PORTFOLIO A N G
FLINDERS STREET STATION
To transform a 2D drawing into a thoughtful and aesthetically forceful space. The concept of the design is an open lattice structure as i wanted to create an enclosure with the interplay with the outside space and the spaces within with response to the task requirements which is to relate an interface pattern and to explore its qualities.The response is a cross timber structure which is separated by a layer of “wall” in the center as it overhangs into two parts. It consists of vertical curving columns and is connected by short beams running perpendicular to its direction. While the center is dense and enclosed, the bottom area spreads for support/ to become benches. As for the form, fluidity was the driving factor as our main goal was to create a sense of flow. The distortion of the regular grid from gives the whole structure a sense of cohesion and sufficient amount of natural light to enter the harmonious internal spaces.
UNIVERSITY OF SYDNEY
For my cinematheque, (Cine +/-, I don’t want to deceive or frighten the user. I want to create illusions, fantasies, legends and an everlasting memory instead. A building plan seems to be laid out and forceful and will require the user to interact with the environment to become the environment, which then becomes the moment. The cinema itself is a series of moment strung together to create this one lasting memory. My building design uses that core concept and gets it into a physical form, a cube looking structure. The outside façade is simplyconstructed from vertical glass panels and extruded to the height needed to house the program. It serves as a symbol of bright light for the surrounding neighbourhood. A gradient of mixed use spaces, from the fully public realm to the interior of the theatre, allows the visitor to choose how they want to use this complex. The interior space serves as a straight contradiction to the outside as the reflective surfaces becomes chaotic, a series of components clashing to create uniqueness to the memory of its viewer and user. These clashing elements allow the user to inhabit the chaos in the moments of physical entertainment. When exiting the building, all that is left in transition is the geometric cube façade leaving only that lasting memory of the viewers’ experiences.
UNIVERSITY OF SYDNEY
The design of the 4 level low-rise cohousing student community, “Darlington House”, is driven by two concepts: Communal Identity and Sustainability.
UNIVERSITY OF SYDNEY
TECHNOLOGIES UNIVERSITY OF SYDNEY
Pixelation of an image occurs when small singlecolored square display elements that comprise the bitmap, is visible to the viewer.The Maison a Bordeaux fluctuates on different transparency level and this lead my investigation of the house to the next level, pixelation. In every cubic space of the house, one will have a different spatial experience in terms of its surrounding materials. This creates an ambiguity of boundaries of spaces due to the varying material for different degrees of privacy of the house.The house is also highly mechanicalized which relates to the digital component of the main concept. Breaking down these volumes into even smaller parts, spatial order can be control through different variations.
Pixelation is more than just an unclear image but as re-iteration or rearrangement of materials, colors and spatial volumes instead.
COMMUNICATIONS UNIVERSITY OF SYDNEY
The museum for pacific arts hopes to refocus current methods towards a new future for exhibition of pacific arts. The design aspires to combine exhibition with public engagement and awareness for the conservation of pacific arts in Cockatoo Island, a facility which asks us to act as a whole in protecting these artifacts.
Cockatoo Island is almost entirely ‘mechanized’. Traces of industrialization and are omnipresent in the form of exposed pipes and plumbing running across the site like the veins and arteries. The extent of this mechanization is seen in the land itself, revealing very little of the original mass exists untouched by human utilization. Due to the rich cultural context of the island, any new order imposed is seen as an infection of its current state. Just like how the pacific arts artifacts infect the museum with its presence, the intended new museum design will infect Cockatoo Island concurrently. Hence, the transformation through urban renewal of public spaces aims to highlight the positive forces being shaped in this crucial present moment and to foreshadow a better future for the island and its architecture.
UNIVERSITY OF SYDN