This thesis concentrates on researching a potential interior, central to the lived experience and the study of edge conditions. Motivated by the Western Australian coastline, a collation of deeply felt observations and lyrical reflections embark on the journey of the lived body, to reveal a conceptual proposal for a Perth sea bath based at Leighton Beach. Leighton becomes a humble stretch of possibility, simplistic in nature and open to opportunity. From the gravel carpark to the stretch of coastline, the site is situated between Port beach known for surrounding urban infrastructure and Cottesloe a flurry of sociability and development.
It is a venture between author and reader to share a spatial narrative of a sea bath designed to enlighten the perception of edge conditions through the inner connection to place, focusing on the primacy of form and substance, abstract and concrete. To design a sea bath where the lived body can feel and be receptive to it’s orientating dimension on the edge. The design becomes a repository for memories and a representation of a self journey through interpreting the observational studies into a design which can be both felt and lived on the edge.
To synthesise the outcomes of part one, two and three, with the conceptual proposal of a sea bath based on heightening the lived experience through considered edge conditions.
Process [Part one, two and three]
Along the stretch of coastline was a thinking mind, embodying into a process of simultaneous perception. A series of observational studies described the lived evidence and the phenomenological perspective behind this dissertation.
The recording of observations is further grounded with theoretical enquiry, investigating the work of Alvaro Siza (Study of Bathing), Peter Zumthor (Study of the body), Merleau Ponty (Study of thought) and Narelle Autio (Study of the moment). This research revealed a sequence of concept models, a three dimensional synthesis in creating an interior dialogue.
Intuitive to the way our perception is organised and experience deduced. Part one suggests the manifestation of the interior must consider the uncontrollable force and rhythms akin to nature, creating an impartial experience where both the natural and imposed can coexist with an indistinct structural order.
Significant to understanding the balance between vulnerability and adaptation. The human body becomes the bearing construction in understanding the poetic sensibilities of the bathing experience, a careful balance of fear and exhilaration.
Acknowledges the balance of action and stillness where the design must consider the division of the frame, mutually dependent in structuring the experience, the sensibility and perception of space.
Part one, two and three manifested into a conceptual organisation of design, to reveal a series of interior moments. The partitions respond to the balance of action and stillness, within a frame of experience. A careful balance of designed fragments accentuate the boundary and boundless, where the openings invite fear and exhilaration of the greats depths, strengthened by the implied closure.
Part one was associated with the observed signage, put in place to support authority. The power of the dunes would overt such authority where the signs became swallowed by the autonomy of nature. This concludes to the designed columns being a representation of those signs, put in place to support the structure. The positioning of the columns are further denied their strength as they remain subject to the tides which permeate the imposed, challenging the structural integrity of the manmade edge as an impartial experience of strength (power).
By removing a section of the wall to merge with the inclination of the ramp, the negative space was replaced with the lived body, a window of human transition as people approaching from the dunes could observe the experience at reach.The platform responds directly to the method of observation in understanding the modes of the lived experience, creating an orientated journey where the exteriority (whats beyond) and the interiority (within) remain of mutual dependence.
By removing part of the platform the void is replaced with a net structure which considers the engagement of the lived body as a stationary mode of experience, in opposition to the constant motion of crashing waves beneath, merging fear and exhilaration with introspection.
To conclude is to position the reader as a bather. The body meets the waters edge surrounded by an interior framework which heightens the lived experience, focusing on the fear and exhilaration of the ocean which drives the mentality of the moment, the ferocity and the embodiment. The introspection of the edge is an understanding of seminal experience, where presence can be translated with design integrity, to create an intrinsic space to dwell; bathe.