UNIVERSITY OF MELBOURNE_ARCHITECTURE THESIS PROJECT_06 FORMS OF ENCHANTMENT_BY SHAN JIN_2021

Queer (ING) the Space Thesis 06 / A5 Digital Book

Shan Jin 743269

CONTENT PART I: Preliminary Thesis Proposal * P.06-07 * P.08 * P.09 * P.10

2 / Content Page

* 1.1|THESIS STATEMENT * 1.2|SCHOLARLY LITERATURE REVIEW * Literature: Orlando * 1.3| PRECEDENT STUDIES * Artwork in Taipei (MOCA) * Art Museum and Gallery * 1.4| CREATIVE RESEARCH * A timeline of the History of LGBTIQ+ Victoria *Introduction *Historical Timeline Diagram * Sexuality and Space Urban Mapping *Introduction *Mapping: Site of Significant Distribution * Queering the Map *Introduction *Mapping: The Space of Queerness * Arts Installation: *Introduction *The Timeline of Mardi Gras Show *Introduction *Historical Timeline Diagram * Garment Manifestation Diagram * Overall Render with A Quote *Iteration 1 *Iteration 2 *Iteration 3 *Iteration 4 *Iteration 5

* P.11 * P.12-21 * P.22 * P.23 * P.24 * P.25 * P.26 * P.27 * P.28-35 * P.36 * P.37 * P.38-39 * P.40-41 * P.42-43 * P.44-46 * P.46-47 Shan Jin / Design Thesis 2021

CONTENT *Iteration 6 *Overall Render

* P.48-49 * P.50-53

PART II: Concept Design * P.54 * P.55 * P.56 * P.57 * P.58

3 / Content Page

* 2.1| Experimental Pavilion *Design Brief *Design Brief Diagram * Mapping : Botanical Garden * Mapping : Site Selection * Mapping : Patterning the Botanical Garden * Mapping : Site Selection * Mapping : Selected Site : Human Swarm * Diagram : Pavilion Form Generation * Diagram : Circulation Diagram * Drawing : Pavilion Plan * Drawing : Pavilion Section * Render : Iteration 1 * 2.2| The Arts Centre Brief *Design Brief Diagram * 2.3| The Arts Centre Massing Development * Historic Queer Significant Distribution * Historic Queer Significant Distribution Link to ACCA * Queer Venue 2021 Distribution * Queer Venue 2021 Distribution Link to ACCA * Mapping : ACCA Site Urban Planning Logic * Mapping : ACCA Site Accessibility * Mapping : ACCA Site Arts Precinct * Mapping : ACCA Land Use * Mapping : ACCA Queer Venue Nearby * Contextual study of the Boundary

* P59 * P.60-62 * P.63 * P.64 * P.65 * P.66-68 * P.69 * P.70 * P.71 * P.72 * P.73 * P.74 * P.74 * P.76 * P.77 * P.78 * P.79 * P.80 Shan Jin / Design Thesis 2021

CONTENT PART III: Sketch Design

* P.81 * P.82 * P.83 * P.84 * P.85 * P.86 * P.87 * P.88 * P.89 * P.90 * P.91 * P.92 * P.93 * P.94 * P.95 * P.96 * P.97

4 / Content Page

* 3.1| What makes a queer space? *As a serious of architecture condition * Gymnasium in the classical Greece: space / order. * Public Bath in imperial Rome: space of experimentation. * Hadrian's Palace: Fragmented Geometries * The Amalienburg: Deformation and Theatricality * Louis Sullivan: Hall of the Auditorium: Color Explosion * The white room: Free and Open Space * The space of cruising: Labyrinthine Identity * Public Bath in imperial Rome: space of experimentation. * Bar / Disco: Disorientation * Borrowed Landscapes: Self-conscious Experience * Queer Space Proposal: Conclusion * A model for queer space: Queer Space as Theater * Quota * Theatric Analogies: The Manhattan Transcripts * Cinematic Beams Elevations * The Orlando Transcripts * 3.2| Sketch Design * Theatric Analogies Proposal Diagram * Massing Iteration I * Massing Iteration II * Massing Iteration II * Overall Massing: Axonometric Diagram * Massing Iteration IV * Parti Diagram I: Theatric Analogies * Program Arrangement * Parti Diagram: Scene Reorientation * Overall Massing: Axonometric Diagram

* P.98 * P.99 * P.100 * P.101 * P.102 * P.103 * P.104 * P.105 * P.106

Shan Jin / Design Thesis 2021

CONTENT

PART VI: Design Development PART V: Final Design Outcome

* P.107 * P.108 * P.109 * P.110 * P.111 * P.112 * P.113 * P.114 * P.115 * P.116-123 * P.117-131 * P.132-165

* 6.1| BIBLIOGRAPHY

* P.166-173

5 / Content Page

* Site Plan * Ground Floor Plan * First Floor Plan * Second Floor Plan * Scene I Circulation Diagram * Scene II Circulation Diagram * Scene III Circulation Diagram * Section a-a' * Elevation at Entrance

Shan Jin / Design Thesis 2021

Thesis Statement The Space of Queerness

2005). As a result, the arts centre will create a space of inclusiveness by ‘ (re)thinkings, (re)drawings, (re) conceptualisations, (re)mappings that could (re)make bodies, spaces and geographies’ (Browne,2006, p.888).

6 / Thesis Statement

This thesis will investigate the designer’s role in the creation of inclusive urban environments that provide space for the LGBTIQ+ community. Although Melbourne has a strong LGBTIQ+ community with a profound heritage, it still lacks inclusive queer spaces for the community. As Giffney (2004) identifies the queer space critically contents with normativity and heteronormativity from the mainstream.

The notion of the queer space is more about the action and interaction between the community and society within a space (West & Zimmerman, 1991).

Historically, sites of significance and inclusion are relegated to the fringe – this spatial positioning makes the LGBTIQ+ community less visible and recognizable. The absence of the queer space results in the marginalization of the LGBTIQ+ community.

This thesis will promote the idea of intersectional approaches within the built environment by looking at queer space theory in the context of Melbourne. The queer space theory often highlights its performative character with requirements of flexibility and fluidity (West & Zimmerman, 1991, Butler, 1988 and Halberstam,

Shan Jin / Design Thesis 2021

ABSENCE OF QUEER SPACE

THE

HIDDEN EXCLUSIVE

PAST

SPATIAL MANIFESTATION OF INTERFACE THROUGH DIFFERENT TYPES OF LENSES.

BREAKING BOUNDARY

DECONSTRUCT THE EXISTING QUEER VENUE AND RELOCATE TO CREATE NARRATIVE

THE ARTS CENTRE NON-BINARY

VISIBLE INCLUSIVE

FUTURE

Shan Jin / Design Thesis 2021

7 / Thesis Statement / Diagram

MARGINALIZATION OF THE LGBTIQ+ COMMUNITY

THE PERFORMATIVE CHARACTER OF THE COMMUNITY.

Literature Orlando: A Biography

8 / Scholarly Literature Review

Literature as word and images are essential media for human expression (Kirby et al., 2020). Narrative functioned as a way of ‘decomposition’ and ‘decomposure’ the phenomenological object of history (Chisholm, 2005, pp. 54). It enables to resemble the experience of the LGBTIQ+ community by transforming the intangible into the tangible (Kirby et al., 2020).

Orlando: A Biography is vital to English literary history.

It captured and recorded the adventures of a poet who lives for centuries that changed sex from man to woman.

It recorded the collective sensibility of the society relate to gender and sexuality which has been well preserved for future generations (Kirby et al., 2020). This book created a new narrative relate gender to space and time.

The book provides a reference on how to create an alternative to the hetero-normative space. The movie also illustrates the performance of different space that relates to the different gender. This thesis will take a look into the way how the book creates the narrative. And also how to create an alternative between the queer space and the hetero-normative space.

Figure 1. Orlando: A Biography

Shan Jin / Design Thesis 2021

Precedents Studies Artwork: Spectrosynthesis in TaiPei, 2017

9 / Precedent Studies / Artwork

Visual arts became important to the LGBTIQ+ community. Simmons (2018, pp. 285) highlighted that the visual arts as a form of ‘decoration, self-expression, worship, or political veneration’. The LGBTIQ+ community has a profound contribution to the visual arts discipline. It reflects the social or political in its particular time (Simmons, 2018). The selected artwork came from the exhibition named Spectrosynthesis in Taipei (MOCA). Different from the selected literature, those artwork reveal the issue of the LGBTIQ+ community from its political aspect. It was the first exhibition about LGBTIQ+ presented by a government institution in the context of contemporary arts. The name spectrosynthesis inspired by the spectrum of light as a theme to embrace differences. It is important to highlight that the difference between individuals or the public and private is always complex as a nuanced spectrum (Robard et al., 2020).

Figure 2. Chinese artist Xiyadie’s paper cut Door

Figure 3. Spectrosynthesis - Asian LGBTQ Issues and Art Now

Shan Jin / Design Thesis 2021

Precedents Studies Art Museum and Gallery

10 /Precedent Studies / Arts Museum and Gallery

As Saslow (n.d, pp. 262) emphasized on that the arts is regard as ‘ a major battleground in the struggle of self-determination’. Museum is one of the most visible institution that connect people to the arts, particular the art of the past. The museum and gallery served as a place that can enlarge the sensibility and challenge the people’s preconception (Flood, 1983). The ‘Queer Space’ exhibition at the Storefront Center in 1994 follow the discussion of the ‘queer space’. It provides new social values that allows people share their consciousness that formed by images and visualization (Saslow, n.d). The LGBTIQ+ community as a marginalized group always realized being different from the social identity, and always put them under the term of ‘otherness’ (Sincavage, 2019, pp.7). Therefore, the museum or gallery as a space to enhance the understanding of their experience in otherness (Sincavage, 2019).

Figure 6. The ‘Queer Space’ drawing Exhibition

Shan Jin / Design Thesis 2021

Historical Timeline A timeline of the History of LGBTIQ+ Victoria

11 / Historian Timeline

The history of the LGBTIQ+ community started in the early 1850s. In the context of Melbourne, the earliest activism and protests emerged from a dark back room of a bookshop and private houses (Willett, 2021) - spaces selected in the name of safety. It reflects a certain characteristic of the community as ‘secrecy’ and ‘stigmatisation’ (Valenttine and David, 1995, p.4).

By the time of gay and lesbian liberation. Homosexual activity became legal for the LGBTIQ+ community in 1980. The emergency of gay bars and venues was a major shift from secrecy into more public. Afterwards, discrimination become illegal in 1995. Meanwhile, The LGBTIQ+ precinct appeared such as the commercial street precinct with a coffee lounge. It shows that the LGBTIQ+ community want more visibility. Recently, same-sex marriage has been approved in 2017.

Shan Jin / Design Thesis 2021

A Timeline of the History of LGBTIQ+ Victoria Activism and Protest Commemoration Community Health and Well being Intimate Relationships and Personal Collection Spiritual and Cultural Life Social Life recreation and Gathering Places Precincts and Archive Collection Surveillance persecution and the law Visibility

5. St Francis’ Church

( Willett, Bailey, Jones Timothy, & Rood, 2021) 326 Lonsdale Street, Melbourne

It held two queer marriges in the colonial period.

1856

1-16 Mcdermott Road, Curlewis (Coriyule), State Library Victoria

It is a Brooch as a memoral of passed love. (A trandition of the upper-class Victorian era )

5. Swanston and Collins Streets Precinct 7. Letters of George Bateson

1853 1. Parliamentt House

Public Record Office Victoria 110-160 Spring Street, Melbourne

It issued a number of discriminatory laws to queer people since 1851 but apologized in 2016.

1851 1850s LGBT Rights in Victoria

Melbourne

It was significant site contains a number of cafe for LGBTIQ+ people.

1860s 1860s

It shows the impact of the law in 19th century that relate to sodomy as a envidence of homosexual life.

1860

Willett, Graham. Bailey, Angela. Jones Timothy, W. and Rood, Sarah. (2021). A History of LGBTIQ+ Victoria in 100 Places and Objects.Department of Environment, Land, Water and Planning. https://engage.vic.gov.au/history-lgbtiq-victoria

Shan Jin / Design Thesis 2021

12 / Historian Timeline

2/3/4. Coriyule and Mourning Brooch

10. Alice Anderson’s Grave

14. Puckapunyal Army Camp

Puckapunal, Victoria

Boroondara Cemetery, 430 High Street, Kew

It represents the place for queer communities.

1858 9. Love Letters between Harry Bruin and Ben Morris

Richard Travers Collection Monash University Library

Idea of that social equality of sexual orientation.

11. St Peter’s Eastern Hill

It is rare evidence that a romantic relationship between two men.

1932 12. Alexandra Gardens

1919 8. John Morrison’s Grave

15 Gisborne Street, East Melbourne Yakandandah Cemetery

It is the evidence of the man who impaced by the sodomy laws in 19th century.

1914 1910s

It provided its longstanding welcome and support to the LGBTIQ+ community.

1926 1920s

St Kilda Road, Melbourne

It held annual Midsumma Carnival each summer for LGBTIQ+ community.

1930s 1930s

Willett, Graham. Bailey, Angela. Jones Timothy, W. and Rood, Sarah. (2021). A History of LGBTIQ+ Victoria in 100 Places and Objects.Department of Environment, Land, Water and Planning. https://engage.vic.gov.au/history-lgbtiq-victoria

Shan Jin / Design Thesis 2021

13 / Historian Timeline

Criminal Trial Briefs and Registers(1841-1943), Public Record Office, Victoria

13. Robert Storer, A Survey of Sexual Life in Adolescence and Marriage

The Punckapunyal Army Camp is one of the most largest military traning facility in Victorian.

1939

18. Bucchi’s Continental Baths

1958 20. Le Guide Gris

1959 21/22/23. Gladys Moncrieff ’s Gown and Gloves Australian Queer Archives Centreway Arcade, 259-263 Collins Street, Melbourne

It increases the awarness of HIV/AIDS in 1980s.

1957 17. Val’s Coffee Lounge

It is the evidence of that the experience of queer people in Victoria with highlight their individual voice and attitudes.

Australian Performing Arts Collection

123 Swanston Street, Melbourne

15. St Kilda Precinct

26. International Bookshop

It was not a ordinary coffee but as a refuge to provide a safe space for those ousiders.

1951 16. Sir Charles Hotham Hotel

25. Miss Peninsula Sash 19. Myer Department Store 24. University of Melbourne Precinct Australian Queer Archives

St Kilda

The precinct provided many activities to people who were outcasts by the mainstream.

The Mid-twentieth Century 1940s

574-580, Melbourne

It provides a venue for drage show and sing alongs.

1950s 1950s

314-336 Bouke Street, Melbourne

Heaven for the Kamp men of employment.

1950s-1960s

Parkville, Melbourne

It was the key site for the gay liberation movement.

It connected to the Boilers which is Australian’s longest runing gay social group.

1960s

17 Elizabeth Street, Melbourne

It embraced the social movement as gay liberation.

1960

1960s-1970s

1960s Willett, Graham. Bailey, Angela. Jones Timothy, W. and Rood, Sarah. (2021). A History of LGBTIQ+ Victoria in 100 Places and Objects.Department of Environment, Land, Water and Planning. https://engage.vic.gov.au/history-lgbtiq-victoria

Shan Jin / Design Thesis 2021

14 / Historian Timeline

It represents the life of a woman in mid-12th century.

33. Prince of Wales Hotel

29 Fitzroy Street, St Kilda

28. The Boys in the Band, 1969 27. Mae West Club signs

The Pokey’s drag show in 1977 to openly celebrate gay life.

1977

31. Annabel’s

It was one of the very first Kamp-owned venues in Melbourne.

1969

Australian Preforming Arts Collection It changes the social attitude of the queer life.

1969

7 Alfred Place, Melbourne

It provides both commercial and social possibilities for gay people.

126 Peel Street, North Melbourne

It is for LGBTIQ+ community which was inclusive and welcoming at that time.

1975 29. Beats Map

30. Les Girls Cabaret souvenir

Australian Queer Archives

Private Collection

An intoduction of the queer men’s private social world.

Early 1970s 1970s

46. Gay Liberation Centre

231-237 Ocean Beach Road, Sorrento

23 Davis Street, Carlton North and 259 Brunswick Street, Fitzroy

A national conference held

by Radicalesbians.

Intend to be a Community centre.

The emergence of gender diverse culture.

1970

1972 43. Skorus Books

44. The Chapter House, St Paul’s Cathedral

Rear, 151 Acland Street, ST Kilda

197-203 Flinders Lane, Melbourne

Daughters of Bilitis (DOB).

Early 1970s

The Victorian Branch of CAMP later Society Five.

Willett, Graham. Bailey, Angela. Jones Timothy, W. and Rood, Sarah. (2021). A History of LGBTIQ+ Victoria in 100 Places and Objects.Department of Environment, Land, Water and Planning. https://engage.vic.gov.au/history-lgbtiq-victoria

Shan Jin / Design Thesis 2021

15 / Historian Timeline

Australian Queer Archive

45. Whitehall Guest House

32. Trish’s Coffee Lounge

Mid-1970s 49. 3CR Community Radio

Mid-1970s 53. John Willis Gay and Lesbian Fiction Collection

1978 55. Australian Queer Archives

Late-1970s 58. Daylesford Precinct

Baillieu Library, University of Melbourne

Victorian Pride Centre, 79-81 Fitzroy Street, St Kilda

It provides annual events to gain the reputation as a gay and lesbian-friendly town.

51. St Mary of the Angels Catholic Church

Daylesford, Victoria

21 Smith Street, Fitzroy

Weekly broadcasting program .

1973 47. Lesbians are Lovely’ Photograph

136-148 Yarra Street, Geelong

A protest held.

1976

52. 21 Carpenter Street, Bendigo

1978 56. Trades Hall 54. Young, Gay and Proud Plaques

1979 57. Victorian Transsexual 59. Woman’s Cultural Coalition Papers Palace

48. Royal Botanic Gardens 1974 50. Order of Service, Christ’s Community Church

Australian Queer Archives

It aims to increase the visibility of the lsebian group.

Celebrate the Australia’s very queer history.

Australian Queer Archives

Central Victoria Gay Group (CVGG) founded.

Birdwood Avenue, Melbourne

It held a picnic by the LGBTIQ+ community.

Corner Moor and Fitzroy Streets, Fitzroy

Published by the First National Homosexual Conference.

Victorian Trades Hall, 54 Victoria Street, Carlton

Significant meanig to the queer community.

Julian Phillips Collection, The university of Melbourne Archives

Women’s liberation centres occupied.

Victorian Transsexual Coalition (VTC) founded for trans right.

Australian Queer Archives

It is for a religious services and spread among the Christ’s Communiy Church (CCC).

Willett, Graham. Bailey, Angela. Jones Timothy, W. and Rood, Sarah. (2021). A History of LGBTIQ+ Victoria in 100 Places and Objects.Department of Environment, Land, Water and Planning. https://engage.vic.gov.au/history-lgbtiq-victoria

Shan Jin / Design Thesis 2021

16 / Historian Timeline

The collection contained a number of writings on gay themes.

1982 67/68. The Shrine of Remembrance

Birdwood Avenue, Melbourne

62. Mandate Early 1980s

60. Sybylla Press and Correct Line Graphics

63. ‘We’re Not All Straight in the Garden State’ Badge

65. Northside Precinct

66. The Red Ribbon

69. St Mark’s Anglican Church

250 George Street, Fitzroy.

61. The Hub

31 Carisle Street, St Kilda

193 Smith Street, Fitzroy

It has Sybylla Press and Correct Line Graphocs for queer communities.

142 Adderley Street, West Melbourne

It known as The Hub services for the queer communities.

Early 1980s 1980s

It was a gay bar which was much more openly those venue opened before.

1980

Museums Victoria

Collingwood, Melbourne

Australian Queer Archives

The badge designed for gay right movement.

Major commercial zone emerged for gay community.

It is a object that increase It provides a social public awarness of welfare support and HIV/AIDS. facilities for community.

1980

1980

1980: Homosexual Activity in Victoria Status: Legal

Shan Jin 743269

17 / Historian Timeline

Rainbow wreaths as a new annual trandition for LGBTIQ+ community.

1988 75. Australian AIDS Memorial Quilt Project

Melbourne Polytechnic, Fairfield Campus, 101 Yarra Bend Road, Fairfield

Thorne Harbour Health It is a both personal and public document by the people who lost loved ones to HIV/AIDS.

A hospital’s significant site that for people who affected by AIDS.

1988 76. Johnstone Park

1983 70/71. Victorian Women’s Liberation and Lesbian Feminist Archives

Late 1980s 73. Gertrude Street Precinct

1988 74. The Metropolitan

Gheringhap Street, Geelong

It has a murderer incident as a reminder of homophobic violence.

Fitzroy, Melbourne University of Melbourne Archives

The archives hold a serious of a significant collections that generated by women’s liberation movement in Victoria.

It gathered a number of organisations to create a vibrant large community.

National Gallery of Victoria

It designed by Leigh Bowery as a queer designer and performance who born in Melbourne.

Shan Jin / Design Thesis 2021

18 / Historian Timeline

1987 72. The AIDS Memorial Garden

1991 80. The Floral Clock

Queen Victoria Gardens, St Kilda Road, Melbourne

1990s 78. Tasty

Political actions: The Floral Clock protest.

1993 82. Shed 14, Victoria Dock

19 / Historian Timeline

Docklands

325 - 331 Flinders Lane, Melbourne

It held the first dance party in 1993 with elaborate light and laser showers for LGBTIQ+ community.

It was a Saturday dance club that welcome all comers but particularly popular among the LGBTIQ+ community.

1993 81. Positive Living Centre

77. Commercial Road Precinct 1991 79. Hares & Hyenas Bookshop and Performance Space

It illustrates the emergence of the diverse lift experience of the L G B T I Q + community.

Prahran, Melbourne

The hubs in there emerged in gay scene that reflect that changing life of the LGBTIQ+ community.

1990s

The PLC provides safe living environments for people living with HIV. 46 Acland Street, St Kilda and 51 Commercial Road, South Yarra

63 Johnston Street, Fitzroy

1990s

ShanShan Jin / Design Thesis 2021 Jin 743269

Mid-1990s

1998

85. Bifocal Newsletter

88. Lesbians and Gays for Reconciliation Banner

Publication by a bisexual community organisation.

Australian Queer Archives

Australian Queer Archives

Founded by group of Lesbians and Gays for Reconciliation.

1995 84. Builders Arms Hotel

Mid-1990s 83. Carlton Courthouse Theatre

1996 86. Forbidden Love – Bold Passion: Lesbian Stories 1900s-1990s Exhibition Catalogue

349 Drummond Street, Carlton

La Mama Theare is important to the LGBTIQ+ community.

It recorded stories in the history of lesbian.

Australian Queer Archives

89. Bumpy Favell’s Drag King Collection 1997 87. The Rainbow Sash

It is the core symbol of the LGBTIQ+ community.

Australian Queer Archives

Australian Queer Archives

It has unique record of drag king event that known as King Victoria.

2000 2000s

1995: LGBTIQ+ Discrimination in Victoria Status: Illegal

Shan Jin / Design Thesis 2021

10/Creative 20 / Historian Research Timeline

211 Gertrude Street, Fitzroy

It was home of a weekly queer event, which is known as Q+A or Queer and Alternative.

91. Program of the Inaugural Australian LGBTIQ Multicultural Conference

94. Tony Briffa’s Mayoral Robes

95. The Great Petition and Women’s Suffrage Petition

2017

98. City of Darebin Rainbow Flag

Australian Queer Archives

99. Ngarigo Queen – Cloak of Queer Visibility

A conference for queer people.

2004

Burston Reserve and Public Record Office, Victoria

90. ‘Sex in Australia: The Australian Study of Health and Relationships’

City of Hobsons Bay

2008

Australian and New Zealand Journal of Public Health, Vol. 27, No.2, 2003

Australian’s largest survey of sexual behaviour.

2003

It is momentous sculpture for the win of women’s rights in 1908.

97. Courage, 2014

Darebin Heritage Library Collection

2008

The rainbow flag is used to celebrate the same-sex marriage legislated in Australia.

Victorian Pride Centre

It is the symbol of the queer indigenous culture.

Whitlam Place, 209-217 Napier Street, Fitzroy

A public sculpture to celebrite the history of LGBTIQ+.

9 Nicholson Street, Carlton

It used for AIDS Memorial Quilt in 2001.

2014

2001 93. OutBlack Poster

96. The Circus Women’s Memorial Bench

Australian Queer Archives

The poster aims to increase the visibility of the queer.

Early 2000

45 Moreland Street, Footscray

A memorial for the womyn from the Women’s and POW circus.

2010

2010s 2017: Same-Sex Marriage in Victoria Status: Legal

ShanShan Jin / Design Thesis 2021 Jin 743269

21 / Historian Timeline 11/Creative Research

92. Royal Exhibition Building and Carlton Gardens

She was one of the most recognisable intersex people all over the world.

Sexuality and Space Urban Mapping Large scale: Mapping Historical Significance of the LGBTIQ+ Community

22 / Sexuality and Space Urban Mapping / Large Scale

Urban image and experiences have a profound impact on human social life (Knopp, 1995). Through this mapping, I aim to enhance an understanding of the LGBTIQ+ community by examining the relationship between sexuality, LGBTIQ+ histories and the urban environment. The mapping illustrates that the queer places are ‘scattered’ across the city compare to the residential and commercial places (Gieseking, 2020, p.

38). The site of significance as the monument intend to create a society inclusive of the community. However, its spatial positioning results in an exclusionary feeling by its invisible performance (Zebracki,2017). Moreover, the mapping on the large scale shows the distance between each of the significant demonstrate the absence of connection across the context of Melbourne (Robard et al., 2020). The invisibility and disconnection reinforce the sense of exclusive to the community.

Shan Jin / Design Thesis 2021

Stabilization

1980s

Sensitization

92. Royal Exhibition Building and Carlton Gardens

2010s

97. Courage

2010 2001

1990s

Signification

2014

2010s 2000s

Coming Out

2008

96. The Circus Women’s Memorial Bench

Early 1980s

61. The hub

T95. he Great Petition and Women’s Suffrage Petition

1991

Move to Pranhran in the 2020

1993

1993

82. Shed 14, Victoria Dock

81. Positive Living Centre 1980

1980

1978

1977

56. Trades Hall Plaques

33. Prince of Wales Hotel

1976

60. Sybylla Press and Correct Line Graphics

Mid-1990s 83. Carlton Courthouse Theatre

1995

1987

Early 1980s

62. Mandate

69. St Mark’s Anglican Church

1978

79. Hares & Hyenas Bookshop and Performance Space

84. Builders Arms Hotel

2000s

1991

1990

Early 1980s

65. Northside Precinct The Laird Club The Gatehouse

1990s

1990s

80. The Floral Clock

78. Tasty

72. The AIDS Memorial Garden

65. Northside Precinct

Smaller bar Restaurants Cafe

1982

1980s

67/68. The Shrine of Remembrance Anzac Day

1978

1976

f Bilities founded in 1969 Daughters o

Mid-1970s

1975

49. 3CR Community Radio

32. Trish’s Coffee Lounge

1974 1973

1974

48. Royal Botanic Gardens

1972

Move to Fitzroy in the 1973

1972 1975

1970s

46. Gay Liberation Centre

1960s

1930s

1950s and 1960s

16. Sir Charles Hotham Hotel 1940s

26.

International Bookshop

1950s and 1960s

19. Myer Department Store

1970

44. The Chapter House, St Paul’s Cathedral

1970s

1970

43. skorus books 1960s-1970s the emergence of new lireral attitudes.

18. Bucchi’s Continental Baths

1950s

1951

17. Val’s Coffee Lounge

1940s

1940s

73. Gertrude Street Precinct

1960s

24. University of Melbourne Precinct

1957

15. St Kilda Precinct Social clubs Political groups Positive Living Centre Public events

Bookshop Liberation Building Club Hotel Public Space

1920s

1930s

1930s

12.

Alexandra Gardens 1919

10. Alice Anderson’s Grave

1920s

1920s

11. St Peter’s Eastern Hill

1910s

1910s

1860s

1860s

1860s

6. Swanston and Collins Streets Precinct

Hotel The club Cafe lounge

1850s

1856

5.St Francis’ Church

1850s

1851

1. Parliament House

Site of Significant Distribution The LGBTIQ+ Community

Willett, Graham. Bailey, Angela. Jones Timothy, W. and Rood, Sarah. (2021). A History of LGBTIQ+ Victoria in 100 Places and Objects.Department of Environment, Land, Water and Planning. https://engage.vic.gov.au/history-lgbtiq-victoria

Shan Jin / Design Thesis 2021

23 / Sexuality and Space Urban Mapping / Large Scale

1960

1950s 1940s

31. Annabel’s

1972

Queering the Map Local scale: The Activity of the LGBTIQ+ Community

24 / Queering the Map / Local Scale

The Queering the Map is a practice of storytelling about the narratives of the collective memory across the city (Chisholm, 2005). It is ‘collecting and recollecting, the calling of history to remembrance’ (Chisholm, 2005, pp.105). Aforementioned, the community has high diversity as a nuanced spectrum (Robard et al., 2020).

The activity map shows the queer experiences along with the history across various spectrum of identity, genders and sexualities within the LGBTIQ+ community.

Robard et al., (2020) claim that it is the representation of queerness. Moreover, the map shows the place of belonging to the LGBTIQ+ community. It indicates the potential of an intimate public to the community (Robard et al., 2020). It also so shows the moment and atmosphere in relation to everyday activity. It provides an opportunity for further exploration of the new method of the built environment (Robard et al., 2020).

Shan Jin / Design Thesis 2021

Hotel

Lounge

Hotel Hotel Bar Hotel Hotel

Queering the Map

BarBar

The Space of Queerness

Sauna

Bar

At Present

Past

Botanic Garden

A n nu al M i dsum ma Fe stival

80.AIDS Activists 31. Gay Bar (Closed in 1978)

Leisure

62. Gay Venue 1980-1989

(Weekly ) 31. Quee Events

82. Dance Venue

33. Pokey’s Drag Show 83. Theater

32. Coffe Lounge

79. Performance Space

16. Drag Show

17. Coffe Lounge

Organization

18. Sauna

48. Party

Media Organization 26. Movement Related 49. Weekly Broadcasting 46. Meeting and Events Program (Forced to closed in 1976)

48. Meeting

44. Meeting (Campaign Against Moral Persecution)

61. Gay Archives

Individual 19. Safe Employment Environment

5. Two Queer Marriages

Willett, G., Bailey, A. Jones T, W. and Rood, S. (2021). A History of LGBTIQ+ Victoria in 100 Places and Objects. Australian Queer Archives. https://queerarchives.org.au/posts/latest-news/a-history-of-lgbtiq-victoria-in-100-places-and-objects/

Shan Jin / Design Thesis 2021

25 / Queering the Map / Local Scale

12. Annual Midsumma Carnival

Protest

Arts Installation Spatial Manifestation: Garment for The LGBTIQ+ Community

26 / Arts Installation / Garment Introduction

The garment a selected arts installation for the hypothesis. The clothing always has its regulation which is used to mark the gender difference (Simmons, 2018).

Refer to the thesis statement which is to investigate the relationship between the built environments and LGBTIQ+ individuals. The garment selected as a spatial manifestation for the primarily testing ground to explore a way to embrace the difference in the context of the marginalization. To regard the garment as an interface between the built environments and individuals rather than a shroud-like object as another layer of a barrier.

Irish Van Herpen is the selected artist for the Garment.

Get inspiration from the idea of fluidity. The idea of starting with the line to understand the between parts. It emphasizes the way that how the body move. It provides further instruction on the exploration process of the garment.

Figure 5. 2017 Haute Couture Paris collection

Shan Jin / Design Thesis 2021

The Timeline of Mardi Gras Show Do pride events matter?

27 / Arts Installation / Mardi Gras Show

Mardi Gras show as most Australian well-known events that had over 40 years history. Richelle and Warwick (2011) outline that the Mardi Gras show created an overwhelming feeling of inclusion for the community.

Pride a events matters to the LGBTIQ+ community. It sparks a conversation (Richelle and Warwick, 2011). It not only great for the LGBTIQ+ community but also for people who are unfamiliar with the community. The Mardi Gras Show started not as a party but as a protest.

There is always a contest about Mardi Gras Show. Along with it's history. It shifted towards a mixing political and celebration community in the commercial (Richelle and Warwick, 2011). The timeline shows the over four decades history of the Mardi Gras Show which created 'Australia's unique life-affirming Kaleidoscope of LGBTIQ+ selfexpression' (Akersten, 2021).

Shan Jin / Design Thesis 2021

A Timeline of Sydney Mardi Gras Parade Jun 24, 1978 - Mar 6, 2021 102. Gay Solidarity March

103. Village People Float

104. Mardi Gras Parade

The events ended in violence. But it is significant to the Gay right in history.

At the second year, the Mardi Gras Show expended into a full-week fesitival.

By the end of the 1970s, the Mardi Gras Show shifted from activism of the gay right movement to a celebration of community.

It as a landmark that shaped the Mardi Gras along the history.

June 24, 1978

June 20, 1979

June 28, 1980

July 15, 1978 101. Dennis Scott and Eddie Hackenberg in gay rights march

People were out from the closest to the street.

March 21, 1981 105. Peter Tully

He shaped the visual spectacle of the event that imapct on the early Mardi Gras Show.

Akersten, Matt. (2021). Sydney Gay and Lesbian Mardi Gras 1978-2021 Timeline. https://artsandculture.google.com/exhibit/kgKi50Oy5T0TIg

Shan Jin / Design Thesis 2021

28 / Arts Installation / A timeline of Sydney Mardi Gras Parade

100. 24 June 1978 Protest.

102. Gay Solidarity March

103. Village People Float

104. Mardi Gras Parade

The events ended in violence. But it is significant to the Gay right in history.

At the second year, the Mardi Gras Show expended into a full-week fesitival.

By the end of the 1970s, the Mardi Gras Show shifted from activism of the gay right movement to a celebration of community.

It as a landmark that shaped the Mardi Gras along the history.

June 24, 1978

June 20, 1979

June 28, 1980

July 15, 1978 101. Dennis Scott and Eddie Hackenberg in gay rights march

People were out from the closest to the street.

March 21, 1981 105. Peter Tully

He shaped the visual spectacle of the event that imapct on the early Mardi Gras Show.

Akersten, Matt. (2021). Sydney Gay and Lesbian Mardi Gras 1978-2021 Timeline. https://artsandculture.google.com/exhibit/kgKi50Oy5T0TIg

Shan Jin / Design Thesis 2021

29 / Arts Installation / A timeline of Sydney Mardi Gras Parade

100. 24 June 1978 Protest.

114. Mardi Gras Party Government Pavilion Dancefloor

115. It Takes Balls To Be A Queen

Drag Show became one of the most memorable events in the Mardi Gras Party.

A highlight of the Mardi Gras in 1989.

Mardi Gras after party in 1990. (15,000 tickets sold out).

It recorded 500,000 people attended the party.

Feburary 27, 1988

Feburary 18, 1989

Feburary 17, 1990

Feburary 27, 1993

Akersten, Matt. (2021). Sydney Gay and Lesbian Mardi Gras 1978-2021 Timeline. https://artsandculture.google.com/exhibit/kgKi50Oy5T0TIg

Shan Jin / Design Thesis 2021

30 / Arts Installation / A timeline of Sydney Mardi Gras Parade

113. I Am What I Am show at Mardi Gras Party

112. Diana Ross Chain Reaction Show

116. Bob Downe on Sydney Opera House Steps

117. The Lemonheads on Parade

The Lemonheads become most memorable elements in the 1997 Mardi Gras Show.

January, 1996

March 01, 1997

120. AIDS Quilt at Fair Day

The largest daytime gathering event, people are not just coming out at night.

Feburary 08, 1998

Feburary 14, 1999

119. Workshop in Erskineville

Preparation for the 1998 Mardi Gras.

Akersten, Matt. (2021). Sydney Gay and Lesbian Mardi Gras 1978-2021 Timeline. https://artsandculture.google.com/exhibit/kgKi50Oy5T0TIg

Shan Jin / Design Thesis 2021

31 / Arts Installation / A timeline of Sydney Mardi Gras Parade

The 1996 Mardi Gras lunched in front of the Sydney Opera House.

118. Pam Ann at Fair Day

122. 2004 Sydney Gay and Lesbian Mardi Gras Poster

Celebration of the new millenniums,

2004 Mardi Gras set dome as a chill-out feature from the set of the Barbarella.

2004 March 06, 2004

2000

124. You're Not the Only Gay in the Village

125. Pool Party

March 04, 2006

Feburary 24, 2007

123. Ron Muncaster at 2004 Parade

Costume designer.

Akersten, Matt. (2021). Sydney Gay and Lesbian Mardi Gras 1978-2021 Timeline. https://artsandculture.google.com/exhibit/kgKi50Oy5T0TIg

Shan Jin / Design Thesis 2021

32 / Arts Installation / A timeline of Sydney Mardi Gras Parade

121. 2000 Sydney Gay and Lesbian Mardi Gras Poster

127. Women Say Something

128. First Australians Survivor Float

129. Mardi Gras Museum

2010 Mardi Gras framed first Queer Thinking Day. 2000

New events.

‘Say Somthing’ as its festival theme.

It exhibited various materials as posters, photographs, videos, and costumes.

Feburary , 2013 March 02 , 2013

Feburary , 2010

March 05, 2011

130. Oxford Street Rainbow Crossing

35th anniversary of the Mardi Gras: the yeart of Rainbow Crossing.

Akersten, Matt. (2021). Sydney Gay and Lesbian Mardi Gras 1978-2021 Timeline. https://artsandculture.google.com/exhibit/kgKi50Oy5T0TIg

Shan Jin / Design Thesis 2021

33 / Arts Installation / A timeline of Sydney Mardi Gras Parade

126. 2010 Sydney Gay and Lesbian Mardi Gras Poster

133. NSW Parliament Apology to 78ers

134. City of Sydney Say Yes to Love at Parade

People With Disabilities Australia group first time attended the Mardi Gras.

March 01, 2014

The Mardi Gras show in 2016 as a remarkable season of apologies.

Feburary , 2016

The Mardi Gras show in 2017 called for marriage equality.

March 04, 2017

131. Armed Forces on Parade

First time that the Australian Armed Forces in uniform in Mardi Gras Parade.

Akersten, Matt. (2021). Sydney Gay and Lesbian Mardi Gras 1978-2021 Timeline. https://artsandculture.google.com/exhibit/kgKi50Oy5T0TIg

Shan Jin / Design Thesis 2021

34 / Arts Installation / A timeline of Sydney Mardi Gras Parade

March 02 , 2013

132. People With Disabilities Australia at Parade

136. PNAU at the Mardi Gras Party

137. What Matters

138. Rita Ora at Mardi Gras Parade

People crossing all over the Australian attended the 40th anniversary Parade.

March 03, 2018

2019’s Mardi Gras celebrated the fearless.

2020’s Mardi Gras cliams that we are all connected together throughout the world.

Feburary 29, 2020

March 06, 2017

March 02, 2019

Akersten, Matt. (2021). Sydney Gay and Lesbian Mardi Gras 1978-2021 Timeline. https://artsandculture.google.com/exhibit/kgKi50Oy5T0TIg

Shan Jin / Design Thesis 2021

35 / Arts Installation / A timeline of Sydney Mardi Gras Parade

135. 78ers at 40th anniversary Parade

THE PERFORMATIVE CHARACTER OF SELFEXPRESSION.

REGULATION M A R K S DIFFERENT GENDERS

SPATIAL MANIFESTATION OF INTERFACE BETWEEN INDIVIDUALS AND ITS SURROUNDING ENVIRONMENTS.

HIDDEN RIGID

B R E A K I N G BOUNDARY

DECONSTRUCT BODY STRUCTURE (POINT / LINE/ SURFACE)

36 / Arts Installation / Garment Manifestation Diagram

CLOTHING

GARMENT NON-BINARY

FLUIDITY FLEXIBLE

Shan Jin / Design Thesis 2021

‘Art at its most significant is a Distant Early Warning System that can always be relied on to tell the old culture what is beginning to happen to it.’

37 / Arts Installation / Garment

- Marshall McLuhan

Shan Jin / Design Thesis 2021

Garment Design Iteration 1

Skeleton

38 / Garment / Iteration 1

Iteration 1 Hybird Mannequin

New Layer of Point

Point to Line

Line to Surface

Shan Jin / Design Thesis 2021

Iteration 1

39 / Garment / Iteration 1

The first iteration is as a metaphor for the current situation of the LGBTIQ+ community. It consists of two different layers.

The outer layer takes the idea of blooming to stand for a high degree of acceptance from the political and social aspects. Under the translucent blooming layer.

The inner skeleton layer used to explore the idea of rigidity. The community still suffer from the lack of inclusive queering space.

Iteration 1

Iteration 1

Shan Jin / Design Thesis 2021

a

b

c

d

Garment Design Iteration 2

Point

40 / Garment / Iteration 2

Line Masculine Mannequin Pattern

Hybird Mannequin

Feminine Mannequin

New Layer of Point

1

2

3

4

Shan Jin / Design Thesis 2021

Iteration 2

a1

a2

a3

a4

Iteration 1.1

b1

b2

b3

b4

Iteration 1.2

c1

c2

c3

c4

d1

d2

d3

d4

Iteration 1.3

Iteration 1.4

Shan Jin / Design Thesis 2021

41 / Garment / Iteration 2

Different from the first iteration.

The secondary iteration highlights the performance of the queer individuals. It is the proposal of the relationship between the bodily gesture and the movement.

The pattern generates from the points that are along the surface of the human body. Different body gesture and movement will generate different pattern as well as the overall skeleton. The overall performance of the garment is more about the performative action regardless of who you are.

Garment Design Iteration 3

Skeleton

Iteration 3.2

Iteration 3.3

Iteration 3.4

Combination Hybird Mannequin

New Layer of Point

Point to Line

Line to Surface The surface design to stretch the skeleton to perfectly flow with the bodily movement.

Shan Jin / Design Thesis 2021

42 / Garment / Iteration 3

Iteration 3.1

Iteration 3

Iteration 1X2

Iteration 1X3

43 / Garment / Iteration 3

The third iteration investigates more on the visual performance of the garment. Take the idea of the rainbow as the symbolic elements that refer to the LGBTIQ+ group.

To achieve various experimentation on the colour scheme by overlapping the different iterations. More importantly, is the garment proposal start looking into the idea of fluidity and flexibility. It consists of two different layers, the skeleton layer for the colour scheme highlights the flexibility. While the surface layer stretches the skeleton flow the bodily movement and gesture fluidity.

Iteration 1X4

Iteration 1X2X3X4

Iteration 2X3

Iteration 2X4

Iteration 3X4

Shan Jin / Design Thesis 2021

Garment Design Iteration 4

Point to Line

44 / Garment / Iteration 4

Selected Point for Patterning

Pattern

Line to Surface Hybird Mannequin

New Layer of Point Iteration 4 Skeleton

Shan Jin / Design Thesis 2021

Iteration 4

The fourth iteration continues to explore the idea of fluidity and flexibility. Take the design methodology from the second and third iteration. Bring the fur pattern to the skeleton. Meanwhile, the garment starts to explore the idea of performativity. Adding the fur pattern become part of the skeleton. To make the two different element works more fluidity and consistency.

45 / Garment / Iteration 4

Iteration 4.1

Iteration 4.2

Iteration 4.3

Iteration 4.4

Shan Jin / Design Thesis 2021

Garment Design Iteration 5

46 / Garment / Iteration 5

Hybird Mannequin

Point from Body Contour

Curve Flow the Body

New Spatial Manifestation of Garment

Iteration 5

Shan Jin / Design Thesis 2021

Iteration 5

The fifth iteration starts to explore a new spatial manifestation of the garment. Different from the previous iteration. This one creates a more intimate relationship between the garment and individuals. Considering the complexity of the individuals. The over form generated from the body’s contour to enable more flexibility. It is also to avoid shroud-like shape. The garment flow along with the movement to create more fluidity in the ever-changing space and time.

47 / Garment / Iteration V

Iteration 5.1

Iteration 5.2

Iteration 5.3

Iteration 5.4

Shan Jin / Design Thesis 2021

Garment Design Iteration 6

Curve Flow the Body

New Spatial Manifestation of Garment

48 / Garment / Iteration 6

Point from Body Contour

Hybird Mannequin

Iteration 6

Selected Point for Patterning

Point to Line

Patterning

Shan Jin / Design Thesis 2021

Iteration 6

The sixth iteration highlights the performative character of queerness. It also illustrates the idea of fluidity and flexibility. The minimize the rigidity of wearable subject. The overall form flows along with the bodily gesture as well as its movement. The pattern and the inner layer are generated from body contours. It provides various possibilities to meet the complexity of the LGBTIQ+ community. To allow the individual to have its garment to have more sense of inclusiveness within the space.

49 / Garment / Iteration 6

Iteration 6.1

Iteration 6.2

Iteration 6.3

Iteration 6.4

Shan Jin / Design Thesis 2021

Garment Design

50 / Garment / Final Render

The materiality of the garment works as a testing ground of privacy and the public.

The translucent material selected for the garment aims to provide a certain degree of privacy. It also enables the individual to open to its surrounding.

Moreover, the reflection and refraction of the translucent material will generate the colour scheme itself accordingly.

Therefore, it is not only the form that flows with the bodily gesture and movement but also the colour scheme flow within the space.

Shan Jin / Design Thesis 2021

51 / Garment / Final Render Shan Jin / Design Thesis 2021

Garment Design

52 / Garment / Final Render Shan Jin / Design Thesis 2021

53 / Garment / Final Render Shan Jin / Design Thesis 2021

Experimental Pavilion Design Brief

54 / Experimental Pavilion / Design Brief

Speaking of deigning geographically, Browne (2006) identifies that the queer requires more than recognition of the fluid identities. Mapping the botanical garden aim to evaluate the existing element on the site. To bring the pavilion back to the LGBTIQ+ community. The pavilion site selected at the intersection of the pedestrian path of the Midsumma Festival venue 2021, and align with the ACCA site. Apart from the built environments, the major pattern of the botanical garden consists of natural elements. To allow visitors to have more flexibility in the way of perceiving the site. The path will flow around the tree. The patterning botanical garden map simulates the human swan to generate new layers of pattern in space.

It refers to queer space theory by Halberstam (2005) about the non-normative logics of the activity in time and space. The human swarm will use to generate the space of occupation. To create a more inclusive built environment within a garden for people to walk through.

Shan Jin / Design Thesis 2021

QUEER VENUE

ABSENCE

SPATIAL MANIFESTATION OF INTERFACE BETWEEN THE SPECTRUM OF PRIVACY AND PUBLIC

B R E A K I N G BOUNDARY

DECONSTRUCT PATTERN OF SELECTED SITE

PAVILION FLUIDITY

CONNECTING LINK IN THE URBAN FABRIC

Shan Jin / Design Thesis 2021

55 / Experimental Pavilion / Design Brief Diagram

DISCRETE DISTRIBUTION

THE PERFORMATIVE CHARACTER OF SELECTED SITE

Shrine of Remembrance Sidney Myer Music Bowl

Mapping Botanical Garden

The Terrace

Richmond Rowing Club

Site Condition

Government House Stapley Pavilion Tropical Glasshouse

Hopeton Stable Police Memorial Weary Dunlop Memorial Maquis of Linlithgow Memoral

National Herbarium of Victoria

La Trobe’s Cottage

Points: Built Environment

56 / Experimental Pavilion / Mapping Botanical Garden

CBD

Line: Pedestrian Path

South

Surface: Greenery

Shan Jin / Design Thesis 2021

Pavilion Site Selection Midsumma Festival Melbourne 2021 fortyfivedownstairs ACMI

Birrarung Marr (Fed Square) Sidney Myer Music Bowl

57 19/Creative 41 // Garment Experimental Research / Final Pavilion Render/ Pavilion Site Selection

Arts Centre Melbourne

Pavilion Site

ACCA Malthouse Theatre

Midsumma Festival

0

1000m

5000m

ShanShan Jin / Design Thesis 2021 Jin 743269

Patterning Botanical Garden Site Visitors’ Swarm Simulation

58 / Experimental Pavilion / Patterning Botanical Garden

0

100m

200m Shan Jin / Design Thesis 2021

Mapping Selected Site Human Swarm Simulation

59 / Experimental Pavilion / Mapping Selected Site

Get inspiration from the patterning botanical garden map. The human swarm simulation analysis will use to generate the logic of activity. The space between the pedestrian path becomes the space of the occupation. It enables the pavilion to have more fluidity in its form. As a result, the experimental pavilion will become an inclusive built environment with a distinct and memorable identity in the urban context. Moreover, it tends to offer a space that creates a dialogue between the marginalized group and the rest of the society.

Shan Jin / Design Thesis 2021

Pavilion Form Generation Form Generation

Mapping Historical Significance of the LGBTIQ+ Community Basic Geometry

Space of Occupation

60 / Experimental Pavilion / Pavilion Form Generation

Human Swarm Simulation

Basic Geometry

Shan Jin / Design Thesis 2021

Transparency

0%

Pavilion Form Generation

Solid

Concrete

Materiality

Overall Form

Metal

Perforated Sheet Metal

Structure

Paneling (Porosity)

Overall Form

Structure

Membrance Porosity

Overall Form

1st Layer

2nd Layer

Overall Form

61 / Experimental Pavilion / Pavilion Form Generation

50%

Mesh

80%

Mesh + Membrance

Plaster

100%

Plastic

Shan Jin / Design Thesis 2021

Pavilion Form Generation Overall Form and Pattern Generation

Porosity

Paneling Structure Overall Form The porosity is the small scale patterning generate from the basic geometry. The porosity becomes the spatial exploration of the idea of privacy and the public. The density and size of the porosity are changing along with the degree of privacy and public. Moreover, the porosity intends to allow the pedestrian to have a fluid perception of the ever-changing light in space and time.

Shan Jin / Design Thesis 2021

62 / Experimental Pavilion / Pavilion Form Generation

Porosity (Density and Size)

Ventilation / Sunlight

Circulation Diagram

Private Semi- public / private Public

Pedestrian Path

Shan Jin / Design Thesis 2021

63 / Experimental Pavilion / Circulation Diagram

Public

64 / Experimental Pavilion / Pavilion Plan

Section b-b’

Section c-c’

Pavilion Plan

0

Section a-a’

5m

10m

Shan Jin / Design Thesis 2021

Section a-a’

65 / Experimental Pavilion / Pavilion Section

Section b-b’

Pavilion Section

Section c-c’

0

5m

10m

Shan Jin / Design Thesis 2021

Pavilion Iteration I

66 / Experimental Pavilion / Render Shan Jin / Design Thesis 2021

Pavilion Iteration I

67 / Experimental Pavilion / Render Shan Jin / Design Thesis 2021

Pavilion Iteration I

68 / Experimental Pavilion / Render Shan Jin / Design Thesis 2021

The Arts Center Brief

The Arts Centre will focus on the idea of performativity.

As a result, the thesis will propose a space of safety, respect and inclusiveness to bring together the LGBTIQ+ community.

69 / Sketch Design / The Arts Center Brief

Queer space is not only a space to enable the queer individual to engage with but stand for new understandings of the space (Halberstam, 2005).

The proposal is a spatial and program exploration.

To investigate the spectrum of privacy and public by examining the program arrangement. Start to create space that embraces the various queer identity of individuals and interaction with other queer entities. Meanwhile, to offer a space that creates a dialogue between the marginalized group and the rest of the society.

To deeper engage with the complexity of the community.

Through the design process, the thesis will examine the constitution of queerness both in the historical and current social life in the context of Melbourne. To deconstruct the sequence of existing queer venue and relocate it within the Arts Centre to provide a varied program that accommodates the community to thwart the exclusiveness.

Shan Jin / Design Thesis 2021

ABSENCE OF QUEER SPACE

THE

SPATIAL MANIFESTATION OF INTERFACE THROUGH DIFFERENT TYPES OF LENSES.

DECONSTRUCT THE EXISTING QUEER VENUE AND RELOCATE TO CREATE NARRATIVE

THE ARTS CENTRE NON-BINARY

+

ACCA SITE HIDDEN EXCLUSIVE

PAST

BREAKING BOUNDARY

VISIBLE INCLUSIVE

FUTURE TO AVOID OTHERNESS

Shan Jin / Design Thesis 2021

70 / Sketch Design / The Arts Center Brief Diagram

MARGINALIZATION OF THE LGBTIQ+ COMMUNITY

THE PERFORMATIVE CHARACTER OF THE COMMUNITY.

P1

PRECINCTS

AP1

P2

P1: University of Melbourne Precinct P2: Getrude Street Precinct P3: Northside Precinct P4: Swanton and Collins Street P5: Commercial Road Precinct P6: St Kilda Precinct

P3

V1 AP1 SC4

ACTIVISM AND PROTEST

C2

AP1: Gay Liberation Centre AP2: Shorus Books AP3: The Floral Clock AP4: The Chapter House, St Paul’s AP5: 3CR Community Radio

SC3 AP5 C1 I1

VISIBILITY

SC1 S8

S5

P4 S6

S7 S4

V1: Carlton Courthouse Theartre V2: Royal Botanic Gardens

AP1

SC2

SOCIAL LIFE, RECREATION AND GATHERING PLACES AP3

S1: Shed 14, Victoria Dock S2: Mandate S3: Prince of Wales Hotel S4: Tasy S5: Myer Department Store S6: Sir Charles Hotham Hotel S7: Bucchi’s Continental Baths S8: Val’s Coffee Lounge

V2

COMMUNITY HEALTH AND WELLBEING CH1: Positive Living Centre COMMEMORATION C1: Trades Hall Plaques C2: Courage 2014 S3

SPIRITUAL AND CULTURAL LIFE SC1: St Francis’ Church SC2: Interation Bookshop SC3: Builders Arms Hotel SC4: St Mark’s Anglican Church

P5 P6

INTIMATE RELATIONSHIPS AND PERSONAL COLLECTIONS

Historic Queer Significant Distribution

I1: State Library S3 CH1

S2 AP2

0

1000m

5000m

71 / Queer Venue in Melbourne / Historic Queer Significant

S1

Historic Queer Significant Distribution: Historian Significant

72 / Mapping the ACCA Site / Connecting Link Shan Jin / Design Thesis 2021

Queer Venue in Melbourne 2021

INNER NORTH

IN1

IN2

IN1: Collingwood Leisure Centre IN2: Ross Watson Gallery IN3: Dancehouse IN4: La Mama Courthouse IN5: Hare Hole (Hares & Hyenas) IN6: Vau d'vile IN7: Brunswick St Gallery IN8: Collingwood Yards IN9: Tacit Art IN10: Melbourne Museum IN11: Fitzroy Town Hall IN12: St Mark's Anglican Church IN13: The Curtin

IN3

Distribution: Midsumma Festival in Melbourne 2021 IN4

IN5 IN7 IN8

IN6

IN9

IN11 IN12

IN10

IN13 C1 C2 C4

C3

CBD

C5 C6 C15

C8 C9

C10

C11

C14

C12

S1 c13

S5

73 / Queer Venue in Melbourne / Midsumma Festival

C1: Metro Tunnel Hoardings C2: Old Melbourne Gaol C3: No Vacancy Gallery C4: Her Majesty's Theatre C5: Comedy Republic C6: The Butterfly Club C7: fortyfivedownstairs C8: ACMI C9: Birrarung Marr (Fed Square) C10: Artplay C11: Arts Centre Melbourne C12: Sidney Myer Music Bowl C13: Malthouse Theatre C14: Mission to Seafarers C15: Victoria Star Cruises

C7

S2

SOUTH S3

S1: Metro Tunnel Hoardings S2: Temperance Hall S3: Gasworks Arts Park S4: Cracked Actors Theatre S5: Metro Tunnel Hoardings S6: Chasers S7: Chapel Off Chapel S8: The MC Showroom S9: St Kilda Sports Club S10: Fitzroy St & Catani Gardens S11: Saint Evie S12: The Prince Hotel S13: Theatre Works

S6 S7 S8

S4

S9

S11

S10 S12 S13

0

1000m

5000m

Shan Jin / Design Thesis 2021

Mapping the ACCA Site ACCA as a connecting link in urban fabric

74 / Mapping the ACCA Site / Connecting Link Shan Jin / Design Thesis 2021

Mapping the ACCA Site Urban Planning Logic

75 / Mapping the ACCA Site / Urban Planning Logic

Hoddle Grid Street Grid

ACCA Site

0

100

200

500

Shan Jin / Design Thesis 2021

Mapping the ACCA Site Accessibility

76 / Mapping the ACCA Site / Accessibility

T nt S

Gra

ST

Road Tram Pedestrain Path Car Entrance

Dodds

Sturt S T

ACCA Site

0

100

200

500

Shan Jin / Design Thesis 2021

Mapping the ACCA Site Arts Precinct

77 / Mapping the ACCA Site / Arts Precincts

Arts Precinct

ACCA Site

0

100

200

500

Shan Jin / Design Thesis 2021

Mapping the ACCA Site Land Use

ACCA Site

0

100

200

500

Shan Jin / Design Thesis 2021

78 / Mapping the ACCA Site / Land Use Map

Government Public Building Outdoor Facilities Arts Gallery / Museum Theatre Tertiary Residential Retail / Office Residential

Mapping the ACCA Site Queer Venue near the site from Midsumma Festival

Art Centre Melbourne

Pavilion Site

ACCA Site Malhouse Theartre

0

100

200

500

Shan Jin / Design Thesis 2021

79 / Mapping the ACCA Site / Queer Venue Nearby

Sydney Myer Music Bow

Contextual study of the Boundary Historical Significant of the LGBTIQ+ Community

80

Boundary : Protest

Boundary : Safe

Boundary : Hidden

Boundary : Private

Shan Jin / Design Thesis 2021

What makes a queer space ?

As a series of architecture conditions.

81 / What makes a queer space? / Queer Space Theory

Betsky (1997) highlights the closet as the original area of the queer space. In where people can hide or construct their own identity. It proposed a ‘world of fantasy’ which is related to the body directly without a defined space (Betsky, 1997, p. 21). Second, he (1997) proposed the queer space as mirrors. Unlike conventional architecture, mirrors always bring us back to ourselves ‘in a reversed manner (Betsky, 1997, p. 21). Gesture becomes crucial to the action within these spaces. According to Betskey (1997), queers translated the gestural language to the built environment. They created the building in distortion, distension and deformation. Moreover, the gesture creates the connection between the body and built environments. It refines the queer space like a porch or a stage later on. Vidler (1978, p.28) proposed that the way how people perceive architecture can be divided into ‘ three scenes of classical theatre’. They are tragedy scene, comic scene and myth scene. Then Betskiy shifts it into a non-gendered forum. A third-place that create and liberate a new order of everyday life (Betsky, 1997, p. 26).

Shan Jin / Design Thesis 2021

What makes a queer space ?

Gymnasium in the classical Greece: space / order.

Fig. 9 The Hellenistic Gymnasium of Miletus, Asia Minor, after 479 B.C

Shan Jin / Design Thesis 2021

82 / What makes a queer space?

This Gymnasium represents the most elemental forms of Greek architecture. The open space defined by columns that against the rectilinearity of walls (Betsky, 1997).

Namely, the colonnaded courtyard. The order of the space marked only by the naked body within the space.

Betsky (1997) defined the gymnasium as a queer space based on its nakedness or emptiness with its abstract order. The Gymnasium appears to lack of the internal division. It is the space where only has space and its order.

What makes a queer space ?

Public Bath in imperial Rome: space of experimentation.

83 / What makes a queer space?

The public baths are one of the most monumental examples of queer space during the premodern period in imperial Rome. Betsky (1997) illustrated that the space as a queer space enables to return of the body to itself. Different from the gymnasium in Greek, public bath started to established social relations that provide an alternative to the rational order (Betsky, 1997). The steam of the water creates a world of fantasy. Moreover, the curved or arched space overhead dissolved the restricted social order that from the columns or pediments (Betsky, 1997). The floor divided into different functional area with infrastructure that built into the structure. It liberates the body by allowing take its characteristics.

Fig. 10 Conjectural Perspective of the Natatio (Pool), Baths of Caracalla, Rome, 212-216

Fig. 11 Plan of the Baths of Diocletian, Rome, c. 300

Note. Queer space : architecture and same-sex desire (p. 38), by Betsky, 1st ed. 1997, William Morrow & Co.

Shan Jin / Design Thesis 2021

What makes a queer space ?

Hadrian's Palace: Fragmented Geometries

84 / What makes a queer space?

This palace had its functional spaces created by fragmented geometries that used to dissolve the fixed identity (Betsky, 1997). This place as a queer space enables individual to enjoy itself and its surrounding environments. The moments of the place only consist of it order, shadow and shade. Betsky (1997), highlighted that the oder of the palace stands for nothing but can delight people's own sensual reality. Therefore, queer space is about dissolve the rigid rule or structure in relation to the space.

Fig. 12 Canopus Pool, Hadrian's Villa, Tivoli, c 125.

Shan Jin / Design Thesis 2021

What makes a queer space ?

The Amalienburg: Deformation and Theatricality

85 / What makes a queer space?

The hall of mirrors exhibited the character of the queer space. The mirror materiality makes the wall surfaces become a sensual element. It also makes the order more rhetorical. The mirrors make the space constructed in a deformed manner. Besides, the furniture was collected from all over the world to create a theatrical order. Space started dissolving the definition of form, function and social role which attributes to a queer space (Betsky, 1997).

Fig. 13 Interior, Hall of Mirrors.

Shan Jin / Design Thesis 2021

What makes a queer space ?

Louis Sullivan: Hall of the Auditorium: Color Explosion

86 / What makes a queer space?

Betsky (1997) demonstrates that queer space is not necessary to be a dark space. Take Louis Sullivan's architecture as an example, he aims to create organic architecture. The most prominent aspect of it is the decoration. The decoration derived from his drawings or his Irish Heritage. The interior of the hall of the auditorium shows the explosion of the color that created a sensuous wave to its visitors. It refines the queer space as an 'abstract spatial container' (Betsky, 1997, p.95).

Fig. 14 Louis Sullivan, Hall of the Auditorium, Chicago

Shan Jin / Design Thesis 2021

What makes a queer space ?

The white room: Free and Open Space

87 / What makes a queer space?

The white room that designed by de Wolfe shows the idea of a free and open space. She created the house in a sensible way. The interior of the Villa Trianon (Figure 15) reflects a comfortable way that women could live in that period. The idea of queer space drives to create a space for one's self. To provide a loose arrangement to create a open and free internal space which allows the user free to the space.

Fig. 15 Villa Trianon, Elsie de Wolfe

Shan Jin / Design Thesis 2021

What makes a queer space ?

Bonham House: Sensuality

88 / What makes a queer space?

The idea of Bonham House is to create a collage of comfort (Betsky, 1997). As Betsky (1997) highlighted that his design is always unfixed. He designed the Bonham House in an abstracted and deformed form by dissolving the grids and technologies of modernity.

He focused more on self-consciousness. The unspecific space he created is regarded as a queer version of home. It provides an empty stage allowing people to perform and also to create space themselves.

Fig. 16 Charles Moore, Bonham House, Santa Cruz, California, 1962

Shan Jin / Design Thesis 2021

What makes a queer space ?

The space of cruising: Labyrinthine Identity

89 / What makes a queer space?

The place of cruising became a definable example of queer space in the modern era. The basic logic of space is more about the knowledge of the body. It dissolves the urban grid. Betsky (1997) claims that the space of the cruising is always labyrinthine. The public bathroom is one of the most notable examples of a place of cruising, which breaks down the city into ' fields, and the stoops, porticos, windows, and doorways of buildings' (Betsky, 1997, p. 148). It creates a new type of space apart from the socially acceptable space.

Fig. 17 Plan of Ariston Bathhouse, New York City, 1903 Note. Queer space : architecture and same-sex desire (p. 150), by Betsky, 1st ed. 1997, William Morrow & Co.

Shan Jin / Design Thesis 2021

What makes a queer space ?

Bar / Disco: Disorientation

90 / What makes a queer space?

Space such as bar and disco become the most radical queer environment in modern Western society. The space dissolved the bounds and solidity of reality. A sense of disorientation created by the lights, mirrors, and sounds within the place. The rhythm that brought to the space to reconstruct the body. It creates an alive place allowing continuous performance. Betsky (1997) claims that space was liberated by its atmosphere and as a place of seeming freedom.

Fig. 18 Steve Jaycox, An Anonymous Cay Bar Interior, 1996 Note. Queer space : architecture and same-sex desire (p. 159), by Betsky, 1st ed. 1997, William Morrow & Co.

Shan Jin / Design Thesis 2021

What makes a queer space ?

Borrowed Landscapes: Self-conscious Experience

Fig. 19 Mark Robbins, Borrowed Landscapes: 36 Views-1 1994 Note. Compare and Contrast: Mark Robbins' Borrowed Landscape. (p. 34), by Morton and Robbins, 1st ed. 1995, Oz: Vol. 17.

Fig. 20 Mark Robbins, Borrowed Landscapes: 36 Views-2, 1994 Note. Compare and Contrast: Mark Robbins' Borrowed Landscape. (p. 34), by Morton and Robbins, 1st ed. 1995, Oz: Vol. 17.

Shan Jin / Design Thesis 2021

91 / What makes a queer space?

The overarching idea of queer space from Mark Robbins focuses on the experience. He defined the queer space as a space for Self-conscious construction. He decomposed building into skeletons with naked fragments as concrete blocks or pipes. He rearranged and penetrated the elements with peep fissures and glory holes to open up the solid wall to enable people to view and use. Take his Borrowed Landscapes installation as an example. It is about multiple perspective viewing. The hole on the frame is an interactive piece to frame the glimpses from others viewers. It enables the visitor to manipulate their view of the exhibition and other people within the space.

Morton and Robbins (1995) claim that neat segregation transgresses the alien from the normal.

Queer Space Proposal Conclusion

92 / What makes a queer space? / Conclusion

This thesis propose to create a queer space that dissolve the structure and stricture of the society, to avoid otherness between queer individual and others. Betsky (1997, p. 21) pointed out that the ' queer space displaces the body into materials, decoration and the manipulation of sensual form'. The connection and bonding matters more in terms of queer space. The most notable characteristic of the queer space is that the lack of internal divisions.

Therefore, ornamentation plays an important role in compose of queer space by dissolving the rigid structural element into a continuous experiential environments (Betsky, 1997). Therefore the queer space are deformed and ordered in a theatrical version in everyday use of the LGBTIQ+ community. Importantly, this thesis not only propose to create a inclusive built environments for the LGBTIQ+ community but will still encourage that public communication and contact.

Shan Jin / Design Thesis 2021

What makes a queer space ?

A model for queer space: Queer Space as Theater

The second scene is the comic scene (Figure 7). It consists of ordinary spaces, which exhibits the story that happened daily.

The third scene is the scene of myth (Figure 8). The scene often combines the artificial world with nature as well as the real and imagined. To use the hybrid form to illustrate its order and framework.

Fig. 6 The Comic, woodcut by Sebastiano Serlio, c. 1537.

Fig. 7 The Tragic, woodcut by Sebastiano Serlio, c. 1537.

Fig. 8 The Satyric, woodcut by Sebastiano Serlio, c. 1537.

Note. On Streets (p. 29), by Vidler, 1st ed. 1978, Cambridge, Mass.: MIT Press.

Shan Jin / Design Thesis 2021

93 / What makes a queer space? / Queer Space as a Theater

According to Vidler (1978, pp.8932), the first scene is the tragedy scene (Figure 6). The storytelling often started with the setting of classical architecture and ended in death.

‘Was it a play or was it a piece of architecture?.’

94 / Theatric Analogies / The Manhattan Transcripts

- Tschumi (1994)

Shan Jin / Design Thesis 2021

Theatric Analogies The Manhattan Transcripts

Fig. 21 Bernard Tschumi Architects, The Manhattan Transcripts Note. The Manhattan Transcripts, http://www.tschumi.com/projects/18/, Copyright Bernard Tschumi Architects.

Fig. 22 Bernard Tschumi Architects, The Manhattan Transcripts Note. The Manhattan Transcripts, http://www.tschumi.com/projects/18/, Copyright Bernard Tschumi Architects.

Shan Jin / Design Thesis 2021

95 / Theatric Analogies / The Manhattan Transcripts

Tschumi pointed out that architecture is more about the action or events in the space rather than just space or form. He proposed an architectural interpretation of reality in his Manhattan Transcripts (Bernard Tschumi Architects, n.d.). The proposal focuses more on what happened in the space, namely the movement. He set the architecture as a stage. The movement was used to determine the plan, section or diagram to show that how 'the different protagonists intruding into the stage setting (Bernard Tschumi Architects, n.d.). Moreover, his Cinematic beam elevation diagram (Figure. 23) also illustrates his idea of cinematic montage. He highlighted that the events or movements continue to form or unfold the experience that was shaped in a complex.

96 / Theatric Analogies / Cinematic beams elevation

Fig. 23 Cinematic beams elevation Note. From MoMA. https://www.moma.org/collection/works/476. Copyright 2021 Bernard Tschumi.

Shan Jin / Design Thesis 2021

The Orlando Transcripts

The Scene of Tragedy

The Scene of Myth

Shan Jin / Design Thesis 2021

97 / Theatric Analogies / The Orlando Transcripts

The Scene of Comic

ABSENCE OF QUEER SPACE

THE

THE PERFORMATIVE CHARACTER OF THE COMMUNITY.

DECONSTRUCT THE EXISTING QUEER VENUE AND RELOCATE TO CREATE NARRATIVE

+

SPATIAL MANIFESTATION OF INTERFACE THROUGH DIFFERENT PERSPECTIVE OF VIEWING.

THE ARTS CENTRE NON-BINARY

+

ACCA SITE HIDDEN EXCLUSIVE

PAST

BREAKING BOUNDARY

VISIBLE INCLUSIVE

FUTURE TO AVOID OTHERNESS

Shan Jin / Design Thesis 2021

98 / Sketch Design / Theatric Analogies Proposal Diagram

MARGINALIZATION OF THE LGBTIQ+ COMMUNITY

T H E AT RI C ANALOGIES

Massing Iteration I

At the first stage, the massing is more focused on the interface between the site and the surrounding environments. Looking at the spectrum of the public, privacy and the space in-between. To analysis the building performance in relation to its surrounding.

Parti Diagram I

Space in Between

Public

Private

Site Division

Spatial Arrangement

Private

Space of Occupation

Smoothing the Edge

Space in Between

Overall Massing Shan Jin / Design Thesis 2021

99 / The Arts Center / Massing / Iteration I

Public

Massing Iteration II

The second iteration mainly focus on the theatric analogies. To manipulate the overall form by setting the overall site as a theatre.

Parti Diagram I

Scene 1: the scene of tragedy Scene 2: the scene of comic

Site as a Theatre

Site Division

From Line to Surface

Scene 1: the scene of tragedy Scene 2: the scene of comic Scene 3: the scene of myth

Programming Division

Scene Division

Overall Massing Outline

Shan Jin / Design Thesis 2021

100/ The Arts Center / Massing / Iteration II

Scene 3: the scene of myth

Massing Iteration III Parti Diagram I

2. Break along the scene axial

3. Scene separation

4. Bridging

Transition Scene 1 Scene 11 Scene 111

5. Locate selected program

6. Programming reoriented

7. Final scene set up

Shan Jin / Design Thesis 2021

101 / The Arts Center / Massing / Iteration III

1. Site as a Theatre

Continue the idea of the second iteration. Further development of the form is according to the scene division. Inspired from the Orlando. Each of the scene will have its own narrative with different program but they will still be connected as a whole. Each of the scene will have different perspective that is used to reoriented the programmings.

Overall Massing Axonometric Diagram

102/ The Arts Center / Massing / Axonometric Diagram

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Massing Iteration IV Parti Diagram I: Theatric Analogies

VCA

Public Transportation

Pedestrian Path

1. Site Accessibility

2. Queer Venue Outstretched

3. Scene Set Up

4. Transgression: Breaking Boundary

5. Site as a Theatre Prologue and Ending Scene 1 Scene 11 Scene 111

Shan Jin / Design Thesis 2021

103/ The Arts Center / Massing / Iteration IV / Theatric Analogies

Malthouse Theatre

Program Arrangement Prologue:

Scene 1:

Transition:

Scene 2:

Transition:

Entrance Foyer Cloak Room Information Desk

Art Store Temporary Exhibition Queer Culture Exhibition Events Space Presentation Hall Black Box Gallery Queer Artist Workshop Queer Activity Exhibition Queer History Exhibition Multi-use Black Box Theatre Archive Public Reading Room Queer Outreach Education

Scene 3: Gay Bar Tattoo Studio Tattoo Graphic Exhibition Bathhouse

Cloak Room Information Desk

Public Reading Room Queer Outreach Education Queer History Exhibition

Bathhouse

Black Box Gallery

Multi-use Black Box Theatre Queer Artist Workshop

Queer Activity Exhibition

Tattoo Graphic Exhibition

Queer Culture Exhibition

Events Space

Tattoo Studio

Foyer

Presentation Hall

Temporary

Entrance

Queer History Exhibition

Exhibition

Gay Bar

BOH / Core / Goods Lift / Storage Shan Jin / Design Thesis 2021

104/ Program Arrangement / Bubble Diagram

Archive

Massing Iteration IV Parti Diagram: Scene Reorientation

Prologue and Ending Scene 1 Scene 11 Scene 111

2. Break along the scene axial (Transition and Transgression)

3. Programming reoriented

4. Final scene set up Main Program Transition Program Circulation

Shan Jin / Design Thesis 2021

105/ The Arts Center / Massing / Iteration IV / Scene Reorientation

1. Site as a Theatre

Overall Massing Axonometric Diagram

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106/ The Arts Center / Massing / Iteration IV / Axonometric Diagram

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Sketch Design

107

During this chapter that the thesis will provide further detail on iteration four. The idea of the assemblage aims to show that the idea of the difference that being allowed to have space. This thesis will further discuss the idea of breaking boundary. Take transition and transgression as two major key worlds for the next level of detailed design.

This thesis will also discuss that the idea of acceptance as a safe and open welcoming space. Currently, every geometry in massing iteration four has a slightly different orientation. It will take it into the next step to consider how space comes together, also to start exploring that how the design could able to bring the barrier down.

Sketch Design Site Plan

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in Ma ance r Ent

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109/ Sktech Design/ Ground Floor Plan

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Sketch Design Scene I Circulation Diagram

112 / Scene I Circulation Diagram Shan Jin / Design Thesis 2021

Sketch Design Scene II Circulation Diagram

113 / Scene I Circulation Diagram Shan Jin / Design Thesis 2021

Sketch Design Scene III Circulation Diagram

114 / Scene I Circulation Diagram Shan Jin / Design Thesis 2021

a-a’

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Sketch Design Elevation Entrance

116 / Elevation Entrance Shan Jin / Design Thesis 2021

Design Development

What is the experience that the designing aim for?

1. A space that allows the queer culture become a piece of queer architecture itself.

2. Not hidden away but allow people to show how they are.

3. The designing should break the barrier down (the moment of transition and transgression.)

117

In terms of the deigning development this thesis focused more on the planning scale. This thesis proposed various program on site. The process of designing development is more on the program arrangement. To start thinking about how different program can work together. Also to start thinking about how to use the designing to explain what makes the queer space.

Sketch Design Develop Iteration 1 Week 10 - Contextual Study of Boundary

The development started with rethink and reevaluate the historical timeline research on queer culture to start understanding about that what is the boundary but also stat thinking on how to break the boundary down for next designing stage.

118 / Sketch Design Iteration 1

St Mary of the Angels Catholic Church

Gay Liberation Centre

Skorus Books

The Chapter House, St Paul’s Cathedral

Whitehall Guest House

Shan Jin / Design Thesis 2021

Sketch Design Develop Iteration 1 Week 10 - Contextual Study of Boundary

119 / Sketch Design Iteration 1

St Francis’ Church

St Mark’s Anglican Church

St Peter’s Eastern Hill

Carlton Courthouse Theatre

Shan Jin / Design Thesis 2021

Sketch Design Develop Iteration 1 Week 10 - Contextual Study of Boundary

120/ Sketch Design Iteration 1

Annabel’s

Prince of Wales Hotel

Trish’s Bucchi’s Builders Arms Hotel Shed 14, Coffee Continental Victoria Lounge Baths Dock

Shan Jin / Design Thesis 2021

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First Floor Plan SecondFloor Plan

1. Arts Store 2. Historian Significant Exhibition Corridor 3. Staff Office 4. Entry Foyer 5. Information Desk 6. Cloakroom 7. Cruising 8. Australian Gay and Lesbian Archive 9. Temporary Exhibition 10.Queer Show Exhibition 11. Storage 14. Events Space 15. Queer Activity Exhibition 16. Bar 17. Bathhouse Changing Room and Cloakroom 18. Courtyard Sculpture Exhibition

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122 / Sketch Design Iteration 2

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123 / Sketch Design Iteration 2

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1. Arts Store 2. Historian Significant Exhibition Corridor 3. Staff Office 4. Entry Foyer 5. Information Desk 6. Cloakroom 7. Black Box Exhibition 8. Presentation Hall 9. Temporary Exhibition 10. Storage 11. Queer Culture Exhibition Space 12. Events Space 13. Queer Festival Exhibition Space 14. Cafe 15. Queer Artist Workshop 16. BOH 17. Tatto Studio 18. Bathhouse Entry Foyer 19. Tattoo Studio 20. Tattoo Grahpic Exhibition 21. Bathhouse Staff Office 22. Bathhouse Meeting Room 23. Courtyard Sculpture Exhibition 24. Tatto Studio Enter Foyer 25. School / Group Entry 26. Main Entrance

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1. Australian Gay and Lesbian Archive 2. Multi-use Black Box Theatre 3. Rehearsal Room 4. Storage 5. Roof Top Bar 6. Private Bathing 7. Dressing Room 8. Courtyard Sculpture Exhibition 9. Administration 10. Black Box Gallery 11. Massage Room 12. Sauna 13. Foyer

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Sketch Design Develop Iteration 5 Week 12A: First and Second Floor Plan

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129/ Sketch Design Iteration 5

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Shan Jin / Design Thesis 2021

Sketch Design Develop Iteration 5 Week 12A: Ground Floor Plan

130/ Sketch Design Iteration 5 Shan Jin / Design Thesis 2021

Precedents / Skylight UIAC / Landa + Martínez Arquitectos

LOCATION: Leon , Mexico DESIGNER: Landa + Martínez Arquitectos

Figure 24. 45 Degree Roof Note. From UIAC / Landa + Martínez Arquitectos, https://www.archdaily. com/312813/uiac-landa-arquitectos?ad_medium=gallery, Copyright Jorge Vertiz Gargollo.

Figure 25. Skylight of ULAC Note. From UIAC / Landa + Martínez Arquitectos, https://www.archdaily. com/312813/uiac-landa-arquitectos?ad_medium=gallery, Copyright Jorge Vertiz Gargollo.

Shan Jin / Design Thesis 2021

131 / Precedents Analysis / Skylight

The overall building compromise a serious of different concrete framework. One of the most iconic identity of its concrete framework is the 45 degree roof structure. It provides different lighting effects in different time within in a day. The inspiration is from the way that how this 45 degree roof to control the light that affect the perception of within the space. The different lighting environment that breaks the boundary of its rigidity form. Moreover, providing skylight along its 45 degree roof to bringing the light to create more dynamic feeling by using the space in the different time of the day.

132

Final Design Outcome

Final Massing Design Parti Diagram

2. Break along the axial (Transition and Transgression)

3. A constellation of Difference

4. Connection

Transition Program Circulation Main Program

Shan Jin / Design Thesis 2021

133/ Final Design Outcome / Parti Diagram

1. Not Aligning to the normative

Final Design Outcome Overall Massing and Programming

134 /

Scene I:

Queer History makes queer spaces

Scene II:

Queer Culture makes queer spaces

Scene III:

Queer Entity makes queer spaces

Shan Jin / Design Thesis 2021

Final Design Outcome / Overall Massing and Program

Transition

Program Arrangement Prologue:

Scene 1:

Transition:

Entrance Foyer Cloak Room Information Desk Gift Shop

Queer Archive Foyer Archive Studio Public Reading Room Digital Research Room Secure Collection Room

Temporary Exhibition In-door Sculpture Black Box Gallery Exhibition Queer Culture Exhibition Queer Artist Workshop Roof Top Bar Multi-use Black Box Theatre

Scene 2:

Scene 3:

Permanent Queer Fashion Exhibition Cafe Queer Events / Cafe/ Temporary Exhibition Courtyard Sculpture Exhibition

Tattoo Studio Tattoo Graphic Exhibition Bathhouse

Secure Collection Room Gift Shop

Digital Research Room

Roof Top Bar

Cloak Room

Public Reading Room

Administration

Multi-use Black Box Theatre

Queer Events / Cafe/ Temporary Exhibition

Information Desk

Archive Studio

Black Box Gallery

Queer Artist Workshop

Courtyard Sculpture Exhibition

Tattoo Studio

Foyer

Queer Archive Foyer

Cafe

Temporary

Queer Culture Exhibition

Tattoo Graphic Exhibition

Entrance

Transition 1

Exhibition

In-door Sculpture Exhibition

Permanent Queer Fashion Exhibition

Bathhouse

BOH / Core / Goods Lift / Storage Shan Jin / Design Thesis 2021

135/ Final Design Outcome / Program Arrangement

Transition:

Final Design Outcome Overall Massing and Programming

136/

1

2

BOH Circulation Entrance 4

1: Main Entrance 2: School or Group Entrance 3: Independent Entrance (Tattoo studio and Bathhouse) Shan Jin / Design Thesis 2021

Final Design Outcome / Overall Massing and Program

Greenery 3

Final Design Outcome Program allocation

1

3 5

6

7

10 9

11

12

13 13

8

14

Shan Jin / Design Thesis 2021

137/ Final Design Outcome / Basement Floor Plan

2 4

1.Australian Gay and Lesbian Archive 2. Black Box Gallery 3. Administration and BOH 4. Gift Shop 5. Multi-use Black Box Theater 6. Main Exhibition Hall 7. Roof Top Bar 8. Queer Artist Workshop 9. Courtyard Exhibition 10. Queer Fashion Exhibition 11. Cafe 12. Events space / cafe / Temporary Exhibition 13. Bathhouse 14. Tattoo Studio (with graphic exhibition)

Final Design Outcome Exterior View: Main Entrance

138 / Final Design Outcome / Main Entrance Shan Jin / Design Thesis 2021

Final Design Outcome Basement Floor Plan

Basement Floor Plan

0

10

139/ Final Design Outcome / Basement Floor Plan

1. Storage for Australian Gay and Lesbian Archive 2. Plant Room for Australian Gay and Lesbian Archive 3. Storage for Black Box Gallery 4. Plant Room For Black Box Gallery 5. Storage for Main Exhibition Hall 6. Plant Room for Main Exhibition Hall 7. Storage for Tattoo Studio and Bathhouse 8. Plant Room For Tatto Studio and Bathhouse

50 Shan Jin / Design Thesis 2021

Final Design Outcome Ground Floor Plan

Ground Floor Plan

10

up

11 3

1

12

4

13

9

Final Design Outcome / Ground Floor Plan

0

up

10

140/

1. Main Entrance 2. School or Group Entrance 3. Musuem Gift Shop 4. Information Desk 5. Cloakroom 6. Staff Office 7. BOH / Loading / Deliveries 8. Temporary Historic Exhibition 9. Black Box Gallery 10. Archive Studio 11. Archiver Entry Foyer 12. Administration 13. Indoor Sculpture Exhibition 14. Courtyard Sculpture Exhibition 15. Queer Culture Temporary Exhibition I 16. Queer Artist Workshop 17. Permanent Queer Fashion Exhibition 18. Cafe 19. Catering Kitchen 20. Events Space / Cafe / Temporary Exhibition 21. Queer Tattoo Graphic Exhibition 22. Shared Tattoo Room 24. Tattoo Studio Entrance 25. Piercing Room 26 Bathhouse Entrance 27. Exit: only used for events period.

8 4 17 5 24

22

18

5

up

2 6

7

21

25

14

15

19 26

20

5

up

16 27

50 Shan Jin / Design Thesis 2021

Final Design Outcome First Floor Plan

Fisrt Floor Plan 1. Queer Culture Exhibition II 2. Storage 3. Black Box Gallery 4. Public Reading Area 5. Administration 6. Information Desk 7. Rest Room 8. Cloakroom and Changing Room 9. Shared Bathing Pool 10. Sauna

up up

4

141 /

5

10

Final Design Outcome / First Floor Plan

3

1

9

2

up

1 up

6 8

0

10

up

7

2 1

50 Shan Jin / Design Thesis 2021

Final Design Outcome Second Floor Plan

Second Floor Plan

up

2

1

up

142 / Final Design Outcome / Second Floor Plan

1. Seure Collection 2. Digital Research Room 3. Administration 4. Dressing Room 5. Rehearsal Room 6. Multi-use Black Box Theater 7. Back Stage 8. Storage 9. Roof Top Bar 10. Breakout Area 11. Temporary Queer Theatric Exhibition 12. Small Size Bathing Pool 13. Sauna 14. Information Desk 15. Yoga Room 16. Massage Room 17. Skylight

3 17

17 10

4

up

up

12

5

17 6 up

up

10

7 8

8

15 16

8

up

13

16

9

16

0

10

50 Shan Jin / Design Thesis 2021

Final Design Outcome First Floor Plan

143/ Final Design Outcome / Section

0

10

50

Shan Jin / Design Thesis 2021

Final Design Outcome Site Plan

144 / Final Design Outcome / Site Plan Shan Jin / Design Thesis 2021

Final Design Outcome Site Axonometric View

145/ Final Design Outcome / Site Axonometric View Shan Jin / Design Thesis 2021

Final Design Outcome North Elevation

Elevations

North East

Australian Gay and Lesbian Archive

Events Hall Bathhouse 146/

Gift Shop Main Exhibition Hall

Events Queer Artist Space Workshop / Exhibition / Roof Top Bar

BOH and Storage

Administration and Service

South Elevation

East Elevation

Arhive

Events Hall Gift Main Shop Exhibition Hall

Tattoo Studio/ Bathhouse Bathhouse

Events Hall

Tattoo Studio/ Bathhouse

Bathhouse

Queer Artist Workshop / Exhibition / Roof Top Bar Shan Jin / Design Thesis 2021

Final Design Outcome / Elevation

Black Box Gallery

H

BO

En tr y Po in t

to Bl ac k Bo x er

G all y

A Fo rchi ye ve r

147/ Final Design Outcome / Scene I

ic bl ng Pu adi m o Re Ro

ns iti on

A St rchi ud ve io

Co Se lle cur ct e io n

l ita h ig r c D sea m o Re Ro

Tr a

SCENE I

Queer History Makes Queer Space

Shan Jin / Design Thesis 2021

ns iti on

to

Sc en eI I

n tio ra m ist oo in hr m at Ad nd B A

Bl

x Bo k y ac ller a G

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n io at rm fo esk In D

Shan Jin / Design Thesis 2021 ns iti on Tr a

Fr om

Sc

en e

I

Bl ac

k

148/ Final Design Outcome / Transition

n tio ra m ist oo in hr m at Ad nd B A

n io at rm fo esk In D

Tr a

Bo

xG

all er En M tra ain nc e

y A S t r ts or e

TRANSITION Black Box Gallery

Final Design Outcome Black Box Gallery

149/ Final Design Outcome / Black Box Gallery Render Shan Jin / Design Thesis 2021

f af e St ffic O

150/ Final Design Outcome/ Scene II

ak lo C oom R

R To oof p

er at

H BO

Q Ex uee hi r C bi ul tio tu n re II

e Th

H

x Bo

re ltu I Cu n er tio ue ibi h Ex

Q

BO

k

Q

e ur pt all ul Sc n H er tio ue b i Q xhi E

re ltu II Cu n er itio ue hib Ex

Q W uee or r A ks rt ho ist p

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ce

Q Ex uee hi r C bi u l tio tu n re II

s -u

ra n

lt ui

En t

M

M ain

Br e Sp ako ac ut e Te T mp Ex hea ora hi tric ry bi al tio n

SCENE II

Queer Culture Makes Queer Space

Shan Jin / Design Thesis 2021

Final Design Outcome Main Exhibition Hall

151 / Final Design Outcome / Main Exhibition Hall Shan Jin / Design Thesis 2021

n tio bi hi Ex Pa ne l

co Su nda pp r y or Ste t el

Se

n io sh Fa

nt

er ue Q nt

ns lu ce

e an

Tr a

rm Pe

Shan Jin / Design Thesis 2021

M et

al Pa ne

l

n

Sk yli g

pa ce

ht

ts S

/E ve n

152/ Final Design Outcome / Scene III

ib iti o

Ex p M end es ed h Fa Me ca nt de al

on

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iti

ra r

ib xh

/T em po

eE

Ca fe

m

r tu

fro

Sc en eI I

p ul

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Sc

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d

Sc en eI II

ar rt y

to

u Co

fe Ca

Tr an sit io n

TRANSITION

Queer Events Hall

Permanent Queer Fashion Exhibition

A constellation for difference

Exhibition Display (Scene III)

Allowing individual self-expression

Shan Jin / Design Thesis 2021

153/ Final Design Outcome / Permanent Queer Exhibition Display

Space Division: Different Perspective of View

Final Design Outcome Courtyard Sculpture Exhibition

154 / Final Design Outcome /Courtyard Sculpture Exhibition Shan Jin / Design Thesis 2021

Final Design Outcome Event Hall (View From cafe to Queer Fashion Exhibition)

155/ Final Design Outcome / Event Hall Shan Jin / Design Thesis 2021

Final Design Outcome Permanent Queer Fashion Exhibition

156/ Final Design Outcome / Permanent Queer Fashion Exhibition Shan Jin / Design Thesis 2021

T St atto ud io

la Ro xati om o n Re

ea Ar st Re

er ue ic Q aph ion r t G ibi h Ex

e us er ho y th Fo Ba ntry E

S O taf ffi f ce

m

ng

157// Final FinalMassing Design Outcome Design / /Scene SceneI III

o Ro ga Yo

un a

Sa

un a

ng hi

i th Ba

Sa

t Ba all

ed ar

ud io

Sm

Sh

St

SCENE III

Queer Entities Make Queer Space

Shan Jin / Design Thesis 2021

The moment of Transgression

G

ru ga Co r

al ur ct ru St

te d

Co nc

re t

eW al l

Overall Structural Systen Illusration

las f oo sR

158/ Final Design Outcome/ Structure illustration

Waffle Slab System

s us Tr s Sy m te

Shan Jin / Design Thesis 2021

Final Design Outcome The moment of Transgression

Scene II: Queer Culture Exhibition

Staircase From Events Hall to Theater

Shan Jin / Design Thesis 2021

159/ Final Design Outcome / The moment of Transgression

Archive Public Reading Room (View to Staircase)

Final Design Outcome Corridor Through Multi-use Black Box Theater to Breakout Space with a overlook to outside.

Shan Jin / Design Thesis 2021

160/ Final Design Outcome / Multi-use Black Box Theater Corridor

Break the rigidity of the solid wall to bring sunlight in to make the space more open and visible.

Final Design Outcome The moment of Transgression: cafe

161 / Final Design Outcome / Cafe Shan Jin / Design Thesis 2021

The moment of Transition

on iti ns

en Sc

a Tr

eI

Overall Circulation Diagram

162/ Final Design Outcome / Scene III

Tr a

ns iti on

Scene II

en

Sc eI II

Shan Jin / Design Thesis 2021

Final Design Outcome The moment of Transition

163/ Final Design Outcome / The moment of Transition Shan Jin / Design Thesis 2021

Final Design Outcome In-door Sculpture Exhibition Hall

164/ Final Design Outcome /In-door Sculpture Exhibition Hall

The space become the queer culture itself to challenging our perceptions and our thought.

Shan Jin / Design Thesis 2021

Final Design Outcome View to Courtyard Sculpture Exhibition from Main Exhibition Hall

165/ Final Design Outcome / Main Exhibition Hall View out Shan Jin / Design Thesis 2021

Bibliography Text: Akersten, Matt. (2021). Sydney Gay and Lesbian Mardi Gras 1978-2021 Timeline. https://artsandculture.google.com/exhibit/kgKi50Oy5T0TIg Bernard Tschumi Architects. (n.d.). The Manhattan Transcripts. http://www.tschumi.com/projects/18/ Betsky, A. (1997). Queer space : architecture and same-sex desire (1st ed.). William Morrow & Co.

Bell, D., & Binnie, J. (1994). All hyped up and no place to go. Gender, Place & Culture: A Journal of Feminist Geography, 1(1), 31. https://doi. org/10.1080/09663699408721199 Browne, K. (2006). Challenging Queer Geographies. ANTIPODE, 5, 888-889 .

Chisholm, D. (2005). Queer constellations : subcultural space in the wake of the city. University of Minnesota Press.

Flood, R. (1983). “Extended Sensibilities: Homosexual Presence in Contemporary Art”. The New Museum: Artforum International, 21(7), 72–73.

Gieseking, J. J. (2020). Mapping lesbian and queer lines of desire: Constellations of queer urban space. Environment and Planning D: Society and Space, 38(5), 941–960. https://doi.org/10.1177/0263775820926513 Giffney, N. (2004). Denormatizing Queer Theory: More Than (Simply) Lesbian and Gay Studies. Feminist Theory, 5(1), 73–78. https://doi. org/10.1177/1464700104040814 Jack Halberstam, J.(2005). In a Queer Time and Place : Transgender Bodies, Subcultural Lives. NYU Press.

Kirby, E., Watson, A., Churchill, B., Robards, B., & LaRochelle, L. (2021). Queering the Map: Stories of love, loss and (be)longing within a digital cartographic archive. Media, Culture & Society, 2021. https://doi.org/10.1177/0163443720986005

Shan Jin / Design Thesis 2021

166/Bibliography

Bell, D., & Valentine, G. (1995). Mapping desire : Geographies of sexualities (p.4). Routledge.

Knopp, Lawrence. (1995). Sexuality and Urban Space: A Framework for Analysis. In Bell, D., & Valentine, G (Eds.), Mapping desire : Geographies of sexualities (p.136-150). Routledge.

Morton, Pat and Robbins, Mark. (1995). Compare and Contrast: Mark Robbins' Borrowed Landscape. Oz: Vol. 17. https://doi.org/10.4148/2378-5853.1273 Hunt, Richelle & Long, Warwick. (Presenter). (2021). The impact of Sydney's Mardi Gras and Pride Events. [Audio podcast]. https://www.abc.net.au/radio/ melbourne/programs/theconversationhour/the-conversation-hour/13199074 Robards, B., Watson, A., Kirby, E., Churchill, B., & LaRochelle, L. (2020 Mar 5). Queering the map: physical traces and digital places of queer. AoIR Selected Papers of Internet Research, 2020. https://doi.org/10.5210/spir.v2020i0.11319 Saslow, James. (n.d).“Closets in the Museum: Homophobia and Art History,” in Larry Gross and James D. Woods (Eds.), The Columbia Reader on Lesbians and Gay Men in Media, Society, and Politics (New York: Columbia University Press, 1999).

Sincavage, H. (2019). Loud Silence: Expressions of Activism. Wilkes university: Sordoni Art Gallery.

Tschumi, B. (1994). Architecture and disjunction. MIT Press.

Vidler, Anthony. (1978). “The Scenes of the Street: Transformations in Ideal and Reality, 1750-1871,” in Stanford Anderson (Eds.), On Streets (Cambridge, Mass.: MIT Press, 1986), pp. 29-32.

West, C. & Zimmerman D. (1991) Doing gender, in: J. Lorber & S. Farrell (Eds.), The Social Construction of Gender (13-38). London, Sage.

Willett, G., Bailey, A. Jones T, W. and Rood, S. (2021). A History of LGBTIQ+ Victoria in 100 Places and Objects. Australian Queer Archives. https:// queerarchives.org.au/posts/latest-news/a-history-of-lgbtiq-victoria-in-100-places-and-objects/ Zebracki, M. (2017). Homomonument as Queer Micropublic: An Emotional Geography of Sexual Citizenship. Tijdschrift Voor Economische En Sociale Geografie, Journal of Economic & Social Geography, 108(3), 345–355. https://doi.org/10.1111/tesg.12190

Image Figure 1: Loid, Annie. (2020). Orlando: A Biography. INDEPENDENT. https://www.independent.co.uk/arts-entertainment/books/features/indy-bookclub-virginia-woolf-orlando-lesbian-love-letter-gender-lgbt-a9593041.html Shan Jin / Design Thesis 2021

167/Bibliography

Simmons, W. J. (2018). Signifying Queerness: Literature and Visual Art. In Living Out Loud: An Introduction to LGBTQ History, Society, and Culture. New York, NY: Routledge, 2019.

Figure 2: Tsui, Enid. (2017). Chinese artist Xiyadie’s paper cut Door. South China Morning Post. https://www.scmp.com/culture/arts-entertainment/ article/2099008/taipei-showcase-lgbtq-themed-asian-art-thats-timely-after Figure 3: Hu’s Art Company. (2017). Spectrosynthesis - Asian LGBTQ Issues and Art Now.Hu’s Art Company. http://www.husart.net/en/index.aspx# Figure 4. Gordon Brent BROCHU-INGRAM. (2008). The ‘Queer Space’ drawing Exhibition. Gordon Brent BROCHU-INGRAM.http:// gordonbrentingram.ca/photobased/?p=511 Figure 5: Julien Boudet. (2017). 2017 Haute Couture Paris collection. StyleZeurgeust. https://www.sz-mag.com/news/2017/01/iris-van-herpen-ss17-hautecouture-paris/ Figure 6: Vidler, A. (1978). On Streets. Cambridge, Mass.: MIT Press, 1986.

Figure 8: Vidler, A. (1978). On Streets. Cambridge, Mass.: MIT Press, 1986.

Figure 9: Tehnika, Ellinisticheskaya. (n.d). The Hellenistic Gymnasium of Miletus. Ancient Rome. http://ancientrome.ru/art/artworken/img.htm?id=82 Figure 10: Betsky, A. (1997). Queer space : architecture and same-sex desire (1st ed.). William Morrow & Co. Figure 11: Betsky, A. (1997). Queer space : architecture and same-sex desire (1st ed.). William Morrow & Co. Figure 12: Morselli, Chiara (1995). Guide with Reconstructions of Villa Adriana and Villa d'Este. Roma: Vision s.r.l.

Figure 13: Rufus46 (2008). Amalienburg. Wikipedia. https://en.wikipedia.org/wiki/Amalienburg.

Figure 14: Taylor, JW. (1890). Auditorium Theatre. Wikipedia. https://en.wikipedia.org/wiki/Auditorium_Theatre.

Figure 15: O'brien, Zoie. (2019). Inside Elsie de Wolfe's pre-war party: Eye-opening images of the final lavish bash thrown by the socialite and former actress who had a lesbian lover for four decades tell the tale of her extraordinary life. Daily Mail. https://www.dailymail.co.uk/news/article-6491223/amp/Eye-openingimages-final-lavish-bash-thrown-socialite-Elsie-Wolfe-revealed.html.

Figure 16: Lajara, Ricardo. (2011). What does simultaneity man?.PROJECT PLACE · PA4 10/11. http://pa41011.blogspot.com/2011/03/20110311-quesignifica-simultaneidad.html

Shan Jin / Design Thesis 2021

168/Bibliography

Figure 7: Vidler, A. (1978). On Streets. Cambridge, Mass.: MIT Press, 1986.

Figure 17: Betsky, A. (1997). Queer space : architecture and same-sex desire (1st ed.). William Morrow & Co. Figure 18: Betsky, A. (1997). Queer space : architecture and same-sex desire (1st ed.). William Morrow & Co. Figure 19: Morton, Pat and Robbins, Mark. (1995). Compare and Contrast: Mark Robbins' Borrowed Landscape. Oz. https://doi.org/10.4148/23785853.1273.

Figure 20: Morton, Pat and Robbins, Mark. (1995). Compare and Contrast: Mark Robbins' Borrowed Landscape. Oz. https://doi.org/10.4148/23785853.1273.

Figure 21: Bernard Tschumi Architects. (n.d.). The Manhattan Transcripts. Bernard Tschumi Architects. http://www.tschumi.com/projects/18/.

Figure 22: Bernard Tschumi Architects. (n.d.). The Manhattan Transcripts. Bernard Tschumi Architects. http://www.tschumi.com/projects/18/.

Figure 24: Gargollo, Jorge Vertiz. (n.d.). UIAC / Landa + Martínez Arquitectos. Archidaily. https://www.archdaily.com/312813/uiac-landa-arquitectos?ad_medium=gallery.

Figure 25: Gargollo, Jorge Vertiz. (n.d.). UIAC / Landa + Martínez Arquitectos. Archidaily. https://www.archdaily.com/312813/uiac-landa-arquitectos?ad_medium=gallery.

Image (Historical Significant Timeline and Mapping) All figures for the Historical Timeline and Mapping are retrieved from: Willett, G., Bailey, A. Jones T, W. and Rood, S. (2021). A History of LGBTIQ+ Victoria in 100 Places and Objects. Australian Queer Archives. https://queerarchives.org.au/posts/latest-news/a-history-of-lgbtiq-victoria-in-100-places-and-objects/ 1. Parliamentt House, State Library Victoria.

2/3/4. Coriyule and Mourning Brooch, Coriyule and Brooch: State Library Victoria.

5. Figure 9 St Francis’ Church, State Library Victoria.

6. Swanston and Collins Streets Precinct, SLV, Lyle Fowler, photographer [1936].

7. Letters of George Bateson, Photo John Waugh.

8. John Morrison’s Grave, Photo Sonja Hansen.

Shan Jin / Design Thesis 2021

169/Bibliography

Figure 23: Tschumi, Bernard. (2021). Bernard Tschumi Le Fresnoy, National Studio for Contemporary Arts, Tourcoing, France, Cinematic beams elevation 1992. MoMA. https://www.moma.org/collection/works/476.

170/Bibliography

9. Love Letters between Harry Bruin and Ben Morris, Photo Wayne Murdoch.

10. Alice Anderson’s Grave, Photo Angela Bailey.

11. St Peter’s Eastern Hill, Photo Graham Willett.

12. Alexandra Gardens, Creative Edge Photography, courtesy Midsumma.

13. Robert Storer, A Survey of Sexual Life in Adolescence and Marriage, Photo Wayne Murdoch.

14. Puckapunyal Army Camp,Truth 23 June 1964.

15. St Kilda Precinct, State Library Victoria.

16. Sir Charles Hotham Hotel, AQuA Collection.

17. Val’s Coffee Lounge, AQuA Collection.

18. Bucchi’s Continental Baths, Maggie with Miss Peninsula Sash with Samantha and Honky Tonk, 1991 AQuA Collection.

19. Myer Department Store, State Library Victoria.

20. Le Guide Gris, AQuA Collection.

21/22/23. Gladys Moncrieff ’s Gown and Gloves, Australian Performing Arts Collection.

24. University of Melbourne Precinct, AQuA Collection.

25. Miss Peninsula Sash, AQuA Collection.

26. International Bookshop, Photo Graham Willett.

27. Mae West Club signs, AQuA Collection.

28. The Boys in the Band 1969, AQUA Collection and Australian Performing Arts Collection.

29. Beats Map, AQuA Collection.

30. Les Girls Cabaret souvenir, Private Collection.

31. Annabel’s, Photo Graham Willett.

32. Trish’s Coffee Lounge, AQuA Collection.

33. Prince of Wales Hotel, Photo Graham Willett.

43. Skorus Books, Photo Phyllis Papps.

44. The Chapter House, St Paul’s Cathedral, Photo Graham Willett.

45. Whitehall Guest House, Photo Graham Willett.

46. Gay Liberation Centre, AQuA Collection.

47. Lesbians are Lovely’ Photograph, Photo Ponch Hawkes.

48. Royal Botanic Gardens, With Permission of the Rennie Ellis Photographic Archive.

49. 3CR Community Radio, Photo Graham Willett.

50. Order of Service, Christ’s Community Church, AQuA Collection.

51. St Mary of the Angels Catholic Church, AQuA Collection.

52. 21 Carpenter Street, Bendigo, Photo courtesy of Jamie Gardiner.

53. John Willis Gay and Lesbian Fiction Collection, Photo courtesy of University of Melbourne Archives.

54. Young, Gay and Proud, AQuA Collection.

55. Australian Queer Archives, AQuA Collection.

Shan Jin / Design Thesis 2021

171 /Bibliography

56. Trades Hall Plaques, Photo courtesy Victorian Trades Hall.

57. Victorian Transsexual Coalition Papers, Julian Phillips Collection, University of Melbourne Archives.

58. Daylesford Precinct, Chillout.

60. Sybylla Press and Correct Line Graphics, Photo Graham Willett 61. The Hub, Photo Graham Willett.

62. Mandate, AQuA Collection.

63. ‘We’re Not All Straight in the Garden State’ Badge, Museum Victoria and AQUA collection.

65. Northside Precinct, Star Observer, 30 September 1995.

66. The Red Ribbon, Photo Graham Willett.

67/68. The Shrine of Remembrance, City Rhythm, May 1982.

69. St Mark’s Anglican Church, Photo Angela Bailey.

70/71. Victorian Women’s Liberation and Lesbian Feminist Archives , Courtesy VWLLFA. 72. The AIDS Memorial Garden, AQuA Collection.

73. Gertrude Street Precinct, Photo courtesy of Helen Pausacker.

74. The Metropolitan, National Gallery of Victoria, Melbourne Purchased, 1999 © Courtesy of the artist’s estate.

75. Australian AIDS Memorial Quilt Project, Photo courtesy of Thorne Harbour Health.

76. Johnstone Park, With permission of Geelong Advertiser.

77. Commercial Road Precinct, Photo Angela Bailey.

78. Tasty, AQuA Collection.

79. Hares & Hyenas Bookshop and Performance Space, Photo Nick Henderson.

80. The Floral Clock, AQuA Collection.

81. Positive Living Centre, Photo Angela Bailey.

82. Shed 14,Saturday 27 January 1996. Photo by Angela Baile.

83. Carlton Courthouse Theatre, Photo Graham Willett.

84. Builders Arms Hotel, Photo Graham Willett.

85. Bifocal Newsletter, AQuA Collection.

86. Forbidden Love – Bold Passion: Lesbian Stories 1900s-1990s Exhibition Catalogue, AQuA Collection.

87. The Rainbow Sash, Photo James McKenzie.

88. Lesbians and Gays for Reconciliation Banner, Photo Angela Bailey.

89. Bumpy Favell’s Drag King Collection, Photo Graham Willett.

90. ‘Sex in Australia: The Australian Study of Health and Relationships’, AQuA Collection.

91. Program of the Inaugural Australian LGBTIQ Multicultural Conference , AQuA Collection.

92. Royal Exhibition Building and Carlton Gardens, Photo Graham Willett.

93. OutBlack Poster, Designed by Prima Donna designs; photo by Angela Bailey.

94. Tony Briffa’s Mayoral Robes, Courtesy Tony Briffa.

95. The Great Petition and Women’s Suffrage Petition, Sculpture photo Graham Willett.

96. The Circus Women’s Memorial Bench, Photo courtesy of Jean Taylor.

Shan Jin / Design Thesis 2021

97. Courage 2014, Photo Graham Willet.

98. City of Darebin Rainbow Flag, Courtesy City of Darebin.

99. Ngarigo Queen – Cloak of Queer Visibility, Andrew Curtis.

(the Mardi Gras Timeline)

109. Yang, William. (1985). Rosella Float at Parade. https://artsandculture.google.com/asset/rosella-float-at-parade-william-yang-courtesy-australianlesbian-and-gay-archives/uQEqNIaWFe36CA 110. Jenner, John & Courtesy Australian Lesbian and Gay Archive. (1985). Peter, Philip, Ron and Jeff in the Mardi Gras Workshop. https://artsandculture.google.com/asset/_/EgGkQX3gnok90w 111. Dykes on Bikes. (1988). The First Dykes on Bikes at Parade. https://g.co/arts/gtipy5ESWxQjEoYZ7 112. Unidentified photographer, courtesy Australian Lesbian and Gay Archives. (1988). Diana Ross Chain Reaction Show. https://artsandculture.google. com/asset/_/nAHba40cSctKyw 113. Sydney Mardi Gras. (1989). I Am What I Am Show at Mardi Gras Party. https://g.co/arts/e14y3HUs2h6Ji39g9 114. Davis, Rob. (1990). Mardi Gras Party Government Pavilion Dance Floor. https://artsandculture.google.com/asset/_/DAEmTRRWL_WoBQ 115. James, Jamie. (1993). It Takes Balls To Be A Queen. https://artsandculture.google.com/asset/_/TAEe2ifuOUKkoQ 116. Image Mazz. (1996). Bob Downe on Sydney Opera House Steps. https://artsandculture.google.com/asset/_/nAGi0ZdX2kVQ6Q 117. Hardy, Moore c . (1997). The Lemonheads on Parade. https://artsandculture.google.com/asset/_/GwHwqjj2eBaJqg 118. Hardy, Moore c. (1998). Pam Ann at Fair Day. https://artsandculture.google.com/asset/pam-ann-at-fair-day-c-moore-hardy/BAHwhwIBlo7g4A 119. Hardy, Moore c. (1998). Workshop in Erskineville. https://artsandculture.google.com/asset/_/PwGFM9oCeRPA9g 120. Hardy, Moore c. (1999). AIDS Quilt at Fair Day. https://artsandculture.google.com/asset/_/YQHpnbfWL3u9qw 121. Leuver ,Marita. (2000). 2000 Sydney Gay and Lesbian Mardi Gras Poster. https://artsandculture.google.com/asset/_/IgHxY3aA46goRw 122. Bush, Brett. (2004). 2004 Sydney Gay and Lesbian Mardi Gras Poster. https://artsandculture.google.com/asset/_/EQEZJkU7jl4xEg 123. Mazz Image. (2004). Ron Muncaster at 2004 Parade. https://artsandculture.google.com/asset/_/igGjWU9_psUT6Q 124. Lane, Markham. (2006). You're Not the Only Gay in the Village. https://artsandculture.google.com/asset/_/hAGSwx53dFm1sQ 125. Calilhanna, Ann-Marie. (2007). Pool Party. https://artsandculture.google.com/asset/_/4gE6szaqZxiF0A Shan Jin / Design Thesis 2021

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