_
QUARANTINE STUDIO
VIA THE BACHELOR OF DESIGN PROGRAMME MARCH STUDIO HAS TEAMED UP WITH RMIT UNIVERSITY TO INVESTIGATE THE POSSIBILITY OF ECO-TOURISM IN THE FORMER QUARANTINE STATION AT THE END OF THE PENINSULA.
Situated at the end of the Mornington Peninsula in the Point Nepean National Park in Melbourne’s former Quarantine Station.
The site is a fitting location to host a Design Studio given the recent Government debacle and mismanagement of the Hotel Quarantine System. Whilst we are not proposing to relocate modern-day Quaratining back to the Peninsula, we are questioning and proposing future uses for the largely abandoned buildings littered throughout the beautiful site.
Given Melbourne’s extended lockdown periods and Melburnians’ inability to travel, QUARANTINE STUDIO speculates on the rebirth of regionalism by proposing new local tourism activations. QUARANTINE STUDIO investigates the land, buildings, and structures in and around Melbourne’s original sanatorium, and proposes new uses to what is currently underutilised public land, landscape, and infrastructure.
The Point Nepean National Park has for years been closed off to the public and has only quite recently been opened up to the general public. The many years of isolation have resulted in the preservation of this dramatic landscape. Students were asked to research the site from Bunurong times, through the sanatorium years where ships plagued by illness were Quarantined; through to the defence systems set up during the Gold Rush; and on to the first shot of the First World War. Stories of diseased early settlers, a litany of shipwrecks, and the drowning of Australia’s 17th Prime Minister Harold Holt were unpacked, researched, mapped, and recorded to uncover programmatic opportunities and propose new usages for the land.
Students were asked to review the 2017 Master Plan commissioned by the State Government and currently being implemented by Parks Victoria, questioning its content and identifying opportunities for new programs and subsequent architectural intervention.
Along with the site, the studio focuses heavily on tectonics, materials, and buildability. Active heritage conservation, rather than conservation for conservation's sake will be the driver. Eco-tourism is the intended outcome.
01. FORT CHEVIOT
Fort Cheviot is sited on top of Cheviot Hill, the highest point in Point Nepean National Park.
Cheviot Hill and Cheviot Beach were named after the SS Cheviot, a passenger steamer that left Port Phillip in October 1887. The ship's propeller broke and it was washed up against the rocks. Soldiers from Fort Nepean assisted with the rescue but unfortunately, 35 passengers died. 24 survivors were nursed back to health at the Quarantine Station.
Harold Holt, Australia's 17th Prime Minister also disappeared at nearby Cheviot Beach in 1967.
Fort Cheviot features a concrete entrance and a 20-meter long tunnel piercing the sand dune, formerly used to store ammunition. Upon exiting the tunnel, a circular concrete base, formerly the location of a rotating gun, is the ideal location for an event.
Taking into regards the Burra Charter, students were asked to design a temporary event from materials that could be carried by hand up the hill. Proposals vary from weddings, to bars, to celestial viewing events and everything in between.
/ JAMIE BOND
“The focus on the event is on operable architecture that can be adapted to suit its environment.”
A tent-like structure lifts and falls in response to the sun, rain wind and tidal changes. Three prominent posts are connected to several buoys out at sea, through a series of tensioned pulley systems extending down the cliff face. When the tide goes out, and draws the buoys out to sea, the tensile structure rises. As the tide goes in so too do the buoys, and the lines go slack, causing the PTFE structure to fall.
The proposal memorialises the drowning of Harold Holt at Cheviot Beach in 1967, through the 190 lights marking the pulleys extending down to sea, marking one of Australia’s largest search parties in history. The green lighting is a homage to Holt’s friend Marjory, who quoted that he “slipped under the waves like a leaf being taken out to sea. So quick and so final.”
/ JACK SEEDsMAN
Located in and amongst Fort Cheviot Gunnery and Bunker, this forever changing, transfiguring addition acts as the heart of the Narrows, a place that may be visited throughout the day, unrecognisable each time, transforming from dawn to dusk.
Perched on the brow of Cheviot Hill, it’s remote location invites the creation of a duo of brightly lit extrusions that seemingly grow from the fort signalling the events being held to the surrounding program through their changing skin’s, from the flowing curtains of the morning to the frosted louvers of the afternoon and the exposed insides at night.
On entrance, the once desolate, dark tunnel acts as a pathway towards the gunnery, making use of the old storage rooms as temporary bars come cafes, further framing the brutalist nature of the military structure, through only introducing mirror, scaffolding and light as temporary prosthetics to each space. At the end of the tunnel the true transfiguring nature of the project is revealed.
Paying homage to the gun that once sat in its place, rotating on a series of rails perched above and on the ground to achieve maximum scope, this new addition exaggerates the orbital history of the site, introducing four seperate structures, two seating stands and two shades that rotate freely around and over the old gunnery. Designed to evolve as the day and season’s progress the structure has the ability to combat the strong north-westerly winds of winter by retreating to the most Northern corner of the gunnery or in summer months, unfolding completely to take advantage of the cool southern breeze in the afternoons.
Inviting a vast array of possibilities, the structure play’s host too many events and activities throughout the days and months adapting to the needs of each program. From a yoga studio in the morning to a beach club paying homage to the Portsea beach goers of the 60’s and 70’s to a theatre in the afternoon overlooking a setting sun, or an orchestral stage of an evening and a club late at night.
/ jack seedsman
/ SHEN HAOLIANG
/ LUCAS TOPPI
“The site of Fort cheviot features a circular platform that sinks into the earth around it, extended from a series of fortresses that stem throughout the hill. Due to the unobstructed views to the ocean from this location, I determined that the architecture proposal should embody an ephemeral quality in its materiality and form.”
The selected program was a bar, allowing the focus to be on creating habitable spaces that draw interest and interaction with the surrounding views and beautiful qualities of the site.
“The Forts of Point Nepean embody a rich history into the site’s past. So, any design should be conscious and delicate to the character of the site. As a result, through my process of design throughout the semester, I fell into a relationship with the use of reo mesh and scaffolding, attaining to the notion of the architectures temporal nature and ability to be erected and disassembled. By layering these materials, I was able to achieve my intended occult legibility and delicate relationship to the fortress below and surrounding nature.”
/ ZEPHYR CRAVINO
“Singles who wish to engage in the high paced speed dating experience first visit this explosive site at Fort Cheviot, then once the night comes to its climactic end they can retreat to the cozy overnight stay at Fort Pearce. Their journey at the National Park then stops for a number of years until they eventually return, laiden down with children to the place where they first kindled their love. As a precious momento of this special place the parents find themselves parousing the art gallery for a work that can truly capture the burning feelings they had for one another on that wondrous night. “
“Fort Cheviot is the first stage of this journey and at this point the couple, like everyone else attending the site are single. As people emerge from the softly lit red passageway they come out into the site of the date of their lives. A tensile structure sits almost precariously atop of the fort, its many steel cables running from the geodesic inspired dome that floats at the top of the central steel column and ladder that stand proudly in the middle of the fort.“
/ TYLER FELDMAN
In an effort to amplify an enriched site so full of history and beauty, the architectural design aims to showcase and celebrate the rich history. The architecture becomes the event, boosting knowledge about the heritage while maneuvering between the structures. Shapes are purposefully designed like the cannon that would have originally sat on the site - the telescopes mimic the form and are carefully curated to be placed with a meaning behind what you are looking at. Enhancing these privileged views, the architecture draws back on the site history and pinpoints specific moments in time, taking the natural and reframing it, to appreciate and reflect on this space and time. A curated spatial design between each telescope guides the viewer around and elicits structural sense through the verticals of the forms.
/ YASMEEN OBRIEN
The cardboard structure is generated by the motion of the turbulent ocean that is depicted in the photo. The cardboard tubes wrapped the existing circular site on which the military gun would rotate on. As the structure unfolds in a circular motion in the way a wave would curl. The form curls out directing specific points of sight that frame these views. Views framing out to cheviot beach, the direction of the ‘rip’s entrance and neighboring military fort in the distance on cheviot hill.
/ TARAN PIERCE
An observatory paying respects to the rich history of sailing vessels that were lost to or passed through Port Phillip Heads. Flanked with telescopes in reference to the traditional war vessels and a sweeping form with an open end to the cosmos, this observatory adapts the traditional construction methods of hand-built timber ships. From steam-bent timber to modular construction, the structure lends itself to a temporal nature while allowing an attachment to its surroundings and beyond.
02. NOT FORT PEARCE
We know this lookout as “Not Fort Pearce.”
Not Fort Pearce is buried deep amongst the Moonah. off a random sandy path. Since it is near enough to Fort Pearce and Fort Pearce itself is off-limits due to structural instability, we referred to this little lookout as Not Fort Pearce.
Not Fort Pearce is constructed entirely from off-form concrete. Measuring 7 meters wide and 6 meters deep and facing North East overlooking Port Phillip Bay, it makes the perfect site to pitch up for the night. Students were asked to design a temporary 'glamper' using the lookout as a base. All materials had to be brought in by hand, and students were asked to consider the Burra Charter in the design of their temporary architecture.
/ JAMIE BOND
The project is serviced by a number of ramps and a wet room to accommodate the needs of bike riders, who make up a very large portion of the visitorship to Point Nepean. The design is sort of a nest perched in amongst the vegetation, on top of the existing fort, using the dark, well-insulated interior as a storage space for autonomous systems and services such as a composting toilet pump and tank, grey water tank, and hydronic heating system. The podium portion uses passive ventilation methodologies like a tent and embraces the thermal qualities of hydronic heating during cold parts of the year. With regard to my strategy in relation to the Burra Charter, the intervention cantilevers out towards its north-eastern views to Port Phillip Bay, and so the weight is partially anchored to the fort through steel framing, but also tensioned by a weighted pulley mechanism, preventing the structure from destructively intervening with the heritage-listed fort.
/ ZEPHYR CRAVINO
Fort Pearce, erected during the sites military occupation, is almost completely hidden amongst a dense thicket of native Australian bush, with a boundary of roughly three by seven meters. Although the site is close to a power source it is only accessible by foot along a narrow dirt path. However, the forts size and limited accessibility are easily ignored when placed in contrast with the uninterrupted, sweeping views of the Point Nepean bay that are visible from atop the dense structure. The site is heritage listed, however, it is also suffering from the ware of time and, without attention, it will eventually become useful to no one.
/ LUCAS TOPPI
Not Fort Pearce is located in an isolated site, nestled into the landscape and surrounded by unkempt vegetation. So after drinks at the bar, an overnight stay cabin is located nearby.
In contrast to the previous schemes that either chose to preserve existing qualities or create through destruction, I decided to activate this site with the intent of squatting my design onto the existing fort, becoming the focus and feature of the site. I designed to contradict the idea of heritage and engage with the site though activation, bringing life to an isolated and hidden fort.
/ PIERCE TARAN
Governed by access and temporal nature, the approach of adapting a three material design principle allows the architecture to engage with the surrounding context in a simplistic and informative nature. While the shortlist of materials finds limitations in composition, it simultaneously allows the structure to stay within the confines of its role and environment.
A simple and recognizable form warped into the present through shape and porosity. The structure finds the harsh and hidden qualities of the existing and translates such ideas into a well-considered beacon. The simplicity of the structure allows standard sheeting materials and structural members to have a zero-waste approach. While structural centres compensate for 1200mm Ply, and spans at set production intervals. With a sensible source and application, the project could be erected and removed leaving the consumer and the environment happy.
/ TYLER FIELDMAN
In an effort to being sensitive towards the existing environment and surroundings. This glamper aims to maintain a relationship with the land whilst offering comfort and essential needs for a multiple-night getaway. Utilising a lightweight and simply constructed materials, the glamper is temporal and relocatable. The design has been manipulated with careful consideration of the overpowering surrounding nature, finding an opportunity to nest itself between the existing trees and above the concrete fort. A polycarbonate profile wraps the exterior of the architecture, enlightening and providing an engaging visitor experience and blurring the line between interior and exterior. Fiberglass prefabricated furniture creates barriers between the central room and bathroom while catching and containing water for self-pumping circulation. The architecture is orientated off the axis of the fort to maximise beautiful views, being lifted up to emphasise and detach the existing and new structures while allowing steel pipes to run into the fort below for services. Steel stairs hang from under the architecture to ensure no damage or harm is done to the ground or surrounding fauna. Two bi-folding glass windows situate an experience from the bedroom onto an overhang of netting to allow full immersion within the site. Simple Aramax roofing spans above providing a solid shade roof. The complete structure elegantly defines a non-offensive and exciting solution for a glamper.
/ JIACAN TAN
The main structure of the building are CLT panels, you can pre-made the panel at the factory and assembly it on site, and no extra columns or support required. You can cut the window and door holes on the panel.
The northeast part of the building is fully opened and covered with glass doors and windows to get the best view and sunlight. The west sun blocked by the CLT wall while cut some windows for the lighting.
/ YASMEEN O’BRIEN
In thinking of a temporary structure that can be deconstructed and packed away, I instead was interested in how architecture could biodegrade using organic matter. The recycled timber pallets form the structural frames of the shell. The grid of the pallets creates a perforated boundary between the inside and out, where there are moments of exposure to the outside and other moments of the enclosure. The walls facing towards the northern views are operable to reveal unobstructed views of the site. The architecture when deconstructed to be turned into nutrients combined with the mycelium to promote the growth of new organic matter and can be reused to make molds for furniture.
/ STIRLING CLARKE
/ SHEN HAOLIANG
/ JACK SEEDESMAN
Designed to sit nestled amongst the surrounding Mona Trees and native shrubs the cabin sits perched atop the old gunnery emulating a very light prosthetic addition to the heavy concrete base. Taking full advantage of the sweeping bay views its composition of tonal greens relevant to the site such as the olive stained plywood, monochrome furniture, fixtures and scaffolding allow the cabin as a whole to disappear amongst the flora and into its surrounds. The temporary nature of its construction ensures the existing flora isn’t damaged and once taken down its previous erection isn’t noticed, returning the site to its natural self. The fort allows for the elevation of the cabin, whilst its gunner rooms play host to services required for the cabin and when not assembled, as much of the cabins components that can be stored within.
03. PEARCE BARRACKS
A large concrete slab is all that remains of the ‘Pearce Barracks’ that once housed the men that operated and maintained Fort Pearce, and later, during WWII, the Australian Women’s Army Service.
These women were supported by the regular army in many duties including signals, clerical, range finding, cooks, transport, stores, and medical.
Strategically placed on the Port Phillip Bay side of the ridge, some distance below the ridgeline, the barracks and associated offices, storage sheds, etc. were nestled into the side of the hill – invisible to passing naval ships on the Bass Strait. Behind the barracks is Fort Nepean standing above the jetty and across Port Phillip Bay was Point Lonsdale which also had a battery of 6-inch naval guns plus searchlights as did Queenscliff, background left. Fort Nepean was approximately one mile from Fort Pearce.
One can only assume that both ‘Fort Pearce’ and ‘Pearce Barracks’ were named after senator George Foster Pearce, who was the minister of defence at that time.
Today, some wood-fired barbecues and picnic tables occupy the site with exquisite views across Port Phillip Bay.
/ JAMIE BOND
This proposal for Pearce Barracks Sustainable Fishery and Market aims to minimise the excessive changing of hands experienced in the seafood industry, and in doing so, educate visitors on the processes involved. There is a lot of work in the pipeline currently to introduce more aquaculture and artificial reefs in Port Phillip Bay, in order to encourage marine populations to increase and become sustained within the ecosystem and not over-fished. I’ve proposed my market at a different site, to others due to the Barracks proximity to the marine sanctuary and various reefs extending out from its shores, including the artificial reef that the Victorian Government is tendering for currently.
On a market day, local fishermen who engage in sustainable fishing practices, are invited to go out fishing in the morning, dock their boats at the jetty and then prepare and sell their produce to Point Nepean visitors at the market. I’ve designed a fishery to be a mid-point between the pier and the market so that the stages are kept explicit, and the consumer can move through each space and see the process in motion, as more than just a back of house condition.
04. FORT CHEVIOT BATTERY
Fort Cheviot Battery is sited on top of Cheviot Hill, the highest point in Point Nepean National Park.
/ Jack Seedsman
The most decrepit of the existing forts, Fort Cheviot Battery house required extensive intervention with a rotting ceiling exposing the reinforced steel skeleton within and surrounding flora beginning to penetrate the concrete walls.
The Onsen’s prominent location atop Cheviot Hill creates a conversation with the lower Fort Cheviot referencing the polycarbonate and IBC towers below through a layered mesh cubes and towers that become beacons of light welcoming ships into the bay and the narrows.
On the interior, the distortion of the landscape through a layered steel grid in conjunction with the introduction of a mirrored ceiling further emphasise’s the otherworldly design desired for the masterplan, utilising the thin openings of the existing fort to frame the horizon.
Such as the other projects on the site, the Onsen continues to evolve on each visit. When first erected its raw form brings the addition to prominence in the landscape. However as time progress’ the structures invitation to ‘decay’ see’s the flora take over, creating something new as it begins to blend into the landscape. The concept of a changing skin aims to see the return of individual’s throughout the year as in winter the Onsen may be overgrown and the structure simply a skeleton for a skin of flora but by the height of summer the heat and harshness of the sun see’s the plants retreat and only their vines left as a reminder.
Atop the fort, a tea-house acts as a final destination to the experience taking in the panoramic views that too are constantly changing, affected by not only the Onsen but the other structure’s of the master-plan overlooked.
05. BUILDING 6
"There is nothing more permanent than something temporary”
Constructed in 1963, Building Number 6 was used as Officer Cadet accommodation during the base's time as the Australian Army Officer Cadet School.
Building 6 is a two-storey building constructed of cream brick on a concrete plinth, with gable ends and a shallow gable roof with over-hanging eaves.
Building 6 is prominently sited on high ground, east of the Parade Ground. The location and orientation of the building are considered by Heritage Advisors to be intrusive as listed below by Lovell Chen Architects in the 2017 Masterplan.
"(Building 6) north-south alignment disrupts the overriding historical pattern of east-west orientation and placement for the hospital buildings in particular. This historical orientation is a very significant characteristic of valued development within the site, and highly visible and evident when the site is viewed from the Bay. The siting of Building 6 also has a visual impact on Hospital No. 2 to the east, and interrupts the visual connection between the latter building and the other historic hospitals to the west."
Students were asked to consider the inevitable removal of Building 6 as a way to proposing a new temporary building typology. Students were asked to consider an architecture of removal and reuse, and research ways of activating this disused building, exploiting the site of which it heroically occupies. Students were tasked with activation via proposing a market, the market type of which could be decided at will.
/ YASMEEN O’BRIEN
In an attempt to repurpose the significance of the site, the market is a Moonah tea tree sanctuary that propagates these native trees that are listed as endangered due to the introduced European vegetation that has disrupted the native environment. These Moonah trees are to be sold to the community to be planted on-site to increase the native vegetation, as well as seeds that are collected from existing trees that can be sold to other indigenous nurseries in Melbourne. This native species, Melaleuca Lanceolata has a cultural significance to the Boon Wurrung people as the stringybark was used for clothing and tools. This species is also home to many other native animals, insects, and other living organisms.
/ ZEPHYR CRAVINO
The shattered windows and stained brick walls have been flagged as dramatically detracting from the value of the site. The architectures proximity to road access and its lack of heritage listing open up the possibility for more permanent change, that still utilises the structurally sound building but better harnessed its access to some of the best views in Victoria.
Word had spread quickly that the highly successful Quarantine Art Fair had inspired a repurposing of Building Six into a more permanent gallery and exhibition space. The renovation had seen the decrepit old building paired back to the bare bones of the structure. Leaving only its columns, slab and roof, as the foundation for the new design.
They looked out at the still water as their children played joyously on the park, dancing through the water features that sent streams trickling across rocks and through Australian grasses. Maybe this wouldn’t be the best night of their lives but at least it was a place were they could remember just what that had felt like.
/ SOPHIA RAMIREZ
The aim of this project was to create a type of market of our choosing that draws people to the quarantine site and stand out from the surrounding buildings. The site we were given was building 6 known as the officer courters which has one of the best views of the northern beach. Within this site there we had more freedom and control over designs as this building was scheduled to de demolished we could do whatever we wanted. The small limitations that we did have were to keep the original column grid of the building and not to disturb the natural flora. This map diagram shows the movement of wildlife within the site over the span of 5-6 hours and where and how they interacted within it.”
/ STIRLING CLARKE
/ LUCAS TOPPI
As the retention of the brick façade demanded remedial propping, I was drawn to the possibility of using scaffolding as a temporary intervention for both practicality and design aesthetics.
Throughout the building, my approach was to frame the remains of the buildings interesting features together with the temporary new elements. The presentation of art is featured on a temporary stud wall splitting the floorplate into two gallery sections and able to be demolished after use. Throughout the process of deliberate destruction, I wanted to subtly reference Gordon Matta Clark who opened a dialogue about the character of urban development and the public role of art by puncturing holes through buildings set for demolition. I decided to design similar intersections within my architecture as seen in the insertion of the staircase. I believe Gordon’s narrative on rethinking space through removal rather than addition complements the the brief for the destruction of this building by Parks Victoria, making any addition to the footprint of the project requiring to be temporary in form and material.
/ PIERCE TARAN
An operational brewery utilising the touristic nature of the peninsula by re-engaging the existing infrastructure and collaborating with all-inclusive events. Through encouraging/creating community business, the concept aims to generate consistent engagement with the area and its surroundings. The layout aims to create an intimate setting with refuge-Esque spaces for community and social gatherings. While maintaining the existing building fabric this outcome carefully considers a displacement and disruption of the existing building while bringing new life and spirit.
/ JIACAN TAN
The idea is to make it a ceramic design, education, and sales market. The ground floor mainly used as a market and the north side has a small café for food and drink. The first floor is a workshop and sightseeing balcony. There has a ceramic workshop with full equipment, include a 3D printer that can print ceramic, an art studio for drawing, and new image design. As tile is also a ceramic product, a lot of areas of the building, including the façade, floor and ceiling are planned covered by tiles. The building was planned to be demolished because of its bad condition, less important position, and blocked the view of surrounding buildings, so the south and east side façade will be an image of the blocked view by colorful tiles.
Image Top Right by Lyons Architects
/ SHEN HAOLIANG
/ TYLER FIELDMAN
Building 6 at the quarantine station is set to be demolished by the 2017 Point Nepean master plan. As stated, it detracts from the precinct’s key character zones and view lines as well as having minimal heritage significance. There is significance in the quarantine station being in a national park - a link between landscape and health. Designing a space to revitalise through the existing living geomorphic features. The program is designed to run systematically through the structure and conveys a gentle healing process like the layering of the bore core and a gradual healing process. The majority of the architecture is meshed, responding and highlighting the view that the original building ruined, and allowing for sensitivity towards the landscape, having a seamless indoor-outdoor transition. Controlling the views, the design embraces the nature and landscape and obstructs the views of the neighboring buildings that detract from the purpose of the market of wellness.
The interiority is enriched with multiple elements that break up space and allude to different aspects of the market. Ground-level containing space for wellness treatments, consultations, and a market area where related products and plants can be sold. An atrium tree is situated as you leave the pod-like interior with wooden seats around it. Level 1 functions as a tea and bar room. Tables situated throughout and a bar behind the stairs and potential for something more in the evening, being adaptable and having the ability to transform further. The wellness space is designed to elevate the spirit not only being about the architecture itself but rather the influence it has on the people surrounding it and its relationship with the surrounding nature.
/ jack Seedsman
Located at the Quarantine Station, the entrance to Point Nepean, the vintage market, bar and restaurant becomes the most significant departure from the expected ‘beach-side’ aesthetic of Portsea and Sorrento.
The idea of a vintage market was fitting for the altered building to come, taking something old and using as much of it as possible to create something new, such as a run-down chair, re-upholstered, sanded back and sold off again. The existing steel grid of the Baracks is extended beyond the building foot-print creating outdoor spaces for market stands and seating however as the grid further extends away from the central building it slowly decays to nothing, creating a journey of progression towards the market-hall itself.
The sea views over Port Phillip bay invite a bar atop of the building whilst a restaurant nestled amongst the array of the aluminium rods opposes the bar on the opposite side of the structure, making use of the space all year-round. Within the interior, cuts through the concrete and the removal of decaying window frames and the original ceiling allows for a double height space to occur creating a focal point from the interior spaces within to look onto in the evenings.
