SECTIONS SQUARED

Welcome to Sections2, where we highlight the very best section drawings from architecture and design students from our many universities.

Buildings, just like humans, experience the test of time, when they are reaching their end, death and demolition. However, we often have the desire to prolong death or try to reach out for the concept of “immortality”. Just like buildings, our desire and affection towards these historical buildings created an increase in heritage preservation practice where our heritage building life is beginning to become younger - 100 years old in comparison to 1000 years.

Unfortunately, too often heritage sites either merely become physical shells of the new or relics to be sanctioned as “significant”, to simply “exist”. Yet, we have a tendency to put our buildings on life support, invading heritage sites with foreign programs that fail to forge a relationship with the past. Do these preservation methods truly extend the life of these buildings or mark the beginning of their death? Therefore, my thesis research aims to define the lifespan of Jack’s Magazine, and explore a method that embraces the loss of the old, in hope to create a transition of heritage building into the new.

SZE MING TAN, Master of Architecture graduate from the University of Melbourne, was born in Malaysia, has lived and studied in Singapore, and is currently based in Melbourne. He has worked at Co - Lab Architecture for the past two years whilst completing his studies. He has participated in multiple architecture design competitions, was the state winner of Superstudio 2018, and has helped publish a design magazine - Global Architecture Profiling (GAP) as graphic designer. Internationally, Tan has participated in various architecture programs worldwide including in Hong Kong, Seoul and Cambodia. He is particularly inspired by Tadao Ando, Carlo Scarpa, their architectural philosophy and detail towards their work.

“If the architecture is any good, a person

WHO LOOKS AND LISTENS WILL FEEL ITS GOOD EFFECTS without noticing.” - Carlo Scarpa

RIGHT The journey begins on the elevated timber platform above the heritage canal that was once used as the entrance. It is a threshold between different versions of Jack’s Magazine. Slowly transitioning down into the river and foundation of the site, visitors can feel the weight and mass of their surrounds within the space, depicting a sense of loss.

TOP LEFT Upon arrival, two vertical retaining walls define the entrance hall where visitors see and follow a long track that was once used for the transportation of gun powder. This pathway leads into the entry hall/chamber within the mounds, where visitors are met with two walls made using existing blue stone reflecting the new and old Jack’s Magazine storage building. BOTTOM LEFT Exiting the long entry tunnel, the visitor arrives at the exhibition hall hosting a memorial of Jack’s Magazine and a living museum of the west. The existing pebbles are left on the middle stand, allowing visitors to take home a piece with them. The act of keeping the pebbles symbolise the responsibility of keeping and remembering the memory of Jack’s Magazine. Once the pebbles slowly disappear, it forms a new gathering spot for future generations and events.

TOP RIGHT Arriving at the end of the ramp, the visitor reaches the peak of the site where the garden and viewing platform showcase both the old and new Jack’s Magazine. In contrast to the tunnel, this provides a more open and light atmosphere, hinting towards a release from the past. BOTTOM RIGHT Exploring the second mound, visitors enter the second exhibition hall where they are met with a void that takes shape of Jack’s Magazine foundation. In addition to a symbol of memorialising Jack’s Magazine, the void has turned into a new opportunity, a new beginning; where landscape and an outdoor platform is inserted carefully into the space, hosting events and exhibitions. The mega-columns erected from the void, hold up the proposed ‘Jack’s Museum’.