Portfolio of Architectural Design / Callum Ireland

CALLUM IRELAND /

Portfolio of Architectural Design 2014-2018

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SKETCHUP PRO VRAY FOR SKETCHUP SKETCHUP LAYOUT RHINOCEROS ADOBE PHOTOSHOP ADOBE ILLUSTRATOR ADOBE INDESIGN HAND DRAWING SCALE MODELLING PHOTOGRAPHY Born: April 1996 Mobile: 022 3700 856 Email: callum.ireland@gmail.com

© Callum Ireland 2017 p.3

Architecture is about integrity. Integrity to materials. Integrity to structure. Integrity to site. And integrity to people. It must be honest, well thought out and considered...

This portfolio is a body of my work from 2014-2018, highlighting key projects completed over this time in my Bachelor of Architectural Studies degree.

My design approach is based on the use of modelling and sketching to explore both material and structure in the early phases, moving into atmospheric images and clearly articulated scale models which communicate the design. This I have found produces architecture of a high quality with bold forms and a sense of integrity... a juxtaposition of concept and feasibility.

Much of the imagery from these projects has been retouched throughout the curation of this portfolio to clearly articulate the works in a cohesive and quality manner, brining out the common traits shared between each design which I have come to realise are fundamental to my own practice.

[Right] Rotherham House by the Architecture Group.

Research model as part of an investigation into Pacific Architecture.

Laser Cut Native Timbers and Analogue Techniques, Autumn 2017 p.4

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La Casa Bastardo________________________ C O E X I S T ________________________ [UN]stable Future________________________ Occupying the Grain_____________________ Other Works____________________________

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This studio project explores the relationship between architecture and client which may be challenging and hypocritical. “The Hard Bastard� character to whom this proposal is tailored becomes the driving force behind the design in his demands for a highly controlled and private dwelling which is surrounded by onlooking neighbours, simultaneously facilitating for other equally misplaced activities to support a superficial ego.

Neoclassicism and materiality become central to the design approach in its ability to articulate the faux whilst separating and curating the experience between different functioning spaces of the floor plan in a highly controlled manner. Coinciding with this, the building creates spaces of architectural splendour from veneer and imitation materials; a contemporary bastard in itself with questionable values of integrity at the levels of detail, the plan, and its presence in the wider scope of architectural practice.

La Casa Bastardo A Rock and a Hard Place with Sue Hillery | Winter 2016

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BIOGRAPHY: THE HARD BASTARD A retired structural engineer - a specialist in concrete structures.

Undertakes some part-time consultancy at home.

A recluse.

Considers himself a creative cook - an enthusiast in ‘Nose to Tail’ cuisine.

Environmentalist.

Breeds Leg Horn and Rhode Island Red laying domestic chickens.

Owns three dogs - a pedigree Great Dane, a Dachshund & one unknown breed.

Owns a significant collection of New Zealand art by Marti Freidlander, Peter Robinson, PJ Mule, Michael Parakowai & Louise Henderson.

Helicopter flight instructor.

[Left] Photographic images taken on site suggestive of materials and concept

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ASSEMBLING THE ARCHETYPE La Casa Bastardo began initially as an investigation into the idea of privacy within a dwelling, an idea which is explored through treatment of program and threshold, triggered by the clashing elements of the brief which call for a recluse dwelling on a site which is looked on by all sides. The early stages of this design focused on an iterative study of The Wall, an architectural archetype of privacy that is the ultimate device for separating two things. These walls began to shape courtyards around the site, a means not only to distinguish personal spaces from prying neighbors but also to separate the different functional elements of the dwelling, enabling a dramatic experience between two people (the Hard Bastard and The Guest) as they explore their relationships to one another and the architecture. As such the design was separated into four primary spaces: a Private Dwelling, a Place for Entertainment, a Pavilion for the Guest, and a Gallery for Art. It was the separation of these spaces on the site in a logical response to the access points and view shafts of neighbors that gives the design its form with separate access channels for both Bastard and Guest.

[Left] Early concept models exploring the role of a wall in concealing spaces and guiding a guest through the dwelling.

White Card with Analogue Techniques, Winter 2016

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[Above] Images of the scheme after 3 weeks development alongside A Watchtower for the Keeper (p.77) [Facing] Final floor plan after 12 weeks

FINAL FLOOR PLAN A B C D E F G H I J K L M N O

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Kitchen Alfresco Dining/Entertainment Guest Suite Back Yard/Animals Cantilevered Cloister Beach Access Filtration Pond Home Office Laundry Garage Living Gallery Courtyard Entry Access Courtyard Master Suite

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[Left] 1:200 Scale model of the design after 3 weeks

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Laser Cut MDF and Plaster of Paris, Winter 2016

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AN ARCHITECTURE OF CONTROL, EGO, & IRONY As a continuation on the necessity for privacy within the design, control of guests or other potential parties within the dwelling became of the utmost significance.

This is achieved through treatment of the many thresholds within the programme to achieve a hierarchy of spaces with a curated but intuitive flow between them.

Organizing the different functions so the more public aspects were at the front of the site with the more private or important spaces towards the back- raised in level and never fully revealed to the guest establish a scheme in which a guest must pass through a series of monolithic stone walls where glimpses of the more private spaces and view beyond are slowly teased and revealed as they are invited deeper within.

Furthermore a filtration pond divides the site in two, establishing one side of the building for guests and one for the client. This pond acts as a means to reflect not only light into the sheltered spaces of the dwelling, but to reflect the building itself, indulging the architectural forms and suggesting a note of narcissism or arrogance to the proposal.

Everywhere there is a sense of an interior aspect, with partial glimpses towards the sea through sheltered colonnades and openings. Moreover, the clients primary spaces for living feature a kind of double skin, where they are protected from the exterior world through a separation of the weatherline, or the glazing, from a colonnade which marks the formal building envelope. These spaces are distinctly removed from the entertaining spaces of the dwelling, including the kitchen, so that they remain private not only to people outside the building but even to guests within.

And yet for all this glamour, the proposal is an assembly of seeming architectural impossibilities. A massive concrete cloister running alongside the pond almost touches the adjacent structure forming an illusionary weightlessness through the use of a light weight steel structure which cantilevers off of the colonnade and is clad in a skin of glass reinforced concrete. Coupled with an ignorance towards classical “style-borrowing� and basalt veneer walls, the design attempts to balance between hypocrisy and pure aestheticism, brining into question the suitability of this architectural language in todays society and reflecting on characters such as the Hard Bastard who populate it.

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Who dares pass beyond the wall?

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The courtyard serves as a space to display art.

And ones self.

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Guests must be invited to cross over and be... “entertained.�

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An impossible strip of light through the building guides ones eye across the Waitemata.

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REFERENCE SECTION SCALE 1:1000

PROPOSED DWELLING LOT-A 41A SALTBURN RD MILFORD

LA CASA BASTARDO

SCALE 1:50

SCALE 1:50

A: Typical concrete footing to 650mm below ground (see Typical Concrete Footing Detail A3.05) B: 350mm x 170mm steps down 500mm from finished floor level to be cast in concrete of primary slab.

C: 100mm diameter steel column set 1m into center of concrete colums to provide 150mm shadow gap from concrete slab D: Bronze frame glazing offset 1500mm from main weatherline E: 300mm reinforced concrete parapet F: Steel truss suporting roof at 600mm ctrs G: Coloursteel roofing at 3 degree pitch in oposite axis to concealed parapet gutter (see Typical Wall-Ceiling Join A3.06)

FACADE AXONOMETRIC SCALE 1:50

DRAWING No.

A3.04 SCALE 1:200

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REVISION

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REFERENCE SECTION SCALE 1:1000

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PROPOSED DWELLING LOT-A 41A SALTBURN RD MILFORD

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LA CASA BASTARDO A: Structural concrete wall with 400mm columns to piles at 3m ctrs B: 270mm structural precast concrete wall with 90mm basalt stone veneer cladding C: 400mm diameter concrete piles to 3m below ground level beyond sewer pipe zone of influence D: 400mm x 1m concrete beams across piles at 3m ctrs E: 400mm x 1m concrete beams along length of piles F: 400mm x 1m concrete beam at load bearing wall

SCALE 1:50

SCALE 1:50

SEWER BRIDGE AXONOMETRIC SCALE 1:50

DRAWING No.

A3.03 SCALE 1:200

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REVISION

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A: 250mm recessed fitting for precast wall panel with 35mm compression seal B: 7mm Proprietray protection sheet C: Compressed sand D: 100mm perforated subsoil drainage piping E: Reinforced concrete footing to 650mm below ground level F: 200mm Reinforced concrete slab flooring G: 50mm Extruded polystyrene underslab insulation H: DPC I: 100mm Compacted sand J: Graville backfill to 650mm below ground level

REFER A3.06 FOR TYPICAL WALL CONSTRUCTION

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PROPOSED DWELLING LOT-A 41A SALTBURN RD MILFORD

PROPOSED DWELLING LOT-A 41A SALTBURN RD MILFORD

LA CASA BASTARDO

LA CASA BASTARDO

A: 250mm recessed fitting for precast wall panel with 35mm compression seal B: 7mm Proprietray protection sheet C: Compressed sand D: 100mm perforated subsoil drainage piping E: Reinforced concrete footing to 650mm below ground level F: 200mm Reinforced concrete slab flooring G: 50mm Extruded polystyrene underslab insulation H: DPC I: 100mm Compacted sand J: Graville backfill to 650mm below ground level

A: 90mm x 500mm Rough-cut basalt stone veneer B: 50mm Drainage cavity C: 7mm Proprietray protection sheet over DPM D: 270mm Precast concrete wall with 10mm internal insulation E: Steel veneer tie bolted into precast wall F: Veneer capping piece G: Aluminium flashing to cover 5 degree parapet and gutter over both sides H: Aluminium gutter fitted to precast wall recess over DPM I: 30mm steel purils at 600mm ctrs along truss J: Steel wall bracket joing truss K: 30mm Glass reinforced concrete ceiling finish L: 65mm Fiber insulation between 12mm plywood sheeting.

Steel truss at 600mm ctrs along length of wall N: Coloursteel roofing over DPM

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TYPICAL FOOTING DETAIL E

TYPICAL WALLCEILING JOIN SCALE 1:5

SCALE 1:10 E DRAWING No.

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DRAWING No.

REVISION

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REVISION

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A: 250mm x 70mm Timber packers doubled up to support cladding B: 90x45 timber frame to support cladding C: Separated roof supported by steel structure clad in glass reinforced concrete over 17mm plasterboard D: Steel frame arch fitted over I beams and welded to fix E: 250mm x 150mm I beam concealed structure running length of archway and crossing at 3m ctrs F: 20mm GRC external cladding over 17mm plasterboard attached to steel arch with purils to fix at 400mm ctrs G: 90mm x 45mm timber purils cut to 5 degree pitch to support GRC roof H 250mm x 150mm I beam set 1m into 350mm reinforced concrete column (cont. A3.08)

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REFER A3.05 FOR TYPICAL FOOTING CONSTRUCTION

1:100 REFERENCE SECTION

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PROPOSED DWELLING LOT-A 41A SALTBURN RD MILFORD

LA CASA BASTARDO

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LA CASA BASTARDO A: 350mm Reinforced concrete column to suport steel arch structure (A3.07) B: 800mm x 270mm rough-cut basalt stone seating block cut in 3m lengths C: Continuous low-intensity LED lighting strip concealed beneath bench D: 7mm Proprietray protection sheet over DPM E: 20mm protective cavity between primary structure and trough F: 90mm x 500mm Rough-cut basalt stone venee G: 100mm Cast in-situ concrete trough covered by DPM

POND & STONE SEAT DETAIL SCALE 1:10

SCALE 1:10

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DRAWING No.

PROPOSED DWELLING LOT-A 41A SALTBURN RD MILFORD

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A: 250mm x 70mm Timber packers doubled up to support cladding B: 90x45 timber frame to support cladding C: Separated roof supported by steel structure clad in glass reinforced concrete over 17mm plasterboard D: Steel frame arch fitted over I beams and welded to fix E: 250mm x 150mm I beam concealed structure running length of archway and crossing at 3m ctrs F: 20mm GRC external cladding over 17mm plasterboard attached to steel arch with purils to fix at 400mm ctrs G: 90mm x 45mm timber purils cut to 5 degree pitch to support GRC roof H 250mm x 150mm I beam set 1m into 350mm reinforced concrete column (cont. A3.08)

1:100 REFERENCE SECTION

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DRAWING No.

REVISION

A3.08

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REVISION

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[This page] Modelling moments of the design, various scales

[Facing] 1:100 Scale model of the design

Laser Cut MDF, Plaster of Paris, and Charred Macrocapa Winter 2016

Laser Cut MDF, CNC and Charred Macrocapa, Winter 2016

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In our evolving contemporary Auckland, ways of living are changing such that new architectural typologies are emerging. Availability of land and changing domestic environments are the key investigations of this studio project which seeks to fit a duplex on a tight, narrow and steep site near the city centre. Bounded by tall buildings and established trees, the project attempts to settle into the site while maintaining its previous presence as both an urban green patch and connection to the nearby Basque Park.

Using iterative techniques of sketching and modelling the project abstracts domestic spaces at the threshold, investigating the relationships between open/closed, mass/void, and natural/man-made, resulting in spaces which are both familiar and innovative in their execution. A thorough exploration of materiality as tactile surfaces with consideration to light and vertical open space ensure that this small building is an engaging and comfortable environment despite its difficult situation.

C O E X I S T Small Section Duplex with Julie Wilson | Autumn 2015 Awarded: Top in Class

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Beginning with a series of photographic images from both the site and a successful domestic space, this design was realised via a process of abstraction through cropping, reinterpreting and applying the images as both plan and section. This was pared with two materials, concrete and steel which represent the duality between the two dwellings, as the steel nestles above massive concrete slabs and columns and inserts itself into the greater scheme.

This process of abstraction appears not only at the architectural scale of the design, but at the levels of detail and context, all of which exhibit principles of coexistence between the various elements which compose them and strive to successfully provide for and articulate these elements within the greater composition that they form.

A series of voids were constructed into the design as part of an approach to open up the building to natural environment, considering the restrictive nature of the site which seriously inhibited this fundamental aspect of any healthy dwelling.

Providing natural light, ventilation and pocket gardens, these spaces also facilitate a vertical relationship between the stacked spaces. Each is sculpted in such a way that privacy is allowed at a wide spectrum of levels as applicable to the different user groups within the scheme, from each individuals, children to parents, neighbours and the public.

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[Right] Abstract images reinterpreted throughout the design process.

Photography, Sketching, CAD, Plaster and Mixed Analogue Materials. p.33

LOWER BASQUE RD

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FIRST FLOOR ONE-PERSON FLAT A -TERRACE B -SEPARATE ENTRY C -BEDROOM D -LAUNDRY

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FAMILY APARTMENT H -ARYTISTS STUDIO I -MAIN ENRTY J -W/C K -LAUNDRY

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L -LIVING M -KITCHEN N -DINING O -STUDY P -ROOF GARDEN

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SHARED FACILETIES V -LIFT ACCESS W-LOWER ENTRY X -CARPORT

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1:500 REFERENCE PLAN

PROPOSED DUPLEX BASQUE RD EDEN TERRACE

COEXIST

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A:Concrete-steel frame wall join with floor connection (refer A3.02) B: Roof opening and gutter (refer A3.02) C: Typical concrete slab footing (refer A3.03) D: Retaining wall and steel frame cantilever junction (referA3.04) E: Balcony and concealed gutter (refer A3.05)

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SECTION A-A SCALE 1:100

DRAWING No.

A3.01

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REVISION

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The section became a critical drawing in designing this project for its ability to discern relationships between coexisting spaces. Finding moments of overlap, separation and opportunity allowed spaces to become present in a dynamic manner which helped in unpacking the tight spatial allotment of the site and understand the balance of spaces as change occurred throughout the process.

Section BB

Section CC p.37

Section DD

Pillars of concrete stand alongside massive oaks.

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A pool floods the lower levels and reflects light deep into the dwelling.

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Located in the small beach-side community of Port Waikato, this proposal addresses the growing needs of the Sunset Beach Surf-Lifesaving Club on a site heavily affected by erosion.

Extended facilities, suitability of materials, and a restructuring of the existing programme informed the pragmatic approach of the design which was completed as part of a real scenario, dealing with clients and the community alike. This was developed as a large group assignment where I took on a leadership role.

With a sensitive approach to scale, accessibility, and contemporary design, the scheme is inspired by the idea of providing resistance in an unstable environment.

Its form derives from a response to the eroding nearby car park as it collapses into the sea, manifesting in a stepped roof following the path of least resistance through the site, supported by a rigid structural system.

The proposal was commended by the club for its humble approach to the brief and rigorous devotion to feasibility.

[UN]stable Future Evolving Practices with Julie Wilson | Winter 2015

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The high energy forces of west-coast New Zealand demand an approach to design which is resilient against the onslaught of the natural environment. As such, the design concept is inspired by erosion, considering the greater extents of the site and drawing on the nearby mouth of the Waikato River and collapsing foreshore for inspiration, as well as corroding materials of the existing clubrooms. Ultimately the forces of water sculpt a response whereby the eroded substance takes on the form of least resistance, an idea which permeated the programmatic conditions of the design which spills down the landscape and is circulated by people who equate to water in their persistence to taking these routes.

Distilling these elements throughout the design process was critical in the ambition of this protect to reconcile poetic and practical design. At times the building appears both rigid and unstable, suggesting a communal resilience to these forces in mans struggle to overcome nature. Looking at the section one will find a design which is dynamic in one axis and stable in the other, accentuated by a structural truss which is at times exposed and at others concealed.

[Above] Key conceptual images Collage and Photography, Winter 2015

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Alongside the new building, this brief called for an overall scheme addressing the eroding foreshore and car park west of the clubrooms.

Relocating the car park to newly acquired council land just south of the club and integrating roadside parking allows for an adaptive-retreat and regenerative approach to the erosion, establishing plant life into the land to help reinforce the dunes and prevent further damage while encouraging accretion.

The new scheme also establishes new circulation routes through the club, reorienting the vehicle storage in a more suitable manner to the typography for fast access to the beach in emergency situation.

Using the natural hierarchy of the hill, community assets are located on the lower ground in proximity to the car park while private club amenities are located to the north, overlooking and surveying the site from a more secluded position.

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SECTION A-A

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1:1000 REFERENCE PLAN

NEW CLUB ROOMS 1 OCEANVIEW RD PORT WAIKATO

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SUNSET BEACH

SURF LIFESAVING CLUB 0

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SECTION B-B

A: Skylight and retaining wall detail section (refer A3.02) B: Typical parapet roof (refer A3.04)

C: Bi-fold coloursteel shelter and internal deck gutter (refer A3.03) D: Roof-wall gutter and connection (refer A3.04) E: Garage retaining wall (refer A3.05) F: Typical eave roof and garage door connection (refer A3.05)

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LONG SECTION / CROSS SECTION

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DRAWING No.

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REVISION

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NEW CLUB ROOMS 1 OCEANVIEW RD PORT WAIKATO

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SUNSET BEACH

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DRAWING No.

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FIRST FLOOR

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A3.00

REVISION

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On a foggy morning, paramedics rush to the call of stranded fishermen.

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A space for the whole community to come together.

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Nature reclaims the once hazardous carpark.

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The structure is exposed and permeates the building, it brings light and a sense of rigidity...

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Final model of the proposed clubrooms Group Work: Analogue and CNC, Winter 2016 p.50

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Having struggled to develop through the 20th century, Devonport Village is in a state of crisis. A lack of activity beyond of the dominant supermarket and car park has reached a point where once prime street-front stores are found vacated, and the glorious heritage promenade of Victoria Road is beginning to show signs of disrepair. This design is based on the notion of an existing grain in the fabric of Devonport which can be utilised to determine an appropriate response to the historical and culturally sensitive environment.

The ambition of this project is to achieve creation of places through engaging with the culture and history of the site, with new public alleys and courtyards that are specifically moulded by their built context and designed with use in mind. Gardens, a civic square, and spill-out spaces from cafĂŠs into the public realm are among some of these uses which encourage people to engage with the site, bringing in the much needed activity to regenerate and sustain Devonport as a whole.

Occupying the Grain Devonport Tomorrow with Julie Stout | Winter 2017

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MEDIA & PROCESS The process of investigation in this design paper has been articulated through repetitively translating thought between analogue and digital. This helps facilitate a design outcome which takes on the characteristic of both mediums, with the crude sketch enabling rapid decision making and large gestures which are then refined through a digital model.

When working at the master plan scale, figure/ground drawings became critical in determining the overlying grains of Devonport.

Fundamentally grounded in the drawings of plan and section, this methodology drives creative thought into systematic and logical outcomes, unpacking spaces which are considered specifically on their characters of rationality, rather than more experimental or abstract possibilities.

Scale too becomes relevant at each stage of the design project. Master plans scaled down to 1:2000 identify patterns which are then critiqued in 1:100 sections, limiting the amount of control the designer has at a particular time.

[This Page] Figure/ground studies of the proposed masterplan

NEW vs EXISTING

LANEWAY SYSTEM

DEVELOPED SITE

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[Right] Developing the site and masterplan through section

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ENGAGING ARCHITECTURE AND THE URBAN REALM Within the greater master plan this proposal focuses more specifically on developing the corner site of Victoria Road and Clarence Street. This site is of critical importance to the scheme as it is bisected by Devon Lane, currently a service alley which is to be converted into public space. As well as this laneway, the site features multiple heritage buildings on its eastern front, and several industrial buildings, which although do not have the same protected value as the Victoria road buildings, are argueably of equal importance in respecting the greater character of Devonport, which as one of Aucklands first ports has a strong industrial character.

At the centre of this cluster of buildings an old loading bay has been converted into a split level courtyard that the surrounding buildings spill on to. Open to the northern sun and views towards Mount Victoria, this courtyard provides a relaxed atmosphere for cafes and the new youth centre to mingle with, in contrast to the more energised civic square which borders the site on the west. With original exposed brickwork and concrete juxtaposed against glass and timber, this courtyard terraces up into a tall and narrow laneway which was found in the space where old meets new on a previously vacant allotment of the site, linking the activities of the main road back towards the courtyard and into the laneway.

The design seeks to regenerate Devonport by adding a layer of porosity to the built environment. By converting the existing back alleys and service lanes into urban public spaces the formal language of the heritage streetscape is opened up, bringing people through the buildings rather than having them enter only to leave back through the same threshold.

In conjunction with opening up these spaces, the proposed greater masterplan considers a changing social attitude to cars and thus converts the existing carpark which dominates the village into a civic square and food market. These spaces bleed into the new laneways surrounding the adjacent heritage architecture, connected by a rejuvinated streetscape and carefully sculpted view shafts into the once back-of-shop spaces, revealing their dense and dynamic nature which is respectfully restored to its original condition and juxtaposed with the new interventions.

EXISTING CONDITION Devon Lane off Clarence Street

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Civic Square Youth Centre Clarence Street Devon Lane Hydroponics Centre Victoria Lane Victoria Road

Existing Remove New

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REVISION

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PROPOSED URBAN SPACE 49-59 VICTORIA ROAD DEVONPORT

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REVISION

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DEVONPORT YOUTH CENTRE_ Providing a space for our future generations, the Devonport Youth Centre adapts a pair of currently hidden ex-boatbuilders sheds into an integral building for the community. Rejoined by corten steel and reclaimed brickwork, this scheme aknowledges the importance of Devonports industrial heritage which is often subdued by the historic prominade of Victoria Road. Opening up onto both the new public square and the rejuvinated laneway system, the sheds are truely celebrated within the proposed masterplan.

VICTORIA LANE_ Juxtiposition of new and heritage architecture forms a laneway within the iconic fabric of Devonport. An assembly of cafes and retail spaces at ground level are opened up off Victoria Road and bring people through the now porous buildings into the active spaces beyond.

A communal hydroponics centre in intergrated into the scheme along with educational facilities, inspiting connections between the members of this unique community.

Children learn about the world around them at the Hydroponics Centre

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A unique destination within Auckland... a celebration history and culture

Take time out from a busy day and relax in the urban landscape

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A rejuvenated heart for the community

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[Both pages] 1:200 Scale model of the proposal Paper and foamboard Winter 2017 p.66

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First, an illustration and model for a new School of Architecture to be integrated into the Christchurch Arts Centre was completed as part of my AD1 course as an example of architectural “Fabric� and a contemporary reinterpretation of neogothicism.

Then two pieces taken from an intensive design course with international architectural writer and professor Kester Rattenbury on the role of randomness in architectural practice and the skill discrepancy between real-life and academic design.

Following, a three week mini project taken as a part of Sue Hillery’s A Rock and a Hard Place which was not developed in favour of La Casa Bastardo. This project was based around The Demanding Daughter, whose father is the Hard Bastard. Alongside the Casa, this project suggested a dichotomy between the two sites at Piha and Milford, and shared an investigation into stone materiality.

Finally a sample of sketches in pen and ink which were done as part of a study of pre-modern architecture with Michael Milojevic.

Other Works Individual pieces taken from other projects completed over the period of 2014-2018.

[Right] Object 1 From intensive design studio Ink and mixed media on paper Autumn 2017 p.69

[Above] Perspective sketch for Advanced Design I

[Right] Presentation model for Advanced Design I

Pen and Ink on Paper Autumn 2017

Laser cutting, 3D printing, Casting Autumn 2017 p.70

p.71

[Above] Object 3-02 Corrugated card, Autumn 2016 p.72

930 670 267

Difficulties F 01

A large stone gravepost.

It is benifitial staying put.

It is benifitial to set a target.

Difficulties bring things to a dead end.

Carriage and horse are separated.

It is not eternity, but a love marriage.

The young woman persists, and does not betroth.

In ten years then she betroths.

Carriage and horse are separated.

Weepin of bloody tears.

Dissolving Dissolving.

Progressing.

The king grants there to be a temple.

[F.01]

1:500 REFERENCE PLAN

Installation Ensure necessary fitting is done using 20x20mm Bulldog Clips, pinned as specified above at 267mm ctrs to protect from damaged caused by alternative pinning methods.

UNIVERSITY OF AUCKLAND SCHOOL OF ARCHITECTURE AND PLANNING LEVEL 4, BUILDING 421 26 SYMONS ST AUCKLAND

RANDOM

PROCESS

1840

1210

267

OBJECT 3-02 NOT TO SCALE DRAWING No.

A3.01

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REVISION

3

p.74

Progress Progressing, but worried.

Persistence brings good fortune.

Endure this now.

A great blessing from our Royal Mother.

All consent.

Aversion goes away.

The Caldron The Caldron.

A source of good fortune.

Progressing.

Chair was constructed from a series of elaborate criteria decided at random by the ancient Chinese oracle I-Ching.

Such criteria included time, material, subject and other minor details throughout the design process.

The objective of this exercise was to remove subjectivity from the designers control, creating an environment of critical thinking and purely objective response to the unpredictable instructions provided by the oracle.

Chair

How to Wrap a Chair

560mm x 820mm x 560mm Autumn 2016

1450mm x 2000mm Autumn 2016

Masking Tape and Orange Rust Dye on Canvas, Wrapped Around Studio Chair with 4m Cotton Laid Rope

Arcylic Paints, Gesso, India Ink, Orange Rust Dye, Marker Pens and Paper Mache on Canvas

p.75

As with Object-302, the design was then documented to further critically analyse the work, bringing together the abstract problem-solving and analytical skills of a good architect.

p.76

The design for A Watchtower for the Keeper is a reaction to the unstable nature of the Piha site which is highly exposed; constantly bombarded by the wind, sand and sun. As such its form takes inspiration from the ultimate symbol of resistance to these forces at Piha- the rock.

Exploration of the design flowed along two key chains of thought, this poetic approach engaging with the rock, and a systematic approach based on the conditions of the site itself and the program of the brief. As such, the building finds itself located at a central position on the plot with access points at both sides. This allows for a main (vehicle) access from the lower end of the site with the upper end providing a secondary foot access to Piha road. Defined by these access points, the towers program becomes justified as having the informal spaces for living at the bottom where they share a connection to the Piha community, while the tuition space is located at the top of the tower, associated with greater Auckland.

A Watchtower for the Keeper As Part of A Rock and a Hard Place with Sue Hillery | Autumn 2016

p.77

Studies of the rock suggest a materiality for the building of basalt stone. This is polished down to a smooth surface however to provide a differentiation from other rocky outcrops on the cliffs at Piha, as though it were sculpted from one of them. Further investigation of the rock highlighted interplay between the different elements within it, namely iron veins which run through the stone. This interplay manifests in the line between interiority and exteriority at the point of the staircase which abruptly changes from being enclosed with heavy stone walls to a light steel structure which is exposed to the elements, forcing the client to move throughout this fluid space between the solidified room programs of each floor.

Furthermore, the tower is somewhat pulled away from the cliff face and a space between them is excavated to provide for entertaining which is sheltered from the high energy winds on site. This also emphasizes the sense of resilience in the design, as though the earth around it is eroding away while the building remains.

[Previous] A rock taken from Piha, cut in half and polished as part of an investigation into the material

[These pages] Studies of Piha rock, the ultimate symbol of resistance Photography and Collage, Winter 2016 p.78

p.79

[1]

[2]

BASEMENT

[4] [1] [3] [8] [9]

[2]

[5]

[6]

[7]

BASEMENT

FIRST FLOOR

SECOND FLOOR

[4]

[10]

[3]

[5]

[6]

p.80

[8] [9]

SECOND FLOOR

[12] [10] [13]

[11]

THIRD FLOOR

ROOF TERRACE

p.81

1 Garage 2 Laundry / Workshop 3 Rayner rd Entrace 4 Living space 5 Kitchen 6 Dining 7 Exterior Courtyard 8 Ensuite

9 Mezzanine Bedroom 10 Tuition Space / Office 11 Piha rd Entrance 12 Pool 13 Viewing Courtyard 0

2

5

p.82

[Left] 1:200 Scale model of the design Laser Cut MDF and Plaster of Paris, Winter 2016 p.83

Abbey of Sain Savin Pen and Ink on Paper, Winter 2016 p.84

The Acropolys of Athens Pen and Ink on Paper, Winter 2016 p.85

St. Peter’s Basilica & Bernini’s Colonnade Pen and Ink on Paper, Winter 2016 p.86

The Classical Orders Pen and Ink on Paper, Winter 2016 p.87

p.88

p.89