbrowe value associated with the Heidelberg School of(February impressionist painting, Centre Column Figure 2.Franklin The Eyrie, Eaglemont, Victoria, Harold 6. 1866-1933, Geoffrey Woodfall, “Documents on Harold Annear: “an 1866outline of the Benjamin House in,Architecture Philadelphia”.

Victoria”, Architecture inAustralian Australia no.56 1967): 103. DesbroweThe 1933, Church of StArchitecture Joseph in Australia, no.56 (February Victoria”, 102. , no.4 (April 1981): 15 1967): Source: Greg Missingham, “Edmond & Corrigan”, Architecture & Urbanism 4. integral part of Australian nationalist culture” that Desbrowe-Annear Annear, 1902, House lot no. 38 7. Tibbits, “Annear, Harold Desbrowe (1865-1933)”, n.p.

The57.

Church of St Joseph in Box Hill (1978) also demonstrates dominant responded to of by embodying a “particularly Australian ethosassess associated with The interplay the mentioned commentator interpretations elements Greg Missingham, “Edmond & Corrigan”, Architecture & Urbanism , no.4 (April 1981): 5. Source: American influences in a spatial and tectonic sense, emphasising the 38.

16 relaxation and family.” aton The Eyrie. and Corrigan similarly, expressing a of international influence Edmond “humanistic social traditions”,45 grounded in a regionalist nature of social strong affiliation with Robert Venturi, and discuss the radical undertones Endnotes and suburban habitats of Melbournians.46 1.

George Tibbits,Melbournian “Annear, Haroldsuburban Desbrowe (1865-1933)”, distinguishing identity. Australian Dictionary of Biography, Volume 7, (MUP), 1979 2020), http://adb.anu.edu.au/biography/annear-haroldMissingham alludes to (October the people based design character of Edmond and

desbrowe-5036 Image Source References 1. Source: Geoffrey Woodfall, “Documents on Australian Architecture Harold Desbrowe Annear: Ibid.

3.

1866-1933, Victoria”, Architecture Australia , no.56 (February 1967): 100. attuned for daily activities and in again incorporating a domestic atmosphere Harriet Edquist, Desbrowe-Annear & The City Beautiful, Harold Melbourne 1901-1927”, 4. Source: Geoffrey“Harold Woodfall, “Documents on Australian Architecture Desbrowe Annear: 2.

47 and1866-1933, more accessible experience in ‘God’s lounge-room’.

“At Transition , no.59-60 (1998): 49.

Victoria”, Architecture in Australia, no.56 (February 1967): 101.St Joseph’s 5.

Harriet Edquist, “Golden Summer, Harold Desbrowe-Annear at Eaglemont”, Monument , Geoffrey Woodfall, “Documents Australian Architecture Desbrowe Annear: 3. Source:the Church, narthex allows the on congregation to tidyHarold their hair or to no.78 (2007): 26.

1866-1933, Victoria”, Architecture in Australia, no.56 (February 1967): 103.

48 Annear: 18666. Source: GeoffreyGreg Woodfall, on Australian Architecture Harold Desbrowe straighten a tie as“Documents a1.preparation for entry into the chapel”, a(April passage Missingham, “Edmond & Corrigan”, Architecture & Urbanism , no.4 1981): 4.

Left Column Figure The Eyrie, Eaglemont, Victoria, Harold Desbrowe1933, Victoria”, Architecture in Australia, no.56 (February 1967): 102.

57. activity commonly overlooked in spatial considerations and an unorthodox 7.

Tibbits, “Annear, Harold Desbrowe (1865-1933)”, n.p.

Source: Greg Missingham, “Edmond & Corrigan”, Architecture & Urbanism , no.4 (April 1981): 5.

Annear, 1902, House lot no. 32

Corrigan’s Box Hill Church as ideas inspired by Venturi’s public spaces 2. Ibid.

49 38. inclusion

by Edmond Corrigan.

Jenifer Taylor’s Passion” Centre Column Figure and 2. The Eyrie, Eaglemont, Victoria,“Suburban Harold Desbrowealso describes the articulated “progression of spaces that comfortably Annear, 1902, House lot no. 38

Endnotes

50 and pleasantly” define theDesbrowe church,(1865-1933)”, drawing onAustralian elements of daily activity , 1. George Dictionary of Biography Tibbits, “Annear, Harold

Volume 7, (MUP), 1979 (October 2020), http://adb.anu.edu.au/biography/annear-harolddesbrowe-5036 2. Ibid. influence of interest to Corrigan, said to be affiliated with Charles Moore,52 3. Ibid. also playsEdquist, into spatial and&designing for theMelbourne necessities at the “Haroldarticulation Desbrowe-Annear The City Beautiful, 1901-1927”, 4. Harriet , no.59-60 (1998): 49.

BoxTransition Hill Church.

Taylor comments on the American connection in a tectonic 5. Harriet Edquist, “Golden Summer, Harold Desbrowe-Annear at Eaglemont”, Monument, sense, noting no.78 (2007):that 26. the Church is “closely related to Venturi’s restrained early 6. Geoffrey Woodfall, “Documents on Australian Architecture Harold Desbrowe Annear: 1866-

which she attributes to Corrigan’s tutorage under Venturi.51 The theatrical

n 16. H 17. H A 18 . Ti 19. H A 20. Ib 21. Ti 22. H n 23. Ib 24. C

8. Harriet Edquist, “Harold Desbrowe-Annear & The City Beautiful, Melbourne 1901-1927”, 46.

10. Ibid., 28. References Image Source architecture in Australia is protracted, engrained in our cultural identity 11. Source: Tibbits, Geoffrey “Annear, Woodfall, Harold Desbrowe (1865-1933)”, n.p.Architecture Harold Desbrowe Annear: “Documents on Australian 1. through domestic revolution Desbrowe-Annear and public 12. 1866-1933, Harrietthe Edquist, “Golden Summer, Harold Desbrowe-Annear at Eaglemont”, Victoria”, Architecture in of Australia , no.56 (February 1967): 100.28.gathering 13. Source: Harriet Edquist, Australian on Architecture: Harold Desbrowe-Annear”, Geoffrey“Legends Woodfall,in “Documents Australian Architecture Harold Desbrowe Annear:, 2. innovations of Edmond and Corrigan with the ultimate goal of Transition placing no.22-23 (1987): 30. Architecture in Australia, no.56 (February 1967): 101.

1866-1933, Victoria”, 3 14. Source: Conrad at Hamann, “Nationalism andThis Reform Australian Architecture, 1880-1920”, Geoffrey Woodfall, “Documents on in Australian Architecture Harold DesbroweHistorical Annear: 3. lifestyles the core of design. study has discussed broad interpretations Studies 18, no.72 (April 1979): 404.in Australia, no.56 (February 1967): 103.

1866-1933, Victoria”, Architecture of architects positioned their progressive architecture in1981): the 15. these Harriet Greg Edquist, “Theand Architect as &Garden Designer.

The Gardens of ,Harold DesbroweSource: Missingham, “Edmond Corrigan”, Architecture & Urbanism no.4 (April 4.

Annear Victoria 1901-33”, Studies life in the History of Gardens & Designed Landscapes, 57. context ofinMelbourne’s suburban over the past century. no.21 (June 55. “Edmond & Corrigan”, Architecture & Urbanism, no.4 (April 1981): Greg2012): Missingham, 5. Source: 16. 38.

Harriet Edquist, “Golden Summer, Harold Desbrowe-Annear at Eaglemont”, 26.

17. Harriet Edquist, “The Architect as Garden Designer. The Gardens of Harold DesbroweAnnear in Victoria 1901-33”, 57.

Endnotes “Annear, Harold (1865-1933)”, n.p.

18 . Tibbits, Left Column Figure 5. Desbrowe The Church of St Joseph, Box Hill, Victoria, Edmond 1.

Australian Dictionary of Biography Tibbits, Harold Desbrowe (1865-1933)”, Endnotes cont.

Harriet Edquist,“Annear, “The Architect as Garden Designer. The Gardens of Harold Desbrowe-, 19. George Volume 7, Victoria (MUP), 1979 (October http://adb.anu.edu.au/biography/annear-haroldCorrigan, 1978, Articulation of space andBeautiful, form Melbourne 1901-1927”, 46.

8.and Harriet Edquist, “Harold Desbrowe-Annear & The City Annear in 1901-33”, 57. 2020), desbrowe-5036 9.20.Harriet Ibid. Edquist, “Golden Summer, Harold Desbrowe-Annear at Eaglemont”, 26.

Ibid.

2.

10.

28. “Annear, Harold Desbrowe (1865-1933)”, n.p.

Tibbits, 21.Ibid., Ibid.

3.

Conclusion 11.

Desbrowe (1865-1933)”, n.p. Harold Desbrowe-Annear”, Transition, Harriet“Annear, Edquist, Harold “Legends in Australian Architecture: 22.Tibbits, Harriet Edquist, “Harold Desbrowe-Annear & The City Beautiful, Melbourne 4. Harriet 12.

Edquist, “Golden Harold Desbrowe-Annear at Eaglemont”, 28. 1901-1927”, no.22-23 (1987): 22. Summer, The strength of American and influence on nationalist and regionalist Transition , no.59-60 (1998): 49. English 13.

Edquist, “Legends in Australian Architecture: Harold Desbrowe-Annear”, Transition, 23.Harriet Ibid., 30.

3 5.

Harriet Edquist, “Golden Summer, Harold Desbrowe-Annear at Eaglemont”, (1987): 30.

24.no.22-23 Conrad Hamann, “Remembering Peter Corrigan: a Life of Movement, andMonument integrity”,, architecture in Australia is protracted, engrained in our energy cultural identity no.78 (2007): 26.

14. Conrad Hamann, “Nationalism and 2016), Reform in Australian Architecture, 1880-1920”, Historical The Conversation, (December https://theconversation.com/remembering-peter6. Studies Geoffrey “Documents on Australian Architecture Harold Desbrowe 1866through the domestic revolution of Desbrowe-Annear and publicAnnear: gathering 18,Woodfall, no.72 (April 1979): 404. corrigan-a-life-of-movement-energy-and-integrity-69868 1933, Victoria”, in Australia , no.56 (February 15.

Edquist, “The Architect as Garden Designer.

The 1967): of Harold 25.Harriet Jennifer Taylor, Architecture “Suburban Passion”, Architecture Australia ,Gardens no.70102.

(1981): 53. Desbroweinnovations of Edmond and Corrigan with the ultimate goal of placing 7.

Tibbits, “Annear, Desbrowe (1865-1933)”, n.p.of& Gardens in VictoriaHarold 1901-33”, in the History Designed 26.Annear Greg Missingham, “Edmond &Studies Corrigan”, Architecture Urbanism&, no.4 (April Landscapes 1981): 69. , (June 2012): 55.

27.no.21 Conrad Hamann, “Savage and Scarlet”, Architecture Australia, no.92 (2003): 81. lifestyles at the core of design.

This study has discussed broad interpretations 16.

“Golden Summer,Peter Harold Desbrowe-Annear at Eaglemont”, 26.

28.Harriet ConradEdquist, Hamann, “Remembering Corrigan: a Life of Movement, energy and integrity” of these architects positioned progressive architecture in the 17.

“The and Architect as Gardentheir Designer.

The Gardens of Harold Desbrowe29.Harriet Ibid.n.p.Edquist, in Melbourne’s Victoria 1901-33”, 57.

30.Annear Ibid. n.p.

Image Source References context of suburban life over the past century.

Endnotes cont.

18 “Annear, Desbrowe (1865-1933)”, n.p.Australia 31.. Tibbits, Conrad Hamann,Harold “Savage and Scarlet”, Architecture , no.92 (2003): 81. Annear: Source: Geoffrey Woodfall, “Documents on Australian Architecture Harold Desbrowe 1.

8.32.Harriet Harriet Edquist, “Harold Desbrowe-Annear & The City Beautiful, Melbourne 1901-1927”, 19.

Edquist, “The Architect Garden Designer.

The Review Gardens Harold DesbroweRory Spence, “Melbourne: City ofasthe Mind”, Architectural 178of, no.1066 (1985):46.

65.

1866-1933, Victoria”, Architecture in Australia , no.56 (February 1967): 100.

9.33.Annear Harriet “Golden Summer, Harold84.

Desbrowe-Annear at Eaglemont”, 26. inGeoffrey Victoria 1901-33”, 57.

ConradEdquist, Hamann, “Savage and Scarlet”, Woodfall, “Documents on Australian Architecture Harold Desbrowe Annear: 2. Source: 10.

Ibid., 20.

34.Ibid.

Ibid.,28.

81.

1866-1933, Victoria”, Architecture in Australia, no.56 (February 1967): 101.

11.

Tibbits, “Annear, Harold Desbrowe (1865-1933)”, n.p.

21.

“Annear, Harold (1865-1933)”, n.p.

35.Tibbits, Richard Munday, “Passion in the Suburbs”, Architecture Australia, no.66 (MarchEdmond 1977): 53.

Left Column Figure 5.Desbrowe The Church ofAustralian St Joseph, Box Hill, Victoria, Source: Geoffrey Woodfall, “Documents on Architecture Harold Desbrowe Annear: 3.

12.

Harriet Edquist, “Golden Summer, Desbrowe-Annear at Eaglemont”, 28. Transition, 22.

Edquist, “Legends inCity Australian Architecture: Desbrowe-Annear”, 36.Harriet Rory Spence, “Melbourne: of Harold the Mind”, 65.

1866-1933, Victoria”, Architecture in Australia , no.56Harold (February 1967): 103.

13.

Harriet Edquist, “Legends ininAustralian Transition, and Corrigan, 1978, Articulation ofArchitecture: space andHarold formDesbrowe-Annear”, (1987): 22.

37.no.22-23 Richard Munday, “Passion the Suburbs”, 54. Architecture Source: Greg Missingham, “Edmond & Corrigan”, & Urbanism, no.4 (April 1981): 4. no.22-23 23.

38.Ibid., Ibid.,30.

53. (1987): 30.

57.

14.

Conrad “Nationalism and Reform in Australian Architecture, 1880-1920”, Historical 24.

Hamann, “Remembering Peter Corrigan: aArchitecture Life of Movement, energy and(April integrity”, 39.Conrad ConradHamann, Hamann, “Savage and Scarlet”, 81.

Source: Greg Missingham, “Edmond & Corrigan”, & Urbanism , no.4 1981): 5.

18, no.72 (April 1979): 404.

The Conversation, (December 2016), https://theconversation.com/remembering-peter40.Studies Richard Munday, “Passion in the Suburbs”, 58.

38.

15.

Edquist, “The Architect Garden The Gardens of Harold Desbrowecorrigan-a-life-of-movement-energy-and-integrity-69868 41.Harriet Rory Spence, “Melbourne: City ofasthe Mind”,Designer.

63.

Victoria 1901-33”, Studies in80. the History of Gardens Designed 25.

Jennifer Taylor, “Suburban Passion”, Architecture Australia , no.70 & (1981): 53. Landscapes, 42.Annear Conrad in Hamann, “Savage and Scarlet”, no.21 (June 2012):“Edmond 55.

Endnotes 26. &&Corrigan”, & Urbanism, no.4 (April 1981): 69.

43.Greg GregMissingham, Missingham, “Edmond Corrigan”,Architecture 69.

16.

Harriet “Golden Summer, Harold Desbrowe-Annear at, no.92 Eaglemont”, 1.

Australian Dictionary of Biography, George Tibbits, “Annear, Harold Desbrowe (1865-1933)”, 27.

Hamann, “Savage and Scarlet”, Architecture Australia (2003):26.

81.

44.Conrad RichardEdquist, Munday, “Passion in the Suburbs”, 57.

17.

Harriet Edquist, “The Architect as2020), Garden Designer.

The Gardens of Harold Volume 7, (MUP), 1979 (October http://adb.anu.edu.au/biography/annear-harold28.

Hamann, “Remembering Peter Corrigan: a Life of Movement, energy and&Desbroweintegrity” 45.Conrad Jennifer Taylor, “Theatres of Dreams; Buildings by Peter Corrigan”, Architecture Urbanism, Annear in Victoria desbrowe-5036 29. Ibid.n.p.

(May 1993): 94. 1901-33”, 57.

18 Tibbits, Ibid.

2.

30.

46.. Ibid.

Ibid.n.p.“Annear, Harold Desbrowe (1865-1933)”, n.p.

19.

Harriet Edquist, “The Architect as Garden The Gardens of Harold Ibid.

3.

31.

Hamann, “Savage and&Scarlet”, Architecture Australia , no.92 (2003): 81. Desbrowe47.Conrad Greg Missingham, “Edmond Corrigan”, 72.Designer.

Annear inEdquist, Victoria 1901-33”, 57.

Harriet “Harold Desbrowe-Annear The City Beautiful, Melbourne 4.

32.

“Melbourne: City of the Mind”, & Architectural Review 178 , no.10661901-1927”, (1985): 65.

48.Rory Ibid.,Spence, 71.

20.

Transition , no.59-60 (1998): 33.

Conrad Hamann, “Savage and Scarlet”, Buildings 84.

49.Ibid.

Jennifer Taylor, “Theatres of 49.

Dreams;

by Peter Corrigan”, 94.

21.

Harold Desbrowe (1865-1933)”, n.p.

5.

Harriet Edquist, “Golden Summer, Harold Desbrowe-Annear at Eaglemont”, Monument, 34.

Ibid., 81.“Annear, 50.Tibbits, Jennifer Taylor, “Suburban Passion”, 55.

Image Source References 22.

Edquist, “Legends in Australian Architecture: Harold Desbrowe-Annear”, Transition no.78 (2007): 26.

35.

Richard Munday, “Passion the Suburbs”, Architecture Australia, no.66 1977): 53., 51.Harriet Ibid., 53.

Source: Geoffrey Woodfall,in“Documents on Australian Architecture Harold(March Desbrowe Annear: 1.

(1987): 22.

6.

Geoffrey Woodfall, “Documents Australian Architecture Harold1967): Desbrowe 36.

Rory Spence, “Melbourne: City ofon the Mind”, 52.no.22-23 Conrad Hamann, “Savage and Scarlet”, 81. 65.

1866-1933, Victoria”, Architecture in Australia , no.56 (February 100. Annear: 186623.

30.

1933, Victoria”, in Australia , no.56 1967): 102.

Conclusion 37.

Richard Munday, “Passion the Suburbs”, 54. (February 53.Ibid., Jennifer Taylor, Architecture “Suburban Passion”, 53.on Source: Geoffrey Woodfall,in“Documents Australian Architecture Harold Desbrowe Annear: 2.

24.

“Remembering Peter Corrigan: a Life Movement, energy and integrity”, 7.

Tibbits, “Annear, Harold Desbrowe (1865-1933)”, n.p. of 38.

Ibid., 54.Conrad Ibid. 53.Hamann, 1866-1933, Victoria”, Architecture in Australia , no.56 (February 1967): 101.

The strength of American and English influence on nationalist and regionalist The Conversation, (December 2016),81.https://theconversation.com/remembering-peter39.

Conrad Hamann, “Savage and Scarlet”, 3. Source: Geoffrey Woodfall, “Documents on Australian Architecture Harold Desbrowe Annear: corrigan-a-life-of-movement-energy-and-integrity-69868 40.

Richard Munday, “Passion in the Suburbs”, 58. architecture Australia is protracted, in our cultural identity 1866-1933, in Victoria”, Architecture in Australia,engrained no.56 (February 1967): 103.

25. Rory Jennifer Taylor, “Suburban Passion”, Architecture Australia, no.70 (1981): 53.

41.

Spence, of the& Mind”, 63. Architecture Greg “Melbourne: Missingham, City “Edmond Corrigan”, & Urbanism, no.4 (April 1981): 4. Source: 26. through the domestic revolution of Desbrowe-Annear gathering Greg Missingham, “Edmond & Scarlet”, Corrigan”, Architecture & Urbanismand , no.4public (April 1981): 69.

42.

Conrad Hamann, “Savage and 80.

57.

27. Conrad Hamann, “Savage and Architecture Australia, no.92 (2003): 81.

43.

Greg Missingham, “Edmond & Scarlet”, Corrigan”, 69.

Source: Gregof Missingham, “Edmond & Corrigan”, Architecture & Urbanism , no.4of(April 1981): 5. innovations Edmond and Corrigan with the ultimate goal placing 28. Conrad Hamann, Corrigan: 44.

Richard Munday, “Remembering “Passion in the Peter Suburbs”, 57. a Life of Movement, energy and integrity” 38.

29.

Ibid.n.p.

45.

Jennifer at Taylor, of Dreams; Buildings Peter Corrigan”,broad Architecture & Urbanism, lifestyles the “Theatres core of design.

This study by has discussed interpretations 30. Ibid.

(Mayn.p.

1993): 94. of Conrad these Hamann, architects and their progressive architecture 31.

“Savage andpositioned Scarlet”, Architecture Australia, no.92 (2003): 81. in the Endnotes 46.

Ibid.

32.

Spence, “Melbourne: City of the Mind”, ArchitecturalAustralian Review 178 , no.1066of(1985): 65. , 1. Rory Dictionary Biography George Tibbits, “Annear, Harold Desbrowe (1865-1933)”, 47.

Greg Missingham, “Edmond & Corrigan”, 72. context of Melbourne’s suburban life over the past century.

33. Ibid., Conrad “Savage and Scarlet”, 84. http://adb.anu.edu.au/biography/annear-haroldVolume 7, (MUP), 1979 (October 2020), 48.

71.Hamann, 34. Jennifer Ibid., 81.Taylor, “Theatres of Dreams; Buildings by Peter Corrigan”, 94. desbrowe-5036 49.

35.

Richard “Passion in the Suburbs”, Ibid. Munday, 2. Jennifer 50.

Taylor, “Suburban Passion”, 55. Architecture Australia, no.66 (March 1977): 53.

36.

Rory “Melbourne: City of the Mind”, 65.

Ibid. Spence, 3. Ibid., 51.

53.

37.

Richard Munday, “Passion in the Suburbs”, Harriet Edquist, “Harold Desbrowe-Annear & The City Beautiful, 4.

52.

Conrad Hamann, “Savage and Scarlet”, 81.

Left Column Figure 5. The Church of54.

St Joseph, Box Hill,Melbourne Victoria,1901-1927”, Edmond 38. Jennifer Ibid., 53.Taylor, Transition , no.59-60 (1998): 49.

53.

“Suburban Passion”, 53. and Corrigan, 1978, Articulation of and form at Eaglemont”, Monument, 39.

Conrad Hamann, “Savage and Scarlet”, 81.space 5.

Harriet Edquist, “Golden Summer, Harold Desbrowe-Annear 54.

Ibid.

40. Richard Munday, no.78 (2007): 26.“Passion in the Suburbs”, 58.

41.

Spence, “Melbourne: City ofon theAustralian Mind”, 63.

6. Rory Geoffrey Woodfall, “Documents Architecture Harold Desbrowe Annear: 186642. Conrad Hamann, Architecture “Savage and in Scarlet”, 80., no.56 (February 1967): 102.

1933, Victoria”, Australia 43.

Missingham, “Edmond & Corrigan”, 69.

7. Greg Tibbits, “Annear, Harold Desbrowe (1865-1933)”, n.p.

44. Richard Munday, “Passion in the Suburbs”, 57.

45. Jennifer Taylor, “Theatres of Dreams; Buildings by Peter Corrigan”, Architecture & Urbanism, (May 1993): 94.

46. Ibid.

47. Greg Missingham, “Edmond & Corrigan”, 72.

48. Ibid., 71.

49. Jennifer Taylor, “Theatres of Dreams; Buildings by Peter Corrigan”, 94.

50. Jennifer Taylor, “Suburban Passion”, 55.

51. Ibid., 53.

52. Conrad Hamann, “Savage and Scarlet”, 81.

co 25. Je 26. G 27.

C Endn 28.

8. C H 29.

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UNSW Built Environment

Levels of Abstrac Games of Percep

Levels of Abstraction : Games of Perception Introduction

Wood Marsh

In the words of Philip Goad, “abstraction is not pursued just for its seductive

Wood Marsh is a Melbourne based architectural practice established in

visual ends [but] that of awakening the body to a sensitised state of spatial

1983, directed by Roger Wood and Randal Marsh. Possessing a developed

and material awareness.”1 Affirmed by Adolf Loos and Le Corbusier,2 levels

and diverse portfolio, the work of Wood Marsh is largely classified under

of abstraction emerged as a design tradition expressive in form but reductive

abstraction, consistently “citing the arts”5 and curating a “sculptural quality

in nature to better understand spatial quality through a formal language

that is aesthetically charged”6 to form emotive architecture described by

“used freely with the materials and experiences of the modern era.”3 Varied

Anna Johnson as “the dialogue between expressive formalism and the

in strategy, the conceptualisation of abstraction grounds itself in context –

pragmatics of programme and architecture.”7 Goad introduces Wood Marsh

personal, cultural and environmental. Levels of abstraction have been widely

at the level of abstraction that is “occupiable art”8 concerned with a “sensitised

curated within architecture in Australia, discovering ‘the pleasures of clear,

state of spatial and material awareness”9 that is acclaimed by many critics

analytical, abstract thinking…so seductive that there is a temptation to turn

as contributing to the continuance and development of abstraction.

it into a game’4 and those playing include Wood Marsh and Denton Corker Marshall.

Right Figure 1. ACCA, Melbourne Victoria, Wood Marsh, 2003, Sculptural forming of entrance.

Below Figure 2. ACCA, Melbourne Victoria, Wood Marsh, 2003, Rusting

Luminocity

Corten folded skin.

32

ction: ption

1

tectural History

1

Harold Desbrowe-Annear The Australian Centre for Contemporary Art

The Flinders Eyrie, House Eaglemont

Harold Desbrowe-Annear prominently in Australianisarchitectural The Australian Centre for features Contemporary Art (ACCA)(2002) a multi-use

The Eyrie Wood in Eaglemont exhibits dominant Englishscale, Queen Anne Exploring Marsh’s (1902) sculptural themes at a domestic Flinders

Den

history housing through galleries domesticand architecture the Arts and Craftsconstructed movement facility studios forofthree organisations,

influences of is a aformal decorative nature andMornington American-Romanesque House (2012) privateand residence in Melbourne’s Peninsular,

in M

in aMelbourne, under a budget. strong 10nationalist underlying on comparatively small The ACCA framework, is described with

by Norman Day

influences in a spatial sense. a plan organised in two wings making the residence comfortable for two

Bill

international influences of American-Romanesque English Queen Anne as “a multilevel facility stacked into a folded skin”,11and immediately expressing

Combined of Queen Annelarger aesthetics with planning reflecting people butinfluence able to accommodate gatherings without losing the

abs

1 Revival. the “sculptural intensity”12 revered by many critics for is architectural

American The Eyrie wasHouse a “romantic response to the intimacy.27Shingle WoodStyle, Marsh’s Flinders articulates two keylandscape” theoretical9

this

13

impact and community contribution. Wood Marsh’s ACCA articulates two

manoeuvred dimensions oftoabstraction; capture views dramatising and attuned framed to theviews informality throughoftransparency Melbourne’s

Rob

key theoretical dimensions of abstraction; interpreting form in relation to Desbrowe-Annear was educated in Melbourne, becoming articled in 1883

10 suburban and thresholds, families. and stimulating a sense movement through form.

Tibbits describes theof English influence demonstrated as

app

its and drawing andwork art to aoccupation, British architect before strong startingparallels his ownbetween practicearchitecture in 1889.2 The

The formal abstraction of Flinders House is theroughcast, ambiguityand of Marseilles form not “free and decorative adaptations of a half-timbered,

for

-ofpublic and natural art (landforms).

Desbrowe-Annear revolved around his “commitment to architecture as

11 conveying obvious domestic program.

Fleur Watson and Hook discuss tiles genre”an with built-in furniture, but unusual to this Queen Anne Style

whe

3 4 The ACCA accommodates dance and film sets concealed behind a an art” built primarily for art, function, encouraging collaborations between

28 the the “lyrical was free context” flow of rooms, a sequence of “interconnected spaces separated of the undulating landscape utilising “architectural

time

façade described by Martyn Woodfall Hook as “aggressive” artists that’s and architects.

Geoffrey labels Desbrowe-Annear on the outside as

29 12 only by sliding doors” form-making” and materiality which istocharacteristic establish a sculpturally of American-Romanesque. abstract entry

und

15 but an ‘Australian generous and Nationalist’ protective believing on the that inside.“our own likens necessities, our own Hook the “ephemeral

Harriet threshold.

Edquist’s A “glass “Legends pavilioninbridges Australian theArchitecture” solid form”30 of discusses the influence the sweeping wings,

dev

16 6 climates and method offaçade pursuing health and happiness” character” ofour theown rusting corten to the ephemeral act of dance, should the

of Frank Lloyd on Desbrowe-Annear’s later works manifesting dramatising theWright entry threshold as the “curving forms affords a view ofitself the

studios define architectural having a “gymnastic ideas, positioning quality in structure him withinand a nationalist program” framework. expanding

31 “in planning and in detail”. ocean.”

Watson and Hook13elaborate Conrad Hamann on this notion supports of abstraction Desbrowe-Annear’s as “initial

5

14

17

Den 26

George Tibbitsgame reiterates this as Desbrowe-Annear “expressed his desire for into a playful of perception.

Anna Johnson supports a similar writing

connection denial of visual to Wright, accessdrawing heightens linksthe between dramaWright’s of the release written into workthe andaxial the

a universal Australian domestic of architecture … which19 included modest villa of the “unexpected gentleness the architecture” despite the rawness,

Prairie panorama School, of the but interior Hamann view, also drawing identifies the the visitor translation in.”32 of this American

designs featuring open-air rooms, American West Coast forms exemplifying abstraction through connecting the bungalow architecture to and its

influence underthis an Australian nationalist “he expressed these Accompanying pull into the interior, scope, a sensewriting of movement is expressed

rough-cast walls.” occupation, describing the ACCA as “seemingly alive…possesses a sensual responding to Australia’s sense of identity enhancement

plans differently on the exterior, giving each of the houses and … a release strong through “the sweeping ceiling…simultaneously compress

20 8 friction; a bodily presence.” in the years around Federation.

33 14 Federation Villa flavourthewhich anyformal Shingle Style allusions”. the occupant through view”,overrode using the language to gesture

The ACCA’s affinity to elements of Australian culture is widely discussed

National celebrated significance movement. of Articulation The Eyrie is examined of spatial by scale Edquist is explained throughby locational Watson

among critics. Both Hook and Johnson compare the “monolithic and spatial

34 value and Hook associated as being with“beyond the Heidelberg a simpleSchool reading of impressionist of sculptural painting, geometry”, “an

nature”

15 integral of Australian nationalist culture” achievingpart greater programmatic intimacy, a claim supported by quoting that Desbrowe-Annear

Left

18

7

21

to the work of land artist Richard Serra, expressing notions Day adopts a broader

Roger Wood’s intention of “visceral and ephemeral quality…much like dance responded to by embodying a “particularly Australian ethos associated with

Vict

interpretation associating the sculptural form as representative of Australian

35 16 of sculpture” relaxation and family.” solidifying atWood The Eyrie.

Marsh’s abstraction position of “occupiable

Cen

identity and rugged landscapes, writing “its rusted steel skin, strangely

art.”36

Cor

of abstraction through referencing the arts.

22

angled walls, sharp corners and abandoned paved plazas are suggestive of Uluru.”23 Hook makes brief reference to this natural art (landform) writing “the scale of the object is slowly eroded”24 to emulate the programmatic “intermingling of a culturally provocative”25 facility.

Left Column Figure 1. The Eyrie, Eaglemont, Victoria, Harold DesbroweAnnear, 1902, House lot no. 32 Centre Column Figure 3. ACCA, Melbourne Victoria, Wood Marsh, 2003,

Centre Column Figure 2. The Eyrie, Eaglemont, Victoria, Harold Desbrowe-

Articulating form to create ephemeral appeal.

Annear, 1902, House lot no. 38

apprehended the crucial difference between architects and sculptors –

articulates a key theoretical dimension of abstraction as an architecture that

not

for architects, “answering a brief and relating to a site is second nature”

is provocative, evoking critical reflection on traditional museums.

uss

whereas artists “tend to feel compromised.”40 Beck claims that “from this Denton Corker Marshall time…making architectural spaces sculptural has been imbedded in their Denton Corker Marshall is an international architectural practice established understanding of form making”41 thus contributing to the continuance and in Melbourne 1972, directed by John Denton, Barrie Marshall and previously, development of abstraction.

Bill Corker.37 The work of Denton Corker Marshall is largely classified under

Beck and Jackie Cooper’s Reinventing the Institution discusses the Melbourne Museum sophisticated response of Denton Corker Marshall, creating “a campus Melbourne Museum (2000) is sited alongside the Royal Exhibition Building, rather than a monumental building”45 by organising the plan as a miniature 2 a historic monument on the edge of Melbourne’s CBD.42 Day introduces urban model to combat “museum fatigue”46 through a circulation spine Melbourne Museum as a “building of explicit, objective expression”43 serving a ‘collection of boutique museums.”47 The abstraction technique is immediately identifying the multifaceted sculptural complexity reinventing about making the “complexity and vastness of the institution intelligible the museum typology as a “dynamic disturbance and rational abstraction of to visitors”,48 addressing museum relevance and contention surrounding contemporary modernity.”44 Denton Corker Marshall’s Melbourne Museum their purpose as commented on by Paul Walker, “[Denton Corker Marshall] articulates a key theoretical dimension of abstraction as an architecture that Harold Desbrowe-Annear Melbourne responds toMuseum these issues of institutional purpose and public profile – and is provocative, evoking critical reflection on traditional museums.

49 Haroldthem Desbrowe-Annear features prominently in Australian Melbourne Museum (2000) is sited alongside Royal Exhibition turns into strategic significance.”

Day the is another critic architectural whoBuilding, reflects Beck and Jackie Cooper’s Reinventing the Institution 42 discusses the domestic architecture of the Arts andtourism Crafts movement ahistory historic monument on the edge of Melbourne’s CBD. Day introduces similarthrough opinion, writing “the entertainment value, potential, sophisticated response Denton Corker Marshall, creating “a campus 43 in Melbourne, under nationalist framework, withexpression” underlying Melbourne Museum asaofastrong “building ofgalleries explicit, theatrical nature of display and thematic of objective the Melbourne Museum 45 rather than aidentifying monumental building” by organising theEnglish plan asQueen a miniature international influences of American-Romanesque and Anne immediately the multifaceted sculptural complexity reinventing suggest that the serious place of learning we thought of as a museum has 46 urban model to combat fatigue” through a circulation spine 1 Revival. the museum typology as a“museum “dynamic disturbance and rational abstraction of had its day.”50 The expressive architecture of Melbourne Museum is Denton 47 serving a ‘collection of boutique museums.”

The abstraction technique is 44 contemporary modernity.”

Corker Marshall’s Museum Corker Marshall’s response toDenton increasing cultural focus Melbourne on leisure activities, about making the “complexity and vastness of the institution intelligible Desbrowe-Annear was educated in “commercial Melbourne, becoming articled in 1883 articulates a key theoretical dimension of abstraction as an architecture that 2 encouraging museums to become entertainment interests…

48 to visitors”, addressing museum relevance and contention surrounding 2 51 to a British architect before starting his own practice in 1889.

The work is provocative, evoking critical reflection on traditional museums. competing for public attention” and even a “museum that is now part their purpose as commented

by PaulhisWalker, “[DentontoCorker Marshall] 52 of Desbrowe-Annear revolvedon around “commitment architecture as Beck and Cooper’s Reinventing the Institution discusses the theme park.”Jackie responds purpose and public profile – and 3 to these issues of institutional 4 an art” built primarily encouraging collaborations sophisticated response for of function, Denton Corker Marshall, creating “a between campus

sed not ders ase uss 26 ar, ure ural two son ntry 34 the y”, ngs, ical ting the ncy nce itial able xial not

UNSW Built Environment

ural ders ntry ar,26 ngs, two the the itial ical xial ncy

39

Radicals of Australian Architectural History

abstraction, “experimenting with form and materiality.”38 Haig Beck attributes this strong sculptural resemblance to a 1976 commission by sculptor Ron

Robertson Swann for Melbourne’s City Square where Denton Corker Marshall apprehended crucial difference between architects and sculptors – Introduction Denton Corkerthe Marshall for architects, “answering a brief and relating to aprominently sitepractice is second nature”39 Architectural and cultural context feature inestablished Australian Denton Corkeridentity Marshall is an international architectural

40 whereas artists to feelbycompromised.”

Beckto claims that “from this history under a“tend nationalist framework seeking represent Australian in Melbourne 1972, directed John Denton, Barrie Marshall and previously, time…making architectural spaces sculptural has been imbedded in their 37 life Corker. and a regionalist value place,classified both of under which Bill The workframework of Denton articulating Corker Marshall is of largely 41 understanding of form thusand contributing to38the continuance and have been “experimenting subject to making” international influences.

Harold Desbrowe-Annear abstraction, with form materiality.”

Haig Beck attributes

development of abstraction. was strong committed under aFlinders nationalist during thesculptor early 20ththis sculptural tointerpretation a Mornington 1976 commission by Ron Left Column Figure 4.resemblance House, Peninsular Melbourne

century Wood Arts and Crafts movement, commented on

by Harriet Edquist, Robertson Swann for Melbourne’s Cityas Square where Denton Corker Marshall Victoria, Marsh, 2012, Sweeping Wings + Glass Pavilion. while Edmond and Corrigan were predominantly responding tosculptors regionalist apprehended crucial difference between Melbourne architects and – Centre Columnthe Figure 5. Melbourne Museum, Victoria, Denton

Radicals of Australian Architectural History

39 values in the late 20th-century post-modernism asiscommented on by for architects, “answering a brief and relating to era, a site second nature” Corker Marshall, 2000, Theme park appeal of Museum.

40 Richard Munday.

Bothtopractices are described as pioneers of Melbourne, whereas artists “tend feel compromised.”

Beck claims that “from this

uss sed ural ase ntry

for their architectural achievements and ideologies, influenced

by American time…making architectural spaces sculptural has been imbedded in their 41 and European sources their respective periods. to the continuance and understanding of form in making” thus contributing

ure ngs, son the

The most intriguing connection drawn between these architects are the development of abstraction.

Introduction Edmond and Corrigan prolific claims of radicalism, their respective work defying conventional

nce and

Victoria, Marsh, 2012, Sweeping Wings value + Glass and aWood regionalist framework articulating of Pavilion. place, and bothAmerican of which -life and minorly nationalist - themes, introducing European

able wesed 19 nt” ase

24 Centre Column Figure Melbourne Museum, Melbourne Victoria, Denton have been to 5.international influences.

Harold Desbrowe-Annear influences tosubject Australian culture, particularly in Melbourne’s outer suburbs.

34 y”, stic itial ting lish xial

Architectural identity and cultural contextsuburban feature prominently in Australian Edmond Corrigan arefor highly involved in Australia’s architectural history styles to and instead design Melbourne’s lifestyles.

Left Column Figure 4.

Flinders House, Mornington Peninsular Melbourne history under a nationalistand framework to represent Australian through both architectural theoreticalseeking contributions under regionalist

Corker Marshall, under 2000, Theme park appeal of Museum. was committed a nationalist interpretation during the early 20thcentury Arts and Crafts movement, as commented on tutored

by Harriet Peter Corrigan was educated at Yale where he was

by Edquist, Robert

ries ure gola son

25 while Edmond and Corrigan predominantly responding to26regionalist Venturi and worked for fivewere years with American architects, including 27 late 20th-century post-modernism era, as commented on by valuesKahn, in the Louis before returning to Australia to work with Maggie Edmond

34 the y”, ork ting

28 Richard Munday.

Both practices are described as and pioneers of Melbourne, in 1974.

In Figure a period post-modernism, Edmond Corrigan embraced Left Column 4.ofFlinders House, Mornington Peninsular Melbourne for their architectural achievements and ideologies, influenced by American architectural complexity, rejecting the Wings modernism of Pavilion. “simplified tasks and Victoria, Wood Marsh, 2012, Sweeping + Glass

n of nce e”21 able

and European in their respective periods. purified form”, sources and instead reflecting intricacies of modernVictoria, living. Denton Conrad Centre Column Figure 5.

Melbourne Museum, Melbourne 2 The most intriguing connection drawn between these architects the Hamann’s “Savage and Scarlet” states “Corrigan’s interest is wideare – and Corker Marshall, 2000, Theme park appeal of Museum.

29

k in

30

prolific claims of constant radicalism, their respective work defying conventional modernist – and in its search for critique of and confrontation 31 lifestyles. stylesa to insteadcondition design for Melbourne’s suburban with current through architecture”, positioning the practice

the

within a regionalist framework. Rory Spence declares Corrigan was “armed

ving

with a personal interpretation of Venturi’s ideas about suburbia”,32 a

een

MelbourneofMuseum precursor Edmond and Corrigan’s work during the 1970/80s. Hamann

hed ator

Melbournea Museum (2000) to is sited alongside the Royal Exhibition suggests responsiveness nationalist themes as Edmond and Building, Corrigan

sly, we-

a historicarchitecture monument of onthe theAustralian edge of Melbourne’s CBD.42 Day introduces pursued suburbs, specifically responding to

der

Melbourne Museum a “building of explicit, objective expression”43 Melbournian suburbanascommunity life.33

utes

immediately identifying the multifaceted sculptural complexity reinventing

Ron

the museum typology as a “dynamic disturbance and rational abstraction of

hall

contemporary modernity.”44 Denton Corker Marshall’s Melbourne Museum

s –

articulates a key theoretical dimension of abstraction as an architecture that

49 turns them into strategic Day is another criticaswho reflects 5 significance.”

45 53 artistsand and architects.

Geoffrey Desbrowe-Annear as rather than a monumental building” by organising the plan a miniature Beck Cooper comment on the Woodfall impact of labels “designing in cyberspace” aansimilar opinion, writing“museum “the entertainment value, tourism potential, 46 ‘Australian Nationalist’ believing that “our own necessities, our own urban model to combat fatigue” through a circulation spine as contributing to interest in the sculptural potential of conceptualising theatrical nature ofown display and thematic galleries the Melbourne Museum 6 Harold Desbrowe-Annear 47 The Church ofform the Resurrection climates our ofmuseums.” pursuing health and happiness” should serving aand ‘collection boutique Theofabstraction technique is architectural asof itmethod “eliminates the customary notions of scale and suggest that the serious place of learning we thought of as a museum has Harold Desbrowe-Annear features prominently in Australian architectural The Church of the Resurrection in Keysborough (1976) exhibits dominant 54 define making architectural ideas, positioning him a Corker nationalist framework. about vastness of the institution intelligible gravity.”

Beck the and “complexity Cooper makeand it clear thatwithin Denton Marshall do not 50 had its day.” expressive architecture Melbourne Museum is Denton history through domestic architecture ofofthe Arts and Crafts movement 48 The American influences in athis spatial and tectonic sense and minor German George Tibbits reiterates as Desbrowe-Annear “expressed his desire for to visitors”, addressing museum relevance and contention surrounding participate in this discourse, instead their sculptural approach is to “imbue

Corker Marshall’s response toon increasing cultural focusincluded on leisure activities, in Melbourne, under a strong nationalist framework, with modest underlying influences ofAustralian aasformal 55 a universal domestic architecture which villa their purpose commented by Paul Walker, “[Denton Corker Marshall] architecture with the nature. dynamic sense that it …might be escaping gravity” encouraging museums to become “commercial entertainment interests… international influences of American-Romanesque and English Queen Anne The influence of Venturi’s and Denise Scott-Brown’s passion for “an designs featuring rooms, American West Coast forms and responds to theseopen-air issues of institutional purpose and bungalow public profile – and altogether.

1 34 competing public attention” and 49even aison “museum that is now part 7 Revival. architecture of complexity and to contradiction” the work ofenhancement Edmond and rough-cast walls.” responding Australia’s of identity turns them for into strategic significance.”

Daysense another critic who reflects 52 theme park.”

8 community buildings widely published among commentators, in similar the years aroundwriting Federation. aCorrigan’s opinion, “the isentertainment value, tourism potential, 51

Desbrowe-Annear educated in in Melbourne, becoming articled in 1883 however Richard inand “Passion thegalleries Suburbs” the Keysborough theatrical nature Munday ofwas display thematic ofagrees the Melbourne Museum 53 2 35 Beck and Cooper comment on the impact of “designing in cyberspace” to a British architect before starting his own practice in 1889.

The Church is “Venturi inspired” but “not a naive transplant of Venturi’s idiom.” suggest that the serious place of learning we thought of as a museumwork has as contributing to interest in the sculptural potential of conceptualising of Desbrowe-Annear revolved around his “commitment to architecture 50 suggesting the effect of regionalism, and to an extent nationalism, as had its day.” The expressive architecture of Melbourne Museum is Denton

3 4the customary notions of scale and 36 Stonehenge +for Visitor Centre architectural form as it“attempt[ed] “eliminates an art”Marshall’s built primarily function, collaborations between Edmond andExhibition Corrigan toencouraging reintegrate culture with society”.

Corker response to increasing cultural focus on leisure activities, 54 5 Visitor Stonehenge Exhibition + Centre (2013), located in Wiltshire UK, is the gravity.”

Beck and Cooper make it clear that Denton Corker Marshall do not artists and architects.

Woodfall Desbrowe-Annear as Venturi’s approach reflected “ambiguities in thelabels programs intentions ... they encouraging museums toGeoffrey become “commercial entertainment interests…

37 second successful submission by51Denton Corker Marshall following a“imbue series participate in discourse, instead their sculptural approach to an ‘Australian Nationalist’ believing that “our ownsituation” necessities, our own should devise some fluid hierarchy applicable to the progressing competing forthis public attention” and even a “museum that is is now part 56 55 6 38 and of architectural competitions for thethat Stonehenge Heritage attraction. architecture with the dynamic sense it might be escaping gravity” climates and our own method of pursuing health happiness” should 52 towards multi-use spaces with “facilities for Mass”.

Louis Kahn was another theme park.”

John introduces the building as modest and lightweight altogether. defineMacarthur architectural ideas, positioning him within a nationalist framework.

American influence advocating a “certain level of“aresistance to fixed usage”39 57 counterpoint to the enduring presence of Stonehenge”, expressing George Tibbits thison as Desbrowe-Annear “expressed his desirethe for 53 demonstrated atreiterates Keysborough Church with moveable furniture, including the Beck and Cooper comment the impact of “designing in cyberspace” 58 40 “principle ofAustralian reversibility” - ofachieving minimal foundations -presence, through a universal domestic architecture … which included modest villa altar.

Domesticated qualities the Church, such as the window as contributing to interest in the sculptural potential of conceptualising 59 211 slender steel open-air columns that become effete, balancing a parasol roof. designs featuring rooms, American West Coast bungalow forms and sparked radicalism claims as Edmond and Corrigan repelled British postarchitectural form as it “eliminates the customary notions of scale and 7 41 enhancement Denton Corker Marshall’s Stonehenge Visitor Centre articulates a key rough-cast walls.” toitAustralia’s ofCorker identity 54 modernism imbedded in themake street aesthetic of Melbourne. gravity.”

Beck andresponding Cooper clear that sense Denton Marshall do not 8 theoretical dimension of abstraction as a compelling cerebral interaction, in the years Federation.

Hamann suggests a German influence on the Keysborough participate inaround this discourse, instead their sculptural approach is to Church “imbue using persuasive architecture to hone understanding.

55 identifying the affinity of Edmond and Corrigan’s work, “linking his ideas, architecture with the dynamic sense that it might be escaping gravity”in The subtle siting with keepsthe theGerman buildingreform “invisible from the stones”,60 positioned their resolution, of church architecture by Rudolf altogether.

2.5-kilometres thenature heritage site,isand celebrates dominant external Schwarz”.42 Thefrom formal of this examined

by Greg Missingham as 61 circulation to ameliorate exposure at the stones.

The forest of arbitrary “the angularity and the dominance of irregular polygons in the plan forms

62 angled and irregularity theGerman “glass Expressionists”. and timber-clad43 boxes”, … mightcolumns be compared to those ofofthe Munday which house the interiorobjectivism, volumes, contribute abstraction also references German commentingto on traditionaldescribed activities

e”

is provocative, evoking critical reflection on traditional museums.

this

Beck and Jackie Cooper’s Reinventing the Institution discusses the

heir

sophisticated response of Denton Corker Marshall, creating “a campus

by Macarthur an architecture that “date the when attendingaschurch – “dawdling on will the intentionally way in and loitering on building the way 63 44 stylistically, reminding us already of the turn of the century” which is out”, subtle rhythms that Edmond and Corrigan adopt in formal planning.

and

rather than a monumental building”45 by organising the plan as a miniature

symbolic of marking time and place. Macarthur continues this metaphor

urban model to combat “museum fatigue”46 through a circulation spine

by questioning “how would a visitor centre evoke the facts of continuity

serving a ‘collection of boutique museums.”47 The abstraction technique is

without fantasies of identification”64 referring to the “reversibility”65 of the

about making the “complexity and vastness of the institution intelligible

building, enabling dismantle and removal from the site. Macarthur fuels this

to visitors”,

method of abstraction a “rationale that Yarra, unfoldsVictoria, powerfully in theDesbrowedesign”66 Left Column Figure 3.asInglesby, South Harold

39

ton

Luminocity

rne

48

addressing museum relevance and contention surrounding

their purpose as commented on by Paul Walker, “[Denton Corker Marshall]

compelling people think critically about the building presence.

Annear, 1915, Pergola

responds to these issues of institutional purpose and public profile – and

Centre Column Figure 4. The Church of the Resurrection, Keysborough,

turns them into strategic significance.”49 Day is another critic who reflects

Victoria, Edmond and Corrigan, 1976, Domesticated qualities

a similar opinion, writing “the entertainment value, tourism potential, theatrical nature of display and thematic galleries of the Melbourne Museum suggest that the serious 34 place of learning we thought of as a museum has had its day.”50 The expressive architecture of Melbourne Museum is Denton Corker Marshall’s response to increasing cultural focus on leisure activities, encouraging museums to become “commercial entertainment interests…

by Macarthur as an architecture that will intentionally “date the building stylistically, reminding us already of the turn of the century”

63

which is

symbolic of marking time and place. Macarthur continues this metaphor by questioning “how would a visitor centre evoke the facts of continuity without fantasies of identification”64 referring to the “reversibility”65 of the 1 building, enabling dismantle and removal from the site. Macarthur fuels this method of abstraction as a “rationale that unfolds powerfully in the design”66 compelling people think critically about the building presence.

Conclusion The Church Eyrie, Eaglemont of St Joseph Wood Marsh Corker both revel the sculptural power of The Church Eyrie inofand Eaglemont St Denton Joseph (1902) in BoxMarshall exhibits Hill (1978) dominant also demonstrates English Queen dominant Anne artists, distilling it withinintimate curation to represent contextual refinement, American influences influences of a formal and a spatial decorative and nature tectonic andsense, American-Romanesque emphasising the thus engaging withtraditions”, games abstraction we occupy the “humanistic influences insocial a spatial sense.of45perception. grounded “With in a regionalist nature of social 46 realm of the mind, conceptual territory.

Yet at the time, as we also Combined influence ofofQueen Anne aesthetics withsame planning reflecting and suburban habitats Melbournians.

encounter more directly materiality of buildings, weof are grounded American Shingle Style, Eyrie was a “romantic response the landscape” Missingham alludes to The the the people based design characterto Edmond and9 through the Corrigan’s manoeuvred Box tomind” capture Hill 67Church viewsasand ideas attuned to thebyinformality Venturi’s of public Melbourne’s spaces68 entertaining theinspired “persistence of design traditions” 10 attuned suburban for families. daily activities again the incorporating a domestic atmosphere with a contextual catalyst.

Tibbitsand describes English influence demonstrated as 1 47 and accessibleadaptations experienceofina half-timbered, ‘God’s lounge-room’. “freemore and decorative roughcast, and “At StMarseilles Joseph’s

tiles genre” Church, the11 narthex allows the congregation tidyQueen their Anne hair or to with built-in furniture, but unusual to this Style 48 Left Column Figure Stonehenge Exhibition + Visitor Centre, Wiltshire UK, straighten tie as a6.preparation for entry into the chapel”, was the freea flow of rooms, a sequence of “interconnected spaces aseparated passage

12 2013, Light reversibile and perhaps invisible.

Conclusion Denton Corker only by commonly sliding Marshall, doors” activity overlooked considerations and an unorthodox whichinisspatial characteristic of American-Romanesque.

49 Wood Marsh and“Legends Denton Marshall bothTaylor’s revel the sculptural power of inclusion

by Edmond andCorker Harriet Edquist’s inCorrigan.

Australian Architecture” discusses the influence Jenifer “Suburban Passion”

artists, distilling itJoseph with intimate curation to represent contextual refinement, Conclusion Eyrie, Eaglemont The Church of St of Frank Lloyd Wright on Desbrowe-Annear’s later works manifesting itself also describes the articulated “progression of spaces that comfortably Image Source References 50 13 thus engaging with games of perception.

“With abstraction we occupy the The Eyrie in Eaglemont (1902) exhibits dominant English Queen Anne Wood Marsh and Denton Corker Marshall both revel the sculptural power of Church of Joseph in church, Boxdell’Australia HillHamann (1978) also demonstrates dominant “in andStDay, in detail”. and pleasantly” define the Conrad drawing on supports elements Desbrowe-Annear’s of daily activity 1. planning Source: Norman “Lo Specchio = The Real Australia (Australian Centre for

Contemporary Art, Melbourne)”, Domus 857 nature (March 2003): 78.

51 realm of the conceptual territory.

Yet at the same time, as we also influences of aWright, formal and decorative and American-Romanesque artists, distilling it with intimate curation to represent contextual refinement, American influences a spatial and tectonic sense, emphasising the which connection she attributes tomind, toin drawing Corrigan’s links tutorage between under Wright’s Venturi. written work and The theatrical 2. Source: Norman Day, “Lo Specchio dell’Australia = The Real Australia (Australian Centre for 45 encounter directly the materiality ofaffiliated buildings, are grounded 52 influences a spatial thusContemporary engaging with games of perception. abstraction we the “humanistic social traditions”, grounded in a2003): regionalist nature of social Art, Melbourne)”, Domus 857 78.withwe Prairie School, but Hamann also identifies the translation of thisoccupy American influence ofinmore interest tosense.

Corrigan, said to(March be“With Charles Moore,

= The Real Australia (Australian Centre 68 for 3. Source:Norman Day, 67“Lo Specchio dell’Australia 46 Yet through mind” entertaining the aesthetics “persistence of design traditions” Combined influence of Anne with planning reflecting realm of the the mind, conceptual territory. atwriting the same time, as we also and suburban habitats ofQueen Melbournians. influence under an Australian nationalist scope, “he expressed these also plays into spatial articulation for necessities at the Contemporary Art, Melbourne)”, Domusand 857designing (March 2003): 81.the 9 Fleur Watson, Martyn Hook, “Flinders House” Australian Architecture 102,and no.2 4. Source: with a differently contextual catalyst.

American Shingle Style, The Eyrie was athe “romantic response to the landscape” encounter more directly the materiality of buildings, we are Missingham alludes theexterior, people based design character of Edmond plans ontothe giving each of the houses …agrounded atectonic strong Box Hill Church.

Taylor comments on American connection in (March-April 2013): 49.

67 68 14 through the mind” manoeuvred to capture views attuned to theby informality of Melbourne’s entertaining theinspired “persistence of design traditions” Corrigan’s Box Hill Church asand ideas Venturi’s public Federation Villa flavour which overrode any Style allusions”. sense, noting that the Church is “closely related toShingle Venturi’s restrained early Paul Walker, “Melbourne Museum”, Architecture Australia 90, no.1 spaces (January5. Source: February 2001): 47.

10 53 suburban families. with a … contextual catalyst.

Tibbits describes the English influence demonstrated as attuned for daily activities again incorporating a domestic atmosphere works such as the delineating steel frame” National significance of Theand Eyrie is examined by Edquist through locational likening it to the “steel frame 6. Source: John Macarthur, “Stonehenge Visitor Centre” Architecture Australia 103, no.4 (JulyLeftAugust Column Figure 6.experience Stonehenge Exhibition + Visitor Centre, Wiltshire UK, 54 47 “At “free and decorative adaptations of a half-timbered, roughcast, and Marseilles 2014): 25. and more accessible in ‘God’s lounge-room’.

St Joseph’s value associated with the Heidelberg of impressionist painting, “an outline of the Benjamin Franklin HouseSchool in Philadelphia”.

Denton Corker Marshall, 2013, Light reversibile and this perhaps invisible. tiles genre” with built-in furniture, but unusual Anne Style Church, the11 narthex allows the congregation tidyQueen their hair or to integral part of Australian nationalist culture”15to that Desbrowe-Annear Left Column Figure 6.

Stonehenge Exhibition + Visitor Centre, Wiltshire UK, Endnotes 48 was the free flow of rooms, a sequence of “interconnected spaces separated straighten a of tie as mentioned a preparation for entryAustralian into the ethos chapel”, aelements passage responded to bythe embodying a “particularly associated with The interplay commentator interpretations assess 1. Phillip Goad, “The Persistence of Design Traditions”, New Directions in Australian Architecture, 12 2013, Light reversibile and perhaps invisible.

Denton Corker Marshall, 16 which only sliding doors” isspatial characteristic American-Romanesque. activity commonly inEyrie. considerations and anexpressing unorthodox byby Phillip Goad andoverlooked Patrick (Balmain, NSW:ofPesaro Publishing, 2001): 47. a relaxation and family.” of international influence on Edmond and Corrigan similarly, atBingham-hall The

Image Source References 2. Goldberg, Stephanie, “The Origins of Form: Abstraction and History in Modern Architecture”

49 Architecture” discusses the influence Harriet Edquist’s “Legends inCorrigan.

Australian 1. Source: Norman Day, Specchio dell’Australia TheTaylor’s Real Australia (Australian Centre for inclusion by Edmond Jenifer Passion” strong affiliation with“Loand Robert Venturi, and= discuss the“Suburban radical undertones Crit 21 (1988): 17.

Contemporary Art, Melbourne)”, Domus 857 (March 2003): 78.

3. Frank Ibid. of Lloyd Wright on Desbrowe-Annear’s later works manifesting itself also describes the articulated “progression of spaces that comfortably distinguishing Melbournian suburban identity.

2.

Source: Norman Day, “Lo Specchio dell’Australia = The Real Australia (Australian Centre for Image Source 4. Haig Beck,References Jackie Cooper, “More or Less”, UME 18 (2004): 4.

13 Domus 857 (March 2003): 78.

50 inMelbourne)”, Contemporary Art, “in and detail”.

Conrad Hamann supports Desbrowe-Annear’s Source: Norman Day, “Lo Specchio dell’Australia = Theon Real Australia (Australian Centre for and pleasantly” define the church, drawing elements of daily activity 1.

5. planning “Wood Marsh”, https://www.woodmarsh.com.au/profile

Source:NormanArt, Day, “Lo Specchio dell’Australia = The Real 78.

Australia (Australian Centre for 3. Contemporary Melbourne)”, Domus 857 (March 2003):

6. Ibid.

51 work and the connection to Wright, linkstutorage between Wright’s written which she attributes todrawing Corrigan’s under Venturi.

The theatrical Melbourne)”, Domus 857 (March 2003): 2. Contemporary Source: NormanArt, Day, “Lo Specchio dell’Australia = The Real 81.

Australia (Australian Centre for 7. Anna Johnson, “Twist of Nature”, Monument 60 (April-May 2004): 59.

Fleur Watson, Martyn Hook, “Flinders House” Australian 102, no.2 4. Source: Art,Persistence Melbourne)”, Domus 857 2003): 78.withArchitecture Prairie School, but Hamann also identifies translation of this American 8. Contemporary Philip Goad, “The of Design Traditions”, 47. influence of interest to Corrigan, said to(March bethe affiliated Charles Moore,52 (March-April 2013): Day,49.

“Lo Specchio dell’Australia = The Real Australia (Australian Centre for 3.

9. Source:Norman Ibid.

Paul “Melbourne Museum”, Architecture Australia 90, no.1 (January5. Source: influence an Melbourne)”, Australian nationalist scope, writing “henecessities expressed these also playsunder into Walker, spatial articulation and the at the Art, Domus 857 (March 81.

10. Contemporary Martyn Hook, “Forging South” Monument 51designing (2002):2003): 41. for February 2001): 47.

Fleur Martyn Hook, “Flinders House” Australian Architecture 102, no.2 4.

11. Source: Norman Day,Watson, “Lo dell’Australia = American The Realof Australia (Australian Centre for plans onSpecchio the exterior, giving each the houses … strong Box Hilldifferently Church.

Taylor comments on the connection aatectonic John Macarthur, “Stonehenge Visitor Centre” Architecture Australiain 103, no.4 (July6. Source: (March-April 2013): 49.

Contemporary Art, Melbourne)”, Domus 857 (March 2003): 78.

14 August 2014): 25.flavour Federation Villa which overrode any to Shingle Style Paul Walker, “Melbourne Museum”, Architecture Australia 90, allusions”. no.1 (January5.

Left Column Figure The Eyrie, Eaglemont, Victoria, Harold Desbrowesense, noting that the1.

Church is56. “closely related Venturi’s restrained early 12. Source: Anna Johnson, “Twist of Nature”,

2001): 47.

13. February Ibid.

National significance of The is examined Edquist through locational Annear, House lot“Stonehenge no.Eyrie 32 works … 1902, such as the delineating steel frame”53by likening it to the “steel frame 6.

14. Source: Martyn John Hook,Macarthur, “Forging South”, 40. Visitor Centre” Architecture Australia 103, no.4 (July-

Endnotes 2014): 25.

54Harold 15. August Ibid. value associated with the Heidelberg School of Victoria, impressionist painting, “an Centre Column Figure 2.Franklin The Eyrie, Eaglemont, outline the“The Benjamin House in Philadelphia”.

1. Phillipof New Directions in AustralianDesbroweArchitecture, Goad, Persistence of Design Traditions”, 16. Ibid.

Stonehenge Exhibition + Bingham-hall Visitor Centre 15 by Phillip Goad and Patrick (Balmain, NSW: Pesaro Publishing, 2001): 47. integral part of Australian nationalist culture” that Desbrowe-Annear Annear, 1902, House lot no. 38 17. Ibid., 44.

2.

Goldberg, Stephanie, “The Origins of Form: Abstraction and History in Modern Architecture” Endnotes Stonehenge + Visitor Centre (2013), locatedethos in Wiltshire UK, iswith the responded toExhibition bythe embodying a “particularly Australian associated The interplay of mentioned commentator interpretations assess elements Crit 21 (1988): 17.

1. Phillip Goad, Directions in Australian Architecture, “The Persistence of Design Traditions”, New 3. by Ibid.Phillip second successful submission by Denton Corker Marshall following a series 16 Goadfamily.” and Patrickat Bingham-hall NSW: Pesaro Publishing, 2001): 47. a relaxation and The Eyrie.(Balmain, of international influence on Edmond and Corrigan similarly, expressing 4.

Haig Beck,Stephanie, Jackie Cooper, Less”, UME 18 (2004): 2. Goldberg, “The “More Originsoroffor Form: Abstraction and4.History in Modern Architecture” 56 of architectural competitions the Stonehenge Heritage attraction.

5. “Wood Marsh”, https://www.woodmarsh.com.au/profile strong affiliation with Robert Venturi, and discuss the radical undertones Crit 21 (1988): 17.

6.

Ibid.

John 3. Ibid.Macarthur introduces the building as “a modest and lightweight distinguishing Melbournian suburban identity.

7.

Johnson, “Twist of Nature”, Monument 6018 (April-May 4. Anna Haig Beck, Jackie Cooper, “More or Less”, UME (2004): 4.2004): 59.

57 counterpoint tohttps://www.woodmarsh.com.au/profile the enduring presence of Stonehenge”, expressing the 8.

Philip Goad, “The Persistence of Design Traditions”, 47.

5. “Wood Marsh”, 9.

Ibid.

58 6. Ibid. “principle of reversibility” - achieving minimal foundations - through 10. Anna Martyn Hook, “Forging Monument 5160 (2002): 41. 2004): 59.

7.

Johnson, “Twist ofSouth” Nature”, Monument (April-May 11. Philip Norman Day, “LoPersistence Specchio of dell’Australia = The Realbalancing Australia (Australian for 211 slender steel columns that become effete, a parasolCentre roof.59 8.

Goad, “The Design Traditions”, 47.

Contemporary Art, Melbourne)”, Domus 857 (March 2003): 78.

9. Ibid.

Denton Corker Marshall’s Stonehenge Visitor Centre articulates a key 12. Anna Johnson, “Twist ofSouth” Nature”, 56.

10.

Martyn Hook, “Forging Monument 51 (2002): 41.

13. Ibid.

11.

Norman Day, “Lo Specchio dell’Australia as = The Real Australia (Australian Centre for theoretical dimension of abstraction a compelling cerebral interaction, 14. Martyn Hook, “Forging South”, 40.

Contemporary Art, Melbourne)”, Domus 857 (March 2003): 78.

15. Anna Ibid. using persuasive architecture to understanding.

Left Column Figure 1.

The Eyrie, Eaglemont, Victoria, Harold Desbrowe12.

Johnson, “Twist of Nature”, 56. hone 16. Ibid.

Ibid.

13.

The subtle siting keeps the building “invisible from the stones”,60 positioned Annear, 1902, House lot no. 32 17. Martyn Ibid., 44.

14.

Hook, “Forging South”, 40.

2.5-kilometres heritage and celebrates external 15. Ibid. Column from Centre Figurethe 2. The Eyrie,site, Eaglemont, Victoria, dominant Harold Desbrowe16. Ibid.

circulation to ameliorate exposure at the stones.61 The forest of arbitrary Annear, 1902, House lot no.

38 17. Ibid., 44. angled columns and irregularity of the “glass and timber-clad boxes”,62 which house the interior volumes, contribute to abstraction described

by Macarthur as an architecture that will intentionally “date the building stylistically, reminding us already of the turn of the century”63 which is symbolic of marking time and place. Macarthur continues this metaphor by questioning “how would a visitor centre evoke the facts of continuity

Contemporary Art, Melbourne)”, Domus 857 (March 2003): 78.

3. Source:Norman Day, “Lo Specchio dell’Australia = The Real Australia (Australian Centre for Contemporary Art, Melbourne)”, Domus 857 (March 2003): 81.

4. Source: Fleur Watson, Martyn Hook, “Flinders House” Australian Architecture 102, no.2 (March-April 2013): 49.

5. Source: Paul Walker, “Melbourne Museum”, Architecture Australia 90, no.1 (JanuaryFebruary 2001): 47.

6. Source: John Macarthur, “Stonehenge Visitor Centre” Architecture Australia 103, no.4 (July3 August 2014): 25.

Endnotes 1. Phillip Goad, “The Persistence of Design Traditions”, New Directions in Australian Architecture,

by Phillip Goad and Patrick Bingham-hall (Balmain, NSW: Pesaro Publishing, 2001): 47.

2. Goldberg, Stephanie, “The Origins of Form: Abstraction and History in Modern Architecture” Crit 21 (1988): 17.

3. Ibid.

Endnotes cont.

Conclusion 4. Haig Beck, Jackie Cooper, “More or Less”, UME 18 (2004): 4.

18. Ibid., 42.

5.

“Wood Marsh”, https://www.woodmarsh.com.au/profile TheAnna strength of American and English influence on nationalist and regionalist 19.

Johnson, “Twist of Nature”, 57.

6. Ibid.

20. Ibid., 56. architecture in “Twist Australia is protracted, in our 7.

Anna Johnson, of Nature”, Monument 60engrained (April-May 2004): 59. cultural identity 21. Martyn Hook, “Forging South”, 41.

8. Philip Goad, “The Persistence of Design Traditions”, 47.

22.

Anna Johnson, “Twist ofrevolution Nature”, 57. of Desbrowe-Annear and public gathering through the domestic 9. Ibid.

23. Norman Day, “Lo Specchio dell’Australia = The Real Australia (Australian Centre for 10.

Martyn Hook, South” Monument 51 (2002): 41. ultimate goal of placing innovations of“Forging Edmond and Corrigan with the Contemporary Art, Melbourne)”, 78.

11. Norman Day, “Lo Specchio dell’Australia = The Real Australia (Australian Centre for Martyn Hook, “Forging South”, 41.

24. lifestyles at the Art, coreMelbourne)”, of design.Domus This study has discussed 3 Contemporary 857 (March 2003): 78. broad interpretations 25. Ibid., 40.

12.

Johnson, “Twist of Nature”, 56. of Anna these architects theirAustralian progressive architecture the Fleur Watson, Martynand Hook,positioned “Flinders House” 26.

Architecture 102, no.2in (March13. Ibid.

April 2013): 48. context Melbourne’s suburban life over the past century.

14.

MartynofHook, “Forging South”, 40.

3 27. Ibid.

15. Ibid.

28. Ibid.

16. Ibid.

29. Ibid.

17. Ibid., 44.

30. Ibid.

31.

LeftIbid.

Column Figure 5. The Church of St Joseph, Box Hill, Victoria, Edmond 32. Ibid.

Endnotes cont. andIbid.

Corrigan, 1978, Articulation of space and form 33.

18. Ibid., 42.

34. Ibid.

19. Anna Johnson, “Twist of Nature”, 57.

35. Roger Wood, as quoted in Fleur Watson, Martyn Hook, “Flinders House” Australian 20.

Ibid., 56.

Endnotes cont. 102, no.2 (March-April 2013): 48.

Architecture Conclusion 21.

Martyn Hook, “Forging South”, 41.

18.

36. Ibid., Philip42.

Goad, “The Persistence of Design Traditions”, 47.

22.

Anna Johnson, of 57.

TheAnna strength of“Twist American and English nationalist and regionalist 19.

Johnson, “Twist of Nature”, Nature”, 57. theinfluence 37.

Haig Beck, Jackie Cooper, “Reinventing Institution”,on Domus 830 (October 2000): 58.

23.

Norman “Lo Specchio dell’Australia = The Real Australia (Australian Centre for 20.

Ibid., 56. Day, 38.

“Denton Corker Marshall”, https://www.dentoncorkermarshall.com/contact/ architecture in Australia is protracted, engrained in our cultural identity Contemporary Art, Melbourne)”, 78.

21.

Hook, “Forging South”, 41.

39. Martyn Haig Beck, “Denton Corker Marshall: Melbourne Museum, Melbourne, Victoria”, UME 14 24.

Martyn Hook, “Forging 41.57.

22.

Anna Johnson, “Twist ofSouth”, Nature”, through the revolution of Desbrowe-Annear and public gathering (2002): 53. domestic 25.

Ibid., 40. Day, “Lo Specchio dell’Australia = The Real Australia (Australian Centre for 23.

40. Norman Ibid.

26.

Fleur Watson, Martyn Hook,and “Flinders House”with Australian 102, of no.2placing (Marchinnovations ofArt, Edmond Corrigan the Architecture ultimate goal Melbourne)”, 78.

41. Contemporary Ibid.

April 2013): 48.

24.

Martyn Hook, “Forging South”, 41.

42.

Haig Beck, Jackie Cooper, “Reinventing the Institution”, 58. lifestyles at the core of design.

This study has discussed broad interpretations 27.

Ibid. 40.

25.

43. Ibid., Norman Day, “Museum Culture”, AR Australia (Spring 2000): 56.

28.

Ibid.

26.

Watson, Martyn Hook, “Flinders House” Architecture 102, no.2 (Marchof Fleur these architects and positioned theirAustralian progressive architecture the 44.

Haig Beck, “Denton Corker Marshall: Melbourne Museum, Melbourne, Victoria”, 52.in 29. Ibid.

48. Cooper, “Reinventing the Institution”, 62.

45. April Haig 2013): Beck, Jackie Image Source References context of Melbourne’s suburban life over the past century.

30.

Ibid.

27.

46. Ibid.

Ibid.

Source: Geoffrey Woodfall, “Documents on Australian Architecture Harold Desbrowe Annear: 1. Ibid.

31.

28.

47. Ibid.

Ibid.

1866-1933, Victoria”, Architecture in Australia, no.56 (February 1967): 100.

32.

Ibid.

29.

48. Ibid.

Ibid.

Source: Geoffrey Woodfall, “Documents on Australian Architecture Harold Desbrowe Annear: 2. Ibid.

33.

30.

49. Ibid.

Paul Walker, “Melbourne Museum”, Architecture Australia 90, no.1 (January-February 1866-1933, Victoria”, Architecture in Australia, no.56 (February 1967): 101.

34.

31. Ibid.

Ibid.

2001): 48. Figure 5. The Church of St Joseph, Box Hill, Victoria, Edmond Left Column Source: Geoffrey “Documents on Australian HaroldHouse” Desbrowe Annear: 3.

35.

Roger Wood, as Woodfall, quoted in Fleur Watson, MartynArchitecture Hook, “Flinders Australian 32.

50. Ibid.

Norman Day, “Museum Culture”, AR Australia (Spring 2000): 53/54.

1866-1933, 102, Victoria”, Australia Architecture no.2 Architecture (March-April in 2013): 48. , no.56 (February 1967): 103.

33.

Ibid. and Corrigan, 1978, Articulation of space and form 51.

Haig Beck, Jackie Cooper, “Reinventing the Institution”, 62.

Source: Greg“The Missingham, “Edmond & Corrigan”, Architecture & Urbanism, no.4 (April 1981): 4. Philip 36.

Goad, Persistence of Design Traditions”, 47.

34.

52. Ibid.

Norman Day, “Museum Culture”, 57.

57. Beck, Jackie Cooper, “Reinventing the Institution”, Domus 830 (October 2000): 58.

37.

Haig 35.

Wood, as Cooper, quoted “Reinventing in Fleur Watson, Martyn Hook, 53. Roger Haig Beck, Jackie the Institution”, 64. “Flinders House” Australian Source: Greg Missingham, “Edmond & Corrigan”, Architecture & Urbanism, no.4 (April 1981): 5. “Denton 38.

Corker Marshall”, https://www.dentoncorkermarshall.com/contact/ 102, no.2 (March-April 2013): 48.

54. Architecture Ibid.

38. Beck, “Denton Corker Marshall: Melbourne Museum, Melbourne, Victoria”, UME 14 39.

Haig 36.

55. Philip Ibid. Goad, “The Persistence of Design Traditions”, 47.

(2002): 53.

37.

Jackie “Stonehenge Cooper, “Reinventing the Institution”, Domus 830 (October 58.

56. Haig JohnBeck, Macarthur, Visitor Centre” Architecture Australia 103, no.42000): (July-August 40.

Ibid.

38.

“Denton Corker Marshall”, https://www.dentoncorkermarshall.com/contact/ Endnotes 2014): 22.

41.

Ibid.

39.

Beck, “Denton Corker Marshall: Melbourne Museum, Melbourne, Victoria”, UME 14 , 57.

1. Haig Ibid., 21.Tibbits, Australian Dictionary of Biography George “Annear, Harold Desbrowe (1865-1933)”, 42. Haig Beck, Jackie Cooper, “Reinventing the Institution”, 58.

53.

58. (2002): Ibid., 22.

Volume 7, (MUP), 1979 (October 2020), http://adb.anu.edu.au/biography/annear-harold43.

Norman Day, “Museum Culture”, AR Australia (Spring 2000): 56.

40.

59. Ibid.

Ibid. desbrowe-5036 44.

Haig Beck, “Denton Corker Marshall: Melbourne Museum, Melbourne, Victoria”, 52.

41.

60.

Ibid., Ibid. 25.

2. Ibid.

45.

Haig Beck, Jackie Cooper, “Reinventing the Institution”, 62.

42.

61.

Ibid. Beck, Jackie Cooper, “Reinventing the Institution”, 58.

3. Haig 46.

Ibid.

43.

Day, “Museum AR Australia&(Spring 2000): 56. Melbourne 1901-1927”, 62.

Ibid.

Harriet Edquist, “HaroldCulture”, Desbrowe-Annear The City Beautiful, 4. Norman 47.

Ibid. Beck, “Denton Corker Marshall: Melbourne Museum, Melbourne, Victoria”, 52.

44.

63. Haig Ibid.

Transition, no.59-60 (1998): 49.

48.

Ibid.

45.

Beck, Jackie Cooper, the Institution”, 62.

64.

Ibid., 27.Edquist, 5. Haig Harriet “Golden “Reinventing Summer, Harold Desbrowe-Annear at Eaglemont”, Monument, Image Source References 49.

Paul Walker, “Melbourne Museum”, Architecture Australia 90, no.1 (January-February 46.

Ibid.

65.

Ibid., no.7822.

(2007): 26.Woodfall, “Documents on Australian Architecture Harold Desbrowe Annear: Source: Geoffrey 1. 2001): 48.

47.

66.

Ibid., 27. Woodfall, 6. Ibid.

Geoffrey “Documents on in Australian Architecture Harold1967): Desbrowe 1866-1933, Australia , no.562000): (February 100. Annear: 186650.

Norman Day,Victoria”, “MuseumArchitecture Culture”, AR Australia (Spring 53/54.

48.

Ibid.

67.

Haig JackieArchitecture Cooper, “More or Less”, 4.

1933,Beck, Victoria”, in Australia , no.56 (February 1967): 102.

Conclusion Source: Geoffrey Woodfall, “Documents on Australian Architecture Harold Desbrowe Annear: 2.

51.

Haig Beck, Jackie Cooper, “Reinventing the Institution”, 62.

49.

Walker, “Melbourne Museum”, Architecture Australia 90, no.1 (January-February 68.

Phillip Goad, “The Persistence of Design Traditions”, 44.

7. Paul Tibbits, “Annear, Harold Desbrowe (1865-1933)”, n.p.

1866-1933, 52. 2001): Norman Day,Victoria”, “MuseumArchitecture Culture”, 57.in Australia, no.56 (February 1967): 101.

48.

Wood Marsh and Denton Corker Marshall bothArchitecture revel the Harold sculptural power of Source: Geoffrey Woodfall, “Documentsthe on Australian Desbrowe Annear: 3. Haig 53.

Beck, Jackie Cooper, “Reinventing Institution”, 64.

50. Norman Day, “Museum Culture”, AR Australia (Spring 2000): 53/54.

1866-1933, Victoria”, Architecture in Australia,to no.56 (February 1967): 103.refinement, 54.

Ibid. artists, distilling it with intimate curation represent contextual 51. Haig Beck, Jackie Cooper, “Reinventing the Institution”, 62.

4. Source: Greg Missingham, “Edmond & Corrigan”, Architecture & Urbanism, no.4 (April 1981): 55.

52. Ibid.

Norman Day, “Museum Culture”,of57. thus with games perception.

“With abstraction we occupy the 57.engaging 56.

Macarthur, Visitor Centre” Architecture 53. John Haig Beck, Jackie“Stonehenge Cooper, “Reinventing the Institution”, 64.Australia 103, no.4 (July-August Source:22.

Greg Missingham, “Edmond & Corrigan”, Architecture & Urbanism, no.4 (April 1981): 5. 2014): 54. realm Ibid. of the mind, conceptual territory. Yet at the same time, as we also 38.

57.

55. Ibid., Ibid. 21. encounter directly the materiality of buildings, we are grounded 58.

Ibid., 22. more“Stonehenge 56.

John Macarthur, Visitor Centre” Architecture Australia 103, no.4 (July-August 59. Ibid.

2014): 22.

Endnotes through the mind”67 entertaining the “persistence of design traditions”68 60.

Ibid., 25.

57.

21.Tibbits, “Annear, Harold Desbrowe (1865-1933)”, Australian Dictionary of Biography, 1. Ibid., George 61.

Ibid. with a contextual 58.

Ibid., 22. 7, (MUP), catalyst.

Volume 1979 (October 2020), http://adb.anu.edu.au/biography/annear-harold62.

59. Ibid.

Ibid. desbrowe-5036 63.

Ibid.

60.

Ibid., 25.

2. Ibid.

64.

Ibid., 27.

61.

Ibid.

3. Ibid.

65. Ibid.

Ibid., 22.

62.

Harriet Edquist, “Harold Desbrowe-Annear & The City Melbourne 1901-1927”, 4.

Left Column Figure 6. Stonehenge Exhibition + Beautiful, Visitor Centre, Wiltshire UK, 66. Ibid.

Ibid., 27.

63.

Transition , no.59-60 (1998): 49.

67.

Haig Beck, Jackie Cooper, “More or Less”, 4.

64.

Ibid., 27.

Denton 2013, Light and perhaps invisible.

5.

HarrietCorker Edquist,Marshall, “Golden Summer, Haroldreversibile Desbrowe-Annear at Eaglemont”, Monument, 68. Ibid., Phillip22.

Goad, “The Persistence of Design Traditions”, 44.

65. no.78 (2007): 26.

66.

Ibid., 27.

6. Geoffrey Woodfall, “Documents on Australian Architecture Harold Desbrowe Annear: 186667. Haig Beck, JackieArchitecture Cooper, “More or Less”,, 4.

1933, Victoria”, in Australia no.56 (February 1967): 102.

68.

Phillip Goad, “TheHarold Persistence of Design Traditions”, 44.

7.

Tibbits, “Annear, Desbrowe (1865-1933)”, n.p.

Image Source References

1. Source: Norman Day, “Lo Specchio dell’Australia = The Real Australia (Australian Centre for Contemporary Art, Melbourne)”, Domus 857 (March 2003): 78.

2. Source: Norman Day, “Lo Specchio dell’Australia = The Real Australia (Australian Centre for Contemporary Art, Melbourne)”, Domus 857 (March 2003): 78.

3. Source:Norman Day, “Lo Specchio dell’Australia = The Real Australia (Australian Centre for Contemporary Art, Melbourne)”, Domus 857 (March 2003): 81.

4. Source: Fleur Watson, Martyn Hook, “Flinders House” Australian Architecture 102, no.2 (March-April 2013): 49.

5. Source: Paul Walker, “Melbourne Museum”, Architecture Australia 90, no.1 (January-

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UNSW Built Environment

A Silver Lining Henrick Michael

Luminocity

Community Library

36

Focusing on the rugged regional landscape and ductile geology of Broken Hill, ‘A Silver Lining’ proposes a new community library with an architecture that is grounded in the local topography.

The design investigates the structure of a library as an abstraction of geomorphology, examining the prominent shear zones and belt of attenuation or line of lode. A geological and mining focus for the library tells a story of the land, investigating the complex tectonic forces and ancient 1,800 million-year old mineral formation. Reflecting its enduring

existence, the orebody consisting of leadzinc-sulphide serves as the heart of one of Australia’s oldest mining towns and informs the steel structure and rammed earth composition of the library. With true North orientated 35° from the city cartesian grid, the library connects to the landscape by conflating both solar and cartesian orientations, mediating semiarid climactic conditions and reinforcing a sense of belonging within the civic site.

MAIN READING SPACE | 1:50 DETAIL SECTION MATERIAL ELEMENTS & SYSTEMS

1:50 MODEL | INTERNAL VISUALISATIONS A SILVER LINING | DESIGN PROCESS TELLING A STORY OF THE LAND

BROKEN HILL GEOLOGICAL CROSS SECTION SOUTHWESTERN BROKEN HILL BLOCK- STRATIFORM MINERALISATION

A VARIETY OF SCALES, BALANCES & SOCIAL SETTINGS

BROKEN HILL GEOLOGICAL CROSS SECTION

M A I N S H E ATHE R RBROKEN E L A T I O HILL N S HLINE I P &OF O RLODE E BEARING FOLDS

SOUTHWESTERN BROKEN HILL BLOCK - STRATIFORM MINERALISATION

THACKARINGA GROUP

BROKEN HILL GROUP

BROKEN HILL GROUP

THACKARINGA GROUP

THE BELT OF OF ATTENUATION AND MAIN SHEAR RELATIONSHIP BELT ATTENTUATION AND THE MAIN SHEAR

BROKEN HILL GROUP

Surface

North

Main Shear

South

SUNDOWN GROUP Western Anticline

line rn Antic

Easte

Eastern

Syncline

Ore Horizon

North

South

Zinc Lodes Lead Lodes Amphibolite/Basic Gneiss Granite Gneiss

SCALE 1:50

Potosi Gneiss Banded Iron Formation Ore Horizon

Garnet Quarzite

1:50 MODEL | INTERNAL VISUALISATIONS

Sheer Zones

0

Antiform Synform

1. Main shear before deformation

FOCAL POINTS FRAMING LIBRARY SPACES

2. Main shear during early stage of deformation

1M

RAMMED EARTH WALL

SOFTCORE FILL

REINFORCED CONCRETE

HARDCORE FILL

GRADED STONE

BATT INSULATION

4. Main shear mineralisation. bulges of ore

THE LINE OF LODE

AN ABSTRACTION OF GEOMORPHOLOGY

A LINE OF PASSAGE

STRUCTURAL ANALOGY

NATURAL LIGHTING

RESPONSE TO THERMAL COMFORT

A ductile form is adapted to include the major and minor folds of the ore horizon.

The shear zone becomes a line of passage, serving as the focus point inside the library.

A double-skin approach is utilised with a warren truss and airfoil system working together.

The importance of light coming from the centre, ‘illuminates the mind of the reader.’

The centre of the library facilitates the purging of heat through a thermal chimmney.

FRAMING LIBRARY SPACES

0.5M

A VARIETY OF SCALES, BALANCES & SOCIAL SETTINGS

3. Main shear following deformation

‘The Belt of Attenuation’ is the plastic deformation of the Broken Hill Line of Lode.

FOCAL POINTS

0.25M

A MULTI-THEMATIC SPACE

A MULTI-THEMATIC SPACE A MULTITUDE OF LIBRARY ELEMENTS IN ONE UNIFIED SPACE A MULTITUDE OF LIBRARY ELEMENTS IN ONE UNIFIED SPACE

SPATIAL RULES & BROKEN HILL SITEPLAN

UNSW Built Environment

ISIONS

RELATIONSHIP BETWEEN SITE & INSITUTION

IVISIONS

ARCHITECTURE ARCHITECTURE GROUNDED GROUNDED IN THE TOPOGRAPHY IN THE TOPOGRAPHY AN INVESTIGATIONAN OF INVESTIGATION MATERIALITY, FORM OF MATERIALITY, AND FUNCTION FORM AND FUNCTION

SCALE 1:1000 5

AL DIVISIONS

THE LIBRARY CARREL THE LIBRARY CARREL

A TRANSITION BETWEEN A TRANSITION OPEN & BETWEEN CLOSED OPEN & CLOSED

A STUDY WITH RAMMED EARTH CONSTRUCTION A STUDY WITH RAMMED EARTH CONSTRUCTION

NORMATIVE PASSAGE THROUGH ANORMATIVE LIBRARY PASSAGE THROUGH A LIBRARY

0

50m 15

STRUCTURAL SYSTEM & ORGANISATION GROUND & FIRST LEVEL FLOORPLANS

THE INDIVIDUAL CARRELTHE INDIVIDUAL CARREL

THE PAIRED CARREL

THE PAIRED CARREL

THE GROUP CARREL

THE GROUP CARREL

A RANGE OF SPATIAL EXPERIENCES A RANGE OF SPATIAL EXPERIENCES

nspired by the Italianate Inspired facade ofby the the Broken Italianate Hill facade Police of the The Broken hollowed Hill Police forms serve The as hollowed a metaphor forms serve for theas aFocusing metaphoron for the notion the of Focusing a ‘roomon within the notion a room’, of athe‘room within a room’, the of rock-weathering natural processes whichof have rock-weathering been vaulted which rammed have been earth inlay vaulted offersrammed an openearth collaborative inlay offers an open collaborative Station, the individual carrel Station, spacethe isindividual more conventional carrel space natural is moreprocesses conventional n its function. The twoin separated its function. working The inlays two separated are operating working continuously inlays are in operating the Broken continuously Hill landscape in the forBrokenspace Hill for landscape small for group space work, forwithsmall an inward group work, focus with an inward focus esigned to provide socialdesigned and visual to provide boundaries socialbetween and visualmore boundaries than 90between million years. more The than paired 90 million carrel years. space The is paired for conviviality, carrel spacecommunication is for conviviality, and sharing communication ideas. In and sharing ideas. In ther carrel spaces. The other solitary carrel spaces spaces. are The shaped solitary to spaces used toaremeet shaped with toone other used person to meetand withopenly one other discusspersonterm, and the openly groupdiscuss carrel serves term, as the agroup testament carrel toserves Kahn’sas a testament to Kahn’s 23 old the important ritual hold of reading the important within ritual the library, of readingsomething within the over library, the table.something Each carrel over istheinside table.a Each bay carrel idea is of inside the acarrel bay space idea conceived of the carrel as a space miniature conceived as a miniature onsidering our human qualities considering of scale our human and movement, qualities of window scale and which movement, is covered window by a deep whichverandah is covered to reduce by a deeplibrary, verandah ‘a microcosm to reduce of library, the library ‘a microcosm as a whole, of the where library as a whole, where ut also values whichbutgivealsospirit values to which the design. give spirit direct toinsolation the design. but provides direct natural insolation light but to provides the setting. natural a light community to the ofsetting. readers agathered community surrounded of readers by books.’ gathered surrounded by books.’

Following Kahn’s belief that Following the structure Kahn’s must beliefrespect that thethestructure ‘order ofmust nature’, respect a metaphor the ‘orderforof nature’, a metaphor for the attenuating Broken Hillthe‘Line attenuating of Lode’,Broken is translated Hill ‘Lineintoof the Lode’, gradual is translated organisation into ofthethegradual organisation of the carrels. In this sense, a gradation carrels. Inin this exposure sense, toa the gradation surroundings in exposure is utilised to theby surroundings each carrel, is utilised by each carrel, one degree more open orone closed, degreeonemore degree openmore or closed, layered one thandegree the setting more adjacent layered than to it. the setting adjacent to it.

Moreover, as Kahn suggests Moreover, in his as Phillips KahnExeter suggests Academy in his Library, Phillips Exeter Exeter (1972) Academy this Library, is Exeter (1972) this is shaped by common human shaped impulsesbysuch common as the human desireimpulses to meet such and as urgetheto desire move to forward meet to andtheurge to move forward to the peripheral light, seeking a conflation peripheral oflight, artfulness seekingand a conflation placemaking of artfulness within the and library placemaking carrel spaces. within the library carrel spaces.

22

21 14 20

19

10 18

9

ELEMENTS OF GEOMORPHOLOGY ELEMENTS & OFMINING GEOMORPHOLOGY TYPOLOGY & MINING TYPOLOGY CONCEPT & DESIGN PROCESS

CONSTRUCTIONAL & DECONSTRUCTIONAL CONSTRUCTIONAL &LANDFORMS DECONSTRUCTIONAL LANDFORMS

13

17

CONCEPT & DESIGN PROCESS

AEOLIAN & FLUVIAL PATTERNS OF SEMI-ARID AEOLIAN REGIONS & FLUVIAL PATTERNS OF SEMI-ARID REGIONS

24

8

AEOLIAN PROCESS Rock Weathering

AEOLIAN PROCESS Rock Weathering

7

FLUVIAL PROCESS Banded Vegetation

FLUVIAL PROCESS Banded Vegetation

11

12

10

5

9 16

6

ABRASION

15

1. THE LINE OF LODE

1. THE LINE OF 2.

LODE THE MINESHAFT

2. THE MINESHAFT 3. THE WINDCATCHER

3. THE WINDCATCHER 4. THE SHEAR WALL

ABRADED ABRASION SURFACE

ABRADED CARREL SURFACE ABSTRACTION

CARREL ABSTRACTION INTERGROVE/GROVE

8

4. THE SHEAR WALL

INTERGROVE/GROVE RUNOFF 4

3

6

Luminocity

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

GROUND FLOORPLAN

5

SCALE 1:250

4

ARGENT STREET ENTRANCE LOBBY LIFT COUNCIL CUSTOMER SERVICE COUNCIL STAFF OFFICE CHILDREN AREA 1 STAFF TOLIETS CARRELS BLEACHER SEATING YOUTH AREA PUBLIC TOLIETS GROUP SEATING

13.

14.

15.

16.

17.

18.

19.

20.

21.

22.

23.

24.

SEMI-ARID GARDEN CARPARK OUTBACK LETTERBOX LIBRARY BATTERY STORE & SERVER CHILDREN AREA 2 STORE TEA STATION LIBRARY CUSTOMER SERVICE BLENDE STREET ENTRANCE WRITER-IN-RESIDENCE STUDIO BIKE RACKS MECHANICAL SERVICES/ PLANT

SCALE 1:250

2 1

1.

2.

3.

4.

5.

LIBRARY STAFF OFFICE MAKERSPACE EDITING SUITE WORKSPACES GALLERY/ EXHIBITION SPACE

6.

7.

8.

9.

10.

38

CENTRAL GATHERING SPACE WILYAKALI KEEPING PLACE MEETING ROOM 1 MEETING ROOM 2 LIBRARY MANAGER OFFICE

SCALE 1:250 1

5 2

1

LEVEL 1 FLOORPLAN

3

SCALE 1:250 1 0

10m

LANDSCAPING RUNOFF

LANDSCAPING

Abrasion is the process of erosion Abrasion The wind is the erosion process of anofisolated erosionrocky The The wind hollowed erosion of form an isolated servesrocky as a The hollowed The formcomplex servesecosystem as a of a series The The complexillustration ecosystem ofdepicts a series the TheA microclimate illustration approach depicts minimises the A microclimate approach minimises produced by windblown suspended produced outcropbyprogresses windblownat suspended varying rates. outcrop metaphor progresses for the at varying 90 million rates.year metaphor for ofthe contour-aligned 90 million yearintergrove and of intergrove contour-aligned areaintergrove delivering and a intergrove the requirements area fordelivering high water inputs a the requirements for high water inputs grains of sand travelling at high grains The ofprocess sand is travelling a highly dynamic at highone, The old process processes is a highly of dynamic rock-weathering one, old processesgrove of regions rock-weathering are formed by semi- groveshallow regions surface are formed flowby ofsemi-water shallow throughsurface hydrozoning flow and of increasing water through hydrozoning and increasing speed sandblasting solid objects. speed oftensandblasting forming unstable solid objects. landforms. oftenoperating formingin the unstable Broken Hill landforms. landscape. operating in thearid Broken fluvial Hill landscape. & aeolian processes. arid to fluvial the &surrounding aeolian 2processes. hammocking to the the opportunities surrounding for hammocking biodiversity. the opportunities for biodiversity.

7

The ‘Silver Lining’ embodied by a steel Thewarren ‘Silver Lining’Skylights embodied represent by a steel scarswarren left in the Broken SkylightsHillrepresent Thescars windcatcher left in the used Broken by miners Hill to direct The windcatcher fresh The usedprominent by miners shear to directwall fresh divides The the prominent form shear wall divides the form truss serves as a primary structuraltruss element. serves as orebody, a primarychannelling structural element. in natural diffused orebody, light.channelling air is inrepurposed natural diffused as a light. thermal chimmney. air is repurposed to hold as aan thermal importantchimmney. exhibition/gallery to hold space. an important exhibition/gallery space.

0

5 2

10m

EXPLODED AXONOMETRIC | STRUCTURAL LAYERS

THE SEMI-AIRD GARDEN

THE EXHIBITION SPACE

BOTANICAL TERRACES & OUTDOOR SEATED AREAS

AN ACKNOWLEDGEMENT OF PLACE

ntrigued by the beauty and sheer endurance of the semi-arid Broken Hill landscape, chenopod shrub groves and mallee scrub direct cooling breezes towards the library façade oriented in a natural north/south position. The botanic terraces of the semi-arid garden are designed to provide he visitor with a glimpse into natural plant/animal complexes and often ephemeral plant displays.

Movement on the first floor is informed by the central location of a gallery space on either side of the main rammed earth partition. The exhibition/gallery space is intended to provide emerging Broken Hill artists with a platform to showcase their creations. Set in the middle of the library, the collection of artistic works dresses the painterly rammed earth and adds a degree of decorum.

1

2

GEOLOGY OF THE BROKEN HILL MINES AREA CROSS SECTIONS LOOKING NORTH & SURFACE PLAN

GEOLOGY OF THE BROKEN HILL MINES AREA CROSS SECTIONS LOOKING NORTH & SURFACE PLAN

ESTABLISHING MOVEMENT THROUGH THE LIBRARY

4

Ma

No

A

Alma Anticline

Round Hill Anticline

Imperial Ridge Syn.

Alma Anticline

Footwall Basin

Eastern Anticline

Alma Anticline

City of Broken Hill

D

GROUP SEATING

THE RITUAL OF READING

rth

tic

e gn

Western Anticline

Hanging Wall Basin

Hanging Wall Basin

Hanging Wall Basin

ult

SECTION D-D

SECTION C-C

THE MAIN LIBRARY SPACE C

MEZZANINE & CIRCULATION

Sea Level

Fa

SECTION B-B

Surface

tish

SECTION A-A

Sillimanite-Garnet-Gneiss

Bri

Hanging Wall Basin

Sea Level

Hanging Wall Basin

Alma Anticline

Footwall Basin

Western Anticline

Alma Anticline

Western Anticline Footwall Basin

ult

Fa

Surface

Hanging Wall Granite (Igenous Sill)

Feldspar-QuartzGarnet-Gneiss

tish

Western Anticline

Lens Ore Formation (Lead-Silver-Zinc Ore)

Bri

3

Town Amphibolites (Igneous Sill)

Footwall Basin Alma Antic line

Siliceous & Rhodonitic Zinc Lode

SECTION E-E

E

SECTION F-F

F

B

A MULTI-THEMATIC COMMUNAL SETTING

Shaped by common human impulses such as the desire to meet and urge to move forward to the peripheral light and central gathering spaces, the main library spaceC seeks a conflation of artfulness D and placemaking. Illuminated by natural skylight, the Blibrary South carrel spaces & bleacher seating Broken Hill accompany this space, where a community of readers gather surrounded by books &E share ideas.

SURFACE PLAN A

5

6

THE MAIN LIBRARY SPACE THE HEART OF THE LIBRARY

F

Intrigued by the beauty a shrub groves and mallee natural north/south position the visitor with a glimpse

TEMPERATURE OF THE SPACE

UNSW Built Environment

ZUMTHOR’S APPROACH TO A BUILDING COMPOSED AS A PURE MASS OF SHADOW

HORIZONTALITY

VERTICALITY

SUBTERRANEAN LIGHTWELL

Translating the form and textures of the banding Hawkesbury sandstone cliff faces on the Waverton Peninsula and Coal Loader platform. Serving as an architectural gesture to the natural topography. Focusing on a maritime & mining language.

The textural quality of a sandstone interior with vertical striations is designed to heighten the ambience of light and shadow. The experience is also amplified through the apertures which permit a clear directional and dynamic lighting.

This plaster model explores Zumthor’s core principles through one major design element, the subterranean lightwell. Here, the temperature of the space is emphasised with the direction of natural light to form an expression of both the structure and materiality. Building on the theme of light and dark within the coal loader, the lightwell is intended to provide lighting towards subterranean spaces away from the perimeter.

Aperture Luminocity

Experimental Light Gallery

40

Offering an exploration into the quality of natural light through the expression of structure, hapticity and temperature of the space, ‘Aperture’ proposes an experimental light gallery situated on the coal loader platform, Waverton Peninsula. ‘Aperture’ uses a maritime and mining language with a monolithic concrete platform and meandering timber boardwalk to serve as the architectural gesture of the site’s topography and rich industrial history. Captivated by the layered ambient spaces of the Therme Vals by Peter Zumthor (1996), the gallery

design explores the relationship between the gnarled appearance of Sydney red gums and weathered Hawkesbury sandstone formations. Approaching the internal division of the design as composed of a pure mass of shadow, enabled subterranean lightwells to provide a pattern of clear directional lighting. The lightwells heighten the interplay of light and shadow through the accentuated texture of vertical sandstone striations merging light, architecture, and art in one experimental gallery space.

Re to to op wa of co th in tre in Gu Sh

FOUNDATION

HERO SHOT VISITOR ACCESS VIA SYDNEY FERRY

Framing the Experimental Light Gallery in the Waverton peninsula. The experience of ferry access (precedent: MONA, Hobart, TAS) and subsequent boardwalk journey to the Coal Loader platform elicits a sense of grandeur. This sentiment is explored through the use of scale, balance, gradation and rhythm. I attempted to capture the rich industrial history of the site through the monolithic gesture the aggregated concrete platform and timber boardwalk made.

1. TE RR AFO RM I NG

eorga n i s i n g modu l a r fo rm s Balls H ead’ s n a tu ra l pog r a p h y . C ons id e r i n g th e pen b u s hland a l o n g th e ater ’ s e d g e and in te r s p e rs a l S y d n e y R ed Gu m s ( A . os tata ) wov en amongst e ro c ky ter ra i n .

Th e clu s io n o f nativ e fl o ra : Ta l l ees , C o as tal Ban k s i a ( B . te rg ri fo l i a) , Sy dn e y R e d um ( A . c os tata) & B l a c k he- O a k (A. littor a l i s ) .

2. BUSHLAND POCKET

THE FORM

M a xi m i si n g th e t ra n sp a r e n cy to th e n a tu ra l b u sh l a n d o f N o rth S yd n e y w i th i n th e a r ch i t e ctu re .

F o cu si n g on th e t o n e s o f th e wo o d l a n d , w i th th e ru fo u s h u e s o f th e S yd n e y Re d Gu m (A .

C o sta ta ).

The o rg a n i c fo rm s, e xp l o ri n g t h e g n a rl e d a p p e a ra n ce o f th e Re d Gu m s a n d ro cky r i d g e s a l o n g th e c l i ffs a n d h e a d l a n d s o f B a l l s H e a d P e n i n su l a .

3 . H A R B O U R V IE W

4 . P A S S IV E C LIM A T E

ABSTRACTION

T h e propos ed pos it ion of the E xperim ental A rt Foundation o n the Coal L oader enables a cc es s to a v iew ov er the h i s toric al c oal unloading a n d doc k ing z one. This s pot i m m ers es the c onc ept idea o f indus try and nature in th e c ontex t of urbanis ation, w hils t appealing to the ric h h e ritage of the s ite.

TRANSLATION

The high therm al m as s of s ands tone, abs orbs s olar radiation throughout t he day , releas ed during the night. ( Can prov ide an inherently c ool interior t em perature) L ighter s hades of s ands tone c an reflec t UV radiat ion. .

5. APERTURES

ANTHROPOMORPHIC

Offe ri n g a ru g g e d a p p e a ra n ce thro u g h m o d u l a r fo rm s. T h e s etb a cks i n th e stru ctu re s m im i c th e h o l l o w sa n d sto n e m on o l i th s th a t a re d i sp e rse d thro u g h o u t a n d a ro u n d B a l l s Hea d . T h e sa n d sto n e m o u l d e d by i ts su rro u n d i n g s (a s i f m al l e a b l e ), w i th o p e n i n g s ( the a p e rtu re s) fa ci n g a l l dire cti o n s o n m a n y su rfa ce s.

6 . S T R E A ML I N E D

THE ARCHITECTURE

A d yn a m i c a rra n g e m e n t w h i ch a i m s to o ve rco m e th e si te ’s p re va l e n t a b i o ti c fa cto rs. I n p a rti cu l a r, th e sm o o th ro cky ri d g e s d i re ct h a rsh w i n d s a ro u n d th e fo rm s. (W i n te r S o u th e rl y and Summer N o rth e rl y wind d i re cti o n s w h i ch th e C o a l Lo a d e r i s p ri m a ri l y e xp o se d to ).

N

SITE PLAN | 1: 1000

UNSW Built Environment

Nadia Nursalim

Approaching Luminocity

Coal Loader Situated at the Coal Loader, Waverton, Sydney, ‘Approaching the Sound’ is a marine research facility project comprising research laboratories and community space. The design draws as much from the beautiful landscape at Coal Loader which is the extensive view towards Sydney’s Harbor. But apart from it, the other major consideration of this project is located on how to be respectfully inserting the new design into the existing historical building in Coal Loader.

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In response to these, the design proposed a building that unfolds through a progression of ramps and steps to provide the experience of approaching water. From the outside, the building looks like concrete that ‘spilled’ out of the Coal Loader into the water. From the inside, it caters to the experience of slowly being ‘submerged’ into the water.

After all, the design will help us see that architecture can be a media for us to celebrate beauty of a place.

the Sound

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UNSW Built Environment

Luminocity

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UNSW Built Environment

UNSW Built Environment Bachelor of City Planning Jennifer Nguyen

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Anaiis Sarkissian

50

Matthew Short

52

Joshua Woo

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Luminocity

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UNSW Built Environment

Jennifer Nguyen

The new Metro Station represents the catalyst for transformation for the Homebush study area, serving as a natural extension of a lively and activated town centre. The proposal will support a mix-use corridor through providing a diverse range of local employment opportunities catered to smaller businesses. It will enable a catalyst for the renewal of the broader precinct through the provision of new shops, services, cafes and restaurants and a publicly accessible Plaza and public domain that is within walking distance of a mass transport mode.

The Powells Creek riparian and open space corridor has the potential to provide a high level of environmental amenity, serving as a major Green Grid link connecting to Bicentennial Park further north. The area is envisioned to provide communal meeting places, daily service and convenience retail needs, and a recreational focus for residents and visitors to share. Overall, the harmonisation of the strategic design elements will enable a compact grid with optimised walkability, efficiency, liveability, and connectivity throughout the site.

Reimagining Homebush

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UNSW Built Environment

Reimagining Brookvale

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Anaiis Sarkissian

Revitalising Brookvale’s industrial precinct

This project seeks to transform Brookvale from an area characterised predominantly by uninviting general industrial uses, to a vibrant metropolitan centre and mixeduse precinct.

Through multiple layers of site analysis at both the regional and local context, several opportunities and constraints were identified for the precinct. Brookvale benefits from good walkability, but lacks excitement and access to open spaces.

The focus for this precinct was therefore in repairing the gaps in the street network, creating special places and co-locating residents with amenity.

At the heart of this reimagined precinct is an activated east-west pedestrian plaza and urban vista, connecting the Warringah Mall retail precinct to Brookvale’s vast open spaces, waterways and coastline. The project provides for a diversity of residential types within proximity to active and public transport infrastructure, including the proposed new Metro station.

UNSW Built Environment

Matthew Short

Building Brookvale Luminocity

A hypothetical metro station is proposed in the industrial backstreets of Brookvale, which will catalyze the transformation of this neighbourhood. The project brief was to create the vision for this transformation through an Urban Design Proposal detailing the intended street layout, built form and public domain structure for Brookvale. The presented proposal envisions Brookvale as a lively neighbourhood with interacting three special areas. Those being a sports and recreation precinct with Brookvale Oval as its centrepiece; a walkable north-south retail strip with a central civic plaza; and a destination restaurant and cafe laneway.

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UNSW Built Environment

Repurposing Joshua Woo

Luminocity

The Long Bay site in Malabar currently functions as a correctional centre, dating back to 1914. The premise of the project involves the sale of the site along with the construction of a new metro station. This clean slate presented us with an exciting opportunity to design a completely new town centre from scratch. The challenge was to introduce a dense urban form that would deliver dwellings and jobs for a growing Sydney, while also preserving the rich heritage and identity of Long Bay.

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The site possessed many strengths, including a rich assortment of heritage listed buildings, views towards the ocean and a close proximity to natural attractions such as Malabar beach.

These strengths were taken into account and leveraged upon in the design of the precinct plan. The main design strategy employed was the repurposing of heritage buildings into public buildings which could be used by the community.

Long Bay

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UNSW Built Environment

UNSW Built Environment Bachelor of Computational Design Anthony Franco

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Orchhna Pheap

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Collection o

58

of works Anthony Franco

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UNSW Built Environment

SKETCHES UNSW Built Environment

P RPO PRTROOOTTTOYOTPTYEYPPE PELPA PLN LAANN

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X: 6

X: 6

Amount of Vertical Support : 45

Amount of Vertical Support : 6

Bottom Rectangular Pipe

Amount of Vertical Support : 3

Bottom Rectangular Pipe

X: 2

Bottom Rectangular Pipe

X: 6

Y:5

X: 2

Y:4

Top Rectangular Pipe

Y:4

Top Rectangular Pipe

Top Rectangular Pipe

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X: 1

Y:5

Horizontal Pipe Thickness : 1.6

Y:5

Horizontal Pipe Thickness : 3

Manta Ray Outline

Horizontal Pipe Thickness : 2

Manta Ray Outline

U count : 25

Manta Ray Outline

U count : 15

V count : 12

U count : 40

V count : 10

V count : 4

Y:5

PROTOT YPE PL AN Luminocity

Outline

Collection

Outline

Outline

X: 6

Outline

X: 6

X: 5

Y:6

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Y:6

Vertical Support : 45

Y:8

Amount of Vertical Support : 6

om Rectangular Pipe

Amount of Vertical Support : 3

Bottom Rectangular Pipe

Bottom Rectangular Pipe

X: 2

Curve

Axis

BEN

GRASSH O PPE R SCR I P T

PARAMETRIC DESIGN AND DIGIT [2.2]

AT T RACT OR PO IN TS: D Y NA M IC RO TAT I ONA L SH

CONCEP TUA L SKE TCHE S 1Segment x4

Rows

Spikes

PLAN VIEW

90 degree Frame

Side VIEW

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UNSW | Bui l t Envi ronment | Comput at i onal BENV 1012Desi gn PARAMETRIC DESIGN AND DIGITAL FABRICATION

[2.2]

AT T RACT OR PO IN TS: D Y NA M IC RO TAT I ONA L SHE LLS. ROD IO L A R IA N S

CONCEP TUA L SKE TCHE S

Section Count per 1/4: 5

Section Count per 1/4: 3 Rows: 5 Spike Thickness: 0.5 Spike Length: 40 Spike Size: (0.5;0.51) Grid Size: (0.57;0.45)

Rows: 11

Spike Thickness: 0.8

Spike Thickness: 0.3

Rows

MD Slider Spikes

PLAN VIEW

Section Count per 1/4: 5

sections

Rows: 8

1Segment x4

Spike Length: 70

D E S I G N VA R I A T I O N S

Spike Length: 37

MD Slider

MD Slider

Spike Size: (0.78;0.77)

Spike Size: (0.5;0.52)

Grid Size: (0.57;0.01)

Grid Size: (0.9;0.1)

90 degree Segment Frame

Side VIEW

Rhino Shape

Section Count per 1/4: 3

Curve

PROTOT YPE PL AN

Axis

n of works

Section Count pe

Rows: 5

R

Spike Thickness: 0.5

Spike Thickne

Spike Length: 40

Spike Len

MD Slider

MD

Spike Size: (0.5;0.51)

Spike Size: (0.7

Grid Size: (0.57;0.45)

Grid Size: (0.5

GRASSH O PPE R SCR I P T

PROTOT YPE PL AN

BENV 1012

PARAMETRIC DESIGN AND DIGITAL FABRICATION

Polygon Radius: 70

Polygon Radius: 70 Polygon Radius: 70 Polygon Sides: 6 Polygon Sides: 5 [ 3 . 1 ] Polygon POLYHEDRA S U R F A C E30 | RODS AND NODES 1L Height: Polygon 1 Height: 60 Polygon 2 Height: 50 Polygon 2 Height: 40 Polygon 3 Height: 0 SKETCHES Polygon 3 Height: 0 Apex: 70 Apex: S H A P E90 CONSIST LINES= RODS Polygon 2 Radius: 1.8 DECAHEDRONS Polygon 2 Radius: 1.6 Polygon 3 Radius: 3 Polygon 3 Radius: 2

UNSW Built Environment

Polygon Sides: 3 Polygon 1 Height: 30 Polygon 2 Height: 60 Polygon 3 Height: 0 Apex: 70

Polygon 2 Radius: 1.8 Polygon 3 Radius: 3

Polygon Radius: 70 Polygon Sides: 3

Polygon 1 Height: 30 Polygon 2 Height: 60

APEX

Polygon 3 Height: 0 OF 3

Apex: 70 Polygon 2 Radius: 1.8 Polygon 3 Radius: 3 ELEVATION VIEW

PIPE ROD NODE PLAN VIEW

INTERSECTIONS = NODES

CLOSE UP

PROTOT YPE PL AN

BENV BENV1012 1012

GRASSH O PPE R SCR I P T

PARAMETRIC PARAMETRIC DESIGN DESIGN ANDAND DIGITAL DIGITAL FABRICATION FABRICATION [ 3 . 1 [] 3P.O1L]Y HPEODLRYAHLE DS RU AR LF ASCUER F| ARCOED S| RAONDDSNAONDDE SN O D E S

S K ESTKCEHTECSH E S

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Radius: 70 G R AGSRSAHSPolygon OSPHPO EPRP E SR C RSI C PR TIP T

C L O S E CULPO S E U P

Polygon Radius: 70

Polygon Radius: 70

Polygon Sides: 5

Polygon Sides: 3

Polygon Sides: 6

Polygon 1 Height: 60

Polygon 1 Height: 30

Polygon 1 Height: 30

Polygon 2 Height: 40

Polygon 2 Height: 60

Polygon 2 Height: 50

Polygon 3 Height: 0

Polygon 3 Height: 0

Polygon 3 Height: 0

Apex: 90

Apex: 70

Apex: 70

Polygon 2 Radius: 1.6

Polygon 2 Radius: 1.8

Polygon 2 Radius: 1.8

Polygon 3 Radius: 2

BENV 1012 Polygon 3 Radius: 3

Polygon 3 Radius: 3

PARAMETRIC DESIGN AND DIGITAL FABRICATION PROTOT YPE PL AN

D E SDI E GS NI GVA N RVA I AR TIO AN T ISO N S

[3.1]

P O L Y H E D R A L S U R F AUNSW C E | R |O D S A D N Oronment DES Bui l tN Envi

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Orchhna Pheap | z5359605

Polygon Polygon Radius: 70 Radius: 70

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PROTOT YPE

Polygon Polygon Radius: 70 Radius: 70

Polygon Polygon Radius: 70 Radius: 70

Polygon Polygon Sides: 5 Sides: 5

Polygon Polygon Sides: 3 Sides: 3

Polygon Polygon Sides: 6 Sides: 6

Polygon Polygon 1 Height:160 Height: 60

Polygon Polygon 1 Height:130 Height: 30

Polygon Polygon 1 Height:130 Height: 30

Polygon Polygon 2 Height:240 Height: 40

Polygon Polygon 2 Height:260 Height: 60

Polygon Polygon 2 Height:250 Height: 50

Polygon Polygon 3 Height:30Height: 0

Polygon Polygon 3 Height:30Height: 0

Polygon Polygon 3 Height:30Height: 0

Apex: 90Apex: 90

Apex: 70Apex: 70

Apex: 70Apex: 70

Polygon Polygon 2 Radius:21.6 Radius: 1.6

Polygon Polygon 2 Radius:21.8 Radius: 1.8

Polygon Polygon 2 Radius:21.8 Radius: 1.8

Polygon Polygon 3 Radius:33Radius: 3

Polygon Polygon 3 Radius:33Radius: 3

SHAPE CONSIST OF 3 Polygon Polygon 3 Radius:32Radius: 2

DECAHEDRONS

APE

Base Shape

Height: 100 No. of Iterations: 2

1st Iteration

Height: 100

2n Iteration

No. of Iterations: 1

Polygon Radius: 70 Polygon Sides: 6

GRASSH O PPE R SCR I P T

Polygon 1 Height: 30 Polygon 2 Height: 50 Polygon 3 Height: 0 Apex: 70

Polygon 2 Radius: 1.8

BENV BENV 1012 BENV 10121012

GRASSH O PPE R SCR I P T

Polygon 3 Radius: 3

PARAMETRIC PARAMETRIC DESIGN PARAMETRIC AND DESIGN DIGITAL AND DESIGN FABRICATION DIGITAL ANDFABRICATION DIGITAL FABRICATION

PROTOT YPE

[3.2]

[3.2]

[3.2]

Recursion with Recursion Anemone: with Fractal Recursion Anemone: Structures with Fractal Anemone: Structures Fractal Structures

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Base Shape 1st Iteration

1st Iteration

1st Iteration

2n Iteration

2n Iteration

Radius: 96

Radius: 76

Radius: 76

No. of Side: 8

No. of Side: 4

No. of Side: 6

Height: 93

Height: 100

Height: 100

No. of Iterations: 3

No. of Iterations: 2

No. of Iterations: 1

Radius: 76

Radius: 76

No. of Side: 4

No. of Side: 6

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PROTOT YPE PL AN

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UNSW Built Environment

UNSW Built Environment Bachelor of Construction Management & Property Lauren Chandler

68

CMP experiences

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UNSW Built Environment

Project Risk Management and Contingency Determination Lauren Chandler

Luminocity

All construction projects possess risks stemming from a range of different sources. A project risk could be anything that has the ability to impact the key fundamentals of a project – time, cost and performance. Effective risk management requires the deliberate process of identifying, categorising, prioritizing and planning for uncertainties before they impact project delivery.

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This report assesses risks, uncertainties and required contingencies for the given project scope. This is achieved by the explanation and development of risk management tools including a risk matrix, consequence table, likelihood table and escalation table.

UNSW Built Environment Luminocity

CMP experiences 70

Students of the CMP programme are taught using cutting-edge technologies and in virtual laboratory environments that simulate real-world construction sites.

Luminocity

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UNSW Built Environment

Luminocity

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UNSW Built Environment

UNSW Built Environment Bachelor of Industrial Design Caitlin Duffus

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Anthony Franco

80

Jesslyn Johanna

84

Samala Norman

88

Sabrina Piro

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UNSW Built Environment

Mycelia House Caitlin Duffus

Mushrooms within the home

Mycelia House is a functional, beautiful and simple vessel that showcases the beauty of mushrooms and supports its growth within the home. It aims to reconnect us with our innate nature – our human nature, through the display, caring for and nourishment of mushrooms as a living entity and as a food source.

Luminocity

As naturalist Erin Verinder puts it “we are waking up from a long slumber of disconnectedness. Remembering that we are made up of the same materials as nature. There is simply no separation”.

As we have evolved to live in urban areas and are currently experiencing the Covid-19 pandemic, we are noticing this disconnection and are craving a deeper relationship with ourselves, the

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natural world and our daily routine.

We are seeking products that we can connect and emotionally relate with. With trends arising in the localization of food production and DIY alternatives, as well as a love for houseplants, the concept for mycelia houses was manifested.

Whilst mushroom grow kits are currently sold to a DIY market of hipsters, an opportunity surfaced to design for a new market of higher income earners who are interested in wellness and are willing to invest in sustainable alternatives. These are creatives who have a love for nature and being outdoors, although they live and work in urban areas and struggle to find time in nature due to their busy lifestyle.

Luminocity

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UNSW Built Environment

UNSW Built Environment

Anthony Franco

Expanse Robotic Furniture for the Office

Luminocity

‘Expanse’ forms parts of a new typology of furniture known as ‘Robotic furniture’.

By adding actuation to furniture, objects are able to solve contradicting needs in a subtle and convenient way.

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‘Expanse’ allows users to choose when they want to work collaboratively or privately. When open, ‘Expanse’ provides visual and sound privacy for users. In addition, ‘Expanse’ is controlled by a timer which allows employees to blockout set periods of time to complete their focused work. This gives comfort to other employees that their teammates will be available soon and creates a culture of respect for individual privacy needs.

Luminocity

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UNSW Built Environment

Luminocity

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UNSW Built Environment

Jesslyn Johanna

LUMU Microalgae in our daily life As humans spend most of their time indoors, we breathe in more harmful pollutants than we do outside as enclosed space traps pollutants inside.

Thus, air circulation and ventilation are needed to combat indoor air pollutants.

However, current purifiers are highly unsustainable and their filters need to be replaced every 6-8 months. Although perceived negatively, microalgae possess a lot of values that could combat air

pollution and climate change. In fact, 1L of microalgae is as effective as 25 plants.

Additionally, microalgae allow humans to reconnect again with nature in this advanced digital age. However, society’s negative perceptions of microalgae have hindered them from utilizing their values and rather would remove them from their lives. Thus, LUMU aims to change users’ perspectives about microalgae while negating indoor air pollution.

Luminocity

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UNSW Built Environment

UNSW Built Environment

Libation Tea Set Samala Norman

REAR

Libation is a Hybrid Design tea set designed to create a new intimate ritual around sharing and drinking tea. Designed to inspire an emotional connection with its user, Libation incorporates 3D clay printing and wool weaving to create emotional and material value that intimately engage the user, maker and material.

Luminocity

Libation is an heirloom artifact that inspires an emotional connection with its user through nostalgic aesthetic, design narrative and product purpose. Libation’s inbuilt hand-woven tea-cosy means the

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teapot’s body can be held, creating an intimate tactile experience. Without a handle, the action of pouring tea has become gestural – the user now bows towards the person they are pouring for.

Libation facilitates shared experiences that create memories by encouraging users to pick a favourite cup to share tea.

Intimate and pleasurable social interactions are how Libation becomes intimately connected to a user’s life. These experiences install trust, connecting user and product through regular use and ritual.

BRANDING

Design F

R SEAMLINE

THUMB IMPRESS

Luminocity

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UNSW Built Environment

UNSW Built Environment

Lever Weeder Sabrina Piro

A specialised bush regeneration design solution for the manual removal of crowning grasses

The Lever Weeder is a specialised weed management solution for the manual removal of crowning grasses. Designed to be used by Bush Regenerators, this solution meets specialised needs for targeted application and robust functionality, of which are lacking in currently-used broad-spectrum equipment and domestic weeders designed for other industries.

Luminocity

Bush Regeneration is an essential but widely overlooked industry. Generally under-funded, and widely facilitated by volunteers, Bush Regenerators are lacking in specialised tools and often rely on tools designed for other industries and makeshift solutions that are time-consuming and require exhaustive effort and skill to achieve desired results.

An opportunity of many, the brief directly responds to the management of crowning grasses.

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Traditional removal of these weeds requires prolonged crouching and bentover positions. The nature of removal not only causes strain on the back and knees but also an immense strain on the hands when dealing with larger weeds.

The Lever Weeder is a simple leveragebased solution that delivers management of crowning grasses at a reduced strain on the body, minimised disturbance of surrounding land, and has eliminated herbicides required for its use. Thereby, the product facilitates use by a wide variety of individuals, including the vast number of landholders and volunteers who do not possess herbicide certifications.

ITEM NO.

PART

MATERIAL

DESCRIPTION

QTY.

1

RIGHT HALF-BODY

MILD STEEL TUBE

25.4MM X 1.6MM TUBING WITH LILAC POWDER-COATED FINISH

1

2

LEFT HALF-BODY

MILD STEEL TUBE

25.4MM X 1.6MM TUBING WITH LILAC POWDER-COATED FINISH. FEATURES VINYL LOGO

1

3

PLATFORM

MILD STEEL SOLID BAR

25.4MM BAR, MILLED ENDS AND FIVE M10 TAPPED HOLES

1

4

TINE

STAINLESS STEEL

5

5

HEX NUTS

ZINC-PLATED STEEL RUBBER

M10 X 300MM ROD. 35MM THREAD AT BASE AND 25MM SHARPENED TIP. M10

5

CAST IN PINE GREEN

2

CAST IN PINE GREEN

2

6

HANDLE (MAIN)

7

HANDLE (BAR END)

RUBBER

6

7

1

2

3

4

5

DRAFTED BY SABRINA PIRO

UNIVERSITY OF NEW SOUTH WALES 4112

LEVER WEEDER "LINDY"

GA EXPLODED VIEW

SCALE 1:5

2 OF 2

A2

Luminocity

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UNSW Built Environment

Luminocity

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UNSW Built Environment

UNSW Built Environment Bachelor of Interior Architecture Tailin Gao

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Kaitlin Gordon

100

Isabelle Kleijn

104

Elev

UNSW Built Environment

process work on renderings

+EY_SPAC

Entry + Outdo

Concept of city island

Action-1 Deconstructing

Methodology diagram

#transitio #rhythm #interact

Deconstructing “Deconstruction, which can be considered a method to seek the new and question the existing (the current), includes a functioning logic similar to the concept of creativity” Durmus, 2011 Deconstructing acts as a means to delineate adaptive reuse project, it creates specialised spaces which are designed for the new community but still retains its historical and cultural traces. The writings of Salah support, “...not only that deconstruction and adaptability ultimately lessen the world’s depleting energy and natural material resources, they also contribute to preserving the cultural and historical values inherent in different materials and buildings.”This methodology ensures a consistent application of form following its existing appearance,,meanwhile proposes a new model between order and chaos.

a n a c h r o an ni sam c h r o n i samn a c h r o n i s m l i v e i s o l a t e ldi v e i s o l a t e d

Luminocity

As Jamie main and Leichhardt graveyard

live isolated

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Parker, As Jamie the state Parker,member AstheJamie state forParker, member Bal- theforstate Bal- member If artforwith Bala message If art withtoamodern message If art society towith modern were a message society placed toon were modern an placed island society of on anwere island placed of on an island Art isofnot the Art main is focus. not theThe main island Art focus. is not The theisland main fo former main and mayorformer of main what mayor and wasofformer then what mayor was then of whatthewas city, then where the the city, unspoilt wherelandscape thethe unspoilt city,ofwhere Rozelle landscape thestill unspoilt ofremains, Rozelle landscape itstill could remains, of Rozelle it could still remains, itand could the people and who theinhabit peoplethere who and are inhabit the people there are who i Council, Leichhardt putsCouncil, it: “White Leichhardt puts Bayit: isCouncil, “White the Bay putsis it:the“Whitechange Bay is a the region change that was a region losing that change its was vitality. alosing region With itsthat this vitality. was in mind, With losing the this itsSydin vitality. mind, With the Sydthis in mind, the theSydmain focus, theand main artfocus, is something and theart main is something focus, and a where graveyard thought where bubbles graveyard thought go to bubbles where die.” thought go to die.” bubbles ney’s go tofirst die.”symbiosis ney’s first between symbiosis ney’s city between island first symbiosis and cityartisland began between and onart WBPS. citybegan islandonand WBPS. art began on WBPS. that brings outthat the energy brings out of the theisland. energy that brings of the out island. the ene

Tailin Gao 98

Sydney’s first city island, a creative locus redefines time perception for connecting the minded community through reconstructing the link between cognitive make-up, the making, and the appreciating of art in the sensorial and multifaceted dimensions.

+EY_SPA

Undergrou

Methodology diagram

Methodology diagram

#anti-su #intimid #human

emethod considered to seek a method the newtoand seekquestion the newthe and question the ogic a functioning similar to logic the concept similar to of the creativity” concept- of creativity” -

daptive s to delineate reuse project, adaptiveit reuse creates project, specialised it creates specialised munity the new but community still retains but its historical still retains anditsculhistorical and culot ahonly support, that deconstruction “...not only that and deconstruction adaptabilityand adaptability yepleting and natural energy material and natural resources, material theyresources, also they also cal tural values and historical inherent values in different inherent materials in different and materials and nsures ent application a consistent of form application followingofits form existing following its existing es between a new model order and between chaos.order and chaos.

Mesmeric

Luminocity

UNSW Built Environment

Ma-tt-er Mu White Bay P

100

useum at Power Station Kaitlin Gordon

In partnership with European research company ‘Ma-tt-er’, White Bay Power Station (WBPS) was proposed to be adapted into their first flagship laboratory, interactive museum and education space within Australia.

Drawing on the innate healing system of the body, each of the existing power station’s coal processing phases have been adapted in order to transform White Bay Power Station into a cyclic, co‑dependent and resilient ‘machine’.

Operating as a community resource recovery facility, the museum’s functions target the 344kg of waste generated yearly per person within the Inner West community, working to heal the prevalent and pertinent environmental damage from its industrial past.

As opposed to its former environmental depletion, the reformed power station aims to return the community to a homeostatic-like state; restoring the environmental damage of the past, mitigating the post-industralised consumption and manufacture of today and empowering the community through awareness in order to achieve the 2025 Zero Waste targets of the Inner West Council.

Luminocity

102

UNSW Built Environment

UNSW Built Environment

FLUX Isabelle Kleijn

Centre of Bio-Psych Design

In relation to the most current events around our nation and the world we can see more than ever the effects of civilisation on this planet. Humanity has almost pushed the planet to the point of no return, yet we shut one’s eye to the loss and destruction that has occurred. As our planet evolves, we must evolve with it.

Luminocity

The Centre of Bio PsychDesign is a multidisciplinary facility new to Sydney’s foreshores that aims to create dialogue between nature, technology, and the mind. It invites the community and visitors to explore the future sustainability of human-environment relationships.

Whilst partaking on an emotive journey through reflection and reclamation, it seeks to educate and connect visitors on the pursuit to respond to the current issues within the 21st century.

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FLUX_

SHORT SECTION 1:100 @ A3

I.Kleijn | DP8

045

FLUX_

S T R AT E G Y + B R I E F

S O C I A L & T Y P O L O G Y S T R AT E G Y + B R I E F These form the basis of how we connect to others and ones self through space form and mind.

A + E

E N T R A N C E H A L L + R E S TA U R A N T

To enhance physical, social, psychological interaction between others and ones self through creative and immerse experiences.

E

B

C

B

D

EXHIBITION OF ECOLOGY

To create a range of new and diverse experiences that promote engagement with people place and mind. An experimental journey that aids awareness of human and environment.

C

R E C L A M AT I O N S PA C E

To provide a space to engage, participate share and inspire and to regain connection between others, self and human environment relationships.

D

B P S L A B S - M AT E R I A L B A N K

To provide a space that enables the sharing and cultivation of new found knowledge, experience and ideas through the manifestation of a sustainable future.

I.Kleijn | DP8

015

A

UNSW Built Environment

Adaptive reuse strategy of WBPS Parasitical Volumes | Permeating voids of abandoned and stagnant spaces.

I N F I LT R AT E

D E L I N E AT E

I N T E G R AT E

I.Kleijn | DP8

Luminocity

FLUX_

J O I N E R Y D E TA I L

106

The Void is an installation whereby the void is open to the natural elements therefore becomes exposed and erodes over time

I.Kleijn | DP8

041

FLUX_

I.Kleijn | DP8

065

Luminocity

108

UNSW Built Environment

UNSW Built Environment Bachelor of Landscape Architecture Hayley Farrell

110

Shuyi Gong

114

Ranine Hamed

118

UNSW Built Environment

Hayley Farrell

Luminocity

Continuum 110

The landscape narrative ‘Continuum’ is the third chapter in the diverse cultural history of Saleyards Creek and its surrounds in Homebush, Sydney. Through a hierarchy of diverse programs straying out from the creek and referencing the interesting history of the site a new post-industrial landscape emerges as a social keystone of the area, reconnecting Homebush to its waterways and the

industrial past. These spaces have been designed within a successional framework where the ecology and culture grow in unison. This idea connects the landscape concepts of ecological succession (process driven) and landscape narratives (story driven) through three key stages: introduction, development and equilibrium.

UNSW Built Environment

A A

3.4 STAGE 2 DEVELOPMENT

CENTRAL CREEK BRIDGE

A A

Stage 2 Development plan

N

A

Luminocity

A

A

A Central Bridge Plaza

Bench seating looking out over new landscape

112

Concrete terraced platforms down to creek

Central bridge circulation over creek

Pioneering Coasta Saltmarsh species

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Bressington Park

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Mason Park

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1 Pioneering street tree plantin western edge of Underwood

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2 Wentworth Reserve replaced community car park

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3 Southern end of Wentworth R retained. Connection path co between apartments and car

4 Community garden & pathwa car park & Bellona Ave turn a

6

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6 Creek manipulated to form cu channel. Breakdown of concr channel, utilising concrete to new creek banks.

5

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7 Pioneering species planted in ecological zone

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Stage 1 Introduction plan 1:1000@A1

N

Luminocity

114

UNSW Built Environment

Shuyi Gong

Tides Play Poetry as an Ecological Process This project reimagines Powell’s Creek and Mason Park through an exploration of play and three tides of Powell’s Tide: the Sea Tide flowing through Powell’s Creek, the Ecological Tide, which refers to the ecological dwellers and how they adapt to the landscape, and the Social Tide, human circulation and interaction within the landscape.

Under three principles of preservation, rehabilitation, and reactivation, the poetry of play provides an intriguing journey through the saltmarsh wetland along biomimicry-designed boardwalks. Visitors are encouraged to explore different play types that mimic the appearance or behaviour of ecological communities, and thus regenerating empathy with local inhabitants.

Luminocity

116

UNSW Built Environment

UNSW Built Environment

Nature’s Ranine Hamed

The position of non-human organisms in the human dominated landscape

No matter how big or small, every organism plays a role in assuring the function of the biosphere.

Nature’s Protest challenges the position of non-human organisms within the human-dominated landscape.

It captures the notion of biocentrism – the perception that humans are a part of the biosphere, rather than superior to it – through the transformation of Mason’s Park and Wetland into a Mayfly habitat, that promotes protest through nature’s spatial takeover.

Luminocity

To reinstate the human position in the biosphere, humans are subtly forced to be participants via a choreographed path that encompasses the different stages and experiences of the Mayfly’s life cycle.

118

LEGEND 1

Water body

2

Saltmarsh/ low lying planting

3

Feeding the soil walkway

4

Decompose transparent wall

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Elevated breed boardwalk

6

Ground lights

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Protest b

1

Saltmarsh planting

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White light bollard for mayfly attraction

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Elevated Breed boardwalk

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Walk board ground lights

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Tree cameras for ecosystem monitoring and security

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3m

Elevated boardwalk 0

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LEGEND White light bollards

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Access points/ gates Blooming low lying planting to boost biodiversity in summer

TOW +1.5 BOW +1.5

Pathway lights

TOW +1.5 BOW +1.0

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TOW +2.0 BOW +0.5

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TOW +2.5 6

BOW +0.0

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Decompose 1:200 @a1

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Program 1:1000 @a1

UNSW Built Environment

Sky

Mayflies swarm the atmosphere in breeding (lasts from 5 min to 1 day)

4

Light

Fully formed Mayfly flies toward white light and begins breed dance ascending into sky

3

2

Low lying plants

Subimago transforms into Imago by shedding skin on low lying plants

1

o buffer the path edge a

ayfly bodies to be fed

Subimago emerges from water

Water

a

Planting Summer biodiversity

Mayflies act as fertilizer and by transferring nutrients from their body to soil

I wore my boots today so that I can “Feed” the mayfly bodies in to the soil

Gastropoda

“It’s like walking on bubble wrap.”

LOOK AT ALL THESE DEAD MAYFLIES!

1

a

Insect larvae

White fronted Chat

1 2

Orange bellied parrot

a

3m

Feeding the soil 1:20 @a1 0

0.5

Grey headed flying fox Isotoma fluviatilis ssp. australis

2

Baumea rubiginosa

Luminocity

Goodenia humilis

http://www.watergardenparadise.com.au/australiannative.php http://www.dpi.nsw.gov.au/__data/assets/pdf_file/0007/459628/Coastal-Saltmarsh-Primefact.pdf

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Myriophyllum propinquum

Schoenoplectus Validus

Plants flower in warm seasons to attract more biodiversity to enhance that mayfly breeding/ new birth stage in the mayflies life cycle.

Salicornia procumbens

4

3 1

+2.0

Timber Trout Feed boardwalk

3

Feeding the soil walkway

4

Saltmarsh planting

+1.0

5

Tree cameras for ecosystem monitoring and display at information centre

2

+2.0

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Elevated boardwalk

Feed the soil Trout Feed 0

+1.5

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1:100 @a1

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5m

4

8m

Fresh water body

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b

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+2.0

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Saltmarsh and low lying planting Corymbia calophylla trees - Eagle habitat

b

LEGEND

Powells Canal

2 3

b

1

4m

b

2

Bird Feed 0

Saltmarsh wetland

Ecosystem overflow

1

5

1:80 @a1

UNSW Built Environment

Copyright 2021

Luminocity

School of the Built Environment Faculty of Arts, Design & Architecture UNSW Sydney www.luminocity.unsw.edu.au ISBN 978-0-7334-3999-5