Thesis Studio03: DIG_Museum of Gold

Museum of Gold STUDIO THREE . DIG

DEON CHAM . 783866

M U SE U M O F G O LD Deo n Cham Dao Xuan 783866 Ma st er of Architecture De si gn The si s, University of Melb our n e, Semest er 2, 2020 St u di o 03 D ig St u di o Leader : Vir gin ia Ma nne ri ng

MUSEUM OF GOLD_DEON CHAM

index Augus t 2 0 2 0 - Dec em b e r 2 0 2 0

week 01

XL and S

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week 02

M / Precedent

09

week 03-04

L / Mapping

19

week 05-06

Concept Design

25

week 07-09

Sketch Design

41

week 10

Design Development I

52

week 11

Design Development II

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week 12

Final Design

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Bibliography

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STUDIO 3_DIG

MUSEUM OF GOLD_DEON CHAM

Musuem of Gold Go l d is the f oundation of w hi ch t hi s gre a t nat io n foun ded upon ...

Resea rch Hypothesis

Since the gold rush in 1850, it has led to Melbourne’s city boom and became a success in the eyes of many. However, these whiggish, triumphal narratives have uninformed the society on the subversive side of history during the gold rush.

Although gold mining in Victoria has prompted beneficial to the economy, it caused the destruction and long term loss of ecological sustainability (Mountford, 2018) due to the perception of humans having sovereignty over nature, hence exploiting it at any cost to gain gold (Frost,2013).

In addition, despite the appealing aspect of modern architecture’s building materials as clean, abundant and neutral (Hecht, 2020), most existing buildings in the city were built with mine waste.

The Gold Museum aims to exhibit the gold and mining collection to educate people about the history and contribution of gold to the rise of Melbourne City and the environmental damage towards the city due to the mining of gold. The museum plays an important role to convey the importance of the loss of the physical (environment) for the pursuance of the intangible (gold) through its architecture. The museum also questions the hypocritical idea of modern architecture, by making architecture the embodiment of the environmental damage.

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b ut als o m ark s t h e b eginning of e n v i ro n m e n t a l c atastrop h e

MUSEUM OF GOLD_DEON CHAM

week 01

T he Di s c over y of Gol d an d i t s Enviro n m en t al Im pac t s

XL and S

The Welcome Nugget is chosen as one of the museum’s collection due to its significance during the gold rush history. Its discovery has repaired Ballarat’s reputation as the supreme goldfield (A Welcome Discovery, 2020), but also symbolised a greater issue towards the ecosystem. While many focused on this triumphal event, the collection is set to tell a lesser-known story of its impact towards the environment.

Collection /

Timeline / The timeline illustrates the formation of gold, its discovery and the increased pressure it had on the native flora and fauna. From deep underground in the Earth’s core, the hot fluids dissolved a range of elements, including gold, and after millions of years, the earth formed and cooled down these fluids, with gold penetrated the cracks and cavities into the Earth’s crust (“Gold Fever”,2020).

In 1850, the discovery of goldfields in Ballarat have led to the gold rush, it expanded Australia’s population, boosted its economy, and led to the emergence of a new national identity. Gold pan was used as gold can easily be found on the surface of the creek beds. (“Gold”, 2020)

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However, by 1856, gold mining in Ballarat had developed well beyond the early shallow alluvial mining. Therefore, miners had switched to deep mining after the discovery of more gold deep underground in a maze of ancient rivers. (“A Welcome Discovery”, 2020) With deep mining, deforestation became unnecessary to provide structural reinforcement for mine shafts and as housing materials (Sovereign Hill Education Blog, 2014). This had modified the environment and resulted in the extinction of flora and fauna (Garden, 2001).

Gradually, the introduction of open-cut mining had clay excavated and piled up in large mounds, emerging over the centre of the city. In 1906, waterways quickly became polluted, landscape damaged, and air pollution caused by the use of steam boilers.(Sovereign Hill Education Blog, 2014).

From this timeline, it is evident that Melbounre has a complex relationship with gold, with positive and negative impacts that come with gold mining.

STUDIO 3_DIG

COL L E C TI ON

Ele vati on 0

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Sec t i o n 25

30 cm

The Welcome Nugget Discoverer : 22 Cornish Miners, Red Hill Mining Company 1.8 mm

Date

: 9 June 1858

Place

: Ballarat, VIC

Weight

: 68.2 kg

Length

: 530 mm

Plan

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MUSEUM OF GOLD_DEON CHAM

TI M E L I N E

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STUDIO 3_DIG

Cha l l e n g i n g t h e Trad i t i on al Mu s eu m Typ o l o g y Current Museum /

Immersive /

With the current museum still practising the traditional way of exhibiting the artifacts, it poses a sense of segregation between the people and the artifacts. Hence, instead of the typical lock in the glass box exhibition and hero-worshipping the artifacts, the Museum of Gold intends to engage with tactile senses, virtual reality, and immersive experience to tell the story.

Gold has typically been associated with the divine realm. Its shining aesthetic splendor, indestructible nature and precious scarcity made gold the ideal representation of the deity. Hence, the museum intends to introduce spaces with spiritual and meditative qualities, reminding the people of its representation towards humanity.

Senses / A replica of the Welcome Nugget but expanded as a seating artifact engages with visitors in the form of seating space as well as their senses, hence removing the tension between the artifact and the people.

Virtual Reality / An extreme atmospheric space, the fountain of melting gold intends to illustrate the everchanging form of gold, ever so malleable. The melting gold is part of the artifact itself and still holds the memory of its past. The space engages the visitors with the process of purifying gold through the melting and cooling process.

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MUSEUM OF GOLD_DEON CHAM

CURRENT MUSEUM

Fig. 1

Fi g . 2 T he Gold Mus e um , Ballarat V I C

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Mu s eo del Oro , B o g o t a CO L

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SENSES

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V I RTU A L R E A L I T Y

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IMMERSIVE

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MUSEUM OF GOLD_DEON CHAM

week 02

Pre ce d en t An al y s i s

M / Pre c eden t

For this thesis proposal, the Goldkammer Museum is most relevant in terms of exploring ideas and references. The gold museum design concept is built around the use of creative multi media that provides elements of excitement as a gold exhibit for all ages (Hinkel, 2019). Inspired by the Egyptians, the enfilade architectural plan (Fig.10) allows many small exhibition spaces to open up, which resembled the appearance of tomb chambers within the pyramid (Fig.11)(Licht Kunst Licht Light Frankfurt Goldkammer Museum, 2019).

Museum Goldkammer, Frankfurt, Germany.

2019, Albert Speer + Partners Architects.

360-Degree Video Projection / As a starting point, this space is dedicated to the birth of gold, and the techniques of mining, purifying and melting gold. It uses a 360-degree video projection to simulate the impacts of meteorites on Earth, leaving traces to the next exhibition space (Rayhrer, 2020).

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Artifact Organisation / The spotlights for the exhibits are equipped with specific colour temperature lamps, allowing the gold exhibits to sparkle in warm, and concentrated light (Licht Kunst Licht Light Frankfurt Goldkammer Museum, 2019). The artifacts are organised in a symmetrical position, hence lightings can have flexible accessibility from all sides (Rayhrer,2020).

Rays of the Sun / “In the rays of the sun, the people of ancient America believe, shiny gold objects are charged with divine energies (Themed Exhibition,2020).�

Sea of Light / The golden treasures are exhibited in an open, elegant blue atmosphere surrounded by floor to ceiling glass planes (Rayhrer, 2020). They are used for security as well as multimedia projection screens and information carriers (Licht Kunst Licht Light Frankfurt Goldkammer Museum, 2019).

STUDIO 3_DIG

PRECEDENT

Fig. 3 Mus e u m Go l dk a m m er, Fra n k f u r t G E R M AN Y Al b er t Sp eer + Pa r t n er Arc h i t ec t s

2019

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MUSEUM OF GOLD_DEON CHAM

S I TE CON S I D E R ATI ON

Mu s eu m Si t e Fi n a n c i a l In du s t r y

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UNDE RG ROU N D E X H I B I TI ON

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Pro l o g u e Ea rl y Cu l t u re Pi ec e o f Go l d C o i n An c i en t Wo rl ds El do ra do Go l d Fro m Th e Sea s Ro t h s c h i l d C o l l ec t i o n

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FOR M I N S PI R ATI ON

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3 6 0 DE G R E E V I D E O P ROJE C TI ON

Fig. 4

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ART I FAC TS ORG A N I S ATI ON

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AT M O SPH E R E _ R AY S OF TH E S U N

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MUSEUM OF GOLD_DEON CHAM

week 03-04

Site O p t i on s an d Mappi n g An al y s i s of Mu se u m

L / Mapping

Prior to map analysis, three sites are proposed for the museum based on different opportunities to connect and respond to the surroundings as well as the hypothesis.

Site Options /

Map Analysis / From the regional map, the overlaying of the wetland, forest and goldfields data demonstrate their relationship between each other and the chain reaction affecting the environment. The identification of the existing gold mining regions suggests that Melbourne built its wealth out of gold and this has continue to cause ongoing environmental damage to the environment.

The city map traces back the past topography of Melbourne CBD before the gold rush in 1837 and after the city boom due to the discovery of gold.

The map illustrates the amount of vegetation lost and a slight change to the Yarra River since 1837.

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STUDIO 3_DIG

S I TE OP TI ON _ 01 4 0 - 6 4 E L I SAB E TH STR E E T, M E L B O U R N E V I C

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Locate d i n a conc en t ra t ed f i n a n c i a l di s t r i c t a rea , rel eva n t t o g o l d.

Hi g he r numb e r of g o l d en t h u s i a s t s , a s l u x u r y s t o res a re w i t h i n ra n g e.

Pro m i n en t p o s i t i o n a n d b u s y c i t y a rea .

Op p or t u n i t y t o ex p l o re h i g h - en d u s es o f g o l d.

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MUSEUM OF GOLD_DEON CHAM

S I TE OP TI ON _ 02 7 4 - 1 0 8 S P R I N G STR E E T, E AST M E L B O U N R E V I C

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Locate d i n a pro m i n en t p o s i t i o n w i t h o p en s p a c e a ro u n d i t .

Wi thi n re ac h o f p u b l i c t ra n s p o r t a n d p u b l i c a m en i t i es .

Ex i s ti ng f e s t i va l c el eb ra t i o n s a n d m a jo r p u b l i c even t s .

Ad j ace nt to the Old Tre a s u r y Bu i l di n g , rec o n n ec t i n g t o t h e f o r g o t t en g o l d va u l t s .

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S I TE OP TI ON _ 03 6 0 7 - 6 2 3 CO L L I N S STR E E T, M E L B O U R N E V I C

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Locate d op p os i te S o u t h er n Cro s s St a t i o n a n d o t h er p u b l i c a m en i t i es .

Di re ct li ne t o Ba l l a ra t w h ere t h e g o l df i el ds a re s i t u a t ed.

Id e al locati on to attract vi s i t o r s f ro m s u b u r b s a n d a i r p o r t s , ea s y a c c es s f ro m s t a t i o n .

Evok e the trans p or tati on h i s t o r y o f t h e g o l d r u s h b et ween Ba l l a ra t a n d Mel b o u r n e.

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MUSEUM OF GOLD_DEON CHAM

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R E G I ON A L V I CTO RIA

STUDIO 3_DIG

M E L B OU R N E CBD

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MUSEUM OF GOLD_DEON CHAM

week 05-06

La ngu ag e of Mi n i n g an d Si t e Re l a tion s h i p Language of Mining /

Proposed Site /

C o ncept Design

The environmental damage caused by gold mining can be better understood by studying and examining the language of the mine. The gold mining process is broken down into 4 steps; Clearance, Digging, Collecting and Processing. Each steps require different tools for its action. From burning forests to the extraction of gold, it is evident that these mining equipments are associated with different environmental damage to the ecosystem.

The site is specifically chosen as the museum proposed to reconnect with the forgotten gold vaults in the adjacent Old Treasury Building underground. The original purpose of the vaults was to house some wealth during the gold rush, but by the time it was completely built, the gold rush was over. The location is a prominent position with open space around it. Existing festival celebrations and major public events are held along Spring Street yearly, hence allowing more exposure to the public.

With public transport and amenities within reach, the museum provides easy access and convenience.

About Sludge / Although gold mining claims to be all rewarding, the process has severely contributed to tailings and slime dams, which poses a high risk towards the environment. Based on an article by Hecht and Le Roux (2020), these mine waste was converted into building materials, used for road construction, and manufacturing bricks and plaster, a re-mining of the waste. Despite the appealing aspect of modern’s architecture’s building materials as clean, abundant and neutral, most buildings in Melbourne’s city might be built with mine waste, as being a top contributor of gold means enormous amount of mine waste produced.

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Underground Relationship / An underground site analysis helps to visualise the available space for the museum and Old Treasury Building ‘s connection and avoid collision with the Parliament Station’s railway tunnel.

STUDIO 3_DIG

L A N G U AG E OF M I N I N G CL EARANCE

D IG G IN G

CO LLEC T IN G

PRO CE S S I N G

Pi c k Pu d d l in g Mach in e

Bur ni ng

Axe

Wi n dl a s s

Shovel

Hydrau l ic Sl u icin g

Dynamite Po p p et Hea d

Timb er Fl u mes

Pneu m a t i c D r i l l

Ba tter y Stamper

E N V I RON ME N TA L I M PACTS

Ris k i n g Wi l d e r n e ss

Mu l l o c k He a p s

Negati ve Patte r n s on Future Be hav i or

Ve ge t a t i o n Lo s s

Fo rest Lo ss

Soi l D i s t u r b a nc e

Sl u dge Sw am p i n g

Fore st L oss

Fo re s t Lo s s

Wat er Lo ss

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MUSEUM OF GOLD_DEON CHAM

A B OU T S LU D G E

MA K I N G P RO CES S :

Fig. 6

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P ROP OS E D S I TE

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S I TE A N A LY S I S H I STO RY O LD T R EA S URY BUI LD I N G

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Ol d Tre as ur y Bui ld i ng Ga rden

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Parad e Route Old Sw am p

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T R EA S URY G A R D EN S

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S I TE A N A LY S I S ACC E SSI B I L I T Y

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Tran Li ne Train Li ne Pedestr i an

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S I TE A N A LY S I S UN D E RG R O U N D R AI LWAY TU N N E L

GROUND LEVEL

0m AVAIL ABLE SPACE

20m

PL ATFORM 1&2

29.5m

PL ATFORM 3&4

39.5m

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STUDIO 3_DIG

Co nce pt Des i g n Form Development /

Form Inspiration /

The main concept of the Gold Museum aims to celebrate the discovery of gold and its impacts on the booming of Melbounre’s city as well as telling the neglected story of the environmental damage caused by mining gold.

By observing the language of mining, their elements were used to generated the museums form and tectonics.

Hence, this derived the form into two parts, conceal: subversive story, and reveal: celebrated story.

The form is further developed, making references to the mining equipements.

Creating gap in between the modules allow the interior and underground space to maximise light penetration.

The circulation path is ochestrated in ways that allow visitors to descend while also having enough space to house all the collections.

Parti Diagram / All the exhibition space, excluding the Language of Mining, is placed above ground since their stories are more appealing to society, perhaps the more perceived idea of gold. On the other hand, the Language of Mining will be housed underground, hidden from the public, unless explored.

Collection / Spaces are distributed based on the scale of the collections. From the diagram, the mining equipments are relatively massive in size, hence the underground is given more space to cater for them.

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MUSEUM OF GOLD_DEON CHAM MUSEUM OF GOLD_DEON CHAM

F OR M D E V E LOP M E N T

CONCEAL AND RE VE AL

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L ANG U AG E OF M ININ G

LI G H T

CI RCUL AT I O N

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F O R M I N S PI R ATI ON

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MUSEUM OF GOLD_DEON CHAM MUSEUM OF GOLD_DEON CHAM

PA RTI D I AG R A M

Ex hib it ion Spa c e Go ld Nu g g e t Tra c e s o f Mi gra nt s Go ld Te c h no l o g y The Or i g i n o f Go l d La n g ua g e o f Mi ni ng

Pro gram s Re c e pt i o n Re st a ura nt Ca f e Ba r Me rc ha nd i s e St o re St o ra g e Ma n a g e m e nt

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CE LE B R ATE D COL L E C TI ON

G OL D N U GGET

T H E WE LCO M E S T RA NG E R

TH E H AN D O F FAI TH

N O R M AN DY NUGGET

TH E K U M TOW

L AT R O BE N U GG ET

T R ACES OF MIGRANTS

C H I NE S E C A PE

C H I N E SE H AT

B AN J O

G OL D T ECHNOLOGY

M I C R O C I RC UI T

W E B B TE L E SCO PE

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MUSEUM OF GOLD_DEON CHAM

DE S T R U C TI ON COL L E C TI ON

S A XE

PI C K

SH OV E L

DY N AM I TE

M PN EUMAT IC DRI L L

WI NDL A S S

H Y D R AU L I C SLU I C I N G

P U D D L I N G M AC H I N E

L

P O P PE T H E A D

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TI M B E R F LU M E S

B AT TE RY STAMPER

STUDIO 3_DIG

M ATE R I A L I T Y

Fig. 7

GOL D-COPPER

In order to showcase the glorious and triumphal days of the gold rush, gold-copper would be the auspicious choice for the facade. The glittering and beautiful material creates a strong visual presence.

Fi g. 8

C H ARRE D IRONB ARK

To speak the language of mining, ironbark is chosen as it is the most widely used timber as building material during the gold rush. The charred texture signifies the intense burning of the ironbark forest by miners back in the day.

Fi g . 9

Q UA RT Z

The excavated soil from the site could potentially be reused as building material, symbolising the mullock heaps left above ground after mining activities. These rammed earth could be prefabricated into modular panels for the interior walls of the architecture.

Fi g . 1 0

P R ECA S T S LUD GE

Housing the environmental damage collection in the underground space, the walls can be constructed with precast sludge blocks. The dirty and smelly material reflects on the environmental damage of mining, heightening the sense of smell in its space.

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MUSEUM OF GOLD_DEON CHAM

D E S I G N S K E TC H E S

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D E S I G N S K E TC H E S

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week 07-09

Go l d Mu s eu m Propos al Main Concept /

Section /

Sket ch Design

The Gold Museum aims to exhibit the gold and mining collection to educate people about the history and contribution of gold to the rise of Melbounre City and the environmental damage towards the the city due to the mining of gold.

Hence, the museum is design in two parts, Celebration above ground and Destruction underground. The celebration houses a sequential collection that celebrates the discovery of gold and how it has shaped and define Melbourne’s culture and identity. Hence, its architectural form expresses a glamorous and polished appeal, similar to how people perceived gold. On the other hand, the destruction exhibits the mining equipments that has damage the environment. Therefore, the architecture is more chaotic, damaging and smelly, the experience of the lesser known truth about gold.

From the section, the tunnel acts as a memory lane that reconnects with the lost gold vaults under the Old Treasury Building. At the end of the tunnel, the glazed walls allow visitors to view the artifacts in the gold vaults. The excavated open space is 30m deep, with circulation running around the space to access different exhibitions.

Interior Walls / The excavated ground for this open space design can be used as materials for making precast walls in the interior of the building to generate a form of cavernous atmosphere resembling to deep underground mining. The artifacts are secured within the walls, almost as if it was binded together with earth.

STUDIO 3_DIG

M A I N CON C E P T

C ELEB R AT I O N

Gl am o ro u s Beautif u l Pol is hed How peopl e perc eived g o l d

D EST R U C T I O N

Cha o tic Sme l l y Dam a g e Lesser-Known Tr u th

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CON C E P T D I AG R A M

1 . ACC E S S

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3. EXCAVATION

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CON C E P T D I AG R A M

4. LIGHT

5. CO N TEXT

6. HIERARCHY

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CON C E P T D I AG R A M

7. ELEMEN TS

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SITE PLAN

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GROUND FLOOR PLAN

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4.CAFE + STORE HYBRID 5. RECEPTION

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BASEMENT FLOOR PLAN 5

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1. LANGUAGE OF MINING 2. EXHIBITION EXCHANGE

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FIRST FLOOR PLAN

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SECTION AA Old Treasury Building

OBSERVATION DECK

GOLD TECHNOLOGY

NUGGETS & MIGRANTS

ORIGIN OF GOLD

Gold Vaults

LANGUAGE OF MINING

LIFT

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CON I N TE C ERPI T ORD IWA AGLRLASM

R a m m ed Ea r t h Wa l l Pa n el s

Gra vel + Sa n d + Si lt + Cl ay

Circ u l a tion

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week 10 Desig n Developm ent I

Pre ce d en t An al y s i s Wieliczka Salt Mine Museum. Poland.

Discerning Routes /

To better articulate the design for the underground exhibition space, the Wieliczka Salt Mine Museum provides some good inspiration to study from and further exploration for my museum’s design.

The circulation are long and narrow with glimpse of surprises that lies ahaead. It instructs visitors on where to go with narrow hopes ahead, while dragging visitors to walk along the corridors with its sense of clausttrophobia.

Rich Voids / It gives a feeling of a grand define, what was taken out was refilled with a sense of richness and granduer almost identical to kinsugi pottery.

Visitors are not only rewarded with an intimate but bastardisation of scale but also a quality space filled with richness and moments.

Punctured Exhibition / The exhibitions are laid in such a way that it becomes one with the cavern system as it so hopes to fill. All seams and cracks are filled with Gnomes and fun story-telling, thus visitors are rewarded by being observant and looking into the seams and cracks of the mine.

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PRECEDENT

Fi g. 11 Wi e li c z k a Sa l t Mi n e, Wi el i c z k a P O L AN D

1978

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UNDE RG ROU N D E X H I B I TI ON

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R I C H VOI D S

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D I S C E R N I N G ROU TE S

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P U N C TU R E D S U R P R I S E S

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Archite c t u ral At m os ph ere Destructive Exhibition / As the visitors arrive to the bottom of the underground space, they are able to feel the enormity loss of the land. This is to remind them of the loss of the landscape, the environment, and the scale of this ongoing issue.

Memory lane / The Bridge covered in glazing provokes the dangerous moments of mining as look to the bottom. The tunnel leading to the gold vaults houses some exhibitions along the walls to keep the visitors occupied.

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DE S TR U C TI V E E X H I B I TI ON

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M E M ORY L A N E

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week 11

Pre ce d en t An al y s i s an d Spac es Des i g n

Desig n Developm ent I I

The abandoned traces of mines has inspired the perforated elements as the facade finish, hence this precedent is relevant to better how it works and what are the atmospheric qualities it is able to achieve.

17 Gadigal Avenue, Sydney NSW, Australia 2011, Collins and Turner Architects.

Perforated Gold Facade / Developed in collaboration with artist Matthew Johnson, the gold facade acts as an abstract sculptural building form that unifies the different apartment. It also serves as a high performance screen that provide solar protection and privacy to the interal space. The perforated shadow creates a very subtle ambient that resembles the trees.

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Exhibit Exchange / To go beyond the traditional musuem typology, the exhibit exchange is a space created to allow visitors to share their stories of the mine, providing a form of communal interaction between them. Old pictures, photos or dairies will be projected on the walls as exhibition.

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PRECEDENT

Fi g . 1 2

Fig. 13

Fi g . 1 4

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Mu se u m of Gol d Main Concept /

Precast Faceted Sludge Wall /

Final Design

The highly celebrated gold rush in Melbourne has suppressed the acknowledgement of landscape exploitation to attain the gold and hence the proposed museum emphasises on the appreciation of gold mining towards the development of the city and its consequences towards the environment through its exhibition, a reminder of the physical loss we still feel today, for the pursuance of the intangible gold.

To question the hypocritical idea of clean modern architecture, the underground walls are made with mine waste, embodying the environmental damage as part of the architecture. The faceted design expresses the artificial transformation of the land.

Function and Circulation / Celebration : The exhibition spaces are arranged in a form of timeline, telling a story of when gold was first discovered, migration during the gold rush, the importance of the gold nuggets and gold used in technologies. The circulation is in a more linear form, showing its simplicity and luxuriousness.

Mining Typology / The perforated facade is inspired by the traces of the abandoned mine, as they progress towards the top, the perforation increases demonstrating the increase in gold mining. The staircases are made of gold and have a narrow design to reflect on the underground mine.

Destruction : The exhibition space is arranged in terms of the size and impact of the mining equipments towards the environment. The circulation feels more chaotic, creating a journey of atmosphere, the exhibition as well as senses. The long journey reflects on the hardship of the miners and the sacrifices they made for wealth. These exhibitions are permanent, just liek a permanent scar on the landscape.

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bibliography A Welcome Discovery. (2020, June). From Gold Museum Ballarat. Retrieved from http://www.goldmuseum.com.au/a-welcome-discovery/ Frost, W. (2013). The Environmental Impact of the Victorian Gold Rushes: Miner’s Accounts During the First Five Years. Australian Economic History Review, 53(1), 78. DOI: 10.1111/j.14678446.2012.00360.x.

Garden, Don. Catalyst or cataclysm?: gold mining and the environment. [Article in a special issue celebrating 150 years of goldmining in Victoria.] [online]. Victorian Historical Journal, Vol. 72, No. 1-2, Sept 2001: 28-44. Retrieved from https://search.informit.com.au/documentSummary;dn=200116349;res=IELAPA Garden, Don. (2014). Phases of Ecological Impact of the European Occupation of Victoria. [Review of Nature Conservation, prepared for the Victoria National Parks Association, 2014]. Retrieved from https://vnpa.org.au/wp-content/uploads/2014/02/Appendix-1-Phases-of-Ecological-Impact.pdf?fbclid=IwAR1VV5a7a-q-C6OCPMZu1DYTHip19roKMwQkwgMhyHsL6Sf89USpVxmOeQY Gold. (2020). From Australian Government Geoscience Australia. Retrieved from https://www.ga.gov.au/education/classroom-resources/minerals-energy/australian-mineral-facts/gold Gold Fever. (2020, June). From Earth Resources. Retrieved from https://earthresources.vic.gov.au/geology-exploration/geological-survey-victoria/150-years/gold-fever#snapshots Hinkel, A. (2019). 6,000 years of gold history in the “Goldkammer” in Frankfurt. Retrieved from https://www.xetra-gold.com/en/gold-news/news/6000-years-of-gold-history-in-the-goldkammerin-frankfurt/ Hecht,G., Le Roux,H. (2020). Bad Earth. E-flux Architecture. Retrieved from https://www.e-flux.com/architecture/accumulation/345106/bad-earth/. Accessed 12 Sept. 2020.

Licht Kunst Licht Light Frankfurt Goldkammer Museum. (2019, December). Retrieved from https://illumni.co/lighting-design/licht-kunst-licht-light-frankfurt-goldkammer-museum/ Miller, Alec., Northey, S., and Yellishetty, M. (2017). Potential environmental and social-economic impacts from neglected mining occurrences in Victoria, Australia. Environmental and Resources Engineering, Department of Civil Engineering, Monash University, Melbourne, Victoria, Australia. (Submission 74).

Mountford, Benjamin. A Global History of Gold Rushes. Oakland, California: University of California Press, 2018.

Rayhrer, Andrea. (2020). Goldkammer, Frankfurt. Retrieved from https://www.dbz.de/artikel/dbz_Die_Goldkammer_Frankfurt_a.M._3494700.html Sovereign Hill Education Blog. (2014, September 1). The Environmental Impacts of the Gold Rush. [Blog post]. Retrieved from https://sovereignhilledblog.com/2014/09/01/the-environmental-impact-of-the-gold-rush/#comments Themed Exhibition. (2020). From Goldkammer Museum. Retrieved from https://www.goldkammer.de/ausstellung/ 82

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image reference Figure 1. The Welcome Nugget of Gold. From Alamy Stock Photo. Retrieved from https://www.alamy.com/stock-photo/gold-museum-ballarat.html. Copyright 2014 by Walter Bibikow.

Figure 2. The interior of the Gold Museum in Bogota. From Culture Trip. Retrieved from https://theculturetrip.com/south-america/colombia/articles/7-museums-in-bogota-worth-visiting/.

Copyright 2018 by Karol Kozlowski Figure 3. The Museum Goldkammer, Frankfurt, Germany. From Coins Weekly. Retrieved from https://coinsweekly.com/goldkammer-frankfurt-a-new-state-of-the-art-museum/. Copyright 2019

by Hubertus Hamm.

Figure 4. Video Projection Stimulating Meteorite Impact on Earth. From DBZ. Retrieved from https://www.dbz.de/artikel/dbz_Die_Goldkammer_Frankfurt_a.M._3494700.html. Copyright by Marcus Ebener.

Figure 5. Video Projection Stimulating Meteorite Impact on Earth. From DBZ. Retrieved from https://www.dbz.de/artikel/dbz_Die_Goldkammer_Frankfurt_a.M._3494700.html. Copyright by Marcus Ebener.

Figure 6. Sludge Blocks. From From E-Flux. Retrieved from https://www.rmit.edu.au/news/media-releases-and-expert-comments/2019/jan/recycling-biosolids-sustainable-bricks. Copyright by UN News and Media Photo.

Figure 7. Gold - Copper Facade. From Architizer. Retrieved from https://architizer.com/blog/inspiration/collections/gold/. Copyright by Architizer.

Figure 8. Charred Ironbark Timber. From Goolge Image. Retrieved from https://i.pinimg.com/originals/a1/87/3e/a1873edf8cb31b000dc8a147761207a0.jpg.

Figure 9. Quartz. From Natural Gold Ores and Minerals. Retrieved from http://nevada-outback-gems.com/prospect/gold_specimen/Gold_ores.htm. Copyright by Natural Gold Ores and Minerals.

Figure 10. Precast Sludge. From RMIT University. Retrieved from https://www.rmit.edu.au/news/media-releases-and-expert-comments/2019/jan/recycling-biosolids-sustainable-bricks. Copyrigtht 2020 by RMIT University.

Figure 11. Weiliczka Salt Mine, Poland. From Google Image. Retrieved from https://i.pinimg.com/originals/1e/46/05/1e4605e18ebe1ef824f539e989c3d8b5.jpg.

Figure 12. Exterior Perspective. From Collins and Turner. Retrieved from https://www.collinsandturner.com/architecture/17-gadigal-avenue/. Copyright 2020 by Collins and Turner.

Figure 13. Perforated Gold Facade. From Collins and Turner. Retrieved from https://www.collinsandturner.com/architecture/17-gadigal-avenue/. Copyright 2020 by Collins and Turner.

Figure 14. Interior Perspective. From Collins and Turner. Retrieved from https://www.collinsandturner.com/architecture/17-gadigal-avenue/. Copyright 2020 by Collins and Turner.

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