Page 1

NO OW


F I O N A

N O W L A N D

FIONA NOWLAND


SELECTED WORKS

01

A Sacred Space for Children|pg 1

02

Fallingwater, Frank Lloyd Wright|pg 11

03

Student Accommodation|pg 15

04

Oak Circle Tree house|pg 23

05

Floating Coffee Table|pg 29

06

Charnley River Restaurant|pg 37


A S A C R E D S PA C E

01 A S A C R E D S P A C E FOR CHILDREN, Aleppo 1

Capstone Project 2017


2010

2016

Located at the crossroads of civilizations along the ancient trade

This is the same scene in Aleppo, last year, just before Christmas.

routes, the city of Aleppo is one of the oldest continuously inhabited

Devastation, despair and fear have rewritten themselves in this space.

cities in the world and arguably one of the architectural gems of the

Even the sunshine seems to have disappeared.

world. Here in this photo taken in 2010, children play happily and

Aleppo is the site for my project.

safely with their families. The little girl in the center runs around in bare feet feeling the warm water under her feet from a recent sun shower.

Brief My project is A Sacred Space for Children and is my personal response

But at some stage, after such a brutal civil war, the very hearts of the

to the circumstances at play in the world at the moment which fail to

people need to be repaired. While I identify this space as being sacred,

cherish and keep safe our children. As such, my project could be said

it is secular and inclusive of everyone. Nor can this space be defined as a

to be not so much about floorpans and bricks and mortar of built form,

monument in memory of war and trauma, rather it provides a place to reflect

but rather an investigation into understanding the power built form has

moving forward. The central question to my project was deceptively simple

on our psyche. My project is sited in the very heart of the Ancient city

yet profound; how can this be achieved?The unique phase of transitioning

of Aleppo, dedicating it to all children of Syria, present and past. This

from war to peace requires a connection to history, indeed a connection

project is set for construction in 2030, and the timing is significant. In

to memory, but without historical pastiche. Instead, we must look at an

a country brutally shredded by civil war from 2009, the first priorities

interpretation of traditional patterns in modern ways.

are shelter, medical infrastructures, then education and commerce.

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3


Site description:

landscaped gardens, and there is

My site for the Children’s Sacred

a cluster of small buildings to the

Space is a public garden situated

north west which appear to be cafes.

in the very heart of the Ancient

It is difficult to know how much of

city of Aleppo, Syria. The garden’s

the gardens remain intact after the

close proximity to the central train

war. Regardless, out of respect to

station makes it accessible to

the garden’s original intent and

everyone, particularly my target

structure, the Children’s Sacred

audience of families. As Aleppo has

Space has been deliberately situated

been embroiled in civil war since

on clear ground. The geographical

2009, there are no recent photos to

situation of the gardens is important

conduct a thorough site analysis of

for us to consider, lying as they do in

this site. However, we do know the

the fold of the city from west to east.

gardens are on level ground and are

This becomes particularly significant

large, encompassing over 87,000

when we reflect that the civil war

sq mts. The triangular shape of the

which has traumatised Aleppo for

gardens provides an interesting

the past 8 years was held by

aspect, presenting different points

opposing forces in the east and

of approach to my project which

west. The restorative aspect of the

in turn offers multiple readings

Children’s Space is key, hence the

to the visitor’s experience. From

site is critical and has been carefully

previous satellite images, we can

considered.

The Heart of the City; The Public Gardens. West

East

see evidence of paths and formal

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Project description:

The Children’s Sacred Space has two distinct but blended physical manifestations. The first is symbolic of the circle of life, a ring that is cantilevered above the ground at an angle as the other end hunkers down into the earth. Heidegger’s fourfold comes into play as the ring becomes a metaphoric bridge between us, earth, heaven and the gods. The contemporary materials and shape of this form represent the modern re-building of Aleppo. Accordingly, the journey over the ring lifts us above the city, transporting us into another element.

Prominently raised above the skyline

part of the project. Sculptured

of the modern city, the medieval

from transparent materials, arches

Citadel of Aleppo is considered to

and columns appear to support

be one of the oldest and largest

the ring suspended in the air. They

castles in the world. Arguably the

are a ghostly representation of the

citadel is one of the most iconic

Citadel, the past providing figurative

Islamic landmarks of Aleppo, yet

support to the new. On the

what is lesser known is that Greek,

ground, spaces between the arches

Roman and Byzantine ruins also

landscaped with water and gardens

make up its rich history. Having

become magical places to play in,

survived thousands of years, the

collectively gathering the community Photograph Aleppo

Citadel is now severely damaged

into a place of healing.

Peter Aaron, 2009

from the war, an allegory of the city itself deeply wounded in its psyche. As such, the Citadel becomes an important foundation for the second

Pastel rendering in response to the architectural vernacular of Aleppo and ethnographic data collected in my research. 5


In a powerful metaphor, the negative space is as important as the positive space, reflecting a Spatial and Spiritual connectivity. 6


7

Section facing North

Section facing South

Section facing West

Section facing East

3D & Topography

3D & Topography


North Elevation

South Elevation

East Elevation

West Elevation

3D Printed model

3D Printed model 8


The ellipse represents the journey of life, the start and end point, but also the eternal loop.

THE THRESHOLD - Almost ghostlike in their transparency the arches are symbolic, not structural. Walking under the arches from old to new and exterior to interior, a metaphysical threshold is crossed. The interior landscaped island surrounded by water pays due homage to the roundabouts made beautiful by plantings during the civil war, and is dedicated to the ‘Father of the Flowers’, Abu Ward.

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DAYLIGHT - Nestled into the terraced landscape, by day the ellipse appears to be supported by the arches; the past holds up the present.

DUSK FALLS - The ephemeral quality of the arches is revealed with lighting. We see that the ellipses are suspended in space, as the future rises above the past.

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02 F A L L I N G W A T E R Frank Lloyd Wright

Brief The genius of Frank Lloyd Wright to physically and spiritually embrace the natural world is captured in the daring and innovative Fallingwater sited over a waterfall in the forest landscape of Bear Run, Pennsylvania and completed in 1937 for the Kaufmann Family. As a preliminary to rendering the building in CAD, hand drawing the plans and sections and converting the dimensions from imperial to metric, led to a deeper understanding of this iconic building and how it was constructed.

11


12


Fallingwater - Hand drawings

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14


03 S T U D E N T A C C O M M O D A T I O N Brief

15

Sited on a small and difficult ‘L’ shaped block, this building

north while also providing cross ventilation. To create a feeling of

dedicated to student’s accommodation was to be no more than

space, the central atrium with its souring ceilings became the focal

250m2 and with a max of 3 levels and include the following: Entry

gathering area for the students to socialise in. The students pods

lobby & reception, bookshop. library, gallery cafe, shared kitchen,

which accommodate 2 students, are suspended from the ceiling

public circulation area, and up to 10 bedroom/studio spaces.

at various heights, creating intimate areas that are away from the

The challenge was to provide abundant natural light from the

general areas with noise and light.


“

...in every building and in every social group within the building, it is

necessary to place the common areas. Place them on the sunlit side to reinforce the pattern of INDOOR SUNLIGHT’ Chapter 129 Common Areas of the Heart, A Pattern Language, Christopher Alexander

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SITE CONSIDERATIONS: • irregular shape of block • compliant set back • neighborhood character • building height restrictions • visual bulk • noise impacts • shadow studies

The student’s modular accommodation pods offer security and privacy, while being integrated into the larger communal space. Essentially intimate and communal conditions are imposed on the interior space, fulfilling both requirements.

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DESIGN INTENT: To create a safe & nurturing environment for students to live and study in, away from home. This will be achieved with a ‘village’ atmosphere of smaller intimate spaces within a larger communal space. The modular designs of the students accommodation pods are suspended from the roof, with walkways providing accessibility.

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GENERAL NOTES : These plans have been generated for the client listed in the project name and are not tobe used, reporduced, copied, or distrubuted for any other project without writtenpermission and or compensation due to the architect.

level 3

1300

1300

6500

level 3

1300

codes, ordinances, regulations, etc, These plans have been prepared to shall be considered as part of specificstandards and practions for this building, and shallmeet takeprofessional preHowever, building code requiremcedence over anything shown,tices. describvary with location and change from ed or implied where same are ents at variantime to time. Before starting construcce. tion, the contractor assumes full responsibility to very verify the conditions, Any attached engineering or local builddimensions and structural details of the ing authority notations supersede and building. All federal, state and local override materials, fastening, nailing schedules and construction procedures codes, ordinances, regulations, etc, presented below in plan, section or detshall be considered as part of specificail views. tions for this building, and shall take precedence over anything shown, describThe contractor assumes any responsied or implied where same are at varianbility for any problems that may arise ce. due to non-complience. Use of these plans constitutes compliance with Any above attached engineering or local buildterms. ing authority notations supersede and override materials, fastening, nailing schedules and construction procedures presented below in plan, section or detail views.

1 : 50

4000 2099

The contractor assumes any responsibility for any problems that may arise due to non-complience. Use of these plans constitutes compliance with above terms.

level 1

No.

Description

Date

2500

Typical Pod Section A level 3

level 3

6500

6500

No.

Description

1 : 50 1300

3

2500

0

Typical Pod Section A

level 3

6500

6500

1300

3608

level 3

4 Paterson St, Hawthorn

STUDENT ACCOMODATION 4 Paterson St, Hawthorn

2158

3608

2158

2707

1 : 50 1

4

19

Typical Pod Section B FFL Pod 3 2707

5

Students Pod STUDENT Sections ACCOMODATION Project number

Typical Pod Section C 1 : 50

Date FFL Pod 3

Drawn by

2707

Checked by

0078 15 July, 2016 Author Students Pod Sections Checker PM

FFL Pod 3

2707

2158

FFL Pod 3

2158

1

3

level 1

800

0

2100

800

4000

2099

2100

4000

1300 4000

6500

These plans have been prepared to meet professional standards and pracGENERAL NOTES : These plans have tices. However, building code requirembeen generated for the client ents vary with location and change from listed in the project name and are not time to time. Before starting constructobe used, reporduced, copied, or distion, the contractor assumes full respontrubuted for any other project without sibility to very verify the conditions, writtenpermission and or compensation dimensions and structural details of the building. All federal, state and due localto the architect.

Date


Ty p i c a l Student Pod

20


Section Main Building-Nth/Sth 21


West Elevation

East Elevation

North Elevation

South Elevation 22


Oak Circle Prunus lusitanica‘Variegata’, Cupressus lusitanica, Ginkgo biloba, Pinus wallichiana, Sequoia sempervirens, Sequoiadendron giganteum.

Araucaria bidwillii, Abies nordmanniana, Cedrus atlantica f. glauca, Chamaecyparis funebris, Quercus agrifolia, Quercus canariensis, Quercus leucotricophora, Quercus macrocarpa var. olivaefolius, Quercus robur, Quercus suber, Quercus robur ‘Concordia’, Crataegus coccinoides, Quercus ilex, Juniperus oxycedrus,

9.

04 O A K C I R C L E TREEHOUSE

The Kyneton Botanic Gardens are of scientific (botanical) significance for their collection of plants, especially the oaks and conifers, characteristic of late nineteenth century Victorian gardens, and including some rare and outstanding individual specimens. Heritage Council Victoria

Brief The objective is to design an innovative space within the existing green public space of the historic Kyneton Botanic Gardens. The design must provide an enhancement of the gardens by redesigning the space with validation of how this improves the way in which people interact. The design is inclusive of all the community, however the young adults of the community form the central focus. Often in these country towns there is a lack of activities for young adults, or somewhere just to meet and engage with the community. I am interested in the prominent and unusual design feature of the Kyneton Botanic Garden which is the large “Oak Circle”. Here rare oaks are encircled by privet, japonica and hawthorn hedge, making this is an

Kyneton Botanic Gardens 23

ideal site for the parametric treehouse concept.


24


“

For the majority of us, tree climbing brings back memories of our childhood. When you would stand at the bottom of a tree, mapping out your route before attempting to climb to the highest point. Many of us will remember that feeling of joy when reaching the top, shortly followed by that daunting feeling that you are never going to get back down. Daniel Start, Professional Tree Climber, 2017

CONCEPTUAL SKETCHES These sketches explored the shape of a birds nest as the inspiration for the treehouse roof. There is an inherent sense of safety and security about birds nests that I wanted to translate into the treehouse. Making the curve parametric meant it could be used at different scales and angles.

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Top Treehouse 16900

Walkway 10000

Plan_Top of Treehouse No.

Description

Date

Owner

Plan_ Top of Treeho Project number Date

Project Name

www.autodesk.com/revit

Ground 0

North 1 : 100

North Elevation

27

Description

Date

Owner

North Elevation Project number

Project Number

Plan_Viewing Platform 0:15 PM

No.

2438

EQ

-

EQ

Checked by

DN -

Drawn by

Project Number Issue Date Author Checker

Scale


A Public Outdoor Room In every neighborhood and work community, make a piece of com-

mon land into an outdoor room - a partly enclosed place, with some

roof, columns, without walls, perhaps with a trellis, place it beside an important path and within view of many homes and workshops.’ Chapter 69, A Pattern Language Christopher Alexander, 1977 The Oak Circle Treehouse blurs the threshold between exterior and interior. We are enclosed in a safe ‘space’ yet are closely connected with the natural environment. A sense of peace and tranquility is achieved while enjoying a unique perspective of these beautiful historic gardens.

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05 F L O A T I N G COFFEE TA B L E Brief • Design inspiration taken from Origami folded paper forms • The challenge is to make wood behave as paper, and bend or fold seamlessly. • Economical use of material with little or no wastage - work around size of sheets. • Design can be transported flat-packed, and assembled at destination. • Reduce design down to minimum required for structural integrity • Design to be deceptively simple, with intelligent and well executed joinery detail. As per the original paper, the design will have clean lines, with no extraneous embellishment

29


30


D E S I G N I T E R AT I O N Each design has evolved from one single piece of paper that has been scored and folded to create the table

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TEST

Models

‘F L O A T I N G’ C O F F E E T A B L E

TEST

DDD30004- Furniture Design: Furniture for Compact Living

OF FINAL DESIGN

OF FINAL DESIGN

DESIGN FOLIO - Final

FIONA NOWLAND - Student No 7707797

LECTURER - Denis Smitka

CLASS - Wed 2:30

SEMESTER 2 - 2016

This table had the best centre of gravity. An extra step out was incorporated into the design to add a shelf for books and to break up the base. True to the original design intent, the table was still constructed out of one piece of wood.

DDD30004- Furniture Design: Furniture for Compact Living

33

DESIGN FOLIO - Final

FIONA NOWLAND - Student No 7707797

LECTURER - Denis Smitka

CLASS - Wed 2:30

SEMESTER 2 - 2016


DESIGN FIX 1-

395 1063

= 0.37

DEVELOPMENT FIX 3-

495 1262

1200

1400 600 400

200

350

39

350

401

700 350

350

350

350

600 200

= 0.39

49

700

700

5

5

12

350

350

62

10

63

O R I G I N A L ‘ F I X’ T A B L E

197 840

FIX 4 -

= 0.23

600 400

450 150

FIX 4 - 990 = 0.20 1100

400 700

150

300

450

250

400

20 1

20

99

0

700

600

700

550

9

550

84

450

1

7

19

150

350

150

150

600 100

201

= 0.21

1000

1000

500

201 922

150

FIX 2-

2

92

R E P L A C E M E N T ‘F L O A T I N G ‘ T A B L E

CENTRE

O F G RAV I T Y CALC U LAT I O N S

Calculating the centre of gravity of the glass top DDD30004- Furniture Design: Furniture for Compact Living

DESIGN FOLIO - Final

FIONA NOWLAND - Student No 7707797

LECTURER - Denis Smitka

CLASS - Wed 2:30

SEMESTER 2-2 16

34


700

700

Plan with Glass

1

1 : 10 700

3mm acrylic

526

700

700

19mm Plywood

South 1 : 10

Plans & Side View

2

Plan without Glass

DDD30004- Furniture Design: Furniture for Compact Living

35

FLOATING TABLE

1 : 10

Date Drawn by

DESIGN FOLIO - Final

FIONA NOWLAND - Student No 7707797

LECTURER - Denis Smitka Drawing #

27 Sep 2016 FN 1 : 10 Scale CLASS - Wed 2:30 SEMESTER 2 - 2016 Sheet 1 of 4

11/4/2016 11:03:21 AM

3


1

Exploded View

Name

Description

1

Acrylic Top

3mm Acrylic Top

1

2

Top Shelf

19mm HoopPine Plywood

1

3

Main Upright

19mm HoopPine Plywood

1

4

Small Shelf

19mm HoopPine Plywood

1

5

Small Shelf Upright

19mm HoopPine Plywood

1

6

Top Shelf Upright

19mm HoopPine Plywood

1

7

Table Base

19mm HoopPine Plywood

1

8

Plastic Connector Housing

HAFELE Rafix 20 System

10

Exploded View FLOATING TABLE

Date Drawn by

DDD30004- Furniture Design: Furniture for Compact Living Part #

Name

Description

1

Acrylic Top

3mm Acrylic Top

1

2

Top Shelf

19mm HoopPine Plywood

1

3

Main Upright

19mm HoopPine Plywood

1

4

Small Shelf

19mm HoopPine Plywood

1

5

Small Shelf Upright

19mm HoopPine Plywood

1

6

Top Shelf Upright

19mm HoopPine Plywood

1

7

Table Base

19mm HoopPine Plywood

1

8

Plastic Connector Housing

HAFELE Rafix 20 System

10

DESIGN FOLIO - Final

Qty

FIONA NOWLAND - Student No 7707797

LECTURER - Denis Smitka Drawing #

27 Sep 2016 Author

Scale CLASS - Wed 2:30 SEMESTER 2 - 2016 2 of 4

11/3/2016 11:19:54 AM

Part #

Qty

Delivered flat-packed for self assembly with connector housing 36


06 C H A R N L E Y R I V E R

R E S TA U R A N T

37


Bud Crockett, Myroodah Station, Kimberley. Photo credit: Judy Crockett

T Brief With due acknowledgment to the extraordinary beauty of the country we live in with its own inimitable style, this restaurant is sited in the Kimberley, Western Australia. Responding to the unique tropical weather conditions of northern Australia, the restaurant is designed to work with the climate with high ceilings to vent the hot air, and glass louvers which allow cross ventilation. The front and rear deck are shaded by the roof overhang, offering two different outdoor areas to provide breezes, depending on the time of day. Cantilevered over an escarpment, the approach is via a wooden boardwalk over a lagoon with waterlilies and pandanas palms. Evaporation from the water helps keep the building cool. The layout of the plan provides many different dining experiences which make the most of the stunning setting.

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A Kimberley Dining Experience MENU EntrĂŠe Mango, Chilli & Lime Broome Mangrove Crab Main Kimberley Grazed Beef, Seared and Served Rare. Side Dish Toasted Wattle-seed and Native Spinach. Damper. Desert Glazed Papaya drizzled with Wild Bush Honey

DESIGN INTENT To create a unique and authentic dining experience, that explores the intersection between indigenous and colonial cultures, in the unique location of the majestic Kimberley. Food sources are local, simply prepared with emphasis on quality. Context is key, with the interior reflecting principles of outback hospitality. The challenge is to combine Vast with Intimate. Texture, colour and materials must resonate with the juxtaposition of the sheer grandeur of the scale of the Kimberley with

39

attention to the intricate detail.


40


41


WATERCOLOUR RENDERS reflect the dynamic energy and vivid colours of the Kimberley region. My food choice is identified by the diverse regional and seasonal ingredients, and my design is informed by the spectacular Australian landscape itself.

42


Models

43


Resolving The Layout 44


45


Bar Rear verandah

Male ambulant

Female ambulant

Boardwalk over lagoon

Front entrance

Booth

Welcome Desk & Waiting

M

Boardwalk over lagoon

Wait area

Rear Deck

Front verandah

Large communal dining table

Bar

Welcome desk

Rear verandah

Booth

ELEVATION

F

Front Deck & Entrance

Kitchen prep area

PRINCIPLES OF TROPICAL ARCHITECTURE • promote cooling breezes Walkway

• ventilation by convection • reduce radiation of heat 3D FLOOR PLAN

• shelter walls and openings

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ABOUT Architecture fills one of the most basic requirements of man, creating somewhere to dwell. Yet this ignores the profound relationship we have with architecture to shape the way we feel, think, and even behave in different spaces; indeed we could say that architecture has enormous power in rendering the interior of our minds. I am fascinated (no, I will admit consumed), by the function and form of design in every aspect of life. The complex relationship between architecture and humanity is too often hastily sketched in, and balancing a natural order is a tightrope delicately walked. Swinburne University has provided me with the most extraordinary opportunity to walk this tightrope and extend myself, on many different levels. Most importantly, I am grateful to some phenomenal tutors who have willingly supported the unconventional approaches I have taken in my studies; every self-imposed challenge has proved an invaluable learning exercise. Designedly and philosophically, I will always test myself to create exceptional spaces that help us find authenticity and integrity in humanity.

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‘The sun never knew how beautiful it was’, the architect Louis Khan once said, ‘until it fell on the side of a building.’

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6

Fiona Nowland_Portfolio 2018  

Undergraduate Honours Interior Architecture

Fiona Nowland_Portfolio 2018  

Undergraduate Honours Interior Architecture

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