interior architecture final year studio 2011

Faculty of Built EnvironmentNever Stand Still

Interior ArchitectureFinal Year Studio 2011

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10 RHEIDOL AMIN12 BOJAN BASARA14 SOPHIE BENNETT16 ELENA BIJELIC18 SOPHIE BOWERS20 XI CELIA CHEN22 KIRA CONDOS 24 JELENA CVIJETIC26 SAMUEL DARVILL28 SAL DE SILVA30 JONATHAN DERRIN32 KIMBERLEY ELSEY34 NASIM ESHRAGHI36 VICKI FU38 JESSICA GOTTLIEB40 AMBER JADE GREEN42 A-YUN HAN44 ADAM HARB46 JAN HUANG48 ALEXANDER INTIHAR50 YOSHIMI IWAYA52 HAYLEY JAMIESON54 SALLY ANINDHITA

JUWONO56 PETER KROBAS58 JESSICA LACK60 DICKSON LAM62 DEBBIE LEI

64 JESSICA LEMERAY66 KATHRYN LI68 BENEDICT LIM70 SHARINA LYNCH72 HOI LAM ERICA MAN74 SOPHIE METCALFE 76 ZARA-JAYNE NORLEY78 THUY THUY TRANG PHAM80 MILOS PRLIC82 TAMARA PROCHNIK84 IGOR RUMYANTSEV86 MINJUNG JENNIFER RYU88 AMY SCHMAHMANN90 EN KYOUNG SHIN92 SARAH STARR94 ANGELIA SUGIANTO96 YUNISA SUGIANTO98 BIANCA SZEKELY100 FRANCISCA

TJOKRO HANDOKO102 TEGAN TOMKINS104 STEPHANIE

TOULOUMBADJIAN106 ANNE UY108 MICHELLE VELOSO110 JIE XUE112 HAZEL YATES

RE-FORM

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05 MESSAGE FROM THE DEAN

06 INTRODUCTION

08 COURSE STATEMENT

09 2011 FINAL YEAR STUDIO

118 ACKNOWLEDGEMENTS

120 ALUMNI PROFILE

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UNSW Built Environment (BE) is focused on research and education relevant to the design, delivery and management of the 21st century city and the elements within it. This catalogue presents selected projects from our final year students in Interior Architecture.

The unprecedented level of urban growth and associated urban issues of critical significance provides the global context and distinctive knowledge framework of the UNSW BE curriculum. A distinguishing feature of our student experiences comes from our capability to focus on design, research, teaching and learning from perspectives that place emphasis on the stewardship of the built environment and the interdisciplinary dimensions from which it is formed. The strategic direction of UNSW BE is based on a Faculty commitment to deliver high impact research and graduates equipped with the knowledge and practical skills required to realise sustainable urban environments of enduring cultural value.

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, people and places and emergent digital technologies. Each degree program integrates relevant research methods and outcomes to ensure our students understand and value lifelong learning and possess intellectual skills to enable successful future careers in a global context.

The design studio is central to the curriculum of many of our degree programs. Our academics collaborate with leading design professionals to create learning experiences around issues of local and international relevance, Our students work is often presented or exhibited to the public, enhancing the connection of our teaching and learning programs with real world experiences. These experiences contribute to the highly developed professional skills of our graduates and help to foster future career opportunities.

International relations are of great importance at UNSW BE. We provide opportunity for international engagement in our teaching, learning and research through established collaborative relationships with leading universities around the world. Our students often choose to undertake part of their degree program in another country through our established network of international relationships. Our worldwide alumni play an important role, providing points of contact for our graduates. We continue to foster our relationships with them through regular alumni events both at home and abroad.

Your student experiences, hard work and skills are in many ways reflected in summary form by the quality of work contained within this catalogue. 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 endeavour. 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 education of future generations of built environment graduates.

Professor Alec Tzannes Dean UNSW Built Environment

MESSAGE FROM THE DEAN FACULTY OF BUILT ENVIRONMENT

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Welcome to Re-Form, a celebration of the work of the 2011 graduands in the Bachelor of Interior Architecture program.

This graduation catalogue and exhibition represents the culmination of our students’ studies and offers a snapshot of the creative and technical abilities they have gained over the last four years.

The Bachelor of Interior Architecture program provides a framework where the contemporary interior can be imagined, debated and tested. This is particularly true of the graduating year of the program where students are required to demonstrate an informed appreciation of the physical, cultural and historical contexts of interior architecture and design through the exploration of a research-led design project.

The interior is a dynamic and open-ended physical and conceptual space that considers the human scale and experiences inherent in the private and public spaces of our urban environments. Within this context, the graduating year of the program focuses specifically on the agency of civic interior spaces and their representational and transformational power. Civic spaces such as libraries, city halls and cultural facilities express collective social and cultural values and, at their best, function as urban catalysts, building and nurturing the commercial, social and cultural life of cities.

Barangaroo, the context for this year’s graduation program, is one of the most ambitious and significant waterfront greening projects anywhere in the world. It will transform a vacant 22 hectare industrial site into a new precinct for Sydney, with a new public Headland Park on the harbour and a thriving community, residential and commercial heart. Within the rebuilt Headland Park will be an underground civic and cultural space that is the subject of speculations by graduating Interior Architecture students.

On behalf of staff and students I would like to thank the Barangaroo Delivery Authority for their support and assistance over the course of the research and design phases of the graduation year. The projects demonstrate the spectrum of approaches in interior architecture and design and our student’s capacity to respond creatively and responsibly to the challenges of contemporary practice. The breadth of projects in the exhibition is extensive and includes proposals for indigenous cultural centres, digital media galleries, visual arts centres and performance venues.

INTRODUCTION RE-FORM

THE QUALITY, CONFIDENCE AND STRENGTH DEMONSTRATED IN YOUR GRADUATION PROJECTS OFFERS AN INDICATION OF THE EMERGING TALENT THAT WILL CONTRIBUTE TO THE DESIGN OF OUR INTERIOR ENVIRONMENTS IN THE FUTURE.

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The Bachelor of Interior Architecture program excels because of the dedication of the teaching staff that provide the intellectual and creative heart and soul of the program. I would like to take this opportunity to acknowledge the outstanding work of the Interior Architecture teaching staff – Bruce Watson, Dr Sing d’Arcy, Dr Tom Loveday, Dr Judith O’Callaghan, Dr Marco Pompili, Bill McMahon, Sue Serle, and Lisa Zamberlan. Thanks are also due to the many dedicated sessional staff that support the program in a range of capacities.

Congratulations to all our 2011 graduands. You have successfully completed a demanding four-year Bachelor of Interior Architecture degree. The quality, confidence and strength demonstrated in your graduation projects offers an indication of the emerging talent that will contribute to the design of our interior environments in the future.

Dr Russell Rodrigo Program Director

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The capstone of the Bachelor of Interior Architecture degree is the final design studio – the Graduation Project. This represents the culmination of four years of design learning not only within the design studio, but also the streams of technologies, communications, history and theory.

The 2011 Graduation Project was the Barangaroo Headland Cultural Facility. The redevelopment of Barangaroo and the headland park is a site of enormous significance within the context of Sydney’s emergence as global city of the twenty first century. As part of the Graduation Project each student developed an individual brief around the nature of a cultural facility appropriate to site, community and city. The twenty-four week process included project research through to project completion. The result we see before us is an approach based on research, manifest in an interior architectural gesture and finally detailed design resolution.

The collaborative nature of the university experience together with the experience provided by working with the Barangaroo Delivery Authority provided a complex, challenging and rewarding process for the students who are able to graduate with the knowledge that they have contributed to the envisioning of Sydney’s future.

Bruce Watson and Dr Sing d’ArcyFinal Year Studio 2011 Coordinators

COURSE STATEMENT FINAL YEAR STUDIO 2011

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The title for this year’s exhibition is Re-Form. It is a showcase of the work of Final Year Bachelor of Interior Architecture students. Each project is an exploration of visions for the proposed underground cultural facility at the Northern Headland of Barangaroo.

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Culture Cube

Culture Cube is a unique museum designed to express Australia’s multicultural society. The 2006 census revealed that almost 50% of Australians were either born overseas or have family originating from another country. This representation of Australian multicultural society has been the catalyst for my design, informing the form and function of the museum. Its program will cater for different forms of art, media and cuisine, giving a holistic representation of cultures that have influenced the Australian way of life. Furthermore, the architectural gesture of the museum will be an appropriation of the changing Barangaroo headland throughout its history. As the site is being restored to its naturalistic roots, the underground venue will also become a celebration of the contextual change that has defined Barangaroo. In essence, the form and function of the museum will endeavour to bind the richness of culture through spaces inspired by the changing form of nature.

RHEIDOL AMIN

Email [email protected] Phone 0434 007 437

A. Main entry into Culture Cube B. View from main communal spaceC. View from Level One out onto cafeD. Feature galleries enclosed

by custom screensE. Entry lobby

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B

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B

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Australian and Aboriginal Sports Museum

The proposed Australian and Aboriginal Sports Museum will showcase the cultural significance sport has had in Australia. The typology of the Australian and Aboriginal Sports Museum has been chosen to highlight the achievements of sports in this country. The museum’s exhibits will be presented in an interactive and celebratory way, while also educating the visitor. The design is influenced by the structure and growth of cells, representing the growth of Australian sporting culture. The cells are represented by the hexagons which spread through the building and connect the spaces.

BOJAN BASARA

Email [email protected] 0435 023 915

A. Entry stairs B. Entry foyerC. Sport demonstration spaceD. View to gallery spaces

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The Story Haus

The Story Haus is a cultural centre dedicated to storytelling. The headland was used by indigenous Australians as a social space for gathering, sharing stories and culture, whilst eating the mussels growing along the shore. European settlement saw these traditional uses disappear and the headland transformed to support Sydney’s booming industrial sectors. The end of this period of use is marked by the gift of this land back for civic uses, where it seems fitting that it should be used once again as a space to gather, tell stories and pass on culture. Whilst theatre and some conventional performance spaces exist in the vicinity, dedicating this space to storytelling will enhance the artistic momentum growing in the Hickson Road area and establish it as a much needed arts precinct in Sydney.

Following the traditional pattern of storytelling, the internal form of the building seeks to first introduce, build suspense and drama, then climax and finally resolve the spatial narrative. The form interpreted for this basic layout of ‘stories’ is a simple ‘loop’ which slowly rises then falls. This space feels like contemporary sculpture, reflecting the headland’s use over time. The vast and dominating forms of the industrial structures contrast with the clusters of seats and dining areas, remembering the gatherings which took place there and the rich history of storytelling.

SOPHIE BENNETT


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ELENA BIJELIC

Touched by Water Museum

This cultural facility, located on the edge of Sydney Harbour, celebrates the close relationship between Sydney city and the sea. In the past the boundaries of the site were active, used by the indigenous Cadigal tribe for fishing and hunting and later by the European settlers for cargo handling and shipping.

The concept of the design is derived from an examination of the point in which the sea and cliff edge meet, particularly focusing on the natural activity of shoreline erosion. In many cases the marine action

undercuts sandstone headlands, causing rock collapse. The solid large sandstone cliff edges compete with the fluid fast flow of the sea. Ironically the dominance of the sandstone is contrasted with its fragility and lack of stability as it breaks and cracks. Large sandstone blocks define the spatial arrangement of the underground museum. As if collapsed into the earth from the site’s already existing sandstone wall, they are tilted, cracked, sinking into the floor. The sandstone blocks are contrasted by another opposing architectural language, fluid concrete forms that spill through the gaps and cracks of the site. The sandstone blocks form the facilities of the museum and the cracks within their walls create the various entries, while the concrete form outlines the circulation and creates further detail to the spaces, such as seating and bench space.

Lighting from these cracks spills into the dark underground foyer space that is also lit by the natural light from above.. Due to the contrast to the external environment, lighting from the major museum entries is enticing in both day and night, suggestive of shelter. During the day the sharp dark cracks express shade and during night the shard rays of light illuminate the entry and imply warmth.

This contrast of light and dark spaces, fluid concrete forms versus staggered large sandstone blocks, form a variety of spatial experiences for the visitor.

Email [email protected]

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Barangaroo Cultural Facility,FRAME: Centre for the Moving Image

Referencing both the physical and historical layers of the Barangaroo site, the cavernous space in which the Cultural Facility will be situated encases the structure. Similarly, cinema building creates spaces in which the individual is cocooned in an intimate aural and visual world. By exploring the tangibility between the adjacent spaces of ‘encasement’ or ‘cocoons’, varying public and private spaces have been formed. This notion of the cocoon is expressed using the robust walls themselves as methods of encasing spaces. The design concept also guides the extent of interaction of these spaces to the exterior boundaries of the site, never touching but rather emphasizing their separation.

This mimesis, is also evident in the architectural exploration of other elements of cinema such as ‘suspense’, ‘sequencing’, ‘framing’ and ‘movement’ - all linking back to the notion of ‘encasement’ that the art of cinema and this particular site provides.

SOPHIE BOWERS


A. Elevation of entry and gathering space B. Section through primary programmatic cinemaC. Moving image and media exhibition spaces D. Transition through ground level showing central voidE. FRAME: Centre for the Moving Image axonometric

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D E

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DAC - Museum of Digital Arts and Cinema

Situated under the cultural precinct of Barangaroo’s Headland Park, the proposed Australian Museum of Digital Arts and Cinema is framed by the iconic landmarks of the Harbour Bridge and the Opera House. Therefore, the design of the space acknowledges the prime location, acting as a funnel, capturing the way cameras work and emphasises the connection between the cultural centre and Sydney.

The digital medium focuses on views, frames, perception and the play of light and dark. Incorporating these ideas into the design, the space plays with proportions, connections and the interaction of spaces. The contrast between opposing ideas provides the catalyst to explore materiality and design program. The use of delicate translucent glass volumes is distinctly separate from the supporting metal volumes. The consideration of light allows for a gracefulness. The interplay of these polar ideas: inside/outside, public/private, light/dark, transforms these spaces into a cinema in which to view our world.

XI CELIA CHEN

Email [email protected] www.theloop.com.au/Celia Phone 0425 000 562

A. Section of underground cultural centre

B. Alternative cinema experienceC. Cinema lighting designD. Sunset at the restaurant E. Grand entrance perspective

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B

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AIX -The Australian Information Exchange

AIX is the Australian Information Exchange – a library that challenges traditional notions of typology, where the aim is to not only to function as a repository for information, but to become a place of gathering where its users reflect on knowledge gained and interact and exchange ideas with others. The design considered the natural versus human history of Barangaroo as a starting point and the underground volume was explored using irregular forms inspired by the natural sandstone that anchors the site, in a way that works with the idea of stacking and layering informed by its use as a shipping site. Acknowledgement of the historical importance of the book stack was paramount to achieving a successful design that respects the history of the library while pushing the boundaries of this typology into the 21st century.

KIRA CONDOS


A. Entry from forecourt B. Main foyer C. Collection detail D. Reading room and collection E. Library 1: Information

and Returns Desk

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D E

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The Arts: An Educational Base

The design concept of The Arts: An Educational Base, is founded on movement through entry, transition and arrival. These three points are brought together by a triangular void that runs through the central space. This is aimed at creating viewpoints, which are brought together by a terrain of gestural elements suspended from the interior cave of the Barangaroo underground facility. The composition consists of black and white galleries, workshops, a 360-degree theatre, libraries and communal spaces such as a café/restaurant and meeting points. The overall gesture of the building expresses a terrain-likeform contrasted with sleek cubic elements protruding from the cave like cocoon. The material palette is robust but welcoming, using stained concrete, bronze copper sheets, terrazzo and moulded plastic.

JELENA CVIJETIC


A. View upon entry B. Main staircaseC. Interior of Traditional Australian Gallery D. Reception interior E. 360 degree theatre

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D E

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Museum of Interwoven Identities

The first museums of the world and indeed many of today’s most influential museums were conceived as a ‘cabinet of curiosities’ - private collections which were an archival exhibition of strange and wondrous things, with no categorical boundaries.

Sydney’s and specifically Barangaroo’s history is richly layered in cultural diversity. Indeed, one might think of the Barangaroo space as a microcosm of Australia’s culture, layered in a wealth of cultural identities and interactions. This multifaceted condition is akin to a ‘cabinet of curiosities,’ and it is fitting that this design uniquely revives the splendour of this ancient typology.

The design’s spatial response is influenced by the cohesive relationship of cultural objects exhibited in the world’s first museums. The language of the design is one of movement, with seamless floor plates fluidly connecting and moulding the distinct forms. Each form is uniquely shaped by a powerful theme appropriate to cultural interactions, including isolation, dominance, detachment and unity.

SAMUEL DARVILL


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Barangaroo Mediatheque

Due to the speed in which information is accessed in contemporary times, it is a growing trend to digitize information. However printed collections grow larger as time passes simultaneously in the digital age. Therefore a Mediatheque is an appropriate typology for the Barangaroo site which will also caters for a select collection of canonized writings stored in hard copy.

The horizontal axis of the Barangaroo site demands circulation to flow along this route. In turn, a large foyer space is necessary to facilitate circulation through to the various facilities and amenities of the Mediatheque.

The space is divided into two parts, the Mediatheque and the book repository. The headland contours were used as inspiration for the Mediatheque, reflecting its transient nature whereas the solid sandstone wall was used as the inspiration for the book repository.

The Barangaroo Mediatheque displays international current affairs as they occur. Hence the transient nature of the Mediatheque signified by it’s curvaceous form.

SAL DE SILVA


A. Barangaroo book depository B. Courtyard main circulationC. Mediatheque entryD. Mediatheque auditorium

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Barangaroo Centre for Contemporary Performance

The interior takes influence from the reconstruction of the naturalistic headland by using the shaping forces of gravity and time to create naturalistic forms. The interior surfaces are created by inverting gravity through computer simulations, reflecting the outside headland by appearing un-designed and free-forming. These surfaces are positioned to visually communicate with the outside landscape and to juxtapose the sandstone cliff. The surfaces have been frozen in movement with the intention of representing the performing arts in a contemporary sense.

The primary spatial response was derived from the preservation of the existing sandstone cliff, visually recognisable circulation/destination and the spatial organisation of the two auditoria. The need to have a consistent orientation within the facility meant the foyer had to be central to the education spaces, reception and auditoria. This opened up the opportunity for a full height space, which in turn allowed for the visual interaction between the folding mesh and the sandstone cliff.

JONATHAN DERRIN


A. Southern entranceB. Theatre entranceC. Music hall

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BICM – Barangaroo Indigenous & Contemporary Museum

With water as a common link throughout the history of Barangaroo, it is for this reason that it begins to resonate as an architectural concept. Research was conducted on the movements of water, and how they can affect an area, with specific interest in powerful and monumental monoliths such as the naturally formed arroyo. The arroyo has become the primary architectural gesture.

Mimicking the concept of the design, visitors are ushered through the entry threshold via two full-height sandstone blade walls. These blade walls which continue the length of the facility, inform a congregational space for arbitrary and planned encounters.

The entry to the gallery and museum space is situated under the sheltering umbrella of the outdoor sculpture garden, which additionally allows visitors a space to congregate and enter during rainy periods. Internally, spaces include a combination of visual, auditory and kinaesthetic gallery and performance spaces.

KIMBERLEY ELSEY


A. Blade wall entryB. The arroyo: looking southC. Gallery space looking down to interior courtyardD. Reception spaceE. Landscaping above interior courtyard

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Indigenous Centre for the Living Arts

A cultural centre for the celebration, propagation, understanding and representation of the ‘living’ Australian Aboriginal and Torres Strait Islander contemporary arts culture.

The design strategy is based around the notion of weaving and signifies the seamless flow of people from the city into the park, and into the building. Inside, visitors will ‘weave’ and transition through the layered spaces, fashioning their own individual experience through the space, not dictated by the building. Internally, a merging of functions of the spaces will blur the lines of production, exhibition and education of the contemporary indigenous arts.

The contour lines of the original headland will be used to derive the spatial layering in the plan, thus reiterating the relations to the land. The material scheme will draw from natural materials familiar to the Australian landscape. Materials will arouse the senses of sight, sound and smell as if going on ‘walk about’.

NASIM ESHRAGHI


A. Reception pods for sharing of stories and information

B. Ground floor entranceC. Courtyard space for art

display and formationD. Story telling auditorium

for performanceE. Model showing site relationships

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C

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i+sm Image and Sound Museum

Located in the heart of Sydney, within the Barangaroo Headland Park, i+sm is a centre that embraces the audio visual, moving image and arts culture. The museum aims to transform the local arts industry into a significant world icon. Visitors are encouraged to experience a contemporary, interactive and technological progressive environment. Through the exploration of sound patterns and visual media, the idea of the rhythm of sound is explored through compression, expansion, intensity and repetition of different volumes and voids. i+sm aims to engage its visitors through a series of exhibitions that educate, excite and entertain.

The design focuses on expressing the architecture, as demonstrated by the dramatic spatial volumes. A large central atrium separates the building into two parts, creating a harmonious spatial hierarchy with contrasting intimate displays and large, open public spaces.

VICKI FU

Email [email protected] www.theloop.com.au/vickifuPhone 0411 518 010

A. Reception area B. Sound and media

interactive space C. Retail spaceD. Media libraryE. Staircase

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‘ERODE’ Contemporary Arts Museum at Barangaroo

The interior of ‘ERODE’ Contemporary Arts Museum at Barangaroo, represents an extension of the naturalistic Headland Park explored through the element of sandstone, which is inherent to both Barangaroo and Sydney itself. The existing sandstone cut below Munn Reserve served as the point of reference for the inspirational underpinning of the project,with all spaces responding to this natural sandstone cliff face. The design response explores the naturally occurring process of erosion that affects sandstone as an element of the earth, specifically the effect of erosion on individual sand particles that structurally constitute sandstone formations. Eroding sandstone causes individual fragments of rock to undergo a metamorphosis of form, a progression from large, irregular and jagged fragments to small regular, ordered and round fragments. The interior of the building displays this narrative of sandstone through a spatial translation of these principles.

JESSICA GOTTLIEB


A. Ground floor planB. First floor planC. Second floor planD. Third floor planE. Section

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Australian Museum of Natural Reconciliation

In the new century humanity has faced the consequences of unsustainable consumptive living practices on the natural environment. There has been a shift in consciousness for ‘man to reconnect with the earth of which he was made’.

AMNR examines the way humans manipulate the natural world and celebrates the gradual reconciliation of western society with the natural environment.

The museum is an extension of the recreated Barangaroo headland into an interior cultural landscape. The idea of ‘natural’ and ‘artificial’ are contemplated within the scheme.

Natural forms are abstracted into sculptural architecture using contemporary engineered materials. Tactility is expressed with concrete using natural objects from the Australian landscape to imprint fabric formed concrete moulds creating expressive textural surfaces.

AMBER JADE GREEN


A. Textural investigationsB. Gallery pods accessible by skywalkC. Sectional elevationD. SectionE. Interior artificial landscape

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Barangaroo Indigenous Museum

Barangaroo Indigenous Museum will enhance the Headland Park by representing the site’s history and identity with an interactive, innovative and respectful approach. The Headland Park aims to regain its Aboriginal historical identity whilst acknowledging its sacred meaning.

The main feature of the Barangaroo Indigenous Museum is a series of glass domes inspired by the shape of Aboriginal shelters. The shelters sought to provide spaces of repose, warmth, interaction and contemplation, and the museum seeks to exhibit the essence of such spaces to visitors.

The main active areas consist of three domes, each dome possessing a different character and atmosphere. Visitors can move from one dome to another via ramps.

There are two storeys of balconies, which have destinations specifically designed to encourage visitors to look out at the three domes, facilitating free movement from one destination to the other. As a result, the visitor is able to experience Indigenous culture in an interactive and engaged way.

A-YUN HAN


A. LibraryB. Idea of three domesC. Exterior of Theatre, 4D CinemaD. Interior view of Barangaroo Indigenous MuseumE. Interior view of gallery

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INTERLUDE: A Contemporary Music Performance Space

Sydney lacks an expressive space designated for the performance of contemporary music artists.

The initial response to the brief was to create a building that allows different levels of viewing so that audiences are engaged on different levels. This is explored through Brian Eno’s idea of generative music.

I have adopted Eno’s strategy of “starting with something simple and by using simple principles creating a complex form.” Although this idea is applied to music construction, I have reinterpreted it into the design of my building by creating two initial auditoriums and through vertical circulation the audience revolve around the point of the performance creating different spaces to interpret the music.

ADAM HARB

Email [email protected] [email protected] 0405 378 984

A. Opening that penetrates the Headland Park B. The main barC. Entry and reception spaceD. The connecting space to the auditoriums

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D

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A:MC Australian Mediatheque Centre

The Australian Mediatheque Centre acts as a resource for audiences to access and watch film. A:MC provides the screen culture resources where audiences can access and view Australia’s film history and heritage. From experiencing videos and sound material such as highlights of Australian films, clips from Australian television and new media and video artworks, the audience can gain a better understanding of Australian culture.

The design of the centre evolved from the simple idea of a darkened space, where the projector’s lights create an illusion of three dimensional shapes reflected onto a flat plane. The design aims to create a three dimensional wall in the shape of a projection path that creates an illusionary film projector from the audience’s point of view.

JAN HUANG

Email [email protected] www.theloop.com.au/janhuang789Phone 0413 406 317

A. Cafe space B. Grand staircase C. Ticketing areaD. Grand foyer E. Cinema space

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The Barangaroo Art Collective

The term ‘art’ has been redefined by contemporary culture to encompass painting, digital media, dance, music, performance, architecture, industrial design, fashion, and even food. The design of a centre for art at Barangaroo creates the possibility to showcase the wide spectrum that is contemporary art. With this criteria established, the cultural centre’s design necessitated the ability to house several exhibitions and performances at the same time under the same roof. The potential of the Barangaroo site allowed the design of the new cultural centre to include a grand entrance and exhibition hall for installations, fashion shows and performance, two levels of intimate galleries, two theatres, two exhibition rooms, two industrial kitchens with dining and bar facilities, large offices and practice rooms, and a mediatheque lounge.

A scientific study of sandstone composition informed the structure of the building, particularly its porous nature and the fractal makeup of its silica crystals. Voids puncture the various levels of the building, dividing and extending spaces while strengthening the visual poetry of the galleries and viewing platforms. The structural and visual lines of the building also reference the headland’s contours, cuts made in Sydney’s sandstone topography, and intersecting lines of boat wake on Sydney Harbour. The materials used throughout reflect the site and its past, smoked glass representing Sydney’s silica sandstone and gold referencing the site’s rich import and export history.

ALEXANDER INTIHAR


A. Bridge approach to cultural centreB. Entrance, exhibition and performance hallC. Large theatreD. Intimate gallery corridorsE. Exploded axonometric of interior structure

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Gallery of Design (GoD): A Place for Exploring the Evolution of Urban Environments.

Presently, no museum in Sydney is devoted exclusively to urban design and architecture. The Gallery of Design will fill that vacuum. Inspired by satellite mappings of the development of Sydney city, the preliminary idea for designing GoD was to find the “Pattern of Sydney” and to extend that pattern to the Gallery. The Gallery sits at the intersection of an axis from the foreshore, which unfolds from the direction of The Rocks, and an axis from the CBD, which runs at an angle to The Rocks axis. Sitting on that axis, internally, the contrast of an intimate entrance with a full-height foyer creates a sense of arrival at the Gallery. A delicate metal mesh, inside and out, lends a sculptural quality to the architecture. The design also creates layers of patterns and spaces that intersect, in turn creating juxtapositions of gaps, passages and connections – reflecting the urban environment of Sydney.

YOSHIMI IWAYA


A. ModelB. Main entranceC. Grand staircaseD. Library E. Reception and foyer

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Centre for Arts on the Fringe

This centre will support and publicize all arts, including those that are emerging and are somewhat disregarded. This centre will become a hot- house for the development and performance of cutting-edge contemporary arts in Sydney.

It will provide spaces for students and professionals and practicing contemporary artists to come together to create, present and perform in front of a public audience.

Using the idea of a boardwalk, the linearity of the site means that one can ‘walk through’ and enjoy different performances taking place on either side of the walkway. The centre is designed to publicly display performances and the creative process of the arts.

The underground nature of the fringe art movement has informed the design aesthetic. The building is underground and dimly lit to create an authentic ‘fringe’ experience, with the material scheme expressing the raw, and often still developing, nature of emerging arts.

HAYLEY JAMIESON


A. Ground level and forecourt planB. Flexible courtyard performance spaceC. The Boardwalk and reception D. Rear entrance from Walsh BayE. Boardwalk entrance from Barangaroo South

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Fiction MediaScape

Libraries today are not only repositories for books they also accommodate different kinds of resources and media. Fiction MediaScape is a multimedia library that focuses on fictional works and items, as well as providing the community with other facilities, such as a café, internet and/or computer-media access, auditorium, and function rooms.

The idea behind the design was to create a story-telling journey experience through the building. Back-lit perforated panels in the corridors on both sides of the building usher visitors towards the main library facility. The library area with large full-building-height void space consisting of five individual high-level tubular glass shelving becomes the climax of the story/journey and creates a whole new experience for the users and visitors.

SALLY ANINDHITA JUWONOEmail [email protected] 0425 533 790

A. Tubular libraryB. Long SectionC. Entrance corridorD. Cafe and Bar dning areaE. Library void areaF. Library void area

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Cultural Design Centre

The Cultural Design Centre showcases the talent that Australia has to offer and acts as a gateway to the best design innovation throughout the world. The Centre comprises a series of spaces which contribute richly to our business, education and community sectors by encouraging creative learning, problem solving, innovation and expression.

This design centre incorporates activities, workshops, lectures by day and performances, exhibition openings and multimedia projections by night. The Centre is a place where design can be seen in the making.

This design incorporates multi-functional learning/exhibition/and social public spaces. These include lecture theatres/exhibition spaces/restaurants/cafes and cinema. Each of these four primary spaces are related to object/craft design, fashion design, furniture design and interior design. These spaces will promote cross pollination, problem solving, education and exchange of ideas in one large forum. Essentially they will be spaces of learning and a chance for professionals and the public to showcase their work.

PETER KROBAS

Email [email protected] www.rescomdesign.com.au Phone 0413 681 729

A. View on to performance spaceB. Lighting stair detail (entry)C. Cafe / restaurant bar perspectiveD. A series of wall detail / materialityE. External entry view of the Design

Centre and it’s context

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A Site for People and Place

A key aspect drawn from the client and project objectives is the emphasis on how the new Headland Park will form a connection between the individual and the culture of the City of Sydney. The building’s design aims at challenging the notion of how natural contours or a landscape can define architectural spaces, where undulations within a floor plate can be explored instead of walls and ceilings to define a program or space.

Individuals connect with the landscape through exploring the interior of the facility.Its levels reflect the natural contours of the site and are designed and formed in manmade materials such as concrete and PVC. This further emphasises the connection between people and place, creating a connection for the individual and the headland through a physical sense of the landscape that they move through.

JESSICA LACK


A. Perspective of the entry into the Cultural Centre

B. Entry and reception space C. Section showing floor undulationsD. Main performance space lighting

affects and colour scheme E. Staircase linking each floor level

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A. View from Barangaroo SouthB. Museum entry and performance galleriesC. Stair and permanent galleriesD. Foyer and receptionE. Spatial organisation

Inspire-d

Inspire-d is a museum situated in the heart of the Sydney CBD, connecting Circular Quay and Darling Harbour. The program for inspire-d focuses on the process of creating art where people watch artists create art. The design response creates a unique way to experience art with both live and digital performance.

The design of the museum is influenced by the famous fisherwoman Barangaroo. The geometries utilised in the museum have been influenced by the idea of a fishing net submerged in water. The building is designed in three distinct areas – the entry foyer, performance galleries and permanent gallery.

Email [email protected] www.dicksonlam.carbonmade.com

DICKSON LAM

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The Hewn

The Hewn, a sculpture gallery, seeks to enrich the arts district of the existing Walsh Bay area and to add to the value of Sydney’s art culture. This was partially informed by the redevelopment of the land itself, it has dramatically changed over time and will be ‘sculpted’ back to its original pre-settlement landform.

The act of sculpture itself requires craftsmanship in the creation of objects of art. Barangaroo is a large scale sculptural project and so the program of a sculpture gallery reflects this idea of craftsmanship.

The idea is that spaces will be “handmade”: carved, cast, welded and worked, similarly to the action of sculpture-making itself. It will appear as if each space was created by carefully carving out and molding the site itself.

DEBBIE LEI


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A. WorkshopB. Main hallC. Main hallD. Main hall

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Digitalism – Multimedia Centre

Digitalism aims to create innovative and ground-breaking projects which will define the manner in which film, art music and fashion are presented via the Internet and technology. Working with the latest technology, Digitalism broadcasts the arts live, allowing an international audience instant and unparalleled access to the previously closed world of film, art and high fashion.

A counterpart to the facility is digitising. Focusing on behind – the-scenes, a team will be comprised of design artists, editors, and production and technical departments. Digitising will consistently break new grounds in pioneering new forms of interactive and motion imagery, broadcasting unique design collaborations. Its aim is to unpack every aspect of image-making, from the generation of ideas and production stages through to the problem solving and minutiae of executing the final images.

Digitalism proposes that this two-way communication of creative process is every bit as engaging as the final result.

JESSICA LEMERAY


A. Multimedia labsB. Photography StudioC. Artist studio and foyerD. Film Studio

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Contemporary Indigenous Art Gallery

Sydney is the international gateway to Australia, and Barangaroo is earmarked to become an iconic destination. It is proposed that this cultural facility will become a centrepiece for contemporary Australian indigenous artworks with an underlying political message, expanding the representation of Australian indigenous culture.

Contemporary indigenous artist Destiny Deacon’s work reflects the complex history and present realities of Australia’s race relations, whilst artist Clinton Nain uncovers Australian’s past and present ill treatment of indigenous Australians. Not willingly or consciously, their artwork expresses the authority and control felt by indigenous people through white settlement.

Authority and control will be articulated through the manipulation of scale and proportion, control of circulation and thickness of walls. Historically, dominance of scale has been used to show strength and power in order to intimidate and establish authority and control.

A restrained material palette of large format masonry and concrete with bronze in-lay on walls and floors will further express authority and control. Additionally sections of ceiling planes will be lowered and darkened, and restraint on decoration and detailing will re-enforce the sense of oppression.

KATHRYN LI


A. Entry to the Contemporary Indigenous Art Gallery B. Ground level galleryC. Reception areaD. Entrance to second level galleryE. Main stairwell of bronze and backlit

cappuccino onyx panels

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Art-In-Motion | Film Museum

The underground film facility is a museum dedicated to a multimedia experience of the Australian film industry. In this museum, visitors move through large open volumes but as they progress through the individual spaces, visitors will be able to experience different perspectives of the museum through the use of ramps and level changes. The different views at each angle of the building will provide a different viewpoint of a particular area, in the same way a camera angle marks the specific location at which a camera is placed to capture an image. A scene shot from different angles will give an entirely different experience and sometimes emotions, which is important in film creation.

The use of natural and artificial lighting will allow visitors to experience consolidated darkness and exposure to light, creating an illusionistic experience.

BENEDICT LIM


A. Museum cafe B. Museum foyerC. Film exhibitionD. ModelE. Reception

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Forum for Digital Media

One of the prevailing motifs gleaned through the site, history, heritage and client research of Barangaroo was the concept of a threshold; point of entry or meeting. Expressed across various aspects, these findings informed the typology, strategy and primary response.

As contemporary culture becomes increasingly digitalized, it is the digital workers who lead the way in defining this culture. The proposed Forum is a threshold between the past, present and future of technology. Allowing for the exhibition of new media and equipped with facilities that assist its creative process, it encourages cross disciplinary investigation into contemporary technology.

The spatial response is derived from the physical site and articulated by creating spaces connected through a physical threshold. The tectonic structure of the threshold is a median between the reconstructed naturalistic form of the headland and the linear attributes of its present structures. The detailing continues to utilize the various elements and characteristics associated with the Barangaroo Headland as a threshold.

SHARINA LYNCH


A. Cinema perspective B. Entry perspectiveC. Theatre perspectiveD. Foyer seating and installation viewing

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DAG: Digital Art Gallery

In most cases, digital art establishes relationships with its enveloping space and allows the viewer to enjoy an immersive experience within the space as they interact with the artwork. In the design of the gallery, the effects of changing architectural qualities of space on perception of visitors are explored.

A series of spatial experiences is composed in the gallery by manipulating the scales and shapes of space. Visitors first enter into a compressed foyer and walk through the extended space of the atrium to the gallery block. The experience in the gallery block highly contrasts the inside with the outside of each gallery space. While the outside has soft, fluid and organic forms, the interiors are rigid and with sloping walls and ceilings.

HOI LAM ERICA MAN


A. Entrance B. AtriumC. RestaurantD. Exterior of gallery spacesE. Interior of a gallery space

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MASA Centre | Centre for Music, Acoustics and Sounds of Australia

Architectural theorists have long understood the reciprocal nature between architecture and music, and that both play a strong part in the creative process of one another, because of this dependency.

The intention for this project was to create a building that represented the personality of the site through a celebration of light, sound and movement. Paramount to the Barangaroo development was to find a sensitive resolution to the headland and the way in which the building interacted with it. This became the primary influence of MASA.

Reoccurring forms found in site photographs were extruded and used to continue the visual personality of the site inwards. It is an interplay between the bold extrusions of the site, and the mesh weaving its way through the entire building, breaking out at the entry points. By creating an architecture that follows the patterning and principles of music visualisation, the building aims at representing the ‘sound of Barangaroo’.

SOPHIE METCALFE

Email [email protected] sjmetcalfe.carbonmade.comPhone 0411 833 714

A. South entry at duskB. ‘MASA Live’ - the TheatreC. Amphitheatre from north entryD. Amphitheatre at nightE. Amphitheatre from entry

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BIAG + GEA Barangaroo Indigenous Art Gallery + Gallery for Emerging Artists

The design of BIAG + GEA evolved out of the importance of instigating a site-specific program considering both pre and post-European occupation of the site.

Art is inherent in both indigenous and non-indigenous culture. Art is core to the human condition,existing since the beginnings of history as an act of making sense of the world, and is something that holds equal significance in the contemporary.

The design evokes the transformation of the site over time with the introduction of alien geometries evolving from the building and rebuilding of the finger wharves over time, through to the flat concrete apron we know today.

The fortification of the Sydney headlands on colonization and dreamtime stories of creation that speak of creatures carving out the landscape were primary influences in the design. With this in mind came the consideration of humankind’s tendency of marking both natural and man made surfaces, seen notably in the graffiti of forts, and in indigenous cave and rock art.

ZARA-JAYNE NORLEY


A. GEA gallery spaceB. GEA gallery spaceC. GEA transition space

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Museum of Contemporary Art

The Museum of Contemporary Art explores the idea of a place “between” nature and culture, inside and outside. The form of the building is driven by the overlapping of natural contours, manipulated and transformed into another architectural language.

The interior experience is determined by the visitor - there is no limitation, no boundary between the art, the audience, and the artist.

THUY THUY TRANG PHAMEmail [email protected] 0449 979 242

A. Exhibition space in main walkB. View to reception from main entranceC. A view of art gallery in main walkD. View of cafeE. View of connection between exhibition spaces

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Barangaroo Biblio.tech

A historical overview suggests that earlier library design solely focused on storing written information and providing patrons with access to it.

Barangaroo Biblio.tech will focus on the distinction between traditional and contemporary library methods while highlighting the interaction and reliance between the two. A combination of robust and lightweight materials will be applied in order to highlight the reliance between the ‘old’ and the ‘new’.

Exposing the raw structural concrete elements in the contemporary side will communicate the reliance on traditional construction methods while the use of innovative lightweightweight materials highlight the shift towards contemporary methods of construction.

MILOS PRLIC


A. Contemporary transitionB. Grand gesture upon arrivalC. Bookshelf exploration D. Bookshelf exploration E. Elevation of traditional bookshelf

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Sydney Centre for Film

Controlling light is critical in the context of film in order to provide an immersive atmosphere for users. The way that the eye responds to different lighting conditions during a film is remarkable, particularly its ability to adapt to various lighting conditions. This can be understood as a ‘state of flux’ as the eye constantly expands and contracts to respond to light and the moving image.

With this understanding in mind, this design strategy revolves around responding and adapting to the sun’s behaviour between summer and winter on Barangaroo Headland Park. The regularity and ordered nature of the sun’s movements is contrasted against the ever changing nature of the eye’s function.

Three central glass punctures are made within the facility and are oriented to the summer sun’s angle, the winter sun’s angle and the mid angle. This establishes a device which tracks the sun’s movements throughout the year. The three glass punctures reflect the qualities of summer and winter through their internal framing system. The summer puncture comprises a bright, compressed frame and the winter puncture comprises a looser, duller frame.

TAMARA PROCHNIK


A. Reception / primary gatheringB. External entrance of facilityC. Long section through facility showing

angles of punctures D. Circulation around glass punctureE. Film gallery

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Barangaroo Landscape Gallery

The design for the Barangaroo Landscape Gallery is inspired by the surrounding site. Elements of urban and natural landscapes have been abstracted and composed to evoke a sense of wonder and exploration. Views and materials such as water and vegetation are used to guide transition throughout the space, highlighting destinations which serve for the display of art.

A volumetric and visual relationship underpins a contour-like aesthetic which represents a unity of the natural and urban landscapes unique to the site.

IGOR RUMYANTSEV

Email [email protected] Phone 0413 108 758

A. Tidal pools and landscape connectionB. Main entranceC. Central gallery space D. Cafe and bar seating E. Vertical circulation

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Sensory Art: A Gallery

‘Sensory Art: A Gallery’ mirrors the mystical and awe-inspiring experience that is felt under the rays of sunlight, seen from below the forest canopy. Various elements are created to reproduce a similar sensory experience.

The capturing and restoring of the abundant light source from Headland Park was the inspiration behind this scheme and is represented through silhouettes of light.

‘Sensory Art: A Gallery’ embraces both light and darkness. Various volumes of void are explored to encapsulate a quality of being inside a cave. It is through these volumes of void that one comes to appreciate the quality of light. Therefore, the concept of ‘silhouette of lights’ is used to reinterpret the naturalistic aspect of the site and reshape architectural forms.

MINJUNG JENNIFER RYU


A. Gallery space A B. Main gallery spaceC. Viewing platform overlooking

gallery spaceD. Overall perspectiveE. Performance space and voidF. Ceiling design detail showing

acoustic control mechanism

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The Costume Museum

The Costume Museum is a response to the need for an exhibition space to house the costume and dress from the surrounding performance art spaces in the Sydney cultural precinct. At the heart of the facility are the folded gallery spaces spread over the three levels, which display all the costumes. The Museum also features retail spaces for emerging designers from Sydney and abroad to showcase and sell garments. The Theatre and showcase space is comprised of three levels located on the western end of the Costume Museum. The space is connected through various openings and the main void, dominating the entrance area and allowing natural light stream into the space. The material palette has been selected based on the ability of individual materials to be folded and fused into one another to form the overall identity of the cultural facility.


A. Reception areaB. Retail areaC. GalleryD. StaircaseE. Gallery

A

AMY SCHMAHMANN

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DMD: Digital Mediatheque of Dreamtime

Traditional Indigenous art and culture merge with new technology in the proposed design for the Digital Mediatheque of Dreamtime (DMD), providing visitors with new ways of interacting with indigenous art and culture The centre houses a digital cinema, exhibition galleries, libraries, multi-purpose auditorium, research laboratories and studio workshops.

The design motif stems from extracting one of the most dominant symbols of indigenous art, the aggregation of circles. This unique language is interpreted as aggregation of pixels in digital images that are uniquely combined to create an individual image. The extraction of circles and pixels merge together and transform into sequence of continuous and dynamic forms that are manipulated into three dimensional architectural forms. As the planes merge together and transform, they create horizontal and vertical circulation, floors, walls and ceilings. The distinction between architectural elements are blurred and thus spatial continuity and fluidity is achieved within each space.

The stairway above the Headland Park merges with the front façade to connect the contemporary subterranean mediatheque and the naturalistic Headland Park as one.

EN KYOUNG SHIN


A. Concept development and study models B. Exhibition stairway and LED screen bar balustradesC. Foyer and circular ramp to the exhibitionD. Digital exhibition gallery and 3D digital screeningE. Axonometric of interior spatial diagram and entrance

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KINETICSThe Cultural Exchange

A multi-arts facility celebrating the kinetic energy of the Barangaroo site and the city of Sydney, KINETICS uses kinetic architecture as a platform to explore the morphing and moving perceptions of kinetic art.

Kinetic art: contains moving parts or relies on movement for its effect.

In a flexible hybrid typology, art, dance, fashion, food, music and spectacular theatrics merge in an architecture capable of expressing the kinetic energy of the many disciplines of kinetic art.

Kinetic architecture: forms aesthetically designed or choreographed in animation to physically move through a space.

Revisiting the moving aesthetic effect of Millers Point windmills, architecture in the form of moving floor and wall frames create a varied interior environment, flexibly tailoring exhibition and gallery spaces for changing installations.

Further exploring the notion of kinetic architecture, the single gesture of circulation and interactive experience of the restaurant embraces people as the moving components animating the building.

SARAH STARR


A. FoyerB. Main gesture of circulation C. Entry forecourt D. Cross section through theatreE. Entrance

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Barangaroo Performing Art Centre (BPAC)

Barangaroo Performing Arts Centre (BPAC) is a performance venue with two performance halls for myriad types of performing arts, in particular dance and theatre. In comparison with the largest theatre in Walsh Bay, the 896 seat Sydney Theatre, BPAC provides larger performance spaces that accommodates audiences of up to 1500 people.

The overall design of the centre draws inspiration from the combination between regular rhythm and syncopated rhythm. The major element in this venue is the triple-height horizontal layers made out of red-tinted glass that envelope the two performance halls. These horizontal elements are overlapped with the vertical feature of glass-acrylic columns. The overlapping elements reflect the idea of regular sequence and syncopation.

The front of house area in BPAC is designed as a continuous open space with the minimum use of doors and the use of semi-transparent materials to encourage visitors exploring and interacting with the venue.

ANGELIA SUGIANTO


A. EntranceB. Lobby C. Main performance hall

(dance-drama hall)D. Secondary HallE. Axonometric showing the triple-

height egg-shaped main spaces

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MEVA (Multicultural Exchange in Visual Arts)

MEVA (Multicultural Exchange in Visual Arts) is a cultural facility designed as a place of gathering and an educational medium for visitors of various ages to learn about cultural diversity in the form of visual arts. Facilities provided include museum and exhibition space, library, auditoriums, workshop, café, office and storage space.

The primary spatial response was the excavation of land to build rooms for each function and create a ordered system beneath the headland park. Each function was manipulated with different scale and volume to define varying qualities of light.

Covered with sandstone, the monolithic underground facility will take visitors on a journey and create a new environment that represents a place for Sydney to celebrate.

YUNISA SUGIANTO


A. Foyer spaceB. Library – study areaC. Exhibition space D. Exhibition space E. Entrance

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gowa (Gallery Of Working Art)

gowa is a gallery of artists’ studios allowing visitors to view the artists during the creative process, as well as viewing the finished works. As context is important, the plan explores the idea of an underground labyrinth. The plan and section are arranged so the relationship between the positive and negative spaces can highlight the notion of natural versus unnatural, creating various architectural illusions.

gowa explores its form through a manipulation of the vertical and horizontal planes. Floors, walls and ceilings will seem to relate whilst still appearing detached, as they are pushed and pulled between the various levels of the building. This allows for a large array of areas to be created, as there are many different programs at work within this underground labyrinth.

gowa encourages its visitors to look at the world through the artists eyes by manipulating the internal surfaces; creating a distorted grid with architectural illusions embedded within.

BIANCA SZEKELY


A. Entry into gowaB. First floor indoor / outdoor caféC. Floating glass printmaking boxesD. Axonometric of floor platesE. Mirrored corridor

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Weave Multicultural Museum of Australia

The proposed multicultural centre embedded beneath the headland park at Barangaroo will serve as a place of learning, gathering, and celebration of the contribution of traditions and cultures by migrants as well as indigenous Australians. Weave: Multicultural Centre of Australia is developed to heighten the awareness of local and international visitors of the presence of multiculturalism in Australia. Moreover, Weave will be a gathering space, aiming to engage and enrich the visitors’ knowledge of the various ‘woven’ traditions and values embedded within the multi-faceted culture in Australia.

Weaving, as an architecturural strategy, is used to visually express the act of interlocking and the coexisting of various beliefs, races and values with one another. For this project, the weaving concept is applied to create an approach for both the visual design and spatial configurations of the multicultural centre. The various methodologies of weaving are represented throughout the building through construction as well as the manipulation of the building materials.

Furthermore, the interlocking of the permanent museum spaces showcases different traditions and customs which have been passed on from generations to generations throughout their journey to and within the Australia. Through the showcasing of various traditional artefacts such as clothing, stories, food, music, tools, weapons, artworks and crafts, visitors of Weave: Multicultural Centre of Australia are able to gain knowledge and information regarding the various aspects of the many cultures that shape the Australian way of life today.

FRANCISCA TJOKRO HANDOKOEmail [email protected] Phone 0414 649 942

A. Main galleryB. Main foyer spaceC. EntranceD. CafeE. Main reception desk

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C.A.V.E – The Centre for Audio Visual Exploration

Barangaroo’s new cultural facility has been inspired by the role that language, communication and technology have had in the evolution of the headland site. The underground facility is a hybrid typology offering a series of galleries, recording studios and research facilities. The hybrid nature of CAVE allows for research and media to align, providing opportunities for a richer experience for users. Traditional and contemporary forms of audio visualisations, from two dimensional musical score to three dimensional digital representations, inspired the spatial qualities of the interior. The interior offers a range of spaces which play with scale in order to create moments of intensity. Colour and texture are utilised in a similar fashion to enhance smaller scale spaces, whilst large monochromatic surfaces provide a canvas for digital media. CAVE will be an iconic facility that will encourage patrons to return frequently to this beautiful and historic pocket of Sydney Harbour.

TEGAN TOMKINS


A. Entry foyer and ticketing booths for C.A.V.EB. Sectional perspective of C.A.V.E

showing galleries and libraryC. Initial view of galleries and cafe

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GIDM. Gallery of Installation and Digital Media

GIDM exhibits technology’s impact on the arts, focusing on installation art, lighting installation and digital media. The design began by considering the relationship between technology and humanity, with a focus on the effective connections it makes throughout our world. Internal planning explores the essence of technology, drawing inspiration from one of its core elements; the circuit board.

The interconnected grid of the board and its tendency to converge paths in a central position are manipulated into built form, resulting in a series of paths that work concentrically to guide visitors around and through its dynamic centre.

The graphic of the circuit board, interpreted into a single illuminated line beginning in the foreshore court, is used to pull visitors into the gallery. As the manipulated line works on both a horizontal and vertical plane, it opens to the landscape above through voids, maintaining the connection between site and gallery.

STEPHANIE TOULOUMBADJIANEmail [email protected] 0438 258 525

A. GIDM entrance with views of adjacent exhibition space

B. Gallery reception C. Restaurant / barD. Central ramp including

adjacent theatre space

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Australian Museum of City & Sea

The proposed program for the Barangaroo Cultural Facility is an Australian Museum of City & Sea. The museum is deeply site specific in celebrating its place and the relationship Australians have with its surrounding waters. It will offer its users an experience that will educate and promote how water has shaped Sydney life and the culture in Australia today.

The primary spatial response is centered on “the edge” inspired by the physical transition that occurs between land and water. The design will allow users to engage with the facility externally through the headland park and internally as an underground space.

Users should experience a unique interior environment that creates dramatic perceptions of height and depth. The interior detailing of this project reflects the transitioning of surfaces, forms, lighting, scale and atmosphere, all of which were interpreted from the physical change in environments that is experienced between city and sea.

ANNE UY

Email [email protected] www.artiqulet.netPhone 0431 059 428

A. Initial concept modelB. South entry from Headland ParkC. Public information deskD. Stairs connecting ground

floor to Level 1E. Public exhibition space

and central void

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Sydney Museum of Architecture

Situated on a site rich in history that has shaped and defined Barangaroo’s identity, the Sydney Museum of Architecture enables connections to the past that guide and direct the future.

A constant reminder of the industrial changes that obliterated the natural shape of the headland, is a severely sliced sandstone cliff that dominates the current view of the site.

The museum’s primary palette of sandstone is a continuation of the physical historical timeline the cliff has introduced, as the wall planes morph into more contemporary methods of sandstone detailing, becoming more light and sparse as they move out from the cliff.

The scale progresses from closed spaces that enhance the heaviness of sandstone to lighter, open spaces, more exposed to the exterior, showcasing the opportunities that technology offers to the now and future.

MICHELLE VELOSO


A. EntryB. Entrance foyerC. CafeD. Underground galleryE. Axonometric diagram

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Barangaroo Cultural Centre-Art and Craft Camp

The design of the Art and Craft Camp aims to provide artists and craftspeople with studios and galleries that are individual but closely linked to one another. The honeycomb-like planning of hexagonal spaces promotes the interaction of these spaces and the various art disciplines.

The design idea comes from the investigation of the similarity between art and craft. Colours are used by both artists and craftspeople. The hexagon shape is found in the colour chart to efficiently organise colours. In the colour chart, each hexagon is linked to six the others similar to the natural honeycomb structure. Based on this research, gallery and studio spaces are formed by one or more hexagonal spaces. Studios are linked to each other through hexagonal spaces which serves as the circulation and void space.

Natural materials such as timber and limestone are used to respond to the sandstone cliff on the site.

JIE XUE


A. Diagrammatic planB. Sketch of the stairC. Sketch of entry view at

night with lightingD. View from circulation space

to a studio spaceE. View from a studio to the others

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Title: Tribal- Centre for Cultural Dance

Dance is a global form of non-verbal communication, an expression of sound and emotion through movement, a silent story. Different cultural dances, while superficially variant are fundamentally very similar because the central themes of all dance are universal.

The design is based on the idea of communication through architectural movement and the concept of flexing, stretching and turning just like the muscles and tendons of the human body.

The concept of movement is visible through the circulation of people through each of the spaces and the use of materials. Each part of the building (theatres, exhibition areas, shop, entry and box office) has been placed to direct the flow and passage of visitors in a fluid way, mimicking the stretching and flexing and of muscles as visitors move from circulation to breakout spaces, then around and through these areas.

HAZEL YATES


A. Tribal - Centre for Dance-, entry

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The students of the 2011 Final Year Studio in the Interior Architecture Program would like to give a special thank you to all our sponsors for their generosity, contribution and support.

GOLD

ACKNOWLEDGEMENTS

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BRONZE

DONATIONS

› Tonkin Zulaikha Greer Architects › Tecno Furniture › Briggs Veneers › Laminex

OTHER

› Student donations

BATE MARTTM

SILVER

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ACKNOWLEDGEMENTS

Sessional Staff:

› Rawiya Ali › Ken Baird › Jessica Ball › Rachel Baker › Michael Bogle › Victoria Bolton › Sharon Campbell › Ella Lee Cansdell › Tina Cerar › Neil Christopher › Min Dark › Alexandra Donohoe › Iva Durakovic › Jasper Foggo › Katherine Galettis › Saul Garcia › John Gounios › Tracie Harvison › Neille Hepworth › Kate Hogan › Sanaz Hosseinabadi › Liven Jansen › Fred Kakish › Alanya Knowles › Chantelle Kramer › Stuart Krelle › Chee Lam

› Jamie Lee › Rebecca Littlemore › Damien Madell › Griffen Manan › Carmen Masry › Phillip Mathieson › Natalie Minasian › Tessa Melick › Mellissa O’Brien › Tiffany Patten › Robyn Pengally › Charles Peters › Fernando Pino › Jacqueline Power › Leah Rispoli › Sarah Roach › Colin Rowan › Trent Schatzmann › Olivia Shih › Kirrily Sullivan › Chris Taylor › Grace Tham › Anna Trefely › Vesna Trobec › Alix Verge › Katarina Vrdoljak › Wendy Yeung

Program Team:

› Dr Russell Rodrigo, Program Director

› Dr Sing d’Arcy › Dr Tom Loveday › Bill MacMahon › Dr Judith O’Callaghan › Dr Marco Pompili › Sue Serle › Bruce Watson › Lisa Zamberlan

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Exhibition Committee:

The Graduation Exhibition is designed, managed and delivered by the students of the Interior Architecture Graduation Committee:

› Celia Chen › Jon Derrin › Sophie Metcalfe › Dickson Lam › Amy Fu › Jan Huang › Alex Intihar › Vicki Fu › Sophie Bowers › Benedict Lim › Sam Darvill › Zara Norley

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ALUMNI PROFILE TRENT SCHATZMANN

During my time at UNSW I learned from experienced and very knowledgeable lecturers who were always there to help. Diversity in design is encouraged and studio pin-up days were really interesting as everyone had different responses to the brief. I also had the opportunity to study in other faculties, taking advantage of UNSW’s interdisciplinary approach.

“In 2010 I was awarded the University Medal for Interior Architecture as well as the Davenport Campbell Prize for the best performance in the final year Graduation Project. I placed second in both the Australasian Student of the Year Award and GOTYA Award by the Design Institute of Australia (DIA).”

Graduation year 2010Degree Bachelor of Interior ArchitecturePosition Interior Design graduate at Woodhead

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Cover:The cover of this document is printed on Geon Silk,which contains elemental chlorine free pulp. It is manufactured by an ISO 14001 certified mill and sources come from well-managed forests.

Internal pages:The internal pages of this document were printed on Geon Silk, which contains elemental chlorine free pulp. It is manufactured by an ISO 14001 certified mill and sources come from well-managed forests.

Concept and production Tonic Connectivewww.tonicconnective.com

CREDITS

Cover:250gsm Sovereign Double coated A2Sourced from Hankuk Mill, KoreaFSC,ECF,ISO 14001

Internal pages:150gsm Titan Double coated A2Sourced from Hansol Mill, KoreaCertified for HP Indigo Digital printingFSC,ECF,ISO 14001

Concept and production Tonic Connectivewww.tonicconnective.com

CREDITS

Faculty of Built Environment The University of New South Wales UNSW Sydney NSW 2052 Australia

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