STUDENT; BACHELOR OF ARCHITECTURAL DESIGN
2021
DOMENICA WENBAN
ACADEMIC Y2-3
dw
DECAY; reclaim Created in a studio focusing on an iterative design process, through the parti diagram, a given site was developed within the constraints of a delineated building unit (in my case multi-residential). The outcome focused heavily on the design process and challenging traditional modes of design/construction. The purpose of this project is to incorporate a community focused gallery space within a multi residential building. Program and context drive the form and evolution of the project. Awareness of the history of North Fitzroy, stolen Indigenous land and then the clearing of slums in the 1950s and 60s, is raised through this project that envisages the gradual decay of the multi residential space and consequently growth of the gallery space within the building. Challenging the concept of growth within a city or suburb being purely residential or financial and instead focusing on societal reconciliation and connection within this microcosm over a slightly dystopian trajectory of time allowed me to explore how this could take place within my own project.
FINAL REVIEW PRESENTATION:
Sections depiciting the gradual decay/evolution of the multi-residential complex.
Plans exploring the gradual decay/ evolution of the complex and the shifting condition of the multi-residential areas.
PLAN 2020 with circulation and spatial density
PLAN 2025 with circulation and spatial density
PLAN 2030 with circulation and spatial density
B1 B2
APARTMENT 9
BATH B2
LIVING/KITCHEN
APARTMENT 10
LIVING/KITCHEN
APARTMENT 9
B1
APARTMENT 11
APARTMENT 10
BATH
BATH B2
LIVING/KITCHEN
B2
B2
APARTMENT 10
B1
BATH
APARTMENT 12 B3
APARTMENT 11
B2
LIVING/KITCHEN
LIVING/KITCHEN
BATH
BATH
APARTMENT 11
APARTMENT 12
APARTMENT 12
B3
B3
LIVING/KITCHEN LIVING/KITCHEN
LIVING/KITCHEN B1
B1
B2 BATH
LIVING/KITCHEN
B2
B2
B3
BATH
BATH
BATH
B3
LIVING/KITCHEN
LIVING/KITCHEN
BATH
BATH
B2
B2
B1
B1
B1
SCALE 1:100
SCALE 1:100
SCALE 1:100
Iterative design process work, hand sketched conceptual drawings at beginning stages of design development
SHARED SOLITUDE A studio with the over arching theme of observation, zeroed in on the ecology of Phillip Island; Exploring how architecture can exist harmoniously or positively within a complex ecosystem at a range of scales. Both collaborative work and individual work informed the outcome, with an emphasis on applying at strategy that holds up at a territorial, location & site scale. The project centres around supporting the revegetation of the biolink connection between the north/south axis to the southern coastline, with a campus like system of community buildings that encourage education and research of the surrounding ecology. As the planting and revegtation expand the smaller modular buildings follow. This system of buildings within a larger ecological scheme allows the various programs to be spread across multiple locations, enabling use during a pandemic. This final project results in an ecological and building strategy that is an integrated condition of ocean, sky, landscape and building, encouraging community awareness and appreciation of the area’s unique ecological condition. An emphasis on the balance of landscape and built form is key ensuring the building proposal doesn’t overwhelm it’s environment.
SMALL BUILD 1
EAST (LARGE) BUILDING PLAN 1:200 at A3
4.
2.
5. 6.
1.
7.
3.
5. KEY
1. Small mee space (capac
4.
2. Larger con space (capac
3. Entrance t
4. Separate e
5. Boardwalk 2 0
5m
N
3.
1.
6.
2.
KEY 1. Large hall space
Plans at a “site” scale, displaying 2. Gallery/Exhibition space with flexible panel wallsof the largthe use and program 3. Lecture theatre within the er and smaller spaces project. 4. Cafe seating area 5. Cafe kitchen 6. Toilets 0
5m
N
7. Outdoor picnic/seating area
6. Storage fo
EAST (LARGE) BUILDING SECTION 1:50 at A3
EXPLODED AXONOMETRIC
0
1m
SMALL BUILDING SECTION 1:50 at A3
0
1m
RE
EXPLODED AXO
GROUND LEVEL PLAN SCALE 1:200
2 - BUILDING ANALYSIS
N.T.S
oulas
B wall.
steel column rigidly fixed at top, bottom and at connection to floorplate
A
FIRST LEVEL PLAN SCALE 1:200
floorplate rigidly fixed to existing building
SECTION B ISOMETRIC
SCALE 1:100
steel column
SCALE 1:100
MAISON DE VERRE; research & analysis
SECOND LEVEL PLAN SCALE 1:200
ection between ain wall
This project was undertaken as part of a technologies and environments course, aiming to give architecPANELLING tural students a basic knowledge and understanding of integrated GLASS engineering and architectural practice. AXONOMETRIC SCALE 1:10
Analysis and research of an assigned building was conducted collaboratively, in my pair’s case Maison de Verre (archiPierre Chareau had a very practical reason for the use of tect Pierre Chareau), to understand and interrogate the innovative technical structures required to construct this buildall glass facades. He writes in 1927 “The translucent facade is not to use glass for glass, but if one examines ing. Continuing on from this how the building consequently informied and shaped contemporary building techniques. the plan of this building to build on the foundations of an old hotel of the 18th century (14 on 14 meters) and taking into account a normal floor height and windows through which the light could be distributed, one realizes that one-third of the old house was deprived of light." The curtain wall is made up of panels of 4 x 6, 20cmx20cm glass squares joined with mortar and steel mullions, different to the silicon and steel or aluminium method that has been developed today.
stairs leading to existing building
with bearing to the ceiling level, where it passes
existing building Materiality: Lutetian Limestone
Pierre Chareau was known for many years as a furniture and interiors designer. He only achieved fame as an architect many years later, with only four built projects to his name. The Maison de Verre is his only
ROOF PLAN SCALE 1:200
shared wall with existing building concrete joining walls
large glass panels
prime protective skin. Prior to this it had existed only as a conceptual idea, never transpiring into presented the optimal balance between project was the need to retain the , painted orange and black, studded with large steel rivets impose rhythm and form the framework of the house. The result is the construction of instead of the two original ones and creating double height spaces in some areas of the house. partitioning the spaces are adaptable glass, metal and wood paneled walls of various transparencies that transform in accordance to the immediate use or need of the occupants.
The exposed structural system relates to the concept of a progressive and forward
MAISON DE VERRE
GROUND LEVEL PLAN SCALE 1:200
ARC2101 ASSIGNMENT #2 - BUILDING ANALYSIS Do meni ca W e nban & Anna Nasioulas
B wall.
A
FIRST LEVEL PLAN SCALE 1:200
SECTION A
floorplate rigidly fixed to existing building
SECTION B
SCALE 1:100
ISOMETRIC
SCALE 1:100
SCALE 1:100
SECOND LEVEL PLAN SCALE 1:200
pinned connection with bearing between roof and curtain wall
GLASS PANELLING AXONOMETRIC SCALE 1:10 Pierre Chareau had a very practical reason for the use of all glass facades. He writes in 1927 “The translucent facade is not to use glass for glass, but if one examines the plan of this building to build on the foundations of an old hotel of the 18th century (14 on 14 meters) and taking into account a normal floor height and windows through which the light could be distributed, one realizes that one-third of the old house was deprived of light." The curtain wall is made up of panels of 4 x 6, 20cmx20cm glass squares joined with mortar and steel mullions, different to the silicon and steel or aluminium method that has been developed today. rigid connection between existing and new buildings
Structural Organisation
stairs leading to existing building
the facade of the building in pinned with bearing to the ceiling level, where it passes each
existing building Materiality: Lutetian Limestone
Pierre Chareau was known for many years as a furniture and interiors designer. He only achieved fame as an architect many years later, with only four built projects to his name. The Maison de Verre is his only remaining building. Chareau became interested in the modern style before the first World War2 and incorporated this interest and ideology in his commission from Annie and Jean Dalsace. Chareau was set apart from other modernists due to his appreciation for the skill of craftsmen, devoting immense attention to detail.
concrete joining walls
large glass panels
ROOF PLAN SCALE 1:200
protective skin. Prior to this it had existed only a
with large steel rivets impose rhythm and form th construction of instead of the tw spaces in some areas of the house. p metal and wood paneled walls of various transpa immediate use or need of the occupants.
The exposed structural system relates to th
the elegance and beauty in the bare and every
elements that allow this progressive adaptatio
in lieu of memory A printmaking project, as a part of an elective course, this project explores techniques of relief, intaglio, frottage and collage. Narrating through prints is the experience of being entirely submerged in the natural environment during a recent hike in Tasmania. Representing the experience through memory and four objects collected along the way the printmaking process became a way of projecting and processing my experiences. The unpredictable nature of printing with fabric is similar to the unreliable recollection of memories, a process of refinement and clarity.