Madeline Brandt

Madeline Brandt ph: 0418 318 935 e: madeline_brandt@hotmail.com p: Brisbane, Q 4051 w: https://au.linkedin.com/in/madeline-brandt-5a25344b

Architectural Science

P2 Concept: 158 Hay Street

■

Precedent: House Without Rooms

■

Precedent: Casa Bianchi

■

WIL: Balcatta Artisan Stores

■

Concept: Point Resolution

■

Landscape Architecture

P14 Methods: Landscape Construction

■

Conjecture: Powerhouse Intervention, QLD

■

Built: Landscape Architecture

■

Personal Projects

P15 Built: The Labyrinth

■

Built: Vivid

■

Built: QUT / The DUB

■

Woodford + Japan + Tasmania

P16 Built: Dream of Olive ■ Built: Woven Cloud

■

Built: University of Tasmania (UTAS) / Hothouse ■

Architectural Science

158 Hay Street

Designed with three client groups in mind: the goal oriented couple, professional group, and family.

The building integrates biophilic design on a vertical plane, while continuing the common narrative of the street in materiallity. The mass of the building is set back a considerable amount from Hay Street allowing for a softened impact on the street, with ground plan and building footprint relating to the intersection neighbours. This relationship is strengthedned in a common materials and texture palette.

P2

158 Hay Street • 2018

by Madeline Brandt

01 Section

open to ground

P3

03 Section

02 Section

01 Section

open to level one

02 Section

03 Section

158 Hay Street • 2018

by Madeline Brandt

open to ground

connectivity Intersection responds to diagonal neighbours footprint. greenspace On upper roof. Promoting outdoor activity as a retreat, and sustainability practices with a rainwater garden

open to level one

Section of western edge stairwell

P4

Roof plan

daylighting • Western edge open to environment, to enhance daylighting at entrance to lift.

• South east/ southwest edge allow greater amounts of light onto lower levels of site.

southwest corner

158 Hay Street • 2018

by Madeline Brandt

House Without Rooms by

Raimund Abraham Method: Physical making + Hand drafting + AutoCAD An interpretation, establishing site and materiality honoring the artists impression.

When considering House without rooms as part of an abstract series of unbuilt houses, it is rationalised that the form has rootedness within the earth while seeking the sky. At intervals the form is organic, impressing on the notion of connecting building materiality the earth, the reaching edges of the buildings footings stretch along the horizon. The volume of the house as expressed by Raimund is minimised: to three rooms, extruded: to draw out the experience of arriving at these rooms, and compromised: by revealing these rooms. It exposes a climate of naked truth for what goes on behind closed walls. While engaging in the image you can feel the eerie moment that occurs as you would walk past the stairway window.

Intention: The building is set within a remote yet domineering landscape on the North coast between Mt Bremer and the start of The Great Dividing Range. The nature of the building is primarily for rest while the sun is down, this time frame is extenuated by the connection to the East and West sides, it is enclosed on the northern and southern edges. With respect to The Great Dividing Range and its enormity, the building is upon a landscape that is relatively fl at. As it sits between two enormous landforms the structure is hidden for a considerable distance, it’s not until you have reached it that you are aware of it. While you are inside the structure you are hyper aware of your location. The building pays homage to the rise of the range, just as they coax the user to climb and experience them so to does the House Without Rooms.

P5

House Without Rooms • 1983

by Raimund Abraham

Elevation Internal

Elevation Internal P6

Elevation Int/External

Perspective Aerial

House Without Rooms • 1983

by Raimund Abraham

P7

House Without Rooms • 1983

by Raimund Abraham

Section Elevation

Elevation Internal

553 150

852

150

2186

11200

Floor Plan External P8

50

100

100

House Without Rooms • 1983

by Raimund Abraham

149

1374

1374

150

Detail

150

Detail

P9

565

565

50 149

Pods + concrete

APrchitectural r e C e d eScience nt Study Casa Bianchi • 1973

by Mario Botta

mario Botta

PreCedent

Study

Utilising literature and maps to create scale interpretations of real life projects. Resulting in a greater understanding of the six spatial set. Method: Physical making + Rhino + Illustrator

CaSa BianChi

CaSa BianChi

|

mario Botta

PlaCing the dwelling at the B P h y SdiSConneCtion iCal modelling forCed : offer

Study

A rc h i t e c t u r a l

PreCedent

|

on the landSCaPe the SePara

mario Botta

Private v PuBliC

C o n t e x t s

Aspect | N asPect | orth N E orth eastast

S t u d i o

| North SCale 1:100

facing east

North west

south

South

West West

& M e t h o

BianChi houSe arChiteCt: mario Botta P10 loCation: riva San vitale, ligornetto, Switzerland.

B A S 2 3 0

asPect model: BalSa wood

Casa Bianchi • 1973

by Mario Botta

R + L3

roof oof r

rroof oof

roof

L5 + L2

L4 + L3

Diagram/s Exploded Axo

P11

Circulation

Architectural Science B a m B o o PC rRWA aft SChool oint

esolution

A simplistic form that reflects adaptation to natural surrounds, while staying true to its function. This building also inclusiveness and innovation.

Bconsiders: a m B o oenvironmental C r a f t impact, S C h ocommunity, ol Method: Rhino + ARCHICAD + Illustrator

SCale |

none

B a mCBaSa oo Craft SChool BianChi | mario Botta |

|

mario Botta

mario Botta

|

mario Botta

C o n t e x t s S t u d i o

&

&

A

Sun Path

&

orientation / Sun

orientation / wind

M e t h o d s

C o n t e x t s

geometry / volume of SPaCe Circulation G eometry /Volume B A S 2 3 0

orientation wrograming ind CirCulation +/ P

& M e t h

P12

B A S 2 3 5

S t u d i o

orientation / Sun / Sun orientation CirCulation Programing Wind +resistance

orientation / wind

B A S 2 3 0

E

iagram xploded xo Each level is a slab of prestressed concrete was chosen for a length of 13 m this allows unobstructed space from internal columns required by AS 3600 Concrete structures Standards Australia, 2001.

AS 3610 Formwork for concrete Standards Australia, 1995.

Page 13 Supplement 2 Formwork for concrete –Commentary (including Amdt. 1) Standards Australia, 1996..

B A S 2 3 5

B A S 2 3 5

D

M e t h o d s

orientation / Sun

A rc h i t e c t u r a l

orientation 3 d d i a/gSruna m S

M e t h o d s

otta

diagramS

B A S 2 3 0

B A S 2 3 0

hool

S t u d i o

S t u d i o

CaSa BianChi

C o n t e x t s

C o n t e x t s

CaSa BianChi

3d

A rc h i t e c t u r a l

BamBoo Craft SChool

CaSa BianChi

diagramS

axonometriC | mario Botta

BamBoo Craft SChool

CaSa BianChi

A rc h i t e c t u r a l

A rc h i t e c t u r a l

BamBoo Craft SChool

3d

Page 10 geometry / volume of SPaCe

Page 10

Architectural Science Connection visual Utilising the south western edge of the building creates a clear open connection to the site, drawing a visual connection right across the neighbouring Reserve. The Canopy extension situated at the western third of the site connects the south and northern edge as it sweeps from one side to the other.

Connection physical The external corridor (east to west) between the buildings path is uninterrupted, it directs the user to the public realm on site, and it creates continuity across the site through familiar ground and exterior wall materials. The southern edge (public realm) is to be utilised by both the long term and short term users of the site as the promotes annual activation through community activity.

Balcatta Artisan Stores • WA Community facility Method: Physical making + Rhino + Illustrator

Axonometric North east facing

Integration of zero energy mechanical impact features through utilisation of earth wind and sun for passive a passive system approach. While maintaining distinct public, private and mixed realms within the site.

^N

Plan

Level 1

^N

Plan Level 2

Water Each building has a pitch range specific to orientation. The southern edges are a 25˚ pitch meeting with a 3˚ pitch. This allows for optimal rainwater capture, in combination with optimal angles for direct sunlight into internal spaces.

Sun Roof pitch in combination with skylight fixtures maintain thermal comfort by allowing greater amounts of daylight to internal spaces in the winter, and low amounts direct daylighting during the summer.

Wind Roof eave in angular alignment with B1 and B2 to direct wind across building top, with directional pull towards lower surfaces in relation to eave overhang.

P13

Canopy roof

Elevation

West facing

Landscape Architecture Landscape Construction Constructed landscapes and land grading outcomes for a university based assessment.

Method: Hand drafting

Powerhouse Brisbane

Engage in a meaningful intervention, while considering heritage features of the site.

Method: Photoshop + InDesign + Laser printer. Model: pipe cleaner + paper + box board PRODUCED BY AN AUTODESK EDUCATIONA

Landscape Architecture

P14

IONAL PRODUCT

Explore and develop a pragmatic and fabricated design at 1:1 for QUT, Gardens Point. Group based assessment.

Method: AutoCAD + Rhino + laser cutter + bandsaw + hand tools

Personal Projects Labyrinth The client asked for a landscape attraction for their remote location.

One that would provide an opportunity for visitors to reflect and engage with the property in a meaningful way. The Labyrinth provided this.

Program: AutoCAD + 3D printer hand tools

Slingsby Arches

in coordination with BCC and QUT

49

00 49

00

6542.50

63

8 7 00 200 100

6542.50

63

8 7 00 200 100

This design competition was partially coordinated by myself along with The DUB. We set the goal for student/s to pitch rudimentary design ideas, on selecting a winner we worked with them to fruition. The project was well received. Aided using: Bamboo + AutoCAD + 3D printer

4214.72

11463.17

00

The client wanted a series of sculptures for their music festival. With limitations on budget and time frame, we completed the install and got positive responses from the client and the users.

00

00

63

49

49

6542.50

8 7 00 200 100

11463.17

UNLESS OTHERWISE SPECIFIED: DIMENSIONS ARE IN MILLIMETERS SURFACE FINISH: TOLERANCES: LINEAR: ANGULAR:

4214.72

Vivid

49

4214.72

NAME

11463.17

DEBUR AND BREAK SHARP EDGES

FINISH:

SIGNATURE

DATE

DO NOT SCALE DRAWING

REVISION

TITLE:

DRAWN CHK'D APPV'D MFG

00

P15

49

UNLESS OTHERWISE SPECIFIED: DIMENSIONS ARE IN MILLIMETERS SURFACE FINISH: TOLERANCES: LINEAR: ANGULAR: NAME

SIGNATURE

Q.A

DEBUR AND BREAK SHARP EDGES

FINISH:

DO NOT SCALE DRAWING

WEIGHT:

DATE

TITLE:

DRAWN CHK'D APPV'D MFG Q.A

MATERIAL:

MATERIAL:

WEIGHT:

A3

DWG NO.

SCALE:1:100

A3

DWG NO.

REVISION

SHEET 1 OF 1

SCALE:1:100

SHEET 1 OF 1

Page 16

Woodford + Japan + Tasmania Dream of Olive

with Wang Wen-Chih A 6 week involvement with the Setouchi Triennial on Sodoshima, Japan.

This experience involved teaching Japanese volunteers in making and methods for large scale bamboo construction. Material: Locally sourced bamboo

Woven Cloud Woven Cloud stood as a temporary structure at the Woodford Folk Festival site for approximately 2 years. As a volunteer on this project Master Wang Wen-Chih invited me to work with him on other projects in Qld and Japan.

Hothouse

in collaboration with UTAS This project was designed by UTAS masters students with Cave Urban.

Cave Urban invited me down to give a hands on workshop teaching bamboo weaving techniques.

P16