The Lens: Phantasmagoria

THELENS

PRESENTEDBY:PHANTASMAGORIA

asequenceofrealorimaginaryimageslikethatseeninadream

Decommissionedin1983,thedesolateBoilerHouse atWhiteBayPowerStation(W.B.P.S)hasundergone anadaptivereusescheme,allowingTheLensto emerge.

Acivicinnovationcentre,intrinsicallyunderpinned andguidedbyCountry.Aspaceofvariedperception, constantimmersionandthoughtinspiredby architecture.Aspacewherestorytellingis encouraged,sustainabilityisembracedand communitycanflourish.Aboundlessspaceguided byitsIndigenoushistory,itsindustrialpastand renewedadaptablefuture.

“Thispresentcollective urbanimagery, intrinsicallyrootedin concreteaspectsofa changingreality,and supportedbyexistent andfictional technologicalsystems, formswhatwecallurban phantasmagorias.”

MoonriseKingdom(2012)DirectedbyWesAnderson

WELCOMETOTHELENS

cofWBPSredesign

SURREALISMINFILM

BarandRestaurant

THEMISE-EN-SCENE

Creat vityincubator

CROSSCUTTING

Interiorandexteriorcirculat on

THEFISH-EYELENS

Knowledgebank

We begin by acknowledging and paying our respects to the Wangal people, the Traditional CustodiansofthelandonwhichWhiteBayPowerStationstands.

THETRAILER

ForecourtEntry

We pay our respects to their Elders past, present and emerging and acknowledge all Aboriginal and Torres Strait Islanders who will gather on this site, also paying my respects toyourElders past presentandemerging.

THEREASON

ResearchbehindtheneedforTheLenstoexist

THEDESIGN

Whywasth sstrategychosenfortheWBPSredesign?

THECONNECTION

TheproposalsconnectiontoCountryandCommunity

THETRAILER

BoilerHouseEntryForecourt:Dualaccess dualperspective

THEFISH-EYELENS

BoilerHouseLevel1:Alibrary ceasetheerosionofknowledge

THEMISE-EN-SCENE

BoilerHouseMezzanineLevel anincubatoroffilm-mak ngcreativity

SURREALISMINFILM

BoilerHouseConveyerLevel Adiningspaceofthefuture

CROSSCUTTING

BoilerHouseCirculation:Newandrenewedexper ences

Acreativeincubator,foundedonthe conceptsofphantasmagoriaandCountry Throughajourneyofperception newand renewedunderstandingandselfdiscovery, oneisabletoreachtheirheightened creativepotential.Asiteofboundless opportunity underpinnedbyeclecticism layering,natureandindividualexpression

ADAPTIVEREUSE

Placestraditionallyembodypeoplesidentityandarethesolidbackgroundofpeople sectionsandlife,the prerequisiteofthecreationofcultures skills,andeconomies.(Bassanelli&Postiglione,2013,p.155)

“occupationofanexistingspace[.]wherespaceandtimearepre-existingentities”(Attiwill,2009,p 1).

95%embodiedenergysavedinadaptivereuseschemes(AUSGreenhouseOffice)

OccupedbytheCadigalbandofthe EoranationbeforeBritsharriva in 1788.AfterBrtishcolonyarrivedwith smallpox indgenousabandonedthe and.

CULTURALINFRASTRUCTURE

Basedontheseresearchfindings theneedanddesirefortheestablishmentofculturalinfrastructurespaceswhich allowthecommunitytoengageincreative,innovative socialandeducationalactivitiesisessentialtofutureproofing ourcities (Culturalinfrastructureplan,pg.12)

Wedesiretocreateacommunityoflearnersandteachers unapologeticallysharingknowledgeinacyclicalmotionto bestassistthecommunityasacollaborativeentity.(Culturalinfrastructureplan pg12)

AmericaneconomistRichardFloridaarguesthatanurbancreativeclassisintegraltothedevelopmentofglobalising knowledgeeconomies Suchpeopleareattractedtocommunitiesthatfosteranopen dynamic personal,professional andinnovativeenvironment Thisenvironmentinturnattractsmorecreativepeople aswellasbusinessesandcapital. Floridaholdsthatattractionandretentionofhigh-qualitytalent ratherthaninfrastructuralprojects(suchassports arenas iconicbuildings andshoppingmalls),istheeffectiveformulaforurbanregenerationandlong-termprosperity. ItisarguablethattheRozellecommunityofthetwenty-firstcenturyexhibitscharacteristicsofanevolvingcreative classinFloridasterms.Ifthisisthecase,thegenesisofthisclassbeganaround1971,ayearthatmarkedanew generationofmunicipalpolitics acommunityconsciousnessofheritageconservation andpublicawarenessofhow deprivedtheareawasoftrees,openspace andotherpublicamenities.(Williams J.2010)

In1800WiliamBalmainwasgranted 550acresoflandonRozeleBay The andwasdividedbetweenhousing workersandservices/facli ies Work ncludedabattoirs tmbermiling soapmakngetc.

Thelandwassubdividedagain n 1855theareaofWhiteBaydespitestll beingamudflat 1890adykewaswas buitbetweenBalmainandGlebe acrossthemudfat The andwas developedintohouses

n1912,buidngcommenced or he WBPS BuiltbytheNSWRal Commissoner theaimwastoprovide aralnetwork

FirstPhase(1912-1917) BoilerHouse (standngroughlywhere hecurrent onestands) TurbneHallandSwi ch House

SecondPhase(1950-1958)

Comple ionoftheTurbineHaland SwitchHouseand hebuidingofthe SecondBoilerHouse 1970s demandforthepower sta iondminshed=second bolerhousewaspuleddown andturbnessoldof WBPSceasedgeneratingpower onChristmasDay1983

1980s-1990sDuetopublicsafetyand maintenance hepowersta ionwas strippedcleanacceptforheritagelsted items 2000 WBPSwassoldbyPacficPower o theSydneyHarbourForeshore Authoritywhowish opreserveits cutura sgnificance

SourcePhotos CMPVers on5

"ItisarguablethattheRozellecommunityofthetwenty-first centuryexhibitscharacteristicsofanevolvingcreativeclass" (Williams J 2010)

Landuseandfunctionurbandesignstrategies

Groundwaterbaselineenvironment Primaryconstructionhaulroutes

ThefutureoftheWBPSregardingnewdevelopment,transportation routescoupledwiththetypologyofthelandscapecannotbeforgotten.

Thesiteneedstoprogressasoneunitedentityinordertocatertothe Rozellecommunity,its indigenouscommunityandwidersociety

STAKEHOLDERS

CIVIC

Thebaysprecincturbantransformationprogram(client)

UrbanGrowthNSW

Futureoccupantsandusers

LocalRozelleresidents

PreviousWBPSworkers

Futuresuppliers

TheGreaterSydneyRegion

Investors

Futureemployees

GOVERNMENT:

PortAuthorityofNSW

GovernmentpropertyNSW

NSWlandandenvironment

Sydneyforeshoreauthority

NSWtradeandinvestment

TreasuryNSW

TransportNSW roadsandmaritimeservices

NSWhealth

NSWdepartmentofeducationandcommunities

ROZELLEDEMOGRAPHIC

Atthe2006census thesuburb'sresidentialpopulation numbered7719 with48percentmaleand52percent female.Thepercentageofresidentsaged65andoveris63, justlessthanhalfthenationalaverageof133percent meaningRozellehasevolvedasayoungpeoplessuburb

Williams J.2010Rozelle

Thesegraphscomparing1991and2021revealthe similaritiesandconsistenciesinthatalargegroupofthe populationisbetween25and50,withaslightaging populationthroughtime.Afterelders,thesmallestage groupinRozelleareteenagers.

Source:InformedDecisions-AustralianBureauofStatistics

Themagnitudeofthesiteprovidesaplatformto generateacommunalspacewhichisableto provideforitsentirety

Thesitecontainsavastanddenseamountof historyandheritagewhichneedstobemaintained duetotheCMPheritageclassratingsystem.Much ofthesiteiscontainedinthelevel1classrating

Thesitehasbeendormantforseveralyears, meaningthatitisanopportunitytochangethe waypeopleviewandinteractwiththespace This allowsustogenerateaspacewhichcanbeusedby allandprovidestheopportunitytorevitalisethe surroundingcontext

Thesitesinfluencetothesustainabilityand climatechangefieldscanbealteredtorather becomesomethingpositive,whichcanbe incorporatedintothedesign

TheredesignoftheWBPSallowsustoonceagain remembercaringandconnectingtoCountyand bringtheconceptbackintotheforefrontofthe newdesign

Theenormityofthespacemeansitwasnotbuilt forhumanscalerequiresadjustmentinorderto catertothisneed

Thesite beingaheritageadaptivereuseprojectis governedbymanyrulesandguidelines surroundingwhatcanberemovedandwhatneeds tostayonthesite.Thiscouldactasahinderance totheoveralldesignscheme

Thesitehasnotbeeninteractedwithforseveral yearssinceitdormancy.Assuch thesurrounding communitydonotseetheneedforthesitetoexist, letaloneredesignit Formanymembersofthe communitythesiteisasymbolofaforgottenpast

Thesitesdetrimentalaffectonclimatechangeand sustainabilityleavesasenseofcontentionwhen attemptingtoredesignit

Thesitehasbecomeasymbolofcolonialismand industrialisationfortheimmediatecommunity andnativepeoplewhopreviouslycaredforthe land

"Anurban phantasmagoriais thereforeessentiallya virtualrepresentationof apossibleurbanreality thatisstilluncertain, andnotdesiredwithany certainty:somethingthat isimaginedina sociotechnological frameworkinthe imminenceofexisting.

DigitalPhantasmagoria AnUrbanSpace ofIntens fiedInteraction-GernotRiether

THEDESIGN

SuburbanismReuse:AdaptiveReuse

CulturalInfrastructureandC vicSpace

HistoryofW derBay-Pre-PostColonisation

Theconceptofphantasmagoria: a sequence of real or imaginary images like that seen in a dreamorfilm,hasunderpinnedmydesignproposalthinking.Theconcepthasallowedme to critically analyse the film Metropolis 1927 and extrapolate its core themes and values, which I embedded into my redesign approach. Some of the prominent themes include the relationship which exists between human and machine the underworld and upperworld aswellastheenormity magnitudeandscaleusedtodepicttheurbancityscape

W derContext-Roze le

WhiteBayPowerStationSiteContext PresentandFuture

The film industry throughout the early 20th century adopted phantasmagoria and used it to develop new realities which predicted the future I would like my redesign to be underpinned with the same notion, creating a space where people are able to come togethertopredictfutureproblemsandsolvethemasacollective allowinganincubatorof phantasmagoria to be established “Sci-fi media makers were rapid prototypers from the start,amongthefirstuser-centred user-experiencedesigners”allowing"peopletobecome accustomed to what they might expect in future years. " This directly relates to the White Bay Power Station due to its industrial sentiment and sheer magnitude The site itself was built to house machinery without taking into account the inevitable human interactionthusfulfillingMetropolisspredictednotions.

I want there to be a blurring between old and new past and present conscious and subconscious as well as phantasmagoria and reality All of these elements have been embeddedintotheintrinsicframeworkofthespace

Comb ningpast presentandfuture ntooneentity

Layeringmimickingthe sandstonestructureoftheland butalsothelayeringof generationa knowledge

Modularityandadaptab lityof structures,guidedbyuser-centric ambit ons

Re-introductionofsustainabil ty andnativespeciesbackontothe site

HistoricalSign f canceoftheWhiteBay

Powerstationpre-co onisat on post urban sationandintothefuture

Acommunityhubwhereonescreativity knowledgeandsenseofp acecanbe developedasaco lective

Distort onofpercept onallowing fornewformsofcreativ tytobe unlocked

StorytellingthroughDreamt me Storytel ingthroughF lm

ROOFTOPLOOKOUT GREENHOUSE ROOFTOPBAR

RESTAURANT BAR EVENTSPACE GREENSPACE

CENTRAL NNOVATIONHUB NDEPENDENTWORKINGZONE H STORICALARCHIVESROOM MMERSIVEPROJECTION/PERFORMANCESPACE

HERITAGEEXHIBITIONSPACE NFORMALSEAT NGSTAIRCASE PRIVATEMEET NGROOMS WELLNESSIMMERSIVEZONE

OPENKNOWLEDGEBANKLIBRARY NFORMALSEAT NG PROTOTYPINGWORKZONE GREENSPACE TEDTALKAMPH THEATRE

MAINENTRYLOBBY RECEPTION STORE/RETA

CAFE EXHBITIONSPACE/CONCERT TEDTALKZONE

"After decades on the fringes of the film and television industry, Aboriginal and Torres Strait Islander people were finally gaining access to the technology, training and resourcesnecessarytowrite directandproducefilm."

Australian films have jumped from depicting Indigenous peoples through racist clichés to Indigenous creatives using film and television to document their cultures, promote social change and to entertain thus entering the mainstream.

This reshaping of a cultural landscape and determined shift for Australian cinemas national identity came about through a gradual reframing of Indigenous rights within the Australian legal system, combined with government supportforthedevelopmentofIndigenousfilmmakers.

Indigenous self-representation and self-empowerment in the arts began with Bruce McGuiness – a forerunner in Indigenousfilmmaking–whomadetwofilms Blackfire(1972)andATimetoDream(1974) Inthemid-1970sasmall group of Indigenous people attended a workshop at the Black Theatre in Redfern to gain access to training in the arts

These filmmakers offer Australians an alternative way of seeing and understanding Indigenous peoples and their culturallandscapes.

NationalfilmandsoundarchiveofAustral a IndigenousFilmMaking AShortHistory

“If design and planning processes considered natural systems that include people, animals, resourcesandplantsequally–similartoanAboriginalworldview–thiscouldmakeasignificant contributiontoamoresustainablefutureworld”.

GANSWDesigningwithCountrydiscussionpaper(2020)

The investigation concluded that the discovery of the terrestrial plant remains at the depth of 4.5 metres below the high-water level represented a clear demonstration of climactic and environmental change during this time and evidence of past Aboriginal peoples’ activity in the area.

ItstatesthatthestretchofCountrynowknownasBaysWesthasbeencelebratedforvastexpanses ofgaraban(rockandsandstone)whichinsomeplacesprovidesshelter,gibbaragunya(stone/cave shelters), and in other places creates yiningmah (steep cliffs) where ceremony can be performed privatelywithoutuninitiatedonlookers.

Registered Aboriginal Party Field Representatives did note that the area is part of a wider cultural landscape of high cultural significance to the local Aboriginal community. In particular major water sources and former estuarine areas including White Bay were of particular cultural significanceasanancestralresourcegatheringsite.

SydneyMetro–west–TheBaysStationInfrastructurePipeline.

"CountryisnotastaticentityandBaysWesthashad significantwavesofevolution.AsCountrychanges andevolves,itretainsitsownenduringspiritthat livesonnowandintothefuture."

Wherethesetwobodiesofwatermeet,aspecial fusionhappens,whichsupportsuniqueecosystems includingmangroves,mudflatsandsaltmarshes, whicharecriticalnurseriesforthecreatures associatedwiththiscountry."

TheBaysPrecinctSydneyBaysPrecinctTheFuture

WhiteBayPowerStat onUrbanDesignFramework:Pro ectsMcGregorCoxall

TheBaysPrecinctSydneyBaysPrecinctStrategicFramework1

LENS1-CONNECTIONTOCOUNTRYINTHEFORMOFLANDACKNOWLEDGEMENT

The notion of designing with country has underpinned my proposal as it has allowed me to recontextualise my thoughtsonownership,whetheritberegardinglandorknowledge Thenativeconceptsurroundingthelandnot only providing for us but us needing to provide for the land is pinnacle to my design strategy I want to use the same approach that indigenous custodians of the land use to view their relationship with land as being something which cannot be owned, but is rather dependent on ones yearning healing and caring for the land itself. I want the knowledge and innovation which is generated and shared in the space to be something which lacksdefiniteownership Thiswayoptimumideaswillbegenerated,aseveryoneisabletocollaborate attempting tosolveonecollectiveproblem

"Countryrelatestothenationorculturalgroupandlandthatthey/webelongto,yearnfor,findhealingfromand willreturnto"

LENS2-CONNECTIONTOCOUNTRYINTHEFORMOFLAYERING

Another way I would like to underpin my proposal with a caring for country framework, speaks about the notion of layering Layering does not encroach on what was previously there but rather builds on it similar to the conceptofadaptivereuse.Assuch Iwantthesitetobeembeddedwithlayersofhistory whichareexploredboth metaphorically and visually, whilst also looking to the future Country centred design understands the importance of collaboration and interconnected thinking, similar to the atmosphere I wish to create for the redesign of the White Bay Power Station This will also act as a visual layering of levels as one moves through the space.

"AsCountrychangesandevolves,itretainsitsownenduringspiritthatlivesonnowandintothefuture"

LENS3-CONNECTIONTOCOUNTRYINTHEFORMOFSTORYTELLING

The WBPS is a site underpinned with history both industrial but also pre-colonial Indigenous connectivity. The concept of storytelling directly links to the cinematic technique of phantasmagoria which was used throughout the 1920's to foreshadow and predict elements of the future - some coming into fruition or reality and others unable to escape the confines of the movie screen. Similar to how phantasmagoria was able to predict occurrences in a fable like manner, so too do the Indigenous stories of the land. Storytelling and yarning is a key elementwhichexistinNativeAustralianculture usuallybeingpasseddownfromelders Iwantmysitetobecome an embodiment of this same mentality, teachers and learners, directors and watchers Allowing people to listen comprehend and implement life lessons into their own life in the present but also gain inspiration for creating a betterfuture.

"Country Centred Design processes celebrate the complexity and interconnected nature of the many site stories layersandexperiencesthatareembeddedinCountry"

"Environmentalbenefits, combinedwithenergy savingsandthesocial advantageofrecyclinga valuedheritageplace makeadaptivereuseof

historicbuildingsan essentialcomponentof sustainable development."

REPURPOS NGALL OFTHEEXISTING MACHINERYAND DEBRYFROMTHE SITE

EMPLOYING NATURALFORMS OFVENT LLAT ON ANDLIGHT INTERACTION

Lanz,F2018 “Re‐Inhabiting Thoughts ontheContributionofInterior ArchitecturetoAdaptiveIntervention: People Places,andIdentities,”

SPIRAL CIRCULAT ONALLOWING CONTINUOUS ACCESSTOGREEN SPACE

"Infrastructuremustbedeveloped withworld-leadingsustainability innovationsthathonourCountryand supportthrivingnaturalsystems celebratinglocalAboriginalcultures alongsidethenewdirectionsin transportprovisions including physicalre-connectionto surroundingareasandthelocal nnovationcorridors"

APPLYINGSOLAR PANELSONTOTHE ROOFOFTHE STRUCTURETO ALLOWFOR GREENENERGY

EMBEDDING KNOWLEDGEOF NATIVEPLANTS BACKINTOTHE SPACE

GENERATINGA SOIL MANAGEMENT PLANCOMBATING RUNOFFAND SEDIMENTATION

Source

DIVERSITY

In terms of public space equity ensures all audiences have access to the same experience. This can be achieved by considering all audience types and questioning specific user journeys Can a wheelchair-bound individual or a mum with a pram experience this public space just as anyone else would?

A strategy could include using ramps for all audiences as opposed to providing a side ramp to tick the accessibility box

The general idea of public space is that all audiences should be able to use the space hence careful consideration is required to ensure equity to all visitors.

A public space will always have a target audience however designers can only intend for design and not control users Thus ensuring a space can be used by a variety or different users is essential This diversity factor can span into cultural diversity whereby designs should be open and respect all cultures and their practices by ensuring neutral and conservative designs in public spaces. In saying this a public area in a specific location with high cultural identity might facilitate for this purpose

A strategy to ensure diversity is to ensure all signage is understandable, potentially through successful signage and icon-language to ensure all users are communicated with

Like the above inclusion is a paramount concept in a public space The idea of a public space is that it is there to facilitate the public; this being every individual

However social inclusion is a difficult debate in public space Issues with homeless is a huge contributor to the dispute wherein a public space serves the social masses and not everyone Defensive Architecture such as grates dividers on public benchers etc, defend a public space from homelessness. While this topic is complicated it is an aspect of inclusion in public space.

A strategy to increase inclusion is ensuring you have spaces for various activities and uses which will increase audiences and social inclusion pools.

Bycombiningantique piecesoffurniturefrom theearly20thcentury,in referencetoFritzLang's Metropolis,with elementsofthefuture, whetheritbeaninbuilt VRonlinelibrary database,recycled plasticandglassforms ortheinclusionof adjustabletouchscreen worktops.Onefurniture elementisnowableto existinthepast,present andfutureatonegiven time.

THETRAILER FORECOURTENTRY

BESPOKEFURNITUREPIECES

THEFISH-EYELENS LEVEL1 BESPOKEFURNITUREPIECES

THEMSE-EN-SCENE MEZZANINELEVEL BESPOKEFURNITUREPIECES

Customfloortiling designedspecificallyfor eachlevel.Asonemoves throughthespace,oneis encouraged touncovera heightenedsenseofself, metaphoricallyexpressed throughthetiles.The forecourtismeanttobe themostdisjoinedand non-symmetricalas opposedtothefinalspace, theconveyerlevelwherea perfectcircleisestablished -expressingthediscovery ofnewandrenewed perceptionsandideas.

THETRAILER:FORECOURTENTRY CUSTOMFLOORTILING

THEMISE-EN-SCENE MEZZANINELEVEL CUSTOMFLOORTILING

SURREALISMINFILM:CONVEYERLEVEL CUSTOMFLOORTILING

JamesShawre maginesourrelationshipwith materialsbytranslatingwasteintodesirableobjects

THEFISH EYELENS LEVEL1

THETRAILER

THE TRAILER, A SPACE OF ANITICIPATION, A SPACE OF SUSTAINABILITY A SPACE OF GATHERING AS ONE TRAVERSES INTO THE FORECOURT OF THE PRECINCT, YOU ARE GREETED BY A LARGE RETENTION BASIN WHICH MERGES WITH A BIOSWALE, GUIDING YOU FURTHER ONTO SITE A CHOICE ENTER VIA THE GROUND LEVEL OR TAKE A HEIGHTENED RAMP WHICH ALLOWS LEVEL 1 ACCESS. ARRIVE, PAUSE BREATHE, GATHER, LEARN AND RESTORE YOUR RELATIONSHIP WITH NATURE RE-INTRODUCTION OF NATIVE SPECIES ALLOWS FOR PURIFICATIONOFNOTONLYTHERUNOFFWATERBUTOFONESSOUL.

The design ensures each space has adaptable elements a low ng a user-centr c approach to be introduced In the forecourt space the amphitheatre seating element has block seating wh ch can be removed from the main structure and can exist on their own. Thisa lowsforsmallerdiscussiongroups yarningsessionsorintrospect vere lectiontotakep aceonthe evel1ramp

Precedent LissoniArchitetturaproposesthe highlines'br dgesuspendedfrombui dings inNewYork

Suspensionwiresallowthelevel1entryramp to be perceived as floating from the ground f oor. It allows users to ga n a new and renewed understanding of the surrounding context rom a different viewpo nt wh lst catering for a secondary mode of access into theprecinct

Customjoinerypiecesmadefromdiscardedv ntage urniture comb g ass 'TechnoCRAFT'exhibit onwasabletob urthel nebetweenconsume rfurniturepieces act ngas nsp rat onformysitesfurn tureproposal Thisfurnitureelementactsasarepresentat onofpast presentandfu neelement

Bespoke clay ti es used in contrast to the cobblestone paving. The bespoke ti es act as key wayfinding markers gu ding users throughthespace

These bespoke ti es are the first of our which ex st on the site This tile ormation s meant to be the most distorted and ragmented similartotheemotiona stateoftheuserpr or toexperiencingTheLens

The site is where salt water and fresh water country meet and combine with one another according to Indigenous ancestorial know edge This not on has been reintroduced back onto the site in the orm of a retention basin and a bioswale which gu de peoplethroughthespace

The Retention Bas n which ex sts at the entry to the prec nct will collect and store runof greywaterfromtheSydneyCBD

Th s collected water will then be recyc ed through the B oswales to allow the flow of water through the space It will also be purif edandusedonsite

Ontheperipheryofthebioswale ra ngardens wi l be introduced a low ng for native soils flora and auna to once again thrive on the site

"Vegetation with n this area is a m xture of landscaping vegetat on and naturally propagated native and exotic vegetation. This includes

Casuarinaglauca, Lantana(Lantanacamara)

CastorOilPlant(Ricinuscommunis)

Datepalm(Phoenixdactylifera)

Wandering jew (Tradescantia flum nensis), Fountaingrass(Cenchrussetaceus)

Camphor aurel (Cinnamomum camphora) andBrushbox(Lophostemoncon ertus)"

Sydney Metro – west – The Bays Station (no date)InfrastructurePipeline

"Bioretentionbasinsarehighlyeffectiveattreatingpollutantsassociatedwithimpervioussurface runoffsuchasroads,carparksandroofareaspriortoenteringsensitivereceivingwaters."

Waldheim(2016)suggestsitispositionedas‘thinkingurbanismthroughthelens,orlenses,of landscape’

CharlotteKidgersFurnitureMadeFromFoamDust

CommonSandsRecycledGlass

GranbyRockRecycledTerrazoBenchesandSeating

EnvisionsCustomStampedStones

OysterCrete

Bio-FabricationwithMyceliumandKelp(UniMelb)

Newtab-22SeaStone

Customhandpaintedclayfloortiles

CommonSandsRecycledGlass

CArreléCustomTilesMadeFromEggShells

TerrySaffoldOffcutTiling

CArreléCustomTilesMadeFromEggShells

Bio-IDLabAlgae-InfusedTiles(modularcustom)

RecycledBrassOffCutsandrods

THEFISH-EYELENS

THEFISH-EYELENS,ANINCUBATOROFKNOWLEDGE YOUARRIVEONLEVEL1AND ALLOW YOURSELF TO BE IMMERSED IN A TRANQUIL BUBBLE OF LEARNING, TEACHINGANDGROWING.READ LISTEN,WATCHANDREVERSETHEEROSIONOF KNOWLEDGE HERITAGE AND CULTURE WHICH HAS PREVIOUSLY EXISTED ON SITE AQUIETSPACEFILLEDWITHPOSSIBILITY.THEWORLDISYOUROYSTERAND AT YOUR FINGERTIPS AS YOU ENTER THIS PART OF THE LENS DONT BE AFRAID TO LET YOURSELF CONTEMPLATE, REFLECT AND DEEPEN YOUR UNDERSTANDING OFAWORLDOFPHANTASMAGORIATURNEDINTOREALITY

The incubator of knowledge is not just a physical l brary but also one which can be accessed and exper enced via VR mechanisms The custom antique furniture element from the ear y 20th century has been morphed together with recycled g ass and plastic elements and inc udesanimmersiveheadsetwhereaud o,v sualandtouchscreenlearningcantakep ace

Bespoke furniture pieces have been specif cal y repurposed and custom sed to suit each space throughout the si e. In this nstance a bench seat from the early 20th century has been transformed into a suspended hanging chair for leisure and introspection can take p ace whilst one is immersed in the library space

Cus om l ghting mechanisms have been introduced which not on y offer forms of l ght ng but also projections - this a lows for large scalegroupreadingandlearningsessionstotakeplaceinthespace, Thesepro ect onscanberesizedtosuititsaud ence

Modular shelving elements can be reshaped to suit the des red purpose and ac as the ma n joinery item in the space. This wall symbolically represents the erosion of knowledge which has taken place on the WBPS si e actingasaspaceattemptingtom tigateandcombatthiserosionthroughimmers velearning

There is a solid jo nery e ement with perforations on every level al ow ng di ferent size she ving to slot in Eachtimeauserv sitsthesite anewexhib tionord splaycanbeadded thusal ow ngforanewandrenewed experiencetobecreated

Bespoke sandstone skirting has been included on the base elements of the wall structure a lowing for seamlessmovementbetweenthecustomclayt led looringandtheraisedseat ngplatforms

VincentPocsikEclecticEggshellLampshade

CharlotteKidger’sFurnitureMadeFromFoamDust

SEAmpathyDanielElkayamAlgeaMaterial

Bio-FabricationwithMyceliumandKelp(UniMelb)

YumaKanolimitededitionfurniture RustHarvest’

CarolynRaffAlgaeexperimentII

NaturalOrganoidSurface

Kelpleatherfabricprintsforsuspendedchairs

Custompaintedclaytiles

TerrySaffoldOffcutTiling

RoyalCollegeofArtSaltyCo FabricsSeawaterPlants

RoyalCollegeofArtSaltyCo FabricsSeawaterPlants

THEMISE-EN-SCENE

THEMISE-EN-SCENE,THECENTREOFLIFEANDCREATIVITYATTHELENS AVOICE

IS RE-AWAKENED A VOICE WHICH HAS BEEN SUPPRESSED AND LOST FOR GENERATIONS ALLOW YOUR CREATIVITY AND IMAGINATION TO RUN WILD

EXPLORETHEPOSSIBILITIESOFFILM INTHEHOPESOFONEDAYBRINGINGYOUR

VISIONINTOTHEPRESENTREALITY.MAKE EDIT SHARE WATCHANDCELEBRATE YOUR CREATIONS NO JUDGEMENT WILL FOLLOW YOU INTO THIS SPACE ONLY

COMFORT COMMUNITYANDCOLLECTIVEMAKING

The mezzanine level makerspace prototyping zone and creative hub focuses on providing a safe space or a l to learn and teach. It is a space focused aroundfilmmakingandphotography,al ow ngforfreedomofthoughtandexpressiontobeexploredandnurtured leadingtoanuancedoutput

The spaces modularity can be seen through ts abil ty to be altered and moved depending on the desired function User-centr c design allows for pods to be suspended from the ce ling element and recon igured in multiple possib e variat ons. Hanging touch screens can also be suspended from the ce lingelement heycanbemoved spunandadapted.

The bespoke urniture founded on e ements of the past present and future also exist in this space in the form of an antique table which has been combined with a touch screen wh chcanberaisedandlowereddepend ngontheusersneeds Thisarea unct onsasaspaceofind vidua creativ tyorforsharedtutorialsandcreat ved scussionstotakep ace

The modularity of the space s further shown through the below renders and perspect ves, Exploring how the panels c ip nto the suspended lightweight columns which hang from the recyc ed glass ceiling instil ation S milar o how the she ving mechanism works in theFish-EyeLensspace theshe ving sabletos otintothepanelsdependingonthedesiredusage

Animmersiveviewingroom salsopresentonthemezzanine evel al owingtheworkgeneratedinthemakerspacetobeshowntoanaud ence Manyofthefilmsherewillbe directed editedandproducedby ndigenousfilmmakers prov d ngthemw thavoicewhichwasoncerestricted

Customclaypaintedtiles

Claymouldedorganicrods

AlexandraKehayogloucustomtexturedcarpet

CommonSandsRecycledGlassandprojections

CommonSandsRecycledFlutedGlass

CArreléCustomTilesMadeFromEggShells

SydneyBlueGumFlooring HerringboneFlooring

LisaCahillRecycledGlassExhibitions

RecycledBrassOffCutsandrods

ObscureLighting100%CoffeeChaffandOrangePeel

Storagearchiveforcamera/filmequipment

Greenscreenroom

Setdesignusedforfilmmaking

Recordingandeditingstudio

Film and movie archive - Indigenous and NonindigenousAustralianFilm

SURREALISMINFILM

SURREALISM IN FILM A SPACE OF IMMERSIVE DINING. TASTE TOUCH, SMELL, WATCH AND LISTEN ALLOW YOUR SENSES TO BECOME FULL ORDER WATCH LEARN LAUGH AND CONSUME. COME AND TAKE A SEAT ALONE OR AS A COLLECTIVE OPEN YOUR MIND TO THE PAST, EAT IN THE PRESENT AND GAIN NUANCED INSPPIRATION FOR THE FUTURE. CONNECT WITH LOVED ONES NEAR AND FAR RELAX, AS YOU ARE TAKEN ON A CULINARY JOURNEY LIKE NEVER BEFORE.

CONNECTIONTOCOUNTRY LIGHTINGSTRATEGY INCLUSIVEDESIGN

DETAILSTRATEGY

The conveyer level acts as an immers ve c nemat c journey which not on y enhances ones tastebuds phys cally but also provides elements of sound sme l and touch Through ight ng pro ection systems one is able to follow along and understandthemean ngbehindthefoodanddrinktheyare consuming in the space Be transported into a world of heightenedsensesthroughpro ectionimmersion

Part allyenclosedroomshavebeendesignedtocatertotheneedsoftheusers nanadaptableway Whetherapr vategatheringneedstotakep acesuch as a d nner meet ng with someone who l ves overseas or a celebratory dinner party the space can be adapted to suit a l needs One side of the enclosed spaceactsasaprojectionsystemwh cha lowsonetobetakenonaculinary ourneyofthesensesandtheotheractsasanacousticbarr ercurtain

The ant que bar used n the space mimics the 1920s speakeasy style combined with custom painted tiling of the present which acts as the surface or pro ect ons.Theoverheadlightingcreatesajourneyw theachcocktai ordered nodd ngtotheh storyofthesiteandacknowledgingitspotentialforthe future AntiquebarstoolshavebeenusedwiththefabricelementbeingproducedbyAssemblessustainablefabr c

Ambient l ghting s used throughout the space o generate a sense of comfort and warmness The space is one of relaxation and immersion for users - a lowing them to be transported into a wor d o phantasmagoria by looking to the past inordertouncoverthefuture.

Bespoke joinery elements are used throughout which combine trad tiona furniture design w th sustainable and futur st c e ements such as recycled glass and plastic. The table tops are also imbued witha gaeplantationscoveredbyg ass storingandtransformingthesun ightintoelec ricityforusage onsite

Assemblesustainablefabric

Customclaypaintedtiles

SydneyBlueGumFlooringHerringboneFlooring

Customclaypaintedtiles

CArreléCustomTilesMadeFromEggShells

Recycledandrepurposedbrassrodsandsheets

Bespokechairdesign

CArreléCustomTilesMadeFromEggShells

CommonSandsRecycledGlass

RoyalCollegeofArtSaltyCo FabricsSeawaterPlants

CommonSandsRecycledGlass

Organicredclaytabletop

CROSSCUTTING

CROSS CUTTING A TRAVERSING JOURNEY THROUGH SPACE AND TIME. MOVE BETWEEN EACH LEVEL INSIDE AND OUT, NEW AND RE-NEWED EXPERIENCES WRAP AROUND THE BUILDING VIEW IT FROM CLOSE UP TURN AROUND AND OBSERVE YOUR SURROUNDINGS. LEARN GAIN INSPIRATION AND RE-ENTER

BRINGING YOUR NEWFOUND MUSE WITH YOU ALLOW YOUR CONTEXT TO GUIDE YOU ITS INDIGEONOUS HISTORY ITS INDUSTRIAL PAST AND IMMINENT FUTURE ONTHEBRINKOFBECOMINGAREALITY,

Reasons for piercing through the existing south wall:

Allow for circulation journey to occur in both an interior and exterior manner This is a main theme which ex sts throughout my site des gn. Each level will allow for a new educationa / sustainable initiative to be introduced to the public

The ramp is in close proximity to the existing building fabr c - allowing the historical building to be viewed up close whilst people usetheramp

Theeastwallism nimallyaffectedbytheramp insertion as it penetrates through the large existing window which requires replacement fortheredesign

Thewallsofthesitedonotfallundergrade1or 2 in the CMP - meaning that it can be slightly altered if t benefits the desired purpose of the newredesign

CentralElevator

CentralStaircase

Immersive Ramp

Circulation

Scheme

Circulation and the spatial journey which is created through this mechanism is central to my design proposal as it allows me to understand the varying narratives and journeys which the user might encounter whilst moving through the space.

The main pathways of circulation are via the central staircase (light blue) the central elevator (dark blue) and via the ramp mechanism which spanstheentiretyofthesite-makingitaccessible toallwhoenter

As one moves between the levels they exit the physical building gain a more nuanced perspectiveaboutonessurroundingcontext learn about the history of the site and are able to reenter the space with a new and renewed sense of self and the site This allows for heightened creativity to emerge through an alteration of ones perceptionasonemovesthroughthespace.

The side of each ramp has an inbuilt touch screen system wh ch encourages one to learn about their surround ng present context bu also delve nto the past h story of what once existed on the s te By being able to learn about the f ora and fauna map layouts and previous waterways wh ch ex sted beforecolon sationandindustrialisation oneisabletopicture the site from a di ferent perspective Simi ar to if one chooses tolearnaboutthes tethroughoutitsoperationalstateasacoal miningplantation

Asonemovestowardstheedgeoftheramp,floormarkershavebeenplacestoass stthe visua lyimpaired Thisisalsohelpfulforchildrenandotherusersofthesiteas tactsas a forewarn ng that the edge of the ramp is n c ose proximity The balustrade which existsontheramp stostandardhe ght

The exter or ramps requ red extensive support to be able to be suspended at the desired he ght - as such this lightweight mechan sm al ows the ramp / br dgestoactasafeaturewithouthaving argeoutdatedframingandsuspens ontechniques Thereisacoveringsurroundingtheramptoprotectusersfrom inclement weather. This she l can be opened and c osed depending on the weather and desired function - this a lows users to take in their surroundings and maintaintheWBPSasabeaconandcentra aspectontheRozelleandSydneyregion

Recycledandrepurposedbrassrodsandsheets

LayeredOrganoidFlooring-Sandstone

OysterCreterampbase

CommonSandsBlushPinkFlutedGlass 1 2 3 4

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THELENS

PRESENTEDBY:PHANTASMAGORIA

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