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alison fong Cover Photo: Studio Air - Parametric Design Task (Inspired by Coop Himeblau)

Undergraduate Portfolio


EDUCATION

EXPERIENCE

Bachelor of Environments University of Melbourne (Feb 2016 - Current)

Graphic Design Internship University of Melbourne (July 2017 - Current)

Final year student, majoring in Architecture and minoring in Urban Planning & Design.

Winter University University of Stuttgart (January 2018) Study abroad program studying German and an architecture elective.

International Baccalaureate Diploma Presbyterian Ladies’ College, Melbourne (2011 - 2015)

Secondary education with subjects in English, Japanese, Geography, Mathematics, Chemistry and Visual Arts

AWARDS About myself... Bachelor of Environments final year student majoring in Architecture and minoring Urban Planning and Design at the University of Melbourne. I believe that architecture and culture play hand in hand with each other - influencing and inspiring one another. In particular how we respond and experience an urban environment interests me, as it drives my passion to explore various design ideas, and having lived in two different cities - Melbourne and Hong Kong also provides me with a unique background to understanding differences and diversity in urban cities. Through out my undergraduate degree, I have engaged with activities outside of the architecture industry, for example language clubs and urban planning projects, which has allowed me to work with other peers and challenge myself in different fields of study.

Leaders in Communities Award University of Melbourne (2018) Awarded to students who have participated in volunteering, professional skills and engaged in the University community.

Global Scholars Award University of Melbourne (2017)

Grant awarded to aid in covering cost of overseas study for high-achieving students.

Bachelor of Environments Transition Scholarship University of Melbourne (2016)

Awarded to high achieving secondary students entering the Bachelor of Environments.

RMIT Urban Futures Award (Shortlisted) RMIT (2015) Competition on urban planning strategies in relation to Melbourne’s landscape.

Rotary Citizenship Award Box Hill Rotary Club (2015)

In recognition of their leadership qualities and service above self attributes, students selected by their school receive a Citizenship Award.

TECHNICAL SKILLS

LANGUAGES

Photoshop

English

Illustrator

Cantonese

Indesign

Mandarin

Premier Pro

Japanese

Sketchup

Korean

AutoCAD

French

Rhino

German

Email: a.fong1024@gmail.com

Grasshopper

AUSLAN

Linkedin: linkedin.com/in/alison-fong/

Excel

Issuu (Online portfolio and publications): issuu.com/alisonfong

Photography

Word Powerpoint Model making

Design graphics/social branding of campaigns and manage University of Melbourne social media platforms.

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Casual Sales Assistant Presbyterian Ladies’ College (December 2015 - Current)

Restock retail space and direct customer contact to assist with uniform measurements. Developed experience with non-English speaking customers.

Work Experience PLY Union Limited, Hong Kong (January 2016)

Assist with on-site designs and measurements for domestic interior design projects, and organize material resource library. Gained experience on Photoshop editing and architectural reading skills.

PROFESSIONAL INVOLVEMENT AND Speaker Series University of Melbourne (Current)

Involved with contacting and coordinating weekly talks between local architects, designers and artists and student body at the University of Melbourne. Responsible for marketing and public communication for events.

Heat Ready (2nd Place Project) Climathon Melbourne (September 2017)

Collaborated with team of peers in designing a solution to make Melbourne more resilient to effects of extreme heat and heatwaves. Our team proposed a concept on a multi-lingual extension plug-in that translates and shares extreme weather information in a language other than English.

IMPRINT Project Manager Enactus Unimelb (July 2017 - Current)

Lead team of students in urban placemaking projects, working with local communities and organisations to create public spaces that encourage social interaction and economic activity.

Open House Volunteer Open House Melbourne (July 2016 - Current) Robin Boyd Foundation (November 2016)

Volunteer for open house events, promoting engagement between the general public and local design and architecture.

INTERESTS • Photography + Filmography • Literature • Music

Weinhaus Aromat...4 Studio Air...6 Environmental Building Systems...10 Digital Design Fabrication...12 Studio Earth...14 Construction Design...18 Urban Planning...20 Others: Graphic Design + Photography...21


B

Section B

A

North Elevation

Floor Plan (1/F)

Section A

West Elevation

Floor Plan (B/F)

Exploration of cubicle spaces - public vs semi-private

WEINHAUS AROMAT Location: Karlshöhe, Stuttgart University of Stuttgart (Winter Uni) - Architecture Elective Course(2018) Tutors: Claudia Wald & Stefano Delisi

Interior and Exterior Perspectives

Weinhaus Aromat is a reception space developed under the theme of ‘wine’. The structure blends into the slope it is situated on and integrates with the landscape, facing a wonderful view of the city. It explores the experience of taste, where it is a combination of different sensory systems including smell, touch and the physical taste itself. These experiences are translated into physical visions, where different textures, lighting, volume and colour are implemented into the architectural design. The reception space features two storeys: first floor - an open plan with expandable circular cubicles that allows for group events or separate individual visits and features a large window panel allowing for natural lighting and views of Stuttgart city. basement floor - which contains a visionary installation of colour panels that are built to stimulate and enhance or differentiate the wine tasting experience, using colour to enhance the taste experience based of inspirations from chromatherapy

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BONNETWORK Location: Merri Creek, Melbourne Architecture Design Studio: Air (2017) Tutor: Julius Egan Partner: Yueting Yang

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Form Finding - Engaging with both parametric and hand-drawing methods

Bonnetwork is a installation piece developed through algorithmic and parametric design. It explores the relationship between human and birds, redefining the stereotypical relationship between humans as the dominators and birds as the dominated. ‘Bonnetwork’ borrows the aggressive characteristics from the bird ‘Blue Bonnet’, envisioning a complex structure that traps its visitors. Entering the structure emits emotions of being trapped, enclosed, and observed - becoming the animals that are observed in a cage. Birds become the ruler within the structure, soaring in the sky with pride and authority over the humans whom are trapped within the structure and can only look up.

Final Design Process

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Using Rhino and Grasshopper, the train tracks on site are mapped with generative points planted at random, which is then plugged into Kangaroo, creating a fabric like structure that wraps around the guide lines referenced within Rhino earlier. The wires are created by simulating the Blue Bonnet’s flight patterns using the plug-in ‘ swarm agent’. The final structure creates a network like system - hence where the name of this work ‘Bonnetwork’ comes in.

Key features

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Position of design

Human Activity (weakest - strongest)

Scale 1:20 @A3

Site Analysis

For more information on this project, please visit: Design Journal - Studio Air issuu.com/alisonfong/docs/fong_alison_830833_ finaljournal

Physical Model (Detail Section) - Laser Cut MDF and Wire

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Lighting Calculations Living/Kitchen

46.9m 2

128W/m 2 (max. 234.5)

Laundry

3.75m 2

8W/m 2 (max. 18.75)

Bedroom 1

9.6m 2

32W/m 2 (max. 48)

Bedroom 2

10.2m 2

32W/m 2 (max. 51)

Master Bedroom

9.3m 2

32W/m 2 (max. 46.5)

Bathroom

5.7m

25W/m 2 (max. 28.5)

Ensuite

4.8m 2

Garden

19.25m

2

Electric appliances all use high energy efficient rated equipment and have timers that can be used to manage usage

25W/m 2 (max. 24) 2

Northernly daylight

8W/m 2 (max. 96.25)

Corridor

5.1m 2

16W/m 2 (max. 10.2)

TOTAL

114.6m 2

306W/m 2 (max. 560.7)

Use of LED downlights or otherwise task lighting, can save energy efficiency of lighting loads and reduce heat produced Windows are all double glazed, with U-value 2.7 and SHGC of 0.85; are mostly vertically pivotable, allowing for easy handling and north-south natural ventilation

Sunlight

Drapes are used to form a zoned area in the living room, where heating or cooling can be localised within the area. This is also able to use with an A/C split system, if the occupants wish to add more cooling systems

10am summer 2pm winter Opacity = intensity

Grey water collected from household utilities and ureused to flush toilets or water garden. The filtering system uses a mini root plant outside in the garden that naturally filters out the pollutants

Shadow Hot Northernly summer and cold Northernly winter prevailing winds during the morning

Site Plan 1:200 @A3

Summer

Ceiling fan used as main cooling system cools down the person rather than the living space, and can be used in both summer and winter to drive air flows

Mild Westernly summer/winter winds all day

Axonometric View - NTS

Weak Easternly summer/winter prevailing winds all day

Veggie garden in the backyard allows occupants to be self-sufficient Winter

Cold Hot Thickness = intensity

In-slab heating generates radiant heat and is comfortable for all ages, in addition it is not drafty and works well with thermal mass

Timbercrete

KOOTHRAPOLI HOUSE Environmental Building Systems (2017) Tutor: Erika Bartak

High thermal mass material as exterior building material - reduces cooling load and heat escaping, also requires less insulation material within walls

Rain water is collected in an underground concrete tank - where it is less susceptible to heat and wearing, it is able to provide water inside the house and used water is then recycled as grey water if possible

Strong cool summer and cold winter prevailing wind during the afternoons

Wind

Pourous concrete

Using surrounding decidious trees and vegetation, shading is provided during the summer while also allowing daylight to come in during winter, when the leaves fall off.

Solar energy is used to generate electricity in the household

Colorbond Sheet

Bamboo

Low maintenance/ high performance materials

The Koothrapoli House is built for a family of four, who have moved from India and are living in the Eastern suburbs of Melbourne. The family consists of a full-time working father and part-time mother, whom spends the rest of her free time with their children, whom are both still in primary school at home. As they have recently moved to Melbourne, they are used to the hot climates in summer, but require a house that is efficient with heating during the cold winter seasons. The house features ecological benefits, such as use of sustainable energy (solar energy) and also natural orientation and climate to provide a comfortable living environment. Biophilia and self-sustainable gardening is also explored in the design of the house, to provide an opportunity for the family to be able to grow their own food as well as engage with surrounding greenery to maintain a happy and healthy lifestyle.

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Design development + fabrication of Prototype V.2

3.2 Design Development & Fabrication of Prototype v.2 Design development + fabrication

of Prototype V.2 Assembly of model

In our digital model we further adding on elements of overlapping towards the left side of the upper torso and the left side of the lower part(because Vera is a left-hand user), to create volume in our second skin. Our design also combined our pleat design modules that were rotated around the body, to form enough space for our model in between. In our digital model we further adding on elements of overlapping towards the left side of the upper torso and the left side of the lower part(because Vera is a left-hand user), to create volume in our second skin. Our design also combined our pleat design modules that were rotated around the body, to form enough space for our model in between.

Sketches and production images

SECOND SKIN Digital Design and Fabrication (2016) Tutor: Joshua Russo Partner: Yueting Yang, Vera Wu

Photos of physical model

Second skin was developed as a project to realise one’s true personal space. With the idea of controlling phoning (walking while using your phone), this In our digital model we further adding on elements of overlapping towards the left side of the upper torso and the left side of the wearable architecture piece allows the user4 tolower regain consciousness and full user), focus their relationship withskin. the surrounding environment, thus being part(because Vera is a left-hand to of create volume in our second Our design also combined our pleatand design free from ‘inattentional behaviour’ and increases situational awareness. Using software Rhino and physical fabrication techniques such laser modules that is rotated around the body, digital to form enough space for our model to fit in between. As a maker, we were usingas digital design toolsfeatures to further overlaying realise our ideas and generate innovation in our design, we were using on adding such as folds and cutting and complex folding techniques, the structure panels that obstruct the user fromand looking down theirtechniques, phone, yet the weaving, and subtractive techniques,with including cutting and drilling, transforming techniques, whichof was ouruser. bending of panels curves of the panels create striking visual impacts under different lighting, the transparency of and thefinally panels highlighting the body the The the polypropylene to create our model (Charny, 2012). are connected using strings that are stitched together to create a criss-cross effect and allows for flexible joineries. 4

For more information on this project, please visit: Design Journal - Digital Design & Fabrication M4 issuu.com/alisonfong/docs/m4

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My project examines the idea of burying and sealing away of secrets. This idea was inspired by a visit to a crematorium, where it interested me that those who have passed away bring along secrets that will never be revealed to the public - it is as if time has sealed away these secrets forever.

A PLACE FOR KEEPING SECRETS...

This studio focuses on themes related to the different ground levels of earth, and I featured three different exploration concepts within my final design - point, plane and line, mass and frame and infill. I wanted to create a space that was reflective and tranquil, where people would be able to find themselves on a journey through open spaces to enclosed, underground spaces, experiencing both light and dark. In the interior, I wanted to emphasize mass elements, creating an underground landscape with light wells, to play with light and darkness using shadows and natural lighting. Glass boxes are filled with black sand to imitate urns at crematoriums and they penetrate the ground floor add an overlay of lighting to the underground. The exterior elements explore the slope of the landscape and implementation of columns that intersect each other on different planes and elevation to mimic the typography. As the site chosen is also located near the Yarra River, water is also included as a design element, with a boardwalk that runs towards the water as well as a submerged underground box, where visitors are able to look above to see the cripples of the water and allow for the sunlight to penetrate and reflect moving shadows.

Location: Herring Island, Melbourne

For more information on this project, please visit:

Architecture Design Studio: Earth (2016) Tutor: Heather Mitcheltree

Design Journal - Studio Earth issuu.com/alisonfong/docs/earth_book

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Site Plan Site Plan (Not To Scale)

Interior and Exterior Perspectives Interior Perspective

Exterior Perspective

Underground Plan

Upper Ground Plan

From top to bottom: North Elevation (NTS) South Elevation (NTS) Section (NTS)

Physical Model Images

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FOOTINGS: 1. BORED PIER (BP1): 450mm diameter, 2000mm deep, 2N12 x 2000 long top reinforcement, 1N20 Bar central reinforcement, deep footing system ro reach stable soil and transfer loads from ground floor slab 2. EDGE BEAM (EB1): 300(W) x 600(D)mm, 3-L12-TM top and bottom reinforcement, deepened at edge, extend to pad footing 3. PAD FOOTING (F2): 1500(L) x 1500(W) x 750(D)mm, N12-200 centres bottom mesh both directions 4. EXTENDED STRIP FOOTING (SF2): 400(W) x 600(D)mm, 4-L12-TM top and bottom, poured integrally with pad footings 5. N12-200 CRS DEFORMED BARS: Concrete infill F'c = 32Mpa, placed after PC4 is erected, N16 dowels - 400CRS drill and epoky grout into PC4 HILTHIT RE500, 120mm embedment ALL FOOTINGS TO HAVE HAZARD FACTOR OF 0.08 EARTHQUAKE LOADING AND TO HAVE CONCRETE BINDING OF MIN 50MM BELOW; ISOLATED PADS (350KPA), CONTINUOUS STRIPS (300KPA). CONCRETE BINDING OF MINIMUM 50MM UNDER FOOTINGS.

GROUND FLOOR SLAB: 6. 200MM COMPACT FILL LAYERS, 100MM THICK POLYSTYRENE LAYER, 7. 150MM SUSPENDED CONCRETE SLAB: SL92 mesh top and bottom (30 concrete cover top and bottom) VINYL FLOOR FINISH: Slip rating R9, width 183cm, overall thickness 2.0mm

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Create axometric drawing and physical model of given section at Scale 1:20 for the Bio21ScienceSub School (Univeristy of Melbourne Parkville Campus). The subject required site visits and analysis of construction and architectural drawings and documents, and ability to engage with construction knowledge and apply it to works produced.

8. TIMBER STUD FRAME: 90x45 Plate, 90 x 35 (2 rows) noggings, marine grade plywood, 10mm plasterboard nailed to studs MASONRY: 9. NON-LOAD BEARING BLOCKWORK: 390 x 90 x 90 honed face, hollow bricks, Classification M3 Type A Portland cement : building lime : sand (1:1:1), pigment powdered metallic oxides added for colour, 10mm mortar joints, brick ties to stud frame

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10. GROUT FILL: F'c not less than 12 MPa, 10mm aggregate, used to fill up cavity space between masonry and timber stud frame 40mm 11. INSULATION: CSR Bradford 'Gold' Wall batts, R2.5, 90mm thick 12. WATERPROOFING MEMBRANE: 10mm membrane nailed to timber stud frame (refer to above for details), overlap approximately 10mm

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The model is made from low budget materials including: cardboard, board paper, 70 gsm drawing paper, string, acrylic paint, wire, wire mesh, sponge foam

13. FLASHING: Continuous 10mm thick galvanised mild steel plate with welded steel tabs bolted to stud framing, epoxy paint finish, 5 degree fall from building.

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14. WEEPHOLES: located not more than 1200 centres, where neccessary for water diversion WINDOW: 15. POWDER COATED ALUMINIUM FRAME: AWS Commercial 'Series 400 CentreGLAZE' framing suite with slotted sub-sill section and head channel fitted to all \ windows for structural movement, isolate aluminium from contact with other metals with 'denso' tape. Matching cover panels and cavity trims 1.2mm thick, fix to frame with pop rivets. 150 nominal thickness. Sealant and backingrod under subsill on flashing.

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16. GLASS: Laminated, clear, min. 6.38mm A grade safety glass, max. whole of window U value in aluminium frame 6.4W/m2K, Max. SHGC 0.73, single glazing. Flyscreen: nom. 25x10mm extruded powder aluminium frame, mitred at corners and screw fixed to window frame, PVC coated fibreglass mesh infill (flyscreen only in top level of window suite). Ground Floor Window Suite (G.17) - 3630 x 2150mm/ First Floor Window Suite (F.14) - 3630 x 4050mm

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SOFFIT: 17. INSULATION: CSR Bradford 'glasswool building blanket - plain' 50mm thick, 11kg/m3, nom. R1.1, 1200mm wide, 15m long. 89 x 89 RHS (OR2) Outrigger 18. FLASHING: 0.6mm BMT Colorbond coated steel sheet, lap flashing at least 150mm at junctions, matching roof/walling materials 19. DOWNPIPE: 90mm diameter unpainted HDPE fixed at max. 1800 centres and adjacent to gutters and drains (bolted to PC5 with downpipe brackets), run within soffit to reach ran water head on other side of wall (towards West side) 20. PARAPET FLASHING: 50mm turn down face of wall, double folded under to square profile to reinfoce capping

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21. GUTTER: 250 wide eaves gutter, structural galvanized steel braket, custom gutter min. 0.55 BMT, folded metal colour bond 'DUNE'

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PRECAST CONCRETE PANEL WALLS: 22. PC4: 200mm thick, 30mm non-shrink grout under panel to ground floor slab surface, N20 bar in 50mm corrugated duct connection to slab, 64mm insulation with sarking with 10mm gap between concrete, 13mm plasterboard finish (adhesive sticking technique), N16-400 Cast in ferrules connection to slab, 15mm rebate for first floor slab, RL818 mesh each face 23. PC5: 175mm thick, N16-400 Cast-in ferrules connection to slab, SL81 mesh each face

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24. RJB-CP1: PCA4A and B cast-in plate connection, 200 x 200 x 12(D)mm plate, 2N16 U Bars, full penetration butt weld , 2N12-750 long bars 25. RJB-CP1: PC4 and 5 cast-in plate connection, same as above\ ALL FERRULES, BOLTS AND ANGLES ARE HOT DIP GALVANISED, 40MM MIN COVER TO ALL REINFORCEMENT.

GROUND FLOOR CEILING/ FIRST FLOOR SLAB (ONE-WAY SPAN SYSTEM): 26. TIMBER SLOTTED PANEL: with integrated acoustic backing at 3600mm height, polyurethane 'white satin' finish with 200mm clear border to panels and edge, conceal fixings with 5mm expressed joints GYPROCK PLASTERBOARD 10MM: suspended ceiling supported with Rondo 'Key Lock' suspension system. CONDEK TRAY: BMT 0.6mm thickness, 55mm tray height, use as concrete slab formwork CONCRETE SLAB: 220-450mm thickness, post-tensioned (primary tendons run north-south), 2N12-1000 bar ligature reinforcement (only in slab with 350 450mm thickness), thicker slab to hold more loads (more towards edge)

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27. LIVE END ANCHORAGE: anchor head near slab edge with grout tube and galvanised duct, 25mm concrete cover to duct

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ALL STRANDS 7 WIRE ORDINARY CLASS 2 RELAXATION TO AS 4672.1 U.N.O, 12.7mm UTS = 184kN, JACKING LOAD 85% (INITIALLY 25% JACKING FORCE AT 24 HOURS WITH A MIN. CONCRETE STRENGTH OF 7MPa, APPLY 100& OF TOTAL FORCE AT MIN. CONCRETE STRENGTH OF 22MPa). SPIRALS ON BOTH LIVE AND DEAD END. DUCTS GROUTED AFTER FINAL STRESSING WITH GROUT OF WATER CEMENT RATIO NOT GREATER THAN 0.49.

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30. CARPET TILE FLOOR FINISH: RC&D Carpet Design

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31. STAIRWAY (EXTERNAL STAIR 2): BALUSTER: spacing not more than 300mm, rails provided at 150mm, 48mm OD, perforated metal infill panels to galvanized steel enclosure 32. NOSING: 55x10mm natural anodized aluminium with slip resistant insert, Web force galvanised stair tread 33. RJB-CP2: Cast-in plate at SB3 (RHS), welded on site

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28. DEAD END: onion dead end to secure tendon to slab and grout vent 29. TOP STRESSING PAN: recess in slab for live end strands due to PC4 block access to slab edge

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34. 230 x 75 PFC(SB2): suport edge of landing 35. 230 x 75 PFC (SS2): M16 Chemical anchor HILTIHIT RE500 at 1000 CRS 120 embdement, connection to PC4

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ALL STEEL IS HOT ROLLED GALVANISED

ROOF: 36. SUSPENDED CEILING: Armstrong 'Fine Fissured' wet formed mineral fibre tiles, install in 'peakform' suspension grid lay in ceiling tiles 600x1200x16mm with square edge, white, humidty resistant (RH99) and formulated to withstand high ambient temperatures without panel sag. Gyprock plasterboard 10mm. Aluminium Composite Cladding Alucobond panels 4mm thick (solid light grey 104), joints nominally 10mm, ahesive cladding technique and 'type 3' edge treatment to exposed edges, support alucobond where installed horizontally on 19mm marine grade plywood. 10mm shadowline skirting.

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37. INSULATION: CSR Bradford 'Anticon 130' Roofing Blanket incorporating Medium Duty Thermofoil 730, CSR Ashgrid 110mm metal spacers installed oon top. Overall system including air films achieves R3.7 m. in summer. Safety mesh underneath insulation. 38. PURLINS: C200-204 Purlins with minimum galvanising coat of Z200, no lap required, 1 row of briding per bay SUPPORTS: 150(V) x 90 x 10 UA (RA1) connect to cast-in plates on PC4, 20mm diameter rod (RB2) universal wind bracing bracket support from purlins at midspan, 200 PFC (WH2) rafters connect to PC4 with N16 bolts and steel cleats 39. ROOF SHEET: Colorbond Spandek roof (700mm nominal width, 24mm overlap, 0.48 BMT), extend 50mm into gutter

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FOUNDATION (Bore Hole 4 (BH4) Geotechnical Report):

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LEGEND

0 - 0.5m FILL: Non descriptive crushed rock capped by 30mm Asphalt, Grey, Moist, Sand, Medium dense

0.5 - 1m FILL: Clay, Orange Brown, Moist, Silt, Traces of Gravel, Medium Dense

BRICK WORK

GROUT FILL

METAL (STEEL)

1 - 2m SILTSTONE: Extremely weathered, Yellow Orange/Grey, Very silty, Gravels, Very low rock strength

GENERAL CONDITIONS: Previous use as car park – Class M soil, moderately reactive clay, soil movement 20 – 40mm. Compact fill where required (200mm layers). ANGLE OF REPOSE: Slopes formed on site should not be steeper than 1H :1V.

INSULATION (POLYSYRENE AND INSULATION BLANKETS)

CONRETE

COMPACT FILL

ALUMINIUM COMPOSITE CLADDING

SECTION CUT MODEL AND AXO. DRAWING Construction Design (2018) Tutor: Viet Pham

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ABPL20035 Cities: From Local to Global (Assignment 3) Alison Fong 830833 Tutorial 01 - Shay McMahon

EMPOWER YOUTH YOUTH IN WYNDHAM CITY

Case Study: Kolle 37, Berlin

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A project where local children are given the opportunity to build their own playground. Adults are not allowed to enter the playground and there is limited staff supervision on site. This reinforces the children’s ownership of play spaces, and breaks down traditional forms of

Why Wyndham? Why Youth?

Youth bring in creativity and alternative thinking in the design process 3 New inspirations to the design process can help break traditional thinking and provide educational opportunities

>35 years

<35 years

Youth are ‘hard to reach groups’ 5

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Young people are listed in the Community Engagement Framework & Model (2013) as a group that requires special attention to ensure engagement. Strengthening strategies to engage with youth in Wyndham creates a community accessible for all ages

Feasibility Now vs Possibilities Street Furniture

Accessible youth projects/programs Competitions/ art events

As observed at fieldwork visits, Wyndham City lacks street furniture that could increase chances of loitering or lengthened use of public space - with minimal benches or art sculptures for example (Fig.2). Loitering blurs out social hierarchy and boundaries, allowing for diversity in an urban space.6 With more people lingering in a space, this increases trust amongst strangers and promotes intercultural tolerance.7 This can create a welcoming space for users and especially become attractive to younger children to use the space, which could even decrease public assaults and violence in the long term, aligning with Wyndham’s current leadership and participation strategies.8 Fig.2 - Watton St, Werribee Town Centre

In Wyndham’s West District Plan 2015-19, Wyndham Council states that it will ‘expand the range of youth programs’ at Wyndham Vale Community Learning Centre.9 Building street furniture or creating playground spaces could become a placemaking project that specifically targets young people as its participants. Real-life experience can be an opportunity to reach out to young people3, hence assimilating in programs at local schools will allow them to gain hands-on experience. Having programs or projects easily accessible for young people will increase their interest and potentially allow them to translate knowledge from school into the projects themselves.

References

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01 Imprint (Enactus Unimelb) Community Garden Proposal Plan

Fig.1 - Wyndham Population Demographic2

Youth are citizens as well, and listening to citizens can better inform planning. 4 Their engagement can lead to increase in leadership skills and sense of community, and lead to a more liveable community

opportunities for adventure. 1

Raised garden beds for vegetables and Fruits

Beds to be made from recycled materials

Partnering with the youth can strengthen citizenship and democracy 3

to learn valuable skills and create

Empty spaces to be used as workshop spaces

58%

We should engage with the growing majority (Fig.1), as the current society will become their future.

a hands-on experience, children are able

Seating to be made from recycled materials

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Wyndham’s younger population is growing 2

adult professionally designed spaces. Through

Garden shed for storage to be made from recycled materials

Art spaces and programs are being explored as strategies to deliver community art experiences and celebrate culture in Wyndham by the council.9 To become a successful city, differentiation is important, and involving ‘culture’ can play a huge role - the ‘Pop-Up Park’ at Point Cook (Fig.3) is a great example; providing local distinctiveness and strengthen social cohesion.10 Building street infrastructure could become competitions or art events to celebrate young people and their talents. This provides them with a platform to engage in changes to local urban space with their own ideas, and allow them to take on more active roles in the community. Fig.3 - ‘Pop-Up Park’, Point Cook Town Centre

02 Imprint (Enactus Unimelb) Community Garden Proposal Perspective

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IMPRINT (Enactus Unimelb) Currently leading team of UniMelb students and working with stakeholders such as Melbourne Water, Moreland Council and local communities to build a space where biophilia and outdoor activities are encouraged. Image: Proposal for Melbourne Water ‘Community Land Start Up’ Application

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All images are taken by Fong, Alison during Fieldwork Surveys on 15th March and 12th April, 2018. All vectors are from Freepik.com and Vecteezy.

1. Freshgemma. (2010, May 31). Playgrounds built by kids for kids [Blog post]. Retrieved from https://ailafresh.wordpress.com/2010/05/31/playgrounds-built-by-kids-for-kids/ 2. Wyndham City Council. (2017). Wyndham Snapshot. Retrieved from https://www.wyndham.vic.gov.au/sites/default/files/2018-04/Wyndham%20Snapshot%20%28A1749199%29%281%29.pdf 3. Sutton, S., & Kemp, S. (2011). Place: A Site of Individual and Collective Transformation. In The Paradox of Urban Space: Inequality and Transformation in Marginalized Communities (pp. 113-134). New York: Palgrave Macmillan. 4. Nolan, E. (2018) Why Listen to People? [Lecture Slides]. Retrieved from University of Melbourne Cities: From Local to Global LMS site. 5. Wyndam City Council. (2015). Community Engagement Framework and Model 2013-17. Retrieved from https://www.wyndham.vic.gov.au/sites/default/files/2016-07/Community%20Engagement%20Framework%20%26%20Model%202013%20-%202017.pdf 6. Phadke, S., Khan, S., & Ranade, S. (2011). Why Loiter? In Why Loiter? Women and Risk on Mumbai Streets (pp. 175-188). New Delhi: Penguin Books India. 7. Whitzman, C. (2018) Planning Issues on my street: Place and Placemaking [Lecture Slides]. Retrieved from University of Melbourne Cities: From Local to Global LMS site. 8. Wyndham City Council. (2017). Wyndham City Plan 2017-21. Retrieved from https://www.wyndham.vic.gov.au/sites/default/files/2017-08/Wyndham%20City%20Plan%202017-21%20LR.pdf 9. Wyndham City Council. (2015). Wyndham West District Plan 2015-2019. Retrieved from https://www.wyndham.vic.gov.au/sites/default/files/2016-06/Wyndham%202040%20-%20Wyndham%20West%20District%20Plan%20-%202015-2019-%20Resource.pdf 10. Landry, C. (2000) Rediscovering Urban Creativity: Why are Some Cities Successful? In The Creative City: A Toolkit for Urban Innovators (pp. 3-19). London: Earthscan.

E

Cities from Local to Global (2018) Tutor: Shay McMahon Poster design for a case study urban idea that engages youth and analyze the implementation and feasibility in Wyndham City, Melbourne to address an access issue. Selected as one of best posters amongst cohort and displayed at end of semester exhibition.

Urban Planning

Urban Design Studies (2016) Tutor: Jaxsun Plumley Analysis of Abbey Square, Bath (United Kingdom) with section cuts and laser cut 3D model, exploring the relationship between solid and voids within public spaces.

Personal (‘Feels Right Now’ Series)

University of Melbourne Graphic Design Internship

University Clubs

Graphic Design 21


Thank You.

Photography 23

Undergraduate Portfolio Alison Fong  

Featuring work completed as student of Bachelor of Environments at the University of Melbourne.

Undergraduate Portfolio Alison Fong  

Featuring work completed as student of Bachelor of Environments at the University of Melbourne.

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