This interior design project transforms a compact apartment in China into a warm and inviting retreat for a retired couple. By removing the existing false ceiling, the space feels more open and airy, with an emphasis on maximizing ceiling height. Curved elements are thoughtfully incorporated throughout the design to soften the ambiance, creating a fluid and harmonious flow. Natural wood tones bring warmth and a sense of timelessness, while red terracotta tiles add a touch of earthy charm, evoking a cozy, home-like atmosphere. The design strikes a perfect balance between functionality and aesthetics, offering a serene and comfortable living environment tailored to the couple’s needs.
This interior design project revitalizes a home inspired by the iconic mid-20th century Eames House design by Charles and Ray Eames. The residence, featuring oak wood panelling and joinery throughout, showcases doubleheight spaces and expansive glass glazing in the living area, which bathe the space in soft natural light. Walnut panelling and clean, simple lines preserve the home’s mid-century modern character while introducing a softly curved kitchen island that adds a welcoming and contemporary touch.
Following damage from the 2023 Auckland floods, the fit-out design prioritizes costeffective solutions without compromising quality or aesthetics. A thoughtful blend of melamine and veneer materials ensures durability and affordability while maintaining the refined finishing touches, honouring the home’s original design ethos. The result is a harmonious restoration that respects the
home’s architectural legacy while introducing modern functionality and resilience.
INTERIOR DESIGN
Farm house, Gordonton Hamilton -2015
This interior design project reimagines a family home on a picturesque lifestyle block in Gordonton, New Zealand, blending the charm of the original architecture with contemporary updates. The design honours the building’s heritage by preserving key structural and aesthetic elements while modernizing the space with a refreshed colour palette that feels timeless and current. Introducing lush green tones into the interior creates a seamless connection with the surrounding landscape. This interior greenery contrasts beautifully with the expansive green lawns outside, blurring the boundaries between indoors and outdoors. The result is a harmonious, family-friendly home that celebrates its natural setting while offering a modern and inviting living experience.
INTERIOR DESIGN
Hamilton residence bathroom rennovation, Hamilton -2018
This interior design project focuses on a selective refurbishment of the bathrooms and laundry space within a residence rich in Rimu architectural heritage. The client’s vision emphasises preserving and harmonising with the existing Rimu elements, ensuring the new design seamlessly integrates with the home’s timeless character. The project achieves a modernised yet cohesive aesthetic by blending contemporary design features with intricate patterns and high-quality materials. The result is a refreshed, functional space that respects the home’s original charm while introducing subtle sophistication and practicality. This thoughtful approach ensures the refurbished areas feel like a natural residence extension, enhancing their overall appeal and functionality.
DETAILING & CAD PRODUCTION
The Chef’s Library- Hotel Britomart, Auckland - 2021
Designed by Cheshire Architect
Detailed Production drawings and CNC machining only
Hartnett, S. The Chef’s Library [Photograph]. Homestyle.co.nz
Hartnett, S. The Chef’s Library [Photograph]. Homestyle.co.nz
Today’s airports are complex systems of movements on different layers across clusters of infrastructures dominated by centralised control, whether for safety, security or economic sense. It follows a linear rigid system. While efficient, it falls into the trap of becoming a non-place, as defined by Marc Aug, causing a loss of individuality and identity. This research aims to challenge the way we think about building airports. By criticality analysis, the effects of rhizomatic thinking. We can implement a more rhizomatic approach alongside the rigorous rules of airport operation and safety to create a more human-centric experience in the future development of airport planning.
Exploration of Rhizomatic Thinking – Investigating how non-hierarchical spatial approach and urban planning can be integrated to build environments..
Theoretical Framework Integration – Synthesising urbanism, architecture, and network theory insights to propose a hybrid approach to architecture design and planning.
Seagrass meadow
Ecology of significance
Mangrove
Auckland Airport, New Zealand’s largest and busiest international gateway, is situated in the suburb of Māngere, right in the heart of the Manukau harbour, and is the biggest airport in New Zealand. It is the gateway that connects New Zealand to the rest of the world.
Historically, its shoreline is home to some of the earliest settlements in Aotearoa (New Zealand), and the harbour and its environs are imbued with numerous sites of profound spiritual and cultural value to the indigenous Māori people. Its name, “Manukau,” is traditionally interpreted to mean ‘settling birds,’ referencing the godwits and oystercatchers that migrate there each summer. The health of the harbour is intrinsically linked to the wellbeing of the communities that reside around it, both culturally and economically.
Extensive seagrass meadows surround the site, once covered by abundant mangroves. Both species play a vital role in maintaining the ecological balance and health of the Manukau Harbour coastal system while also holding significant historical cultural importance for Māori.
Mānawa- Mangroves
Māori traditionally gathered food from among the mangrove forests. And its leaves were used to dye flax, which was used for making kits and piupiu skirts. Ranches were sometimes fashioned into fern root pounders.
Mangrove leaves were sometimes used to keep fish cool on fishing trips.
Rimurēhia- Seagrass
Historically, the starchy seagrass rhizome was used as a food source, and the leaves were occasionally used to adorn clothing.
Detailed in the report “Blue Carbon Potential in the Auckland Region.” Auckland region seagrass meadows covering approximately 10,995 hectares, sequestering an estimated 3,518 tons of carbon per year.
At the conception of Auckland Airport in 1960, approximately 26 hectares of the mangrove habitats were infilled to give way for the current site of Auckland Airport.
SITE ANALYSIS
The vast cover of parking lots, rental facilities, a cargo precinct and vast networks of complex traffic systems dominate the current site of Auckland Airport. The site was originally a coastal area filled with mangroves, so the land is susceptible to flooding. On January 27, 2023, Auckland experienced unprecedented rainfall, and the airport’s runway and terminal buildings were inundated. As a result, 2000 passengers were stranded overnight[16] and disrupted flights for over 9000 passengers.
MASTER PLAN
Green space render
MASTER PLAN
Design strategy
Rather than imposing a monolithic architectural envelope that dictates, Spaces are differentiated based on their intensity of level of control—with highly regulated airside operations positioned at the periphery. At the same time, the core remains an open, adaptive urban environment.
At the heart of the site, the central mixeduse zone functions as a fluid, evolving public space designed at a human scale to encourage free movement and adaptability. This aligns with participatory and selfmanaged urbanism, as explored in the work of atelier d’architecture autogérée (aaa),[49] where public spaces are not pre-defined by static master plans but develop over time through engagement with their occupants. This central zone is not dictated by hierarchical zoning laws or economic imperatives but is conceived as a self-generating, user-driven space, continuously shaped by the needs and interactions of its users—reflecting the multiplicity of a rhizomatic city.
Unlike traditional airports, where public spaces are often shaped by economic governance and commercial viability, this project challenges the commodification of shared space. Instead of structuring the airport around retail-driven experiences, it embraces Deleuze’s concept of any-space-whatever [52], where public areas remain ambiguous, adaptable, and open to reinterpretation over time. Fostering urban continuity and shared public engagement.
The only controlled elements that inherited the site are vehicular circulation and reserved north-facing light shafts, ensuring site-wide connectivity and fostering a resilient commons—a concept central to rethinking urban space beyond capitalist commodification (Resilience and the Commons: Architecture Beyond Capitalism). Strategic corner opportunities are integrated for future commercial development, ensuring the site remains open-ended, responsive, and sustainable in the long term.
Ultimately, this airport is not just a transit hub—
it is a living urban framework, resisting the rigid prescriptions of traditional airport master planning and instead fostering a dynamic interplay between control and openness, structure and evolution.
MASTERPLAN
Green space
The mangrove walk, positioned at the centre of the proposed site, reintroduces Mānawa (mangroves) and coastal vegetation, restoring the site’s historical ecological balance while embedding mātauranga Māori (Indigenous knowledge) into its design. Developed in collaboration with Māori environmental specialists, this initiative reinforces kaitiakitanga (guardianship) by integrating traditional environmental practices with climate resilience strategies.
Inspired by Mack’s Green Affect, the landscape is not merely functional—it actively shapes human experience, evoking a deep emotional connection to the place.
An elevated boardwalk and shared bike and pedestrian paths meandering through the wetland immerse visitors in tidal rhythms and native plantings.
Interpretive signage along the boardwalk will provide an educational experience on Māori knowledge of the land and its environmental conservation practices, reinforcing decolonised, community-driven knowledge production.
MASTER PLAN
Green space
Wetland/ swell
Mangrove
Coastal plants
Shared pedestrian and bike lane
Mangrove walk
5 minute walk 400m
Commercial frontage (canopy)
North light shaft maintained
Parking
Corner opportunity
Outdoor space
TRAFFIC CIRCULATION
Vehicle acess & entrances
The vehicle circulation of the site follows a high intensity of control. Ensuring safety and maneuverability. However, this level of control is not static—as mobility technology evolves, particularly with the rise of automated vehicles, circulation must remain adaptive.
Hélène Frichot critiques the assumption that architecture can fully dictate affect, arguing that spatial experience emerges relationally rather than being pre-programmed (Dirty Theory).
This aligns with the flexibility embedded in the design, where circulation is structured to respond to future mobility shifts rather than enforce a fixed movement pattern.
Unlike conventional airport layouts, where the
terminal serves as a rigid endpoint, the design breaks hierarchical spatial organisation by allowing traffic to pass through the terminal.
Bus stops are strategically placed around the terminal’s ground-floor entrance, ensuring direct and efficient commuter access. Resisting the neoliberal tendency to privatise mobility spaces.
TRAFFIC CIRCULATION
Green space
Wetland/ swell
Mangrove
Coastal plants
Shared pedestrian and bike lane
Mangrove walk
Traffic flow
Bus /mass transit stop
Rapid drop off and pick ups
Uber and taxi stand
Car rental
5 minute walk 400m
Roundabouts
Parking
THE FORM & STRUCTURE
Insperation
Nagati Tahinga Wilson from the Makaurau Marae made a beautiful kōrero about the origins of Tāmaki Makaurau (Auckland).
“The name if this area is Tāmaki Makaurau. My people believe that paramount chief of this area, Maki was a woman. she was great at fishing; she lived on Poketutu Island, and she was one of the descendants of one of the tipuna who resided here from the Tanui Waka. she was a beautiful woman; she was skilled in all aspects of the sea, fishing, etc. Every time she would cast her kupenga, her net, there were a hundred men admiring her along these shores but couldn’t really get to her because of the deepness of the channel. ti tanga an maki is a casting of Maki that is where the Tāmaki comes from. and Makaurau was all the brother on the side admiring her, so Tāmaki Makaurau is the name of our whare tupuna and the name of our marae is Makaurau.”
MATERIAL RESEARCH
Transparent flax weaving
The feminine yet powerful energy of Maki inspires the CLT timber structure element. The structural form embodies the motion of her kupenga (fishing net) as it expands mid-air, graceful yet strong, delicate yet commanding. The interwoven CLT timber lattice echoes the intricate patterns of a net mid-flight, dynamically stretching and expanding outward.
The design process of the structure element follows Stephen Loo’s theory of abstraction and digital architecture, moving beyond fixed geometries into a realm of continuous variation and emergent form.
In contrast to the structural element, the form of the building resembles the graceful movement of seagrass meadows (Rimurēhia). The fluid form echoes the way seagrass bends, twists, and responds to the ocean’s everchanging currents; the building’s enveloping structure follows a rhythmic, organic flow, creating a dynamic yet serene presence within the landscape.
As outlined in the “Optically Transparent Wood from a Nanoporous Cellulosic Template: Combining Functional and Structural Performance.”
Optically transparent wood with transmittance
as high as 85% and haze of 71% was obtained using a delignified nanoporous wood template. Lightweight and strong transparent wood is a potential candidate for lightweight, low-cost, light-transmitting buildings and transparent solar cell windows.
The roof membrane of the terminal building utilises the advantages of trans wood by transforming traditional Māori flax weaving into transparent material as an alternative to glass, which diffuses the light, achieving a passive solar cooling effect. Also, it adds a layer of cultural identity to the building envelope.
STRUCTURAL ELEMENTS
Exploded 3d Isometric exploded view
Glunam structural element
Glunam fascade
Transport bypass detail
THE ARCHITECTURE
Spatial arrangement
The spatial planning for the terminal is a fluid, adaptable space rather than a rigidly controlled transit hub. Instead of treating the entire terminal with the same typology, the design separates spaces by their required intensity of control—such as security screening, customs, and international arrivals—while allowing greater openness and spatial flexibility in other areas. This intentional reduction of control fosters a sense of autonomy, ensuring passengers navigate the terminal more freely.
The Maki casting her kupenga (fishing net) inspired the roof structure. Reflecting on Hélène Frichot’s discourse on infrastructural effects filters natural light and provides shading without imposing an enclosed ceiling, reinforcing a sense of openness and permeability.
Beyond circulation, the airport reduces the focus from control to experience, incorporating interaction and autonomy-driven amenities. A rooftop pool complex and wellness centre
redefines the waiting experience, providing transiting travellers with options beyond simply waiting in controlled boarding areas for an extended period. Indoor gardens and shared spaces are strategically placed throughout the terminal, making spaces feel less transactional and more engaging. The presence of greenery and social spaces counters the hypercommercialised, controlled environments in airports.
Unlike conventional airport layouts that enforce a linear line of travel, the international airside offers multiple options to navigate the arrival experience, offering travellers options to move through commercial activities based on their preference. Escalators, staircases, and elevated walkways are positioned within open voids, making them feel more natural and connected. The prioritisation of public transit stops on the ground floor ensures that mobility remains accessible and is not affected by commercial interests. This reflected Frichot’s critique of how neoliberal urbanism increasingly restricts access through
economic barriers.
This airport design concept grepresents a shift from traditional control-based airport design by reducing unnecessary security-driven spatial separations and integrating autonomybased circulation strategies. It challenges the perception of the airport as a restrictive space and redefines it as a seamless, evolving, and engaging environment.
ISOMETRIC 3D EXPLODED VIEW
Domestic air side `passenger movement
International air side `passenger movement
VIP passenger movement
International domestic separation
Access to domestic arrivals
Access to immigration and custom
Access to VIP security check
ISOMETRIC 3D EXPLODED
Domestic air side `passenger movement
International air side `passenger movement
VIP passenger movement
International domestic separation
Access to domestic arrivals
Access to immigration and custom
Access from VIP security check
EXTERIOR
Airport exterior-view from tarmac
ELEVATIONS
Right
Left
Front elevation scale 1:2500
Back elevation scale 1:2500
BUILDING LONG SECTIONS
Buiding Section A scale 1:2500
Buiding Section B scale 1:2500
BUILDING CROSS SECTIONS
Building cross section B scale 1:2000
Building cross section A Scale 1:2000
GROUND FLOOR ACTIVITIES
Focused area - arrivals and custom
FIRST FLOOR ACTIVITIES
Focused area - airline check-in, gates and duty free
SECOND FLOOR ACTIVITIES
Focused area - departures securities and duty free
Focused area - international air side hotel
THIRD FLOOR ACTIVITIES
Focused area - VIP lounges
Focused area - transit aminities
UNIVERSITY PROJECT
Variegated Community, Uptown, Auckland -2023
This university project is located in the vibrant Uptown district of Auckland’s CBD, drawing inspiration from the natural phenomenon of plant variegation. Variegation occurs when plants cannot produce chlorophyll, yet with proper care, they survive and thrive, their unique patterns becoming celebrated. This concept serves as a powerful metaphor for the project, symbolizing the beauty and strength found in diversity within the Uptown community.
The design embraces adaptability and visual identity, mirroring the variegated patterns of plants through its architectural expression. The project prioritizes high-yield functionality within a compact footprint, creating an efficient and versatile multi-story mixed-use building. It is designed to cater to the diverse needs of Uptown’s residents and businesses, offering flexible spaces that can evolve.
By celebrating the uniqueness of each individual and fostering a sense of community, the project reflects the resilience and vibrancy of variegated plants. It demonstrates the prospect of diversity, adaptability, and innovation, creating a dynamic and inclusive space that enriches the urban fabric of Auckland’s Uptown district.
Design Development
There have been 12 design development concepts along the design process. Each radical design decision results from a careful study of the form and the environmental analysis of the site.
There have been 12 design development concepts along the design process. Each radical design decision results from critically reflecting on the feedback and suggestions of the critics and colleagues in class. The valuable inputs gained along the journey have influenced the concept with enhanced liveability, sustainability and visual placemaking of the project.
The model studies along the journey have influenced the concept with enhanced live-ability, sustainability and visual placemaking of the project.
UNIVERSITY PROJECT 2
Whanaungatanga Maori Pacific Cultural Centre, Tauranga -2021
The Whanaungatanga Maori Pacific Cultural Centre is a visionary university project situated in the Strand development of Tauranga, deeply rooted in the cultural concepts of Le Va (Samoan) and Whanaungatanga (Maori). Le Va represents the sacred connections between individuals, their environment, ancestors, and celestial realms, while Whanaungatanga emphasizes relationships, kinship, and a sense of belonging forged through shared experiences and collaboration. These principles are woven into the fabric of the design, creating a space that nurtures cultural identity, connection, and community.
Inspired by NASA’s Dark Matter model, the design metaphorically reflects the gravitational force that binds the universe together. The Wharenui (event centre) serves as the gravitational core of the project, drawing surrounding buildings into a cohesive whole and symbolizing the profound connections embodied by Le Va and Whanaungatanga. The Wharenui becomes a cultural and spiritual hub positioned above a museum space dedicated to ancestral excellence. The roof, designed to resemble a Wakahuia (treasure box), signifies the artistic treasures housed within, further emphasizing the centre’s role as a custodian
of heritage and knowledge.
The project seamlessly integrates traditional cultural narratives with contemporary architectural expression, creating a dynamic space that celebrates the past while fostering future connections. It is a testament to the enduring power of kinship, shared experiences, and the sacred bonds that unite people, places, and cultures.
Waharoa
Whakanui
Corridor Of Voyager
Sky connection to Pouwhenuas below
Pouwhenuas below
Wharenui / Event hall
Museum of Ancestral Excellence
Corridor of Tukatuku Panels
Wharekai / Restaurant
https://www.youtube.com/watch?v=k-vUbEhEFLE
UNIVERSITY PROJECT 3
Architectural folly, Freeman’s Bay, Auckland -2021
This university project delves into reversing the traditional camera obscure methodology, which internalizes, shrinks, and flattens an external image to make it more comprehensible. Instead, the project explores the possibility of externalizing an internal space—private and natural—onto the exterior surface of an architectural form, transforming it into something public and surreal. This inversion challenges conventional perceptions of space, blurring the boundaries between the private and the public, the real and the unreal.
Drawing inspiration from the surrealism movement, particularly the works of Salvador Dalí, the project embraces the practice of deconstructing, distorting, and reassembling architectural spaces. Dalí’s “hand-painted dream photographs” serve as a conceptual framework, as they tap into the subconscious mind to generate unreal forms that defy rational interpretation. Similarly, this project uses the mind as a vessel, exploring memories, senses, and the essence of space within our conscious and subconscious realms.
By manipulating and rescaling spatial elements, the design creates a surrealistic architectural expression that evokes the dreamlike qualities of Dalí’s art. The project challenges viewers to question their perception of reality, presenting a space that feels familiar and alien, real and imagined. It invites an exploration of the subconscious, where memories and senses are fragmented, distorted, and reassembled into a new, evocative form. This approach redefines architectural representation and creates a profound connection between the mind, memory, and the built environment.
3D Link
https://www.youtube.com/watch?v=PX5_7oV9sag
UNIVERSITY PROJECT 4
Armani Flagship Store, New Market, Auckland -2011
The Giorgio Armani New Market Flagship Store is a visionary university project that redefines the retail experience by optimizing the use of space and offering a dynamic, adaptable environment. Designed to cater to the brand’s evolving needs, the store allows for the seasonal reconfiguration of retail fixtures, ensuring the space remains fresh and aligned with each collection. The entrance area is designed as a museum-like showcase, creating a grand and immersive introduction to the brand’s products.
Inspired by the natural phenomenon of a
nebula, the design incorporates curved lines and organic forms that mimic the swirling, ethereal elements of these celestial formations. The ground entrance evokes the atmospheric qualities of a nebula, while a strategically placed skylight establishes a visual connection to the night sky, enhancing the store’s cosmic theme. This interplay of light, form, and space creates a unique and memorable shopping experience that transcends traditional retail design.
The project’s innovative approach and striking aesthetic earned it a nomination as a finalist
for the Red Retail Design Award in the student category in 2011. By blending functionality with artistic inspiration, the Giorgio Armani New Market Flagship Store exemplifies how retail spaces can become immersive, adaptable, and deeply connected to natural and conceptual influences
