Amber Vessel | Justeen (Hsin Te) Tsai

AMBER VESSEL

HSIN TE TSAI (JUSTEEN) MELBOURNE SCHOOL OF DESIGN 2019 MASTER STUDIO - OUTPOST

‘OUTPOST’ STUDIO 27

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Studio Leader Ariani Anwar and Nick Roberts

Outpost is an exploration of the peripheral, in the hope that it may eventually become central. Commonly deployed by cultural and academic institutions, Outposts are speculative by nature and represent a desire to evolve cultural values and experiment with emerging forms of knowledge. They can be defined by a geographical location, a philosophical position, a commercial model or a new medium of artistic expression. By operating at a distance, the Outpost is a site to promote new ideas, identities, and modes of representation.

This studio proposes a new Outpost: The Museum of Extinction - to be located at periphery of the Royal Botanic Gardens, Melbourne. This hypothetical brief will combine a museum and learning space, with a seed bank storage facility and DNA laboratory. As a hybrid building type, the Outpost will be a place for community engagement, experimentation and collaboration. The studio will encourage students to consider notions of scarcity, contemporary art practice, public education and civic generosity, in order to develop an evocative design concept that will be presented to community representatives.

The ideas for this studio arose from an acknowledgment that now, more than ever, we need to appreciate the rapid decline of flora and fauna globally. The hybrid nature of this brief combines the existential importance of the seed bank, with a contemporary museum’s capacity to communicate this urgency andreach new audiences. The Outpost will showcase and share Australia’s existing contribution to the international Millennium Seed Bank Project (UK) through the Australian Seedbank Partnership located in Botanic Gardens across the country.

Melbourne School of Design | MArch Studio C, D & E Sem 1, 2019 | Studio 27

Studio Leaders Ariani Anwar + Nick Roberts

CONTENT

pre-design ‘re-inventing the museum’

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MOMA PS1 | New York Disarray

P.06 - P.13 P.14 - P.25

NGV Australia

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federation square

Royal Botanical Garden

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melbourne

P.28 - P.31 P.32 - P.33

‘from micro to macro’

site visit

return - brief ‘return brief’

P.36 - P.38

‘site’

P.40 - P.41 P.42 - P.45

‘concept development’

mid - sem ‘amber vessel’

| Royal Botanical Garden | Melbourne

P.46 - P.57

‘thomas heatherwick’

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cathedral of seed

P.60 - P.61

‘koichi yoshimura’

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sola cubes

P.62 - P.63

archive display precedent

structural and sustainable design precedent ‘CHROFI’

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Ian Potter National Conservatory

‘Kristen Smith’

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Sandbox Studio

P.66 - P.67 P.68 - P.69

art and architecture ‘ning sen’ ‘olafur eliasson’

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re-die collection of spatial design / installation

P.72 - P.73 P.74 - P.75

experential architecture ‘asif khan’

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vantablack pavilion

P.78 - P.81

suspension of amber ‘amber artwork collection’

P.84 - P.85

‘amber to architecture’

P.86 - P.87

specimen collection ‘life source’ ‘alectryon subcinereus native quince’

P.90 - P.91 P.92 - P.93

gallery experience of extinction ‘experiences’ ‘experience and architecture’

P.96 - P.97 P.98 - P.99

form finding ‘aalto vase’ ‘yap_constructo 6 “your reflection”’

P.102 - P.103 P.104 - P.105

final design ‘amber vessel’

| Royal Botanical Garden | Melbourne

P.106 - P.131

appendix ‘design sketch and documentation’

P.132 - P.139

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‘RE - INVENTING THE MUSEUM’

MOMA PS1 New York

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Andrew Berman

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Don’t go to a museum with a destination. Museums are wormholes to other worlds.

They are ecstasy machines. Follow your eyes to wherever they lead you…and the world should begin to change for you.

- Jerry Saltz, Art Critic

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MoMA P.S.1, it is design as an exhibition space rather than a collecting institution, devoting its energy and resources to displaying experimental art and modern installation.

Visitors to the museum pass through the entrance building and then out into the central courtyard of MoMA PS1 on their way to the galleries they will see and interact with large scale modern art or architecture installation in the courtyard.

Once you reach the galleries, you will be completely isolated from the external part of the museum.

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The modification design for MoMA PS1 focuses on breaking the spatial relationship between the South Gallery of MoMA P.S.1 and the center courtyard.

The extruded section on the façade allows a different connection between the south gallery and display in the central courtyard and a different view of the display.

In this modification I sought to instil the nature of New Yorker’s habitat, in those movies series there’s always a scene that the character walks through the window and sit on the fire stairs and enjoy that few second of freedom in the crowded New York City. The design of the extruded section on the facade mimics the idea of fire stair space outside apartment building in New York. The extruded platform provides an “informal” area right next to the formal gallery setting for visitors to have a chance to view art from a different perspective and emotion.

Apart from drawing connection between the South Gallery and the courtyard another modification that is made to the Museum is the design of the exterior boundary wall of the Museum. The existing wall separated the Museum and the surrounding, by changing the solid wall to perforated brick wall allows pedestrian have a glimpse of the museum in “frame view” of different areas also draw attention from the public about the current exhibition in the courtyard.

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A

A

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C B

B

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C

‘FROM MICRO TO MACRO’

micro

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emu bush

middle

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agriculture garden

macro

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disarray

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MICRO

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EMU BUSH

The Koobabbie Poverty Bush is endemic to Western Australia, and is known from three subpopulations, on private property, near the town of Coorow, which is approximately 245 km north of.

The Koobabbie Poverty Bush is an erect shrub that can grow to 1.5 m in height. The species has small lobed leaves 4–6 mm long by 1.5–2 mm wide and small dark purple flowers. The species flowers all year round, but most prominently between October and November.

The geographic distribution of the Koobabbie Poverty Bush is fragmented into three very small populations occurring within patches of remnant vegetation surrounded by cleared areas. This lack of suitable habitat surrounding the species’ known area of occupancy limits the geographic distribution of the species.

Emu Bush (Eremophila longifolia) has been valued for both, medicinal and ceremonial purposes by Indigenous people in coastal parts of Australia. The leaves have been used as a decoction, for sores and wounds; an infusion for colds, headaches, chest pains and diarrhea treatment and smoked to create a sterile environment for newborn babies and healing new mothers. In the last decade, leaves from the plant were found to have the same strength as some established antibiotics. South Australian scientists want to use the plant for sterilising implants, such as artificial hips

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MIDDLE

| AGRICULTURE GARDEN

Unlike any other garden type, agriculture garden has no particular kind or looks.

Throughout the human era, the development of agriculture garden has been continually evolving base on human living style, industrial evolution, growth in population and the current issue of global warming.

Agriculture Garden has evolve from ‘Forest Gardening’ where human walk into while forest and pick up the agriculture they need. With the increase in population and development, Agriculture Garden has evolved into ‘mass production’ base on different landscape agriculture method will adapt to that particular type of landscape. Moreover, more recently to solve the problem of global warming and growth in population greenhouse or vertical vegetation become one of the ways to produce agriculture.

The drawing on the right is a collection of all types of agriculture, and the top right is purposely left blank to indicated there will be or will not be a future agriculture garden to solve food supply issue in the future.

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MACRO

| DISARRAY

Royal botanical garden in Melbourne has gone through much changes over its course.

From a more scientific approach under Von Muller to more picturesque and gardensque under Guilfoyle. Royal botanical garden is almost like an art, making the visitor to feel a sense of serendipity. It has been on their agenda to highlight the effect of climate change and to be able to communicate ‘take-home messages.’

The modification seeks to critique the notion of highlighting the effect of climate change while portraying a well-curated garden. It also aims to critique the motivation purpose of the botanical garden – is it to educate people about diversity and nature? Alternatively, is it purely recreational?

The modification turns the botanical garden into a more experiential space, to communicate narratives. It is a garden of discovery with multiple experiences. The intervention is to educate the history, present day and future hold for plants in the natural and urban environment.

This intervention is neither narrative nor speculative but an understanding of the things or terms we are already familiar with. This intervention did not aim at guiding us to somewhere completely unknown; on the contrary, we intended to make an intervention that sparks recognition among visitors. Not every visitors will take home the same messages; however, different layers of emotional and intellectual discovery — an awareness of something potentially dangerous about how we live.

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Hidden behind this familiar consumption is the importance of bees. Bees, bees, everywhere, disappear.

This is the ceaseless mind of the city, where the pace of urban change leaves us in the dark.

Survival is the perpetual struggle for water, food, and shelter.

There is only so much we can build on.

Take a minute to admire the beautiful body of the mother nature. Its wondrous form and image.

Meanwhile, the wars of the future will be fought over water. Over the 3% 22

It is funny that we control the growth of every other species except our own

So much change! So much production! The more we build in cities, the more we tear down what we thought we knew. What is nature? What is technology? The cities of the future are growing all around.

The realms and realities of the city now are the result of the fantasies of generation past. As we navigate between them, we create new fantasies and problems that will shape the city of tomorrow.

The first essential component of social justice is adequate food for all humankind.

They say money does not grow on trees, but trees make money 23

However, someone claimed that global warming is created by and for the Chinese

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‘SITE VISIT’

NGV Australia

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federation square

Royal Botanical Garden

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melbourne

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NGV AUSTRALIA | FEDERATION SQUARE

By walking around and observing NGV Australia Federation Square I understand how space and architecture design changes base on the type iof artwork. Architecture is like a framework or template for artist to display art work, within NGV Australia there’s multiple temple of display to adjust to different type of artwork, including panting, statues, installation or spatial design.

Moreover, the lighting, ceiling height and dimension of the individual space may affect on the display and deliverable of the artwork.

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SOMEWHERE OTHER TO VENICE AND BACK | NGV AUSTRALIA

Somewhere other to Venice and back by John Wardle Architecture makes me think about the boundary between architecture and installation. With in an Museum design what is architecture what is an installation. Can architecture be and installation or an installation can be an architecture? How can I find the boundary or balance between the two?

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ROYAL BOTANICAL GARDEN | MELBOURNE

By walking through the garden we see the collection of the garden, the purpose of the garden, the upcoming development for the garden and the use and function of the Hebarium. Also seeing what the garden lack of and area that is under utilized and discovered by visitor.

The selection of site will base on what I observe and discover during the site visit, including typography, history of site, circulation, current use of the particular site and future planing and design of the Royal Botanical Garden.

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‘RETURN BRIEF’

return brief

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museum of extinction

site

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selected site analysis and diagram

concept

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experience and journey

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RETURN BRIEF

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MUSEUM OF EXTINCTION

Amber is one of nature’s gems. When a tree is injured,

for millions of years. The museum will capture the mo-

it creates a resin that seals the wound and hardens.

ments of plants in the human era. To form a valuable

A time-consuming process, Amber solidify in about

amber the process of formation needs to be under a

100 years. It can only be formed when resin is able to

precise condition, so does a Seed Vault or our Mother

penetrate through the wound of the tree; which then

Earth. In the Amber Vessel, isolation from the external

will be fossilised. Amber is a natural phenomenon that

environment, and time became a safety chamber

occurs under a very complex and precise conditions,

for plants also allows the visitor to admire the beauty

most importantly it has to be chemically stable. Am-

of the plants and seeds without any external influenc-

ber is naturally impenetrable by natural hazard, which

es and understand the true meaning of “eternal.”

makes them a vessel to preserve time. Amber often contains creatures and plants from previous ages. Am-

An injury of a tree causes the creation of amber. Sim-

ber freezes time and its narrative, an important gem

ilarly, our earth and environment are injured; the mu-

that will help tell the story of our environment.

seum will act as amber to seal and stop the wound that causes by the human. It aims to educate visitors

The museum will act as an Amber Vessel, in this mu-

about extinction, climate change, and preserve the

seum time is paused. Amber capture the life moment

beauty of earth like an Amber Vessel.

of plants, seed or insects, and preserved the look of it

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The experience of visiting the museum is usually a

ney underlines the urgency of conserving our plan-

peaceful, luxurious journey. We walk through muse-

et, to create a better understanding of the current

um observe the architecture, artworks and display,

phenomenon, rather than relying on an exit strategy,

but is that really “educational”? For people that are

such as the Seed Bank. Seed Bank should be seen as

not experienced or not in the field of environment

a life source not a backup plan.

will they understand the importance of biodiversity, climate changes, food production, food security,

The museum will evoke the impact of the current hu-

available land and water etc. This Museum will be

man relationship towards plants and communicate

an interactive museum that creates an open-ended

the process of plants death and extinction caused

outcome, all visitor should understand and get edu-

by human activity. The museum aims to showcase

cated is with interactive museum design, a museum

the hardship of plants’ survival in the human era, and

that everyone could get taught through personal ex-

exert the experiences on visitors through space; to tell

perience, physical contact and bring back a unique

the message of extinction.

message from the museum after visiting. Moreover, This museum will challenge the current practice of an exhibition, by utilising the experiences and senses as a tool to convey messages. The experiential jour-

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Amber Vessel An injury of a tree causes the creation of amber. Similarly, our earth and environment are injured, the museum will act as an amber to seal and stop the wound causes by human.

Amber is a time vessel that preserve time. Like an amber, this museum will preserve time and tell the story of plants today.

This museum will showcase the hardship of plants survival in the human era, and exert the experiences on visitors through space; to tell the message of extinction.

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SITE

|

SELECTED SITE AND DIAGRAMS

selected site

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The selected site is located at the edge of the botanical garden, where tends to be quieter, isolated for man-made structure, a space of juxtaposition due to its topography.

view

isolation

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movement and travel journey

CONCEPT

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Air polution

EXPERIENCE OF EXTINCTION

Available land

Drought

The museum is divided into 6 different factors of plant’s extinction. Flood, Air Pollution, Drought, Heat, Available land, Trash. This museum does not come with a seed bank, instead of focusing on an exit strategy this museum aims to educate.

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Heat

Flood

The experiential spaces underline the urgency of conserving our planet, to create a better understanding of the current phenomenon.

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Trash

CONCEPT

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RGB

SPATIAL JOURNEY

The end of time

Experience of extinction

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The end of time

Life Source

Seed achieve

Life Source

he 6 different factors are connected as a one experiential journey, in every transition between the factors, there will be a transition zone, a quiet zone, to help the take home messages to sink in. In this space, you will get to see a small section of the life source.

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The end of time

‘MID SEM’

design attempt

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amber vessel

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DESIGN ATTEMPT

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AMBER VESSEL

An injury of a tree causes the creation of amber.

The 6 different factors are connected as a one

Similarly, our earth and environment are injured.

experiential journey, in every transition between

The museum will act as an amber to seal and

the factors, there will be a transition zone, a quiet

stop the wound causes by human. Amber is a

zone, to help the take home messages to sink in.

time vessel that preserve time. Like an amber,

In this space, you will get to see a small section of

this museum will preserve time andtell the story of

the life source.

plants today.

The experiential journey will deliver speculative narratives, from the present Royal Botanical

This

museum

challenges

the

relationship

of

Garden, to end of time, story of the plants today,

humans and plants. To tell the story of the hardship

abundance, and the source of life.

of plants survival in the human era and exert the experiences on visitors through space; to tell the

The seed archive represents the center of an

message of extinction.

amber, where it captures seeds and plants. In this space you will experience the contrast between

Like an Amber that can preserve a seed, or a plant

the seed archive and life source, the contrast of

and ultimately history. The museum is wrapped

life and death.

with a layer of wild forest that is not accessible, a life source which how natural will look like without

This museum will capture the story of the plants and

human interference. The experiential journey and

to educate about the urgency and importance of

the seed archive revolve around the life source.

maintain and conserving diversity. Going forward, I would like to create the 6 factors of plants’ extinction in the form of spaces and a more cohesive relationship between the experiential spaces and the life source

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Site Plan

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Ground Floor Plan

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Level 01 Plan

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Section

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Section

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West Elevation

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West Elevation

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Exterior Perspective

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Interior Perspective

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‘ARCHIVE DISPLAY PRECEDENT’

Thomas Heatherwick

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Cathedral of Seed

‘sola cubes’

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Koichi Yoshimura

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THOMAS HEATHERWICK |

CATHEDRAL OF SEED 2010 SHANGHAI EXPO UK PAVILION

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The scheme of Cathedral of Seed focused on the UK’s pioneering history of urban parks and gardens, as well as its botanical research heritage and took inspiration from Kew Garden’s Millennium Seed Bank, one of the largest plant conservation programmes in the world. The pavillion design composed of 60,000 acrylic rods, each 7.5 metres long, the rods transmitted light, illuminating the interior and the 250,000 seeds embedded in the rod tips. (Heatherwick Studio, 2008) The display of seed in Cathedral of Seed by Thomas Heatherwick is like an amber preserving seeds. Where I realized it matches my whole concept I can use as a reference for my achieve display also challenge the universal temple of displaying seed.

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KOICHI YOSHIMURA |

SOLAR CUBE

“By observing a small plant carefully, we are able to glimpse a more perfect world. We express the name “Sola” with the Chinese kanji 宙, which means “universe.” This kanji explains everything we know and don’t know, including time and space, with a single character. Sola also has another meaning: “blue sky.” An imaginary world spreads out like the sky before us.” - K o i c h i Y o s h i m u r a Similar to the Cathedral of Seed by Thomas Heatherwick the Sola Cube inspire me to discover a different dynamic of displaying seed and provide a different scale of seed in display for visitor to observe and learn about the seeds.

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‘STRUCTURAL AND SUSTAINABLE DESIGN PRECEDENT’

CHROFI

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Ian Potter National Conservatory

Kristen Smith

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Sandbox Studio

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CHROFI |

IAN POTTER NATIONAL CONSERVATORY - AUSTRALIAN NATIONAL BOTANIC GARDENS

Similar to our design brief CHROFI designed a conservatory for Australia National Botanical Garden where including a greenhouse garden within the building like my design concept. The building has an environmentally sustainable design method to allow plants to grow in the architecture, and the green space became an experience and gallery space for the conservatory. For my design, I’ll take on this point and use CHROFI design as a reference to design a building that has a greenhouse garden (life source), but it is possible to support its living environment condition within the building in Melbourne’s weather condition with using extra energy.

The design of Ian Potter National Conservatory also provide me the idea of using translucent concrete as a material and structural elements for building facade.

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Kristen Smith |

SANDBOX STUDIO - ETFE ROOFING SYSTEM

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ETFE roof structure is my final decision for my building design envelope.

ETFE has high tensile strength, resistance to tearing, excellent light transparency, low flammability and most importantly, high insulation material that will benefit sustaining the greenhouse (life source).

The Sandbox Studio design by Kristen Smith provides precedence of ETFE on roof structure with and fully enclosed structure design. Unlike most presidents, ETFE is used in stadium facade or pavilion design.

Base on research, ETFE panels size max span can be 3000 mm and support by a lightweight truss system with a column of 500 - 1000mm diameter.

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‘ART AND ARCHITECTURE’

Ning Sen

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RE-DIE

Olafur Eliasson

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collection of spatial design / installation

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NING SEN |

RE-DIE

By looking at existing Artist’s artwork that suits our concept helps imagine the design of the gallery space. Including the spatial quality of ceiling hight, circulation, size of the area and lighting Re-Die is curated by Ning Sen, a Chinese artist; this is an exhibition that replicates the experience of dying any showcase it in 7 stages for visitor to experience. This gives me the thought of the journey of my experience gallery. What if the ending of the gallery is the death of the human race. The journey ending may reinforce the feeling of extinction for the visitor when the ending is actually the death of us.

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OLAFUR ELIASSON |

COLLECTION OF SPATIAL DESIGN / INSTALLATION

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Olafur Eliasson’s art is driven by his interests in perception, movement, embodied experience, and feelings of self. He strives to make the concerns of art relevant to society at large. Not limited to the confines of the museum and gallery, his practice engages the broader public sphere through architectural projects, interventions in civic space, arts education, policy-making, and issues of sustainability and climate change.

Olafur Eliasson’s art often collaborate with architect to create architecture art work where inspires me to combine the idea of installation and architecture experience together instead of seeing them as two different identities they could be combined into one base on the topic of the museum and the deliberation of the experience. Installation can be an architectural element for the building design; the architecture can create a framework or a base template as an architecture language to showcase the installation for a particular topic. This direction will be what I’m working on for my gallery space design since the gallery experience is such an import part for my museum design scheme.

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‘EXPERENTIAL ARCHITECTURE’

Asif Khan

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Vantablack Pavilion

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ASIF KHAN |

VANTABLACK PAVILION - 2018 OLYMPIC GAMES IN PYEONGCHANG, SOUTH KOREA

Vantablack Pavillion journey experience is combine with 7 different scene, the circulation and connection to each really draws my attention. In such a small space it creates a very dynamic journey through space and transition between each scene. This make me think about the circulation and planing of my journey in my museum design. Moreover, this pavilion gave me an example and strategies to combine the characteristic of architecture and installation.

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“I was an architect before. We made it clear we wanted to do something different, something revolutionary.

We wanted to express the impact of this with Asif Khan… everything’s digital, but there’s power in the old, physical, tactile experience. You smell something, you touch something. We designed the pavilion with this in mind as something we could convey.”

Mr. Jang Young

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| member of the design team at Hyundai Creative Works

‘SUSPENSION OF AMBER’

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amber art work collection

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amber to architecture

JUSTEEN TSAI |

SUSPENSION OF AMBER

ART WORK COLLECTION

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The intention of creating these amber artworks is to discover the quality of amber and give the amber in my concept a new characteristic.

These artwork show layers of amber and the movement of suspension of amber. This artwork will, later on, use for form finding or including in the architecture design.

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DESIGN DEVELOPMENT |

FROM AMBER TO ARCHITECTURE

From Amber to Architecture, this building design aims to redefine the look of amber and the idea of seed bank. Observing an amber the seeds or insect that is preserved inside is usually present like a dark spot or dark shadow, so is seed bank; seed bank is usually hidden under or maintain in the dark. Therefore, this museum will redefine the look of amber within the Museum Amber Vessel it is preserving living object which shows greenery, colour and living. This museum will retain the current state of nature, and not see seed bank as a back up that will be activated when the true nature is gone, instead, we as a human should see the current state of nature as our most significant fortune and seed bank that genuinely needs to be preserved and take care of.

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Behind the amber layer you see is a richness of greenery instead of dark spot of seeds and remains of our fragile nature that has been capture.

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‘SPECIMEN COLLECTION’

| Life Source | Alectryon subcinereus Native Quince

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Dianella sp. aff. revoluta (Crib Point)

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LIFE SOURCE |

THE DEFINITION OF LIFE SOURCE AND WHAT’S IN THE LIFE SOURCE

The life source is a reinterpretation of a seed bank. A seed bank is often a strategy adopted by scientist and governmental body around the world to prepare for future challenges. The Amber Vessel as a museum of extinctions calls upon the pressing needs on raising the awareness of th current state of nature as our most significant assets.

The main collection in the life source will be a series of plant that is stated Endangered in Victoria which is at a risk of disappearing from the wild state if present land use and other causal factors continue to operate.

These plants includes:

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Abutilon fraseri subsp. diplotrichum Abutilon fraseri subsp. fraseri Abutilon malvifolium Abutilon oxycarpum var. subsagittatum Acacia binervia Acacia deanei subsp. deanei Acacia euthycarpa subsp. oblanceolata Acacia havilandiorum Acacia maidenii Acacia omalophylla Acacia pendula Acrotriche depressa Adiantum capillus-veneris Adiantum diaphanum Alectryon subcinereus Allocasuarina luehmannii Amphibromus pithogastrus Androcalva tatei Aristida jerichoensis var. subspinulifera Aristida obscura Aristida personata Asperula ambleia Asplenium hookerianum Astelia psychrocharis Asterolasia asteriscophora subsp. albiflora Atriplex angulata Atriplex spinibractea Atriplex spongiosa Atriplex turbinata Ballantinia antipoda Banksia croajingolensis Borya mirabilis Bossiaea vombata Bossiaea walkeri Brachyscome melanocarpa Brachyscome muelleroides Brunoniella pumilio Caladenia aff. oenochila (St Andrews) Caladenia amoena Caladenia ampla Caladenia audasii Caladenia bicalliata subsp. bicalliata Caladenia calcicola Caladenia concolor Caladenia cremna Caladenia cretacea Caladenia cruciformis Caladenia douglasiorum Caladenia fragrantissima Caladenia fulva Caladenia hastata Caladenia lowanensis Caladenia maritima Caladenia orientalis Caladenia patersonii s.s.

Caladenia pilotensis Caladenia pumila Caladenia robinsonii Caladenia rosella Caladenia sp. aff. colorata (Lower Glenelg River) Caladenia sp. aff. fragrantissima (Central Victoria) Caladenia sp. aff. fragrantissima (Inverleigh) Caladenia sp. aff. rosella (Violet Town) Caladenia sp. aff. venusta (Kilsyth South) Caladenia valida Caladenia versicolor Caladenia X variabilis Caladenia xanthochila Callistemon wimmerensis Calochilus richiae Calochilus sp. aff. campestris (Moondarra) Calotis pubescens Cardamine franklinensis Cardamine paucijuga s.s. (type form) Cardamine tenuifolia (large-flower form) Cardamine tryssa Cassinia tegulata Casuarina obesa Centipeda crateriformis subsp. crateriformis

Centipeda pleiocephala Chaerophyllum pulvinificum Cheilanthes lasiophylla Christella dentata Commelina cyanea Commersonia breviseta Commersonia dasyphylla Commersonia prostrata Convolvulus graminetinus Coprosma pumila Correa lawrenceana var. genoensis Corunastylis nudiscapa Corybas sp. aff. diemenicus (Coastal) Craspedia canens Craspedia sp. 2 Cratystylis conocephala Cryptandra myriantha Cryptostylis erecta Cryptostylis hunteriana Cullen australasicum Cullen cinereum Cullen discolor Cullen pallidum Cullen parvum Cullen patens Cullen tenax Cyclosorus interruptus Cymbopogon obtectus Cyperus gracilis Cyperus nervulosus Cyperus rigidellus Dampiera fusca Deyeuxia affinis Dianella amoena Dianella sp. aff. revoluta (Crib Point) Dianella sp. aff. revoluta (Minjah) Digitaria divaricatissima var. divaricatissima Dipodium campanulatum Dipodium hamiltonianum Discaria nitida Diuris basaltica Diuris dendrobioides Diuris fragrantissima Diuris gregaria Diuris ochroma Diuris protena Diuris sp. aff. dendrobioides (Bairnsdale) Diuris subalpina Diuris tricolor Diuris X fastidiosa Dysphania simulans Echinopogon caespitosus var. caespitosus Epilobium brunnescens subsp. beaugleholei Eragrostis exigua Eremophila debilis Eremophila sturtii Eriocaulon australasicum Eucalyptus aff. camaldulensis (Torrumbarry) Eucalyptus aff. camphora (Upper Yarra) Eucalyptus aff. ignorabilis (Lerderderg) Eucalyptus aff. porosa (Quambatook) Eucalyptus aggregata Eucalyptus alligatrix subsp. limaensis Eucalyptus baueriana subsp. deddickensis Eucalyptus baueriana subsp. thalassina Eucalyptus blakelyi var. irrorata Eucalyptus calycogona subsp. calycogona Eucalyptus carolaniae Eucalyptus conferta Eucalyptus crenulata Eucalyptus filiformis Eucalyptus forresterae Eucalyptus leucoxylon subsp. bellarinensis Eucalyptus leucoxylon subsp. megalocarpa Eucalyptus molyneuxii Eucalyptus ornans Eucalyptus sp. aff. dumosa (Nhill) Eucalyptus sp. aff. odorata (Tarranginnie) Eucalyptus splendens

Eucalyptus walshii Eucalyptus X studleyensis Euphorbia planiticola Euphorbia tannensis subsp. eremophila Euphrasia collina subsp. muelleri Euphrasia scabra Gahnia deusta Gaultheria hispida Geijera parviflora Geranium sp. 1 Glycine canescens Goodenia havilandii Grevillea angustiloba subsp. angustiloba Grevillea angustiloba subsp. wirregaensis Grevillea callichlaena Grevillea miqueliana subsp. cincta Grevillea victoriae subsp. nivalis Hakea asperma Hakea macraeana Haloragis acutangula f. acutangula Haloragis odontocarpa f. rugosa Hemichroa diandra Hibiscus brachysiphonius Hibiscus krichauffianus Hyalosperma stoveae Hydrocotyle pilifera var. glabrata Isoetes pusilla Isopogon prostratus Kelleria laxa Lachnagrostis scabra subsp. curviseta Leiocarpa leptolepis Leiocarpa tomentosa Lemooria burkittii Lepidium aschersonii Lepidium hyssopifolium Lepidium monoplocoides Lepidium phlebopetalum Lepidium pseudopapillosum Leptorhynchos elongatus Leptorhynchos orientalis Leucochrysum albicans var. tricolor Lindsaea trichomanoides Maireana microphylla Menkea crassa Microcybe pauciflora subsp. pauciflora Microlepidium pilosulum Muehlenbeckia gracillima Myoporum brevipes Myoporum floribundum Myriophyllum gracile var. lineare Neobassia proceriflora Nicotiana maritima Nymphoides spinulosperma Olearia curticoma Olearia passerinoides subsp. glutescens Olearia sp. 1 Panicum queenslandicum var. queenslandicum Botanical Name Common Name EPBC DEPI FFG Olearia tomentosa Toothed Daisy-bush r Olearia tubuliflora Rayless Daisy-bush r Olearia viscosa Viscid Daisy-bush v N Ophioglossum polyphyllum Upright Adder’s-tongue v Ophioglossum reticulatum Stalked Adder’s-tongue r Oreobolus oxycarpus subsp. oxycarpus Tuft-rush r Oreobolus pumilio subsp. pumilio Alpine Tuft-rush r Ornduffia umbricola var. umbricola Lax Marsh-flower v Orobanche cernua var. australiana Australian Broomrape v Orthoceras sp. aff. strictum Otway Horned-orchid k Orthrosanthus multiflorus Morning Flag r Oschatzia cuneifolia Wedge Oschatzia r Oxalis magellanica Snowdrop Wood-sorrel r Oxalis rubens Dune Wood-sorrel r Oxalis thompsoniae Fluffy-fruit Wood-sorrel k Ozothamnus adnatus Winged Everlasting v Ozothamnus alpinus Alpine Everlasting r Ozothamnus argophyllus Spicy Everlasting r Ozothamnus rogersianus Nunniong Everlasting r Ozothamnus stirlingii Ovens Everlasting r Panicum laevinode Pepper Grass v

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Panicum queenslandicum var. queenslandicum Coolibah Grass e Panicum simile Two-colour Panic v Paracaleana disjuncta Paspalidium distans Persoonia asperula Phebalium glandulosum subsp. 1 (Mallee) Philotheca difformis subsp. difformis Philotheca myoporoides subsp. euroensis Pimelea spinescens subsp. pubiflora Pimelea spinescens subsp. spinescens Platylobium infecundum Pneumatopteris pennigera Poa physoclina Poa sp. (Lake Omeo) Podolepis muelleri Podolepis sp. 1 Pomaderris briagolensis Pomaderris cotoneaster Pomaderris vacciniifolia Prasophyllum aff. diversiflorum (North-east) Prasophyllum aff. diversiflorum (North-east) Prasophyllum aff. fitzgeraldii D Prasophyllum aff. occidentale D Prasophyllum aff. odoratum (Chewton) Prasophyllum aff. odoratum E Prasophyllum aff. parviflorum (SW Victoria) Prasophyllum aff. petilum (Murchison) Prasophyllum aff. petilum (Wangaratta) Prasophyllum aff. pyriforme (Inglewood) Prasophyllum aff. validum B Prasophyllum anticum Prasophyllum chasmogamum Prasophyllum correctum Prasophyllum diversiflorum Prasophyllum erythrocommum Prasophyllum fosteri Prasophyllum frenchii Prasophyllum gilgai Prasophyllum hygrophilum Prasophyllum lindleyanum Prasophyllum niphopedium Prasophyllum pyriforme s.s.

Prasophyllum readii Prasophyllum sp. aff. correctum (Mortlake) Prasophyllum sp. aff. fitzgeraldii A Prasophyllum sp. aff. fitzgeraldii C Prasophyllum sp. aff. occidentale C Prasophyllum sp. aff. occidentale E Prasophyllum sp. aff. validum A Prasophyllum spicatum Prasophyllum suaveolens Prasophyllum subbisectum Prasophyllum uvidulum Prasophyllum viretrum Pseudoraphis paradoxa Pterostylis acuminata Pterostylis agrestis Pterostylis basaltica Pterostylis conferta Pterostylis cucullata subsp. cucullata Pterostylis despectans Pterostylis ferruginea Pterostylis lustra Pterostylis oreophila Pterostylis sp. aff. bicolor (Woorndoo) Pterostylis sp. aff. boormanii (Beechworth) Pterostylis sp. aff. dolichochila (Portland) Pterostylis sp. aff. striata (Silurian) Pterostylis spissa Pterostylis truncata Pterostylis valida Pterostylis woollsii Pterostylis X aenigma Pterostylis xerophila Ptilotus nobilis var. nobilis Ptilotus obovatus Ptilotus polystachyus Pultenaea blakelyi

Pultenaea dargilensis Rhodanthe floribunda Rhodanthe stricta Rhynchospora brownii Rutidosis helichrysoides subsp. helichrysoides Rutidosis leptorhynchoides Rytidosperma australe Santalum lanceolatum Sarcochilus falcatus Scaevola depauperata Schoenoplectus dissachanthus Sclerolaena lanicuspis Sclerolaena napiformis Sclerolaena ventricosa Senecio behrianus Senecio garlandii Senecio macrocarpus Senna form taxon ‘artemisioides’ Sida aff. corrugata (grey-leaf Boort form) Solanum coactiliferum Solanum silvestre Spyridium nitidum Spyridium sp. 1 Stenanthemum notiale subsp. notiale Stylidium armeria subsp. pilosifolium Swainsona adenophylla Swainsona galegifolia Swainsona greyana Swainsona luteola Swainsona murrayana Swainsona phacoides Swainsona plagiotropis Swainsona purpurea Swainsona recta Swainsona stipularis Swainsona swainsonioides Symplocos thwaitesii Taraxacum cygnorum Tecticornia flabelliformis Thelychiton speciosus Thelymitra basaltica Thelymitra bracteata Thelymitra epipactoides Thelymitra gregaria Thelymitra hiemalis Thelymitra incurva Thelymitra longiloba Thelymitra lucida Thelymitra mackibbinii Thelymitra pallidiflora Thelymitra reflexa Thelymitra X merraniae Thelypteris confluens Trianthema clavata Triglochin trichophora Veronica sp. aff. gracilis (Lake Omeo) Vittadinia pustulata Westringia crassifolia Xanthorrhoea glauca subsp. angustifolia Zannichellia palustris Bartramia subsymmetrica Calomnion complanatum Colura pulcherrima var. bartlettii Colura saccophylla Dicranoloma diaphanoneuron Drepanocladus polygamus Fossombronia alata Leptodon smithii Orthotrichum cupulatum var. cupulatum Orthotrichum hortense Petalophyllum preissii Plagiochila pleurata Riccardia eriocaula Tortula anderssonii Treubia tasmanica Triandrophyllum subtrifidum Neuropogon acromelanus Xanthoparmelia suberadicata Xanthoparmelia victoriana

SPECIMEN COLLECTION |

ALECTRYON SUBCINEREUS NATIVE QUINCE

ALECTRYON SUBCINEREUS (A.Gray) Radlk.

Native Quince Act. Congr. Int. Bot., Amsterdam 117 (1877) Taxonomic status: Accepted Occurrence status: Present Establishment means: Native Threat status: Victoria: endangered (e); listed in Flora and Fauna Guarantee Act 1988; listed threaten. At risk of disappearing from the wild state if present land and other casual factors continue operate.

Tree to 13 m high; young growth and inflorescences puberulent.

Leaves paripinnate with (1–)2–4 leaflets; rachis 2–9 cm long; leaflets elliptic-oblong to elliptic-ovate, acute, shortly acuminate or subobtuse, margins entire or serrate toward apex (juvenile foliage serrate), upper surface glabrous, lower surface papillose, puberulent to glabrous, thinly coriaceous; petiole 1.5–3.5 cm long. Panicles 10–15 cm long and wide; cymules 3–7-flowered. Flowers usually unisexual; pedicels 2.5–4 mm long; calyx c. 1.5 mm long, lobes ovate, c. 0.5 mm long, pubescent; petals pink, obovate, c. 1.5 mm long; stamen filaments to 1 mm long; ovary villous. Capsules broadly obcordate or transversely ellipsoid, 2-(rarely 1- or 3-)lobed, 8–10 mm long, 8–16 mm wide; pericardia thin and crustaceous, glabrous. Flowers and fruits Sep.–Feb. Exceedingly rare in Victoria where known from a small gully above the Genoa River upstream of Genoa township, in dryish, warm temperate rain forest on rocky substrate.

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ALECTRYON SUBCINEREUS (A.Gray) Radlk Native Quince

.

Act. Congr. Int. Bot., Amsterdam 117 (1877) Taxonomic status: Accepted Occurrence status: Present Establishment means: Native Threat status: Victoria: endangered (e); listed in Flora and Fauna Guarantee Act 1988; listed threaten. At risk of disappearing from the wild state if present land and other casual factors continue operate.

Tree to 13 m high; young growth and inflorescences puberulent.

Leaves paripinnate with (1–)2–4 leaflets; rachis 2–9 cm long; leaflets elliptic-oblong to elliptic-ovate, acute, shortly acuminate or subobtuse, margins entire or serrate toward apex (juvenile foliage serrate), upper surface glabrous, lower surface papillose, puberulent to glabrous, thinly coriaceous; petiole 1.5–3.5 cm long. Panicles 10–15 cm long and wide; cymules 3–7-flowered. Flowers usually unisexual; pedicels 2.5–4 mm long; calyx c. 1.5 mm long, lobes ovate, c. 0.5 mm long, pubescent; petals pink, obovate, c. 1.5 mm long; stamen filaments to 1 mm long; ovary villous.

Capsules broadly obcordate or transversely ellipsoid, 2-(rarely 1- or 3-) lobed, 8–10 mm long, 8–16 mm wide; pericardia thin and crustaceous, glabrous. Flowers and fruits Sep.–Feb. Exceedingly rare in Victoria where known from a small gully above the Genoa River upstream of Genoa township, in dryish, warm temperate rain forest on rocky substrate.

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‘GALLERY EXPERIENCE OF EXTINCTION ’

| EXPERIENCES | EXPERIENCE AND ARCHITECTURE

94

AIR POLLUTION

HEAT

LABD POLLUTION

DROUGHT

GALLERY EXPERIENCE SPACES

95

FLOOD

THE SIX EXPERIENCE OF PLANTS EXTINCTION |

BASE ON CURRENT ENVIRONMENTAL ISSUE

Air Pollution at Melbourne Victoria

Forest Fire in Australia, cause of

Land Pollution cause by barring waste

from burning coal, Green house

unstable climate from climate

from human, effects in condition of

emission became a cause of broken

changes destroy biodiversity in forest

plants growing

O-zone

96

Climate change, and

Climate change, and global warming leads to

Human infer-structure taking over nature

global warming leads to

flood

space

drought

97

FRAME IN FRAME - EXPERIENCE AMBER |

AIR POLLUTION

ARCHITECTURE DESIGN AS A INSTALLATION TEMPLE

HEAT

LABD POLLUTION

DROUGHT

GALLERY EXPERIENCE SPACES

98

FLOOD

AVAILABLE LAND

The amber concept continues to the gallery design. Each gallery design act as an individual amber that documents a current event that affects on plants extinction like an amber documents history. The architecture language used here is the idea of “Frame within a Frame” like an amber fluid wrapping around the captured object. Between the gallery space and the framework of the structure, there will be a mechanical space that generates that particular experience of extinction that the plants are going through nowadays. As visitors, they will experience what the plants have gone through. Within the gallery, visitors will be isolated from the exterior like seeds or insects in the amber and let them focus on the experience.

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‘FORM FINDING ’

| AALTO VASE | YAP_Constructo 6 “Your Reflection”

100

101

AALTO VASE |

ALVAR AALTO

Once the outline of the circulation and program within the building, I began to question about the form of the building.

Amber being fluid in nature raises the idea of incorporating the method of addition and subtraction of circles to achieve a fluid form, like an Aalto Vase. The diversity in sizes of the circles aims to create a rippling effect that matches the building program and journey, including the entrances (air lock) space to the museum.

102

103

CONSTRUCTION 6 “YOUR REFLECTION” |

GUILLERMO HEVIA GARCÍA + NICOLÁS URZÚA SOLER

104

Continue the development from the AALTO VASE, by study this case study on Construction 6 “Your Reflection” by Guillermo Hevia García + Nicolás Urzúa Soler where have a similar form to AALTO VASE in an architecture form. This precedent inspired me to combine the circulation form into the landscape that surrounding the building envelop. The design intention of this is to merge the building into the landscape, also create different architecture space and purpose around the building. Also with the push and pull affect between the circular form and merging the structure in to the botanical garden. Certain spaces within or around the building portrays a dynamic relationship that creates an intimate connection between the Amber Vessel and the Botanical Garden.

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‘FINAL DESIGN’

106

107

Amber Vessel An injury of a tree causes the creation of an amber. Similarly, our earth is injured. The museum will act as an amber to seal the wound caused by human intervention.

Amber captures a particular moment. Like an amber, this museum will preserve the current state of nature, that is often look upon. The moment captured is a ‘life source’.

Amber vessel will preserve time and tell the story of plants today.

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109

An amber is a healing process for a wounded tree. A vessel that encapsulates a memory. A complex phenomenon, an amber capture that moment in every angle of complexity.

An amber, however, often symbolizes something from the past.

Amber Vessel is a proposal that calls upon a reinterpretation an amber and a seed bank. Amber vessel propose to encapsulates the living as a ‘life source’, a living seed bank. It will explore the interwoven complexity

of the

phenomenon, as a journey, like an amber.

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111

SITE PLAN |

1:500

112

ALE

XAN

DRA

AVE

SITE PLAN @ 1:500_A2 0

113

5

10

25

50

ROYAL BOTANICAL GARDEN

LIFE SOURCE

SEED ARCHIEVE

AIR POLLUTION GALLERY

HEAT GALLERY

LAND POLLUTION GALLERY

AVALIABLE LSND GALLERY

AMBER VESSEL

FLOOD GALLERY

DROUGHT GALLERY

GALLERY OF DEATH

SEED ARCHIEVE

LIFE SOURCE

ROYAL BOTANICAL GARDEN AMBER VESSEL

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AMBER VESSEL |

JOURNEY

115

PLAN |

1:200

GROUND FLOOR PLAN @ 1:200_A2

116

BASEMENT 01 PLAN @ 1:200_A2

117

ROOM LABELS 01. Life Source - Collection of Victoria Endanger

14. Gallery Foyer

Plats

15. Air Pollution Gallery

02. Entrance to Archive and Experience Gallery

16. Reflection Zone

03. Archive Display and pathway to gallery

17. Heat Gallery

04. Back of House Office

18. Land Pollution Gallery

05. Lecture Theater

19, Drought Gallery

06. Exist from Experience Gallery and Archive

20. Flood Gallery

07. Laboratory

21. Available Land Gallery

08. Female Toilet

22. The ‘Last’ Gallery - Artist Display Gallery (Ning Sen

09. Make Toilet

|Re-die)

10. Meditation Space

23. Exist Foyer

11. Storage

24. Archive Display and pathway to Life Source

12. Main Entrance to Amber Vessel (Air Lock)

25. Mechanical space to generate Gallery Experience

13. Museum Reception and Cloak Room

ROOM LABELS 01. Life Source - Collection of Victoria Endanger Plats

13. Museum Reception and Cloak Room

22. The ‘Last’ Gallery - Artist Display Gallery (Ning Sen |Re-die)

02. Entrance to Archive and Experience Gallery

14. Gallery Foyer

23. Exist Foyer

03. Archive Display and pathway to gallery

15. Air Pollution Gallery

24. Archive Display and pathway to Life Source

04. Back of House Office

16. Reflection Zone

25. Mechanical space to generate Gallery Experience

05. Lecture Theater

17. Heat Gallery

06. Exist from Experience Gallery and Archive

18. Land Pollution Gallery

07. Laboratory

19, Drought Gallery

08. Female Toilet

20. Flood Gallery

09. Make Toilet

21. Available Land Gallery

10. Meditation Space 11. Storage 12. Main Entrance to Amber Vessel (Air Lock)

BASEMENT 01 PLAN @ 1:200_A2

118

LIFE SOURCE ARCHIEVE PATHWAY EXPERENCE GALLERY TRANSISTION ZONE

119

SECTION AA |

1:100

120

SECTION AA @ 1:100_A1 0

5

10

15

121

20

SECTION BB |

1:100

122

SECTION BB @ 1:100_A1 0

123

5

10

15

20

SECTION DETAIL |

1:25 SECTION DETAIL LABELS 01. Structural Steel Mullion with Integrated Air Vents and Gutter 02. ETFE Panels with PV 03. Permitted Drainage Gutter with Sloped Insulation 04. Air Barrier Membrane 05. Light Weight Cable Structure 06. Rain Water Gutter Down Pipe 07. Sprinklers - Misters Provide additional humidification to the Life Source 08. Pre-cast Translucent Concrete Panels 09. Concrete Retaining Wall 10. Bore Pier Connect to Retaining Wall 11. Commercial Reversible Underground Water Tank a. ETFE Layer b. Air Inlet c. Bird Wire d. Aluminum Profile e. Condensate Gutter f. Flexible Hose g. Air Supply Tube h. Steel Frame Structure

SECTION DETAIL LABELS 01. Structural Steel Mullion with Integrated Air Vents and Gutter 02. ETFE Panels with PV 03. Permitted Drainage Gutter with Sloped Insulation 04. Air Barrier Membrane 05. Light Weight Cable Structure 06. Rain Water Gutter Down Pipe 07. Sprinklers - Misters Provide additional humidification to the Life Source 08. Pre-cast Translucent Concrete Panels 09. Concrete Retaining Wall 10. Bore Pier Connect to Retaining Wall 11. Commercial Reversible Underground Water Tank

a. ETFE Layer b. Air Inlet c. Bird Wire d. Aluminum Profile e. Condensate Gutter f. Flexible Hose g. Air Supply Tube h. Steel Frame Structure

DETAIL SECTION @ 1:25_A0 0

0.5

1

1.5

3

2

124

4

5

BUILDING ESD

EXTERIOR 40°C

EXTERIOR 3°C

10.

02.

02.

SUMMER

WINTER INTERIOR 25-28°C

01. Concrete Panel - Thermal mass keep indoor cool during day time and release heat at night when temperature drop.

INTERIOR 15-20 °C

08.

02. Highly insulated PV ETFE Penal, air tight and generate energy for the building

01. Concrete Panel - Thermal mass store outdoor heat and release at night.

02. Highly insulated PV ETFE Penal, air tight and generate energy for the building

08.

01.

01.

03. Air Handling Unit, with thermal wheel and humidification

03. Air Handling Unit, with thermal wheel and humidification

04. Earth duct temper incoming air

04. Earth duct temper incoming air

05. Boreholes and heat pump system, provide thermal storage, generating heating in winter 06. Warm temperature release from ground

05. Boreholes and heat pump system, provide thermal storage, generating cooling in summer 06. Cooling temperature release from ground

08. Misters provide additional humidification to the greenhouse

07. Warm temperature store in ground

06.

06.

08. Misters provide additional humidification to the greenhouse 09. Rain water storage water tank

09.

09.

04.

07.

SOIL 10°C ALL YEAR ROUND

SOIL 10°C ALL YEAR ROUND See the ground as a thermal storage / recharge battery for temperature.

03.

04.

05.

05.

03.

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09. Rain water storage water tank 10. Solar hot water panel combine with etfe panels, heated water stored in ground for use during winter.

126

127

128

129

130

131

‘APPENDIX ’

|

132

sketches and work documentation

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134

135

136

137

138

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