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rex reynolds 0415 383 977 rexsebreynolds@gmail.com

FOLIO A compilation of works by Rex Reynolds, chronicling 5 years of studies at the University of Western Australia. Selected are a range of works arranged according to their respective position in a hypothetical (3 part) project time-line. The works reflect a continuing study of reality, an introspective and expressive reflection upon the encounter with the other.

content concept design (pre-design) - research diagramming: water interface diagrams - precedent study: program morphology, public, civic, private - problem solving: formal analytical framework - site analysis sketches - research - materiality & atmosphere photography - concept development process - honors research dissertation

concept design - (design) - preparatory drawings + renders - scaled sectional planning sketchâ€™s - concept plans - selected building typology - true perspective sketches (50 degrees) - models maquete: investigative, explorative, test, scale + light - honors design research project

design development & documentation - design development drawings - product, design development (entrepreneurial work) - furniture, design development (entrepreneurial work) - documentation drawings

concept design - (pre-design) - research diagramming: water interface diagrams - precedent study: program morphology, public, civic, private - problem solving: formal analytical framework - site analysis sketches - research - materiality & atmosphere photography - concept development process - honors research dissertation

Water Interface Diagrams - 2014 From The Swan River Studio: Exploring The Edge Charcoal and ink on Cartridge Paper (A3 Square) Preliminar y diagrams chronicle possible water interface scenarios, address the logic of locations for the proposition, and provide tools for identifying possible development opportunities along the river edge when conducting an examination of the site and existing conditions. Project aims: Activate the river edge, celebrate water, increase density sustainably.

Precedent Study: Program Morphology, Public, Civic, Private - 2014 From The Swan River Studio: Exploring The Edge Ink & photographic print on Cartridge Paper (A4 Square x21 of) The urban morphology study identified precedents from international (European) and regional travels in order to devise a strategy to address the local site specific problems of cosmopolitan pluralism, existing urban morphology, and the historical and cultural milieu. The strategy involved eclectic propositional types from 3 urban uses of: Civic - gathering, Private - dwelling, Public exploring for a total of 21 plates with seven urban uses each.

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Problem Solving: Formal Analytical Framework - 2013 From Complex Buildings: Perth Cultural Precinct Mixed Use Development - ‘Caritas’ Text & graphic compilation (x21 Diagrams)

How is each programmatic mission retained in “The Village”?

The study takes the form of short text summary and diagrammatic synthesis turning lengthy and complex analysis into easy to grasp sound bites for clients, and presentation.

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The study is a critical analysis of an existing state, whether site, social, programmatic, planning or other. From this an issue (problem) is identified as either a constraint or an opportunity. For each issue several propositional solutions are developed. The Framework: Identify the existing, name the issue, propose solutions. The strategy is devised in order to address the specific existing states.

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Booklet Studies: Regional site investigation- 2014 From The Swan River Studio: Exploring The Edge (x3 Booklets) Ink & graphic compilation on trace, photo collage & text The booklets are a series of investigations from the macro to the micro, which develop a comprehensive strategy from first principles. The aim: develop an urban morphology from the parts, to the plan, to tackle the integration of urban planning and architecture, at different scales. The investigation questions the link between the single building and the wider urban structure.

Studies: Regional Scheme Mapping Site Analysis Urban Morphology analysis and comparison Typological Investigation Booklets: Booklet#1 pages - 53 Booklet#2 pages - 49 Booklet#3 pages - 85 (right) - Regional Scheme Mapping & Site Analysis (below) - Booklet examples - photo’s & quotes: Eric Firley and Caroline Stahl,“The Urban Housing Handbook”, (2009) John Wiley & Sons Ltd, West Sussex, England

Zone

Zone Beach High Cliff Foreshore Zone Zone

“Four typological groups have been defined. Each of the following diagrams represents one of them:

courtyard houses, row houses,

“Figure-ground drawings of two areas in central London: in the 19th-century example (right), the street space is defined by the built mass. In the 20th-century example (left), these two elements are not directly linked.” Eric Firley and Caroline Stahl,“The Urban Housing Handbook”, (2009) John Wiley & Sons Ltd, West Sussex, England p.11

compounds and apartment buildings.” Eric Firley and Caroline Stahl,“The Urban Housing Handbook”, (2009) John Wiley & Sons Ltd, West Sussex, England p.10

HAMBURGER TERRASSEN (FALKENREID)

-LOCATION: HOHELUFT (EPPENDORF DISTRICT), HAMBURG -DATE: 1890 - 1903

Materiality & Atmosphere Photography - 2014 From The Swan River Studio: Exploring The Edge Photographic collage and print Early identification of the nature/atmosphere: light, texture, material, and compositional qualities of the site through photographic framing and collage is utilized to help identify materials sensitive to the nature of the site which will exist in a harmonious and coextensive juxtaposition. These flexible â€œpalimpsestâ€? tests help to pull back later tectonic and form experiments from alienating themselves from the real site conducive atmosphere.

MATERIALITY

ATMOSPHERE

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From left to right: Typological Proposition Identification of Mass Structural System Programmatic Strategy

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Honors Research Dissertation for the degree of masters of architecture - 2014 (17,000 words) Diagramming the “Telos” Catholic Church-Architecture: Determining a Method for Translating Idea into Building The dissertation investigates the premise for diagramming as a method for translating idea (theology) into building (catholic church). This architectural practice theory is utilized in seeking a return to the liturgical first principles as an approach to church architecture. Full Dissertation may be accessed online https://www.academia.edu/9858620/Diagramming_The_Telos_Catholic_Church-Architecture_Determining_a_ Method_for_Translating_Idea_into_Building (Two extracts are shown).

(EXTRACT# 1) Whoever talks in that way is unable to make a distinction and to see that in reality a cause is one thing, and the thing without which the cause could never be a cause is quite another thing. And so it seems to me that most people, when they give the name of cause to the latter, are groping in the dark, as it were, and are giving it a name that does not belong to it. – Plato, Phaedo 99b Teleological Nature An Idea is realised, the purpose is conceived, and a cause is effected. The act of building architecture presupposes intent, as an extrinsic finality the purpose is directed toward and governed by the conceiving idea behind the act, as an intrinsic finality the act of building much like child’s play may be done for none other than its own sake. In either process the telos* is defined and prompted by the initiating idea. Architectural practice ontologically touches on the entire breadth of this process; from idea to building, as such it is intimately concerned with the telos and the necessary research, or investigation phase undertaken, especially during the pre-design stages of an architectural project. But where the telos is an expressively extrinsic finality, the building by association takes on the value of the initiating ideas, which may or may not be the requirements of the client/user. In the case of theology and the cultural expression of this - which is religion - the building is typically conceptualized, realised, and utilised as a sacred building in response to metaphysical questions. A Catholic church-building by its very nature is one of the most legible examples of this process of translation (idea to building), being ‘constructed’ as it were of initiating ideas it is a physical and symbolic mediator. The requirements of the client (Catholic Church) are thus synonymous as the built form of ideas.

(EXTRACT# 2) The human mind, endowed with the powers of generalizations and abstraction, sees not only green-grass, discriminating it from other things (and finding if fair to look upon), but sees that it is green as well as being grass. … The mind that thought of light, heavy, grey, yellow, still, swift, also conceived of magic that would make heavy things light and able to fly, turn grey lead into yellow gold, and the still rock into a swift water. If it could do the one, it could do the other; it inevitably did both. When we can take green from grass, blue from heaven, and red from blood, we have already an enchanter’s power – upon one plane; and the desire to wield that power in the world external to our minds awakes. It does not follow that we shall use that power well upon any plane. - Tolkien This observation that the mind naturally abstracts its environment and thus produces poetic, metaphorical, and analogous ‘sub-creations’ is that which when related to Unwin’s understanding of architecture as a ‘matter of conception before perception,’ or an ‘architecture of ideas,’ makes evident the metaphysical influence whence ‘the mind tries to make sense of the world...physically through architecture.’ Consider then the abstract descriptions of building elements and architectural forms covered by the word ‘window’ and it can be found ‘that architecture is as ubiquitous as (perhaps even more so than) language’. This conclusion leads to the second example/connection concerning language, which is drawn from Professor of Arts and Communication Design at the University of Reading, Jonathan Bignell, in his book, ‘Media Semiotics, An Introduction.’ Semiotics and semiology is concerned with analysing meanings by looking at signs – that is, words, pictures, symbols - which communicate meanings. The power of such an approach is in being applicable to the wider field of meaningmaking such as architecture. For instance, Bignell finds that there are close links between linguistic signs as visual signs with many of the same principles underlying them. Following the thought of Ferdinand de Saussure and utilizing some of the terms and principles of American Philosopher, Charles S. Peirce, Bignell finds that for both visual and linguistic signs there is a material signifier (which expresses the sign) and a mental concept (the signified). According to Bignell ‘visual signs also belong to codes, arranged in syntagms, and selected from paradigms’ much like language. Furthermore Bignell states that the “relationship of signifier to signified, and of sign to referent, is entirely a matter of the conventions established by language in general… This type of sign, characterised by arbitrariness… [is called] the ‘symbolic’ sign”. Bignell gives us three examples of these relationships from which the following summary proceeds. First; the word ‘cat’ - ‘symbolic’ sign - for which there is no connection between the signifier and the signified in the mind. Second; a photograph of a cat - ‘Iconic’ sign – for which the signifier is the colour, and shape on the surface of a picture, and the signified is the concept of a cat, whilst the referent is the cat photographed. In this case the signifier resembles the referent. Unlike linguistic signs, iconic signs merge signifier, signified and referent together, despite the two components of the photographic sign plus their referent being in fact, three separate things. Third and last; a cat miaows to gain attention, pointing out presence – ‘Indexical’ sign – this is a concrete and causal relationship to the signified. To quote one of Bignell’s examples: “The shadows cast on a sundial tells us the time - caused directly by the position of the sun.” Furthermore these three relationships can at times be coextensive. Certain signs have mixed symbolic, indexical and iconic features. For instance, a traffic light showing red has both indexical and symbolic components. It is an indexical sign pointing to a traffic situation (that cars here must wait), and using an arbitrary symbolic system to do this (red arbitrarily signifies danger and prohibition in this context).

Tolkien’s philological indications for the abstracting nature of the creative mind, when coupled with Bignell’s semiotic interpretations of the signifier to the signified, ontologically involve architecture via the nature of the mind and the activities of the human person with metaphysical ideas which can define a building’s intent or use. This opens up the telos of buildings metaphysically to extrinsic finalities such as liturgical theology. For instance according to the semiotic ideas of French Critic Roland Barthes, signs seem to do more than simply ‘denote’ something ie: Rolls Royce car. For along with this denotive function comes extra associations called “connotations” which are generated from our social experience ie: (Rolls Royce = wealth). In considering advertising today, Bignell states that “linguistic”, visual and other kinds of sign are used not simply to denote something, but also to trigger a range of connotations attached to the sign. … Barthes called this social phenomenon the bringing together of signs and their connotations to shape a particular message, the making of ‘myth’.” For Barthes ‘Myth’ is not here referring to mythology but to ways of thinking structured to send particular messages. “Myth” is the ordering of existing signs and their connotations purposefully to play a particular social role. Returning now to Unwin’s definition and scope of architecture; it can be stated that the nature of the human person as a rational creature of intellect bound in space and time as beings with bodies, senses, imaginations, emotions, and memories thus involve architecture in metaphysical questions such as those posited by the philosophical and theological sciences. For example: “Human beings... make places by which to situate ourselves, our activities and belongings within the world in which we find ourselves”. This conclusion of Unwin’s leads him to further speculate, ‘that architecture is fundamentally about place; that place-making, or even just place-choosing, comes well before (and can be more consequential than) the sculptured appearance of buildings” This understanding by Unwin; of architecture’s didactic role as place-maker, parallels the understanding of “sacred space” by architectural scholar, Thomas Barrie, in his book; The Sacred in Between: The Mediating Role of Architecture. Barrie, like Unwin, argues that; ‘humans are unique because they are not only part of their environment, but actively and deliberately shape it...often in the service of cultural, socio-political, and religious imperatives,’ of which ‘sacred architecture typically articulated an intermediary “position in the world” that was [is] both physical and symbolic.’ If religion articulates questions regarding the meaning and significance of human existence which are intrinsic to the endeavor of establishing a place in the world, then according to Barrie, ‘architecture has incorporated similar agendas - providing shelter, a meaningful place that embodies symbolic content, and a setting for communal rituals’. Unwin mirrors this conclusion when he states: The poetic potential of architecture, I think, [is] evident…If poetry is a condensation of experience of life, then architecture is an exercise in poetry, essentially. But it can be seen that some works of architecture achieve more: they seem to provide a transcendent poetry, a level of meaning and significance that overlays the immediate presentation of place and which is to be interpreted, as a complement to sensual perception and experience, for appreciation by the intellect and sensibility. This is a significant point reached by both Unwin and Barrie, for architecture is thus conceived as a ‘communicative media that embodies symbolic, mythological, doctrinal, socio-political, and .., historical content... an active agent that performs didactic, elucidative, exhortive, and in some cases, coercive roles’ [fig. 01]. Barrie concludes that ‘religion, culture, and place are so inextricably connected.’ As a result this meaning is context sensitive and requires an active engagement in deciphering its “language” for legibility, a context which includes social, cultural, political, historical, environmental, and liturgical settings. This is also true for Jonathan Bignell of the theory of signs. For him the ‘significance of individual signs often depends on which code groupings they belong to…’ this is derived from the observation that we are ‘surrounded by and shaped by sign systems,...consciousness and experience are built out of language...’ and that signs/language exists, ‘existed before we take them up and use them.’ He goes on to conclude that, ‘the language system we use creates our concepts of reality. We cannot think or speak about something for which there are no words in our language,’ and that ‘they also provide the means for communicating about this reality”. But if language and other sound systems are not simply channels, if they give form and meaning to thought or experience instead of just naming what was already there, then there is nothing which exists before signs and media communicate thought and experience. Rather than thinking of signs and media as channels which translate pre-existing thought and reality into communicatable form, signs and media are the only means of access to thought or reality which we have.

Preparatory Drawing + Renders From Lake Ballard Installations - 2012 Graphite on Cartridge Paper (A3) The scheme is conceived as a series of ceremonial and haptic installations which draw upon the existential nature and reality of the site. The Installations (1-3) interact with the experiential process of arrival, visiting, and dwelling, whilst engaging with the landscape, â€œInsidersâ€? sculptures by Antony Gormely, and regional mining context. Example - Installation: 2 - A Bath House Arranged on an axis leading out into the shallow salt lake Installation 2 continues the theme of stripping away the layers through levels of connection with site. First by cleaning the feet, entering, greeting, showering and redressing, instruction and reading, and finally walking naked alone out into the salt lake to a sun heated bath to star gaze.

Scaled Sectional Planning Sketch’s The Swan River Studio: Exploring The Edge - 2014

INDICATIVE SITE SECTIONS

Ink fine liner on trace

‘Urban components’ index and test the desired experiences. They provide the ‘parts’ for the urban configuration. The urban scheme is thus an assemblage of parts. SECTION GG

SECTION MM

SECTION II

SECTION HH

COMPONENT PLANS SECTION FF - CANAL

SECTION EE - MOORING

SECTION JJ - COLONNADE

13.

INDICATIVE SECTION KK - POOL

GARDEN ROOF INVESTIGATIONS

SECTION CC

SITE SECTION STUDY INDICATIVE SITE SECTIONS

LONG SITE SECTIONS

SITE PLAN 10.

1. QUAY 2. PUBLIC STAIR 3. JETTY 4. COLONNADE 5. BOARDWALK 6. PUBLIC POOL 7. MARKET 8. METRO 9. BEACH 10. PARK 11. BOAT SHEDS 12. PUBLIC SQUARE 13. CARPARK

3. 12. C 2. 8.

E H

M A

12.

SECTION MM

L 1.

SECTION AA - BOARDWALK & BEACH

SECTION GG

SECTION II

SECTION HH

F 6.

7. 12. 5.

SECTION FF - CANAL

SECTION EE - MOORING

B 11.

SECTION BB - COLONNADE

SECTION JJ - COLONNADE

SECTION CC - STUDY COMPONENT

GARDEN ROOF INVESTIGATIONS

INDICATIVE SECTION KK - POOL

Concept Plans - Selected Building Typology The Swan River Studio: Exploring The Edge - 2014 Ink fine liner on trace + photographic collage (A2) Urban development scheme, & select apartment design example.

True Perspective Sketches (50 degrees) The Swan River Studio: Exploring The Edge - 2014 Ink fine liner on trace Activated sketchâ€™s provide fast illustrations of the poetic potential of the design concept .

1:100 Site & Concept Model - 2010 From Live Culture: Body-Mind in Space II

1:100 Variation Concept Model - 2013/14 From (Work Experience) - David Barr Architect http://www.davidbarrarchitect.com.au/

1:100 Material + Structure Model - 2013 From Mt Barker Winery - Architectural Technology

Strawboard, balsa, card, sponge

Strawboard, Steel Rod, Aluminium, Pigment, Acetate

explorative model, test insertion options for the site

test model, structure, sheathing system, materiality

Strawboard, plywood, balsa, trace, black chinese ink Investigative model, site analysis, design aid tool

1:200 Scale & Light - 2013 From Complex Buildings: Perth Cultural Precinct Mixed Use Development - ‘Caritas’ Foamboard, Card, Cardboard, Paper & Print Investigate light, space, scale, form

Honors Design Research Project - 2014 From ‘Chapel Research Project’ Combined media and print (A2), Software: AutoCad Sketchup, Rhino, Photoshop. Sample selection of drawings from proposal project, (project brief & research findings not included). The Chapel Research Project being based on the dissertation theory ‘Diagramming the Telos’ sought to determine and propose a Catholic church building according to its theological, and liturgical first principles, whilst tackling the regional nature of church typology, culture, heritage, in seeking an authentic and integral response to reality. This project was conducted in light of the Fota International Liturgy Conferences and the systemic failure of architects and theologians to produce an apt response based on these principles in Australia.

design

development

documentation - design development drawings - product, design development (entrepreneurial work) - furniture, design development (entrepreneurial work) - documentation drawings

Design Development Drawings - 2013 From â€˜Forest Lanternâ€™ Architectural Technical Resolution Graphite on trace (A1) The drawings exhibit the development of a selected sketch design to a greater resolution of detail and architectural meaning. This involves the discernment of the intended embodiment and expression of an architectural theory. Formal expression - architectural intent, is determined via the thorough consideration of, materials, structure, building sequence, integration of structure and services, expression of program, fenestration and weathering. Careful detail resolution is sought in achieving this overall composition with selected spaces/studies at 1:20

Product Design - 2013 ongoing From Project ‘Grow-Frame’ (Start-Up) Combined media and print Project Status: Currently undergoing prototyping and design revision at the University of New South Wales with co-creator, and business partner Jordan Silver. *#0)+0) (+.. &'#& 52#%'5 A private collaborative project between horticulturist, and architecture students to design prototype and market, an ecologically and socially sustainable growing medium, feature, object with which to reinsert the tactile and participatory nature of gardens into dense urbanism. The product is designed as a modular system to support a growing medium for plants, both edible and ornamental. (4''56#0&+0) 9+0&19 .'&)' The modular nature allows the product to be utilized as a space defining element, room partition, green wall, facade system, or desk planter. The product seeks to ellipse existing products which support plant life with an aesthetically sustainable system where others have failed. /1706#$.'

ELEVATION

9+0&19 5+..

STANDING

ELEVATION HANGING

MODULE

+08#&' 52#%' Creep/crawl, Overhang/overgrow,‘Parasite’ . Simple PLUGS allow a GROBOT to be easily mounted onto walls and attatched to other GROBOTS.

FRAME

PLATE 1

PLATE 2

LID (2 PARTS)

STANDING

ELEVATION STANDING

NG ELEVATION HANGING

MODULE

Simple PLUGS allow a GROBOT to be easily mounted onto walls and attatched to other GROBOTS.

HANGING

*#0)+0)

(+.. &'#& 52#%'5

(4''56#0&+0)

9+0&19 .'&)'

/1706#$.'

9+0&19 5+..

'The histrionic wayfarer (after Bosch) portrait with Smudge', 2011 Tim Storrier 'The histrionic wayfarer (after Bosch) selfself portrait with Smudge', 2011 ByBy Tim Storrier 'The histrionic wayfarer (after Bosch) self portrait with Smudge', 2011 By Tim Storrier

ififif

+ ++

Klismos chair Klismos chair

Campaign Furniture Campaign Furniture

Klismos chair

Campaign Furniture

+ ++

= ==

Maritime Maritime

Hunting Hunting

Maritime

Hunting

Furniture Design - 2014 ongoing From Project ‘ASTA’ (Start-Up) AutoCad Plans, Rhino & 3D Printed Assembly test model, Ink and graphite sketchs Project Status: Currently undergoing prototyping and production revision, for self-funded family partnership start-up ‘ASTA’ - furniture, fashion and home-wares company. Product: Dining and outdoor chair - The design establishes an eclectic sense of place and history, from private heritage, a regional sub-culture. National and post-colonial connotations, combine with climatic responsive design, hardwoods, craftsmanship, and traditional timber joinery.

Documentation Drawings - 2013 From Lot 565 Hampden Rd - ‘Studio & Retail’ Print (A1) Software: AutoCad & 3DsMax Sample selection of drawings from documentation set .

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DESIGN STUDIO