Lissome
Community Centre
A community centre that focuses on revitalising social connections through human movement.
About
the site.
My focus is on the adaptive reuse towards the White Bay Power Station and how it will provide opportunities with careful consideration that the redevelopment does not conflict with or compromise ongoing flexibility in port and maritime operations.
WBPS is located in Rozelle, a suburb in the inner west of Sydney. Rozelle has an overall demographic population of approximately 8800 people with the median age being 38.
Surrounding, there are residential, commercial and industrial zones that situate the suburb. As WBPS is situated around the industrial and commercial zones, the traffic will be on the higher noise scale.
WBPS is situated in a high traffic area due to the major roads that surround it (Victoria Rd and Anzac Bridge) as well as the local community's surroundings.
There is also temporary construction happening on the corner of Mullen St and Robert St.
There are currently bus stops and light rails close by the site.
analysis.
The Chimeneys.
The dominance of the two chimney stacks are a significant reminder of modernisation of the Power Station but also as an integral part of the system for exhausting waste gasses.
+ potential use to reconnect to boiler house and create open communal spaces.
- needs to be treated for corrosion with ongoing painting maintenance in the future whilst retaining identity to space.
The Boiler House.
The significance of the existing machinery and equipment housed in the Boiler House is such that no item may be removed without depleting the integrity of the whole.
+ Voids can be used occupied by min.75% and used for a vertical connection.
- All machinery and associated equipment is to be retained in situ and conserved, maintained and interpreted.
The Coal Handling Shed.
The Coal Handling Shed, specifically the elevator tower, have been identified as highly significant in the outline of WBPS. The machinery associated in the shed is to be retained.
+ Major machinery and equipment lies in the northern end of the shed, leaving more space for adaptive reuse opportunities.
- The preferred option for the shed and machinery contained is for the retention of the whole.
The Ash Tower.
The Ash Tower is exceptionally significant in the WBPS as it is a reminder of the generation of electrical power through coal firing and steam raising. It should be retained and conserved.
+ The Ash Tower can be interpreted as a physical link to the coal transporter.
- The Ash Tower should all be retained and conserved being exceptional significance.
The Coal Transporter.
The Coal Transporter holds iconic and high visual significance of the function of WBPS. It's a connection to the boiler House and its configuration, form, surface and texture identifies as high significance to the community.
+ Opportunity for access between Boiler House and Coal Handling Shed.
- Configuration, form, texture and rusting steel surfaces should all be conserved.
Adaptive Reuse.
WBPS
5 foundational influences of an adaptive reuse project:
1. Owner/organisation
The proposal and development of WBPS will meet the functional needs and future aspirations of the Bays Precinct vision.
2. Community/society
The community of Rozelle/Balmain will influence the development of WBPS as it remains a significant reminder of the past in the area.
3. Design
Creating designs that revolve around the aesthetics, environment and demographics of the local community of Rozelle.
4. Economics
Lack of amenities and communal spaces around the site open up opportunities for new and improved amenities and businesses.
5. Heritage
Remembering and preserving the historic past by creating a shared experience of learning and celebrating heritage.
Carriage Works Art Centre 2006
by TZG Architects
Carriageworks is a new home for contemporary arts in Sydney. It has been adapted into an innovative new centre committed to the conception, development and presentation of a wide spectrum of performance. It is a great example of adaptive reuse that has sustained heritage elements and incorporated modern, contemporary features too.
The adaptive reuse of the WBPS for a range of commercial, community and educational uses could provide a new focus to the Bays Precinct representative of its history, and is supported by all Taskforce members, industry groups and local communities.
The renewal opportunity includes potential to provide a significant public domain space in from of the Power Station where the fence can be removed in the forecourt to provide access to the waterfront, while retaining the new port road and future opportunities for pedestrian, cycle and transport access.
WBPS
The Opportunity For Sydney.
The NSW Government's Ambition for The Bays Precinct is:
"To Drive an internationally competitive economy, through the creation of great destinations on Sydney Harbour that will transform Sydney, New South Wales and Australia."
Infrastructure +
Integration
New Centres + Diversity of Use
Local Connections
Places + Spaces
Waterfront Activity
Future Form + Character
Precinct Sustainability
WBPS
The Opportunity For Culture.
Culture provides us with the lens through which we see and interpret the world. Cultural infrastructure; the places where we come together to create, participate, share, learn, store, practice, express or experience, provides us with many benefits both local and global.
Creativity
Social Sustainability
Community Connectedness
Australian Identity
Wellbeing
Education
WBPS
My Vision.
My Strategic Vision is to revitalise the WBPS into a creative precinct that heals the tarnished connection between local, national and global communities due to covid-19, by re-establishing meaningful, shared and physical experiences to create a stronger sense of community.
Community:
To me, Australian culture is about friendship, unification and camaraderie. Building a physical sense of community that was lost is a reflection and celebration of the unified culture we have established in Australia. The future of the Bays Precinct relies on community spaces, offering places for recreation, health and diversity, having the potential to be the "physical heart of the surrounding community."
Covid-19:
Covid-19 left a dramatic impact on our social connections and the way we communicate. The isolation and disconnection created a dent in relationships. Because of this, people have to work to re-establish those meaningful, shared and physical experiences that were tarnished due to covid. I want to focus on encouraging this re-establishment and shift to new ways of thinking.
EDI + Sustainability:
equity, diversity and inclusivity is a passion of mine throughout this project. I am creating a range of spaces that can adhere to all people, of all abilities and ages. This will be done through the exploration of sensorial features in my spaces.
Sustainability will be explored through the sourcing of local, innovative and environmentally friendly materials.
Human Movement:
Human movement is an integral part of our health and well-being. Whether this would be through participation or observation, it energises us and fuels our body. My vision for WBPS is to use human movement as a way of bringing people together to heal social connections.
"My proposal will present an Australian cultural precinct that re-establishes, heals and mends social connections in the wake of a global pandemic through the art of creative human movement to create unified, present, connected and physical human-centred experiences."
EDI + Sustainability.
WBPS
EDI:
My proposal aims to provide equal, diverse and inclusive spaces for everyone. The programs I have proposed are available for all age groups, ranging from child care facilities, to rooftop clubs for adults, studio classes for all levels and immersive playgrounds for children. The diverse range of programs allows for all people of the community to interact and engage in the centre.
I have also taken inclusivity into consideration, making sure my design decisions revolving around those who are unable in different areas of life. I have proposed immersive playground spaces with a range of sensorial activities to foster for all children and people. Sensorial stimulation is a great way to ensure inclusivity is adhered to as it allows for engagement through multiple senses.
Sustainability:
I will be exploring sustainability through the optimisation of natural light through the Boiler House. This will be explored through skylights, large open windows and voids.
I will explore sustainability through the sourcing of unique, local, recycled and environmentally friendly materials that provide a sense of place and encourage and sustainability cycle. These will be unpacked further within my key spaces.
Social and psychological sustainability is something else I will explore through organic, curved forms that contribute to our overall well-being in a space. By encouraging inclusivity, social sustainability is achieved and therefore producing a communal centre that optimises social activities.
WBPS
Architectural Gesture.
Relating to my strategy on human movement, I have decided to focus on a tissue that runs through our body as my large gesture. The fascia is a band or sheet of connective tissue that attaches, stabilises, encloses and separates muscles and other organs in our body. It holds together the entired body and can be described as a sticky texture that glides when healthy.
"the glue that holds everything together"
Process:
Initial exploration. I took inspiration from a fascia diagram and explored the repetition of mesh lines to form spaces within my design.
Inspiration:
Web forms become part of the architecture in this example.
Gesture development:
My interior gesture placed in 3D and shown in exploded axo, creating vertical connections and shapes the indoor amphitheate.
it was then developed into more of a web from that created funnel forms in spaces.
this sketch conveys my initial exploration of 'funnel' forms in my vertical connection.
Forms stretch across the interior space to connect everything together.
Exploring my gesture in site plan, marking out pathways in the forecourt for grass vs pavement space.
I then explored 'funnel' at a smaller scale to achieve more of a sticky, web form.
WBPS
Interior Spatial Configuration.
Form Research:
Generated from my architectural gesture, curved forms begin to develop my interior spatial configuration.
"Curves instantly create softness. They make us feel cocooned, safe and warm, and are seen as graceful and feminine." - Michelle Wise.
Through my research, it is psychologically proven that curves are beneficial in interiors as they create a powerful emotional connection from user to architecture. As humans, we naturally long for comfort and softness and curves help generate that emotion.
Taking inspiration from this image, my strategy on human movement is exemplified through these forms that mimic the fluid fascia gesture and generate an organic flow of spatial configuration in the space.
The Fourth Place:
The fourth place is distinguished as a spatial, temporal and managerial 'in-betweenness'. They have a public and anonymous character to them which allow social encounters to occur among strangers. Fourth places have influenced the configuration of my spaces as I design open zones where people can roam and bump into others. This is especially seen in my forecourt space where the journey is very open.
Precedent Study:
- Double Bay Library
Double Bay Library inspired me to optimise the voids in the Boiler house to allow for as much natural light to seep through. It is a great way to also connect levels and allow for unique forms of communication between users.
View Philia:
Optimising harbour views on the rooftop intervention to bring users in.
Entertainer:
Using indoor amphitheatres as a way to make entertaining spaces a highlight in the space.
Channelisation:
Prompting certain circulation through conveyor, transporter and shed to encourage a channelised movement.
WBPS
The Journey.
the process of moving...
1. warm up
3. immerse
2. observe
4. cool down
5. rejuvenate
Whole Site Plan
Whole Site Section
Secondary Space 1
Forecourt Playground.
#QUIRKY #LIVELY #INVITING
Form Strategy:
Introducing fascia forms through pathways that create tunnels in the space.
Form Strategy:
creating connections between interior and exterior of the tunnel to generate a playful atmosphere through form
Inclusive Strategy:
Sound communication through pipes to allow for sensorial connections.
Forecourt Playground
Material + FFE
My forecourt playground holds sustainable and innovative materials that contribute to my overall emotion of playfulness in this space. The use of 3D printing for my tunnel form is utilising modern innovative technology and provides a good alternative to concrete or acrylic. I have also used 'Sea-stone' which is a concrete like material made from shells. This provides a sustainable and innovative alternative while adding to a fun atmosphere.
My FFE focuses on 'Small Revolution' playblocks. This small Australian company transforms plastic waste into seats or table blocks.
1. recycled acrylic sheet
2. sea-stone concrete shells
3. existing gravel
4. recycled plastic
5. 3D printed PLA
6. brass
7. digitally knitted and woven fabric
8. small revolution blocks
9. small revolution blocks
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Forecourt Playground
Details.
Process Sketches:
Strategy:
exploring detail through immersive lights
The Final:
an immersive colour changing tile touch sensitive
a connecting sound pipe with detail lights for playful communication
step light 'stitching' detail
Primary Space 1
Sensory Centre.
Sensory Centre Floor Plan
Sensory Centre Sections
#PLAYFUL #ENERGISING #SENSORIAL
Form Strategy:
playground blocks replicate structural beams to ground people in the space surrounding contrasting mounts
Dialogue Strategy:
contrasting dialogue through materiality and mounted playground forms.
Inclusive Strategy:
exploring sensorial elements, texture and touch to replace visual experiences.
Sensory Centre
Material + FFE
I have explored a range of colouring and tactile materials that are innovative and contribute to my overall emotion of playfulness. A digitally knitten and woven fabric for my fascia form best showcases my movement strategy and portrays a unique approach to materiality and texture. I have used tiles made from recycled glass from microwave ovens. They have a terazzo like quality, making them suitable for many spaces. Contrasting to this, I have used terrazzo for pops of colour, retaining as much concrete form the site for it. I have explored tactility through plywood and recycled plastic blocks, as well as latex foam floorings.
My FFE elements are all from Dowel Jones, including stools in yellow, pink and blue that add features but pops of colour. Pendant light's hung at different heights adds to the playfulness as well as a couch for extra funk.
1. plywood blocks (plyco)
2. recycled glass from microwave ovens
3. terrazzo using retained site concrete
4. recycled plastic
5. latex over polyurethane foam
6. digitally knitted and woven fabric
7. dowel jones couch
8. dowel jones stool
9. dowel jones pendant
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Sensory Centre
Details.
Process Sketches:
Strategy:
exploring details through touch, colour, tactility and sound.
playblock made engaging through 'push lights' and mounts
The Final:
plywood playblock made engaging through engravings, speakers and striplights
playblock made engaging through memory foam 'buttons'
fascia to floor junction explored through 'stitching' and contrasting materials
latex junction explored through 'stitching' strategy
Primary Space 2
Indoor Amphitheatre.
Amphitheatre Floor Plan
Amphitheatre Sections
#POWERFUL #REFLECTIVE #ENGAGING
Light Strategy:
utilising natural light through the void to connect levels and create spotlight for amphitheatre.
Dialogue Strategy:
cutting through the existing to create a contrasting dialogue with proposed.
Inclusive Strategy:
audio described recordings and textured props available for all.
Indoor Amphitheatre
Material + FFE
The amphitheatre has a statement curved wall that reflects rammed earth using clay retained from the existing site. This adds an element of place and earthiness to the space but is contrasted with the merging of terrazzo. The amphitheatre itself is 'grounded' with stone, while the theatre seats are a gradient red/pink colour of microfibre fabric chairs with white detailing. These colours add pops in the space and provide a playful atmosphere against the earthy tones of rammed earth and stone. Knitted fabric is used on the fascia again woven with fairy lights.
FFE is kept simple with an array of Jardan wall lights in red that lines the rammed wall to terrazzo junction in a 'stitch'.
1. rammed earth wall using retained clay from site
2. travertine stone floor (stone and tile)
3. terrazzo using retained concreted from site
4. brass
5. digitally knitted and woven fabric
6. Jardan wall light in red
7. microfibre fabric (warwick)
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Indoor Amphitheatre
Details.
Process Sketches:
Strategy:
exploring junctions through 'merging' and 'stitching' that relates to the human body.
The Final:
'stitching' explored through the merging of contrasting materials, supported by off the shelf items
step detail explores uneven circular floor lights for a playful transition between steps
fascia explored at a small scale with light details for balustrade
bespoke theatre seat with gradient fabric layers, white detailing and stitching onto stone
Primary Space 2
Meditation Pods.
#PEACEFUL #SERENE #ENLIGHTENING
Light Strategy:
using artificial lighting to create a moody and meditative interior space.
Dialogue Strategy:
creating an inclusive space through sound and easy access.
Inclusive Strategy:
contrasting materiality (soft/hard) to create dialogue and add sensorial/textural elements to the pods
Meditation Pods
Material + FFE
The meditation pods have limited materials due to the small space and my want to conserve the original hopper copper material. In my extruded proposed tunnel, I use a terrazzo materials using retained concrete from WBPS as well as a stone ramp that holds highlighted details. Inside the pod is an RJ living pendant with a red warm bulb to generate a red hue. The pod seat is memory foam for sensorial affect. Things are kept earthy and textural, yet pop with lighting affects.
1. terrazzo using retained concrete from site
2. travertine stone (stone and tile)
3. existing copper
4. RJ Living pendant
5. memory foam seat (clark rubber)
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Meditation Pods
Details.
Process Sketches:
Strategy:
exploring contrast to existing through forms, materiality and lighting.
The Final:
Pod seat explored memory foam texture as well as fabric detailing replicating landscapes
Pod junction between existing and proposed is explored through 'stitching' with lights
Pod stone made engaging through engraved words lights encouraging meditation and breath
Primary Space 3
Rooftop Bar.
Rooftop Bar Floor Plan
Rooftop Bar Sections
#POWERFUL #REFLECTIVE #ENGAGING
Light Strategy:
using artificial light to evoke a sense of carefree playfulness, encouraged by fascia forms.
Form Strategy:
fascia form finalises on the roof as it moves away from linear base and celebrates at the top.
Indoor Amphitheatre
Material + FFE
My rooftop bar reflects the same cacophony of materials like my previous spaces, using crushed eggshells for flooring as an innovative and sustainable alternative. this merges with terrazzo as it seeps out and creates an overwhelm of colour. The actual bar uses caesarstone surfaces that add elements of funk to the space as well.
My FFE elements include Jardan table lights that are simply placed on my bespoke tables. I have included a couch from Tom Fereday for seating across the railing and also Dowel Jones bar stools that compliment my playful and carefree atmosphere.
1. caesarstone (calcatta maximus)
2. crushed eggshells, Eggshells Ceramic
3. terrazzo using retained concrete from site
4. recycled pink plexiglass
5. retained concrete from site
6. caesarstone topus concrete
7. digitally knitted and woven fabric
8. Jardan table light in green
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Meditation Pods
Details.
Process Sketches:
Strategy:
exploring 'stitching' linked to the human body through junctions and contrasting material changes
The Final:
rooftop railing explores fascia at small scale accentuated through lighting
bespoke bar table explores 'stitching' between curved edges
lighting above bar reflects a playful alternative to off the shelf pendants
fascia to floor junction is explored through 'stitching' and contrasting materials