be master of architecture end of year catalogue 2010

The graduating year of UNSW Master of Architecture 2010 is the future of architecture, and the TEN IS MORE exhibition displays the student’s contribution to the architectural legacy. With ten groups exploring different aspects of architectural investigation, the TEN IS MORE exhibition demonstrates the wide range of talents and strengths of the 2010 cohort with new and innovative explorations within the field of architecture. TEN IS MORE

Master ofArchitecture

Faculty of the Built EnvironmentThe University of New South WalesUNSW Sydney NSW 2052 Australia

www.fbe.unsw.edu.auPhone +61 2 9385 4799Email [email protected]

Final YearStudio 2010

5Master of Architecture Final Year Studio 2010

XX Message from the DeanXX Message from the Program DirectorXX Course StatementXX Final Year Studio Work

XX Alumni ProfileXX Alumni DonationsXX Major Sponsors

Contents

XX Rehabilitation of a City – Harold Park PacewayXX Ahmad AbdullahXX Felix Atmadja XX Richard CarrXX Henry HauXX Belinda HoXX Miguel ParedesXX Sean PettetXX Christian ThunigXX Bradley Widders

XX Made to MeasureXX James ChangXX Stephanie HuiXX Jordan LucasXX Nicholas NasserXX Quoc Thai Nguyen

XX ProjectionsXX Tomek ArcherXX Ricci Bloch XX Anna FieldXX Maria VargasXX Jennifer SoXX Charles Yu ZhangXX Joshua Zoeller

XX A Court House – New and OldXX Laura AnsellXX Vivian ChanXX Alison ChikXX Beryl FanXX Jennifer FlemmingXX Justin HollyXX Talia KeyesXX Amanda RobertsXX Vincent WengXX Arthur Yip

XX 9SightsXX Deborah AllenXX Victoria ClarkXX Elizabeth GeldresXX Zhixiong LinXX Sammuel MasseyXX Wendy SinXX Charles TangXX Lionel Ren

XX Connectivity: Urban Street, Place, Work, Sky

XX Alexander BrydenXX Pei Pei GuoXX Ehsan KhoshsimaXX Ray LeiXX Nelly PurnomoXX Kristie SoXX Kate StanistreetXX Brad SwartzXX Lily TandeaniXX Edwin TangXX Ka Yan WongXX Pei Ching WongXX Daniel YounanXX Max Zheng

XX Winery; Hunter Valley NSWXX David AbramXX Alarico ArenostoXX Samantha BirtlesXX Anne ColenbranderXX Jodie DangXX Timothy DavorenXX Karina DormanXX James MartinXX Alex NgXX Claudia PickeringXX Daniel Yeung

XX Architecture and TechnologyXX Lucy Carse & Joseph LombardoXX Jo Ann KokXX Roanna ManlutacXX Jacky Yuen

XX Staging the Public: Reconception of a Train

StationXX Michael CaiXX Simon ChanXX Hugh CollessXX Liam FilsonXX Somphop Tangkunboriboon &

Richard FriedrichXX Kevin IpXX Weixu JiXX Tony LamXX Lau Chee KiongXX Hongmiao LiuXX Tristan RyallXX Jessica RobsonXX Max MelserXX Vahid TehraniXX John YangXX Lucy Zhou

XX A New Art Gallery of SydneyXX Hao ChenXX Gan LuXX Kang PengXX Michael ShamXX Philip Tsui

The graduating year of UNSW Master of Architecture 2010 is the future of architecture, and the TEN IS MORE exhibition displays the student’s contribution to the architectural legacy. With ten groups exploring different aspects of architectural investigation, the TEN IS MOREexhibition demonstrates the wide range of talents and strengths of the 2010 cohort with new and innovative explorations within the field of architecture.

This exhibition showcases the student’s graduation projects to the industry, demonstrating the fruits of their labour and diligence over the past 5 or 6 years through the expression of fine and well informed architectural responses through a variety of projects.

TEN IS MORE is a unique opportunity for industry professionals to view the University of New South Wales’ graduation projects and experience the high levels of performance on display.

TEN IS MORE

Opening Night:Friday 19th November 2010

“Less is more” - Mies Van Der Rohe, mid 20th century

“More and More” - Rem Koolhaas, 2001

“Yes is More” - Bjarke Ingels, 2009

Exhibition Team

- Ricci Bloch and Deborah Allen

Exhibition Co-ordination

- Charles Tang and Nicholas Nasser

Sponsorship

6 7Master of Architecture Final Year Studio 2010

This year has seen UNSW Built Environment continue to develop as a leading source of knowledge focused on the design, management and construction of the 21st century city. The aspiration of the faculty is to contribute, at the highest level of academic achievement, to the making of valued and sustainable built environments.

New research initiatives undertaken in the last twelve months build on the faculty’s strengths concentrating on themes that include sustainable design and development, urban typologies and emergent digital technologies. Each degree program integrates research outcomes to ensure our students are equipped with knowledge of relevance and intellectual skills to enable successful future careers in a global context.

Design, including understanding evidence based design processes, is at the core of many degree programs at UNSW BE. Design is studied at every scale and in the context of achieving in the future, lower carbon industrial products, buildings and cities. Design of enduring cultural value also matters and underpins the intellectual rigor of the curriculum. Student experiences involve interdisciplinary projects to enhance contemporary relevance and utilize the breadth of discipline knowledge available at UNSW BE.

This catalogue presents selected projects from our final year students. It reflects the hard work and talents of all involved. On behalf of the faculty I congratulate all the students who have completed their degree program and now become our alumni.

We wish you every success in your chosen field of endeavor. In many respects, our relationship is just beginning as we look forward to your ongoing participation in the life of our university through the many events and activities that we undertake to support research and the future generations of built environment graduates.

Professor Alec TzannesDeanUNSW Built Environment

Message from the DeanFaculty of the Built Environment

The TEN IS MORE Exhibition and this accompanying catalogue celebrate the distinctive and accomplished graduation projects of the 2010 graduand students of the Master of Architecture degree program.

Guided by the course convening team of Ann Quinlan and Dr Anuradha Chatterjee assisted by a dedicated team of studio project leaders, students engaged in a yearlong graduation studio experience that demonstrates the vital relationship between disciplinary contemplation, architectural design speculation and distinctive architectural project realizations. Together, the studio project leaders, their associated practices, our colleagues as well as invited guests brought their professional expertise to the studio experience and guided our students architectural design education with their stance, insight, experience, passion and patience. This interactive approach, of attending to questions, issues of concern and debate, generates studios as research based ‘incubators’ for advancing understanding of architecture’s relational contribution to the city and society. This is a demonstration of how UNSW Architectural students’ design projects contribute to beneficially imagining, realising and sustaining our Built Environment.

The Master of Architecture degree with its penultimate Bachelor of Architectural Studies degree and the Bachelor of Architectural Computing degree program forms the Architecture Program community at UNSW. The graduation projects presented in this catalogue affirms our distinctive Built Environment studio approach that celebrates the mutuality of student’s creative vitality and technical capability, in concert with demonstrating the qualities of academic excellence, commitment and community identified with UNSW graduating students of Architecture.

Congratulations to the 2010 Master of Architecture Graduand Students on their achievements and best wishes for a rewarding and successful careers as Architects of contribution to the thoughtful making of our Built Environment.

This is a demonstration of how UNSW Architecture students’ design projects contribute to beneficially imagining, realising and sustaining our Built Environment.

Master ofArchitectureMessage from the

Program Director

Ann QuinlanProgram DirectorMaster of Architecture

8 9Master of Architecture Final Year Studio 2010

Ann Quinlan and Dr Anuradha ChatterjeeCourse conveners

•RaminJahromiofCoxArchitectureand Shaowen Wang for their joint leadership of a studio that guided students engagement with “networked publics” as an infrastructural and architectural hybrid

•SwetikKorzeniewskiforguidingstudents’ attention to the fine grained aesthetics and politics of displaying art

•CatherineLassenforencouragingstudents to pursue precedent investigations as a generator of built conversations between architecture and the city

•Dr.PaolaFavaroforassistingstudents to advance their own disciplinary questions and interests as projects

•RussellLoweforguidingstudentprojects through the use of digital technologies

•DrAnuradhaChatterjeeandAnnQuinlan for guiding students to frame and advance their own questions for formulation as projects

Even though the commencement Research Studio advances investigation, and the Major Design Studio the resolution of the architectural project there is an embedded fluidity in the manner in which proposals, positions, ideas, findings, design conceptualization and resolution are reworked, recast, and refined through a shared, rigorous, integrated and critical process across the ten studios. At the core of this process students’ ideas are valued, positioned as a stance, represented as their intellectual practice, tested through robust thinking and demonstrated through articulation and representation in their resolved projects.

With a student community of nearly 120 students of diverse educational and cultural backgrounds we acknowledge the student representatives who played an important governance role in the course. It is fitting, that our dedicated student exhibition team in designing planning and developing the exhibition should position the 2010 Master of Architecture graduation community as one where TEN IS [definitely] MORE!

As is the tradition at UNSW the architectural design graduation projects presented in this catalogue have emerged from student engagement with a yearlong intensive endeavour of creative inquiry, speculation, consolidation and resolution. In 2010 we offered for student consideration ten studios, and as a collective these studios bring a vital energy to examining contemporary questions, issues and concerns about architecture as a discipline and relational built environment practice.

Guiding our endeavour was Vittorio Gregotti’s proposition framed in Inside Architecture (1996, 21) that: “the other meaning of the word project, which stresses projection, fervour, tearing away from a situation in order to criticize, deconstruct and question it: essentially, the idea of freeing oneself from presupposition in order to construct a new understanding. The process of constructing architecture through a project can, therefore be considered a quite specific way of thinking”.

Accordingly, each studio was framed by a distinctive stance and architectural approach that the studio leaders brought to guiding the development and resolution of student projects. This endeavour necessitates an extraordinary level of commitment from the graduation year community of students, teaching staff, invited guests and consultants. We are indebted to:

•AngeloCandelapasandAndrewScott of Candelapas Architects for guiding student’s attention to the role of the domestic realm and local precinct in urban rehabilitation.

•RayBrownofArchitectusforguiding student exploration of the connections between tower buildings and urban fabric.

•DianeJonesofPTW(Peddle Thorp and Walker) for guiding student reworking and revision of traditional justice environments in a historical city precinct.

•RobBrownofCaseyBrownArchitecture for guiding student’s focussed attention to the art, craft, and technology of winemaking in an agricultural setting.

As a collective these studios bring a vital energy to examining contemporary questions, issues and concerns about architecture as a discipline and relational built environment practice.

…students’ ideas are valued, positioned as a stance, represented as their intellectual practice and tested…

Course Statement


Firstly, a practical method; everything is built on observation, we realised this skill, honed on site idiosyncrasies; and then it was the act of recording, we privileged the sketch and the technical drawing of plans and sections; and then we interrogated what has gone before through the act of making, in this case large timber models; and then it was the act of thinking abstractly, we called it defining an idea, one idea expressed in one sentence; and only then did we begin the iterative process of making propositions, mindful of composition, naive at first and then gradually revealing that which was observed, recorded, interrogated and defined as an idea.

Secondly, a conceptual method; acknowledging the ineffectual model of outward urban growth and zoned cities we began with a patchwork premise for buildings that would allow for combined dwelling, working, consuming and playing on site of the repurposed Harold Park Paceway; from there a proposition for the planning of the entire site was projected, quickly and generally; and from there the dwelling, the threshold and the street were interrogated; and from there the machinations of political will on the form of the city was interrogated, and from here we found an interest that propelled us into the second semester.

What role does an adjacent community have in determining the nature of a future community? With an unpopular mandate to increase density on the site how are the resultant tensions between these two communities alleviated or suppressed? What role can a building labelled ‘community use’ in a master plan play in this charged atmosphere? As always the answers are in the work.

Ghaz Ahmad Abdullah

Felix Atmadja

Dinka Beglerbegovic

Richard Carr

Henry Hau

Belinda Ho

Tho Thi Y Nguyen

Miguel Paredes

Suyo Eunice Park

Sean PettetStudent Representative

Christian Thunig

Bradley Widders

The site for the studios’ research and design project is the proposed redevelopment for the Harold Park Paceway in Glebe. Scale and location determined a research and design focused on the issues of the master planning of housing within a periphery infill site characteristic of Sydney’s present urban development.First semester’s research focused on the layered experience of the threshold formed understandings of the master plan, in particular the movement between the street and dwelling. The studio encouraged a critical questioning into the nature of housing and each student developed their own expression on the nature of habitation and its engagement with the site.Students undertook Individual and Collaborative tasks focused on developing a conscious

understanding of composition. The crafting of objects through the analysis of architectural precedents and the production of timber models.The second semester focused on the adaptive reuse of the Rozelle Tram Sheds, a critical element that would activate a new public domain and the dense residential development. Students proposed their own programs while incorporating the previous semester’s component of housing. The site was explored as a public space mediating between the present and past and between natural and artificial landscapes.

Student Reflection

10

Rehabilitation of a City – Harold Park Paceway

Angelo Candalepas runs a medium-sized architectural practice of 20 staff in Sydney. In 1994 he won a National Architecture Competition to design a high-density residential building in Pyrmont, Sydney. His work has been widely published and he is the recipient of many architecture and industry awards. Andrew Scott is an Associate of Candalepas Associates and assisted Angelo in teaching this studio.

Candalepas Associates is currently undertaking projects of many types and a number of designs have been prepared in recent years that examine the role of buildings in their civic environs. The studio will highlight a variety of architectural/civic agendas that may also be understood in the context of the practice’s current city work.

Studio Leaders

Angelo Candalepas & Andrew Scott


12 13Master of Architecture Final Year Studio Work

Housing sectionMarket Plans ( Adaptive re-use of tram shed)

Master Plan

Perspective (Coutryard house-looking from kitchen to courtyard)

Section Market

Harold Park Community Fresh Food and Home Gardening Market

The proposed project attends to two distinguishing issues within the new development plan for Harold Park

1) Providing a place for local access to fresh food products.

2) Providing a place for local community activities concerned with community and home gardening

The proposed market not only functions as a fresh food and home gardening market. It is also a place where the community can share their knowledge and interact. The fresh food market will be a prime mover, the anchor tenant for this new facility. The community facilities and public recreation areas will become a supportive space that will enrich the programmes. During weekdays, half of the tram shed area operates as a market and retail area and when it comes to weekends the

other half of the tramshed will be used for a farmers market or community events and the activities. These activities will also occur in the forecourt, plaza and an outdoor amphitheatre outside.

The master plan is envisioned to be a collective of differing types of gardens related to community gardens (organic and vegetables, herbs, children’s, glass house gardens), where the adaptive reuse of the tram shed will be the centre of this activity. The proposed housing layouts are designed to give occupants access to home gardening with large balconies, terrace and courtyard.

The whole project brings together aspects for a new urban community in the heart of Harold Park.

Ahmad Al-Ghazali Abdullah

[email protected]

0433 170 471


First Level PerspectiveRestaurant Perspective

Interior Foyer Perspective

Exterior PerspectiveGround Floor Plan

Harold Park Art Performing Centre

Vision of an Ambience

The function of the project program is to revitalize the building so it can contribute as a centre of art and performance in the Harold Park precinct. In this way, people can interact with the building for as long, as freely and artistically as they want. In this interaction, over time, people will be introduced to the character of the existing building as well as its new designed setting.

An intended feature of the design is to allow visitors to experience the welcoming atmosphere as well as initiate a sense of curiosity about the building upon their arrival. The feature of this

curiosity is the new roof structure that utilizes the old tramshed structure. This is designed to have a “slowing down” effect - to slow down the pace of the visitor so they can have the “vision” of the different ambience of the building. The art gallery and the amphitheatre will help to create this effect on the site, before the visitor has complete access inside the building. This effect is important to the design itself. It puts more focus on the heritage quality of the tramshed building and its ambience, thus creating a “Vision of an Ambience”.

Felix Jonathan Atmadja

[email protected]

0406 674 405


Entry Perspective

Richard Carr [email protected]

0430 936 919

Cliff Walk Perspective

Sections/Plan overlay N.T.S

Future projections – Rozelle Tram Depot Adaptive Re-use

Market; derived from the Latin word mercatus, i.e. merchant, which is to buy.

“A regular gathering of people for the purchase and sale of provision, livestock and other commodities.”

“An open space or covered building where vendors convene to sell their goods.”- Oxford Dictionary

When a ‘place’ is described as a market, subconsciously space and form stand secondary and an orientation is set towards the notion of program. An orientation describes a building or space only by its function; this singular description only composes a space as one that integrates this gathering of people and trade. Questions are then raised as to whether the market can exist without architecture or if this subconscious description of program stands idol.

“Architecture is not simply about space and form, but also about event, action and what happens in space.” - Bernard Tschumi (Manhattan transcripts, 1944)

The event of the market produces a program not dissimilar to a public park; an event in constant flux, that is never static. The requirement of operating at varying capacities and moving between capacities seamlessly is where the program meets the architect’s hand.

The adaptive reuse of the Rozelle tram-sheds reacts to this notion primarily on a programmatic level. Architecturally the formal and spatial intervention is minimal, reacting by adding a new datum or layer of history to the building. This intervention is understood only through circulation (orientating, disorientation and re-orientation) and the facilitation of an architecture/program evoking independence to the vendors through personal methods of sale/promotion.


General lighting encased in column

Large internal volume has been preserved

Concept model showing a weave of ramps and circulations

Internalised urban terrain This is not a museum

Harold Park Cultural Hub

A network within a larger network.A terrain within a larger terrain.

Harold Park’s masterplan involves the addition of approximately 1000 dwellings into Glebe/ Annandale’s existing fabric and it is one of the most significant urban infill project in Sydney. In order to compensate for the increase in density, generous open space was proposed in the form of a north-south green corridor that stretches all the way to Rozelle Bay. This unfortunately exacerbated the tram shed’s isolation and significantly diminished its chance of becoming a major public space. The insertion of artist studios, exhibition areas and commercial/retail spaces on one hand addresses the dwindling number of informal artist-run-galleries in inner Sydney, on the other it transforms the tram shed into a mixed used social/cultural hub for upcoming and existing residents.

The design treats the tram shed not as a building but an expansive roof on top of a park-like artificial terrain. The terrain splays open in section and encourages over-viewing between spaces so that art, and the making of art is omnipresent in and around this terrain. The undulating planes also enclose pockets of loosely defined exhibition spaces linked to each other by an intricate yet legible circulation network, effectively creating an interiorized sculpture garden. Major circulations in the tram shed are street like in scale and are seen as a continuation of the urban realm. The tram shed thus becomes a network within a larger network of through site links in the masterplan.

Henry Hau [email protected]

0410 622 098


Precedent Model – Library at Ephesus

Belinda Wai-Yee Ho

[email protected]

0468 716 319

Proposal Diagrams

The definition of a Library

The library allows people to choose from a variety of individual or communal spaces; to detach oneself from everyday life or to socialise and share information. Also, the library is characterised by its openness to the surrounds while remaining contained to protect books and people from the external environment.

As storage and access to material have progressed into the virtual realm, the library’s capacity has outgrown its physical boundaries. Yet, we have not reached the point hat the library building has become illegitimate. Perhaps we are attached to its symbolic presence in our contemporary communities.

This project contemplates the way we build for these ideas.

By the means of procession, the dispersed elements of landscape, housing and library are composed to respond to ideas of arrival, anticipation, gathering, reflection and retreat. Its southern entry meets the edge of a proposed housing development and meanders along the cliff edge, through a heritage listed tram shed, before gesturing northwards towards waterside parks.


Cross section forum space

Façade studies of teaching spaces

Internal perspective Ground floor plan

Babel Revisited

“ Language is the house of the truth of Being” - Martin Heidegger

The biblical tower of babel was an exercise in human hubris that resulted in a confusion of languages and a breakdown in communication. Today this ‘failure to communicate’ is manifested in a lack of real human contact.

Mass media invades our senses constantly. Every day we get up, we get out of home and we plug our ipod into our ears, then our touch with reality disappears. We have entered into the individualism of our contemporary society, a selfish and arrogant attitude. Passed are those days when each individual would greet each other on the street in the morning. We do not know our neighbours unless they are our friends on Facebook.

The Institute of Languages aims to rebuild babel. Its goal is to reunite language through architecture. It is a typology that can enhance the community

will and promote stronger social cohesion in this proposed urban context. Specifically, the Institute’s forum space will provide the proper medium for a point of encounter and human interaction.

The tram sheds have allowed me to seek a language between the old and the new. I faced the question: What should I do with a heritage building? It is not a mere exercise of “museumification” of architecture. I have not sought to restore the building nor to have a allegorical understanding of it. I have sought a consequential linear development between design, transformation of matter and construction form. My idea is not to renovate nor to reuse but to restructure the exiting tectonics of the building. The forms explored and the new spaces created highlight this idea.

Miguel Paredes [email protected]

0421 258 616

Internal perspective of forum space


Public Ruin The proposition for the adaptive reuse of heritage spaces such as the Rozelle Tram Sheds focuses on the notion of change. The temporal nature of use comes with it a need for structures to have the agility for their expansion or their removal. The project proposes the insertion of a community Library with its main intent to retain the sheds ruin like qualities The library’s edges becomes a threshold within the sheds between a place of comfort and contemplation to the raw untamed qualities of the ruin.

Sean Pettet [email protected]

0431 862 202


East Elevation

South Elevation

Floor plan

Harold Park, Future Projections, The Rehabilitation of a city

Contemporary Art/Design Gallery

The contemporary Art Gallery is open to all persons to discuss, Practice, or observe the creation of art and design, as well as being a place to unwind, contemplate and enjoy a community spirit.

With its juxtaposition to Jubilee Park Tram station and Sydney Harbour the contemporary Art Gallery also adds an extra node to the vast variety of existing activity along the harbour, thus connecting with the greater community of Sydney.

This project investigates a sense of place for both individual and community, also the balance between existing structure with heritage value and the implemented new course.

The Gallery volumes are divided by courtyards and corridor spaces; designed to have a variety of sizes for a variety of use. The volumes make up the temporary gallery exhibitions, commercial galleries for individual local artist / designers, in house art studio accommodation, and community education facilities. The volume arrangement subjects itself to possible change; one exhibit can use a cluster of volumes or an individual volume.

Outside each volume one is connected directly to the site and seasons, a division between outside and inside, public and private, commercial and resident space is blurred.

Through blurring boundaries the galleries composition mitigates the traditional closed off Art gallery and simultaneously opens in all directions to its immediate context.

Christian Thunig


Floor Plan Layout

Sketch Layout

Residential

Site Plan

Entrance to the Tram shed

Alluvial Porosity

The adaptive reuse of a Heritage Tram Shed

The project was to develop a community orientated facility in the existing heritage listed Tram Shed in the area of Glebe. It is to complement the government designed masterplan of the residential development to be built over Harold Park Paceway.

As the act of swimming is both a part of Sydney’s identity as well as a great way to escape the influences of city life my project entails implementing a public pool to fill the tram shed space. Along with introducing a water element to the internal space I proposed to integrate other natural elements such as plant life to ‘liven’ up the atmosphere of the derelict tram shed.

The gateway into the pools was developed like a rock pool at the beach in that it engages the visitor to push through the pod like spaces representing the rocks and into the open space and in doing so act just as a wave progresses through a barrier. These pods also provide a artificial reflection of the hard stone cliff surface in which it encloses.

The scope of the project also required further development of the site towards the residential aspect. This development ties into the tram shed’s use. I’ve proposed a series of filter reed beds to catch runoff and flooding waters and in the process treat it for use in the pool creating a more sustainable environment.

Bradley Mark Widders

[email protected]

0408 403 881


Prompted by Italo Calvino’s proposition for six qualities of expression – lightness, quickness, exactitude, visibility, multiplicity – this Independent Research Design Studio encourages students to bring to the studio their own project interests, story, reading and imagination, as well as personal and educational experiences. This informs the in-depth investigation carried out in stages, manifesting as the conceptualization and definition (programme, identity, client, scale, urban significance, contribution to practice), and development and resolution of the project (programmatic, positional, spatial, tectonic, technological).

Our studio fosters the distinctive mode of triangulated inquiry, practice and representational strategies. In the tradition of Zoe Strickler (1999), in terms of inquiry, the studio encourages the substantive (concerned with the content of interest), the conceptual (concerned with ideas that give meaning to content), and the methodological (concerned with procedures for studying content). Furthermore, students are encouraged to consider the triangulated practice of working with text + scholarship, drawings, diagrams and imagery, and modes of making and modelling. This is complemented by representational strategies that negotiate documentation, visualization, and innovation and imagination.

Over the last year, the studio has been fortunate to mentor, supervise, and guide students from various cultural and educational milieus, to witness the development of projects that address issues of community, of occupying urban place, spaces of power, and places of interaction and exhibition, but which above all are places of learning, teaching, and research experiences.

James Chang

Stephanie Hui

Jordan Lucas

Nicholas NasserStudent Representative

Quoc Thai Nguyen

Adrian Thaweeskulchai

Deanne Dris

Chou-King Lim

Vivien Tan

As the saying goes, “when one door closes another door opens with new opportunities”. As students we started with no clear direction, yet collectively we as a studio group found new intentions and determination.

Our experience in Ann and Anu’s Independent Research Studio could be described as journey, combining diversity with individuality in our academic approach. Our ideas and intentions have remained core but through the journey blossomed and our projects have evolved with depth. Although we and our projects are all diverse, we discovered that with this diversity came much that was shared. This enabled us to support each other in critiquing one another’s schemes. Our diversity served not only as an inspiration. It also worked productively as a

‘distraction’, which allowed the mind to float away to think of an idea to build upon in our own projects. Our studio was collaborative and we genuinely tired to support each other even in our baking! There was looseness in our studio which suited us. This allowed a lot of risk taking for students, which could be frustrating until you found your feet and became confident in your intentions and project. Guided by Ann and Anu’s supportive approach in the studio, students’ design outcomes were always challenged against their conceptual, theoretical ideals but this was done in a way that allowed us to hold true to our individuality.

Student Reflection

30

Made to MeasureIndependent Research Design Studio

Of the three Independent Research Design Studios offered in 2010, this studio is led by a team – the collaborative alliance of Ann Quinlan and Dr Anuradha Chatterjee (also Course Convenors), who make distinctive and complementary contributions. Quinlan’s experience and scholarship in

design, practice and education and Chatterjee’s experience in scholarship in architectural history, theory, and design, its synergies with contemporary practice, and cross programme teaching experience is a fitting combination of multiple sensibilities.

31

Studio Leaders

Dr Anuradha Chatterjee & Ann Quinlan

Master of Architecture Final Year Studio 2010


Front façade of the facility overlooking the park into the urban context, displaying the extruded consultation rooms as detached from the building

Back façade, displaying contrasting materials to distinguish individual forms

Access from the park, public are greeted by the café while the remaining of the building is hidden amidst the trees

View of the multipurpose space, specifically defined openings creates an unsystematic façade conveying a sense of lightness to the concrete structure

Aerial view of building, showing the points of access from the three orientations

reverse engineering the type

“ We must return to the souce, to the principles, and to the type.”

- Ribart de Chamoust

The project entails an exploration on how the process of design and thinking that defines a specific building type in the past have influenced social perception in the present society. By first examining the traditional type of insane asylums of the 19th century to the development of modern mental institutions in the 20th century as a comparison to contemporary psychiatric facilities, this evolution of type forms the basis of a set of design guidelines highlighting the various issues including the notion of power, authority, human ethics and social standards that are once again redefined in this project.

The project brief has been devised to facilitate young adults with early symptoms of mental illness, to provide care for early intervention through the functional model of the Clubhouse, which differs from the traditional method of treatment through professionals

within a controlled environment. The Clubhouse model instead focuses on the potential of the personal cure, by perceiving each person as undertaking their own individual journey to self discovery and understanding as the foundation for healing, the facility therefore supports this act with a collaborative environment which cannot be obtained by the single person. With this frame of mind, this type of healing facility contrasts the traditional perception of the authority overpowering the insane with reason; rather the judgment of a person’s health and wellbeing is returned to the individual, and this is emphasized through connections between participants, the public, and the staffs, all within an open environment.

James Chang [email protected]

0430 546 437


Top – Function as a resting space Bottom – A bar/music station

First Pavilion - could be function as a stage, café, exhibition/gallery

Top – 4 rotation/purposes/function Bottom – aligned for more flexibitlity

Plug and Play

A project that consists of 3 differing temporary structures that investigate the potential of architecture as an insertion that activates and rejuvenates the fine grain fabric of Sydney city centre

PnP is designed to re-imagine and revitalise Sydney City’s urban fabric by attending to spaces that may be considered “wasted”. This one project in its three structures; three timeframes; three events; examines differing urban conditions.

The idea was to capture the energy of Sydneysiders, in time and in their movement through the city. Through a series of studies of Sydney’s urban fabric, a comparison of Sydney to other major cities in Australia, as well as how people circulate around the city, 3 individual designs that last for 3 different timeframes were undertaken to explore 3 ideas – movement through space (Pet), movement through void (Plug-in), and static movement (Booth).

These structures will be situated in different parts of the city centre as public facilities but at times will be utilised to house a number of events with the client – EventsNSW. The insertions offer another urban experience which makes the seemingly “wasted” places more interesting and activated.

All of these structures are prefabricated with GLUBAM – a laminated bamboo, a much more sustainable option compare to Glulam.

The project seeks to respond to the fine-grained character of Sydney’s urban fabric and open up an awareness of exploration of urban places and spaces. This is designed to lead to rejuvenation for spaces in the city.

Stephanie Vincci Hui

[email protected]

0405 311 287


Dharawal Cultural and Community Centre

Planting of a seed for cross-cultural engagement. “A living cultural experience”

The vision for this project is the development of a place for cross-cultural engagement and exchange through a dedicated arts and learning facility. This facility will stimulate and enhance the meanings and relationships between Aboriginal culture and the natural world, both past and present, though an embodied experience with objects, artefacts, landscape, sites, exhibits and people.

The Dharawal Cultural and Community Centre, within the grounds of the Aboriginal Land Council in Yarra Bay Sydney, will educate persons of all ages, backgrounds, physical abilities and cultures and inspire them to explore and discover Aboriginal culture in a creative, safe, environment, where learning is fun. The Centre will allow inter-subjective and empathetic connections to be made and maintained through cultural experiences

and experiential architecture. The Centre will ultimately raise awareness of the need for the protection and understanding of the values of Aboriginal history and cultural landscapes

The Centre will also provide services to the Aboriginal community to promote education, employment and economic growth within that community. It would build upon established services at Yarra Bay House while providing an opportunity for growth of these services.

The area of Yarra Bay and La Perouse is founded on an united community spirit written into its social history. The history and significance of the place provides not only the possibility for this project to anchor to the site and situation but to plant the spirit of healing and reconciliation.

Jordan Lucas [email protected]


The Recycling, Re-use and Re-assembly Centre

I embarked on my first session of the graduation project with a journey east along Parramatta River, prompted by my interest in the recycling of building elements. Materiality and edge treatment were documented from Olympic Park to Circular Quay leading to a comprehensive study of re-use. Identification of trends within projects of this type resulted, these strategies being labelled tactics.

The aim of the second session was to develop a project using these tactics. This manifested itself through the exposition of re-use strategies and resulted in the development of a facility specialising in the creation of spaces, through the use of recycled materials.

My chosen site of the Brickpit represents a man-made void in nature. Through the creation of a school, designed to educate students in re-use strategies, the possibilities of healing the scarred landscape, as well as enlightening the minds that design within it, can be explored.

Nicholas Nasser


Youth space

Senior space

Main courtyard view

Gallery stairs

Street view

Dealing With The Real

Rejuvenating the existing Fairfield Community block

Sydney is one of the most multicultural cities in the world. We have peoples from about 140 different ethnic groups living in this city. Various scholars over the years have predicted disaster for Australia, and for Sydney, if we continued along the multicultural path. As cultural diversity of nations continues to grow, a central issue has come to be considered: that of addressing people’s lifestyles in the design of public building to better meet users’ cultural needs. Using Ruskin’s idea of the human body to support my argument that in all society, every citizens have an equal right and opportunity. One must not divide according to its class and race. “every art must be governed by, and addressed to, one division, and executed by another; executed by the muscular, addressed to the sensitive or intellectual; and that, to be an art all, must have in it work of the one and guidance from the other” Ruskin.

My proposal sought to remove the barriers confronting the community, particularly barriers associated with cultural language, education economic disadvantage, establish stereotypes and racism. Which has prompted me to explore the suburb of Fairfield, one of the most multicultural cities in Australia. A city with a high unemployment rates, an increase youth population, and also a long history of crimes rate. With the lack of infrastructure planning and community facilities; Here, I wish to rejuvenate the existing Fairfield community block to meet these demand but most importantly supporting the growing cultural and disadvantage youth in the area.

Quoc Thai Nguyen

[email protected]

0415 363 853


This studio looked for a contemporary architecture with the working assumption that architectural works can be invested with urban speculations. Pedagogically it focused on the act of description and abstraction.

Using both conventional and exploratory modes of representation students interrogated selected buildings and their urban content. Via analysis, conceptual and mechanical precision and ambitious re-presentations they worked with ideas surrounding emulation in relation to recent architectural history; investigating architectural critique as a form of production or invention. Emphasis was placed on developing skills in: architectural literacy; the internal coherence of the architectural position and project; and command of appropriate techniques of architectural representation.

Via a series of drawn and modeled exercises students searched for embodied ‘conversations’ in and between particular buildings and between architecture and the city. Individual architectural works were projected in dialectical response.

Parallel analytic devices structured rigorous urban explorations of Sydney, where mapping exercises identified architectural/urban themes and relations focused by the preceding studies. Close urban ‘readings’ of the city were thus formulated via issues identified or articulated in the architectural works.

With these city readings, students each chose an inner Sydney site and proposed their own situation or architectural program. Through this twofold and overlapping process, each student framed their response as a critical transformation of the speculations raised by the studied works. The studio supported the continual architectural/urban articulation and refinement of individual projects. Conceptual priorities identified during session one were extended and enriched during session two as the architectural development of the project.

Tomek Archer

Ricci Bloch Student Representative

Mitchell Bonus

Anna Field Student Representative

Maria Gutierrez

John Sham

Jennifer So

Josephine Turner

Charles Yu Zhang

Joshua Zoeller

Anna “Sanaa”Charles “Perseverance”Jennifer “Insomnia”Jo “Intense, Rigorous”John “Learning curve”Josh “Options”Maria “The curse of Siza”Ricci “Super tired”Tomek “Home alone”

We would like to thank our tutor Catherine Lassen for an amazing year and for pushing each of us to think, make and draw ambitiously.

Student Reflection

42

Projections

Catherine Lassen is an architect / lecturer in architecture at UNSW. She completed her Master of Architecture at Harvard in 1995 and worked the following year for Rem Koolhaas / OMA in Rotterdam. In 2007 she received the AIA Greenway Award and her work was exhibited in the Australian Pavilion at the 2008 Venice Biennale.

43

Studio Leader

Catherine Lassen



Working relationships to Central Station, Community Center and Arts Council

Street Level Plan

Exploding Babel - Dismantling the Zeebrugge Terminal by OMA

Big building arts program… exploded… amongst existing city block House, gallery and artist studios connected across boundaries through use

Exploding Babel

An extensive arts program exploded amongst a block of rag trades. Forms a catalogue of strategies for embedding large institutional programs in the city

A new federally funded contemporary arts institution is proposed for Sydney. The aim is for the community, the city and the state to be drawn together through the arts.

In selecting a site, the temptation to present a formal relationship to the harbour or major public open space is avoided, and the project is instead buried in a five-hectare block on the south-eastern edge of the city in a historically utilitarian precinct that is connected to the city through use.

The program requirements reflect the diversity of arts mediums and connective initiatives supported by the Australia Council for the Arts. These include traditional Visual Arts as well as New Media, Literature, Music, Theatre, Dance, Indigenous Arts and Community Partnerships.

Such a project could conceivably result in a Babel-like Big Building that contained and compressed all contradictions into a singular architectural image for the arts, claiming urbanism for architecture in the process.

Instead the programs are exploded into components and used to fill the latent built and programmatic potential of a city block in the Surry Hills rag trades district, while a series of precise incisions through the existing structure of the block open up new crossings.

This strategy of cut and fill creates a discrete set of connected programs embedded in the existing richness of the city. A thousand potential routes and experiences emerge for each visitor and the accumulated itineraries fill the streets and back lanes of the city, extending the use of the block into the night and throughout the weekend.

Tomek Archer [email protected]

0402 320 786


Abstract Program - City within a city

Andreas Gursky – 99 Cent II Diptychon, 2001

Santa Caterina, Barcelona - EMBT Relationship of Open Space to the City - Fantasy Landscape

Market Garden

Waterloo, Sydney

A traditional food market is a place that evokes all senses. It is about experience, interaction of people/food and understanding where it came from.

Through the precedent study of Enric Miralle’s (EMBT) Santa Caterina Market in Barcelona, an interest in ‘roof as landscape’ was identified. In this project the roof is a graphic image of use. The use of traditional tiles and colour of Mediterranean produce connects the building to place, whilst the roof terrain allows surrounding residents to fantasize about experiencing the roof as a physical landscape.

The project aims to identify a contemporary market type in Sydney, where the boundary between generic supermarket and traditional fresh food market is blurred.

The choice to site the market in Waterloo was focused on linking the current markets in Sydney, whilst identifying a point of current gentrification in the city. The hybrid nature of the market questions the notion of the boutique type and challenges the thought of a typical contemporary market in Sydney as an expensive desirable object.

The heavily charged Sydney Water site provides the opportunity to create a raised constructed landscape, referencing Waterloo’s history of water landscape and market gardens. With landscape program above and Market, Supermarket, Kid’s education program and Cafes/bars below the building’s garden image mirrors its actual use.

Ricci Bloch [email protected]

0411 203 896

Image of Roof as actual use


COFA Student Housing and Gallery

House extends to city and city extends to house

The project is an investigation into deconstructing conventional ideas of the boundaries between public and private space. Specifically, looking at blurring the distinction between city and house, interior and exterior and public and private. It does this by exploiting the possibilities suggested within the existing rear laneway condition of Surry Hills. The garage lined laneways already imply this blurring. They can be read both as an interior as well as an exterior. They can be both an extension of the street and the beginning of a house. The project takes this condition and extends it, by applying this strategy to generate student housing for

COFA. As fine art students they would more actively extend their way of living to the city. Additionally a gallery element is intertwined through the housing. The gallery acts as a device for which the city and house blur. The gallery can be read both an extension of the street and the beginning of a house. Gallery extends to city and city extends to gallery. Thus the housing seeks to through blurring these distinctions, the interaction and integration of art, art making, living and the city.

Anna Field [email protected]

0401 237 875


An Architecture Gallery

Kings Cross

We experience a city by the way we move through and around it. An architecture gallery that explores the idea of experiencing the city through the movement within the spaces, blurring the circulation of the city and the gallery.

Based on an in depth study of The Galician centre of Contemporary Art by Alvaro Siza, The driving concept of the design arose from Siza’s ideas of the architectural promenade and the continuation of the city and surrounding circulation within the building.

Located on the intersection of Darlinghurst Road and Victoria Street, the site was chosen from a series of mappings of Sydney’s road grids and patterns, transport routes, and location of all surrounding galleries. This site completes the hypothetical art walk that links all the surrounding galleries, it is in a

major public transport node and is in close relation to Tusculum and one of the city’s major landmarks, The Coca Cola sign. An existing hotel offers the opportunity for the use of this prominent city site through the incorporation of the gallery, the hotel and Kings Cross Station.

The Gallery seeks to incorporate the character of Victoria Street and Darlinghurst Road simultaneously. The entry, the hotel lobby and the station entry face Darlinghurst Road as a continuation of the street. The gallery rooms are organised in enfilade reflecting the vertical nature of Victoria Street, where as the upper gallery rooms expose the hidden beauty of the architecture of Darlinghurst Road.

The Gallery, Hotel and Station together create an architectural experience of Kings Cross.

Maria Gutierrez Vargas

[email protected]

0402 548 522


Study of different typological arrangements in the Gifu with 5 rooms

A model and render of a possible social housing solution in Woolloomooloo

The Woolloomooloo Project

Redefining social housing in The ‘Loo

Jennifer So [email protected]

0417 043 398

How do we redefine social housing?

The Problems: 1. The bare economy of means - minimum space, finance and privacy2. Social problems in Woolloomooloo including homelessness and crime 3. Ambiguous private and public division in the area4. Social and visual security 5. Minimal social provisions 6. Inflexibility in use]

The Possible System:1. Maximum flexibility, minimum means 2. Light, air and privacy- the living amenities3. Caters to changing family structure appropriate cultural diversity in this

current era4. Combining units for greater flexibility in the light of changing conditions 5. A public program catering to the immediate area, in this case, even a social

support program to tackle homelessness 6. Sejima’s Gifu Housing Project - flexibility in rigidity

Study of different typological arrangements in the Gifu with 5 rooms


Project Grows from small scale to large

Structural axonometric

Delicate Façade

Typical Student Residence Plan Hybrid Structure, Bamboo hanging off Concrete Cores

Grow your own Apartment

A bamboo scaffolding apartment that forever grows, by using on site bamboo from Garden, and Building workshop from Research laboratory

85% of the materials used in the Australian Building industry come from overseas. Bamboo on the other hand, is sustainably grown in a number of plantations around the Queensland and New South Wales border, and it is also a proven structural material in a myriad of countries such as Germany, China and Columbia. So in this project bamboo is the core driver of the Urban and Architectural Ambitions.

Bamboo as a building material is usually used for small scale houses and huts, but this project explores its capability to be used in large urban projects. As bamboo is already used in scaffolding of Asian skyscrapers, the idea of a hybrid structure of concrete core and bamboo hanging it is essentially reality. Bamboo is used in Asian skyscrapers instead of steel scaffolding, because it is cheaper, more sustainable, good in earthquakes, etc. So by incorporating bamboo into the permanent structure of the building will also bring forth many of its qualities.

The project consist of two buildings, the smaller is the Bamboo Museum which is situated on the more public frontage of George St. and the larger building consist of the Student housing, with a Bamboo Research Laboratory, on the ground level. The two building wrap around the city block around a central public Bamboo Garden.

The Bamboo Museum will showcase new bamboo technologies, but central to the exhibition is the Student housing building itself. The building has a thin spine made out of concrete and secondary structure of delicate bamboo poles hanging off the spine. The hybrid structure reflects the program of student housing. Because of concrete’s waterproof and fireproof qualities, service programs such as lift core, fire stairs, kitchen and bathrooms, are allocated to the concrete spine. Whereas living programs such as the bedrooms, living rooms and Bamboo Gardens are located in the bamboos structure, because of its material beauty, economy and sustainably qualities.

Charles YuZhang

[email protected]

0413 556 899 9150 5035


Observing the constructed landscape of Sydney. The plinth as a constructed landscape and houses the bulk of program.

Plan and Section. Design informed at the scale of the city, its connections and topography. Section reveals the horizontality of the plinth.

A model of Moneo’s Kursaal, San Sebastian. Trafficable platforms construct the site as public space.

Universal space. Exhibition halls designed for public and private use. In dialogue. Primary studies identify key similarities and differences between precedents and the reason behind these shifts.

Sydney Convention and Exhibition Centre

The device of the Plinth and the idea of Constructed Landscape are used to allow large infrastructure to exist simultaneously with great public space in the city

This proposal for a new Convention and Exhibition Centre on Barangaroo Headland is born from an in depth study of the complex dialogue between Jorn Utzon’s Sydney Opera House and Rafael Moneo’s Kursaal, San Sebastian. This project has taken the opportunity to continue this dialogue into a third building. The new architecture takes the dialectical response further, exploring a more generic space in a more abstract manner.

The device of the Plinth and the idea of a Constructed Landscape are consequently used to allow large scale infrastructure to exist simultaneously with great public space in the city.

The current site exhibits an interesting condition. The decisive sandstone cuts, layered streets and nuanced building stock of Millers Point abruptly meet a blunt, concrete ‘apron’; the product of 200 years of shipping activity. The site and its

connections to the city are part of a larger constructed landscape that defines the experience of Sydney.

In response the architecture becomes a low-lying mat. Part of the existing landscape and site. The building is a trafficable plinth covered in multifunctional public space and filled with compact program.

Five Exhibition Halls (each 4500m2) are arranged contiguously along new roads that run North/South flanking the existing sandstone cliff.

The Convention Centre is designed as a compact form under a singular roof plane along the Northern edge of the site. The plenary hall, auditorium, meeting rooms, banquet hall, offices, services and a restaurant become part of the ground plane and frame a large public Amphitheatre.

Joshua Zoeller [email protected]

0421 242 764


“…the courts differ from all other Government offices. They not only exist for the public, but they function in the presence of the public!”J Kenneth Street 1936

The studio project asked students to question Katherine Fischer Taylor’s contention that architecture may be an aware and active participant in the public debate about justice as a reflection of society.

Justice is a social institution of enduring impact and its architectural representation in the form of a courthouse enables potent civic memories.

The courthouse offers “a theater for social activity in which architecture interacts with the institution to shape its meaning” (Katherine Fischer Taylor) or, as suggested by Professor David Tait,

a leading researcher in the field of justice environments: a spacewhich, through the creative use of symbolism, mediates between memory and tradition and anticipation of a future of hope.

Thus the component parts of the studio project were:

•introductiontoarchitecturalconservation principles – understanding cultural significance of the precinct (Hyde Park Barracks, St James Church, King Street Courts, Hyde Park) and the component parts of the courts complex

•masterplanningoftheprecinct•conservationandupgradingof

one courtroom and associated spaces (1895 St James Road Court)

•designofnewmulti-defendant,highsecurity courtroom for the criminal jurisdiction of the Supreme Court of NSW on the site of the former University of Sydney Law School

During weeks 3-8, students worked in groups to develop a masterplan for the precinct, base model, report and research paper on the major issues associated with courts or justice environments.

For the remainder of the first semester, each student developed the concept design for the St James Road Court and the new building on the north side of King Street.

The design was further developed during the second semester.

Laura Ansell

Vivian Chan

Alison Chik

Parisa Ettehad

Beryl Fan

Jennifer FlemmingStudent Representative

Justin Holly

Talia Keyes

Tracey Lin

Amanda Roberts

Vincent Weng

Arthur Yip

We began the journey of the courthouse studio in March of this year, not knowing what to expect. With the help of Diane, we researched the physical, social and political history of the King Street Court and surrounds. We were introduced to the necessary processes when working with heritage buildings, and learnt to appreciate the intricacies of working with heritage buildings. The design of the new courthouse introduced us to the complex programmatic requirements and conflicting hierarchical relationships of planning of a courthouse.

We attended weekly studios, extra classes at PTW, maintained constant correspondence with Diane, dedicated numerous laboured hours at home (or in the uni computer labs) and lost sleep. Eventually our projects rose from research to masterplan. We were then encouraged to adopt

a conceptual design philosophy to inform both the old and new courthouse briefs. A community with our studio was evident, with every student helping each other and bringing unique ideas to their project, making us all aware of different opinions and opportunities.

The ambitious brief and complexities of courthouse design has resulted in laughter, tears, happiness, disappointment, elation, success, and lots of “why are we doing this to ourselves?” but overall, this final year of our Masters course has allowed us to grow and develop an informed design philosophy. We have all been challenged, rewarded and educated, which allow us to reflect on this final year as our first step into our future in the architectural world. Congratulations to everyone in our studio and in the entire 2010 graduation year, good luck for the future!By Amanda Roberts and Jennifer Flemming

Student Reflection

58

A Court House – Old and New

Diane Jones is a practising architect, a principal director of PTW and an active member of the Court of the Future research network.

59

Studio Leader

Diane Jones



Key Floor Plans of New CourtroomsLegal System in Flux

Design for a New Courtroom

Forms for a New Courthouse

Refurbishment of St James Road Court

A Courthouse Old and New

‘ Open Justice’ and a Legal System in Flux

The principle of ‘open justice’ is crucial to the democratic functioning of our legal system. It provides that public participation and informed public debate are essential to ensuring that the justice system continues to serve the public interest. Over time Western rationalisation and technocratic efficiency have diminished the role and value of the public inside the courtroom. Public architecture as a manifestation of social ideology plays a crucial role in restoring the principle of open justice. It provides a symbol of a legal system in flux, a system built in a complex historical fabric from which society draws it structure. By exploring the symbols contained within the historical layers of the Supreme Court Complex and understanding public perception and deterrence from participation we can move towards creating a new

public arena, which pays homage to the past, but provides the tools for an ever-evolving justice system to keep up with the demands of a modern society.

The first part of this project, the refurbishment of the heritage listed Supreme Court Complex at St James Square, addresses the problems associated with a modern trial being carried out in a heritage building and the multitude of changes that have occurred not only within the legal system, but also in conservation practice. The second part of this project, the designing of a new high security court complex, required consideration of the sensitive relationships between various courtroom players, the role of technology and the ‘virtual trial’ and public participation in a high security environment.

Laura Ansell [email protected]

0412 228 539


Courthouse – Old and New

Reinstating Public Participatory Justice

Social Justice: this is a common belief in a society where democracy is a virtue, and that justice is an essential instance of all social life. However, does our current courthouse architecture of authoritarian, institutional monuments rightfully reflect this belief?

The courthouse project was about redefining the significance of justice’s role in the ever-changing cultural, political, and social contexts, triggering new interpretations on how to resolve these conflicting issues in a more legible and comprehensible architectural manner.

The new courthouse is a symbolic statement of a democratic court. Driven by the agenda of reinstating public participatory justice, the strategy is to pursue rationality, clarity and comprehensibility, while embracing a sense of legal transparency. This is combined with developing a practical brief which informs the design rather than on preconceptions of the courthouse form.

It is using ‘Legibility of Function’ to both reflect and shape an active engagement between the public and the legal process, as an important element of the court ritual. Visually, the overall form of the courthouse is broken down as separate elements relating to its function, while the distinction of private and public spaces is represented through the effects of transitional transparency.

Transitional transparency is far more interesting architecturally than being absolutely transparent. This concept reflects back into the courthouse design, in that some parts only allow the public glimpses into the judicial world. It is the act of revealing and exposing the truth, the dematerializing of borders between society and justice that makes the architecture an experience of participatory discovery.

Vivian Chan [email protected]


The entrance lobby gives an impression of a “depth of field”

Public and semi private courtyard

The new courthouse on site

Site diagram Courtroom layout overlooking the Hyde Park Barrack building

Courthouse New & Old

“ The symbolic hierarchies, the mixes of scales and dimension, the real and the recorded, all meld into a visual symphony, where architecture must be acted upon, brought into the present by those who move through it.”

The new courthouse is situated in an urban heritage sector with King st and Queen Square Court juxtaposing the site. These two courthouses built in different period illustrated a sequence of evolution in courthouse design that contributed dearly to the new building. As a major public institution, the courthouse is in resonance with the entire city and through this, it is important to open the new building to the public. Therefore, the movement in the building and around the site inevitably shapes the characteristic of the courthouse. One prominent design of this project is the central atrium of the building which is a focal area to allow for physical and visual connection between the different parties. The visible footbridges are a symbolic feature of the courthouse as it

exposes what is traditionally “hidden” to the public. Also, the mutation of solid mass to transparent mass is noticeable from the three courthouses. Thus, the methods of balancing openness and security through the use of appearance and disappearance in materials could be seen throughout the building. This continuous transition from outside to inside signifies that every person is able to access the acts of justice and take part in them easily, and that the space is fundamentally a public space. The building thus gives a new architectural interpretation to the representation of justice, which holds that every judgement should be an accessible public act, so as to gain legitimacy in the eyes of all.

AlisonMan Ching Chik

[email protected]

0401 287 957


Interior- Register floors

Section

Structural model

Bird view Dialog between the old and new

Court House Design

This project focuses on enhancing the civic function of courthouse in social context by encouraging “Open Justice”

Through all the change of last two decades, there have been substantial shifts in justice system and court design in judicial building type. Courthouse is not only a powerful place of justice delivery which hopes to be highly respected, but also a place where public can turn to for jud icial help and support in their daily life. Social and cultural sensibility of courthouse is one of the most obvious shifting features. This concern to make it nice to its all users, for instance, how people access the building, how people wait for others, and how people appearance in a trial or hearing. Additionally, virtual technology is another shifting feature of courthouse. This means by inserting digital recording, AV screen, video cameras, as well as virtual witness or defendant, the new requirement and need to meet these technologies call for changing in courts design accordingly.The last but not least, comfortable building environment for its users are now more and expected than the past. This focus on creating visual openness and fresh air, natural light,

as well as separations for deferent groups in courthouses to make people feel safe and also nice and welcome.

Thus, this courthouse design project is a valuable opportunity for me to rethink what is good court architecture and how it might be achieved. In this project, I try to enhance the civic role of courthouse in social context by encouraging “Open Justice”. In order to achieve this, I mainly focus on three strategies: Firstly, clear articulation of building function by inserting a continuous cylinder form for the three courtrooms required, which will somehow increase public knowledge of justice process within. Secondly, bring the literal transparency and proceeding, which vary the rhythm of closed from recording to security and safety issues in traditional courthouse design approach. Lastly, create it as a comfortable “people place” for all users by considering meaningful view of outside, natural ventilation and light, noise control and separation waiting areas for deferent groups.

BerylXiaobin Fan

[email protected]

0425 809 862


North-South Section: the atrium promotes natural light, ventilation and connectivity throughout the courthouse.

Multi-defendant courtroom plan : (orange- public green- custodial purple- judiciary/jury blue- witness)

Site model

Perspective Axonometric: A- jury deliberation B- judiciary/staff C- public lobbies D- courtrooms E- foyer

St. James Legal Precinct

The St. James legal precinct is one of Sydney’s most significant heritage sites. The inclusion of a new courthouse within the precinct offers the opportunity to explore the interface between old and new – creating an exciting and diverse legal hub in the heart of the city.

Careful consideration was given to the heritage context within in order to create a discernable legal precinct. The architectural language of the new courthouse has been derived by a series of responses to the adjacent buildings; in particular the articulation and materiality of St. James Church spire. Similarly, the heritage redesign of St. James Road courtroom has been executed in an unobtrusive manner in order to minimise disturbance to the heritage fabric.

The design of the new courthouse redefines courthouse typology, and rectifies the apparent problems in many existing courthouses. The proposed building presents a physical environment that minimises stress, fear and intimidation within the courthouse by interrogating the potential for sequence of space, scale, materiality, and quality of light. The specifics needs of each player were considered, so that no person was marginalised or intimidated during their journey to the courtroom.

The presence of natural light is a central element to the proposed design – access to sunlight has proven to be psychologically and physiologically beneficial for reducing stress during long trials. Additionally, the symbolic associations of light convey ideals of enlightenment, renewal and guidance – qualities appropriate to associate with a judicial system based on integrity and reformation.

Jennifer Flemming [email protected]

0405 678 249


New and old courthouses meet

Courtroom lobby

Courthouse and transport hub

Entrance lobby Courtroom

Power, Courthouses, & Theatre

A New High Security Courthouse, renovation of the heritage listed King Street Court and a masterplan of the Queens Square Law Precinct

“The courtroom, as a type of theatre, is an image of the manner in which citizens are to have parts of importance and dignity, to be taken seriously and with ceremonious, protective deference, and to have their rights and duties fairly recognized.” - Milner Ball

As one of the pillars of government, the courthouse is a highly provocative and essential institution, established since the foundation of English settlement in Australia within the Queens Square precinct. For all the power of the Court there is an equal dependence for the public to participate and therefore to validate its integrity and to ensure that it stands for the common good.

To appreciate this relationship, a comparison of theatre to the Courts has been investigated. Ideas such as public display and accountability intermingle with emotion and drama to create a complex balance for stability that we shouldn’t take for granted. Architecture that reinforces ceremony while encouraging public involvement can play a part in this democratic court process.

Justin Holly [email protected]

0431 771 551


St James Heritage Court Refurbishment

Lines of Sight

Detailed Wall Section

Representations of Truth and the Veil of Ignorance

The courthouse is a institution in which appointed representatives of the people attempt to improve the consistent exercise of power over the collective society, making it more effective, efficient and imposing. In general terms more disciplined, resulting in a power relation that is both visible and unverifiable.

It is by mere fact of human nature that in living we must die but in doing so we must first endure the hand of judgment. It is here that the current system fails to accommodate our implied right to knowledge and access of the very system according to which we must be judged. The disjunction between justice and injustice has been attributed to a global in-access of information and knowledge of the underlying moral code rendering the average man blind behind a ‘veil of ignorance’.

A unified relationship between authority and justice enables the design of conditions that will liberate participants from their ‘veils of ignorance’ allowing the experience of the courthouse to be shaped equally by its architecture, the just dispensing of judgment, and the events that unfold within.

The veil of ignorance seeks to rectify the disparity between the ruling authority and its exercise of justice as a mechanism of power. Examining selected representations of truth in order to facilitate free, equal and open access to its system of law underpinned by the collective values of society and the voting public.

Talia Keyes [email protected]


The Haptic Court Located in the CBD of Sydney, the historic King Street Courts consists of three main buildings, designed by Francis Greenway. These buildings date from 1827, and are etched with heritage for its continuous use of a courthouse, and its close proximity to Hyde Park, Hyde Park Barracks and St James Church. There were two opposing briefs within this project - conservation of the St James Rd Court which needed to be respectful to the significant heritage items, and the new design of a new high security multi defendant courthouse, to be located at the existing site of USyd Law Building.

Historical analysis in terms of form, the phenomenological experience of the courthouse and the legal precinct set three design agendas / political positions:

1. The architecture to respond to the stressful nature by providing relief for the public;

2. The architecture to redress the historically marginalised role of the public in a court;

3. The architecture to highlight the symbolic importance of a court building within a civic / public space.

An architectural response was established through research and investigation. A haptic and sensory experience is enforced within the building, by providing a sculptural stair, haptic surfacing to distinguish the thresholds into public and private areas and vegetation. The sense of the court precinct is enforced through the building responding to the rhythms of the adjoining buildings which influenced the form and location of the iconic floating court pod.

The material palette is relatively plain, concrete being the main material, with copper and glazing wrapping the edges of the public spaces within.

Amanda Roberts [email protected]

0432 169 031


Layering

King Street entry

Void in between public tower and courtroom tower

Courtroom

Site context View from Elizabeth Street

Courthouse - Old and New

A contemporary courthouse encouraging the legibility of building, the courtroom as an important statement symbolizing justice and law

Celebrating the Courtroom as the main architectural strategy to enhance the statement about the importance of courts, it says something about justice.

Encouraging the legibility of the building, highlighting public access into building, using different and distinctive materials allow a clear distinction between public, semi public and private space. Different layers of transparency of glasses are used to create this kind of spatial quality. Different structural system and materials are used to make a clear distinction of the courtroom and the public spaces. The angular grid structures of the courtroom create an iconic and bold civic statement of the courtroom as the most important space of the building.

VincentSiheng Weng

[email protected]

0403 332 514


New concept on Law Courts Building Design

Interacting with the Urban Fabrics and Encouraging Public Accessibilities

The law courts building is one of the symbols of representing law and justice. It also carries an authority status in the society. The traditional law court building architecture does not encourage the public accessibility and the architecture itself always being isolated from the surrounding urban fabrics. It is like a fortress within the urban environment.

To make the law courts building be part of urban fabrics, it should maintain constant dialogs with the surroundings. Different functions are also inserted at different layers of the building to encourage the public accessibilities, making the architecture itself to be multi-functional. It also enriches the

overall spatial qualities. Secondly, the internal spaces inside the law courts building should try not to detach people from the outside. Everyone should feel comfortable and familiar with the spaces when they are inside the building. Finally, the court room itself should be a place to help people to resolve problems and answer their enquiries rather than placing judgments on them. Everyone inside the court room should have equal status. They should be like working partners, working with each other to achieve the final solutions.

Arthur Chi Hang Yip

[email protected]

+852 62960460


Who are we, who is each of us if not a combinatory of experiences, of information, of readings and of imaginations? Each life is an encyclopaedia, an inventory of objects, a collection of styles, where everything can be continuously shuffled and re-organized in every conceivable way. Italo Calvino, Six Memos for the Next Millennium, 1988

Students in the 9Sights Independent Design Research brought to the studio their own project brief and experiences following the studio underlying design philosophy of achieving design continuity of space, form, material expression and structure through an architectural intervention that modifies the nature of an existing urban context thus changing individual and collective cultural values. In semester 1 the 9Sights students arrived at a sound conceptual/preliminary design based on their individual research of a specific theme of enquiry, a critical interpretation of precedents and site analysis.

In semester 2 the 9Sights final projects are the result of the students’ continuing design investigation of their theme of enquiry from conceptual to a schematic and developed/final design. I admired their capacity of merging independent thoughts with a structured sequence of stages with the intent of transforming the existing urban environment through the development of new relationships of forms, spaces and activities. Regardless of their diverse architectural enquiry, they all included in their project a sensitivity and a refinement of ideas which are interpretative and finally poetic.

Deborah Allen

Victoria Clark

Elizabeth Geldres Student Representative

Xion Lin

Samuel Massey

Wendy Sin

Charles Tang

Lionel Teh

We had 252 days and we were ready to make our statement.

The objective was to refine and define our current architectural beliefs, exploring our personal interests to make what had started as a collection of intangible projects a reality.

We bounced ideas off one another. It was refreshing to be able to focus on each other’s architectural dilemmas momentarily, giving us a fresh set of eyes to come to some form of resolution for our own projects.

With an emphasis on defining our critical positions through an extensive literature review we acquired a significant wealth of information, allowing us to see our projects from different perspectives.We raised our sights. We deviated onto tangents. We circumambulated around our initial ideas and finally found an axis that would lead us to the centre of our project. The end/beginning was finally in sight.

This is our statement.

For more information please visit our group blog at www.9sights.blogspot.com

Best wishes to Chauntelle, Titu and David with their future studies and a very special thank you to Paola for her never ending patience and assistance with our projects. Grazie tanto!

Student Reflection

80

Paola Favaro is a graduate of the IUAV - Scuola di Architettura di Venezia and she has more than twenty-five years experience in architectural practice and education in an international context (Italy, Canada and Australia). She was awarded a PhD in architecture

from the University of New South Wales (1999). Her recent publications include the book The Contribution of Enrico Taglietti to Canberra’s Architecture, (co-editor Royal Australian Institute of Architects, ACT Chapter, 2007)

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9SightsIndependent Research Design Studio

Studio Leader

Paola Favaro



Headquarters

Marine Base Sectional Perspective

Bank Street Boat Park Masterplan

Cafe Street Approach

Marine Base + Headquarters

Bank Street Boat Park, Pyrmont

Bank Street Boat Park is an urban recreational boat park located in Pyrmont, alongside the new operational base and headquarters of the recently formed Marine Rescue NSW

Through theoretical research it was determined that the main intentions for the urban boat park and Marine Rescue base would be three-fold:

•toengagethepublicandthevolunteers with the harbour environment, extending and varying their interaction with the water, through the exploration of the ‘edge’ and the ‘in-between’

•tofacilitatearelationshipbetweenthe marine volunteers and the general public, whom they serve increasing awareness of their presence and their activities

•toprovideabuiltandlandscapedenvironment that allows for efficient and effective service for the marine volunteers and the boating public.

The site is in Bank Street, Pyrmont, directly below the east pylon of the Anzac bridge. The site is currently an abandoned workshop and empty space used for dumping shipping containers. It is a key location, being the link between the Sydney Fish Markets and harbour foreshore walk connecting to Pyrmont and the rest of the Sydney CBD and beyond.

Materially the base adopts marine connotations with a timber interior protected by a copper shell while the vertical concrete grounds the base within its context.

These intentions, the marine focus and the site combine together to form a base that is humble and unassuming, while making a distinct public statement, representing the spirit and interests of the volunteers.

Deborah Allen

[email protected]

0410 086 156


Construction and materiality detail of junction between gallery and circulation space

Final proposal showing position within newtown context

Concept model exploring the position of the parts across the site

Circulation courtyard as mini gallery with garden beds

Study model of sanaa’s seijo townhouses project

Newtown Tramshed Artspace

A series of galleries and workshop spaces facilitating artist-in-residence programs for local schools

The project began with an in-depth research study of Sanaa’s Seijo Townhouses. The main concepts to come out of this study concentrate on weaving circulation patterns, and courtyards that puncture the plan, discreetly defining between public and private. These ideas were then translated into my own project.

The program evolved from the NSW governments’ artists-in-residence scheme for schools. The facility provides workshops for school groups with accommodation for the artists. This allows for collaboration between different student groups and the community. The building also houses a series of public gallery spaces showcasing the work of both the students and the artists, and studios provide the artists with private working areas.

The project is sited in a derelict tramshed building in Newtown, with a public edge on one side and a very private face to the other. With this is mind the project is a public building at a community scale that relates to the rhythm of the laneways and terraces of the surrounding streets. The circulation spaces question what is inside and what is out, doubling as both informal display space and mini courtyards with garden beds.

Victoria Clark [email protected]

0414 673 506


Elevational + Sectional Studies

Internal Courtyard

Approach To Site + Competition Hall

Gymnasts In Motion Preliminary Internal Perspective

Bunnerong Gymnastics Centre

Redefining Gymnastics The Sequential Order of Kinetics and Aesthetics

Prompted by the existing facility’s need to update their premises, the primary design intention sought to create a new gymnastics centre that would better represent and foster the activities it encompasses. Drawing upon theoretical and experiential investigations the design reads less clearly as a monolithic figural whole and more as a sequence of unfolding spatial experiences in order to accentuate the body’s movement through space.

Set within a significant regional park that provides a range of sporting facilities, alongside an arterial road, and directly across a high-density housing precinct, the site necessitates an improved public domain. As well as the gymnastics centre, the proposal allows for the conception of an adjacent urban forecourt to provide greater amenity to the nearby residents and facilitate improved pedestrian access and distribution to and from the site.

The resultant design evolved from investigations of open-air courtyards where gymnastics was first practiced and through an understanding of gymnastics routines as a sequence of individual skills linked together to create a continual flow of movement.

While acting as an analogy for gymnasts in motion, the continuous ribbon form which wraps around a central courtyard also generates multiple possibilities for the enclosure of the prescribed functions while allowing for a seamless connection between interior and exterior.

For more information please go to www.lizgeldresgymnasticscentre.blogspot.com

Elizabeth Geldres [email protected]

0422 956 330


Detail Section

View from South Dowling Street

Axonometric Diagram

Site Plan ESD Diagram

BMW Showroom and Technology Centre

Architectonics: Iconography, Technology, Surface

The design is located at Victoria Park, Zetland. It consists of showroom spaces, the BMW museum and technology centre. It will act as the headquarters for BMW Group Australia. The interest of the project is in the architectonics; the translation of ideas into built form from inception to realization. It focused on three key points:

ICONOGRAPHY: International car manufacturers are increasingly keen in creating an architectural identity for their brands. The project aspire to bestow the built with an appropriate sense of iconicity; a level of communication with the public beyond the conventional realm. It also tackles the issue of establishing both brand specific and site specific languages.

TECHNOLOGY: Automotive design and technology evolved simultaneously. It is perhaps the only design industry that requires designers to keep up with the latest technology in order to survive in the competitive fields. The design seeks to encompass the same amount rigour and ambition in technology as the automotive industry.

SURFACE: In architecture, the design of a building is based on a multitude of elements including spatial articulation, proportions, natural lighting, circulation etc. In fashion, it covers a broad range of aspects such as colours, patterns, materials, tactility etc. However, no design industry is akin to automotive design in the fact that it places strong focus on surfaces. The aim of the project is to integrate ideas of automotive design into architecture.

Zhixiong Lin [email protected]

0421 680 007


Sketch concept for hostel bedrooms

Main foyer to training centre and drop-in centre Hostel Foyer

Resource centre

Courtyard View

Street Smarts Nearly every day we encounter or ignore homeless people, without understanding their origin or plight. Sydney’s homeless population numbers over fifteen thousand, of which 18% are youth. This figure represents a societal failure, and inspired my idea for a socially responsive architectural design.

Set in Woolloomooloo, the proposed ‘Street Smarts’ Centre aims to provide a facility for homeless youth to find refuge as well as support for a more independent life, with the design being in keeping with the locality. To achieve this goal, I researched barriers experienced by homeless people and integrated my findings into the design.

In keeping with the urban feel, a mixed ‘foyer model’ will be adopted for the design and programming. The design consists of three connected building surrounding a courtyard; an adaptive reuse of an existing neighbouring building to the west for public functions, such as community workshops and café/retail spaces; a three storey high hostel, resource and internet lounge, with kitchen and common rooms on the northern side; and a two storey building with meeting, training and clinical facilities, with long term accommodation to the south.

Samuel Massey [email protected]

0414 405 587


Sydney AutoMuseum: Re-interpretation of Motortecture

Sydney’s first automotive museum

The perception of automobiles and architecture appear to share a similar history of the increasing dependence of form over experience. With the increasing advancements of technology, cars are able to attain a more superficial streamline appearance; contemporary architecture has also adhered a similar relationship to its form and facades. The AutoMuseum aims at not only showcasing to the public automobile as an art, but also makes a statement about the conception of automobiles and architecture through personal experience. In other words, one should be given the opportunity to interpret and re-define their own perception of car, and architecture.

The re-defining process of a visitor involves many aspects which are incorporated into the spatial design:

•Anuncontrolledcirculationgivesthe viewer an opportunity for self-exploration and self-interpretation.

•Diversewaysofexhibitingautomobiles allow viewers to view the composition of exhibit” and interpret their own hierarchy of importance.

•Thecoheringsimpleandun-biasednature of the building forms enables viewers to have a neutral stance towards displays and architecture during exploration.

The initial state of the museum includes 6 galleries and other public facilities, which are divided across two levels where only the top level is ticket-required and has access to the galleries. The car collection of the museum is due to change constantly and at times expansion might be required to house more exhibits. The proposed museum therefore adopts principals of the Mat Building Typology, which are to allow for flexibility and expansion by having a modular organization.

Wendy Man Wing Sin

[email protected]

0424 488 881


View of Promenade

View of Airside Hall

View of Southern Walkway

View of Front entrance and Public Transport Interchange

Oneworld Sydney Terminal

An Aviation hub is a gateway to the World’s global cities, more importantly, it is a representation of technological advancement, society’s intelligence and qualities of the local origin. It is a destination that witnesses a diverse range of foreign citizens interacting with others that consequently shapes the hub into a global city interchange.

Sydney International Airport is one of Australia’s frequently visited hubs that carries the reputation of Australia to foreign visitors. Modernisation of global airports are commencing to integrate all types of sustainable modes of transportation for travellers to and from the airport as new aircrafts are proceeding into a new stage of advancement with reduced flight time thus Sydney Airport is expecting an influx of global passengers.

Oneworld Sydney Terminal project acknowledge aviation travel will become increasingly reliant in connecting the world’s global cities accompanied with an influx of visitors passing our gates convince Sydney Airport Corporation to draft an expansion strategy. This project will display opportunities towards increasing efficiency of Airport duties, a pleasant environment for visitors and sustainability consideration towards reducing carbon footprint through integrating resources from Sydney Airport’s environmental and physical context.

Charles Tang [email protected]

0433 740 910


Details of construction (Entrance space

Birdseye’s view from North-west

Images of: Bookshop, Prayer hall, Library

The main entrance on Riley St Process images of models and drawings

Sydney Mosque

Building a contemporary Mosque in Sydney as an antidote to Islamophobia

The project explores the contemporary issues of Islam in the west and investigates the development of western mosque architecture particularly in Sydney, Australia.

Today, many western mosques are anachronistic to modern times; often fabricated from revivalism or historical eclecticism that struggle to related to a local Western context. Also, many are becoming more liturgical and mono-functional. These impositions impede the assimilation of secular society towards Islam and consequently construct Islamophobia.

The aim of this project is to identify the underlying Islamic essences/principles in mosque architecture. Subsequently, express these principles within a contemporary framework in a secular context; Sydney. The discourse of western mosque architecture is also accompanied by matters of culture, tradition, economy, politics and technology.

The proposed multifunctional Sydney Mosque consists of a prayer hall, a cultural centre, a public park and a retail centre. It will be located within the urban context of Sydney city (Surry Hills). The inter-woven public amenities (park and retails) allow free access to both Muslims and non-Muslims in and out of the site. Ultimately, the aim of this project is to dwell on the notion of transparency, redefining religious boundary and redefining the manifestation of Mosque architecture within a secular, contemporary and urban context. Subsequently creating a peaceful platform for a greater assimilation (of Islam in the West) to occur.

Lionel Teh Soo Ren

http://sydneymosque.blogspot.com/

[email protected] 492 464


Project: The project is a simultaneous investigation into the streetscape design/ design of urban precinct and the design of a high-rise office building.

Site: Goldfields House block in Sydney CDB, which is bounded by Alfred, Pitt, Dalley & George Street. Premise: The premise for this project is urban complexity and connectivity, which aims to conceptualize, connect, and complicate the relation between street, place, work, and sky. It is intended as a challenge to the monoculture of the workplace tower and reconceptualise it by thinking of it through the diversity of the streetscape. It frames an ethical position as it offers public benefit in additional to commercial advantage.

Initial Frameworks: Sydney City Council urban design study provides the foundational base from which to debate, challenge, re-interpret, and design.

Contemporary Framings: The tower building project is framed by an awareness of workplace design trends, vertical buildings and sustainability, optimal effective and efficient floor plate design.

Alex BrydenStudent Representative

Si Yun Guo

Ehsan Khoshsima

Yi Lei

Nelly Purnomo

Kristie So

Kate Stanistreet

Brad Swartz

Lily Tandeani

Edwin Tang

Connie Wong

Pei Ching Wong

Daniel Younan

Max Zheng

In September 2008, the City of Sydney commissioned the NSW Government Architects Office to prepare an Urban Design Study on the site bounded by Alfred St, Pitt St, Dalley St and George Street (APDG block) in Sydney CBD. The results concluded in a proposed master plan which consisted of 3 towers, a public square and re-activated laneways. The master plan, which is now part of the City of Sydney Council Draft LEP, allowed considerable increases in development height and floor-space ratio (FSR) for developers willing to contribute positively to the public amenity of the site and reinstate the laneways.

The challenge presented to the students was to re-assess the proposed master plan, with considerable reference to the existing and draft LEP as well as analysis of the “Sydney 2030” plan. Following an in-depth analysis, the students developed an individual Master Plan, and detailed the

development of a major urban public space, in Semester One, and a commercial office tower, in Semester Two.

In some cases students chose to create a large public square forging strong connections between Circular Quay and George Street and allowing access to north light during key parts of the day. In other case students chose to treat the laneways as the significant public space creating a rich network of cafes, bars and shops.

The second semester saw the students focus their design attention on creating a commercial office tower based on a realistic brief that called for maximum developer benefits as well as innovative office design and building form. The student’s designs were focused on achieving maximum green rating and efficient floor plates with a strong influence from Sydney’s newest commercial office tower, 1 Bligh Place.

Student Reflection

98

Connectivity: Urban Street, Place, Work, Sky

Ray is an architect and Director of Architectus working primarily with major commercial institutions and private developers, providing advice on site strategies and building design. His design approach is to work from the tenant back

to achieve commercial viability, efficiency, aesthetic quality and civic value. Ray is currently working on master plans for several significant CBD sites and is the Project Director for the 1 Bligh Street office tower.

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Studio Leader

Ray Brown



Ground floor plan

View of main entry foyer with publicly accessible floor plates

Context model from Circular Quay

View from Pitt St View across and down atrium showing alternating balcony spaces and internal lifts

45 Pitt

A triangulated, ventilated tube

The development proposes a modern interpretation of a laneway network combining retail, social, commercial and residential aspects into a new rich and active urban fabric for the City of Sydney.

Additionally, a large commercial office tower compliments the benefits to public amenity at 45 Pitt St. ¬An artistically formed, naturally ventilated tube, the diagrid provides lateral stability for a column free perimeter zone. The full-height atrium encourages natural air movement while promoting inter-office connectivity and drawing light into the buildings centre.

The structural tube is ended with two significant spaces: a roof-top public terrace restaurant & bar with uninterrupted 360 degree views of Sydney City, and; a ground plane drawing connections between Pitt St and the proposed laneway network of the site master plan.

The typical floor plates begin at level 8, increasing in N.L.A. as the lift-rises drop-off. The void of levels G – 7 is given back to public amenity and private enterprise, with large exhibition and meeting spaces melding with restaurant, café and public eating/sitting areas.

Inset within the diagrid is a ventilated, double-skin façade, with triangular panels. Every down-facing panel tilts out to allow air to flow naturally in the cavity between the internal and external glazing panels. The perimeter of each office space utilises a perforated ceiling which ventilates warm, used air into the top of the double-skin and subsequently escapes into the atmosphere.

A naturally ventilated triple-height winter garden is situated between the two service cores on the southern façade and occurs every seven levels. These act to aid the flow of fresh air through the atrium and office spaces and provide a comfortable break-out space for the workers.

Alexander Thomas Bryden

[email protected]

0409 954 675


APDG Connectivity Connectivity is an urban project concerned with understanding the master planning of the city of Sydney. An inspiration for my design project is to create a green corridor to connect the inner city CBD and the outer city domain. It is not only to provide a pedestrian walking mall but also to create opportunity for landscape and natural elements to be incorporated into the APDG precinct.

The wrap around sky garden in the building is designed to connect with nature, while the shifting of the service core axis provides people with a dramatic experience at different heights in the building.

Pei Pei Guo [email protected]

0405 799 789


View from the internal square towards the entrance lobby

Entrance hall

Façade detail

Sky garden and 3 storey high atrium

Arial view of the tower with the context The double skin façade detail with the light shelf and openings for ventilation

Contextual Emergence

Low energy office building designed to consider the climate of the site. The structure emerges from the site specific context and the existing gridlines of the city of Sydney.

The task of designing a tower in APDG block in my opinion was more than a mere functional response to the program. The aim was to design a new icon in Circular Quay which addresses the contextual conditions of the site and emerges from that context. Therefore, in addition to all programmatic issues and climate considerations, the building had to have more qualities in itself. The initial objective of the design was to merge time and space in designing the office tower. In order to do that, the main city grids in the CBD were overlaid, creating an abstract mesh, which was projected onto the building façade. The projected imprints constitute the building

structure, representing the presence of the context in the building. The presence of the grids on the building façade is the moment when the imprints are created, then the grid is not present anymore and transformed to the structure of the building. The span between the moment of presence of the grids on the building façade, making those imprints on them, and that of their absence creates a notation of time in the place where the building is located merging time and space.

Ehsan Khoshsima [email protected]

0407 999 153


Wiggling Stream The design is focus on revealing the historical Tank Stream (north-south alignment) on the lower section and maximizing the aspect towards Sydney Harbour and City on high levels.

The tower manages to readdress the hidden Tank Stream, transform to on-ground canal through the building ground plate and square attached. The atrium and stream-lined form remind the characteristic of water.

The exposed diagrid and the fluidity give a strong impact to the Sydney skyline; impose an iconic symbol on the CBD area. And the semi-high atrium also gives a sense of gateway standing on Sydney Harbour.

View of northern façade and attached public square

View of building’s atrium

Look up view from square of the blockBuilding within Sydney City context

View from Harbour Bridge

Ground lobby of building Wiggling Stream

Ray Lei [email protected]

0433 258 972


Office Lobby and public space surrounds

Typical office floor plan

Master plan

APDG Block

Gateway office tower

CONNECTIVITY : urban - street, place, work and sky

The first semester of this graduation project concentrate heavily on designing master plan and public space. The process itself lies strongly on the assumption that the Sydney 2030 as¬pirations as well as Jan Gehl’s report’s recommendations are car¬ried out in the city of Sydney as a basis to provide for public transport and ease of connectivity via the 2030 light rail system and George Street as a significant pedes¬trian and cyclist link. Thus, the whole APDG Block is transformed into a pedestrian zone, where vechicle access merely could be reached from Dalley street. Every corner of the site is designed specifically to generate a different experience in entering the site, while public space is generated through the ideas of porosity. “Porosity” theme infused to structures on the ground as well as

folding the landscape, forming a new layer of green infrastructure,raising another green platform on top of street level. Taking a flight from that point, the crucial point is to design an office tower that meets the requirement in offering a prestigious and landmark building. Hence, A gateway tower scheme is derived through its own shape and character that opens up to the water. A green lung that connect the building from top to lobby as well as sky garden which provide green breaks in vertical circulation, are chosen to deliver the building to its perfection in structure, air circulation, natural light, connection between each floor, last but not least , building espression. Eventually, porosity theme still could be perceived in terms of tower expression.

Nelly Purnomo [email protected]

0430 508 303


Approach from the city

View of the APDG block from Circular Quay

North West Perspective

Document Relationships to determine key aspects and direction of master plan design

Tower Concept and Lift Core Exploration

Green Voids

A 24/7 Self-sustaining Development in the Sydney CBD

The first semester master planning of the Alfred, Pitt, Dalley and George block began with an analysis of documents related to the site in order to make key decisions about the treatment of existing laneways and creation of new connections through the site. Along with George Street implementing a light rail system, the APDG master plan design incorporated a 24/7 main street with late night entertainment and a Greenhouse in the heart of the site for a self-sustaining development.

The second semester tall office tower design largely spurred from the key highlight of Greenhouse in the master plan, by treating green spaces as void spaces rather than positive space as in the case of the Greenhouse. Taking into consideration office requirements of a large floor plate and side

service cores as efficient and desirable from a leasing point of view, the tower design generated from drawing a 1000sqm column-free contiguous floor plate and cutting voids to allow light and shorten distances to view. The green voids in the office tower design are used as external breakout spaces, to naturally ventilate portions of office space, allow for night purging and can incorporate lightweight crop growing and gardening.

Services are placed along the North-South axis to allow light to enter from both the north and south facades, resulting in a rather unconventional scattered core. A series of core explorations were made in order to ensure that a scattered core can be efficient, challenging the notion of condensed core design.

Kristie So [email protected]

0416 130 828


Plan view of green space being pulled back into the city

Perspective from Circular Square, looking towards Alfred Street and Circular Quay.

Front of tower tracks view of Opera House once taller than Gateway building

Structural perspective - light steel trusses cantilever out from heavy concrete side core

Visual Trajectories The ViewConnectivity tower stands 300m tall at the gateway to Circular Quay. As the tower rises vertically, the Northern facade changes angle, contracting and expanding to maximise exposure to optimum views of Sydney Harbour, the Sydney Opera House and the Harbour Bridge. High levels of transparency are maintained along the Northern facade, enhancing visual connectivity to the Harbour for all tenants. All tenancies are located on the Northern side of the tower ensuring spectacular views. Glass lift shafts on the Southern side of the building create connections to the view looking back over the city centre.

The Green BuildingA double skin facade on the Northern part of the building provides natural ventilation to the perimeter of floor plates. A naturally ventilated atrium divides the two side cores. Light is filtered from the top and side, which disperses into the office floor plates.

Gardens rise vertically on the southern side, as lower rise lifts drop off. Mid rise gardens include break out spaces with planting to purify air and enhance indoor air quality. High rise gardens incorporate hydroponic farming, with vegetables grown for cafes within the tower, encouraging workers to lunch in the tower, minimising lift use and energy consumption.

The Open SpaceA city block carved out by interconnecting laneways, creating spaces which flow from streetscape to an open public square. Circular Square is like a finger of green space being pulled back into the city, connected to First Fleet Park. Sculpting of level changes using ramps and stairs, work with the existing topography creating green spaces which step up the site to form an outdoor amphitheatre for informal seating, moonlight cinema and markets. The internal green space is a sanctuary away from the busy city streets.

Kate Stanistreet [email protected]

0405 367 509

Northern Facade of Connectivity Tower within the Circular Quay context


Laneway

Concept development

Sydney Skypark

In this development the public space is raised 7 stories, creating a large park with rich laneways at the ground level.

The design brief was based around creating an architectural solution, inclusive of a commercial tower, on the Sydney City Council site bounded by Alfred St, Pitt St, Dalley St and George St (APDG). The City of Sydney council proposed draft LEP 2005 Amendment 20, proposes alternative development options for this site, with the key focus being on improving the public domain.

In this scheme it was considered that the best solution for a public domain would be a green public park at grade. However, this would not be an economically viable solution. Consequently, the ground plan extruded 6-7 stories creating a sky park with access to north light,

views over the car hill expressway and a rich network of laneways between the sites. Consequently, lightwells were inserted into the deep floor plates of the levels below the park and site functions inclusive of the commercial tower were added framing the park.

The commercial tower was developed around a large open floor plate. To the south of the floor plate a laneway cuts through the building creating an atrium the height of the building. Whilst to the north, the building twists towards the view as the sitting changes above the surrounding towers.

Brad Swartz [email protected]

0421 444 338

Sydney Skypark

Commercial Tower


View from corner Pitt and Alfred Streets

Office lobby entrance

Lobby interconnecting Tank Stream Square and Pitt-Dalley Street

North-South section

North office wintergarden atrium

Revitalisation

APDG Tank Stream Square Redevelopment - Eastern Tower

The drive behind the overall “revitalisation” strategy adopted under the masterplan derived from the historically significant aboriginal Tank Stream that once passed through the site. The APDG redevelopment masterplan aims at reviving its communal importance to Sydney-siders and creating a second iconic complex that compliments the Sydney Opera House and its retail and residential precincts.

The strategy is focused around the sun drenched green square that overlooks the convention centre, interconnects all shopping, cafe and dinning alleys, and defines the footprints and forms of the three towers.

The 48-storey APDG Eastern Tower development consists of two main fire and functional compartments. The southern service compartment houses plant rooms, services, lifts, amenity spaces, while the north facing master compartment houses all commercial and residential activities.

The building’s office floors are strategically arranged into vertical “villages”, each comprising one main floor, two “gallery” floors and a 3-storey high common Atrium. This arrangement is key in giving such a large office tower a sense of localised identity. More importantly the atriums act as buffer zones that provide thermal and acoustic barrier to the office space.

Over the office levels, a two-storey retail ring with express lift access, bridges all three towers, providing uninterrupted views to the city and the harbour. The upper part of the tower houses luxurious residential units with northern aspect facing the harbour.

The building’s double skin facade, coupled with carefully modelled and tested shading treatments ensures heat gain are minimised on warmer months, and heat conservation optimised during colder months. Further energy conservation measure includes photovoltaic panels, sea water cooling, and naturally ventilated office atriums and residential units, façade rainwater collection and gray water recycling.

Lily Tandeani [email protected]

0416 811 345


Sky transfer level (L10)

View from Circular Quay

Atrium view from sky lobby (L10)

Lobby entrance Foyer at Pitt Street level

Connectivity: Urban Street, Place, Work, Sky

The horizontality and unity concept for the towers has been the developed with the intention of establishing a new tower typology

Designed for a master plan of the APDG site, the scheme is actually about the study of the urban typology and creating an effective and responsive place which based on the different key aspects like platform, landscape, bridges and street on how the whole mix-used development responding to the urban context. The verticality, horizontality, unity and stacking are the main idea of the proposal on designing 2 towers which linked by 3 building bridges and connecting the layering of the suspended city through the vertical public transport system which acts as a vertical street. More than eighty percent of the area is designed for office space; the balance is residential, commercial, and cultural.

The joined tower, unlike the traditional vertical tower with its unitary vertical systems, offers multiple routes of escape throughout the development. The “sky park” at the top of each horizontal bridge, with public amenities, creates a lofty horizon at the 40th, 51st and 60th floor.

To design the green premium building, different ESD strategy has been applied into the tower design such as wind scoop building design, solar panel system, double skin facades, rainwater collection system, daylight harvesting, chilled ceiling system and underfloor ventilation air. The intention of creating a 15 meters wide tunnel all the way from ground to the top is to create the wind scoop and gives people the sense of interaction and visual connection. In order to control the wind speed and wind flow, a secondary skin will be design to wrap around the two separate towers with the louvre system on it.

The connection between the towers creates a remarkable silhouette across the Sydney skyline, a symbol of sculptural tower; their gap also allows interaction between towers, channel the circulation and sun access. The towers also arc in such a way as to create public space beneath them.

EdwinJiun Juong Tang

[email protected]

0433 775 561


Interior view

Tower in context

Section drawing

Exterior view of tower

View of office village

Workplace Village

The stacking of villages make up this commercial office towers situated in circular quay, Sydney

Information technologies have transformed dramatically our working style in the past ten years, but our building shells are taking much longer to respond to these changes. Wireless internet and intranet allows workers to access information at anytime and anyplace within the office tower. One is no longer bounded to do work at workstations from nine to five. It is more effective for the office tower to provide settings that adapt to the changing work patterns of different business. Not only that, people are retiring at a later age as life expectancy increased, giving a diverse range of user types that holds both traditional and contemporary expectations of workplace environments. This project is positioned to meet these aspirations of the 21st century workplace and beyond.

There are three principles that drive this project;

Work efficiency: There is a causal relationship between employee’s productivity and workplace settings. Encouraging workers to socialize and exchange knowledge has taken over the appreciation of large personal office space with city views. Integrated services are also important to satisfaction. There is a roof top café, bar, childcare, conference floor and swimming pools in this office tower.

Flexibility: Floor plate arranged in groups of 4 as one “village”, with each village sharing an atrium space along the entire length of an elevation. The idea is to retain tenants by allowing business to increase in size by renting floors above or below.

Sustainability: The atrium serves as climatic buffer zone as well as a social zone, filtering light and allowing natural ventilation inside the building.

Ka Yan Wong [email protected]

0406 783 543


Office Tower Perspective

Main Entrance from Pitt Street

Tower Skyvoid

View Corridors Office Low-rise View

Connectivity:Urban Street, Place, Work, Sky

The twisted tower allows maximum view of Sydney harbour; views to Circular Quay, Sydney Harbour Bridge, North Sydney and Barangaroo, creating dynamic building form and unique floor plates.

The project explores the idea of a workplace as an element within a dynamic entity. Maintaining connection of Sydney city; urban street, place, work and sky is vital. The project seeks to address both contextual adjacencies and cultural conditions, exploring the possibilities for public place making for both city and citizen.

Proposed project location affords panoramic views over Sydney Harbour, creating dynamic north facade to capture most of the view from the tower. The building plan changes from a pentagon at the base of the building to a rectangle at the top, capturing unique plan orientation and maximising harbour views during its dynamic transformation.

Pei Ching Wong

[email protected]

0430 291 432


Double skin façade detail

View from rooftop recreation space to Harbour

Principal concept sketch

Ariel view of tower and masterplan

View of proposal from Sydney Harbour – Circular Quay

Live.Work.Play

A new urban order of connection and interaction for the Alfred, Pitt, Dalley, George precinct in Circular Quay, Sydney

The APDG site is located only moments away from Sydney’s greatest asset – its spectacular Harbour, yet in its current form, the site remains sadly detached from Sydney Harbour, failing to capitalise on the magnetic draw the Harbour exudes. The resultant scheme accommodates three key components to high density urban habitation – a place for living, a place for working and place for recreation.

The proposal serves to break the inhumane existing building stock by establishing a geometry in dialogue with the city. This is achieved by reinstating currently neglected laneways and introducing a street edge scale more conducive to human interaction. The stacked floorplate arrangement slides laterally responding to building function and pedestrian transit connections through the site. The resulting form is a complex

arrangement of ‘shards’ which are capped by a series of publically accessible roof recreation areas. The creation of a second, elevated public domain, allows for the reconnection of the site to the Harbour in lieu of the Cahill Expressway.

The centrepiece of the precinct is a 65 storey office tower hovering over a cavernous lobby space embedded in one of the signature shard masses. An offset core allows the building to maximise its engagement with the sweeping harbour vistas and allows for maximum daylight penetration deep into each office floor assisted by a strategic system of void spaces. As the building rises and services drop off, the surplus volumes form break out space, harnessing connectivity and interaction for office inhabitant’s and a mix of passive environmental systems which form the basis of the tower’s 6 star Green Star rating.

Daniel James Younan

[email protected]


APDG Connectivity The Connectivity urban project in its response to the Sydney CBD context is one of the most spectacular development opportunities in the world. In my design proposal the master planning aspires to break the restriction of the conventional ground plane by encouraging human activity in different spaces and on all levels of the building. The design concept is focused on how to mediate solid and void in order to create an environment of spaces for an “urban skin”.

Max Zheng [email protected]

0430 054 204


Students were asked to examine the business of winemaking, which embraces the skills of the grape farmer, winemaker and wine retailer. They were asked to consider the following;

•Theroleofwineriesandthe image they promote.

•Thecultureandtraditionofwinemaking versus mass production and the affect of technology on an ancient craft.

•Wineriesareararedirectlinkbetween the public and agriculture how should this be expressed architecturally.

Students were required to closely study/observe the site its potential and its restrictions. Environmental ,sustainability issues were fundamental to the eventual outcome considering the high energy requirements of winemaking.

The investigation period continued with case studies of at least two wineries critically analysed. In support of these investigations, site visits included, meeting with the grape farmer and winemaker and tour a number of local wineries!

The balance of the semester one was devoted to the development of the brief and a design proposal. The brief must demonstrate a through understanding of the winemaking process, contemporary wine culture and the characteristics of the place as they affect the architecture.

The design proposal aims at developing the students capacity for investigative thinking and elevating the search for meaningful architecture beyond the issues of functional problem solving and pure composition towards a more complex integration of architectural issues, leading to an innovative design proposal.

Semester two was devoted to developing /resolving the design proposal thru a rigorous process of design review. Emphasis was on developing the individuals students design process to ensure the architecture comes together as a ‘whole’ both pragmatically and poetically.

Physical models at several scales will be the principle tools of exploration along with students being encouraged to experiment with a variety of presentation techniques.

David Abram

Alarico Arenosto

Samantha Birtles

Anne Colenbrander

Jodie Dang

Timothy Davoren

Karina Dorman

James Martin

Alex Ng

Claudia PickeringStudent Representative

Daniel Yeung

Graduation studio in itself has been a different experience to design studio experienced in the degree so far. The ability to devote an entire year to one project has inevitably allowed a more in-depth exploration and resolution of the design. Graduation studio also has a sense of finality that encourages individual endeavour to leave the university experience with a project of a high standard.

The winery studio has been a friendly and supportive group design environment which has allowed us to develop core modes of thinking and conceptualisation that goes beyond simply the generation of ideas, but rather ideas as integration into architecture manifested in its relationship to site, practicality in its spatial arrangement, sequence, experience, atmospheres, building materiality and construction. We have been encouraged to explore new and different techniques of design and expression through emphasis on physical models, presentation and communication. The studio has involved testing new materials, methods and abilities to achieve a presentation that suites individual designs and exceeds the standard of anything we have done prior.

Many thanks to Rob, our tutor, who has truly been inspirational in his mentoring.

Student Reflection

128

Winery;Hunter Valley NSW

Rob is an architect and director of CaseyBrown Architecture. The practice’s architectural projects have received several national and state Australian Institute of Architects awards and were exhibited at the 2008 Venice Biennale and shortlisted in the World Architecture Festival awards in 2009 in Barcelona.

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Studio Leader

Rob Brown



Three books created during the first semester

Site analysis rainfall diagram for Hunter Valley area

Photo of final concept model in plan

Photo of early concept model Wax model to demonstrate the key areas/volumes required for the winery

Eagle’s Rest Winery Undertaking the winery studio was a great opportunity to study under the tutelage of architect Rob Brown.

An emphasis was placed on presenting our design projects in a clear and emotive way, to appeal to the senses of the ‘client’. This approach has allowed a great deal of experimentation in both technique and style throughout the year.

Over the course of the year, a number of books were made compiling the key ideas, images and research that make up this project. The graphic nature of these books, and there concise and clear presentation allow for a full overview of the project from initial site studies to final concepts and planning.

The overall concept for my design has been largely influenced by vernacular architecture such as the ‘rude timber’ buildings of outback Australia, and the earth and stone buildings of Africa and the Middle East. Contemporary references have included Antonin Raymond for his contemporary reinterpretation of Japanese vernacular architecture in the early half of last century, and more recently the austere and beautifully detailed work of John Pawson.

The main challenge in using this form of architecture, particularly for a university design project, is how to express the key architectural ideas, while using simple forms. I have approached this challenge by focusing on both the planning and detailing aspects as the core to a successful outcome.

David Abram [email protected]

0414 969 256


Model 1:200

Master Plan

Model 1:200, Courtyard View

Conceptual Model Cellar Door

Pokolbin Winery The site is a typically Australian, the terse sky is cerulean and the colours are vivid.

The landscape surrounding the site is crucial in offering the full wine making experience therefore preserving the nature and re-estimating the panorama is important.

The buildings parts of the winery have to be integrated within the landscape, that avoids hiding or blending in.

The hilly site allows the opportunity to place the winery on the top part of the site, creating opportunities of great views for the clients as well as making easier the gravity flow process of winemaking.

The design is attempting to make the building’s energy needs self-generating, through the extensive use of passive systems and solar panels. It is envisaged that the structure and solar panels will be integrated as one.

It is important to give the visiting public an understanding of key parts of the wine production, and to engage them in the ritual of tasting wine produced on site.

The winery, the restaurant and the cellar door emphasize the corner of the main courtyard that faces the valley.

Designs of the courtyards proposes to create three types of scales M, XS, XL. The visitors will have the experience of an entry like courtyard of Chateau Latour, with trees leading to the entry of the restaurant and the cellar door and finally discovering the main courtyard, the valley.

Alarico Arenosto [email protected]

0415 695 003


Hunter Valley Winery The conceptual and design development of this winery was based on an in-depth analysis of the Hunter Valley site and the wine production process. The response was to design a building that became part of the landscape and in doing so, sought to depict an interpretation of contemporary Australian architecture.

Through materiality and spatial configuration, the experience of the building is a dichotomy between the rustic qualities of the Australian landscape and the luxury and richness associated with the culture of wine.

The design aims for simplicity and elegance as it follows the subtle curve of the contours, with protrusions of forms emerging from the hillside. Perforations throughout the building draw the surrounding landscape into the experience of the architecture by framing the views and capturing natural light.

By carving into the earth and submerging part of the building, the visual imposition of the winery on the landscape is minimised. This approach was taken as it is also useful to the wine production process and improves the energy efficiency of the building.

Samantha Birtles [email protected]

0419 618 536

Concept Model & Cross-Sections

Cellar Door Entry

Cellar Door (Above), Barrel Room (Below)

Concept Model


The restaurant interior, with double outlook towards the vineyards and to the courtyard

The cellar door, terrace and restaurant

Concept model

The winery from the east

Eagle’s Rest Winery

The winery is an exploration of curve, light and material, creating new landscapes and undulating planes which embed the building in its site

The practice of wine making is an art fusing tradition with modernity, a kind of contemporary alchemy. The wine maker, like the architect, takes seemingly ordinary elements and transforms them into an experience which captures the essence of landform, time and the senses.

The terrain of the site in the Hunter Valley creates a dynamic landscape where the soil, vines and topography interconnect with the human process of wine making. The winery is designed to emphasise the fluid nature of the landscape, where the tectonics of place and time are legible through the changing qualities of light, length of shadows and change of season. Sinuous curves reflect a landscape in flux as well as housing internal functions according to the strict technical requirements of the winemaker.

The undulating roof form floats above a freeform plan, carved through by channels which facilitate movement both of visitors and vehicles, as well as defining views to the surrounds. The overarching roof form allows the building to read as a single structure on approach, linking the pavilions below.

The axis of the winery is the courtyard, connecting the public and private realms of the building, and creating a visual connection to the subterranean barrel room. The two realms are further linked through the use of Cor-Ten steel, which allows flexible sliding panels to be utilised in the production area for light and ventilation, as well as creating a distinctive visual character which anchors the building in its site and echoes the age old alchemy of wine making.

Anne Colenbrander [email protected]

0422 940 794


North Elevation, Section South Eleavtion

Concept Model

Elevation Perspective

Entry Plan Building Model

Eagle’s Rest Winery, Hunter Valley

The project is to design a winery in the Hunter Valley. The general plan of the design is to organise and idea with the programmatic and functional essence of the building. The design is to emerge from the site in response, to its climate, and the building program.

Australia’s oldest wine region, the Hunter Valley, is a robust as the Shiraz it produces and as timelessly beautiful as its brilliant Semillons. Rich in history, with land worked by five generations of families, the land deserves its legendary status. “As generation of winemakers will tell you, there is more to this historic area than its world famous drops.” - Sydney Morning Herald

The building I have designed it’s to capture the essence of the Hunter Valley, at the same time, re – enforcing the brand of the wine. The building echoes the contours of the landscape, exuberating a poetic and timeless building, that ages gracefully into the land.

Jodie Dang [email protected]

0410 584 418


Restaurant Section

Physical Model

Cellar Door

Cellar Door Approach

Project TitleEagles Rest Winery - Pokolbin

Eagles Rest Winery with associated Cellar Door and Restaurant, located in the heart of the Hunter Valley Wine District

PREFACEPokolbin in NSW is considered the heart of Hunter Valley wine making. It is a district which comprises around 120 wineries, enthralled in tradition and passion for Australian wine.

However, there seems to be a lack of wineries within the region that respond to the unique process of wine making, the individual brands, the surroundings and the overall experience of both workers and visitors. It is this absence of such architectural response that drives the aspiration to create a winery that responds to the unique wine making process, the setting of the winery and the distinct branding.

The Eagles Rest winery’s presence within the landscape is to respond to the gentle handling of the fruit. Its form within its setting, responds to its natural surroundings, emphasising unity to its site. The winery, having an intriguing presence, draws interest with its delicate line of light, falling out of view, as the building cascades down the site. The winery is revealed in full when viewed from the north.

The design reflects the underlying significance of the brand name “Eagles Rest”. It depicts an eagle at rest, in a state of serenity, a sense of freedom from anything that wearies, troubles or disturbs but yet always sensing its surroundings. The spaces throughout the winery create a sensation of calmness, allowing reflection of the wine and a continuous subtle awareness of light, landscape and nature.

Timothy James Davoren

[email protected]

0403 547 723


Eagles Rest Winery, Hunter Valley

The gem, the weaving, the growing

The practice of wine making is an agricultural art. A winery is a unique place where the public can experience first hand the viticulture of wine making. The role of the architect is to create a space to exhibit this art through bringing together the consumer with the wine maker; and one’s taste buds with the wine.

Eagles Rest winery has developed from the conceptual ideas of “growing from the landscape”, “the gem in the landscape” and “the weaving of people, building and landscape”.

The organic approach of the design reflects the winemaking process. As the vine emerges from the seed; the building emerges from the earth. The building complements the topography of the site and sits along and within the contours. Repetition within the facade harmonise with the rhythm of the vines. The heavy stone walls anchor the building; binding it to the earth. The building is an extension

of the landscape. The undulating monolithic roof of the winery grows to reflecting the form of the distant hills and mountain ranges.

The cellar door is the gem in the design; its bold and protruding linear features juxtapose the smooth flowing curvature of the winery. Corten steel frames extrude from the hill wrapping over the undulating building and provides an axial framed view of the landscape, symbolising of the artistic achievement of the wine.

The subterranean endless barrel room forms the heart of the winery weaving and intertwining the public and private realms of the building though both visual and physical connections.

The careful composition of light texture and form generate spaces which create a range of atmospheres playing on one’s senses and perception; a range of experiences are gained throughout the building to render a memorable experience.

Karina Dorman [email protected]

0403 918 467


Longitudinal section through the cellar door and the barrel room

Plan of the cellar door above and the winery below

Render of the approach to the cellar door

Sketches of initial ideas Site plan in relation to the neighbouring vineyards

Eagles Rest Winery

A design for a new winery and associated cellar door in the Hunter Valley

Located on the rise of a gentle hill overlooking the Hunter Valley, the project’s challenge was designing a winery that was of its place. From its inception, this design aimed to accommodate the practicalities and spatial requirements associated with constructing a winery, whilst maintaining a form and presence that sits comfortably along the flow of the land. This led to the creation of a winery that buries itself within the earth, utilising the natural benefits of a cooler temperature for wine production, steepening the fall of the land to aid a desired gravity fed process, and to conceal from view the winery working areas. The cellar door comfortably runs over the top. As such, this idea evolved into the design of a building that plays with revealing and concealing within the landscape.

The simple defining lines of this winery are blade walls that anchor the building to the site. The stone and brick of their construction create a sense of permanence and stability. The project’s goal has been to create a winery as a solid and bold addition to the landscape. The winery paints an image of the wine. A good wine has a presence, an ageing, a time, longevity. Hence this winery was envisioned as building that matures with age. Stone and brick will be weathered and enriched with the passing years. In the long term, this building will stand as a testament to time, like the ruins of old country houses where only the stone chimney remains.

James John Martin

[email protected]

0425 330 598


The arrival of architecture - Development of building composition with assertive geometric lines

Interpretation of site for proposed winery - North West view of site

Sketch development of Restaurant and Cellar Door

Concept Model showing building relationship to sloped topography

Conceptualisation of the Barrel room with insertion of a tasting hall

Distil / Essence / Dialogue –Nature Man Architecture

Eagles Rest Winery / Pokolbin, Hunter Valley / New Gravity fed winery with associated cellar door, restaurant and a courtyard.

Winemaking is conceived as a process of distillation; the extraction and refinement of the essence of a raw element (grapes) into a concentration of flavours and odours (wine). The idea of distillation is translated into an architectural solution where the essence of the site, the vineyards and the winemaking process is distilled and encapsulated into the building in an abstracted manner that seeks truth within myself in the architectural expression of the building. From Dialogue to Resonance – Architecture as canvas, awaiting individual discovery of the colours of NatureIt is through dialogue that architecture becomes living. A mutual understanding that is sensitive and appreciative in harmoniously connecting people, building and the landscape. From this sense of perspective, building and landscape are living bodies, in which one subconsciously converses with.

The room and the human bodyArchitectural conceptualisation begins from the human body, our dimensions and characteristics. The use of pure geometry and compositions seek traces of the human body and is means of dialogue with the dimensions and proportions of the human body. This is the power of architecture where subconsciously, the visitor listens to what architecture has to say and responds accordingly. Amplification of experience – serviced by architecture Individuals and his/her experience with and within architecture become the core and driving force for an approach that is minimal in formal expression but highly sensual in its spatial and atmospheric creations. Architecture does not speak overtly, but invites and engage individuals through sensory dialogue.

Alex Ng [email protected]

0410 145 262


Ground floor plan (above), west-east section (below)

First floor plan (above), north-south section (below)

Concept model

Eagles Rest Winery, Hunter Valley - Australia

“ I do not believe architecture should speak too much. It should remain silent and let nature in the guise of sunlight and wind speak.” – Tadao Ando

The balance of opposites.The harmony of apparent contradictions.The need to know darkness in order to understand brightness.The need for silence in order to know sound.

The Eagles Rest Winery has grown from an exploration into the complementary dualisms that occur naturally in the world – high/low, light/dark, hot/cold, exposed/buried, rise/fall. In Taoist philosophy, it is expressed by the analogy of Yin Yang.

They are dependent opposing forces that flow in a natural cycle, always seeking balance. Though they are opposing, they are not in opposition to one another. They are merely two aspects of a single reality. They do not merely replace each other but actually become each other.

This interaction gives birth to new things. Every advance is complemented by a retreat, and every rise transforms into a fall.

Their relationship is often described in terms of sunlight playing over a mountain and in a valley. Yin is the dark area occluded by the mountain’s bulk, while yang is the brightly lit portion. As the sun moves across the sky, yin and yang gradually trade places with each other, revealing what was obscured and obscuring what was revealed.

This philosophy, deeply embedded in the concept of natural cycles, readily presents itself within the context of the site, and the winemaking process.

In architectural design, the awareness and implementation of such dualities can entice users to a place, and offer them opportunity for a memorable experience of that place and by extension, the brand.

Claudia Pickering [email protected]

0421 910 266


Winery Model

Cellar Door Perspective

Courtyard Perspective

Concept Drawing Concept Model

Winery at Hunter Valley

A winery built to integrate both function and experience for workers and visitors to the winery

Located at the heart of wine culture in the Hunter Valley, the winery offers architecture to enhance the experience of wine. This experience can be catergorised into three stages; the factual, the sensual and the emotional. The factual experience refers to the understanding of wine including its production and knowledge. The sensual experience consists the course of feel, smell, taste and sight. Finally the emotional experience includges the effects of wine; conversations and contemplation. The architectural language was derived from the inspiration of the site; the nature, the aspect, the opportunistic views and the canopy of trees. These inspirations are translated into form, space and materials each to enhance the many experiences of wine.

Daniel Yeung [email protected]

0410 767 060


In this studio group students were invited to propose self directed projects that depend upon the application of contemporary technology for their conception, method of enquiry, design, fabrication or evaluation. Such technologies, strategies and media might have included parametric modeling, rapid prototyping, rapid manufacture, real time interactive environments from the computer gaming industry, film making, social networking and telecommunications.

The studio, and each of the students, prioritised investigation, experimentation and innovation with projects that ranged from the reimagining of Archigram through to the appropriation, aggregation and reformulation of social media data. The students used conventional software such as Revit, 3dsMax, Illustrator and Sketchup and a range of not so conventional software such as Photosynth, Sandbox2, Yahoo Pipes and Processing (for the Arduino) ... but in every case the software was pushed, twisted, warped and expanded so that it’s conventional relationship with Architecture and architectural representation was critically examined. Laser cutting and custom electronic circuitry saw the software released into the physical world.

We see that great Architects such as Boulee, Sant Elia, El Lissisky, Rossi, Tschumi, Matta-Clark, Coop Himmelblau, Koolhaas’ OMA and AMO, and Hadid all recognise the importance of technology in architectural research. They have all lead academia and practice in their advancement of Architecture in parallel to the technologies of its culture, critique, representation and realisation. It is impossible to imagine their success in one without their success and commitment to the other. I imagine each of the great Architects above would be challenged, excited and above all inspired by the work you’ll see on the next few pages.

Lucy Carse Student Representative

Rosamond Kember

Jo Ann Kok Student Representative

Joseph Lombardo

Roanna Manlutac

Jacky Yuen

The independent studio allowed students to select their own research topic and problem space to cultivate a unique design proposal, according to their interest. The small class size fostered a relaxed but concentrated setting for group learning. Russell Lowe’s background in digital software and architectural theory, combined with his encouraging, spontaneous approach to learning, ensured a supportive mentor for students’ journeys into this rapid-paced and often controversial era of architecture.

Students spent first semester undertaking experiments related to their problem space, to promote scholarship in the subject, and presented these using digital imaging techniques. The objective of the semester was to create a succinct digital matrix which interweaved each student’s research into one visible three-dimensional structure.

The second semester allowed students to use their matrix research as a catalyst for their design. Projects were diverse in subject matter, scale and media. Studio time was spent first in group discussions, followed by drawing exercises, site visits and individual consultations. The students benefited from the reduced class size, forming a tight friendship and often finished class with social drinks at the Roundhouse.

Student Reflection

152

Russell Lowe is a Senior Lecturer in Architecture at the University of New South Wales. In addition to teaching in the Masters of Architecture graduation studio he coordinates the first year architectural design studio.

His ARC and ALTC supported research centres around the repurposing of computer gaming technology to engage with uses and concepts outside of the entertainment industry.

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Architecture and TechnologyIndependent Research Design Studio

Studio Leader

Russell Lowe



Disruption

The jewel of the harbour

Fusion of horizontal & vertical; the modern city

Fashioning architecture through brutality Tickled pink…

‘insert here’

“ We wanna be free to ride our machines without being hassled by The Man!”

- Peter Fonda, Wild Angels

“ Our architecture stands for the future, for the city of SYDNEY; for “its local inhabitants, the professional working population and the tourists, who will inject life into this desolate site. Our architecture screams ‘YES’ aloud, demanding attention. Our architecture represents the Australian cosmopolitan; our desirable lifestyle, our envious culture. It stands for colour and delight, for the unison of different users and demands, for the notion of craft, for the unique and the extraordinary, for the coming digital age. Our architecture ‘challenges the norm’. We use digital technologies and techniques to develop new building forms for the Barangaroo precinct, to create new sensory urban environments. We dare to feel uninhibited by tradition and the present.”

Through digital experimentation we created our own innovation; an instrument for architectural design, using our own interpretive analysis of successful precedent building spaces. These areas formed desirable volumes, which we referenced parametrically to generate volumetric arrangements, analysed by us, the composer, for their value in terms of utilitas, firmitas and venustas, firmness, commodity and delight. The most valuable volumes were taken into alternative digital softwares to be wrapped with skins, forming external structure and services, desirable flexible architecture allowing for advancements in future building technologies.

The Barangaroo Precinct was the appropriate place to implement our architectural instrument, to generate a vivid, colourful, engaging district, composed of alien forms, revitalising this precinct amidst the present controversy. We do not wish to devalue the present scheme, but rather, to celebrate architecture in a new, free way.

Lucy Carse & Joseph Lombardo


View of gated community with apartment building in the foreground

Domestic Interior within the gated community

Evolution of form and terrain

Exploded axonometric of the mini-city

Domesticity

18 Clients. 1 Concept. 1 Microcosm.

Located at the edge of urban sprawl in the suburb of Moorebank, the design of a ‘mini-city’ explores the concept of power, control as well as its latency within social status and social needs of housing and community. This notion is then manipulated into a method of form finding for the dwellings as well as their environment.

The eighteen clients for the project consisted of residents of Moorebank who were interviewed to understand their wants and needs related to housing, such as the number of family members, income, and their desired housing community type. The main challenge of accommodating 18 clients within one community was the resolution of the ‘boundaries’ and trade-offs between gated and non-gated community.

The forms within the mini-city are the result of a systematic design methodology which involved mapping 3 dimensional drawings from micro level to macro level and back to micro level. This method is consistent with design research done on the relationship between a house and a city, and also derived from the notion of control and power, where different levels of design would have influences over one another.

This project also serves as a critique of the relationship and power struggle between the architect and the client. How does the architect preserve the individuality of the client while at the same time adhering to the brief and budget of the client? How does the concept of bespoke or well designed architecture sit within middle class societies? This project provides a scenario for dealing with these issues.

Jo Ann Kok [email protected]

0402 926 388


Sample of a Client’s Research Matrix Sound Sensor built using Arduino

Longitudinal Section

The Cloud Underground

The three contemporary conventions of creativity, domesticity and surveillance formed the foundations for a series of investigations conducted in collaboration with three clients: a musician, a housewife and a nightwatchman. Applied to these queries was Diller + Scofidio framework challenging the convention of space through performance, technology and social conditions capturing what is reality for these clients. The collaboration has been introduced to the site of the now defunct Hopetoun Hotel; with the notion of injecting reality back into its heritage-listed skin and once more, giving life to both the Surry Hills community and the broader music community. This architectural response has not

only been influenced by my three clients but also through the media, council reports, and a personal position on the current state of the Hopetoun Hotel’s contribution to these communities. Reinstating the program of the music venue through the idea of a sound cloud that is volumetrically modifiable to the musician’s acoustic needs as well as the containment of noise pollution has been key. It is intended that all electronic and mechanical components integrated into the Hopetoun Hotel have been designed to be programmed and operated using the Arduino platform – the main focus of technology in this project.

Roanna Manlutac www.helloro.com

0423 337 703

Exploded Axonometric of Private Studios on Level 1


Mediatheque, Reading Spaces. Platform towards Level 01

Mediatheque, Interior, Ground Floor

Remote Center, Exterior. Lockers in automated storage and retrieval system

The Envelope – (Red) Vacant Properties, (Yellow) Infrastructure. ArcGIS, Yahoo Pipes

The Infrastructure – Consisting of RFID Enabled Hard Storage and Soft Storage.

The Invisible Envelope

Remote Centre for 4000 mobile workers and 100,500m2 of offices, situated on an existing library in Parramatta Civic Place, NSW

The project places the notion of temporality and elusiveness in the context of a highly mobile, wireless society. Through the exploration of virtual representation of places through social media content, the project examines concepts of ‘bottom-up’, ‘on-demand driven’, and ‘negotiation’ in the rethinking of information and Architecture.

The project presents a counter-proposal to the existing Parramatta CBD redevelopment plan by re-inventing present commercial vacancies into a swipe-n-go, plug-n-play model (eg GoGet Carshare). As such, the selected parts of the buildings would follow a just-in-time, anytime and anyplace model. Rather than extruding another set of skyscrapers, the architecture proposal is a set of remote infrastructure for 4000 mobile workers, consisting of personal locker pools, soft data storage, concierge services, central receptionists and I.T Support.

Traditional Librarian services that are conveniently located on the site can integrate with the new business model, where the archival profession can merge to an all-seeing, move-shaker role of a centralized receptionist. Conversely, the library is reformulated within the guidelines of an anytime, on-demand driven service between the user and the medium, by using RFID enabled delivery systems for both the storage areas and information collection. The user becomes liberated from space and content.

Architecture, once a static construct bound by the rules of proximity, becomes dispersed and distributed. The Architecture is now based on mundane virtual concepts; of the Amazon.com, the Yahoo Pipes, and the GoGet.

All documentation, including office strategies, is available at ‘The Invisible Envelope’: http://escapsule.blogspot.com.

Jacky Yuen http://escapsule.blogspot.com

[email protected] 907 076


For some, infrastructure is a catchword describing a consequential world disenchanted by the gradual disappearance of public works. This studio attempts to conceptualize infrastructure as architecture and the stage for public life by the re-conception of a train station. Ideas are drawn from current theory and practice: landscape urbanism, networked publics, typological reformulation, and sustainable geography.

The train station, as a constituent element of infrastructure, is a large urban artefact that can effectively transform the physical and the emblematic parts of the city. As train stations are an integral part of the urban fabric, and infrastructure is the city’s underlying system,

the very notion of “networked publics” is to be conceptually and anatomically analysed within Sydney - a city that is at once a mechanical metropolis and an organism held by topography.

Four stations in metropolitan Sydney were studied: Milsons Point Station, Redfern Station, Artarmon Station and Wynyard Station. They each represented different site conditions and urban situations.

In semester one, students analysed Sydney as a city of infrastructure and the train station as a type. Accurate mappings and detailed analysis of roadways, bridges, rails and train stations, ports, public buildings, parks, land use patterns, topography, etc will be developed. Through out this investigatory process,

the notion of what constitute public space, networked publics and how a train station anticipates the success of the public space design will be underlined. The students then each selected a station and scrutinized the site. Informed by the critical precedent studies, each student proposed new intervention based on site specific and programmatic research.

Second semester was focused on the architectural development of a particular and re-conceived train station and the public space created by it.

Michael Cai

Simon Chan

Hugh Colless

Liam Filson Student Representative

Richard FriedrichStudent Representative

Kevin Ip

Weixu Ji

Sang-Hee Kim

Tony Lam

Kenneth Lau

Chris Liu

Lawrence Ma

Tristan Ryall

Ali Mehdizadeh

Jessica Robson

Max Rosin-Melser

Benz Tangkunboriboon

Vahid Tehrani

John Yang

Raymond Yau

Lucy Zhou

Infrastructure projects encompass a whole range of issues ranging from the urban to the human in scale. As such there is a huge benefit in working in a group environment where multiple intellects, each with their own strengths and weaknesses, are forced to engage, colour and inform each others collective understanding.

Through a series of staged group exercises, we gradually grew our knowledge and understanding of infrastructure in terms of its role and importance to the city.

This exposed students to an alternate methodology in the approach of large scale urban infrastructural projects to a much more refined version of the ‘typical’ site analysis. Working from the macro to the micro-analytical scale; this research covered a series of close precedent and architectural movement studies. Working through the agency of mapping, students analysed the social, political, infrastructural,

demographic aspects, just to name a few, of the city of Sydney; from Redfern to Artarmon station. This study helped inform individuals decisions as to their desired station site and subsequent intervention.

Throughout the duration of the year, students had been afforded the freedom of being the masters of their own domain, with strong guidance from our tutors; Ramin, Shaowen and Anthony, individual’s design proposals were developed with their findings through the first research semester, allowing for creative ideals to flourish. This developing a students sense of being the architect of the scheme and free of the real-world constraints, a luxury seldom afforded. Above all, students prospered in the high paced studio environment with the interaction from industry professionals, resulting in 19 successful schemes.

Student Reflection

162

Ramin Jahromi is an architect and Associate at COX. He has worked closely from concept design to delivery on major Australian rail and infrastructure projects such as the Chatswood Transport Interchange. Working with a large multidisciplinary team he was the Architectural Section Leader for the Sydney Metro Network. Ramin’s expertise and passion is directly linked to the studio project.

Shaowen Wang is an active tutor at UNSW Architecture. Before arriving in Australia, she undertook research courses at Columbia University, and the City University of New York. Her main interest is in architectural history, theory and criticism with the focus on cosmopolitanism since the mid nineteenth century.

Ramin and Shaowen have been teaching together for 3 years and this is their second instalment of the Re-conception of the Train Station studio project.

With special thanks to Anthony Kim for his involvement this year.

163

Staging the PublicRe-conception of a Train Station

Studio Leaders

Ramin Jahromi & Shoawen Wang



Redfern Station – Re-locate , Re-connect and Re-distribute

The increasing demands of Sydney University and Australian Technology Park substantially also increases the load of Redfern train station. Considering the expansion masterplans of both USYD and ATP in 2030, these loads will only increase in the future.

The Re-location of Redfern station to the south of the original station provides a more efficient distribution of station load to USYD and ATP, yet at the same time not moving too far from the local users.

The station provides a direct connection from USYD and ATP through an underground concourse and public domain creates potential for development of nearby programs and enhance the interaction between the different communities.

The introduction of both formal and recreational programs (Retail, GYM, learning hub, multi-function spaces, conference spaces) into the underground space activates the connection between not only USYD and ATP, but also the local residents and retail programs. This will influence the future distribution of programs which are located around the station.

Michael Wen Hao Cai

[email protected]

0414 308 996


The University of Sydney Station - a proposal to resolve the congestion problem at the existing Redfern Train station

The location of existing Redfern station is a traffic knot, caused by the conflagrations of pedestrian, vehicle, commuters and cyclists traffic, this troublesome situation is compelling for a major change, with the consideration of both Sydney University expansion into North Eveleigh in 2020 and the future development of Australian Technology Park. A new station is proposed to resolve these flows.

The new station is inserted at the heart of the future University site and ATP, aligning with Codrington Street which belongs to the University, with the other end pointing directly to the Channel 7 Office, an office which house up to 2000 staff members. As the result McDonalds Town Station is demolished allowing a more even coverage of station that currently does not exist.

The project consists of two bridge buildings linked by an open pedestrian bridge; each bridge contains its own program. The first bridge contains the train station and an accessible roof, with gallery space and a nightclub, access via a ramp that is open 24 hours before and after the train operates. The choice of program is a protest against the current timetable system of train operation, and the mixing of activities that have previously been perceived as incompatible. The second bridge is the University Learning hub, containing small collections of books and digital media, reading room, classrooms and lecture theatre, allowing both individual and collective uses.

The new University of Sydney train station becomes a place to stop, to contemplate, to listen and see, to rest and refresh, to talk and exchange, with the presences of movements and unpredictable events.

Simon Chan [email protected]

0414 280 838


Proposed master plan of Milsons Point

View South towards Milsons Point Train Station

View North of the unpaid concourse

Mapping Milsons Point View North towards Milsons Point Train Station

Milsons Point Train Station

Through rigorous mapping, analysing and understanding of Milsons Point and the greater areas, I was able to ascertain from the results that Milsons Point and Milsons Point Station provide a gateway to the city. While the means of connecting Milsons Point to other regions is mainly through the Bradfield Highway, which separates the East and West with a dominant and powerful viaduct. Through analysis, the Eastern side of the viaduct works as a residential zone with a strong village atmosphere, whilst the West is high-rise apartments which have no village atmosphere. Taking into account the viaduct, I propose a master plan for the East side of Milsons Point to redevelop it into a lower scaled, more community based area.

Using the viaduct as a beginning for Milsons Point Station, I have developed a station which holds on the side of the viaduct and penetrates it like a parasite. This form on the side of the viaduct sucks people off the trains and down into Milsons Point. While the station acts as a parasite on the side of the viaduct, the proposed gallery and function space slip away under the public realm. The gallery and function space act as programs which have been brushed under the paving of the public space in front of the station, but show glimpses of its existence though small openings and programs poking out. Together the station and the gallery and function space act as invaders on Milsons Point, one abruptly while the other almost secretively.

Hugh Colless [email protected]

0421 182 488


The Calm in the Flow

Interaction of the Elements

Metro Map Station Section Progression Diagrams

Observatory Park (OP)

Adaptive Reuse of a Found Organism

The OP project is a proposed station located at the (now) disused toll gates for the Harbour Bridge.

During a study of Sydney’s infrastructure, I designed a new metro-map and realised that OP was the ideal location for a transport interchange. My project is a catalyst for a more streamlined public transport system in the city of cities. OP station recreates Bradfield’s “Gateway to the North”.

The project is an ‘adaptive reuse of a found organism’ typified by the closing and reuse of the Cahill Expressway. The three key elements of the design are:The Tactile Wall is a single High-line like element to connect East with West, from Circular Quay to Barangaroo;

The Chasm is a sunken space located in the toll gate area which exposes the underground city. It creates an inclined park that allows continuous uninterrupted flow between platforms; The Obelisk Array is a unifying grid that projects from the Obelisk in Macquarie’s Park to connect with the city’s history.

The site has a long history of change from the observatory; which facilitates timing the city and guiding the ships, to the partly-realised visions of Bradfield which connected the city, to the construction of the Cahill Expressway which resulted in a place of resistance.

The design creates a layered and dynamic form from the interaction of the three key elements, the history and the geography. This removes the resistance and restores the facilitation

Liam Filson sites.google.com/site/observatorypark

[email protected]


Milsons Point Stations Public Performance

Bringing the public from East and West Milsons Point to the infrastructural divide; Milsons Point Station, continuing the public movement up

A semesters worth of thorough, site specific investigation and exploration into the dynamic interface created by the existing infrastructural elements contained in the boutique harbour side suburb of Milsons Point, developed a romance with such a unique piece of city suburbia. Where else could an architect find a site in such proximity to the CBD, Harbour Bridge and Sydney Harbour with its array of culture and mixed usage of program and density, a location that could surpass many of the world’s foremost locals. The task was set to deliver a project that could benefit the infrastructural, cultural and environmental aspects of the region.

Developing from the possible connection west of Milsons Point station to Lavender Bay’s wateredge, was the idea of the creation of an urban corridor, delimiting the barrier created by the Bradford Highway viaduct created a

connection from the proposed ferry terminal from West Lavender Bay, connecting to the East of Kirribilli. The station becoming the centre point of this movement, it was then decided the movement must continue upward, spawning the idea of creating a vertical streetscape atop the station.

This would be a publicly interfaced structure, allowing for the individual to proceed in a state of ¬¬play, giving freedom of movement to discover new spaces and visual aspects of the surrounding context, acting on inspiration. Public gallery spaces, an auditorium and public dance studio space are connected through a random series of passive and active parkland thoroughfares and elevated view point, all the while connecting the individual with Milsons Point, North Sydney, Kirribilli and Sydney Harbour.

Somphop Tangkunboriboon &Richard Anthony Friedrich


Lavender Bay Station & North Sydney Communal Complex

To eliminate the barrier between North Sydney and the waterfront and, facilitate connection between the nearby suburbs. We are proposing series of design to bridge different sectors in the challenging local context.

After serious investigation into Sydney’s infrastructure system, there surfaces a need to propose a new Northern Beaches Line to solve the auto-dependency of the area and the associated daily congestion on Military Rd. The line also involves a proposed harbour crossing towards the new development in Barrangarro to offer an alternative route from the congested Sydney Harbour Bridge.

Before the construction of the Sydney Harbour Bridge, the Northern line used to pass through Lavender Bay to terminate at Milsons Point. The scenic beauty of this abandoned track invites revitalization. The proposed Lavender Bay Station aims to re-adapt the abandoned track and becomes an agent to facilitate use of the marina area.

The station sits at the strategic position between three suburbs, North Sydney, Milsons Point and McMahons Point. It is envisioned the new station will serve to have an urban scale impact of encouraging flow between the suburbs and bringing communal activity into the area.

The area between this marina and the North Sydney CBD is currently separated by a rugged landscape, which places North Sydney Station at the periphery of its development. The rugged area between North Sydney and Lavender Bay will be reorganized into a Communal Complex to spread use into this underused side of North Sydney, to replace North Sydney station into the middle of its surrounding development and promote linkage between North Sydney station and the Lavender Bay station of the new Northern Beach Line.

Raymond Yau &Kevin Ka Wai Ip


Staging Wynyard

A re-interpretation of Wynyard Park aimed at surfacing the station and staging its public element

The project stages the currently hidden public spaces of Wynyard through exposing the station and its associated structures, surfacing and merging the existing public spaces with Wynyard park to generate a new unified public realm whilst retaining the amenities of Sydney CBDs primary green space.

The surrounding infrastructure is reconfigured such the public buses are relocated to a widened York St, creating a unified public transport interchange while allowing Carrington St to become a pedestrianised path bridging the existing barrier between George St and Wynyard Park.

THe bridging gesture is further emphasised by penetrating the existing ‘wall’ condition along George St, through the reconfiguration of Thakral House and Menzies Hotel.

Overall the project aims at unifying the series of fragmented public spaces leading up to Barangaroo.

Weixu Ji [email protected]

0434 440 993


Visible re-integration of infrastructure into the public realm

Cascading platform, podium and plateau

East west connection, civic heart, pedestrian precinct

Wynyard Square

Reclamation of public space at the heart of Sydney and civic revitalisation through the coincidence of movement forces

Wynyard Square pedestrian precinct will act as an urban catalyst to bridge the divide between the eastern and western parts of the city. It will become the new urban heart of the city, generating a new typology of public space at its centre which amalgamates infrastructure, public space and private industry.

The precinct will be organised around Wynyard Square which itself is generated from the intense coincidence between two major axes, the first being the east west movement of pedestrians beginning at the eastern end of Martin Pl and ending with Barangaroo through the Kent St link, the second being the north south movement of the train line. This coincidence of movement forces interactions amongst the public resulting in a public drama in which Wynyard square becomes the stage.

In order to mediate this square with its surrounding context I employed the concept of the artificial platform to create a series of cascading platforms and plateaus which break the existing topography and gradually ascend to the level of the surrounding streetscape. This forms a rich urban amphitheatre where the public are encouraged to observe and engage with the activity hosted by the centralised square.

The carving out of Wynyard Park at the commercially dense centre of Sydneys CBD will reclaim public space for the people of Sydney, effectively forming the core for the enrichment of public life as well as firmly re-establishing Sydney as a pedestrian friendly city.

Tony Lam [email protected]

0402 161 492


Concept sketch Linear form

NEXUS The project aims to create a nexus through the intervention of public spaces into train station. The conception ‘eventing’ the site occupancy, as driving people from the station to Sydney University and Australia Technology Park (ATP). Its journey develop around the site become the introduction to the station. The proposed intervention is an attempt to connect urban fragments with one another and to (re)discover the value of public space. The project thus forms a meeting place for the public and a venue for events. It forges links between culture and the general public.

Design Objectives:Break down the railway barrier between north and south Eveleigh.Establish new connection between the station to University of Sydney and ATP. Program extension of Sydney University and ATP

Strategies:Relocation of train station. Creating a bridge linked both ATP and North Eveleigh site.Adaptive re-use of the existing train sheds (open up one of the existing bay, creating a void in between).Creating a public plaza in North Eveleigh.

Redfern is surrounded by public art, aboriginal culture and its unique train sheds heritages. Therefore, there is a potential to transform these advantages into a series of programme which express Redfern Station as series of event spaces such as exhibition, performing art, theater, gallery, market, university services and studios. It is a stage of mobility and interchanges, a space that leans on its history to project itself into the future development.

Lau Chee Kiong [email protected]

0425 831 122

Study model

Integration of the new elements with the existing elements


Conceptual sketch

Entrance from Wilson Street

Entrance from ATP

Aerial View

The Fluid The proposal of the new Redfern Station is a bridge extending from Wilson Street to an existing public plaza across the tracks. The key consideration of the architectural scheme is to create a well organized transport hub and a grant link between USYD and ATP that simultaneously serve as a new landmark to reinforce the approach to Redfern as an “Eora journey Terminus” according to 2030 document. The concept of the bridge derives from the existing site condition and the required access to various platforms; in that case the bridge could become main passenger concourse as well as

an urban thoroughfare link the USYD and ATP. The aim of the project is to give an impressive New station that can serve as a new community centre ,a new USYD student activity space, or even a tourism spot which the trajectory of the traveler determined the geometry of the space. Furthermore, the form and skin of the station represent a sense of Eastern Zen like water, making a strong comparison between the pure, peace architectural language and the boisterous, complex social atmosphere. Bring a feeling of silent, peace to visitors and inhabitants.

Hongmiao Liu [email protected]

0451 389 004


Mapping the Redfern-Artarmon Rail Corridor

Artarmon: A place amongst the trees

A ‘place’ amongst the trees, at the centre of Artarmon, where before infrastructure only divided the town

After careful and rigorous mapping of the current infrastructural paradigm between Artarmon and Redfern, an opportunity to create a central ‘place’ amongst the trees at Artarmon was found.

Careful site analysis of topography, infrastructure, movement, potential routes, urban fabric and character, and vegetation revealed the extent to which Artarmon is a town divided by its railway corridor, the very element which most connects it to the rest of the city.

Simultaneously, it revealed the extent to which the North Shore’s forests and parks were fragmented and isolated from each other, despite being widespread.

The existing Artarmon Station precinct contains an important piece of these fragmented forests, is located at the centre of Artarmon, which is itself a forested suburb located between the dense commerce of Chatswood and the dense industry of St. Leonards.

Here there is an opportunity to create a ‘place’ amongst the trees, at the centre of Artarmon, where before infrastructure only divided the town. This place, elevated above the infrastructure corridor, will centre the previously divided suburb, pulling together the programs of the existing high street and library around a public square.

While creating a strong connection across the trainline, the broader program envisions an enhanced infrastructure corridor, connecting the widely dispersed parks and forests of the North Shore by means of a bicycle highway in the existing train reserve. The bicycle highway serves to strengthen Artarmon’s connection to its greater region, while simultaneously giving the new ‘place’ a strong architectural identity along Hampden Road.

Tristan Ryall [email protected]

0404 654 225


Mapping - Artarmon’s ‘character’

3D Render of Train Station

Mapping - Infrastructure layers

Artarmon: At the Forest’s Edge

Local-scale infrastructure project where the surrounding environment and the program are integrated to create a local hub that exists as a part of the surrounding landscape

The scheme responds to the conclusions of a rigorous site analysis (primarily through mapping exercises) of the existing station and surrounding neighborhood. Artarmon railway line has created an edge between the low density, tree-lined part of Artarmon and its busier, high density shopping precinct. This new railway station creates a strong axis across the divide and utilises the edge condition between the two ‘halves’ of the suburb to create a productive overlapping. This axis crosses the site underneath the train line, but is also visible from the outside of the complex. The station addresses both sides of the railway line and also opens up onto its own public space through landscaping. This space functions as a casual access route underneath the train line, a public forum/amphitheater, community garden, public forum/theater space and outdoor/indoor seating for a cafe. Artarmon’s local library has also been integrated into the scheme without losing its own street presence.

Jessica M Robson [email protected]

0421 560 311

3D Render of Site


Mapping of existing building cores and key locations around Sydney

View over the station on the suspended pool deck

Mapping converted into vectors and flows and used to deform ground plane

Section through the infrastructure network from George st to Westpac plaza

The civic surface

Infrastructure is taken as the catalyst for new types of civic space in the city.

The civic surface has at its anchor point a new east west infrastructure axis that operates as the first major transit hub of this scale within the city. Collaged onto this transit hub is a layering of program and topological deformations of the natural ground plane that allows for a new type of civic space in the city.

The network cuts into the north / south ridge running along York St to look at how a new type of public space can work on various levels and encourage diverse and somewhat incongruous forms of interaction in the public domain. It is this mapping of the surrounding building cores and key movement paths across the site (to major locations such as Barangaroo, the rock and Martin Place) that guides these topological deformations and gives shape to this infrastructure

network. Reaching out to the cores of surrounding buildings allows for a bridging of the divide between private office / public space and allows for social and transit infrastructure to feed directly into the isolated towers of commerce that surround and give shape to this network.

Wynyard station itself has an additional concourse added to it and converts the space used by an existing obstructive and isolated parking garage into the creation of a new, open public swimming pool (which recycles and treats rainwater from the roofs of the surrounding buildings) and operates as an extension and symbol of this programmatic disjunction.

Max Rosin-Melser [email protected]

0404 220 292


Market and Museum Entrances

Pedestrian Bridge

New station vs. Old Viaduct

Concept Model Platform, view to Harbour Bridge

Milsons Point Train Station

Milsons Point, the first stop north of Harbour Bridge, is the gateway into Sydney in need of an architectural definition. Surrounded by the spectacular harbour view and with Opera House in sight, this train station is adjacent to several fragmented public spaces (e.g. Luna Park, Bradfield Park). It possesses potential to operate as an urban node activating the public realm in the area.

The existing station does not have this capacity. It is confined by the solid structure of heritage viaduct which intensifies east-west separation.

My proposal has two inter-relating layers: Landscape and Architecture. In fact, architectural space is shaped by landform. Major problems of the site have been scrutinized: disconnectivity, fragmented public spaces and lack of public domain. The proposed program includes blurring the boundary of the viaduct, cutting the natural topography, landform strips that fold-lift-penetrate into the buildings, a new local market sitting on the main level in the Viaduct, extending Bradfield Park to the underground level (cinemaplex and museum), and finally a pedestrian bridge (cycling friendly) connected with the Harbor Bridge footpath that acts simultaneously as a green roof for the platform. The new station will be a green interpretation of the infrastructural spine.

Vahid Tehrani [email protected]

0400 851 759


Conceptual Image

Conceptual Model

Station on the Edge

Station design for suburban Artarmon addressing edge condition and inspired by archetype of city walls

Artarmon presents a unique situation for the design of a train station. The site for the station exists on the boundary line, dividing two distinctive characteristics of Artarmon, the ‘village’ and the ‘civic’. The station building, expresses this edge condition, through its monumentality, existing as an ‘oddity’ and spectacle in the landscape. As street and pedestrian axes converge at the station a ‘grid’ is formed to control circulation and movement.

The city wall is a concept which functions on multiple levels in relation to the station and Artarmon. This notion of division is relevant with the historic city walls, dividing the city and the untamed landscape. City walls also announced the presence of the city itself and functioned as a ‘gateway’ which is role that stations now have undertaken. Through the subversion of historic forms, by using new materials and spatial dynamics, the station is a building which looks to the archetype of the ‘gateway’ but transcends the modern.

John Jia Cheng Yang

[email protected]

0404 851 725


Milsons Point Station The design concept is about identifying, rediscovering, rebuilding and reconnecting Milsons point to its colourful culture and rich history that have become lost or at least hidden under the canopy of the sky scrapers that stands there today.

Identifying iconic Milsons point areas that best represent its culture and its history. The Lunar park, Lavender bay, Kirribilli and the water hold together a unique blend of the best of both culture and history that shapes Milsons Point.

Rediscovering is about finding the pathways leading to those identified locales, which have become engulfed among the modern day metropolitan maze.

Rebuilding is about unwinding and un-complicating the rediscovered pathways by establishing a strong linear path between Kirribilli to the water,

allowing opportunity for a new entrance to Luna Park and to Lavender Bay and emphasising the re-emergence of culture and history of this place.

The first aspect of reconnecting is about the centrifuging of the old and the new, the synchronisation of the metropolis to the history and culture. This is established through the linear path, where a journey is created through galleries, studio, art classes and a bathhouse.

The second aspect of reconnecting is about the gathering of people and their dispersion to re-experience a Milsons Point that is both excitingly modern and reminiscently classic. The station acts a natural converging point of Milsons Point, Kirribilli and the water. It becomes the protagonist, the beginning to both sides.

Lucy Zhou [email protected]

0434 501 168


As a graduation project for the master of architecture degree it was considered that a major civic, cultural building was an appropriate subject and a new art gallery on the currently vacant and debated site at barrangaroo was chosen. The art gallery was seen as a necessary cultural complement to the predominently commercial and residential nature of current schemes for the development and the large area of park could only gain from a significant civic and artistic presence.

The New Art Gallery of Sydney is not meant to duplicate the activities of Sydney’s 2 major galleries, AGNSW and MCA.

Rather it will aim to provide for what is lacking in the exhibition and display of the visual arts and associated crafts.

A gallery that shows the art of the many countries that Australian Immigrants come from. The Art, Folk Art and some of the Crafts in which the many cultures excel should be available and visible in Sydney.

Most importantly the New Gallery of Sydney should have a greater accessibility to the many artists who live and work in Sydney and give far greater opportunities to those artists to present their work to the public.

Thus it will have studios, workspaces and a variety of gallery spaces both large and small.

The “Art World” has become too much controlled by art administrators, bureaucrats and “event organisers” and this could be a gallery directed by the art-loving public and artists.

Jin Bu

Qing Wan Chai

Hao Chen

Peng KangStudent Representative

Gan Lu

Michael Sham

Qi Shen

Yiqun Shi

Michelle Stephanie

Sheng Sun

Philip Tsui

Qing Qing Zhang

All things are difficult before they are easy, misfortunes tell us what fortune. - Qi ShenEveryone has his inherent ability which is easily concealed by habits, blurred by time, and eroded by laziness. - Lu GanI hope the art gallery is not only a place for the modern fine arts, but also a sculpture in the city museum. It may become a miniature of the surroundings. - Wanqing ChaiMainly concentrate on the improvement of accessibility and natural waterfront view based on the existed context. - Sheng Sun I felt graduation year was like a hot pot, a fiery feast. You sit down, investigate, try something, pause, search, not all floating in the bubbling broths. But I do like everything in the pot. - Hao ChenSpending one year in this studio seem to be very luxurious, however time is still insufficient. All I want is a satisfactory result. - Bu Jin

Doing Art Gallery in Barrangaroo for my graduate project is a quite big challenge for me. The Gallery located in a difficult, undeveloped and full of potential site. In my opinion, the most difficult thing is and how to make your building merge into the site, and how to plan your building into real situation. However, the final year program gave me biggest challenge, toughness, but also improvement about my architectural knowledge. - Qingqing ZhangI know architecture is not easy, but I haven’t thought it is that difficult to me! The art gallery project gives me a big challenge as a graduation design and the complex site adds more conflicts and difficulties for design reasonableness. However, Swetik helps me a lot. He is very strict to me, but he also has lot of patience. I know I may be the worst student he has taught, but worst means I can learn most. No matter the result I can get, I really better myself through this year of hard working. - Peng Kang

Student Reflection

196 197

A New Art Gallery of Sydney

Swetik Korzeniewski is an architect and painter.

He has taught architecture studios at Sydney University, University of Newcastle and UNSW. His interests in architecture are wide ranging and include the works of the Italian Renaissance to Baroque masters, the traditional architecture of Japan and China and the works of the pioneers of the 20th century notably LeCorbusier and Kahn.

Studio Leader

Swetik Korzeniewski



Plan

Section

Model of Yale gallery

Site aerial view Model

The New Art Gallery of Sydney The proposal is based on the generation of different spaces around a central event space that are linked by a spiral ramp as in-between space, not only in relation with the cliff on the northern part of Barangaroo, but also promote the outstanding view of water front. It is not meant to duplicate the programs of AGNSW or MCA, but have greater accessibility to the many artists overseas or those who live and work in Sydney and give greater opportunities for their work. Different light (natural, direct, diffused, deflected, filtered, reflected, colored.) defines the character of each space and enriches the overall architectural experience.

Hao Chen [email protected]

0433 286 600


Design processed model

Development of the concept models

Interior view of gallery exhibition space

Initial idea plan model Location of the new gallery

Art Gallery in Barangaroo Sydney

The New Art Gallery will show the mixed cultures of local Australia and many countries that lots of Australian Immigrants come from

The site locates at the Barangaroo. An official program of the site emphasizes on Anglo-Saxon cultures and this New Art Gallery will mainly balance various cultures that present on this area. Gallery will mainly work on the Folk Art that provides the artists in Sydney a space to live, work or display their works.

My proposal will mainly emphasize the communication between the community and the gallery. The New Art Gallery is aiming to provide the public a space that people can get more understanding on art. In addition, it is also a platform that the communication occurred between the artists and public. Education space and public space is emphasized in this proposal. Exhibition spaces will connect closely with discussion spaces, which allows people get a deeper understanding through discussing.

Gan Lu [email protected]

0425 830 201Concept plan

Stage 1

Stage 2

Stage 3


New Sydney Art Gallery

The New Art Gallery will locate in Barangaroo Sydney and shows the art of the many countries that Australian Immigrants come from

My project is based on three design concepts: The First is addition: the shape of the building is a strong and powerful rectangle and protrudes from the cliff. The lines, edges, or forms of the building are neat and simple. The surrounding landscape is designed to follow the east-west axis to emphasis the form of the building.The second concept is connection: There is an axis of connections between existing major Sydney city art buildings like AGNSW and the Museum of Sydney. Our new Sydney art gallery is perfect on this axis. To enhance this axis and provide a convenient way for the people coming from the CBD and Circular quay, I designed a grand staircase that links the cliff and the central garden in the building as well as the harbour walk at the west of the building.

The last concept is interaction: The grand staircase and the in-between space of the ground level and the second level as well as the central garden are all welcoming to people. It always say welcome, please come in. The major gallery space which is lifted up in the air using a similar material as the cliff, provide a equal position to all arts and culture. There is no special room in the gallery space, all the art including the folk art has the same opportunity to present them to the public. All the servant spaces like café and bookshop are arranged on the ground level and divided into several glass boxes which have a character of openness, rhythm, repetition and variation.

Kang Peng [email protected]

0425 693 366

Central Garden

View From Garden

Site Plan View From Cliff

Night View


Light Studies

Gallery Section

Site Analysis Sketch Model

Precedent Study – Nordic Pavilion, Sverre Fehn

The New Art Gallery Barangaroo

The Art Gallery is about harmonising the viewing of art with city life on the unique site of Barangaroo

Building upon the Barangaroo masterplan proposed by Thalis, Berkemeier and Irvin, the New Art Gallery forms part of the shore side promenade and complements the design with a new civic space. Visitors will be able to experience the gallery coupled with the site in all its richness as they enter the grand entrance hall, journey through the different display galleries, and come to rest in the café area, overlooking the gardens under the quiet and shade of the cliff.

Michael Sham [email protected]

0425 264 235


Sydney New Art Gallery

A public building for exhibiting artworks from overseas and local artists, to connect the missing linkage of Darling Harbour foreshore

The new precinct, Barangaroo based on the proposal of Hill Thalis Architecture + Urban Projects PTY LTD theme will be the site for the Sydney new Art Gallery. It is believed that the new precinct is calling for a qualified and respectable public building which will bring the entire headland and foreshore back to life. It is decided to locate The Sydney Art Gallery (SAG) at the Sydney traditional Headland Park, at the North end of the Barangaroo and West of Walsh Bay. It will be leaning on the traditional sandstone bedrock and standing in front of the Darling Harbour. The SAG will be the place:

•Thatworkssuccessfullyasacatalyst for urban regeneration, forming an unique character to the Headland Park in Barangaroo Precinct

•Asameeting,gathering,eating,enjoying and relaxing public space where accommodates public activities at the same time.

•Wherethedifferentformsofcreative activity are brought together to explain and illustrate one another.

•ForAllpeople,allagesandartists to share their creativities, to admire the artworks and to have an opportunity to exhibit their masterpieces

The orientation of the SAG is considered to create a continuous rhythm of the finger and foreshore. The concept of the SAG focuses on the design of the roof that allows natural sunlight to illuminate the entire exhibition spaces and enhance the creative environment. Its lighting, circulation, programme, spaces and structure are based on the research of the precedent studies and lighting study.

Philip Tsui [email protected]

0414 281 282

209Master of Architecture Final Year Studio Work

UNSW Built Environment Alumni Community Stay connected for benefits, services and access to alumni networks!www.alumni.unsw.edu.au

Since an early age, the experience of architecture has been intensely felt yet it was not until I started my architectural studies at UNSW Built Environment that I began to appreciate the capacity of architectural design for making life more meaningful.

During my first year at UNSW, a visiting architect metaphorically “parted the long grass” to reveal an intriguing path into the practice of architecture. He spoke about the relationship between natural landscape and buildings, about his experiences with materials of integrity and their bringing together at well-resolved connections , about the horizontality of the sea’s surface and its relationship to his experiences living on the east coast of Australia, about the influencing aspect of winds and the informative signals of clouds. His words still resonate in so many of the things that I experience and enjoy in life and in architectural practice.

For me, another highlight at UNSW was the opportunity to work on the construction of the UNSW Solarch building project for a full year with a handful of other equally fortunate architecture students. Beginning to understand how buildings are constructed is an essential requirement for the student of architecture. I was privileged to get this hands-on experience while still a student at UNSW.

Alumni Profile

Luke Johnson Graduated: 1995

In my experience as a student, UNSW Built Environment was distinguished by its emphasis on the engineering aspects of design. Students were able to bring all of their inherent creativity and personal interests into their design experiences, and support this with a sound contribution from formal education, regarding the imperative that buildings must be structurally stable, constructible, operable, adaptable and flexible to changes in use and technology. This sound platform to architectural education is a great basis upon which to evolve further in professional practice.

A professional goal of mine when I started out on this career was simply to contribute positively to Australian architecture that is relevant and meaningful. To that end, I have been very fortunate to have been a member of an architectural team that designed a great project that was subsequently awarded the Sir John Sulman Award this year. Beyond this, and like Louis Kahn breaking into stride at a mature age, I optimistically look towards a future with many built projects that positively interpret their briefs and contexts to produce buildings of long lasting meaning and identity to the people who will come into contact with them.

During my first year at UNSW, a visiting architect metaphorically “parted the long grass” to reveal an intriguing path into the practice of architecture.

- Mr Paul Corbett- Mrs Grace Lau- Mr David Melocco- Professor Glenn Murcutt AO- Mr John S Nicholas- Mr Simon Zou

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The students of the 2010 Master of Architecture program, including the members of the TEN IS MORE Exhibition Committee, would like to give a special thank you to all our sponsors for their generosity, contribution and support.



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be master of architecture end of year catalogue 2010

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