Sensibility

Thesis for M. ARCH

Sensibility; Re-imagining a 1970’s landmark for Melbourne.

Malak Noureddine El Moussaoui

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Malak Noureddine El Moussaoui

Sensibility

Re-imagining a 1970’s landmark for Melbourne.

Thesis for M. ARCH Supervised by Dr Derham Groves The University of Melbourne November 2019

Golden Wattle - Australia’s national flower Photo by Massiel Barros-Torning

Eucalyptus Blossom Photo by Isabella Parota

CONTENTS

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15 Why Landmarks The Importance of the Image What Makes a Landmark?

47 The Site Main Characters Objectives What galvagni missed

19 1979 Landmark Competition Melbourne’s Skyline 2300 Entries, No Winner

53 Preliminary Ideas Precedents De-constructing

23 Entry No.1991 Mario Galvagni Architecture: Growth from Land & People

61 Concept Exploration 5 Senses, Deleuze, Curve Grow/Adapt Metaphor

MANIFESTO

CONCEPT DESIGN

THE SEEDLING

THE SPROUTING

3 4 THE BUDDING

THE FLOWERING

67 Native Flora Victoria’s Extincting Flora Detailing plants

103 The Ground Influence Inspiration

79 Architectural language Translate to architecture Program

117 The Roots The 5 Senses Buildings Plan: Social Structure Section: Emotional Enclosure

85 Iterations Plans Elevations

153 The Stem The Tower Facade Structure Final Models

SKETCH DESIGN

FINAL DRAWINGS

MANIFESTO

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Why Landmarks 1979 Landmark Competition Entry No.1991

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INTRODUCTION

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The most beautiful skyline will always be the most familiar.

It is the one we have seen the sun set behind too many times.

From a balcony, from the table at a fancy restaurant, through the window of a descending airplane, the back of an impatient postcard, the background of that dramatic end scene, the screensaver of a laptop at lunch break or from behind a phone’s camera.

It is a city’s buildings forming a silhouette - a reassuring sentence we could read from a distance, “You are here.”

A landmark that speaks to everyone: locals, immigrants, tourists and refugees.

But how can a landmark welcome us in so many languages?

How can it become familiar in a fast-paced world?

Relatable without being specific?

Monumental without being imposing?

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Why Landmarks The Importance of the Image

Architecture as an endeavour behind a form or an image is not bad in itself. It’s about what ideas that image depicts and how well it communicates them. Unlike words, an image transcends barriers: it is the first thing a human senses and understands without the need for a mediating translation. When asked about a city, the first image that comes to a person’s mind is its landmark. It is the name of a city in image form.

Landmark (n.) land + mark “an object that marks the boundary of land” or “a structure of unusual historical and usually aesthetic interest” (Meriam-Webster).

But what does a landmark mean for us today? In a world more connected and cities more diverse than ever before?

Landmarks are no longer markers of direction and boundary; they have become the destination.

They are grounded by old stories which make them unforgettable.

But in the absence of a fascinating ancient story, what do they have to say?

They make stories – stories of being human, stories of belonging and stories on Instagram.

A building becomes the platform; the people its landmark.

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Why Landmarks What makes a landmark?

A landmark is a spectacle.

In The Society of the Spectacle (1967), Guy Debord describes it as “one part of the world represents itself before the world and is superior to it”. A spectacle stands at a loss of unity with the world; it unites spectators but maintains their isolation. Susan Stewart (1993) describes this as in parades, where one can only view a part of it from a distance. Beginning and end are unknown.

A landmark is a monument.

It commemorates a certain event, a person(s) or a change in a place, as if something timeless – living yet frozen in time.

A landmark is a marker.

It marks the boundary of an area or a reference for direction. This happens organically from the city’s growth and the movement of its dwellers.

A landmark is huge.

However, scale is relative. Up close, the gigantic can only be seen through movement and time (Stewart, 1993).

A landmark is familiar.

Familiarity, if not in person, can be achieved through repetition and reproduction of an image. As Warhol’s work depicted, repetition and reproduction initiate the aura of the real.

It is this indirect repetitive encounter with Van Gogh’s work, for example, that makes it all the more monumental; When we have not seen the originals but experienced their images or photographs – a more attractive, uncontaminated version.

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Melbourne 1960’s

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Melbourne 1970’s

1979 Melbourne Landmark Competition Melbourne’s Skyline 1979 Melbourne Landmark Competition Melbourne’s Skyline Melbourne’s skyline changed significantly, particularly in 1967 when The Princes Gate Towers emerged. Designed by Perrott and Partners, they Melbourne’s skyline significantly, were also known as thechanged Gas and Fuel Corporation particularly in 1967 when The Princes towers. Shortly after their erection,Gateand Towers emerged.so,Designed Perrott and understandably they werebyquickly regretted; Partners, they were also known as the The towers blocked Melbourne’s skylineGas from and Fuel Corporation towers. Shortly after the very entry point. their erection, and understandably so, they were quickly regretted; The towers blocked Melbourne’s skyline from the very entry point.

Melbourne’s skyline over the years.

Photos by Dean-Melbourne, flickr

Melbourne’s skyline over the years Photos by Dean-Melbourne, flickr

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1979 Melbourne Landmark Competition 2300 Entries, No Winner Following the failure of the Princes Gate Towers, and interestingly after Sydney’s Opera House becoming a famous landmark, Melbourne was decided to have a new landmark.

This landmark would sit in the place of the two towers which would be demolished.

The 1979 Melbourne Landmark Competition received an overwhelming 2300 entries from 24 different countries, none of which won. Instead, 48 were short-listed, the award divided between them.

The competition entries are all archived at the Public Record Office Victoria. Going through the archives many themes were recurring: futurism, classical monuments, bridges, towers, kangaroos and boomerangs. But one entry stood out: Entry no. 1991.

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1979 Melbourne Landmark Competition Entry No.1991 Having not received a reply about his competition entry, Milanist architect Mario Galvagni posted more sketches and photographs of his model alongside a persisting note to hear back. He was not contacted, unfortunately, and his work possibly unseen. Perhaps not until now.

Influenced by his study in painting and physics before architecture, Galvagni’s approach to architecture followed the path of visual arts and the physical laws of nature (Imperiale, 2014). As with his other projects, the proposal conveys an exploration of artisanal craft at the scale of a building – “a force under tension”, as he described it.

The architecture he proposed does not differentiate between skin and skeleton, but where structure and skin are one: a shell structure (a stuttura a guscio).

His interest in the plastic possibilities of concrete is influenced by the work of Oscar Niemeyer, Le Corbusier, Kenzo Tange, Félix Candela and Riccardo Morandi (Imperiale, 2014).

However, his approach was also related to the geologic formations of a site, linking the building and the site in an organic process.

(Photo by author at the Public Record Office Victoria) Malak Noureddine El Moussaoui

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1979 Melbourne Landmark Competition Entry No.1991

Galvagni’s approach resulted in his proposal being sculptural and growing from the landscape.

There is a kind of intricate softness to it that imitates nature’s beauty. The components seem light and moving, such that at every angle, light filters through in new patterns. “…a poetry of the image that continually provokes images”, as he puts it, “…an immense part of nature, without reason and necessity”.

His proposed landmark is indeed monumental and gigantic, standing 140 meters tall. Yet, it does not feel heavy or imposing. It is poetic and storytelling yet does so without historical reference. It is like a friendly giant.

In his own words about this project, Galvagni raised the following sentiments: Poetry

“A poetry of the image that continually provokes images.

Poetry of the Landmark.”

Nature

“An immense part of nature, without reason and necessity.”

Sign

“Its image as a spiritual sign all over the city.”

Complexity

“A complex form, as only a complex historical moment of evolution can be.”

Movement

“Expression of dynamic, ancestral forms.”

Hope

“Expression of hope.”

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CONCEPT DESIGN

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The Site Preliminary Ideas Concept Development

THE SPROUTING 46

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Site plan Lost potentials

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Site plan New potential

The Site Main Characters Studying the natural topography, climate and urban fabric of the site, 4 interesting characters arise: The buildings. The site is situated opposite the busy Flinders Street Station and next to St Paul’s Cathedral and Federation Square.

The people. Melbourne has a great cultural diversity, with more than a quarter of its residents born overseas and over 200 languages spoken. A landmark would not only be for tourists but also locals, immigrants and refugees.

The river. The site sits North to a bend in the Yarra river. The large water body creates movement and flow, an interesting play with the changing seasons and activities like rowing.

The railway. Building a railway right next to the river has separated the city from the river.

And due to the natural bend in the river, a large empty green space is left isolated.

From here, important themes to explore will include: Territoriality and appropriation Control and circulation Blurring boundaries with the river Topographical opportunities Activities and triangulation

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Territoriality & Appropriation

Control & Circulation

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Blurring boundaries

Activities & triangulation Malak Noureddine El Moussaoui

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Jolimont rail yards

by Ken Irwin

“where do we go when home tells us to leave?”

(Button Poetry, 2016).

Image at St Paul’s Cathedral

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The The Site Site Objectives Way forward Studying the site closely (something Galvagni might have not had the opportunity to do), a lot of possibilities arise in response to the site, which go hand-in-hand with Galvagni’s architectural ethos.

The people, the site’s proximity to the river and the nature of the surrounding structures are important to understand if a structure is to organically grow out of them.

His ideas of focusing on the people and the poetics of a space growing from the site can be emphasized and pushed further.

Possible themes to explore: Patterns in Nature Photography: “Needing to have reality confirmed and experience enhanced by photographs is an aesthetic consumerism to which everyone is now addicted.”

(Susan Sontag, 1977)

GROWING FROM THE SITE

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Preliminary Ideas De-constructing

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Section #1

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Zhangjiagang Town River Development Botao Landscape

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Preliminary Ideas Precedents

Riverfront

Aiyi River Waterfront Park BLVD International

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Reading Between the Lines Gijs Van Vaerenbergh

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Zeitz Museu

um of Contemporary Art Africa Heatherwick Studio

Materiality

House of Dior Seoul Christian de Portzamparc

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growing

adapting

reclaiming

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Concept Explorations Sensibility and the curve

Analysis of Beauty, William Hogarth.

The Fold of the Soul, Gilles Deleuze.

Baroque House of Allegory, Gilles Deleuze.

Bodies & souls: effects of convergence, Gilles Deleuze.

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Concept Explorations Grow/Adapt Metaphor

‫صخره‬ ‫كما ينبت العشب بني مفاصل‬ ْ ‫ُوجدنا غريبني يوما‬ “Just like grass growing in the joints of a rock We were once strangers” - Mahmoud Darwich

‫صخره‬ ‫كما ينبت العشب بني مفاصل‬ ْ ‫ُوجدنا غريبني يوما‬

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“Just like grass growing in the joints of a rock We were once strangers” - Mahmoud Darwich

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SKETCH DESIGN

67 Native Flora 79 Architectural Language 85 Iterations

THE BUDDING 66

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Myriocephalus nudus

37 Extinct 191 Critically endangered 557 Endangered

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Pimelea axiflora Androcalva perlaria Stylidium coroniforme

Native Flora Victoria’s Extincting Flora Native Flora in Victoria

Pterostylis basaltica Grevillea acropogon Caladenia graniticola

EPBC Act List of Threatened Flora, Department of the Environment and Energy http://www.environment.gov.au/cgi-bin/sprat/public/ publicthreatenedlist.pl?wanted=flora#flora_extinct

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Native Flora Detailing plants

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Spider Orchid

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Basalt Greenwood

Native plants of Victoria

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Architectural Language Moments

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Architectural Language Program The physical: Herbarium The virtual: ACMI 1. Herbarium: - Collections - Administration - Laboratories (DNA Bank - hi-tech DNA storage) - Teaching spaces - Quiet study areas - WC 2. ACMI: - Tickets and Information - Cinema 1+2 - Screen Worlds (interior projections) - White Night (exterior projections) - Event space (public lecture) - Music hall - ACMI shop - Cafe/bar - Studio 1+2 - Green room (lounge for performers) - Boardroom (meeting room) - SBS Offices - Gallery 1+2 - WC 3. Exterior: - Restaurants/Cafes - Landscaping Physical - Virtual Present - Extinct Solid - Organic Slow - Fast Landscape - White canvas Exhibition - Trains/Water?

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Monument NGV extension The Square 84

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Laboratories

Exhibition spaces

Nati

ive plants

Landscape

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Physical Present Solid Slow Landscape Exhibition

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Virtual Extinct Organic Fast White canvas Experience

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Program The virtual: ACMI

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1. Tickets and Information 2. Cinema 1+2 3. Screen Worlds (interior projections) 4 White Night (exterior projections) 5. Event space (public lecture) 6. Music hall 7. ACMI shop

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FINAL DRAWINGS

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The Ground The Roots The Stem

THE FLOWERING 100 M.ARCH Thesis: Sensibility

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MELBO

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OURNE

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THE GROUND

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The Ground Concept and Influence

First inspired by the intricate work of Italian architect Mario Galvagni and the 70’s architectural movement towards representing nature’s patterns in the built form, this landmark stands as a metaphor of Melbourne’s disappearing flora reclaiming its presence.

How does a landmark achieve presence without being imposing?

Does a flower do so? The answer is in our senses.

They must be retaught and heightened. They must be disassembled and reassembled again. This is what this landmark represents. The ability to sense.

The largest element, the facade, ironically represents the smallest of details in a flower: its veins. Presence is not only achieved by borrowing the physical aspect of Victorian flora, but also their behaviours: adapting and growing.

Inspired by Deleuze’s Baroque House of Allegory, the 5 senses are represented in 5 separate buildings. The facade grows from each of them, like the growth of a plant through the cracks, to unite finally into a tower. Only there are the senses united and heightened, while observing Melbourne from above.

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Studio Nir Meiri, Veggie Lights, 2019.

London Design Festival.

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Emily Dickinson’s herbarium

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Emily Dickinson’s herbarium

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Veins of a dying orchid, closeup (Patrick Spence, 2005) Malak Noureddine El Moussaoui

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Melbourne Grid

NGV

Orchid

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THE ROOTS

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Plan The Social Structure

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SIGHT

HEARING

SMELL TASTE TOUCH

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HERBARIUM FOCUS: SIGHT Connected to the NGV, this facility stores and exhibits DNA of endangered and extinct flora of Victoria. It includes more private laboratories and offices on two levels as well.

- Herbarium - Collections - Administration - Laboratories (DNA Bank - hi-tech DNA storage) - Teaching spaces - Quiet study areas

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HERBARIUM Second Level FOCUS: SIGHT - Herbarium - Collections - Administration - Laboratories (DNA Bank - hi-tech DNA storage) - Teaching spaces - Quiet study areas

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Herbarium specimen, RBG Kew. Photo: Steve Lancefield

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ACMI FOCUS: SOUND

The Australian Centre for the Moving Image (ACMI) is relocated into this facility, with a gradual move from sight to hearing, through the Screen Worlds entrance.

Flora is exhibited in a virtual manner here, in contrast to the raw physical form in the Sight and other buildings.

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- Tickets and Information - Cinema 1+2 - Screen Worlds (interior projections) - White Night (exterior projections) - Event space (public lecture) - Music hall - ACMI shop - Cafe/bar - Studio 1+2 - Green room (lounge for performers) - Boardroom (meeting room) - SBS Offices - Gallery 1+2

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Extra-Natural 2018, Miguel Chevalier Exhibition, Paris.

Photos: Nicolas Gaudelet 136 M.ARCH Thesis: Sensibility

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GREENHOUSE FOCUS: SMELL Moving to a more immersive experience is the Greenhouse.

It exhibits different kinds of Victorian flora seasonally.

After having seen endangered and extinct specimens of flora, one would gain more care and interest to present flora in front of them.

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RESTAURANTS FOCUS: TASTE

Flora can be experienced here through the sense of Taste.

A Landmark at the riverfront will attract people with its restaurants and cafes with the iconic landmark as a background on one side and the river on the other.

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View towards restaurants’ open area

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RIVERFRONT FOCUS: TOUCH

The fifth element of touch is through an open water feature, bringing the Yarra’s water closer to the centre of the landmark.

It is strategically placed between the restaurants and the greenhouse, which are both served by this water supply, emotionally on one hand and for sustenance on the other.

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View from the opposite side of the river

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THE STEM

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Plant study Detailing of the veins of a pressed orchid flower.

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Plant study Images by author.

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Plant study Detailing the findings onto different scales.

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Credit: Mediated Matter Group 166 M.ARCH Thesis: Sensibility

Facade structure The facade is 3D-printed from water-based biocomposites: chitosan, cellulose, pectin, and water.

It is inspired by the work of Aguahoja by MIT Media Lab; the structure is then a huge celebration of sustainable technologies and the possibilities in construction.

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Facade structure The organic pattern of the facade allows for optimization such that the veins are condensed where sunlight is not desirable and sparse in areas with plantation for sun access. Its natural composites invite moss and other flora to grow onto the structure itself, giving nature a chance to literally reclaim the land while also serving the building’s function.

Photo: 1:20 model of the facade structure.

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Photo: 1:20 model of the facade structure.

By author

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THE ORCHID Observation Tower Re-uniting of the 5 Senses

Modeled from the smallest detailing of a petal’s veins, the tower emerges from each of the 5 separate buildings to form one accessible chamber at the top. There one can observe Melbourne through a more enlightened perception, one that combines all 5 senses into one reality - seeing Melbourne fully, with more sensibility.

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View from inside the tower

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Elevation / Section through Flinders St

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Section through centre

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MELBOURNE

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BIBLIOGRAPHY

Aguahoja - Mit Media Lab. Retrieved from https://www.media. mit.edu/projects/aguahoja/overview/ Al-Bayati, B. (1981). Process and Pattern: Theory and Practice for Architectural Design in the Arab World. AARP. Debord, G. (2012). Society of the Spectacle. Soul Bay Press Limited.

Environment Victoria | Act on Extinction. Retrieved from https://environmentvictoria.org.au/campaign/act-on-extinction/ Flora and Fauna Guarantee Act 1988. Victorian Current Acts.

Retrieved from http://www8.austlii.edu.au/cgi-bin/viewdb/au/ legis/vic/consol_act/fafga1988205/ Imperiale, A. A. (2014). Alternate Organics: The Aesthetics of Experimentation in Art, Technology & Architecture in Postwar Italy. (Doctoral dissertation). Princeton University, New Jersey.

Iwuanyanwu, K., Morales, S. & Tahay, V. (2016) “Standing In Between�. Button Poetry Classic Slam.

Marling, K. A. (2000). The Colossus of Roads: Myth and Symbol Along the American Highway. University of Minnesota Press.

Public Record Office Victoria. (2019). Landmark Competition Entries.

Public Record Office Victoria. (2011). Missing the Mark. Retrieved from https://prov.vic.gov.au/about-us/our-blog/missing-mark

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Rare Victorian Orchids - Bush Heritage Victoria. Retrieved from https://www.bushheritage.org.au/species/orchids Sontag, S. (2008). On Photography. Penguin Books.

Stevens, P. (1974). Patterns in Nature. Boston: Little, Brown.

Stewart, S. (1993). On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Duke University Press.

Threatened Species Advisory Lists. Environment Victoria. Retrieved from https://www.environment.vic.gov.au/conserving-threatenedspecies/threatened-species-advisory-lists Verstegen, T. (2001). Tropisms: Metaphoric Animation and Architecture. NAi Publishers.

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“I believe a leaf of grass is no less than the journey work of the stars.�

- Walt Whitman