Establishing Ground Folio Isaac Wise

MELBOURNE UNDERWATER: WE ARE NOT PREPARED

A C A B U L D N AG C A B U L D N G

96 - 106 Pelham Street

Collage - Isaac White, 96-106 Pelham Street, Melbourne, 20/7/22)

Isaac and Shane

106 Pelham Street

Isaac White, 96-106 Pelham Street, Melbourne, 20/7/22)

01_Pelham Street

Material Studies Box Gutter (Ellie Monk, 94 Pelham Street, Melbourne, 02/08/22.)

Material Studies Bollard (Ellie Monk, 94 Pelham Street, Melbourne, 02/08/22.)

Monk,

Monk,

Monk, 94 Pelham Street, Melbourne,

Wall

Wise, 94 Pelham Street, Melbourne, 02/08/22.)

La Storia

The La Storia building at 86-94 Pelham is the site of a proposed limited run of luxury apartment buildings. Built by M3 Designs the 20 residences will attempt to pay homage to Carlton and Italy and continue to honour the iconic aesthetic sensibility of the existing building. Very little information is available about the existing building, its history and significance.

Elevation

University

Ellie,

and Shane

Initial

Renders

Shane Song, Issac

96-106 Pelham Street (Cut)

Elevation of intervention on the frontal facade, taking inspiration from the former use of the building which was a textile company and factory, we decided to go with the idea of Fashion store. Playing with the idea of textiles and draping into the architectural language cutting into the facade such as the roof lining etc. We wanted to incorporate the design with the old, not to completety forget the heritage but at the same time not let it overly dictate the architectural language.

Shane Song, Issac Wise, Ellie Monk

96-106 Pelham Street

Updated eastern elevation of the building showing the rear staircase and many pipings hidden on the eastern front.

96 - 106 Pelham Street, North West

The old textiles factory at 106 Pelham Street is situated in the purgatory between Carlton and Melbourne’s CBD. It is on the precipice of a bustling business district and the trendy, historic streets of Carlton. Sited between Argyle and Lincoln Squares it is zoned as a MUZ- mixed use development area. The single storey shopfront has a heritage overlay on it, although the larger part of the building does not.

96 106 Pelham Street, North East

The old textiles factory at 106 Pelham Street is situated in the purgatory between Carlton and Melbourne’s CBD. It is on the precipice of bustling business district and the trendy, historic streets of Carlton. Sited between Argyle and Lincoln Squares it is zoned as a MUZ- mixed use development area. The single storey shopfront has a heritage overlay on it, although the larger part of the building does not.

Native Vegetation

Public

Repetriation

The return of someone to their own country. The toilet is designed to return what is unseeded Wurundjeri Woi Wurrung Country, back to its traditional owners while simultaneously gaining necessary public land for usage by the wider public. It repatriates private land, returning it back into the public realm for all to use. Further it responds to the area’s colonial history through the replanting of a native Australian garden. The response aims to repatriate the land in two senses: firstly, to return what is private back to public use, and also to return stolen land back to its original custodians.

Naarm Indigenous Seasons Diagram

Ellie Monk, Shane Song, Issac Wise

Pelham

Repetriation

The return of someone to their own country. The toilet is designed to return what is unseeded Wurundjeri Woi Wurrung Country, back to its traditional owners while simultaneously gaining necessary public land for usage by the wider public. It repatriates private land, returning it back into the public realm for all to use. Further it responds to the area’s colonial history through the replanting of a native Australian garden. The response aims to repatriate the land in two senses: firstly, to return what is private back to public use, and also to return stolen land back to its original custodians.

Ellie Monk, Shane Song, Issac Wise

Pelham Street Intervention (Repetriation)

NAVE Smiljan Radic

This cultural institution in Santiago Chile is the home to an experimental visual and performing arts scene. The heritage building has been subjected to a number of natural disasters over its lifetime including earthquake and fire damage. This allowed Smijan Radic, in his design, to perform an ‘emptying’ operation. Exposing a large open space in the interior with which to create dynamic, transformable spaces.

The 180 degree street facing facade is all the remains of the buildings heritage. The previous residences having fallen into a state of insurmountable disrepair following the earthquake of 2010. Sited on the corner of a major intersection it has double fronted facade, majorly impacting the streetscape. The masonry and fenestration was fully restored to reinvigerate the area. Radic described the envelope of the buidling as a ‘friendly disguise’ for what lays inside. Through its openings, the city appears on the inside, as a backdrop for some of the centres’ performances.

Axonométrica. Vestíbulo acceso Axonometric view. Entrance

El proyecto para esta sala de artes escénicas experimentales propuso una operación de vaciamiento su interior, para lo cual utilizamos nuestro favor las mismas normas municipales que paralizaron renovación del edificio hasta arruinarlo completame La fachada del edificio de los años cuarenta es única estructura que permaneció parcialmente en pie después del incendio del terremoto de 2010. Estos hechos abrieron interior borraron para siempre los restos domésticos las ocho casas que ocupaban sitio.

On the interior, everything is measured from above. Few structural elements touch the floor. Everything seemingly descends from above. Culminating on the roof where a circus tent sits in bright yellow, the piece de resistance of the building. Chromaticity features heavily throughout the project, but nowhere moreso than this circus tent rooftop deck. The elevated public walkway which flanks the main ground space is adorned in red and yellow and the major spaces are named the Black and White rooms.

Nuestro proyecto terminó por vaciar completamente la propiedad reprodujo en su perímetro fachada original en cada uno de detalles, convirtiéndola una especie de máscara amable de cara sus vecinos permitiendo que través sus vanos ciudad aparezca en interior como telón de fondo de algunos espectáculos.

Pocos elementos estructurales tocan suelo de primera planta: ascensor, una escalera muro de apoyo de las gradería móviles. Todo parece medido desde arriba. El recorrido del público (teatralizado) cuelga de una viga maestra central culmina el techo-terraza con instalación de un pequeño circo popular chileno. circo es el primer recinto de espectáculos posible imaginar, el más primitivo austero. Sobre la sala, éste aparece como un objeto extraño, extraviado de su suelo natural, provo una cierta alegría sobre sus alrededores. La máscara, sala negra contemporánea circo pobre rojo amarillo ensamblan imagen dialéctica del edificio. Las salas de ensayo, las oficinas los servicios ocupan las otras casas antiguas del mismo con convirtiendo total en complejo organismo oculto.

NAVE.

The building also contains, a residence and rehearsal and dressing rooms. Interconnected from within like an organism in and of itself, the building takes on a cognisant typoloy. The building is effortlessly self aware and purposebuilt. NAVE views itself as an object in one of its own performances. In this performance the city is the scene and NAVE is the subject, and its singular purpose is to bring joy. Through this it begins to interrogate and critique society through the lens of performing arts.

Found Window on 96-106 Pelham Street

(Shane Song, 96-106 Pelham Street, Melbourne, 18/08/2022.)

artes escénicas experimentales propuso una operación de vaciamiento de su interior, para cual las mismas normas municipales que paralizaron renovación del edificio hasta arruinarlo completamente.

los años cuarenta única estructura que permaneció parcialmente pie después del incendio de 2006 Estos hechos abrieron el interior borraron para siempre los restos domésticos de las ocho casas que por vaciar completamente propiedad reprodujo en su perímetro fachada original cada uno de una especie de máscara amable cara sus vecinos permitiendo que través de sus vanos ciudad telón fondo de algunos espectáculos.

estructurales tocan suelo de primera planta: ascensor, una escalera muro apoyo las gradería medido desde arriba. recorrido del público (teatralizado) cuelga una viga maestra central culmina instalación de un pequeño circo popular chileno. circo primer recinto espectáculos posible austero. Sobre sala, éste aparece como un objeto extraño, extraviado de su suelo natural, provocando alrededores. máscara, sala negra contemporánea circo pobre rojo amarillo ensamblan edificio. Las salas de ensayo,

fachada

terremoto de 2010. Estos

ocupaban sitio.

años

edificio

arruinarlo completamente.

en pie después

incendio

abrieron el interior borraron para siempre los restos domésticos de las ocho casas

Nuestro proyecto terminó por vaciar completamente propiedad reprodujo en su perímetro la fachada original en cada uno us detalles, convirtiéndola en una especie de máscara amable cara sus vecinos permitiendo que través de sus vanos ciudad aparezca interior como telón fondo de algunos espectáculos.

Pocos elementos estructurales tocan suelo de primera planta: el ascensor, una escalera muro de apoyo de las gradería móviles. Todo parece medido desde arriba. recorrido del público (teatralizado) cuelga de una viga maestra central culmina en techo-terraza con instalación de un pequeño circo popular chileno. El circo es primer recinto de espectáculos posible de imaginar, más primitivo austero. Sobre sala, éste aparece como un objeto extraño, extraviado de su suelo natural, provocando una cierta alegría sobre sus alrededores. máscara, sala negra contemporánea el circo pobre rojo amarillo ensamblan imagen dialéctica del edificio. Las salas de ensayo, las oficinas los servicios ocupan las otras casas antiguas del mismo con junto, convirtiendo total en un complejo organismo oculto.

The project for this experimental scenic venue proposed operation empty its interior, taking advantage the same municipal regulations that paralyzed the renovation building point ruining completely. The facade the 1940s building was only structure that remained partially standing after the 2006 and the earthqu ake 2010. These events opened up the interior and erased forever the domestic remains the eight houses that occupied the site. Our project ended completely emptying the property and reproducing perimeter original façade every detail, turning into sort friendly mask for the neighbours while inside, allowed city appear through openings like theatrical backdrop Few structural elements touch ground the first floor: the elevator, staircase, and the supporting wall the mobile tands. Everything seems have been measured from above. The public transit itinerary —dramatized— hangs from central master beam and

The building also contains,

this

and

itself, the

In this

takes

the lens

Modern society is predicated on the notional fallacy of eternal development and growth, neglecting the past, in favour of a dystopian future wherein new and good are synonymous.

Modernity and the built go hand in hand. This paradigm leads us marching towards an increasingly less organic existence, where the constant thirst for money and prosperity lead to worse social outcomes.

Right at the centre of this junction of the built and the organic there lies, a mediating solution. Native landscape has the potential to bring about paradigm shift of the highest order.

Gone are the days of the picturesque garden, with its great affectations and manicured lawns. In its place, an organic landscaping language emerges. Where the city intersects seamlessly with nature, where the land is repatriated, and the people prosper.

Landscape is the next great frontier, repatriation is the method, and the outcome: prosperity beyond the measure

Plaster Model

Isaac

Midsemester Pinup

Pelham Street

Altered Axometric

Pelham Street Altered Plan

96 - 106 Pelham Street, Carlton Altered Axometric (Repatriation)

Being constructed in 1885 for clothing manufacturers Bank and Co, the Carlton site was designed by famous architect Charles Webb. A building of this scale for manufacturing and producing clothes was an anomaly of the time, and speaks to the economic boom that was beginning in Melbourne at the time. 96 106 Pelham Street was “built of multi-coloured brick on bluestone base, he well proportioned, symmetrical front elevation has a semi-basement and flat arched windows to the first and second floors”. (Carlton Heritage Review (Lovell Chen, 2021))

Ellie Monk, Shane Song, Issac Wise

96 - 106 Pelham Street, Carlton Altered Plan (Repatriation)

Being constructed in 1885 for clothing manufacturers Bank and Co, the Carlton site was designed by famous architect Charles Webb. A building of this scale for manufacturing and producing clothes was an anomaly of the time, and speaks to the economic boom that was beginning in Melbourne at the time. 96 106 Pelham Street was “built of multi-coloured brick on bluestone base, he well proportioned, symmetrical front elevation has a semi-basement and flat arched windows to the first and second floors”. (Carlton Heritage Review (Lovell Chen, 2021))

Ellie Monk, Shane Song, Issac Wise

96

Modern society is predicated on the notional fallacy of eternal development and growth, neglecting the past, in favour of an alternate future wherein new and good are synonymous.

Modernity and the built go hand in hand. This paradigm leads us marching towards an increasingly less organic existence.

Right at the centre of this junction of the built and the organic there lies, mediating solution. Native landscape has the potential to bridge the gap between people and the city. To transition between the hustle bustle of the city and the tranquil monotony of the suburban environment.

Gone are the days of derived landscape, with its great affectations, manicured lawns and neatly arranged flow er beds. In its place, an organic landscaping language emerges. Where the landscape is itself an agent and the architect merely the intermediary. Landscape is the next great frontier, and the architect must determine where the line between the garden and nature lies.

the

96 106 Pelham Street, Carlton

Pelham Street, Carlton

La Storia

in

a

company

and

was part of the modern leap towards large scale manufacturing.

building continues to stand today in great condition, with the site being semi-occupied.

The La Storia building at 86-94 Pelham is the site of a proposed limited run of luxury apartment buildings. Built by M3 Designs the 20 residences will attempt to pay homage to Carlton and Italy and continue to honour the iconic aesthetic sensibility of the existing building. Very little information is available about the existing building, its history and significance.

The return of someone to their own country. The toilet is designed to return what is unseeded Wurundjeri Woi Wurrung Country, back to its traditional owners while simultaneously gaining necessary public land for usage by the wider public. It repatriates private land, returning it back into the public realm for all to use. Further it responds to the area’s colonial history through the replanting of a native Australian garden. The response aims to repatriate the land in two senses: firstly, to return what is private back to public use, and also to return stolen land back to its original custodians.

Ellie Monk, Shane Song,

Found Axometric

The

96 - 106 Pelham Street, Carlton

Being constructed in 1885 for clothing manufacturers Bank and Co, the Carlton site was designed by famous architect Charles Webb. A building of this scale for manufacturing and producing clothes was an anomaly of the time, and speaks to the economic boom that was beginning in Melbourne at the time. 96 - 106 Pelham Street was “built of multi-coloured brick on a bluestone base, the well proportioned, symmetrical front elevation has a semi-basement and flat arched windows to the first and second floors”. (Carlton

Review (Lovell Chen, 2021))

Monk, Shane Song, Issac Wise

Pelham

Wise, Shane Song Ellie Monk

01_Pelham

Song, Isaac Wise, Ellie Monk

Found Ground on 96-106 Pelham Street

(Ellie Monk, 96-106 Pelham Street, Melbourne, 18/08/2022.)

Wise,

96-106 Pelham Street (Cut)

Elevation of intervention on the frontal facade, taking inspiration from the former use of the building which was a textile company and factory, we decided to go with the idea of Fashion store. Playing with the idea of textiles and draping into the architectural language cutting into the facade such as the roof lining etc. We wanted to incorporate the design with the old, not to completety forget the heritage but at the same time not let it overly dictate the architectural language.

Ellie

Sava Installation Openact Architecture

Sara Palomar Studio

de

Barcelona Pavillion Peris

Toral Architectes

Isaac Ellie Shane

Insert Photograph

Terrassenhaus Berlin Brandlhuber + Emde, Burlon + Muck Petzet La Chapelle de l’Ange au violon, France

Brick

Brick

ift ROSENHEIM, Germany by Glasscon Tarr Residence. Finbro Construction

Ellie

Isaac Ellie Shane

Precedent Images

Isaac Ellie Shane

Concept Diagram

Internal Render Found

Isaac Ellie Shane

Isaac Ellie Shane

Concept Diagram

Interior render altered

- 106 Pelham Street, Carlton

Diagram

Birds Eye

Ellie

Modern society is predicated on the notional fallacy of eternal development and growth, neglecting the past, in favour of an alternate future wherein new and good are synonymous.

Modernity and the built go hand in hand. This paradigm leads us marching towards an increasingly less or-ganic existence.

Right at the centre of this junction of the built and the organic there lies, a mediating solution. Native land-scape has the potential to bridge the gap between people and the city. To transition between the hustle bustle of the city and the tranquil monotony of the suburban environment.

Modern society is predicated on the notional fallacy of eternal development and growth, neglecting the past, in favour of an alternate future wherein new and good

Modernity and the built go hand

hand. This paradigm leads us marching towards an increasingly less organic

Right at the centre of this junction of the built and the organic there lies, a mediating solution. Native landscape

Gone are the days of derived landscape, with its great affectations, manicured lawns and neatly arranged flow-er beds. In its place, an organic landscaping language emerges. Where the landscape is itself an agent and the architect merely the intermediary.

Landscape is the next great frontier, and the architect must determine where the line between the garden and nature lies.

Polemic

Gone are the days of derived landscape, with its great affectations, manicured lawns

Landscape is

Insert

Ellie Monk

96 106 Pelham Street, Carlton

Isaac Ellie Shane

96 - 106 Pelham Street, Carlton

Polemic

Isaac Ellie Shane

Isaac Ellie Shane

96 106 Pelham Street, Carlton

Concept Diagram

Diagram

96-106 Pelham Street, Carlton

Monk,

Pelham

Final Presentation

We would like to start by recognsing the traditional custodians of the land on which we gather today as the Wurrundjuri Woi Wurrung and Boon Wurrung people of the eastern Kulin Nations. It is particularly pertinent given the subject of our project that we recognise the history of this country and pay our respects to Elders Past, Present and emerging. We acknowledge that sovereignty was never ceded.

This Project is not a finished doctrine nor is it absolute in the conclusions that it draws. It is instead, a vehicle through which to investigate some of the ideas around repatriation, heritage, and the facts of Melbourne’s colonial past. Interrogating the role these concepts play in Architecture and the built environment. We recognise the futility with which the profession contends with the human aspects of these stories and therefore for this project we will only deal with built outcomes. The Human component is deliberately omitted from this project. Instead, we ask the crits to ponder as we explain the project, how would you go about bridging the gap? How would you attempt to resolve the very real, and very important tensions that arise in this investigation?

Melbourne finds in itself at a crucial juncture in its development as a city Moving into its next cycle of development a tension emerges between what was and what will be. The way things have been done in the past, outdated and often archaic, yet important nevertheless and a future of design which is increasingly dull and overbuilt. At this important threshold, native Australian landscape has the potential to liberate Melbourne’s colonial history and unite it with a language better suited to future use.

As Australian society comes to terms with its colonial past and attempts to better recognise its pre-colonial history this project presents one potential architectural model with which to approach heritage. The design response does not deny the importance of its history, while simultaneously critiquing the architectural outcomes.

The project is in its essence an investigation of thresholds. The threshold between private and public, the hustle and bustle of the city and the relative calm of the inner-city suburbs, as well as the threshold between pre and post-colonial landscapes. The crux of which is that through the incorporation of native Australian landscape these inherent tensions can be resolved.

The project attempts to repatriate the site and its colonial era textiles manufacturers warehouse back into the public realm, to reinvigorate the vacancy and re-activate the site. The programmatic concerns of this new mixed-use public space – aptly named The Rag Trade on Pelham – directly seize an underutilised private property and return it to use by the general public. The site then is activated through a number of different tenancies.

A native florist and cultivating garden are the centre pieces of The Rag Trade. Designed to allow the flora agency in and of itself. It contrasts the manicured gardens and affected parks of a bygone era in Melbourne’s urban articulation. This particular model can be seen in the landscaping of both Argyle and Lincoln squares on either side of The Rag Trade on Pelham. While Argyle and Lincoln employ tightly landscaped pathways and perfectly trimmed hedges and turf, the cultivating garden at Pelham investigates where exactly the mark of the architect lies. It is interested in the threshold between the heavily groomed hand of the architect and allowing the nature to have agency itself, creating a beautiful, more practical, and more easily maintained landscaping language, which is better suited to the Australian context. We contend that the post-modern trend of constructing trellises and ‘green buildings’ is an obfuscation of that which is truly important. It is merely a different way to manicure, and massage nature into a perfectly composed scene.

This is a relic of the British colonial period and not applicable to modern Australia. The steel fabricated greenhouse is designed to look temporary, a finite insertion into the landscape which facilitates its use but does not impact on it. Conversely, its careful articulation allows it to be impacted on by the nature. Repatriating, returning agency to nature itself.

Our proposal accounts for the living character of nature, and its deep complexities, its peaks and troughs. Because it is from these vicissitudes from that is derived the true beauty of nature, not from a perfectly square hedge, or from a cross hatched lawn stripe. From jagged edges and overgrown bushes, the chaotic tranquillity of the Australian landscape is evinced.

The former basement at 96-106 Pelham st is turned into a terra firma for the garden to grow from. To be seen and not touched by human hands. The structure creates a seal from this level, with two mezzanine balconies overlooking, visitors are welcomed and encouraged to observe the garden, but not to walk among it. The threshold is not to be crossed. This creates an inherent tension between occupants and the land. It invites visitors to purchase flowers from Planting Seeds, the florist below, but not to pilfer from the landscape. Not without proper remuneration, as well as care and cultivation of the land from which one is taking.

The site of The Rag Trade is nestled in a liminal space between the discordant cacophony of the CBD and the peaceful monotony of suburban Carlton. The project activates this largely underutilised space with reverence for both states of being. The main structures’ industrial tectonic moves gesture towards the City—temporary and industrial, as scaffolding— an homage to the endless cycle of built work. Simultaneously, it approaches the suburban environment with similar fervour. Greater utilisation of public space, adding parkland to an area where such spaces are a rarity. Bringing to Pelham St the fresh suburban air and smell of banksias.

On the Cardigan St entrance, a wine bar is situated next to the Butcher at University Meats. It overlooks both the Flora of the florist at The Rag Trade and Argyle square as well as the Fauna next door at the meatworks. It is in many ways the threshold itself. Serving small plates and wine, Butch’s Wine Bar adds another element to the project. It is similar in its architectural style to the main garden structure, with sausages hanging in glass cases on either side of the bar. Much like the way the nature envelops the garden structure, at Butch’s you are surrounded by animal, inside a hollowed portion of the University Meats building.

Critical Reflection

Indigeneity is a difficult topic to content within Architecture. Indigenising design is something that the profession is still and will continue to grapple with. As both a student and a white person I think it’s very challenging to find the line between allyship and appropriation. This is in some ways what we endeavoured to do in undertaking our investigation of repatriation.

I am glad that we attempted to take on what is a sensitive and challenging topic as I believe that practise with a social conscience is important in the development of the Architecture. After discussing the work with the guest crits, I would take a different stance if I had my time again. I think we could have pushed the mould further and been more drastic in our architectural moves.

We attempted to toe the line of subtlety and nuisance and I think that as a result our response was timid. I feel grateful however, to have had the opportunity to come to that conclusion. The themes and ideas we discussed this semester will only become more relevant as I move through my education as well as in practice. I am glad that we were able to begin this discussion now and begin to shape my thoughts around the topic.

Establishing Ground pushed me out of my comfort zone in a number of different and valuable ways. I found group work quite challenging, I hold myself to quite a high standard and I like to be in control of the work I output. In a group setting, one cannot do that. I found that quite challenging. Surveys of found conditions were another aspect of the studio I had not contended with before. But was something I thoroughly enjoyed. I tend to get caught up in bigger picture ideas and conceptual framing and struggle to focus on the detail. The existing drawings suite we undertook forced me to contend with the minutiae. I feel that my skills have grown as a result.

Moving forward through bachelors I want to keep the learnings from this studio and build upon the ideas we discussed. I found the studio very valuable and will take the ideas interrogated through the remainder of Bachelors and into Masters and beyond.