Master of Architecture Thesis Booklet

Reimagining Weeds Thesis Studio 03: DIG

Thesis Booklet By: Jun Wei Chng (Chris)

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CONTENTS 11

Design Proposal Native and Colonial Interventions

43

Existing Ecologies

51

Site Analysis

57

Precedents

67

Material Study

83

Tectonics Study

95

Sketch Design

109

Design Development

123

Conclusion

160

References

164

Figure List

165

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Can humans return the urban landscape to what it was before?

Should the implication of Weeds change?

Are there any ways to heal the present for a better future?

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T H E S I S S TAT E M E N T According to Goho, the rising temperature over the next 50 years will affect different native vegetation negatively and, the sole survivor in our ecosystem would be weeds.1 During the past 200 years of colonial intervention, the changes in the Australian landscapes and ecology has been destroyed and tarnished.2 As an example, the Royal Botanic Gardens in Melbourne, removed and relocated native Australian plants as foreign exotic species were taking over the ecosystem.3 How do humans plan on returning to nature or the past? A way to repair the current landscape and ecology. This thesis argues that the urban landscape can’t be fully repaired, however, movements to heal the current landscape can be done.

As the urban landscape currently is a layering on top the of the chaos caused by the past, imitating the ‘perfect’ version of a human made landscape.4 Therefore, weeds will be the basis of thriving in the current landscape. Even though they are commonly viewed as unwanted, maligned, and murderous, they nonetheless survive this harsh landscape and thrive in any environment.5 The hybridised landscape will accommodate the highly romanticized Seed Bank and a Weeds Centre. The Weed Centre will be located on 318 St Kilda Road, and the Seed Bank will be placed along the axis of The Shrine of Remembrance. The seed bank will act as a monument to the past. However, in the future, the roles of importance and hierarchy will be reversed as the weed centre will be the hopes in our reality.

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Alexandra Goho, “ANTICIPATING CLIMATE CHANGE,” Landscape Architecture 94, no. 12 (2004): 48.

P. M. Kloot, “Plant introductions to South Australia prior to 1840,” Journal of the Adelaide Botanic Garden (1985): 217.

“Royal Botanic Gardens, MELBOURNE,” Historic Gardens Review, no. 16 (2006): 37. http://www.jstor.org/stable/44791259.

Matthew Gandy, “Urban nature and the ecological imaginary.” In In the nature of cities, Routledge, 2006, 69.

Robert Gibson, “Weeds,” Alternative Journals 40, no. 4 (2014): 64.

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RESEARCH

Fig.1.

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Jun Wei Chng, Journey of seeds to Australia, 2022.

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RESEARCH

The origins of seeds and its anatomy were very interesting to discover. Seeds are typically found in soils and animals. However, how does a seed travel from one continent to another?

There were many different sources of foreign seeds that were brought to Australia due to the colonization of Britain.6 Thus, seeds were brought from different locations through different types of methods and allowed for foreign exotic plants to grow in Australia.

However, there were no accord or mentioned about weeds during that period.7 However, we could assume that weeds are not wanted to be recorded or look at by the public.

By looking at the anatomy of the seed, the different layers in a seed are fascinating to explore further. As there is also a layering effect of a seed’s journey through continents as well.

Different ways intersect and interweave each other to convey seed immigration.

Fig.2.

Jun Wei Chng, Anatomy of a wheat seed, 2022.

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Kloot, “Plant introductions to South Australia prior to 1840,” 217.

Kloot, “Plant introductions to South Australia prior to 1840,” 222.

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RESEARCH

From ballast to smuggling, seeds find its way to sneak up upon a foreign landscape. Ballast consists of soil, gravel, sand, seeds, whole plants and small insects and animals.8 Brought from voyages through different continents towards Australia.

Migrants smuggling seeds to have their favorite vegetables and plants when they are in a new country. As the colonist arrived in Australia, they brought different types of farming equipment, seeds, plants and animals to have their own supply of food.9 This lead to farming, which leads to grazing and destruction of plants and animals in the area.10 Seeds were brought by the European colonist and traded amongst each other. Native Australian plants were removed as foreign exotic species were being planted and took over the native landscape.

Weeds then became an issue. The prickly pear eradication incident happened for a few years as the prickly pears infestations could not be fully stopped and was to be removed immediately.11 The weeds problem were all caused by the plants and species that colonist brought over. Not only did it cause problems for foreign plants but also native vegetation. Thus, the creation of the Royal Botanic Gardens which was established to be a horticultural exhibition for the public and a testing ground for different species.

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Heli M. Jutila, “Seed bank and emergent vascular flora of ballast areas in Reposaari, Finland,” In Annales Botanici Fennici, Finnish Zoological and Botanical Publishing Board, 1996, 165.

John Dwyer, “Weeds in Victorian landscapes: a Mount Eliza weed assembly,” Australian Garden History 20, no. 3 (2009): 21.

Kloot, “Plant introductions to South Australia prior to 1840,” 217.

“Eradication of Prickly Pear in Australia,” Nature 131, (1933): 613. https://doi.org/10.1038/131613b0.

RESEARCH

Fig.3.

Jun Wei Chng, Timeline collage of the history of seeds, 2022.

Comprises of Images from: https://museumsvictoria.com.au/immigrationmuseum/resources/journeys-to-australia/ • Emigration pamphlet circa 1858: ‘Practical Hints for Emigrants to our Australian Colonies’.

• ‘Mail Steamer Leaving Melbourne Port’, circa 1903.

• Ally Heathcote, England to Melbourne, Victoria, Onboard ‘SS Northumberland’, 1874.

• The Southern Cross.

Additional Images: • Prickly pear before the cactoblastis beetle attck, Chinchilla district. Retrieved from https://www.nma.gov.au/defining-moments/resources/prickly-pear-eradication • Recommendation to destroy prickly pear weeds using flame throwers. Retrieved from https://www.naa.gov.au/learn/ learning-resources/learning-resource-themes/environment-and-nature/plants/recommendation-destroy-prickly-pear-weeds-using-flame-throwers\ • The Leader, Melbourne, 1887. Retrieved at https://australianfoodtimeline.com.au/first-farming-victoria/ • Yates seeds in Australia, 1887. Retrieved at https://australianfoodtimeline.com.au/1895-yates-seeds-australia/ • Royal Botanic Gardens, 1893. Retrieved at https://www.rbgsyd.nsw.gov.au/Stories/2018/Part-1-Digging-into-our-history1800s

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Design Proposal

DESIGN PROPOSAL

Elaboration In the next 50-100 years, the vice regal colonial landscape that was created will be tarnished by the everlasting climate change. The colonial intervention that happened over the past 200 years with the help of climate change allowed the native landscape to tarnish.

The façade of the current landscape is a cover up for the chaos and problems that happened beneath and before. The imagined landscape of 2072 will slowly heal the current landscape and allow for interventions to work towards a better and healthier environment.

Thus, transformation of a hybrid/cyborg landscape will actively give back to the harsh environment to slowly repair its current state that humans have created. And using weeds as a catalyst that starts this process of renewal.

The word “weed” is something that is usually seen to have a negative connotation.12 Why is it viewed as a negative ideal? This is because humans have placed this ideology and construct upon themselves to automatically think that it is a problem.13 However, what if the only vegetation that survives climate change were weeds? Would we still view weeds as something that is a pest or a problem? Or should we embrace it and make use of it to further heal and repair the current environment.

The Weed Centre and Seed Bank acts as an anchorage and a symbol of hope for the future. With the weed center providing aid using the surrounding weeds and the seed bank acting as a monument to honor the seeds and culture that has pass through these lands. These typologies are accompanied by the action for removing the surrounding colonial buildings like government house. It further emphasizes the symbolic act that reminds the public about the more important goal and issue, which would be, embracing the current landscape and provide aid back into the environment. This occurs with the inclusion of new infrastructure such as the carbon capturers laid along the path connecting the buildings and giant mulchers placed at areas where needs it the most.

The project is portraying what will happen 50 years from now.

However, the buildings and infrastructure built around it will be built in 2022 to future proof the everlasting climate change.

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Robert Gibson, “Weeds,” Alternative Journals 40, no. 4 (2014): 64.

Eldredge and Horenstein, “Resilience, Restoration, and Redemption,” 220.

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DESIGN PROPOSAL

An Imagined Future Landscape for 2072

Fig.4.

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Jun Wei Chng, Site Plan, 2022.

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DESIGN PROPOSAL

Fig.5.

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Jun Wei Chng, Site Section, 2022.

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DESIGN PROPOSAL

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DESIGN PROPOSAL

Weeds Centre The weeds centre will accommodate different types of programs that will help the surrounding community and environment to the fullest.

Visitors could bring their source of weeds and turn it to compost and even building materials for future construction uses.

The weeds centre provides a open and public workshop that teaches the public about the uses of weeds in the new environment.

Furthermore, providing a safe space and environmentally friendly space for processing weeds and selling as commercial goods.

The building material of the weeds centre are weed aggregate and rammed earth. Areas where heavy machinery and high heating occurs, rammed earth will be used as the thermal properties and structural properties help with accommodating those needs.

Fig.6.

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Jun Wei Chng, Weed Centre Exterior View, 2022.

DESIGN PROPOSAL

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DESIGN PROPOSAL

Wood Working Area op

sh ork lic W

Pub e rag

Sto

Entry

Staff Resting Room

Drying & Preparation Room

Collection Area

Market Area

Compost Workshop Entry

Fig.7.

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Jun Wei Chng, Weed Centre Ground Floor Plan, 2022.

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DESIGN PROPOSAL

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DESIGN PROPOSAL

Staff Resting Room

om

e Ro

chin

Ma

ftop Roo ace Terr

Staff Resting Room

Preparation Room

Lab

VOID

Control Room

Offices Entry

Fig.8.

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Jun Wei Chng, Weed Centre Basement Floor Plan, 2022.

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Fig.9.

Jun Wei Chng, Weed Centre First Floor Plan, 2022

2.

DESIGN PROPOSAL

ftop Roo ace Terr

Event Space

VOID

Event Space

Fig.10.

Jun Wei Chng, Weed Centre First Floor Plan, 2022.

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DESIGN PROPOSAL

Fig.11.

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Jun Wei Chng, Weed Centre Sections, 2022.

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DESIGN PROPOSAL

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DESIGN PROPOSAL

Fig.12.

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Jun Wei Chng, Weed Centre Courtyard, 2022.

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DESIGN PROPOSAL

Fig.13.

Jun Wei Chng, Weed Centre Machine Room, 2022.

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DESIGN PROPOSAL

Fig.14.

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Jun Wei Chng, Weed Centre Plaster Cast Model, 2022.

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DESIGN PROPOSAL

Fig.15.

Jun Wei Chng, Weed Centre Plaster Cast Model View 2, 2022.

Fig.16.

Jun Wei Chng, Weed Centre Plaster Cast Model View 3, 2022.

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DESIGN PROPOSAL

Seed Bank The heavily romanticised seed bank is placed along the axis of the Shrine of Remembrance. This was done as the monumentality of the axis helps reflect the importance of the monumentality of the seed bank. However, the seed bank will remain as a monument but the levels of hierarchy will shift towards the weed centre.

The seed bank will act as an a research and educational building that provides knowledge and the past to the visitors. With exhibitions portraying the journey of seeds to the culture behind cultivating crops.

This will further emphasise the importance of history and even though the worst may come from it but humans learn through it.

Fig.17.

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Jun Wei Chng, Seed Bank Exterior View, 2022.

DESIGN PROPOSAL

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DESIGN PROPOSAL

Fig.18.

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Jun Wei Chng, Seed Bank Ground Floor Plan, 2022.

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DESIGN PROPOSAL

Entry

ion

ibit

Exh

e Caf

ce

Spa

Plant Nu

rsery

Entry

Lab

Cold Lab

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DESIGN PROPOSAL

ion

ibit

Exh

Staff Resti

ng Room

ce

Spa

Staff Re

Changing Room Informatio n Area Offices Seed Bank

Resting Ar ea

Fig.19.

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Jun Wei Chng, Seed Bank Basement Floor Plan, 2022.

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Fig.20.

Jun Wei Chng, Seed Bank First Floor Pla

DESIGN PROPOSAL

t kou Loo

e

esting Ro

om

an, 2022.

Event Space

Fig.21.

Rooftop Terrace

Jun Wei Chng, Seed Bank Second Floor Plan, 2022.

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DESIGN PROPOSAL

Fig.22.

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Jun Wei Chng, Seed Bank Section, 2022.

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DESIGN PROPOSAL

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DESIGN PROPOSAL

Fig.23.

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Jun Wei Chng, Seed Bank Plant Nursery, 2022.

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DESIGN PROPOSAL

Fig.24.

Jun Wei Chng, Seed Bank Lookout, 2022.

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DESIGN PROPOSAL

Fig.25.

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Jun Wei Chng, Seed Bank Plaster Cast Model, 2022.

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DESIGN PROPOSAL

Fig.26.

Jun Wei Chng, Seed Bank Plaster Cast Model View 2, 2022.

Fig.27.

Jun Wei Chng, Seed Bank Plaster Cast Model View 3, 2022.

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Native and Colonial Interventions

COLONIAL INTERVENTIONS

V I CTO R I A - A U ST R A L I A -37°00’0.00” S 144°00’0.00” E

PRE-COLONIAL - LANDSCAPE SCALE 1:2,500,000 0

Fig.28

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Jun Wei Chng, Map of Victoria on pre-colonial native landscape. 2022. Data retrieved at https://www.data.vic. gov.au/

V I CTO R I A - A U ST R A L I A -37°00’0.00” S 144°00’0.00” E

POST COLONIAL - LANDSCAPE SCALE 1:2,500,000 0

Fig.29

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Jun Wei Chng, Map of Victoria on post-colonial native landscape. 2022. Data retrieved at https://www.data. vic.gov.au/

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COLONIAL INTERVENTIONS

By looking at the pre-colonial landscape that Victoria had to offer and comparing it to the post-colonial landscape we have in the present day, more than half of the native landscape has been removed and destroyed. Furthermore, users of a space will rarely consider the past of the site.14 The cause of this is due to the lack of recognition of the past and the memorability of it. All things must be considered when a building is built, what can be memorialised and what can be celebrated.

However, due to the concern of global warming and climate change, humans are slowly creeping back to nature, admiring what we have in the world rather than what humans built alongside it.15 Bringing back this notion of responsibility to take care of the natural world should always be a priority for everyone. Society has always been part of nature. However, humans all have different ways of viewing a certain aspect of things.16 For example, the destruction of the past caused by human advancements or the native landscape and people that were removed or relocated due to colonisation. Thus, complete recovery in urban landscapes and ecology will not be possible. A scar will always be imprinted on to the land, no matter the layering, the past will always be there.

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Gandy, “Marginalia: Aesthetics, ecology, and urban wastelands,” 1302.

Gandy, “Marginalia: Aesthetics, ecology, and urban wastelands,” 1308.

Linda Corkery and Noel Corkery, “GREENING CITIES: a new urban ecology,” Landscape Australia 25, no. 3 (99 (2003): 30.

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COLONIAL INTERVENTIONS

V I CTO R I A - A U ST R A L I A -37°00’0.00” S 144°00’0.00” E

Common Depleted Endangered Least Concern

E N D A N G E R E D V E G E TAT I O N

Rare Vulnerable

Fig.30

SCALE 1:2,500,000 0

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Jun Wei Chng, Map on endangered native vegetation. 2022. Data retrieved at https://www.data.vic.gov.au/

The consequences of needing to restore the old is even more important when looking at the endangered species of native vegetation. Though majority of the vegetation are not endangered, the ones that are endangered are caused by the weeds and diseases that were brought in by European colonist.

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COLONIAL INTERVENTIONS

M E L B O U R N E - V I CTO R I A 37.8136° S, 144.9631° E

Municipal Boundary Ocean Pre-European and current wetlands

PA S T & E X I S I T I N G W E T L A N D S

Pre-European wetlands Existing Waterways

Fig.31

SCALE 1:40,000 0

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Jun Wei Chng, Map of the past and present wetlands location. 2022. Data retrieved at https://www.data.vic.gov.au/

Majority of the native vegetation and landscapes before the colonist arrived were located at the wetlands. However, as more of the European settlers arrive, more wetlands were removed and covered to be built on and this caused eradication of native vegetations. There are only a few wetlands left near the Melbourne CBD but majority of it has been removed.

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COLONIAL INTERVENTIONS

V I CTO R I A - A U ST R A L I A -37°00’0.00” S 144°00’0.00” E

Serrated Tussock Ragwort Prickly Pear (Erect) Prickly Pear (Drooping)

VICTORIA’S TOP PRIORITY WEEDS

Paterson’s Curse Gorse

Fig.32

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SCALE 1:2,500,000 0

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Jun Wei Chng, Map of Victoria showing the most prominent weeds. 2022. Data retrieved at https://www.ala.org.au/

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COLONIAL INTERVENTIONS

Weeds have always been viewed as a negative object, something uncontrollable.17 All vegetation used to be weeds until humans decided to put a label on everything. Therefore, is there a way to look at weeds differently to what it is today? Yes, although the nature of weeds remains the same of being hard to control or eradicate, there are certain aspects of weeds that makes it appreciable.18 For example, the Agapanthuses is a weed that sends up flowers flying every summer, the maintenance of this plant is basically non-existent and because of this, it is cost effective for the local government.19

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Alistair Kirkpatrick, “The emperor’s new clothes: Questioning the war on weeds in urban streetscapes.” Landscape Architecture Australia 154 (2017): 26.

Eldredge and Horenstein, “Resilience, Restoration, and Redemption,” 220.

Niles Eldredge, and Sidney Horenstein, “Cities, Globalization, and the Future of Biodiversity,” In Concrete Jungle: New York City and Our Last Best Hope for a Sustainable Future, 1st ed., University of California Press, 2014, 221.

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EXISTING ECOLOGIES

EXISTING ECOLOGIES Native Victorian Vegetation

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Fig.33

Peter Tucker, Acacia enterocarpa.

Fig.34

Nathan Johnson, Ballantinia antipoda.

Fig.35

Neville Walsh, Brachyscome walshii.

Fig.36

Greg Steenbeeke, Commersonia Prostrata.

Fig.37

Pterostylis basaltica.

Fig.38

Steve Meacher, Pomaderris vaccniifolia.

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EXISTING ECOLOGIES Native Victorian Vegetation

Fig.39

Damien Cook, Sclerolaena napoformis.

Fig.40

Damien Cook, Senecio behrianus.

Fig.41

Joanne Antrobus, Nematolepis wilsonii.

Fig.42

Jo Lynch, Spyridium furculentum.

Fig.43

Nathan Johnson, Westringia crassifolia.

Fig.44

Niel and Wendy Marriot, Melaleuca wimmerensis.

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EXISTING ECOLOGIES

Prominent Weeds in Victoria

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Fig.46

Prickly Pear (Drooping).

Fig.45

Paterson’s Curse, 2021.

Fig.47

Christian Ferrer, Erect Prickly Pear.

Fig.48

Gorse.

Fig.49

Ragwort

Fig.50

Serrated Tussock

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EXISTING ECOLOGIES

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Site Analysis

S I T E A N A LY S I S

Fig.51

Victoria, Division of Survey Mapping. Royal Botanic Gardens, Melbourne, 1977.

Historical Images of Royal Botanic Gardens

Fig.52

Clifford Williams, Royal Botanical Gardens, Melbourne (Vic.), 1900.

By looking at the photos from the past, we could see that there were many types of vegetation at that time already in the Royal Botanic Gardens. However, some plants were removed. For example, in the last image, the Pampas Grass was deemed to be uncontrollable in terms of growth and was forced to be removed due to its ‘weedlike’ nature. The public deemed the plant as a very beautiful plant however, due to its nature, it was eradicated from the site. This is an example of weed being stereotypical judgment by society.20

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Fig.53

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Pampas grass in Royal Botanic Gardens.

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Eldredge and Horenstein, “Cities, Globalization, and the Future of Biodiversity,” 223.

S I T E A N A LY S I S

Fig.54

St Kilda Road. Taken between 1890 - 1930.

Historical Images of St Kilda Road

Fig.55

Robert Jolley, St. Kilda Road, Melbourne, 1905.

Compared to the present, St Kilda Road in the early 1900s was very lively in terms of vegetation. However, due to unknown reasons, shrubs and bushes were removed along the pavements and is left with what St Kilda Road is today.

A variety of species can already be seen in the past but it was eradicated in the present. This may be due to some of the plants being a weed but was not recognized as one back in the past.21 Some of us tend to avoid the natural world as it may be too daunting or uncomfortable.22 However, our world now derived from the natural and was once before a different space to what is now.

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Fig.56

Greg Lynn, “Multiplicitous and inorganic bodies.” Assemblage 19 (1992): 42.

Gaia Vince, “Embracing Invasives,” Science 331, no. 6023 (2011): 1383.

Rose Stereograph Co. St. Kilda Road, Melbourne, Vic., 1920.

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S I T E A N A LY S I S

Fig.57

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Jun Wei Chng, Future Abandonment of Government House. 2022.

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S I T E A N A LY S I S

The Abandonment of Government House By abandoning Government House in the future allows for a symbolic meaning for the transition of hope. The government house site used to be an important meeting place and camping ground for the local Aboriginal People.

Abandonment would mean that we are going back towards the natives’ way of treating and accommodating to the current landscape.

Whilst commemorating the past before colonialism.

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S I T E A N A LY S I S

Fig.58

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Jun Wei Chng, Site map. 2022.

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S I T E A N A LY S I S

The site is located at 318 St Kilda Road near the Shrine of Remembrance and the Royal Botanic Gardens. The reason behind choosing this site is because of its location being next to the Royal Botanic Gardens as the plan is to work alongside them to heal and stitch back the current natural landscape.

Weeds tend to grow in chaos and it is usually uncontrollable as it spreads.23 Therefore, I would like to explore that nature of weed in terms of architecture and use it to blur boundaries between the city and the gardens itself.

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David Gissen, “Weeds,” In Subnature: Architecture’s Other Environments, Princeton Architectural Press, 2009, 157.

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S I T E A N A LY S I S

Fig.59

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Jun Wei Chng, Existing Site section. 2022.

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S I T E A N A LY S I S

What has been left behind and covered up can be seen in this section. Areas of destruction and chaos still lies below the site.

However, these events and chaos is been covered up by a façade of the ‘ideal’ urban landscape.24 We cannot cover up or fix what has been done. However, we could slowly heal the current landscape that we are left with for a better environmental future.

24.

Gandy, “Marginalia: Aesthetics, ecology, and urban wastelands,” 1302.

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P re c e d e nt s & Ty p o l o g y

PRECEDENTS & TYPOLOGIES

Frank Lloyd Wright, Weed Holders Frank Lloyd Wright uses weeds as an ornamental decoration in his house by designing a weed holder instead of a decorating using flowers or other plants. Using the unconventional way in treating the object that is usually frowned upon.

Ornamenting weeds shows signs of worship and it furthermore, stands out from the usually flowers and other conventional house plants. By creating vases just for weeds shows the passion and importance that Frank Lloyd Wright thinks about weeds itself. Going against the social norm and being creative in creating something likable through different ways of interpreting it.

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PRECEDENTS & TYPOLOGIES

Fig.60

Fig.61

Frank Lloyd Wright, Wright Weed Holders, Studio Chair with Richard Book Sculpture in Oak Park Studio.

Frank Lloyd Wright, Weed Holder.

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PRECEDENTS & TYPOLOGIES

Greg Lynn, The Stranded Sears Tower.

The Stranded Sears Tower by Greg Lynn imitate the weed-like nature of the plant and allows for the building to bleed into the surrounding landscape, becoming one with the land.

Although this is very abstract way of looking at a building, it shows how weed could influence a design. A spread of wild weeds could influence the surrounding landscape, eating up the surrounding buildings like a living object.

This shows the idea that could be derived from weeds. How can something so resilient be controlled in a way that still portrays a design that is wild at the same time.

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PRECEDENTS & TYPOLOGIES

Fig.62

Greg Lynn, Stranded Sears Tower.

Fig.63

Greg Lynn, Stranded Sears Tower.

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PRECEDENTS & TYPOLOGIES

Olsen Kundig, Imagined Human Composting Centre.

Though this composting centre is not touching on weeds. It shows that we could using something that is dead to create life from it.

Similarly with weeds, by using dead weeds in a compost we can hopefully refertilise the surrounding soils to create something better than what the present has to offer.

Furthermore, this could potentially influence the composting of weeds to be something that is a ceremonial activity.

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PRECEDENTS & TYPOLOGIES

Fig.64

Fig.65

Olsen Kundig, Imagined Human Composting Centre.

Olsen Kundig, Imagined Human Composting Centre.

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PRECEDENTS & TYPOLOGIES

Denkkamer, Upcycling Gemert This upcycling plant shows the amount of opportunities to use something that we have abundant of and have no use for. Creating new materials and fertilisers through upcycling mycelium and other sorts of organic material shows the possibilities for improvement on the overall environment through using what nature has gave us.

Natural materials in this case is the best antidote in repairing and healing the current landscape and prepare for the everlasting climate change.

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PRECEDENTS & TYPOLOGIES

Fig.66

Denkkamer, Upcycling Gemert. 2017

Fig.67

Denkkamer, Upcycling Gemert. 2017

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PRECEDENTS & TYPOLOGIES

Carbon Capturers Considering that climate change is impacted by the large amount of greenhouse gas emissions that is produced by the technologies humans created, carbon capturers take the CO2 in the incoming air and turn it into carbonate materials underground.

The majority of the amount of CO2 in the air is not used in our everyday life. However, this machine could take what is already there and make use of it, it will benefit the overall environment and even slow down the process of climate change.

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PRECEDENTS & TYPOLOGIES

Fig.68

Climeworks, Direct Air Capture Machines. 2017

Fig.69

Climeworks, Direct Air Capture Machines. 2017

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PRECEDENTS & TYPOLOGIES

Research Office 100 sqm

Meeting Room

Toilets

25 sqm

20 sqm

Admin Office 20 sqm

General Lab

Incinerator Room

20sqm

80 sqm

Freezer Room

10sqm

20sqm

Sterilised Room

Incubator / Germination Room

30 sqm

Autoclave Room

Ashes collection room 50 sqm

20sqm

Machinery 25sqm

Storage 30 sqm

Tissue Culture Room

DNA Lab

25 sqm

Maintenance Room 30 sqm

Dry Room 50 sqm

50 sqm

Seed Quarantine Area

Heat Room 50 sqm

Storage

Centrifuge Room

100 sqm

Control Room 20 sqm

Preparation Room

Dry Room 25 sqm

30 sqm

Chemical Storage

Storage

Cold Room

40 sqm

30 sqm

10sqm

Recycling Room

Composting Room

Processing Plant Room

200 sqm

200 sqm

200 sqm

Processed Weed Collection Room 50sqm

Weed Preparation Room 100 sqm

100sqm

Drying Room 80 sqm

20sqm

Ceremonial Room 50 sqm

Workshop Space 100 sqm

Greenhouse / Plant Nursery

Seed Storage

Native Garden

400 sqm

200 sqm

200 sqm

Seed bank workspace

Fig.70.

78

Seed bank workspace

Jun Wei Chng, Program Schedule. 2022.

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Plants and Seeds

Processed Weed Collection Area 50 sqm

Public Access

Toilets 20 sqm

Exhibition Space

Cafe / Restaurants

Reception

200 sqm

70 sqm

30sqm

Weed Eradication Plant

Scale 1:200 @A3

PRECEDENTS & TYPOLOGIES

Seed bank Lab Rooms Sqm General Lab Seed Quarantine Area Machinery Incubator/Germination DNA Lab Centrifuge Room Freezer Room Sterilised Room Drying Room Cold Room Dry Room Preparation Equipment Autoclave Room Tissue Culture (Cryopreservation) Chemical Storage Storage Total 615 sqm

100 25 25 100 50 10 20 30 80 10 25 30 20

Notes Seed holding place that was given by the public.

Needs to be below -70c

Low humidity Sterilising all equipment used.

20 40 30

Seed bank workspaces Rooms Admin Office Research office Meeting Room Restrooms Storage Total

Sqm

180 sqm

20 100 25 15 20

Notes

Plants & Seed Storage Rooms Seed Storage Greenhouse/nursery Total

Sqm 600 sqm

200 400

Notes

Public Spaces Rooms Reception Exhibition space Café / Restaurants Ceremonial Room Processed Weed Collection area Workshop spaces Native Garden Toilets Total

Sqm

720 sqm

30 200 70 50 50

Notes

100 200 20

Weeds eradication plant Rooms Recycling room Incinerator room Composting room Weed preparation Room Ashes Collection Heat Room Dry Room Processed Weed Collection room Storage Material Production Plant Maintenance Room Control Room Total

Fig.71.

Sqm

200 80 200 100

Notes

50 50 50 50 30 200

1060 sqm

30 20

Jun Wei Chng, Program Table. 2022.

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PRECEDENTS & TYPOLOGIES

Public Space

Weed Eradication Plant

Seed Bank Workspace

Seed Bank Lab

Plant and Seed Storage

Physical Connection Service Connection Public Access Staff Access Service Access

Fig.72.

80

Jun Wei Chng, Program Connection. 2022.

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Scale 1:500 @

PRECEDENTS & TYPOLOGIES

Program connection Through looking at different programs in the space, the decision was to make it so that infrastructure based typologies could be accessed by the public or have certain elements viewable by the public.

The weed eradication plant could potentially be a public attraction feature as users may create their own compost or building material for the next home project. Furthermore, the public can contribute by bringing in their own eradicated weed to the processing plant to be processed.

It is important to have a community engagable space. Therefore, the public space has the most connections towards the seed bank and the eradication plant. Through the help of public contribution, the seed bank may expand further carry the hope for our future generations.

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Material Study

M AT E R I A L S T U DY

84

Fig.73.

Tobi Kellner, Oyster Mushroom Mycelium in Petri Dish on Coffee Grounds.

Fig.74.

Better Ancestors, The Wisdom of Fungi.

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M AT E R I A L S T U DY

Fig.75.

Jun Wei Chng, Mycelium Collage. 2022.

Material Study Mycelium The structure of mycelium allows for connectivity towards each organism. Looking at it in terms of the project creates opportunities to explore.

The question arises: • What if the path that connects the 2 typologies were through a hidden network underground?

• What if we mimic the form and structure of mycelium it blur the boundaries between RBG and St kilda road?

More so, interested in the ‘zoomed in’ version of mycelium rather than its aesthetic appearance.

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M AT E R I A L S T U DY

Rammed Earth The aesthetic quality best describes the idea of layering in a proposed form of the building.

Through the interest of layering in terms of form, an interest in layered texture could be explored with rammed earth.

The thermal properties also allows for high heat and cool environments which is needed in the weed centre and seed bank.

86

Fig.76.

Dialog, Nk’Mip Desert Cultural Centre. Photographed by Nic Lehoux, 2006.

Fig.77.

Tatiana Bilbao, Ajijic. Photographed by Iwan Baan, 2010.

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M AT E R I A L S T U DY

Material Choices Program distribution will contribute to the materials used. Some areas of the building will be a more rigid system due to the nature of the program held in that area. However, some areas will have a ‘lighter’ based material like a weed like composition to create a lighter weight construction.

There will be an experiment on creating my own material that will be self sufficient through the help of the weed centre. Producing the building’s material on site reduces carbon emissions and allows for a self sustaining system that future proofs the building as well.

In terms of the pathway that blurs the boundary of RBG and St Kilda Road, that will be a Mycelium based material that will have its own unique composition to create a more aesthetically appealing texture and look to it.

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M AT E R I A L S T U DY Fig.69.

Jun Wei Chng, 50 Years Later Masterplan. 2022.

Fig.78.

Jun Wei Chng, Flowering Weeds. 2022.

Fig.79.

Jun Wei Chng, Weeds Grown on pile of Soil. 2022.

Fig.80.

Jun Wei Chng, Dried up Weeds. 2022.

Fig.81.

Jun Wei Chng, Weeds Grown at Corner of Wall. 2022.

88

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M AT E R I A L S T U DY

Weed Collection Weeds were collected around the premise of where I am staying. The areas in which the weeds grows are in patches and derived from cracks in the floor or patches of soil that was disregarded upon.

Similarly with the program of the site, collecting weeds in a household scale would allow for the users to use the weed deposit/collection area in the weed centre to further purpose the weeds rather than throwing it away.

Through collecting the weeds, we could see that their survival rate in odd environments like these makes it very resilient in terms of weather.

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M AT E R I A L S T U DY

90

Fig.82.

Jun Wei Chng, Day 1 of Drying Weeds. 2022.

Fig.83.

Jun Wei Chng, Day 5 of Drying Weeds. 2022.

Fig.84.

Jun Wei Chng, Day 9 of Drying Weeds. 2022.

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M AT E R I A L S T U DY

Collection & Drying After collecting the weeds in the premise, the weeds were hung and dried over the course of 2 weeks to remove as much existing moisture from the stems and leaves.

The first day of hanging shows the vibrant greenish colour of the weeds itself. After a few days on Day 5, the leaves started to wilt.

However, in some of the bunch, growth was seen in terms of flowering. This further proves the resilient of the weeds itself despite trying to ‘kill it’. 25 On the last day of drying, all leaves were wilted and dried with the exception of the flowering bunch which maintained to be flowering despite the dryness of the rest.

25.

Gissen, “Weeds,” 150.

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91

M AT E R I A L S T U DY

92

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Fig.85.

Jun Wei Chng, 5g of Weeds to 95g of plaster. 2022.

Fig.86.

Jun Wei Chng, 10g of Weeds to 90g of plaster. 2022.

Fig.87.

Jun Wei Chng, 15g of Weeds to 85g of plaster. 2022.

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M AT E R I A L S T U DY

Weed Aggregate 3 different types of ratios were tested out for the different types of aggregate.

From this casting experiment, the density of the brick is lower every time the amount of dried weed leaves is placed instead of plaster.

This could potentially reduce the amount of concrete needed for a building and therefore, reduce the environmental impact that the creation of concrete blocks have towards the environment.

Preferably, the bricks will be pigmented with different colours rather than having a greyish petina. This will then depend on what other building materials the proposal will use to compliment this weed brick material.

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Te c t o n i c s S t u d y

TECTONICS STUDY

96

//

Fig.88

Jun Wei Chng, Collage of site near Yarra River. 2022.

Fig.89

Jun Wei Chng, Collage of Green vs the Grey. 2022.

Fig.90

Jun Wei Chng, Collage of the concrete landscape. 2022.

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TECTONICS STUDY

1.

Experimenting with the different textures showing different aspects of a site. This site was chosen to be around the Yarra river, the flowy shape of the collage depicts the Yarra river with the inclusion of some sort of building typology that will sit beside or between it to be explored.

2.

The second collage talks about the relationship between the overall green space vs the concreteness of the surrounding buildings.

From this we could see that the concrete space is overpowering the green patch of land. However, despite being overpowered, the greenness still pops while being with the overall composition.

3.

Lastly, this collage was based on the concrete jungle. Everything beside it is man made with no nature surrounding it. A very rigid system and typology with a infrastructural or factory like typology is considered.

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TECTONICS STUDY

Fig.91.

98

Jun Wei Chng, Sketch Model. 2022.

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TECTONICS STUDY

Physical Sketch Model Experimenting with layers. Layering different planes together creating an interesting form. However, from the current form is very constrained and concentrated only in the perimeter of the site.

Further exploration should be done on spreading out the building, allowing it to blend into the surrounding landscape to mimic a weed-like composition.

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TECTONICS STUDY

Fig.92.

Jun Wei Chng, Circulation and Connection Hand Sketch. 2022.

Fig.93.

Jun Wei Chng, Connecting Pathways. 2022.

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TECTONICS STUDY

Hand sketches The exploration was done through mimicking circulation and weed’s behavior of growth.

However, this exercise did not mimic the growth of weeds well but shows that connection and permeability of programs is important in the building typology.

This can be done through the help of material usage of increasing visual permeability or even increasing the amount of program that allows for public access rather than a fully private institute.

Similarly in blurring the boundaries, the pathway sketched has no hierarchy to it as the paths looks too random in terms of location and spread. Furthermore, weed growth spreads in patches and grows in nooks and cracks in any possible setting. This will have to be explored further.

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TECTONICS STUDY

Fig.94.

102 //

Jun Wei Chng, Layering Parti. 2022.

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TECTONICS STUDY

Layering Parti The Parti diagram explores the idea of layering in a building. Through previous interest in the layering of a seed, the decision was made to create a form that touches on the layering aspect of a building.

This then creates opportunities for light and shadow to be further explore. The idea of shadows reflects back to time passing and how that will effect the environment that humans have caused chaos upon it.

The layering effect will be applied through the form of the building with light and shadow in mind to emphasise that time is flowing bit by bit and we are closer to relying on weeds to survive in our ecosystem.

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TECTONICS STUDY

Fig.95.

104 //

Jun Wei Chng, Plan Parti. 2022.

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TECTONICS STUDY

Plan Parti The Parti diagram explores an axis that is place upon the site. This was done to respect the monumentality of the Shrine of Remembrance.

The seed bank is something that is usually monumentalised and romanticised. Therefore, there should be a strong rule set that is placed upon creating the form for the building.

By respecting the existing, an axis was placed.

However, there are areas where the existing is disregarded upon and is went against. For example the pathway the blurs the boundary between St Kilda Road and RBG. Permeating through the axis of the Shrine.

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TECTONICS STUDY

Fig.96.

106 //

Jun Wei Chng, Levels Parti. 2022.

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TECTONICS STUDY

Levels Parti The experiment with different levels. Creating a different dynamic for each space for different programs.

A seed bank and the weed crematorium would have a higher level to show ceremoniality. Other accommodating spaces will be placed below that height to not go against the hierarchy of the program.

Furthermore, this creates many interesting forms that can be explored in the overall formation of both the buildings.

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Sketch Design

SKETCH DESIGN

Fig.97.

Jun Wei Chng, Refined Pathway Connecting Typologies. 2022.

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SKETCH DESIGN

Blurring Boundaries Pathway The pathway blurs the boundary between St Kilda Road and RBG. This path goes through the front area of the Shrine of Rememberance going against the current and move towards the future.

By creating these patches of paths it shows that the current is not completely forgotten and the future is slowly creeping behind.

In the image, the patches are too big. Therefore, there will be a need to tweak the size and program of these patches to further emphasise the permeability and blur between the boundaries.

The multiplicity of the patches increase coverage as time passes by; generating a multiplictous urban monument that is influenced by external sources that allows for an interior structure that is independant.26 Having a small concentration to a bigger concentration as time passes by.

26.

Niles Eldredge, and Sidney Horenstein, “Resilience, Restoration, and Redemption,” In Concrete Jungle: New York City and Our Last Best Hope for a Sustainable Future, 1st ed., University of California Press, 2014, 220.

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SKETCH DESIGN

Seed bank form Layering is very important in the project.

Coming from the layering of seeds and the layering of different histories and species that were brought by the colonial crew. Therefore, the intersecting planes emphasises the layering effects of these elements.

Furthermore, these forms and position of planes allows for a play with light and shadow to show time passing and creeping forward into the future.

However, the seed bank is meant to be something monumental. Hence, the need to reduce these planes as it may be too distracting from the element of monumentality.

The dynamic forms of height allows for many interesting spaces to be explored interiorly.

112

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SKETCH DESIGN

Fig.98.

Jun Wei Chng, Concept Form Model, Seed Bank. 2022.

Fig.99.

Jun Wei Chng, Concept Form Model, Seed Bank. 2022.

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SKETCH DESIGN

Fig.100. Jun Wei Chng, Concept Form Model, Weed Centre. 2022.

Fig.101. Jun Wei Chng, Concept Form Model, Weed Centre. 2022.

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SKETCH DESIGN

Weed Centre Form Compared to the seed bank, this building typology is not as complex and is more simplified with a consideration of a visual connection to the seed bank.

The reason behind a more simplified form is to not stand out too much in the surrounding landscape of the RBG. Furthermore, the simplistic form allows for a sense of ceremoniality towards the cremation of weeds.

This building will tend to be more welcoming to the public as there would be workshops and self learning experiences that the program will offer towards the visitors or contributors of the space.

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SKETCH DESIGN

Fig.102. Jun Wei Chng, Connecting Pathway that Blurs Boundaries. 2022.

116 //

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SKETCH DESIGN

Pathway to Blur the Boundary The pathway shown uses weeds as an inspiration for the location and style of where it is placed. Thus, the pathway grows in patches and creeps into the surrounding landscape.

However, what if these patches were actual weeds? How can we contain them but yet still allow for it to be displayed and act as a guiding mechanism to the other building typology.

Have these path spread out further. There are weed patches on St Kilda Road itself and along the Yarra river.

Marking out the different landscapes in the Gardens to differentiate what type of treatment should be done.

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SKETCH DESIGN

Fig.103. Jun Wei Chng, Section Connection. 2022.

118 //

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SKETCH DESIGN

Section of Site The connection between the 2 typologies are based on its form of the building.

The visual connection between the 2 buildings are done through the similar elements it has between, for example, the crematorium + the storage space. A ‘tube’ like form that forms vertically shows the importance and monumentality of these 2 elements.

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SKETCH DESIGN

Fig.104. Jun Wei Chng, Concept Form Connection. 2022.

120 //

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SKETCH DESIGN

Form of the Buildings The forms of the building is to ‘clean’, ‘safe’ and ‘institutional’. What if the form can be something ‘weirder’ or unpredictable like how weeds are portrayed.

Will have to investigate more and different types of forms that suits the overall project’s theme. May look at unpredictability in terms of building form for interesting forms as well.

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121

Design Development

DESIGN DEVELOPMENT

Desire Lin

e

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s

124 //

Axi

ge

d Ed Har

Fig.105. Jun Wei Chng, Parti of Site. 2022.

DESIGN DEVELOPMENT

Parti Diagram The Parti Diagram conveys the boundary that St Kilda Road currently provides for the existing site. However, the proposal aims to break the boundary by creating a desire line from the Weed Centre through the Seed Bank, going towards Government House. The pathway created will break the hard edge that St Kilda Road provides and over the years, the weeds itself will break that boundary too.

Furthermore, the location of the seed bank will be placed along side the Axis of the Shrine to respect the existing and be more of a monumental building compared to the weed centre which will be more on the industrial side.

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DESIGN DEVELOPMENT

Fig.106. Jun Wei Chng, Present Day Masterplan. 2022.

126 //

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DESIGN DEVELOPMENT

The Present site has a very ordered and clear distinction between edges and boundaries. As an example, the ordered green spaces in the Botanic Gardens and the Shrine of Rememberance.

The path that will be built acts as a clear connection between the 2 buildings allowing visitors to travel from 1 area to another in a desired manner. However, after 50 years, the path changes.

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DESIGN DEVELOPMENT

Fig.109. Jun Wei Chng, 50 Years Later Masterplan. 2022.

128 //

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DESIGN DEVELOPMENT

After 50 years, the green spaces is slowly taking over the surrounding landscapes. There is no distinct pathways around the Royal Botanic Gardens and the Shrine. Therefore, the pathway created 50 years ago will lead and help cut the old boundary created.

The pathway will be a controlled path with still a clear route despite the overgrowth of weeds.

However, there weeds will still take over the pathway but in a smaller scale compared to the rest of the greenery beside it.

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DESIGN DEVELOPMENT

Fig.110. Jun Wei Chng, Past Iteration of Weed Path & Weed Centre. 2022.

Fig.109

Jun Wei Chng, Past Iteration Weed Centre. 2022.

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DESIGN DEVELOPMENT

Weed Centre Form Iterations The past iterations of the weed centre form was wanting to connect the building itself to the path created.

Therefore, a stair based form was created to allow for a wrapping effect that the path would take along the building. However, after looking at planning and the seed bank’s form, it came to a conclusion that this form does not speak fluently to the seed bank and has too many elements of conflict.

However, in terms of planning, it brought insights to plan the next iteration with knowledge of the space needed and the location of the programs.

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131

DESIGN DEVELOPMENT

Heating & Prepping

Storage Public Workshop

Compost Storage

Shop

Cultivation

Collection Room

Worker’s Rest Space

Storage

Machine Room (Bricks)

WC

Ground Floor Plan Scale 1:200 @ A3

Fig.110. Jun Wei Chng, Past Iteration Weed Centre Ground Floor Plan. 2022.

132 //

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Locker Buffer

Drying & Storage for weeds

Chemicals Storage

DESIGN DEVELOPMENT

Weed Centre Ground Floor Plan (Past Iteration) Through iterations, the program that will be placed on the ground floor would be robust programs which needs a lot of space for machinery and open spaces for activities.

Similarly collection and public areas will be placed on the ground level for easy accessibility.

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DESIGN DEVELOPMENT

Void

Temperature Regulator

Void Offices Void

Control Room

Maintenance Rest Area

Offices

Rest Area

Meeting Room

Storage

Void Control Room

WC

1st Floor Plan Scale 1:200 @ A3

Fig.111.

Jun Wei Chng, Past Iteration Weed Centre First Floor Plan. 2022.

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DESIGN DEVELOPMENT

Weed Centre 1st Floor Plan (Past Iteration) With heavy robust programs placed on the ground and basement level, the lighter and corporate programs is placed on the top few floors.

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DESIGN DEVELOPMENT

Fig.112.

Jun Wei Chng, Weed Centre Isometric. 2022.

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DESIGN DEVELOPMENT

Weed Centre (Past Form) The form simplified the old form and has a consistency with the seed bank. The path gets “swallowed” by the weed center and runs along St Kilda Road, going through the seed bank and towards Government House. There are access points for the path to continue throughout the building so it there is a physical and visual connection between the 2 buildings.

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DESIGN DEVELOPMENT

ntr Cove

eet y Str

Void

Machine Room 1

Maintenance & Storage Meeting Room Staff Resting

Reception

Weed Collection & Sorting

Composting Room

Material Store Public Workshop WC

Weed Centre Ground Floor Plan Scale 1:200 @A2

0

Fig.113.

2

5

10

20m

Jun Wei Chng, Weed Centre Ground Floor Plan. 2022.

138 //

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Storage

DESIGN DEVELOPMENT

St Kilda Road

Weed Centre Ground Floor Plan (Past Form) In terms of program of space, the weed centre will be more of an industrial and robust building compared to the seed bank.

This is due to the industriousness of the space having heavy machinery and a need large amount of space compared to the seed bank.

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DESIGN DEVELOPMENT

t tree

S ntry

Cove

Heating / Drying Room

Machine Room 2

Storage

Recycling Room

Autoclave

St Kilda Road

Laboratory

Storage

Weed Sorting Area

Excess Weed Storage

Chemical Storage

WC

Weed Centre Basement Floor Plan Scale 1:200 @A3 0

2

Fig.114.

5

10m

Jun Wei Chng, Weed Centre Basement Floor Plan. 2022.

t tree

S ntry

Cove

Void

Control Room

St Kilda Road

Research Office Storage

Meeting Room

Staff Rest

Void Void

Weed Centre 1st Floor Plan

WC

Storage

Scale 1:200 @A3 0

2

Fig.115.

140 //

5

10m

Jun Wei Chng, Weed Centre 1st Floor Plan. 2022.

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Control Room

DESIGN DEVELOPMENT

Weed Centre Basement Plan (Past Form) The Basement will continue to hold robust programs and material sensitive programs like a recyclers and research lab for further experimentation on weeds as a material and other possible uses.

Weed Centre 1st floor Plan (Past Form) The 1st floor will hold the control rooms for all the workshops and machine rooms which over looks towards the Ground Floor spaces as a overhang to prevent any malfunctions in machinery.

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DESIGN DEVELOPMENT

t tree

S ntry

Cove

Rooftop Terrace

St Kilda Road

Staff Event Space

Void

Storage

Offices WC

Weed Centre 2nd Floor Plan

Offices

Storage

Scale 1:200 @A3 0

2

Fig.116.

5

10m

Jun Wei Chng, Weed Centre 2nd Floor Plan. 2022.

t tree

S ntry

Cove

St Kilda Road

Rooftop Terrace

Private Event Room

Storage

WC

Pantry

Rentable Event Space

Weed Centre 3rd Floor Plan Scale 1:200 @A3 0

2

Fig.117.

142 //

5

10m

Jun Wei Chng, Weed Centre 3rd Floor Plan. 2022.

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DESIGN DEVELOPMENT

Weed Centre 2nd and 3rd Floor plan (Past Form) And as we move up the building, spaces becomes lighter in terms of program, like offices and public and private event spaces on floor 2 and 3.

The private event space could be rented out to the public or any associations for events that will be taken place in the building.

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DESIGN DEVELOPMENT

Fig.118.

Jun Wei Chng, Seed Bank Isometric. 2022.

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DESIGN DEVELOPMENT

Seed Bank (Past Form) Similarly, to the weed center, the seed bank has a separation of a public exhibition space in 1 block and the research and storing facilities on the other.

The seed bank has 2 entry way that allows for the pathway to cut through the building and emerge from another side leading to government house.

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DESIGN DEVELOPMENT

Cafe Station Awareness Space

Storage Chemical Storage & Machinery Room

WC WC

o epti Rec n

Plant Nursery

Co lle ct

ion

Seed Quarantine

Seed Preparation (Dry Room)

Seed Bank Ground Floor Plan Scale 1:200 @A3 0

2

Fig.119.

5

10m

Jun Wei Chng, Seed Bank Ground Floor Plan. 2022.

In Ge cuba rm to ina r tio nR oo

Au to

m

cla

Air loc

k

ve

Co ld

Ro o

Air loc

k

m

Cry Ro op om res e

rv at

Fre Se eze ed r St Roo ora m ge

ion

Seed Bank Basement Floor Plan Scale 1:200 @A3 0

2

5

10m

Fig.120. Jun Wei Chng, Seed Bank Basement Floor Plan. 2022.

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DESIGN DEVELOPMENT

Seed Bank Ground Floor Plan The pathway that leads in and leads out of the seed bank can be seen in the ground floor, going through the exhibition space.

With a clear separation between exhibition space and research area. With a public nursery in front of the building for the public to access.

Seed Bank Basement Floor Plan Due to the temperature difference needed to store seeds, the freezer and storage area will be placed below ground to regulate the surrounding temperature accurately.

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DESIGN DEVELOPMENT

Exhibition Space Void

W C

Sto

ra

ge

Research Office

Staff Rest Space

Autoclave

Airlock

Research Lab

Seed Bank 1st Floor Plan Scale 1:200 @A3 0

2

Fig.121.

5

10m

Jun Wei Chng, Seed Bank 1st Floor Plan. 2022.

Bar

Storage

WC Public Event Space

Rooftop Terrace

Seed Bank 2nd Floor Plan Scale 1:200 @A3 0

2

5

10m

Fig.122. Jun Wei Chng, Seed Bank 2nd Floor Plan. 2022.

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Lookout to Government House

DESIGN DEVELOPMENT

Seed Bank 1st Floor Similarly to the ground floor, the exhibition space will primarily be open space for different types of exhibition to take place. And a separation between research and public is clearly shown.

Seed Bank 2nd Floor This floor allows the public to rent out for special events while having the whole rooftop to themselves. A private event area.

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DESIGN DEVELOPMENT

Private Event Space

Staff Event Space

Meeting Room Control Room

Research Office

Composting Room

Machine Room 1

Heating / Drying Room

Machine Room 2 1

Recycling Room

Weed Centre Unrolled Section Scale 1:200 @A1 0

2

5

10

20m

Fig.123. Jun Wei Chng, Weed Centre Unrolled Section. 2022.

150 //

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Laboratory

Weed Collection & Sorting

Pub

DESIGN DEVELOPMENT

Offices

Control Room

blic Workshop

Unrolled Section of Weed Centre The Sections are unrolled section of the building, showing the connection between the path going through the building and arriving at another. Ending itself at the Government house.

For the weed center, because of its robustness, double height spaces is allocated for large machines. For example, the public workshop and the main machine room.

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DESIGN DEVELOPMENT

Research Lab

Seed Preperation

Freezer Room & Seed Storage

Seed Bank Unrolled Section Scale 1:200 @A1 0

2

5

10

20m

Fig.124. Jun Wei Chng, Seed Bank Unrolled Section. 2022.

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Exhibition Space 2

Exhibition Space 1

DESIGN DEVELOPMENT

Unrolled Section of Seed Bank Similarly to the weed centre, double height spaces is allocated for the exhibition spaces and as can be seen the path continues towards the Government house.

The spaces in the seed bank does not have much double height or triple height spaces as it won’t be efficient for the labs and other research equipment.

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DESIGN DEVELOPMENT

Fig.125. Jun Wei Chng, Planned Burn Plan. 2022.

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DESIGN DEVELOPMENT

Control Burning The aspects of control burning was explored as it is a potential in repairing the overall landscape. However, due to indigenous cultures in control burning, I have decided to not include this in the thesis project.

Nonetheless, control burning is a great way to reintroduce diversity and refertilise the land. At the same time of symbolising the destruction of the colonial landscape built is better when it is burnt off rather than being what it is today.

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DESIGN DEVELOPMENT

Fig.126. Jun Wei Chng, Carbon Capturers and Giant Mulchers. 2022.

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DESIGN DEVELOPMENT

Carbon Capturers and Giant Mulchers The inclusion of these infrastructure all provides back towards the landscape and environment of the area.

The mulchers will be used to rejuvenate the landscape to allow for more vegetation to potentially regrow and fill up areas where it is dried out.

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DESIGN DEVELOPMENT

Fig.127.

Jun Wei Chng, Past Site Plan. 2022.

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DESIGN DEVELOPMENT

Placements The location of the mulchers and carbon capturers will be placed along the path the connects both the weeds centre and seed bank and the path the connect the seed bank with government house.

The axis that connects these buildings can be seen through the path itself and the carbon capturers.

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DESIGN PROPOSAL

Fig.128. Jun Wei Chng, Final Composition. 2022.

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DESIGN PROPOSAL

Final Composition The final composition of the project is having the carbon capturers along the path with mulchers placed at dried arid areas where it needs it the most.

This is done to ensure areas of need will be treated quickly to ensure the dried arid area will not spread towards more of the landscape.

The seed bank is placed along the axis of the Shrine with an axis running through it that connects the weeds centre and the ruins of Government house. The seed bank will act as a monument to the past and the weeds centre will be the hopes for our future.

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Conclusion The thesis argues that the urban landscape cannot be fully repaired. However, actions can be taken to heal the current landscape. Is there a way for humans to return to nature or the past?

No, it will not be the same as technologies and the harm done to the current landscape is beyond its original state. The transformation of a hybrid/cyborg landscape will actively give back to the harsh environment to slowly repair its current state that humans have created.

The action for removing the surrounding colonial buildings like government house is a symbolic act that reminds the public about the more important goal and issue, which would be, embracing the current landscape and provide aid back into the environment.

The seed bank and weed centre will be used to help educate and heal the current state of the landscape 50 years from now. To further support the barren landscape, programs/infrastructure like carbon capturers and mulchers will be placed and used in the surrounding space to slowly heal the current state of the area.

RESEARCH BIBLIOGRAPHY Goho, Alexandra. “ANTICIPATING CLIMATE CHANGE.” Landscape Architecture 94, no. 12 (2004): 48-55.

Corkery, Linda, and Noel Corkery. “GREENING CITIES: a new urban ecology.” Landscape Australia 25, no. 3 (99 (2003): 28-30.

Dwyer, John. “Weeds in Victorian landscapes: a Mount Eliza weed assembly.” Australian Garden History 20, no. 3 (2009): 18-23.

Eldredge, Niles, and Sidney Horenstein. “Resilience, Restoration, and Redemption.” In Concrete Jungle: New York City and Our Last Best Hope for a Sustainable Future, 1st ed., 191–220. University of California Press, 2014. http://www.jstor.org/stable/10.1525/j. ctt13x1gw7.10.

Eldredge, Niles, and Sidney Horenstein. “Cities, Globalization, and the Future of Biodiversity.” In Concrete Jungle: New York City and Our Last Best Hope for a Sustainable Future, 1st ed., 221-254.

University of California Press, 2014. http://www.jstor.org/stable/10.1525/j.ctt13x1gw7.10.

“Eradication of Prickly Pear in Australia.” Nature 131, (1933): 613-613. https://doi.org/10.1038/131613b0 Gandy, Matthew. “Marginalia: Aesthetics, ecology, and urban wastelands.” Annals of the Association of American Geographers 103, no. 6 (2013): 1301-1316.

Gandy, Matthew. “Urban nature and the ecological imaginary.” In In the nature of cities, pp. 62-89. Routledge, 2006.

Vince, Gaia. “Embracing invasives.” Science 331, no. 6023(2011): 1383-1384.

Gissen, David. “Weeds.” In Subnature: Architecture’s Other Environments, pp.149-161. Princeton Architectural Press, 2009.

Jutila, Heli M. “Seed bank and emergent vascular flora of ballast areas in Reposaari, Finland.” In Annales Botanici Fennici, pp. 165-182.

Finnish Zoological and Botanical Publishing Board, 1996.

Kloot, P. M. “Plant introductions to South Australia prior to 1840.”

Journal of the Adelaide Botanic Garden (1985): 217-231.

Kirkpatrick, Alistair. “The emperor’s new clothes: Questioning the war on weeds in urban streetscapes.” Landscape Architecture Australia 154 (2017): 26-27.

Lynn, Greg. “Multiplicitous and inorganic bodies.” Assemblage 19 (1992): 33-49.

Gibson, Robert. “Weeds.” Alternatives Journal 40, no. 4 (2014): 64.

“Royal Botanic Gardens, MELBOURNE.” Historic Gardens Review, no.

16 (2006): 37–37. http://www.jstor.org/stable/44791259.

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RESEARCH FIGURE LIST Fig. 1. Chng, Jun Wei. Journey of seeds to Australia. 2022.

Fig. 24. Chng, Jun Wei. Seed Bank Lookout. 2022.

Fig. 2. Chng, Jun Wei. Anatomy of a wheat seed. 2022.

Fig. 25. Chng, Jun Wei. Seed Bank Plaster Cast Model. 2022.

Fig. 3. Chng, Jun Wei. Timeline collage of the history of seeds. 2022.

Comprises of Images from: https://museumsvictoria.com.au/ immigrationmuseum/resources/journeys-to-australia/ • Emigration pamphlet circa 1858: ‘Practical Hints for Emigrants to our Australian Colonies’.

• ‘Mail Steamer Leaving Melbourne Port’, circa 1903.

• Ally Heathcote, England to Melbourne, Victoria, Onboard ‘SS Northumberland’, 1874.

• The Southern Cross.

Fig. 26. Chng, Jun Wei. Seed Bank Plaster Cast Model View 2. 2022.

Additional Images: • Prickly pear before the cactoblastis beetle attck, Chinchilla district. Retrieved from https://www.nma.gov.au/defining-moments/resources/prickly-pear-eradication • Recommendation to destroy prickly pear weeds using flame throwers. Retrieved from https://www.naa.gov.au/learn/ learning-resources/learning-resource-themes/environment-and-nature/plants/recommendation-destroy-prickly-pear-weeds-using-flame-throwers\ • The Leader, Melbourne, 1887. Retrieved at https://australianfoodtimeline.com.au/first-farming-victoria/ • Yates seeds in Australia, 1887. Retrieved at https://australianfoodtimeline.com.au/1895-yates-seeds-australia/ • Royal Botanic Gardens, 1893. Retrieved at https://www. rbgsyd.nsw.gov.au/Stories/2018/Part-1-Digging-into-ourhistory-1800s

Fig. 30. Chng, Jun Wei. Map on endangered native vegetation. 2022.

Data retrieved at https://www.data.vic.gov.au/

Fig. 4. Chng, Jun Wei. Site Plan. 2022.

Fig. 35. Walsh, Neville. Brachyscome walshii. Photograph. Royal Botanic Gardens Victoria. https://www.anpc.asn.au/apcc11/flagship_victorian_plants/

Fig. 5. Chng, Jun Wei. Site Section. 2022.

Fig. 6. Chng, Jun Wei. Weed Centre Exterior View. 2022.

Fig. 7. Chng, Jun Wei. Weed Centre Ground Floor Plan. 2022.

Fig. 8. Chng, Jun Wei. Weed Centre Basement Floor Plan. 2022.

Fig. 9. Chng, Jun Wei. Weed Centre First Floor Plan. 2022.

Fig. 10. Chng, Jun Wei. Weed Centre Second Floor Plan. 2022.

Fig. 11. Chng, Jun Wei. Weed Centre Sections. 2022.

Fig. 12. Chng, Jun Wei. Weed Centre Courtyard. 2022.

Fig. 13. Chng, Jun Wei. Weed Centre Machine Room. 2022.

Fig. 14. Chng, Jun Wei. Weed Centre Plaster Cast Model. 2022.

Fig. 15. Chng, Jun Wei. Weed Centre Plaster Cast Model View 2. 2022.

Fig. 16. Chng, Jun Wei. Weed Centre Plaster Cast Model View 3. 2022.

Fig. 17. Chng, Jun Wei. Seed Bank Exterior View. 2022.

Fig. 18. Chng, Jun Wei. Seed Bank Ground Floor Plan. 2022.

Fig. 19. Chng, Jun Wei. Seed Bank Basement Floor Plan. 2022.

Fig. 20. Chng, Jun Wei. Seed Bank First Floor Plan. 2022.

Fig. 21. Chng, Jun Wei. Seed Bank Second Floor Plan. 2022.

Fig. 22. Chng, Jun Wei. Seed Bank Section. 2022.

Fig. 27. Chng, Jun Wei. Seed Bank Plaster Cast Model View 3. 2022.

Fig. 28. Chng, Jun Wei. Map of Victoria on pre-colonial native landscape. 2022. Data retrieved at https://www.data.vic.gov.au/ Fig. 29. Chng, Jun Wei. Map of Victoria on post-colonial native landscape. 2022. Data retrieved at https://www.data.vic.gov.au/

Fig. 31. Chng, Jun Wei. Map of the past and present wetlands location. 2022. Data retrieved at https://www.data.vic.gov.au/ Fig. 32. Jun Wei, Chng. Map of Victoria showing the most prominent weeds. 2022. Data retrieved at https://www.ala.org.au/ Fig. 33. Tucker, Peter. Acacia enterocarpa. Photograph. Mister Tucker’s Business. https://www.anpc.asn.au/apcc11/flagship_victorian_plants/ Fig. 34. Johnson, Nathan. Ballantinia antipoda. Photograph. Australian Network for Plants Conservation Inc. https://www.anpc.asn. au/apcc11/flagship_victorian_plants/

Fig. 36. Steenbeeke, Greg. Commersonia Prostrata. Photograph.

Australian Network for Plants Conservation Inc. https://www. anpc.asn.au/apcc11/flagship_victorian_plants/ Fig. 37. Pterostylis basaltica. Photograph. Australian Network for Plants Conservation Inc. https://www.anpc.asn.au/apcc11/flagship_victorian_plants/ Fig. 38. Meacher, Steve. Pomaderris vaccniifolia. Healesville Environment Watch Inc. https://www.anpc.asn.au/apcc11/flagship_victorian_plants/ Fig. 39. Cook, Damien. Sclerolaena napoformis. Rakali Ecological Consulting. https://www.anpc.asn.au/apcc11/flagship_victorian_plants/ Fig. 40. Cook, Damien. Senecio behrianus. Rakali Ecological Consulting. https://www.anpc.asn.au/apcc11/flagship_victorian_plants/ Fig. 41. Antrobus, Joanne. Nematolepis wilsonii. Parks Victoria. https://www.anpc.asn.au/apcc11/flagship_victorian_plants/ Fig. 42. Lynch, Jo. Spyridium furculentum. ANPC. https://www.anpc. asn.au/apcc11/flagship_victorian_plants/ Fig. 43. Johnson, Nathan. Westringia crassifolia. Photograph. Australian Network for Plants Conservation Inc. https://www.anpc. asn.au/apcc11/flagship_victorian_plants/ Fig. 44. Marriot, Neil & Wendy. Melaleuca wimmerensis. Australian Network for Plants Conservation Inc. https://www.anpc.asn.au/ apcc11/flagship_victorian_plants/

Fig. 23. Chng, Jun Wei. Seed Bank Plant Nursery. 2022.

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RESEARCH Fig. 45. Paterson’s curse. Photograph. Department of Primary Industries and Regional Development. 2021. https://www.agric.wa.gov. au/biological-control/patersons-curse-what-you-should-know

Fig. 65. Kundig, Olson. Imagined Human Composting Centre. ArchDaily. https://www.archdaily.com/928972/olson-kundig-imagines-a-center-for-human-composting-in-seattle

Fig. 46. Prickly Pear (Drooping). Photograph. Brisbane City Counsil weedidentificationtool. https://weeds.brisbane.qld.gov.au/weeds/ drooping-tree-pear

Fig. 66. Denkkamer. Upcycling Germert. 2017. ArchDaily. https:// www.archdaily.com/876090/upcycling-gemert-denkkamer

Fig. 47. Ferrer, Christian. Erect Prickly Pear. Photograph. World of Succulents. https://worldofsucculents.com/opuntia-stricta-erectprickly-pear/ Fig. 48. Gorse. Photograph. Eat The Weeds and other things, too. https://www.eattheweeds.com/ulex-europaeus-edible-gorse-orfurze-pas-2/ Fig. 49. Ragwort. Photograph. Cardinia. https://www.cardinia.vic. gov.au/directory_record/3769/ragwort Fig. 50. Serrated tussock. Photograph. City of Greater Geelong. https://www.geelongaustralia.com.au/environment/news/ item/8d7464ab2fe35e7.aspx Fig. 51. Victoria, Division of Survey Mapping. Royal Botanic Gardens, Melbourne, 1977. State Library Victoria. https://viewer.slv.vic.gov. au/?entity=IE15490186&mode=browse Fig. 52. Williams, Clifford, Photographer, and Williams, Clifford.

Royal Botanical Gardens, Melbourne (Vic.), 1900. State Library Victoria. https://viewer.slv.vic.gov.au/?entity=IE1456124&mode=browse Fig. 53. Pampas grass in Royal Botanic Gardens. https://reflectivegardener.blogspot.com/2015/07/old-views-of-royal-botanicgardens.html Fig. 54. St Kilda Road. Taken between 1890 - 1930. State Library Victoria. http://handle.slv.vic.gov.au/10381/247018?urlappend=%26mode=overview Fig. 55. Jolley, Robert, St. Kilda Road, Melbourne, 1905. State Library Victoria. https://viewer.slv.vic.gov.au/?entity=IE7201645&mode=browse Fig. 56. Rose Stereograph Co. St. Kilda Road, Melbourne, Vic., 1920. State Library Victoria. https://viewer.slv.vic.gov.au/?entity=IE886584&mode=browse Fig. 57. Chng, Jun Wei. Future Abandonment of Government House.

2022.

Fig. 67. Denkkamer. Upcycling Germert. 2017. ArchDaily. https:// www.archdaily.com/876090/upcycling-gemert-denkkamer Fig. 68. Climeworks. Direct Air Capture Machines. 2017. Climeworks. https://climeworks.com/co2-removal Fig. 69. Climeworks. Direct Air Capture Machines. 2017. Climeworks. https://climeworks.com/co2-removal Fig. 70. Chng, Jun Wei. Program Schedule. 2022.

Fig. 71. Chng, Jun Wei. Program Table. 2022.

Fig. 72. Chng, Jun Wei. Program Connection. 2022.

Fig. 73. Kellner, Tobi. Oyster Mushroom Mycelium in Petri Dish on Coffee Grounds. https://www.microscopemaster.com/mycelium. html#gallery[pagegallery]/1/ Fig. 74. Better Ancestor. The Wisdom of Fungi. https://www.nzgeo. com/video/the-wisdom-of-fungi/ Fig. 75. Chng, Jun Wei. Mycelium Collage. 2022.

Fig. 76. Dialog. Nk’Mip Desert Cultural Centre. Photographed by Nic Lehoux. 2006.

Fig. 77. Tatiana Bilbao. Ajijic. Photographed by Iwan Baan. 2010.

Fig. 78. Chng, Jun Wei. Flowering Weeds. 2022.

Fig. 79. Chng, Jun Wei. Weeds Grown on pile of Soil. 2022.

Fig. 80. Chng, Jun Wei. Dried up Weeds. 2022.

Fig. 81. Chng, Jun Wei. Weeds Grown at Corner of Wall. 2022.

Fig. 82. Chng, Jun Wei. Day 1 of Drying Weeds. 2022.

Fig. 83. Chng, Jun Wei. Day 5 of Drying Weeds. 2022.

Fig. 84. Chng, Jun Wei. Day 9 of Drying Weeds. 2022.

Fig. 58. Chng, Jun Wei. Site Map. 2022.

Fig. 85. Chng, Jun Wei. 5g of Weeds to 95g of Plaster. 2022.

Fig. 59. Chng, Jun Wei. Existing Site Section. 2022.

Fig. 86. Chng, Jun Wei. 10g of Weeds to 90g of Plaster. 2022.

Fig. 60. Frank Lloyd Wright. Wright Weed Holders, Studio Chair with Richard Book Sculpture in Oak Park Studio. Photograph. 1900. http://www.steinerag.com/flw/Artifact%20Pages/PhRtS429weed. htm

Fig. 87. Chng, Jun Wei. 15g of Weeds to 85g of Plaster. 2022.

Fig. 61. Frank Lloyd Wright. Weed Holders. Photograph. Metropolitan Museum of Art. http://www.steinerag.com/flw/Artifact%20 Pages/PhRtS429weed.htm Fig. 62. Lynn, Greg. Stranded Sears Tower. Photograph. Greg Lynn Form. https://glform.com/buildings/stranded-sears-tower/ Fig. 63. Lynn, Greg. Stranded Sears Tower. Photograph. Greg Lynn Form. https://glform.com/buildings/stranded-sears-tower/ Fig. 64. Kundig, Olson. Imagined Human Composting Centre. ArchDaily. https://www.archdaily.com/928972/olson-kundig-imagines-a-center-for-human-composting-in-seattle

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Fig. 88. Chng, Jun Wei. Collage of site near Yarra River. 2022.

Fig. 89. Chng, Jun Wei. Collage of Green vs the Grey. 2022.

Fig. 90. Chng, Jun Wei. Collage of the concrete landscape. 2022.

Fig. 91. Chng, Jun Wei. Sketch Model. 2022.

Fig. 92. Chng, Jun Wei. Circulation and Connection Hand Sketch.

2022.

Fig. 93. Chng, Jun Wei. Connecting Pathways. 2022.

Fig. 94. Chng, Jun Wei. Layering Parti. 2022.

Fig. 95. Chng, Jun Wei. Plan Parti. 2022.

RESEARCH Fig. 96. Chng, Jun Wei. Levels Parti. 2022.

Fig. 97. Chng, Jun Wei. Refined PAthway Connecting Typologies. 2022.

Fig. 98. Chng, Jun Wei. Concept Form Model, Seed Bank. 2022.

Fig. 99. Chng, Jun Wei. Concept Form Model, Seed Bank. 2022.

Fig. 100. Chng, Jun Wei. Concept Form Model, Weed Centre. 2022.

Fig. 101. Chng, Jun Wei. Concept Form Model, Weed Centre. 2022.

Fig. 102. Chng, Jun Wei. Connecting Pathway that Blurs Boundaries.

2022.

Fig. 103. Chng, Jun Wei. Section Connection. 2022.

Fig. 104. Chng, Jun Wei. Concept Form Connection. 2022.

Fig. 105. Chng, Jun Wei. Parti of Site. 2022.

Fig. 106. Chng, Jun Wei. Present Day Masterplan. 2022.

Fig. 107. Chng, Jun Wei. 50 Years Later Masterplan. 2022.

Fig. 108. Chng, Jun Wei. Past Iteration of Weed Path & Weed Centre.

2022.

Fig. 109. Chng, Jun Wei. Past Iteration Weed Centre. 2022.

Fig. 110. Chng, Jun Wei. Past Iteration Weed Centre Ground Floor Plan. 2022.

Fig. 111. Chng, Jun Wei. Past Iteration Weed Centre 1st Floor Plan.

2022.

Fig. 112. Chng, Jun Wei. Weed Centre Isometric. 2022.

Fig. 113. Chng, Jun Wei. Weed Centre Ground Floor Plan. 2022.

Fig. 114. Chng, Jun Wei. Weed Centre Basement Floor Plan. 2022.

Fig. 115. Chng, Jun Wei. Weed Centre 1st Floor Plan. 2022.

Fig. 116. Chng, Jun Wei. Weed Centre 2nd Floor Plan. 2022.

Fig. 117. Chng, Jun Wei. Weed Centre 3rd Floor Plan. 2022.

Fig. 118. Chng, Jun Wei. Seed Bank Isometric. 2022.

Fig. 119. Chng, Jun Wei. Seed Bank Ground Floor Plan. 2022.

Fig. 120. Chng, Jun Wei. Seed Bank Basement Floor Plan. 2022.

Fig. 121. Chng, Jun Wei. Seed Bank 1st Floor Plan. 2022.

Fig. 122. Chng, Jun Wei. Seed Bank 2nd Floor Plan. 2022.

Fig. 123. Chng, Jun Wei. Weed Centre Unrolled Section. 2022.

Fig. 124. Chng, Jun Wei. Seed Bank Unrolled Section. 2022.

Fig. 125. Chng, Jun Wei. Planned Burn Plan. 2022.

Fig. 126. Chng, Jun Wei. Carbon Capturers and Giant Mulchers. 2022.

Fig. 127. Chng, Jun Wei. Past Site Plan. 2022.

Fig. 128. Chng, Jun Wei. Final Composition. 2022.

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