[Re]

Fragmented
 This thesis is a reflection on the implications of
Abstract

architecture on the subjects of nostalgia and identity.

The root of this lies in the correlation of field to
memories and experientiality of spaces. A study of
the derelict buildings and forsaken pockets in the
urban fabric that lay in a state of abandonment and
often become subjected to the capitalist-economic
forces, annihilating them from the maps forever. These
buildings and spaces, however non-monumental,
interplay into creation of the identity of cities and are
containers of memories from the past, breed alternate
present atmospheres that are often seen as repulsive
and considered hindrances to the development of
cities. The argument here is that these spaces have
imbued in them, meaning and lost stories, identities
and unique experiences that can be re-breathed as
modest identities of the city. The death of architecture
can be beautifully structured alongside gentrification
of landscapes. They can become ghosts of the city,
existing as the voids, and potentially sprawling out
of their place to infiltrate the ‘clean’ and the ‘new’.
2
This project becomes a critique towards not only how
heritage is engaged with, but uprooting the deep seeded
histories of colonization and the rigid grid system that
have permanently imprinted on the natural landscapes.
These spaces can become places of surreal intersection of
past and present, as an understanding of new methods of
occupation and inhabitation of spaces. They become an
experimental engagement with our lost histories of the land.

The derelict and rejected voids born out of a cycle of

changing construct of identities of and within the city,
often resulting from economic, social and political factors
that become weeds of the replenished grasslands can
potentially have breathe in them new lives through systems
and performances that people then engage with. Rather
than understanding heritage as preservation of facades,
retaining parts of the building fronts as monumental entities,

these buildings that were once ‘spaces’, can be brought

to life as ‘contained voids’ rather than ‘objects’.

Nostalgia of these spaces is understood in analogue

with desire. Memories are fragmented and distorted;
the conceptualization of which is allegorically explored
in the proposed architecture. The thesis sits at the crux
of a conflicting past: the aboriginal and colonial. It
aims to work with the tensions between these critical
historic identities. An influx of varied cultures can sit
within these voids, at the crux of which lies sharing
knowledge and education about the land we stand on.

They then become ‘ghost entities’ that survive through

new cultures and inhabitations, performances and
infrastructures that are reflecting of the past.
A radicalization of derelict architecture and dysfunctional
voids as containers of lost identities that can be revived
through new methods of inhabitation and engagement
with the spaces, not just mere objects of the past. This
becomes a broader inflltration into the urban fabric
of the ‘ghosts’ as a radical disruption of the rigid grid
systems. Letting the inhabitation and function of such en -
tities, that begin to form a part of the voids, be informed
through fiuid cultures manifested in the society, allowing
the ‘ghost entities’ to evolve as a part of the construct,
unrejected. Can the derelict architecture be understood
not as mere weeded objects of unwelcome atmo -
spheres and rather ghosts of the past that live through
the continuous gentriflcation of cities and landscapes?
3
Part B [IV]
Abstract 2
Table of Contents 4
Research Desire 6

Manifesto Methodologies
Inquiries 11
Community of Practice 12
Case Studies of Manifesto 14
[Synthesis] 22
Research Scope 29
Previous Case Studies

Site [Re]Visit
Ghost Landscapes 38
Conditions of the City 42
Faces of the past 45
Hunter Street Morphologies 47

Manifesto
[Narrat]ive 53
Desire 55
Fragments_ 59
Theatre [Markets] 65
Forum of [Systematic] Transitions 95
[Grotto] Galleria for Exhaustion 121
[Three] Victorias 147
Articulative City of Ghosts 179

Revived Ghosts in [Performances]

Country + Regenerated Environments 184
Infrastructural Ghost [Systems] 191
Carbon Analysis 209
Cost Analysis 231

Appendices
Annotated Bibliography 237
Table of Figures 241
Bibliography [others] 247
TABLE OF
CONTENTS
[TRACE OVER]
 Loss
Memories
Post Occupancy
Nostalgia

Curated Chaos
Surrealism
Fragmented

Investigation
Sense ofof
Place
Rituals
Body in Space
Geometric Mind
Derelict
Ghost Landscapes
Translations

Atmospheres
Emotions of the place
Performative

6
Derelict
Forms/ Ghost
Landscapes
Revival of Lost
Cultures

7
8
Manifesto
Methodologies
Critical Case Studies
Inquiries
Community of Practice

9
10
Inquiries
Figure 1: The Reader

“Chaos of the unconscious that signifies the private mind,

away from the order of the social world below.”

Paul Nauge, The Reader [1929-30]

11
 Comm[unities]
Of
Practice
Architecture of Characters
City as a masque

Phantasmagoria
movement.

Diagrams.
event.

Bernard Tschumi John Hedjuk Walter Benjamin

Renowned Swiss- A visionary German-Jewish
French architect American architect cultural critic and
and theorist, and educator. essayist, was
celebrated for His architectural renowned for his
his innovative ideologies profound insights
architectural emphasized on art, literature,
designs and abstraction, poetic and history. His
influential writings design, and work delved into
on the relationship the fusion of art topics like aura,
between space and architecture, urbanism, and
and experience. pushing modernity.
boundaries
in conceptual,
non-conformist
architecture.
12
[WB] “Arcades Project.”
[JH] “Victims”
[OMU] “The City in the City:
Berlin: A Green Archipelago”
[BT] “Manhattan Transcripts”
[BT] “Parc de la Ville”
[BT] “Fireworks”
[BT] “Bridge City, Lausanne”
[JH] “Berlin Masque”
[JH] “Wall House 1”
[MG] “X-Urbanism”
[DD] “Condemned Buildings”

City as an object of Architecture

Architecture is the flction of the

City as a living collage of its

age critiqued in space

fragmented past

Douglas Darden Oswald Mathias Mario Gandelsonas

an influential Ungers An architect and
American architect “Representative theorist whose
and educator, of radical neo- specializations
was known rationalism in include urbanism
for his avant- antithesis with and semiotics.
garde designs, certain trends He explored
merging art and in the new American city
architecture. His avant-garde through his writings
work challenged movements”. and a series of
conventions spatial analytical
and embraced drawings.
experimentation
and complexity.

13
14
Documentation
Movement
Time Study
Events Grammar
Manhattan Transcripts Aesthetics
Tschumi- Politics
Social
Arcades Project
Walter Benjamin-

Analogy
Ghost entities and sub
character
Hejduk- Victims

Manifesto
Working of the structures
in/for the city as a system
Green Archipelago
Unger & Koolhaas- Berlin: A
Figure 2: Manifesto Diagram

15
16
Study
Grammar
Aesthetics
Politics
Social
Arcades Project
Walter Benjamin-

Figure 3: Arcades Project

17
 Manhattan Transcripts
Tschumi-
Time
Movement

Events
Documentation

Figure 4: Manhattan Transcripts

18
 The Manhattan Transcripts
1976-1981

The Manhattan Transcripts proposed to transcribe an

architectural interpretation of reality. The Transcripts’ explicit
purpose was to transcribe things normally removed
from conventional architectural representation, namely
the complex relationship between spaces and their
use, between the set and the script, between “type”
and “program,” between objects and events. Their
implicit purpose had to do with the 20th-century city.

“Architecture is not simply about space

and what happens in space.”

and form, but also about event, action,

19
 Hejduk- Victims
character
Analogy
Ghost entities and sub
Masques
A central recurring
theme of research
in Hejduk’s projects
of that period is the
development of the
concept of “Masques“:
architectural structures
“The task of architects is to capture atmospheres. In the
embodying a
modern architecture, there is no life and consequently no
character, specified
possibility of death.”
more by the construction
of relationships with
other elements than
by a specific identity
and representing the
problematic correlation
between the human
“I don’t make separations between music,
being and the symbols
poetry, buildings etc. They are all structures.
which he’s supposed
t is a language.
to embody. All the
They are parallels that characterize the
projects related to the
world, not just a building.”
“Masques” intervene
in places tied to
a strong collective
memory but laying in
a state of abandon.
Hejduk uses the tool of
the project to revive the
figures that inhabited a
place by putting them in
a relationship with the
contemporary citizens “What architect can give is a spirit
and thus projecting the (aura), which no one else can, in the
site towards its future. fleld of architecture.”

20
Figure 5: Victims

21
22
Manifesto
Working of the structures
in/for the city as a system
Green Archipelago
Unger & Koolhaas- Berlin: A

Figure 6: Berlin: A Green Archipelago

23
24
Dust_
The Ethics of Dust : Jorge
Otero Pailos

Exhaust_
B_mu Tower: R&Sie(n)
Architects

Algae_
EcoLogic Studio

Weed_
nMBA: R&Sie(n) Architects
 Smoke_
Pilot Plant: NL Architects

Debris_
Electric City : Arata Isozaki

Crowds_
The Conventional Hall:
Mies van der Rohe
The performances of the structures to revive
Ghosts and induce nostalgia + inhabitation
Atmospheres
Davide Gissen: Subnature

25
26
27
28
Research Scope
[previous]
Case Studies
Refer to Compendium Part A
[First semester] for details

29
 Douglas Darden
His architecture work was closely
related with literature, so it’s not a
coincidence that his speculative
projects were developed around
historical places, and instead of
solutions to architecture problems, they
offer allegories.

CONDEMNED BUILDINGS
A monument is for forgetting.
A Monument is for remembering.
Temple Forgetful

A house for dying.

A house for Living.
Oxygen House

30
 31
Figure 7: Condemned Buildings-
Drawings
Hostel
Architecture takes possession of a
place.
A Architecture Displaces.
 Mario
Gandelsonas

Perry kulper
Bryan E. Norwood
Juhani Pallasmaa

Gaston Bachelard

Friedrick Kiesler

Andre Breton
Glenn Albrecht
Luis Barragan
Kenneth Frampton

32
 Subnature:
Architecture’s other
Environments
David Gissen

“Subnatural is a realm in which we can rarely exist in the

state that we currently conceive ourselves, both socially
and biologically....They are often used to describe the
passage of societies.”

Petrifying Memories:
Architecture and the
Construction of Identity
Hilde Heynen
“Collective memory is based on lived experiences and is in
diverse, unpredictable ways connected to objects, buildings
or places. The collective memory is multiple and chaotic,
it provides direct links to the past, rather than objectifled
images of history.”

Hearts of the City

Herbert Muschamp
“A great city is a place driven by the conflict
between a desire to expose and even stronger
desire to overlook.”

Monoculturism and
Multiculturism
Thomas Fisher
“Ecology teaches us that diversity evolves: minimum
overall design where diverse communities evolve in
small increments.”

33
34
Annabelle Tan
Past, Present and Post-
Tropicality: Viewing
Singapore through an

Figure 8: Tropicality Collage

‘Infra(-)structural’ Field

Lines

Smout Allen
Figure 9:
Rescue Figure 10: Out of Line
Collage Collage
Lines
Rescue

[Out of Line]
Daniel Libeskind
PotzdamerPlatz

[Case Studies]
35
 Site

36
[Re]Visit

37
 Ghost
Landscapes of
Newcastle
38
 Loss
1830
AA Company
Privatized

Mind
Geometric
Disposition and Stolen

Political systems of
Divide

Aboriginal
Railways
Rivers
Walking Tracks
Sacriflcial
Rituals
Dendroglyphs

Failed Systems
Severed

Ghost Landscapes

Figure 11: Historic Montage

39
‘On [Narrat]ive
Of Boat Harbours_
Of Coal Town_
Of Railways_
Of Shifting Sand Dunes_

40
Newcastle Shorline superim-
posed with coal chutes, old
shoreline and harbours.
Figure 12: Historic Narrative

41
42
The Baths

Conditions of the City of

Newcastle [Identity]
Figure 13: Identifled Ghosts

The Hunter Street Mall

The Car Park

 Image as industrial Steel City
Burial Grounds

Crises and Decay

Hunter Street: Capital hub to vandalized,
disturbed and crime hub due to
abandonment.

Newcastle City Centre has remained dead and

dysfunctional since the closure of BHP Industrial
giant and its transformation from ‘Steel City’ to
a commodified town of a ‘Problem City’. Once
a thriving marketplace, central to a massive
provider of economics and employment through
port and railway activities, the CBD has become
catalyst to a crisis and decay that followed post-
industrialization. The act of abandonment of the
main Hunter Street, as the city saw a decentralized
creation of suburbia conditions, emergence of
new shopping centers and ease of car accessibility
shifted the inhabitants to these now gentrified
suburbs. Now the street survives in the atmosphere
of disturbances, vandalism, and street crime due
to its abandonment. Its breathed new peculiar
conditions of ‘subnature’ (David Gissen) within the
derelict architecture of the space. In an attempt
to revive the dying City Center, the place is
witnessing a rapidly gentrified landscape, wiping
out the atmospheres of the naturally evolved
unique conditions of this City Center, alongside
the history contained within these spaces.
Victoria Theatre
Telstra Building

43
 Top Of Town. South Side of
Hunter St, about 1960’s Buildings
now all Demolished
1960s

Newcastle East End, Commerce

House
1893

LtoR, City Markets, New Market

Hotel , Edward Smith’s City
House, John Hunter
1891

Looking Westt down Hunter St

1959

Figure 14: Facade Chronologies

44
 45
Neo Culturation
Sense of

Cultures
Ownership [?]
Revival of Lost

The creation of new cultural phe-

nomena as a result of the intermin-
gling of separate cultures.
 [Photo Montage]
Hunter Street Occupancy through different Eras
Characteristics and Identities
Figure 15: Street Chronologies

46
47
48
49
 Documentation
Grammar
Aesthetics
Politics
Social
Arcades Project
Walter Benjamin-

Abstraction
Movement
Time
Events
Manhattan Transcripts
Tschumi-

Translation
Ghost entities and sub
character
Hejduk- Victims

Manifestation
Working of the structures
in/for the city as a system
Green Archipelago
Unger & Koolhaas- Berlin: A

50
 This brief views the present conditions of decay and crisis
Manifesto

as an immanent and necessary process built into the

city and its identity itself. This creates an urban dialectic,
which works with the dilapidation, disposition and the
abandoned structures as natural emergent state of the
City. It becomes a series of fragmented machines that
are slowly revived, uncovering and tracing the histories
of lost cultures and systems once contained within them.
They become silent ‘Ghost entities: derelict space and
dysfunctional voids that resulted from capitalist and
gentrifled evolution of the City, that now becomes memory
charged spaces that will induce a surreal intersection of
time. The have frozen cultures of the past, the departed
functions that enriched these spaces that have now been
silenced.’ The true identity of the city resides within these
structures/spaces, which is a “fragmented collection of its
past events clearly visible not a unitary image (of the
city) but a living collage, a union of fragments.” (Ungers).
The brief attempts to rebuild on the existing, drawing new
urban conditions of inhabitation through ‘imprinting’ on
the existing, the historic and present cultures, as a memory
cycle of nostalgia and desire. Once again becoming the
containers of collective memories, as a Re[STRUCTURED]
fragments of the City Center, the Ghosts overtime can
inflltrate the current and evolving urban developments.
This can lead to conditions of tension of survival between
the past, decay and current need of the capital, i.e.,
apartment developments. The City Center, among this
tension, will evolve a new kind of inhabitation, chaotic
and highly fragmented. A new kind of socio-natural-
political inhabitation, which is the true image of this city.

51
‘On [Narrat]ive
Of Ghosts of Hunter
Street_
Of Infiltration_

52
 Emergence of the Ghost
Revival alongside Hunter
Street
Figure 16: Ghost Narrative

53
 The Baths

Urban Voids

Encounters
Inhabitations

Topographies
The Hunter Street Mall

Fabric Grids

54
The Car Park

Burial Grounds

friction b/w voids and

solids
Petrifled fragments
Ownership/ occupancy

Fleeting

Intersecting histories

Disruptions
Sense of Place
Rituals

Decomposed/
Deconstructed

tension of forms

dispositioned geometry
Victoria Theatre
Telstra Building

severed cohesion
Regenerative land

55
56
 Societal/ Cultural Needs
vs [and]
Economic/ Political Needs

Landscape
vs [and]
Geometric

NOSTALGIA
Recent vs [and] Historic

The rejected cultures

vs [and]
Invasive “better” cultures

Process of Giving
vs [and]
Process of Taking

57
58
Fragments_
59
60
 Hun
ter Stre
et

Figure 17: Map of the Street Revived

61
 Body In Space

Fragmented
Occupan
Historic M
Manifest

Culture

Socio-Natural
Alternate Atmospheres

Economic Memory
Tension

Act of Inhabitation

‘On [Narrat]ive Figure 18: Ghost Narrative

Of People_
Of Nature_
Of Structures_

Commentary

Fragility

62
 Derelict/Rebirth
Public

ncy
Montages
to

Identities
Narratives

Allegories
Dialectic

Layering of Memories

Nostalgia Culture Desire

[Past] [Future]
Phenomenology | Surreal
Fluid

Experience
[Representation]

63
64
Fragmentation_1
[Hunter Street Mall]

Markets
[Theatre]
65
 The Collier Inn
1825

The Borough Markets

1870

Construction Fail

The Strand Hotel

1916
ABC Newcastle

Hunter Shopping Mall

1980

Hunter Shopping Mall

[To be Demolished]

66
 121 Hunter Street

Figure 19: Timeline of 121 Hunter Street 67

 Construction Fa

Scaf[folding]

Chaos
Movement + Noise

Fragments of Chara

68
ail
of the tow-
nesses.

Fragments of Spaces
Passages of
Petrifled Voids

acter
ABC Newcastle

69
 Abstraction

Collap
Construction Fa
A construction mistake caused on
ers to collapse onto adjoining bu

Scaf[folding]

Chaos
Movement + Noise
Chance Encounters

Fragments of Char

70
 pse
Fail
e of the tow-
usinesses.

Fragments of Spaces
Passages of
Petrifled Voids

racter
ABC Newcastle

71
72
Translation
 Movement + Noise
Collapse

Fragments of Character
Scaf[folding]
Passages of
Petrifled Voids

Fragments of Spaces
Chance Encounters

Chaos
Collapse

73
 The [present] Hunter Street Mall encapsulates
the ghosts of a Market place and a Theatre as
it’s dominant personalities, before becoming
a shopping center. Among these transitions,
it saw a collapse through construction
failures and the very flrst ABC broadcast in
the history of the city. These events, together
with the past characters and the typologies
of space, are translated into the ideology
of ‘Petrifled Passages’ that encapsulate the
void-al condition of the space. The spaces
are draw from the past lines that become, yet
again, a part of the urban, containing social
spaces for theatrics and markets, inhabited
by fiora and fauna. The noise and chaos is
captured through disarrayed movements, yet
Manifesto

each passage remains a stranger to other,

connecting the abandoned alleyways. Some
held through scaffolding that become a part
of the structure, others commemorating the
bridge to shopping center, the passages
allow for chance encounters, fragmented
and dispositioned. The facades at points are
reimagined as spaces with new functions,
and new voids that connect the alleyways.
74
75
 Body In Space

Fragmented
Occupancy

Culture

Memory
Act of Inhabitation
Tension

No
‘On [Narrat]ive [P
Phe
Of People_
Of Nature_
Of Structures_

Commentary

Fragility

76
 Derelict/Rebirth
Public

Identities
Narratives

Allegories
Dialectic

Layering of Memories

Nostalgia Culture Desire

[Past] [Future]
enomenology | Surreal
Fluid

Experience
[Representation]

77
 Infra[Structures]

Broadcasting tower +
dust collector
Performance
Stage/ Open
Cinema

Pa
ing
a rm
a eF
Bro Alg
Firs adc
a
Nu t Na sting
rse tion S
ry Sto tatio
ryt n f
ell o
ing r
+

78
 Habitat for bird nesting
and capturing of ecologi-
cal sounds

Collapsing Passages

e
ag
ass

79
80
Dust_
The Ethics of Dust : Jorge
Otero Pailos

Sound_
Broadcasting

Algae_
Of Atmo[spheres]

EcoLogic Studio
 Smoke_
Ceremonial

Debris_
Electric City : Arata Isozaki

81
 F

Initial Montages

82
Figure 20: Theatre Market Montages_1

83
 Initial Montages

84
Figure 21: Theatre Market Montages_2

85
86
 [Petrifled Passages] of
Dismantled Markets

Figure 22: Theatre Market Phantasmagoria

87
 Figure 23: Theatre Market Ecologies

88
 [Ecological Sound Capturing
Nesting Grounds]

89
 Noise

Habitat for bird nesting

and capturing of
ecological sounds

Figure 24: Theatre Market Section

90
 [Re] Fragmented old
bridge to the market

Encounters
Chance
Algae Farming Passage

Scaffolded Structure of
the construction failure

Chaos
[Re] Purposed facades as
spaces of inhabitation

Dust Collecting Screen

Collapse

Collapsing Passages
Disarrayed
Movements

Remains of the Hunter

Street Mall

91
Pneumatic Tubes For
water transport + Sound
Nursery

Broadcasting tower +
dust collector
Broadcasting Station for
First Nation Storytelling +
Noise
92
 Montage Strip
Figure 24: Theatre Market Montage Strip

93
94
Fragmentation_2
[Car Park]

of [System]atic
[Forum]
Transitions

95
 Car Park Construction
1961

Labour

Car Park
1970s

Hunter Shopping Mall+

Car park
1980

Demand Politics
Demolition of the Car
Park [Current Site]
2021

Proposed [Stairway to
Heaven]
2023

96
 92 King Street

Figure 25: Timeline of 92 King Street

97
 Labour

Colonial Geometry

Fragments of Spaces

Assembly

98
 debris

Fragments of Character
Grids Demand Politics
Ugliness vs
Gloriflcation
Ground Conditions

System of Movement
Static and frantic

99
100
Abstraction

Colonial Geometry
Labour
The economics of a simple demand cycle.
The act of building/geometricizing.

Assembly
Fragments of Spaces
 debris

Fragments of Character
Grids Demand Politics
Ugliness vs
Gloriflcation
Ground Conditions

System of Movement
Static and frantic

101
102
Translation
 Grids

debris

Ugliness vs
Gloriflcation
Assembly

System of Movement
Static and frantic
Ground Conditions

Colonial Geometry

103
 Sitting in front of the glorious Church is the
[now] demolished Car Park, which has been
questioned for its ugliness and usefulness
to the city center. Derived from the capitalist
conditions and demands for the [then] busy
shopping center, this car park was perhaps the
only systematic station for cars in the city center.
Now the conditions of the site lay barren with
weeds, grafflti, and undulated topography.
This perfectly tensions with the colonial
geometric mind, which was dominant on this
site since the beginning. The future of the site
also was in tension between its gentriflcation
and gloriflcation of Church through ‘Spanish
Stairs’ or ‘Stairway to heaven’. The ghost
of the car park, symbolic of systematic
movement, echoes, and occasional dank
conditions, inhabits the present conditions of
the ground and atmospheres. Rejecting the
grids, tension between geometries, this space
Manifesto

becomes a constant act of construction and

deconstruction of its use as a passageway
and station [Forum] for unheard stories of
the Awaba People. The act of this cyclic
assemblage and disassembly is sought in the
fragmented arrangements of its parts as well
as the exterior of the ghost, which can often
reveal the ugliness in front of the Gloriflcation.
104
105
 Body In Space

Fragmented

‘On [Narrat]ive
Of People_
Of Nature_
Of Structures_

Memory
Act of Inhabitation
Tension

Commentary

Fragility

106
 Derelict/Rebirth

Public
Occupancy

Identities
Narratives
Culture

n
Allegories
Dialectic

Layering of Memories

Nostalgia Culture Desire

[Past] [Future]
Phenomenology | Surreal
Fluid

Experience
[Representation]

107
 Infra[Structures]

System A of Passage
s-
A rt A d

[Control]
le un
u ltip Gro
M bly
sem

Ecological [Park]
System c of Passage
[Uncontrolled]

108
 st
d ca
ro a
b
e into
ssag
Pa

ge
s sa ol]
Pa ntr
B of [Co
m
ste
Sy
Storytelling
Circle of

109
110
Kinetic Facade_
Movement conjunctive
operation
Of Atmo[spheres]

Dank_
Existing conditions + Ecology

Light Movement_
Flickering Movement
 Weaving_
Ceremonial

Landscape Passage_
Olafur Eliasson
Operable Coffering_
Deconstruction

111
112
 113
[Deconstructed] park of
systematic movements
Figure 26: Car Park Forum Phantasmagoria
114
 [Un] severing the Land
Socio Natural Inhabitations
Figure 27: Car Park Forum Inhabited

115
 Ecological [Park] System A of Passage
System c of Passage [Control]
[Uncontrolled]

Gloriflcation
Conditions
Ground

Storytelling Circle

Assembly
Nostalgia
[1970]

[2025]
Culture
[In] Accessible Stairs to

116
 n
Church

Labour

[Control]
Severed Topography

System B of Passage
Rejuvenating Landscape

Deconstructed
Chamfered Ceiling

Passage into broadcast

Movements
[Un] Grided

Desire

[2050]
Flickering Movements of

Figure 28: Car Park Forum Section

Facade

117
118
 Montage Strip
Figure 29: Car Park Forum Montage

119
120
Fragmentation_3
[Newcastle Corporation Baths]

[Grotto]
Galleria for exhau
ustion

121
 Catalyst vs
Execution
Water Reserve
1830

Women and Miners

Fire Engine Station
1886

Carnivals,
Corinthian and
Newcastle Corporation
Cover ups Baths
1888

Adaptive Use
until early 1900s
2004
Chalk Art Project

1938
Process
Demolition under

School of City Arcades

1938

Physical Culture

122
 92 King Street

Figure 30: Timeline of 92 King Street

123
 Desperation
Wells
Beauty and Asb
functionality Am
Art
Societal Needs
Demographics vs economics
Corinthian

Soot/ Mirrors

Fr
Image of Leisure

Ground Reflection

124
 Demonstration
of Power

bestos tiles
merican Style
Fragments of Spaces

Deco

Grotto

ragments of Character Cover Ups

Conceal
Unsullied
Permission and Regress

Performances
Physical Culture

Carnivals
Arena

125
 Abstraction

Needs of the women class for safe space to

flnancial recovery and council’s actions to
Desperation
‘save’ the space.
Wells
of beautiful waters

Beauty and Aes

functionality Ame
Art D
Societal Needs
Demographics vs economics
Corinthian

Soot/ Mirrors

Fr
Image of Leisure

Ground Reflection

126
 Demonstration
of Power

sbestos tiles
erican Style
Fragments of Spaces

Deco

Grotto

ragments of Character Cover Ups

Conceal
Unsullied
Permission and Regress

Performances
Physical Culture

Carnivals
Arena

127
128
Translation
 Demonstration
of Power
Performances
Physical Culture

Cover Ups

Fragments of Character
Beauty and
functionality
Wells
Conceal
Unsullied

Grotto
Fragments of Spaces

Carnivals
Arena

Asbestos tiles
American Style
Art Deco

Soot/ Mirrors

129
 The Corporation Baths house exited on the site
of city’s fresh water source and was a resultant
of demands for a safe bathing space for the
women of Newcastle. However the urgent
need, it underwent a 10 year long debate
before the actual construction and through
its life, struggled to survive economically for
the council and owner. The then uniquely
beautiful faade housed the grotesque
conditions of the baths caused by coal industry
and its workers. There were several times that
the flnances of the place had to look for other
adaptations. The ghost of Newcastle bath
that exhibited unpleasant conditions and lack
of functionality was replaced by the flrst ever
City Arcade, a true cover up with modern glass
and American tiles to ‘rectify’ the problem.
Now laying barren and shut off, the ghost
of this place allegorically refuses to serve a
particular function, becoming a palimpsest
of leisure and physical performances. Each
Manifesto

element shows a desperation for existence,

mechanizing the economy of place: leveraged
to use by people but working towards the
cycle of fresh water. Distorting the notion
of beauty and invitation, it demonstrates
chaos. Chambering exhaustion, the ghost
becomes nostalgic to the grotto of the
baths, and protected beauty of the Arcades.

130
131
 Body In Space

Fragmented
Occupan

Culture

Memory
Act of Inhabitation
Tension

‘On [Narrat]ive P
Of People_
Of Nature_
Of Structures_

Commentary

Fragility

132
 Derelict/Rebirth

Public

ncy

Identities
Narratives

Allegories
Dialectic

Layering of Memories

Nostalgia Culture Desire

[Past] [Future]
Phenomenology | Surreal
Fluid

Experience
[Representation]

133
 Infra[Structures]

Isolating reflecting
passage
Rainwater
Pneumatic tube
collector

M
wa ovem
ter en
dr t p
aw ow
ing er
s s ed
yst fre
em sh

134
 Exhaustion
Gallery
Dysfunctional structures

le
ssib
a cce
Un ol
Po

135
136
Of Atmo[spheres]

Water_
Glass Tiles with water

Pneumatic Tubes_
Water capturing system
 Exhaustion_
Ventilation Systems

Grotto_
Passage of Glass

Light_
Skylight of Colors

137
138
 139
Exhaustion and beautiflcation
[Purifled Distortion]
Figure 31: Grotto Baths Phantasmagoria
 [Baths] of Beautiflcation

140
 Figure 32: Grotto Baths Tensioned Inhabitation

[Arcade] of Exhaustion

141
142
Demographics

collection systems
Reed Rainwater water
Pneumatic tube
collector
[Re] Purposed Truss Rainwater
system from the baths

Exhaustion
Gallery

Pool
Unaccessible
Fresh Water collection
well

water drawings system

Arcadian characteristics of Movement powered fresh
glass and colors

Passage of Glorifled and

Puri
ification

Isolating reflecting
passage

Cover Ups
Dysfunctional structures

Beauty and
Functionality
untainted atmosphere

Figure 33: Grotto Baths Section

143
144
 Montage Strip
Figure 33: Grotto Baths Montage

145
146
Fragmentation_4
[Victoria Theatre]

[Three]
Victorias
147
 First Newcastle
Performance
Theatre Royale
1857
Theatre
Destroyed by
Fire
1859

Courthouse Used as
Theatre
“No Name” 1861

Temple of Drama
Performance in Condemned
Structures New Victoria Theatre
1876
Fire Scare

Rebuilt Victoria Theatre

First Class Hotel with Auditorium
1891

Victoria Talkies
1998
Theatre Store

1954
Facade
Neon Signs on the

1921

148
 8-10 Perkins Steet

Figure 34: Timeline of 8-10 Perkins Street

149
150
151
 Richness and Beauty
P

Tem
Embellishments
Divisions
Suffocation
Fragments of Character
Staging

Ownership
Rebuild
The theatre itself have been staged in
it’s placements and acts of attachment,
occupancy, rebuilding and refurbishments.

Various
Victoria
Abstraction

152
 Constructions and

Grandeous of Space
Theatrics
Crowds and

Luxury in expansion
Celebrations

Performances
Greek Order

Ruins
Fire
Debris
y
mple Of Drama
Ventilations

Orchestrated
Ornamentation
Galleries

Fragments of Spaces

153
154
Translation
 Ruins

Fire
Debris
Grandeous of Space
Luxury in expansion

Constructions and
Theatrics
Ownership
Rebuild

Greek Order
Temple Of Drama
Embellishments

Various
Victoria Divisions
Suffocation
Performances
Fragments of Character

Crowds and
Celebrations

Ventilations
Fragments of Spaces

Richness and Beauty

Orchestrated
Ornamentation
Galleries
Staging

155
 This prideful theatre, known for its grandiose,
began as a small wooden structure behind a
hotel to one of the largest theaters of its time.
Changing ownerships and ever expanding in
the portrayal of luxury, this eventful movement
and formations of Victoria is observed in
three stages, hence the occurrence of the
three Victorias. Attached, adapted and flnally
embodying her own identity, enriched with
embellishments, her faade being the last
to flnish the construction of it. This Temple of
Drama saw celebratory chaos, a division of
crowds and suffocations. The space never
enough and always in need to grow bigger,
it shrouds an internal gentriflcation of glamour
and entertainment. The ghost of Victoria
splits itself into the three historic locations,
attempting to eradicate the wealth division,
yet amplifying the per formative movements
Manifesto

to the dress circle, pit and the stalls. Staged

in itself, the act of occupying the ‘theatre’
becomes the performances in themselves. The
main Victoria inhabits a chaos of stages, that
needs crowding to open up roof ventilation
and provision for electricity. A house of current
conditions of debris and pigeons, the image of
luxury is made redundant. Performances and
construction of space occurs simultaneously.
156
157
 Body In Space

Fragmented
O

Cu

Memory
Act of Inhabitation
Tension

‘On [Narrat]ive
Of People_
Of Nature_
Of Structures_

Commentary

Fragility

158
 Derelict/Rebirth

Public

Occupancy

Identities
Narratives
ulture

Allegories
Dialectic

Layering of Memories

Nostalgia Culture Desire

[Past] [Future]
Phenomenology | Surreal
Fluid

Experience
[Representation]

159
 Body In Space

Fragmented
Occ

Cultu

Memory
Act of Inhabitation
Tension

‘On [Narrat]ive
Of People_
Of Nature_
Of Structures_

Commentary

Fragility

160
 Derelict/Rebirth
Public

cupancy

Identities
Narratives
ture

Allegories
Dialectic

Layering of Memories

Nostalgia Culture Desire

[Past] [Future]
Phenomenology | Surreal
Fluid

Experience
[Representation]

161
 Infra[Structures]

Dance of Suffocation/
ventilation
Stage of Slipping
Performances

Fr

162
 Stages of
Divisions
Audiences
False assembly of

of ion
e nts istort
m D
rag e[s]
g
Sta

163
 Infra[Structures]

The Stalls of Dis-

torted Viewing

164
 n
tio
ec
Proj Dress Circle
ls e
] Fa Galleries
[Re

le
ssib
a cce
Un ol
Po

165
166
Ornament_
Glass Stage
Of Atmo[spheres]

Embellishment_
Distorting Glass Proflles

Ventilation_
Moving roof system
 Pigeons_
Gallery for Pigeons
Debris_
Petrifled Crowd of Debris

Crowds_
vertical moving stage

167
168
Of Atmo[spheres]

Crowds Stall_
Facaded Class Division
Crowds Pit_
Facaded Class Division
 Crowds Dress Circle_
Facaded Class Division

Pigeon_
Lower Gallery Spaces

169
170
 171
[Theatrics] of Tensioned
Occupations
Figure 35: Three Victoria’s Phantasmagoria
 Dress Circle, Galleries and Pits of
Everyday occupation

172
 173
Figure 36: Three Victoria’s Other Faces
 Dance of Suffocation/
Embellishme
orname

ventilation
Stage of Slipping
Performances

Fragments
Stage[s] Di

Orchestration

Figure 37: Three Victoria’s Section

174
 s of
Dramatized Ceiling with

istortion
ornamental dome

entation
ents and
Operable Ventilation

Staging
System based on crowds

Stages of Divisions
Skeleton Fragments for
construction expansions

False assembly of
Debris of the remaining Audiences
stage

Construction and
Theatrics

Old Gallery
Viewing
of Distorted
The Stalls
Galleries
Dress Circle

Expanding Luxury

175
176
 Montage Strip
Figure 37: Three Victoria’s Montage

177
178
Figure 38: Articulation Narrative of Ghosts Revived

179
180
Revived Ghosts in

[Performances]

181
 A design that Instilling a holistic sense of
Collaborative Cultures
Regenerative Design

reconnects humans culture, where we respect

and nature through the land we stand and
the continuous live on and at the same
renewal of evolving time have the ability to
socio-ecological amalgamate a sense of
systems belonging for all the other
cultures: tackling with the
ideas of neo-culturism
respectfully in someone
else’s place.
An aspect of this can
also be creating grounds
for shared knowledge
spaces to increase the
cultural awareness
among people.

182
Socio-Natural Design

Socionature is the
idea that nature and
humanity are one
and the same and
can be thought of or
referenced as a single
concept. A change
in the perception of
how we inhabit the
spaces as a part of
nature instead of
institutionalizing it
to work with our
socio-economic
systems, rather focus
on creation of larger
ecosystem design
practices.

183
184
Co-Habitation
A place for ecosystems to
be created and nurtured by
humans

Water Harvest
Rainwater collection and
puriflcation systems
Figure 39: 7 Petals Ideology
Permeable Landscapes
Environments
Regenerated

Water Management Systems

Solar Facades
Solar power Facade
Communication and movement

Inhabitation
Acceptance of the Past: Nostalgia
Co-existence with nature: Biophilia
Place of Culture creation and
The Living Building Challenge: Petals and Imperatives

celebration
 Salvaged
Re purposing Materials
Bio-materials and environments

Community
Neo-culturation inhabitation
Awareness of Country
First Nation knowledge sharing

Harmony
First Nation Principles of give and
take
Caring for the Country: Agriculture
within the city

185
186
Habiting with
Nature

Knowledge Sharing
Story Telling
 Regenerating Lost native species and
ecosystems to [un]severe the country as
well as learn to co-habit these natural
systems as a part of everyday life to
resonate with principles of working with
country.
The concept of give and take is
elaborated while dealing with sensitive
site [archaeological signiflcance] where
architecture has minimal intervention
while dealing with the landscape and
inhabitation occurs around deliberated
confronting and ‘uncomfortable’ sites.

Figure 40: Socio-Natural Ideology

The idea of imparting knowledge and
Histories
Signiflcant sites

awareness about country by Aboriginal

people has always been immersively
in the country, through story telling and
narration. There is a sense of engagement
with the land and the past cultures that
help build identities among broader
audiences. This methodology of sensitizing
people and revival of culture is attempted
to given a platform in the design where
‘gathering’ spaces are created among
decolonized spaces.
These spaces then can become platform
for collaborating various cultures through
practicing and displaying art that gets
ephemerally contained within and
openly accessible. This can happen on
the [regenerated lands] as a reiteration
of working on landscapes to holistically
immerse in these cultures and be sensitive
to the land where we practice them.

187
188
Bird Sanctuary
Ecological nesting spaces
for birds for holistic socio-
natural living conditions

Story Telling
Circular gathering space
for hearing stories of First
Nation People
 189
Figure 41: Socio-Natural Inhabitation
Cultural Heritage
Preserving and reviving
components of spatial/
intangible lived experiences
of histories signiflcant spaces.
Regenerative Land
Tectonic systems raised
above ground to nurture
native flora on the
uprooted ground
190
 Infrastructural Ghost

[Systems]

191
192
Copper Sheet Archways
24 gauge 22 mm thick 16
oz per sq foot

Re purposed Brick Wall

200 mm salvaged clay bricks
Fragment 1_Systems of Generation

Dust Collector Facade

Latex and pollution transferred
from Market Debris
1200 mm x 1200 mm
Pneumatic Tube Channels
dysfunctional distribution
+ humidifler
 Planter Bed Overhang
embedded into
verandah awning

Steel Truss System

parallel chord floor truss

Pneumatic Tubes + Piping System

Water distribution channels

Hydroponic Farming System

Nursery + Reservoir

Figure 42: Theatre Market Infrastructure

193
194
Figure 43: Pneumatic Tubes
 [Pneumatic Tubes]
History of Hunter Mall contains the story
of use of pneumatic cash systems in the
department stores. This system is fantastically
revived into the Passage of Market’s
ghost as a carrier exchange among
the inhabitants, along side some water
distribution tubes.

195
 Universal I beam Rafters Layer 1
200 ub 22
Solar Facade Panels
2000 mm x 1000 mm

Universal I beam Rafters Layer 2

200 ub 22

Circular Hollow Section Columns

168 dia x 10 mm thick

Stone Footing with Concrete Infill

200 x 200 x 500 mm

Steel Plate
20 mm steel plate drilled into ground

196
 Fragment 2_Systems of Tectonics
Figure 44: Car Park Forum Infrastructure

197
198
Figure 45: Solar Panel Facade
[Operable Solar Panels]

Shadowvoltaic Louvre blade with SolTech Energy frameless glass

125 mm poly-crystalline solar cells panel (40% transparency) modules
is a back 1200mm x 600mmx 6.8mm
hinged system with hidden control 54kw power output
mechanisms integrated within the
main vertical supports
Universal I beam Rafters Layer 1
200 ub 22

Universal I beam Rafters Layer 2

200 ub 22

Connecting Plate

Circular Hollow Section Columns

168 dia x 10 mm thick

Connecting Dowel

Concrete Pier
200 x 200 mm
Stone Face
Undressed
Concrete Footing
500 mm deep
[Exploded System of Coffered Ceiling]

199
 Catchment Area
Part roof catchment area for water
recycling
Repurposed Truss
From the Baths

Rainwater Conveyance
200 mm deep gutter and downspouts
channel

250 UB and column system

Old brackets Repurposed onto the
new beam systems

Rainwater Pretreatment
screen fllters + flrst fiush

Inflow
Greywater Inflow from households

Reed Bed Systems

1000 mm deep gravel and sand bed
for fllteration 1 slope
Water Tank
2000 mm Rain water collection tank +
over flow from recycled water

Pump and Filter + Outflow

Recycled water back to Residences for
toilet flushing

200
Fragment 3_Systems of Recycling
Figure 46: Grotto Infrastructure

201
 Figure 47: Dust Collector

[Dust Collector System]

For the beautiflcation of the baths, there

exists a dust collection system for the soot
formed inside.

202
203
 Suspended Wooden Coffered Ceiling
16” HD T-grid With operable flat panels

Stage Lighting Fixtures (LED)

PAR Can lights suspended down
lighting (1.6 kwh)
Side Wash Flood Lights (3.78 kwh)

Glass Floor on Steel Frame Structure

10 mm multi-laminated glass bonded
panel with sealant joints (flre rated)
75 mm x 50 mm RHS Structural Joists
150 UB columns

Wooden Stage Assembly

22mm Merbau parquet
48mm joist
120mm deep girder
100 mm x 100 mm wooden posts
12mm plywood edge

Existing Ground Slab Conditions

Concerete Slab on Ground

204
 Fragment 4_Systems of Operating
Figure 48: Three Victorias Infrastructure

205
206
 Figure 48: Operable Roof
[Operable Flat Panels]

The design features a series of three 4.3m

x 3.2m windows. The counterbalanced
system is fully automated, utilizing expressed
mechanical gears and chains to create the
unique industrial aesthetic.
Project details
Counterbalance Pivot Windows: Mosman
Architect – panovscott
Construction – All Design Construction

207
 Embodied Carbon
Analysis
[A0-A5]
Within the Whole Life Carbon of a built environment, the first
stage is the Embodied Carbon of construction materials. This
is called the Upfront Embodied Carbon, consisting of pre-
construction, manufacturing and the construction stages of each
material.

Upfront Embodied Energy of the materials used in the Theatre

Market Intervention has been calculated and laid out in the
following segment:

Figure 49: Embodied Carbon Table

This Speculative Project assumes the pre-condition

of a site set to demolish and attempts to retain
parts of spaces as refurbished fragments.
Therefore, there is assumed to be no pre-
construction condition of demolition for Carbon
calculation purposes.
208
 Alternatives for
Lower Carbon Footprint

209
 Figure 50: Embodied Carbon Pyramid

Construction Material
Pyramid
Source: https://www.materialepyramiden.dk/#

210
211
 The interventions have mostly been raised above the ground
in conjunction with Regenerative Design Principles, which
further reduces the overall otherwise required carbon footprint
for these interventions. Permeable grounds are left for
regenerative growth of native flora, having no carbon impact.

Using salvaged materials from the sites is a dominant factor

throughout all interventions. This has been particularity
highlighted in the table above, with the re-use bricks of each
structure. Other than the bricks, most structural parts, like trusses
are also proposed to be re-purposed, hence significantly
reducing the carbon footprint of each of the interventions, since
the carbon is already spent and it is saved from landfill.

Since Concrete forms a major part of new construction for

this particular intervention, an alternative to the traditional
concrete, i.e., ECOPact Low Carbon Concrete is planned to be
used in major slab constructions.
Other alternatives for structural columns and staircases have
been sought, which replace a certain percentage of cement
(impacting major footprint of concrete) with other better
alternatives: Fly Ash, which is more durable, uses less water and
can be more cost effective.

Another aim to reduce carbon impact is the use of sustainability

sourced timber, wherever applicable.

Polycarbonate Sheeting had been used across various areas

of this particular intervention. However, to reduce the high
carbon impacts of this material, composite Biopolymer sourced
from Algea will be used . This is a direct reflection back to the
manifesto of atmospheres that emphasize the conditions of
Algae that can be used to purify the air as well as make the
plastic more biodegradable.
Since algae is proposed to be farmed within the intervention, it
further reduced the carbon impacts at its stages of production.

212
 Embodied Carbon Reduction
Methodologies

213
 Algae Farming

MicroAlgae is used for capturing carbon and sequestration.

Scientists have been involved in bio-capturing CO2 using
algae, and conversion of microalgae biomass containing CO2
into energy (biofuel) or other value-added products.
Microalgae-based carbon capture technology is dependent
on the species of microalgae, cultivation systems, and growth
conditions (e.g., temperature, culture medium, pH, salinity,
turbidity, light intensity, etc.).

Regenerative Landscape

A layer of reviving ghosts is uprooting the ground conditions to

allow regeneration, by planting native trees and creating of
eco-pockets to allow a Country-centric, holistic system that will
help in carbon absorption from the atmosphere.
“Reforestation of landscapes using native tree and shrub
species, termed environmental plantings, has been recognized
as a carbon offset methodology which can contribute to
biodiversity conservation as well as climate mitigation.”
This helps in sequestration and storing carbon in the soil, for
consumption by the microorganism in the ground, helping
create holistic systems.

Urban Farming

Urban farming successfully re purposes city spaces into

sustainable food sources, helping combat issues of climate
change, reduce carbon emissions, helping revive biodiversity
and converse water while becoming a self-sufflcient source of
food. It also becomes an affective use of space, in the current
flght for land, harvesting efflcient methods of city’s holistic
operations as nature centric and not simply human centric
spaces.

214
 Carbon Offsetting
Aside from using materials with low embodied carbon, one of
the key principles for Carbon Offsetting is reducing the Green
House Emissions by providing sources that can absorb the
Carbon released by the built environment and activities around
it. Thus, this project, through planting extensively, having urban
farming and nurseries, ecological pockets, contributes to offset
the Carbon to certain extent.

215
216
 Algae Cultivate
Demonstrates how architecture
can inculcate air puriflcation,
carbon sequestering and food
sourcing through the power of
algae as a photosynthesizer.
Venice Biennale
Bit.Bio.Bot Exhibition

Figure 51: Algae Farming

EcoLogic Studio:

217
218
Figure 51: Carbon Offsetting Methodologies

Regenerative Planting
Algae Production

Hydroponic Farm

219
 In-Use Carbon
Analysis
[B1-B5]
After the fragments are revived successfully and in operation,
they are sought to analogically infiltrate the city. This infiltration
becomes a part of in-use carbon. Apart from this, the spaces
need to be maintained and allow for repair carbon as well.
This speculative project assumes that the ghosts will live and be
repaired for as long, retaining the identity of the city, supported
by new gentrified landscapes. Thus the built form might
potentially incur maintenance and repair carbon exceeding the
assumed lifespan of the built environment.
Maintenance Costs

Repair Costs

220
 221
Replacement Costs
 Rainwater Harvest
Fresh water well
Distribute for farming

Solar Panel Facade

Movement
Energy Supply

Hydroponic Farm
Pneumatic Pipes
Water Supply Tanks

Broadcasting Station
Pneumatic Tubes
Tower

Figure 52: Operational Carbon

222
223
 Operational
Carbon Analysis
[B6]
Operation of the Ghosts can account for a minimum incorporated
functions and subsequent energy + water usage.
The Archipelagic conditions of the interventions (Ghosts) allow
for systems to connect and work holistically, production of energy
and resources contained within these bodies.
That been said,two major
sources of energy and water
production are highlighted here
that help in the reduction of
operational carbon.

Operational Energy
Sample Energy Calculation + Solar
Panel for the Broadcasting Station

Average Energy consumption of a broadcasting

station= 50,000 watts

Assuming the following set of information:

PHOTOVOLTAIC FACADE SYSTEM [Car Park]

Hours of consumption of devices = 8 hours

Charge Controller Efficiency (PWM:80%) = 92%
Average Sun Hours Per day = 10 hours

Energy Required = 40,000 Watts

Recommended Solar Panel System size (off Grid)
=43,480Watts
Recommended Battery Size (24v) = 33,400 Amp-hours

Total Area of Photovoltaic Facade Coverage = 276 sq.m.

Average Power produced per sq.m. = 200 Watts

Total Potential Solar Energy Produced = 55,200 Watts

224
 Water Catchment and Tank Size
Operational Water

Calculation for the Baths

Roof Area = 268.04 sq.m.

Average Annual Rainfall = 1034.5 mm

Water Harvested = 277287.38 litre

Minimum Tank Size =93,000 litre
RAINWATER HARVESTING SYSTEM [Baths]

Operational Water for Hydroponic

Farming within Broadcasting Station

Area of the Reservoir =16.6 x 8.5 m

Depth of the Reservoir = 1 m
Maximum quantity the reservoir can contain = 142758 litre

Average water required for the system = 5-7 liters/

sq.m./per day

Average Total water usage = 987.7 Liters/per day

225
 Hydroponic Farming is one of the three methods of the ag-
tech radical Vertical Farming methods. It uses water instead of
soil to submerge the plant roots and with nutrients added to
the water to constantly feed the plants.

Hydroponic Farming can have several benefits:

1. It needs no soil
2. Conserves water: studies have shown it uses almost 95% less
water than traditional farming methods.
3.Facilitates Micro-Climates by providing perfect conditions for
each crop.
4. With optimal growing conditions, the crops grow faster.
5. Maximizes space utility and therefore reducing cost.
Especially allowing ecosystems to exist within the cities.
6. Requires less labour and produces higher yield

Vertical Farming is introduced in the project as a response

to the socio-natural principle of inhabitation. The desire for
self-sufficient, nurtured environments can be achieved through
this. It corresponds to the First Nation principles of working with
Country, the cyclic give and take. The Ghost of Theatre Market
will contain farming that is nurtured by the residents of the
newly gentrified space, which in turn with provide them with
fresh farm produce. This will create a relationship between
human and nature in the most traditional method.
226
Hydroponic Vertical Farming

Figure 53: Hydroponic Farming

227
Grey Water Recycling
System
Overflow into
storage tank
Reed Bed
System
Grey
Water from
Residences

228
 Residences
Water from
Grey
storage tank
Overflow into

System
Reed Bed

Figure 54: Grey Water Recycling

Reed Beds are aquatic plant based wastewater treatment

systems which allow bacteria, fungi and algae to digest the
nutrient found in wastewater, as a passive biological means
of water purification. A Reed Bed is made up of a rectangu-
lar prism or cylindrical shape, which may be lined with an
impermeable membrane to protect its walls from root pene-
tration, or made from material which is impervious. It is filled
with gravel of various sizes and planted with macrophytes
such as reeds. Primary Treated Wastewater (Blackwater and
Greywater), or untreated Greywater, pass through the root
zone of the reeds where it undergoes treatment via physical,
chemical and biological interactions between the macro-
phytes, micro-organisms, gravel and atmosphere. Inlet and
outlet pipes are positioned below the gravel surface, so that
the water always remains below the surface, thus minimiz-
ing the risk of human exposure to the wastewater, mosquito
breeding and unpleasant odors.
229
 Materials Construction Cost Units
Substructure:

20 MPa concrete in column foundation including

reinforcement (40 kg/cum), formwork, excavation
of equal depth, planking and strutting $ 970.00 cum

Super Structure:
Concrete In-Situ Columns (400 x 400 mm) $ 2,505.00 cum
Suspended flat plate slab (reinforcement 100
kg/cum) :
200mm thick $ 277.00 sqm

Staircase:
In Situ Concrete Staircase rising 3.00 metres
between levels in 1000mm
wide flights with intermediate landing; including
m.s. tubular
balustrade to inner leg (commercial/industrial
standard) :
BASIC standard, monolithic finish to walking
surface,
off-form soffit and edges $ 2,935.00 m/riser
M.s. tubular balustrade to outer perimeter $ 1,140.00 m/riser

Roof:

Steelwork in roof comprising trusses/beams up to

10.0m clear span, purlins, insulation batts on
mesh and finishing with : COLORBOND® steel
coated $ 204.00 sq m
Roof Trusses :
Fabricated from -
Universal sections $ 6,650.00 t
Expanded polystyrene for IRMA roof application :
Class VH - 20mm thick $ 18.65 sq m
Gutters, sumps and downpipes all in standard
materials, for building :
1 - 2 storeys high ; $ 40.10 sq m

External Walls:
20 MPa reinforced concrete wall formed in
standard (Class 3)
formwork and reinforced at the rate of 100
kg/cum : 200mm thick $ 475.00 sq m
Wall : 230mm thick -
Common clay $ 297.00 sq m

Window:
Louvred windows comprising clear glass blades,
aluminium louvre frame and timber surround size
:
640mm high x 1000mm wide with - 4 adjustable
blades $ 502.00 nil
Timber Frame 100 x 25mm plain lining
Local hardwood $ 30.10 m

Archeways:
Profile copper panel all accessories $ 450.00 sq m

Sreens:
Clear or tinted polycarbonate fixed to timber : Ribb $ 42.10 sq m
Re Purposed Material Cost neglection
230 TOTAL
Total Material Used Total Forecasted Cost [Estimate]

32 m³ $ 31,040.00

80 m³ $ 200,400.00

220 m² $ 60,940.00

3 in number $ 8,805.00
1 in number $ 1,140.00

6.5 m² $ 1,326.00

0.5 m³ (0.17 t) $ 1,130.50

435 m² $ 8,112.75
Figure 55: Table of Speculative Cost

1 m² $ 40.10

460 m² $ 218,500.00

1,487 m² $ 441,639.00

72 windows $ 36,144.00

[Speculative] Cost Analysis

112 m² $ 50,400.00

2,500 m² $ 106,302.50
-$ 444,095.00
$ 721,823.85
231
232
 https://youtu.be/KCH0_2nYuWc?si=mrnqVMsjEZrYY2Kc
Figure 56: Physical Model Assemblage

233
 Figure 57: Physical Model
Chronology

234
235
 [Annotated
Bibliography]
Victims: John Hejduk
This work which forms a critical part of Hejduk’s
life , views city as an analogical theatre
of characters containing architecture. An
examination of relationship between society and
city through the lens of theatre. ‘Victims’ is a set of
proposed characters that will ephemerally form
a part of the city of Berlin through a set of rules.

Hejduk, J. (1986). Victims. Architecture Association

London.

The Manhattan Transcripts: Bernard Tschumi

A series of architectural diagrams that explore
the fleld of architecture beyond space and
account for its movements, time and actions.
Transcribing things normally removed from
architecture drawings was the main aim of this
project. It explores new narrative techniques
(cinematic) to evoke new forms of spatial critique.
A study that uses drawings and photographs to
talk events.

Hejduk, J. (1986). Victims. Architecture Association

London.

A City in the City: Oswald Mathias Ungers and

Rem Koolhaas
This groundbreaking manifesto reimagines Ber -
lin as a series of interconnected islands of distinct
urban forms. Ungers and Koolhaas challenge
conventional notions of urban planning, proposing
a dynamic urban fabric with diverse, self-contained
structures. Their thought-provoking vision prompts
reconsideration of spatial relationships and the
concept of urbanity.

Ungers, O. M., & Koolhaas, R. (1977). The City in the

City: Berlin - A Green Archipelago. St Martins Press.

236
Arcades Project: Walter Benjamin
The Arcades Project is Benjamin’s effort to
represent and to critique the bourgeois
experience of nineteenth-century history, and,
in so doing, to liberate the suppressed “true
history” that underlay the ideological mask.
In the bustling, cluttered arcades, street and
interior merge and historical time is broken up
into kaleidoscopic distractions and displays of
ephemera.

Benjamin, W. (2002). The Arcades Project.

Belknap Press World.

Subnature: David Gissen

This book explores the relationship between
architecture and the idea of subnatures: rejected
and non-normative forms of nature that are
envisioned as threatening to inhabitants or the
material formations and ideas that constitute
architecture. Saying that “Nothing is inherently
subnatural in architecture and rather resultant of
social and subsequent architectural practices”,
he talks about certain subnatures like dust,
dampness, crowd, insects, pigeons etc. and how
they can be incorporated in architecture.

Gissen, D. (2009). Subnature: Architecture’s other

Environments. Princeton Architectural Press, New
York.

Condemned Buildings: Douglas Darden

Darden’s 9 projects offer allegorical interventions
in historical places based on ideogramic
process of exploration. They perform as literary
devices for architecture, narrating stories and
performances.

Darden, D. (1993). Condemned Buildings.

Princeton Architectural Press.

237
 X-Urbanism: Mario Gandelsonas
A series of analytical drawings of the American
city that contain formal explorations of urban
fabrics. ‘X-Urbanism raises questions about the
form of the city by examining various conflgu -
rations of urban space, analyzing them in ways
that blur the traditional opposition between
flgure and ground’.

Gandelsonas, M. (1999). X-Urbanism:Architecture

and the American City. Princeton Architectural
Press.

Disorienting Phenomenology: Bryan Norwood

Critically challenging phenomenology as
a pure experience and stem away from
instrumentalization. He argues to understand the
subject of phenomenology as a method vs the
traditional intellectual movement. Not to think
of the subject in opposition to technology, as
conventionally thought.

Norwood, B. E. (2018). Disorienting Phenomenolo-

gy: [Introduction]. Log, 42, 10–22.
http://www.jstor.org/stable/44840723

Solastalgia: Glenn Albrecht

New term that describes environmental distress and nostalgia as
experienced while being a part of the place.

Albrecht, G. (2012, Aug 7). The Age of Solastalgia.The Conversation.

https://theconversation.com/the-age-of-solastalgia-8337

Out of Line [PotsdamerPlatz]: Daniel Libeskind

A project that radically engages with the
dialectics of space as that of confronting
pasts and reimagining the future. A matrix of
intersecting lines that contained in them, memory
fragments, this project is critical exploration
of the past, with mix use functions three
dimensionally structured across the lines.

Studio Libeskind. (n.d.). Potsdamerplatz.

https://libeskind.com/work/postdamer-platz/
238
Dark Emu: Bruce Pascoe
A book that unveils wrongly portrayed history of
pre-colonial Australia. It helps understand and
link various practices of the First Nation peo -
ple that give a broader understanding of their
cultures.

Pascoe, B. (2018). Dark Emu: Aboriginal Australia

and the Birth of Agriculture
. Magabala Books.

Hearts of the City: Herbert Muschamp

A collection of writing published on New York
Times, the city is critiqued uniquely by drawing
on fllm, literature and popular culture. His person -
al experiences of city and evolution draws upon
confiicts: desire to expose and even stronger
desire to overlook.

Muschamp, H. (2009). Hearts of the City: The

Selected Writings of Herbert Muschamp. Knopf
Publishing Group.

Parc de la Villette: Bernard Tschumi

A new way of understanding parks, this project
incorporates urban park based on culture rather
than nature, with unique red enamel street folies
comprising of leisure functions. Like Hejduk, the
master plan is to build over time period of 15
years. The folies are superimposed based on
movement, can be reflected directly onto his
Manhattan Transcripts.

Bernard Tschumi Architects. (n.d.). Parc de la

Villette.
https://www.tschumi.com/projects/104

Bridge City, Lausanne: Bernard Tschumi

A project that re-examines the traditional use of
bridges and make them inhabitable. Working
in correlation with the dynamics created in the
city: horizontal relationships as well as oblique
or vertical ones. It attempts to retain the old,
but views dysfunctional buildings as rendered
useless and city can function with the dichotomy
of renovations and transformation. 239
240
 Figure 1: The Reader 11
Paul Nougé - Alchetron, The Free Social
Encyclopedia. (2022, September 6). Alchetron.com.
https://alchetron.com/Paul-Noug%C3%A9
Figure 2: Manifesto Diagram 15

Figure 3: Arcades Project 17

On Benjamin’s public (Oeuvre). (n.d.). The Public
Domain Review. https://publicdomainreview.org/
essay/on-benjamins-public-oeuvre/
Table Of Figures

Figure 4: Manhattan Transcripts 19

Landingarchitecture. (2013, December 2).
Bernard Tschumi: The Manhattan Transcripts.
Landingarchitecture. https://landingarchitecture.
wordpress.com/2013/12/02/bernard-tschumi-the-
manhattan-transcripts/

Figure 5: Victims-Sketches 21
Sylvester, D. G. (2004, November 1).
Arquitectura y literatura en John Hejduk.
Document - Gale OneFile: Informe
Académico. https://go.gale.com/ps/i.

Figure 6: Berlin: A Green Archipelago 23

jf-jp. (2019, October 13). Tumblr. https://jf-jp.tumblr.
com/
Figure 7: Condemned Building-Drawings 31
Douglas Darden (1951-1996) — theLab-lab. (n.d.).
theLab-lab. http://www.thelab-lab.com/darden

Figure 8: Tropicality Collage 35

KoozArch. (n.d.). https://www.koozarch.com/tag/
bartlett-school-of-architecture

Figure 9: Rescue Lines Collage 35

Rescue Lines — Smout Allen. (n.d.). Smout Allen.
http://www.smoutallen.com/rescue-lines
Figure 10: Out of Line Collage 35
Potsdamerplatz - Libeskind. (2019, October 22).
Libeskind. https://libeskind.com/work/postdamer-
platz/
Figure 11: Historic Montage 39

241
 Figure 12: Historic Narrative 41

Figure 13: Identified Ghosts 42

Figure 14: Facade Chronologies 44

Figure 15: Street Chronologies 47

(2023, June 6). The History of Hunter Street.
soundworld.com.au. Retrieved June 7, 2023, from
http://www.soundworld.com.au/hunter/

Figure 16: Ghost Narrative 52-53

Figure 17: Map of the Street Revived 61

Figure 18: Ghost Narrative 62-63

Figure 19: Timeline of 121 Hunter Street 67

Figure 20: Theatre Market Montages_1 83

Figure 21: Theatre Market Montages_2 85

Figure 23: Theatre Market Ecologies 89

Figure 24: Theatre Market Section 90-91

Figure 24: Theatre Market Montage Strip 93

Figure 25: Timeline of 92 King Street 97

Figure 26: Car Park Forum Phantasmagoria 113

Figure 27: Car Park Forum Inhabited 115

Figure 28: Car Park Forum Section 117

Figure 29: Car Park Forum Montage 119

Figure 30: Timeline of 92 King Street 123

Figure 31: Grotto Baths Phantasmagoria 139

242
Figure 32: Grotto Baths Tensioned 141
Inhabitation

Figure 33: Grotto Baths Section 143

Figure 34: Timeline of 8-10 Perkins Street 149

Figure 35: Three Victoria’s Phantasmagoria 171

Figure 36: Three Victoria’s Other Faces 172

Figure 37: Three Victoria’s Section 175

Figure 37: Three Victoria’s Montage 177

Figure 38: Articulation Narrative of Ghosts 179

Revived
Figure 39: 7 Petals Ideology 185
Polyakova, L. (2023, August 10). Sustainable by
Design: The Living Building Challenge & the
Declare label. The Lighting Agency. https://the-
lightingagency.com/blog/tech-corner/sustain-
able-by-design-living-building-challenge-de-
clare-label/

Figure 40: Socio-Natural Ideology 187

Figure 41: Socio-Natural Inhabitation 189

Figure 42: Theatre Market Infrastructure 193

Figure 43: Pneumatic Tubes 195

Pneumatic networks. (n.d.). http://www.doug-
las-self.com/MUSEUM/COMMS/pneumess/
pneumess.htm

Figure 44: Car Park Forum Infrastructure 197

243
 Figure 45: Solar Panel Facade 199
Shadovoltaic Photovoltaic Glass Louver - Colt
America. (n.d.). https://www.coltgroupamerica.
com/shadovoltaic-photovoltaic-systems.html

Bellini, E. (2021, August 17). New PV facade design

in Sweden. Pv Magazine International. https://
www.pv-magazine.com/2021/08/17/new-pv-fa-
cade-design-in-sweden/

Figure 46: Grotto Infrastructure 201

Figure 47: Dust Collector 202

Paper scrap and paper trim collection Dust con-
trol systems - ERS Engineered recycling systems.
(n.d.). https://engineeredrecycling.com/trim-re-
moval-systems/trim-removal

Figure 48: Three Victorias Infrastructure 205

Figure 48: Operable Roof 207

Tilt. (n.d.). Counterbalanced Pivot Windows. Tilt-in-
dustrial Designs. https://tilt-industrialdesign.com/
projects/counterbalanced-pivot-windows-mos-
man/

Figure 49: Embodied Carbon Table 209

Figure 50: Embodied Carbon Pyramid 210

Figure 51: Algae Farming 217

Aouf, R. S., & Aouf, R. S. (2021b, May 24). Bit.Bio.
Bot exhibition shows how algae can be used as
air purifiers and protein source. Dezeen. https://
www.dezeen.com/2021/05/24/ecologicstu-
dio-algae-bit-bio-bot-exhibition-venice-archi-
tecture-biennale/

Figure 51: Carbon Offsetting Methodologies 218

Figure 52: Operational Carbon 222

Figure 53: Hydroponic Farming 227

244
Figure 54: Grey Water Recycling 229

Figure 55: Table of Speculative Cost 231

Figure 56: Physical Model Assemblage 233

Figure 57: Physical Model Chronology 235

245
 Bibliography [Others]
History:

Collections, S. (2021, July 22). The rise and fall of the

Newcomen-Street Corporation Baths: Newcastle’s
White Elephant - Hunter Living histories. Hunter Living
Histories. https://hunterlivinghistories.com/2021/06/22/
corporationbaths/

Ray, G. (2023, September 14). A trip to “Town”: Newcas-

tle as I remember it. Photo Time Tunnel. https://www.
phototimetunnel.com/a-trip-to-town-newcastle-as-i-
remember-it

THE NEWCOMEN-STREET BATHS. - Newcastle Morning

Herald and Miners’ Advocate (NSW : 1876 - 1954) - 24
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paper/article/132506811?searchTerm=newcomen%20
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Hidden Newcastle - the secret baths under City Ar-

cade - ABC (none) - Australian Broadcasting Corpo-
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photos/2012/06/25/3532494.htm

Willetts, J. (n.d.). City Baths Newcastle. City Baths New-

castle. https://www.freesettlerorfelon.com/city_baths_
newcastle.htm

Newcastle’s history set to shine again. (2023, June 29).

Intouchmag. https://www.intouchmagazine.com.au/
single-post/newcastle-s-history-set-to-shine-again

Timeline — Victoria Theatre Newcastle. (n.d.). Victoria

Theatre Newcastle. https://www.victoriatheatre.com.
au/timeline

246
 Darden, D. (1993). Condemned Building. New York:
Princeton Architectural Press.

Collections, S. (2020, May 19). Victoria Theatre (1891)

VR - technical reconstruction - Hunter Living Histories.
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Duncan, C. (2023, April 19). Victoria Theatre | Lost New-

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Ray, G. (2022, October 8). Robert Sneesby’s eyewitness

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plugged in to the German grid – KoozArch. (n.d.).
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Tebbutt, L., & Tebbutt, L. (2022, January 25). Anja Kem-

pa’s fantastical drawings imagine an artificial spring in
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anja-kempa-remembering-spring-drawings-bart-
lett-tokyo/

Al Jahra Gate Station – KoozArch. (n.d.). https://www.

koozarch.com/archipelago/aljahra-gate-station

247
 Sustainability and Material Research:

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Stahl, M. (2023, September 11). How Hydroponics Can

Help Feed the World While Saving Water — AGRITEC-
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ics-can-help-feed-the-world-while-saving-water#:~:tex-
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us,grow%20a%20head%20of%20lettuce

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Urban Farming, Carbon Footprint Reduction:

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Wolfe, L. (2022, July 22). Offsetting Your Carbon Emissions

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249
 Theoritical and other Case Studies:

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