RMIT Architecture & Urban Design - Major Project Catalogue Semester 1 2022

RMIT Architecture Major Project Catalogue Semester 1 2021 2022

Major Project Catalogue, Semester 1, 2022 Prof. Vivian Mitsogianni Ian Nazareth

Designed and Produced by Ian Nazareth Albany Flanagan Geema Lavindee Wijerathne Maddumagedon Flynn Eady-Jennings Joelle Samaan Kang Samanchit Riley Faulkner Sophie Sung Yuxuan Hu

Copyright © 2022 by RMIT University All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of RMIT University

RMIT Architecture Major Project Catalogue Semester 1 2022

Contents Introduction, Professor Vivian Mitsogianni...06 What is Major Project?...07 An Empty Bliss Beyond This World, Ekaterina Rumiantceva... 08 City Gifts, Meagan Brooks... 10 Double Dutch, Dutch Double, Jennifer Chen... 12 Duckrabbit, Avi Paneth... 14 Collision and Collusion, Caleb Lee & Flynn Eady-Jennings... 16 Over Dressed, Over Coloured, Michelle Zhang... 18 Singular but Fragmented, Yiqiao Zhao... 20 Lost Property, Rebecca Boland... 21 The Body Corporate, Carrie Lu... 22 All the Smudges on the Glass, Audrey Adams... 24 The Longest Day in Chang 'an, Jiameng Zhang... 26 The Six Dialogues, Shunjie Bi... 28 Beer, Bottles and Bureaucracy, Maia Heysen... 30 Ned’s Shed, Cody McConnell... 32 Professional : Professional, Riley Faulkner... 34 Strangely Familiar, Rhani Wijaya... 36 Urban Ayiwang, Mingxian Liu... 38 The Resilient Response Guide, Taya Tahir... 40 A Roaming Public Realm of Cliffs, Caves, Valleys and Plateaus, Changyu Xiang... 42 Parliament Extension, Yan Yan... 44 Public Protocols, Fatin Fazira Rosly... 46

Spatial Episodes, Hyung Jin Moon... 48 Inclusive Homes for the Forgotten, Akiko Bamba... 50 Being Typical _ Living For All, Khushbu Sanghani... 52 Reverse Atrophy, Ekaterina Fatekhova... 54 Strordinage Experiment, Wilhelm Sisouw... 56 ZERO-G, Ruoxing Wang... 58 The Air Compass, Songyi Yan... 60 Everlasting Living Culture, Jingwen Luo... 62 The Everyday Extraordinary, Lily Jiang... 64 Makutano, Munene Rwigi Kithinji... 66 Whispering City Phnom Penh, Thanouk Sok... 68 City X, Guowei Xia... 70 Wake Up To Make It Real, Jason Manolitsas... 72 Prospective Re-use, James Devereux... 74 Sanctuary, Yidi Wang... 76 Make Up the Unreal, Fangxuan Zhu... 78 Supervisors Semester 1, 2022... 150 Students Semester 1, 2022...151

Introduction

1

It has been an extraordinary semester for RMIT Architecture Major Project students who have demonstrated perseverance, dedication and generosity as they sought to contribute new ideas and venturous propositions to their discipline and to an increasingly complex world. Their resilience and agility needs to acknowledged and applauded.

Architecture schools should be concerned with experimentation that challenges the apparent self-evident certainties and accepted orthodoxies of the discipline (in its expanded definition), the underlying assumptions about what architecture is and can contain, and what it should do next. Architecture schools need to ensure that their graduates have all the professional competencies that are required for professional practice and registration, but Architecture schools should also lead the struggle to challenge the default conventions of the discipline. The architecture school should strive to point towards possible futures not yet evident within existing understandings of the discipline and wider cultural/political terrains.

Architecture is about ideas. It is part of a wider cultural sphere and a way of thinking about the world in a broader sense. Knowledge and learning in architecture do not finish in the academy but require continued learning and a level of receptive agility from the architect, throughout the architect’s life. The rapidly changing economic and cultural conditions in the extended fields that architects engage with necessitate this, requiring, but also opening up possibilities for, new types of knowledge, fields of engagement and practices.

The architecture student’s graduating Major Project – a capstone for the formal design degree – should not merely demonstrate the competence and skill they acquired in the course. These are base expectations on entry into the graduating semester. The graduating project is an opportunity to speculate through the work and to develop ideas that will serve as catalysts for future, lifelong investigations.

The project should lay bare considered attitudes, brave speculations and leaps of faith, pursuing these with rigour and depth. We would hope that the projects are ambitious, brave and contain propositions relevant to their time. We would hope that students experiment – in whatever form this might take – and engage with difficult questions, contributing not merely to areas that are well explored, but to what is yet to come. Experimentation though, in the graduating project, as well as in the design studio, comes with the risk of failure. But failure can be cathartic – it is an essential possibility tied to innovation.

At RMIT Architecture we understand well the ethos and importance of experimentation and we have longstanding processes to reward it, importantly through our grading and moderation processes. In the RMIT architecture programs, we call this venturous ideas-led design practice. ‘To be venturous is to be brave and take risks. What we hope is happening here is that students are learning to establish their own explorations which they can constantly reconsider and navigate through future conditions that may not resemble present understandings of practice. Competencies and experimentation can happily co-exist.

We aim to educate students to engage with architecture’s specific characteristics unapologetically, and to not be afraid of its complex, uncertain and liquid nature. We aim to prepare our graduates to engage in and contribute to a broader world of ideas and to eventually challenge our ability to judge with new, challenging and meaningful propositions.

This semester we saw some astonishing and brave projects and propositions from a student body deeply concerned with making a positive impact on the world around them and with contributing new ideas to their discipline. We look forward to following our students’ careers as they join our global community of practice and to seeing how the ideas seeded here are pursued and advanced.

Professor Vivian Mitsogianni Associate Dean and Head of RMIT Architecture RMIT University

For an expanded version of this text see Mitsogianni, V. (2015). Failure can be cathartic! The design studio - speculating on three themes In:

1

Studio Futures: Changing trajectories in architectural education, Uro Publications, Melbourne, Australia, pp. 25-31

The Major Project Medals The Anne Butler Memorial Medal, endowed in honour of an outstanding emerging practitioner, is awarded to a Major Project that exemplifies the goals of Major Project.

The Peter Corrigan Medal celebrates the project that is most critical, political and culturally engaged. It is awarded to a student with a strong independent vision in honour of Professor Peter Corrigan who taught successive generations of architects at RMIT for over 40 years.

The Antonia Bruns Medal, endowed to recall Antonia’s interest in the relation between film and architecture, is awarded to a Major Project that investigates the relationship between architectural representation, association and perception.

The Leon van Schaik 25th Anniversary Peer Assessed Major Project Award celebrates Prof. Leon van Schaik’s arrival as Head of Architecture at RMIT 28 years ago. It is decided by all Major Project voting for what they view as the most adventurous and future-embracing project of the semester.

What is Major Project?

In Major Project, students are expected to formulate an architectural research question and develop an articulate and well-argued architectural position through the execution of a major architectural design project.

RMIT Architecture values ambitious, adventurous projects; those that demonstrate new and pertinent architectural ideas or show how established ideas can be developed or transformed to offer deeper understandings. The best major projects take risks and attempt to see architecture anew. Major Project should form the beginning of an exploration of architectural ideas that can set the agenda for the first ten years of original and insightful architectural practice.

The nature of the project is not set, and the scope of the brief and site is established by the student in consultation with their supervisor as the most appropriate and potentially fruitful vehicle for testing and developing their particular area of architectural investigation. Typically, major projects proceed in a similar way to design studios – with the difference being that students themselves set their brief and topic of investigation.

The research question and architectural project will often develop in parallel and it is expected that the precise question and focus of the project will be discovered and clarified through the act of designing. This process is iterative and develops through weekly sessions. Projects are also formally reviewed at two public mid semester reviews before the final presentation.

Major Projects have ranged from strategic urban and landscape interventions with metropolitan implications, through to detailed explorations of building form, materiality, structure and inhabitation; to detailed experimentation in the processes and procedures of architectural production. It is expected that Major Projects will develop a particular and specific area of interest that has grown during a student’s studies, rather than merely complete a generic and competent design. Often these specific interests will develop in relation to those of supervisors – we encourage students to work closely with their supervisors to build on mutual areas of expertise and interest.

It is understood that major projects will differ in scope, scale, kinds of representation produced and degree of resolution; with these factors depending on the nature of the architectural question and accompanying brief.

Emphasis should be placed on producing a coherent and complete project, where proposition, brief, scale, degree of resolution and representation work together to provide a balanced, convincing and focused expression of architectural thought.

There is no expectation that Major Project be ‘comprehensive’ in scope. Rather, the aim of the subject is to establish, through the completion of a major design work in a rigorous manner, a well-argued architectural experiment that has the potential and richness to engender future explorations and that will sustain the student for the next ten years of their architectural practice.

A high level of skill and a demonstrated knowledge of existing architectural ideas is an important component of a successful major project, however the goal should not be to demonstrate a professional level of accepted best practice. Rather it is an opportunity to demonstrate new kinds of knowledge and ideas through architectural form. _Excerpt from Major Project Briefing Notes 2022

An Empty Bliss Beyond This World Ekaterina Rumiantceva Supervisor: Simone Koch

This project recognises that architecture and the way it can be seen are able to unveil loss and melancholia, the elements of the past that haunt the present and the weird and eerie in a domestic setting.

Through reimagination and internal reconstruction of the Victorian terrace house on Morrah street in Parkville, the project then moves to a new site, an abandoned parking lot in Carlton, where new things start to come to old places.

Silence and stillness, moments of sufficient lucidity are unveiled. The strange within the familiar, or the strangely familiar architectural elements brought from the past and merged with the ‘new’. The house attempts to absorb what surrounds it, while protecting what it holds, and melancholia is treated as an ongoing and incomplete, yet genuine form of mourning in response to loss. It is a failed attempt to settle accounts with the past, and to reveal the interwoven relationship between the subject and loss.

This is your home. This is where you will live now. Forever.

Welcome to the Empty Bliss Beyond This World.

99

City Gifts Meagan Brooks Supervisor: Dr. Michael Spooner

On the bank of the Yarra river, in the airspace next to federation square, sits a building with a front and a back. The front, an inscription of the back, the back, an instrument for understanding the front. Both are a map for reading the city. A panorama of the city but not in the way that it is known now.

A new City Gallery.

Acting as an extension to Federation Square, this project attends to the idea of a city through setting up a series of dialogues, situating itself within its own pedagogy, archaeology, and genealogy, that constantly inflect and refract within and outside itself. The building becomes an apparatus for accessing this discourse, demonstrating architectures’ ability to not only collect, but curate; not only to observe but to reflect and comprehend. The building becomes a memory of the things it knows within the context of its own existence, the project becomes the endeavor for understanding.

A legacy. An artefact of the city. An artefact of Major Project.

The New City Gallery is not a gallery because it holds things. It is a gallery because it consists of things.

In the city. Of the city. For the city.

05

03

CITY GIFTS 06

00

02

09

01

10 10

6

6

LEVEL 01

8

LEVEL 03

5

0

1. ENTRY 2. HALL OF CITY GIFTS 3. BLUE STONE LOUNGE ROOM 4. BETWEEN THE ROAD AND THE SKY ATRIUM 5. GOOD LOOKING PORTRAIT GALLERY 6. ARCHIVE OF LOST AND FOUND

30

08

07

9. BRUNETTI’S UP! 10. ADMIN 11. COAT CHECK 12. BOH 13. EXIT THROUGH THE GIFT SHOP

A

7. THE CORBETT LYON’S HERITAGE ROOM

10

8. WALK & TALK LECTURE THEATRE

7

10

12 2

1 9

11 3

6

6

1

6

SECTION A

2

6

4

SECTION C B

13

5

6

5

6 4 6

5

04

C

GROUND FLOOR PLAN SECTION B

11 11

Double Dutch, Dutch Double Jennifer Chen Supervisor: Dr. Michael Spooner

This project seeks to understand how two things may account for one another. Where the context for one is its relationship to the other. It is an examination on the capacity to which an architect is able to hold an idea across a multitude of concerns.

Two adjacent neighbouring triangle sites located in Carlton are used as the testing ground for this research project.

A series of case study homes are proposed on one, and a series of apartments on the other. The first proposal becomes an instruction manual for the second, and the second for the first. A constant reverberation between the two as they attempt to hold an idea.

What is of interest are the consequences that emerge in the pursuit for rigour, held together by a series of architectural strategies. This project is interested in an architecture that holds honesty; where the idea exists because it is held by the building, and the truth as the mechanism.

The project exists before the building exists.

1

2

3

4

HOW TWO THINGS MAY ACCOUNT FOR ONE ANOTHER

A

B 3

1

2

A

A

3

5

4

1 a

a

3 1

3

2

B

B

3

3 b

3 b

C

4

C

4

5

1 4

2 D

4

3

c 2

2

INSTRUMENT

1

1

2

THIRD FLOOR PLAN

d

A

A

5

1 2

D

3

c

A

1:300

FOURTH FLOOR PLAN

d

N

1:300

N

1

a

a

a 3

B

1

2

B

B

3

4 A

3

b

b

C

6

A

3

b

C

5

6

2

C

3

a

5

1

4

a

3

5

1

4

D

4

2

D

3

c

c

3

3

3

c

2

b

2

1

3 b

C

4

2

1

B

4

2

D

3

1

1

B

1

5

4

1

4

2

1

C

5

4

2

D

D

3

c

3

c 2

d

d

1:200

1

d

GROUND FLOOR PLAN

FIRST FLOOR PLAN

N

1:150

1 2 3 4 5 6

1:150

1 2 3 4 5 6

1

FIFTH FLOOR PLAN

d

N

1:300

1 2 3 4 5 6

LIVING DINING BED LAUNDRY STUDY BALCONY

SIXTH FLOOR PLAN

d

N

1:300

N

LIVING DINING BED LAUNDRY STUDY BALCONY

CONSEQUENCE OF RELATIONSHIPS

C

SECOND FLOOR PLAN

N

LIVING DINING BED LAUNDRY STUDY BALCONY

2

1:50

1:20

b

b

C

C

c

TO HOLD AN IDEA.

THE CORNER THAT CAN’T MEET.

A void is inserted into two rooms that are larger than need be. The double height space that emerges begins to hold the spatial qualities of the proposal for a home, on the neighbouring site.

The location of the walls are determined by the grid lines. while the length of the external wall is determined by the dimentions of a standardised facade panel. This corner can never come to a point.

THE WALL THAT GLIDES. b

c D

2

A cut out is inserted between an internal wall, allowing a large sliding door to slide through. A window is inserted between frosted glazed bricks to reveal this door for all to see.

C

c D

b

2

3

D

2

C d

1

1:200

d

1

1:200

d

1:100

1

1:200

DUALITY

D

1:50

1:30

b

C b C

CASE STUDY PROPOSALS

E

c 3 c D

D

2

2

1:200

d

1

1:200

13 13

Duckrabbit Avi Paneth Supervisor: Dr. Peter Brew

Duckrabbit refocuses the value of architecture onto what it enables rather than what it is said to be according to descriptions of taxonomy or typology. In a post-pandemic world of ever increasing screens, the incongruence between how we describe (and finance) architecture and the reality that emerges and evolves within, is as stark as ever.

Duckrabbit recognises taxonomies as commodities, used to impose fixed predictions that can be classified and brought to market.

While space is hardly immutable, these classifications cause architecture to feel like a predetermined object destined for stagnation. It fails to address the agency of architecture and its potential to respond to its visitors’ demands in real-time in the way we find with technology.

Duckrabbit proposes an architectural model that resists these very descriptions of taxonomy and imagines a business model that values Activity as an object, in place of a typology which is a model of something that is finite.

Duckrabbit tests this idea through an architectural model for a new library and information precinct.

The architecture enables a condition that offers proximity without distance, where activity builds and rebuilds architecture in its every moment of engagement.

This new spatial configuration points to a model that imagines an architecture liberated from taxonomy, commodity, real estate and property. It imagines an architecture of change outside of the current businessmodels we currently use to bring it to market.

15 15

Collision & Collusion Caleb Lee & Flynn Eady-Jennings Supervisors: Dean Boothroyd, Prof. Mark Jacques & Liam Oxlade

The idea of the sole creator simply doesn’t exist within the profession.

To acknowledge this is to recognise the value of different people within the profession in a way that isn’t about competition, but instead how we can work together to achieve something greater than the sum of the individual parts. For too long we’ve neglected this, and we must wield it as a tool to tackle problems that may otherwise be of an insurmountable scale.

The Australian suburban fringe continues to fall captive to formulaic planning products that, under private hands, fail to prepare our cities for a sustainable future. Energy spent stopping growth, we think, could be better spent reimagining the suburbs as self-sustainable collectives on the frontier of the current climactic emergency.

This project is about establishing a common framework for difference and discourse to occur in and then leveraging this format to pursue an outcome for the new suburb of Riverdale.

Anne Butler Memorial Medal Semester 1, 2022 Supervisor Statement The collaborative project of Collusion and Collision by Caleb and Flynn is an insistent prodding of the current state of the suburban condition, the orthodoxies of bureaucratic planning, and most pointedly here, the Major Project program itself.

This pair have undertaken an approach to the semester that transposes collegiate banter, invariably lost after the moment, into a project explored through shared research, divergent interests and a collective will to develop a proposition larger than the sum of its parts.

The product of this endeavour exists as a kind of endlessly repeatable megastructure – one which suggests a means of affecting an environment currently dominated by the other sprawling supersystem that is Tract housing.

The twin outcomes deftly navigate a universe of a realist fascination with the surfaces and atmospheres that account for the better part of our collective experience. This line of inquiry is shaped by the dual concerns of climate emergency and public health. At its core it asks; how can we do things better? _ Dean Boothroyd, Prof. Mark Jacques, Liam Oxlade

17 17

Over Dressed, Over Coloured Michelle Zhang Supervisor: A/Prof. Graham Crist

Over Dressed, Over Coloured is an extension to Carlton’s Rydges Hotel, recently used an asylum seeker detention centre. The redevelopment will allocate half of the rooms to emergency accommodation, while the hotel’s public functions double as community facilities for displaced arrivals. Its form aims to ignite the grey box and its history.

The over dressed design consumes the host building and consumes cultures, religions and personal identities to spit out a building that intensifies our culture diversity. The project embraces messy, overworked multiple identities which converge and layer over one another rather than colliding.

Nothing of the past is erased, but several iterations are added until they form a blurry image, dissolving familiar architectural features from cultures or religions all present here. Its expression aims to be all of these and none of them.

This project calls to everyone here. It is for those arriving recently, for those wishing to reconnect with their histories, and for those who are curious. Through a kaleidoscope of patterns, it celebrates a multifaceted environment and strives to glisten as more identities pass through it imprint themselves through the architecture.

The over dressed and over coloured is calling you.

Antonia Bruns Medal Semester 1, 2022 Supervisor Statement Michelle Zhang's architectural project is cinematic in a dreamy and ethereal way; but it is also cinematic in a political way. As a radical addition to the Carlton Hotel which detained sick asylum seekers and Novak Djokovic alike, it sets the scene for a city to own up to certain realities. Perhaps this work is like Wes Anderson's Grand Budapest Hotel - pretty and stylised and yet holding a dark scenario beneath its surface.

It's title ‘Overcoloured and Overdressed’ is stolen from Boyd's Australian Ugliness; but Zhang sees an Australian beauty calling everyone to join in the multicultural mess and the blur. _ A/Prof. Graham Crist

19 19

Singular But Fragmented Yiqiao Zhao Supervisor: A/Prof. Graham Crist

Melbourne's architecture demonstrates an autonomy of parts in individual property, but fails to celebrate the image of the city as a collective whole. The city is a salad without a bowl or dressing.

The fifth elevation is a nascent canvas that has the opportunity to engage with unity and coherency, to curate a singular but powerful image of the city.

The core element of the project is thirty-two illuminated squares that hover above the Melbourne Hoddle grid area, at 150m above the Australian Height Datum level - amplifying the peculiarity of the grid, and reinforcing discipline of city planning. An aerial view shows the object as singular and rigid in its form, yet its experience observed from urban human scale is deliberately fragmented. Each distinctive city experience is now considered as a piece of puzzle that needs to assemble together to define the city.

The by-product of the new aerial grid is its support on the ground. Six separate sites are selected to design prototypes of architecture supporting the new structure. The design principle is not to confront the city or to stand out, but to grow out of the logic of the city’s prosaic and modest formal language.

21 21

Lost Property Rebecca Boland Supervisor: Anna Jankovic

Lost Property is a project concerned with the privatisation of public housing. As a counterfactual ‘What If?’ project, it explores strategies to retain, restore and re-use existing buildings, where the original site conditions are interrogated to address housing on previously government-owned land, that was home to an established community. Lost Property identifies women over the age of 45 as the fastest growing group at risk of homelessness, and explores conditions of threshold, surveillance, and security to seek outcomes that cater to the housing needs of women.

Alongside this, the project seeks to uproot housing from its commodity base and underscore housing as a universal right for all, grounded in its rawest purpose. The project asks; What is the purpose of a house? What makes a house a home? Can we rewrite the development model to resolve the current public housing crisis? How can we think of ways to keep communities in their homes, or ways to adapt and renew existing public housing with a perspective to review, rediscover, revitalize, reinvent, or reuse?

With a community of Women as its primary tenant, Lost Property seeks to reconceive public housing from a set of universal needs, prioritising its amenity and benefit as a basic human right, founded on a series of first-principles.

Peter Corrigan Medal Semester 1, 2022 Supervisor Statement Navigating the dense territory of governmental regulations and frameworks that impact on housing and social issues, Rebecca’s project ‘Lost Property’ advocates for the architect’s role as one tied to policy and planning formation – acting as the architect who would practice through the Public Works department or Ministry of Housing (if it still existed).

The project is concerned with the privatization of public housing and recognises the disproportionate effect this has had on Women, as the fastest growing group at risk of homelessness. Rebecca takes on this urgent task, recognising that ‘the home’ has the capacity to foster equality, education and self-determination.

As a counterfactual ‘What If?’ project located on the now-demolished Abbotsford Street Housing site in North Melbourne, the project interrogates a range of strategies to retain, restore and re-use existing buildings, to address housing and community needs on previously public owned land. _ Anna Jankovic

23 23

The Body Corporate Carrie Lu Supervisor: Dr. Peter Brew

The Body Corporate embodies a relationship between individuals, incorporated by the structure that they reside in. In this project, the structure takes the form of an apartment building, imagining it and its body corporate in a way that can enable its subjects to affect it through their own perception and desire – their own subjectivity.

We all have a perception or memory of what a home and community is, therefore these things are ideal agents of subjectivity and form the focus of this proposition. As a paradox, there is the apartment building archetype, a structure that transforms the sentimentality of home into property and real estate. By doing so, it distorts the relationship between the subject and the building, and thereby organising the members of its community into a structure that inhibits permission and the possibility to give it.

This project organises the apartment building through a different sequence of principles, a sequence that is not founded on the existence of property. The result of this is an architectural and corporate structure that ruptures the binary between lot and common, restoring the ability for its subjects to affect and be affected by the building and the community that it incorporates.

25 25

All the Smudges on the Glass Audrey Adams Supervisor: Dr. Michael Spooner

Sitting on the corner of a street named The Terrace, the left turn off a longer winding road named Seabrook Boulevard sits a house embellished with memory. It holds a collection of prior projects, removed, and returned, including them where they have been excluded previously as architectural fragments.

These previous iterations were intertwined with Case Study House 22: The Stahl house, found as a model. It was used as an instrument to conserve the moment where there is a loss of fidelity through its reoccupation.

The proposal becomes an apparatus, demonstrating a memory of the home, a memory that is not codified to the exact, but is subjective to the architectural imagination. It becomes the endeavor for understanding memory as a history within the architectural discourse.

Through the tightening of this lens, slippages are revealed and there are architectural consequences within what the proposal holds. This architecture not only holds a memory abstractly, it holds a memory of certain architectures, ones which I’ve experienced and ones I haven’t. It creates an architecture that is accessible to someone else, as an experience or as an unusual prompt, perhaps a mark on the floor.

It is about navigating through the space between the thing as it is...

And what is being remembered.

27 27

The Longest Day in Chang 'an Jiameng Zhang Supervisor: Ian Nazareth

Gap space or urban voids are a byproduct of the replacement of old fabric in the process of generation of new projects in cities. With the acceleration of contemporary urbanisation, the capacity to unleash and mobilise the potential of these "ambiguous areas" in the boundary between public and private spaces has become a topic of discussion among architects around the world.

The project is in Xi'an, a city in northwestern China, and the site selected is in a historic section of Shuncheng Lane in the old district surrounded by ancient city walls. The site includes representative building types and typologies, and multi-scale gap spaces. There is an urgency to rebuild a new spatial logic based on the original urban texture to improve the utilisation of public space and establish a new architectural language to complete the dialogue with the original historical products.

The project takes the history of the Tang Dynasty as the background, extracts the narrative structure and scenes from the TV series "The Longest Day in Chang 'an", and renews the forgotten architectural space in the street based on the traditional customs of the local people. The architecture is a protagonist and the project utilised theatrical tropes. A sequence of scenes is used as a script to interpret a day’s activities in Tang Chang 'an City, encouraging the protection and development of regional culture through an immersive neighborhood experience.

It attempts to create modern buildings with Chinese symbols based on the authenticity and identifiability criteria of the 18th century heritage ontology with minimal intervention in the original buildings, awakening the externalised power of cultural heritage through rich spatial systems, structures, and completing the heal, save, forgive and other social missions.

29 29

The Six Dialogues Shunjie Bi Supervisor: Peter Knight

This project is concerned with how architecture can contain, represent, and engage a personal narrative, framing a building to celebrate a significant Chinese contemporary woman. The ambition is through using the biography of a female Chinese architect, inquiring about the translation between narrative and architecture, and trying to seek how history influences the future through architectural language.

Situated in Kunming, China, the project is built upon an unattended house that used to be inhabited

by Lin Huiyin, and her family during their exile after the war began.

Lin Huiyin was the first female architect in Chinese contemporary history, she dedicated her whole life to her career with her husband Liang Sicheng, who was known as the father of Chinese contemporary architecture. Lin Huiyin was also a gifted writer, a poet, and a woman of great aesthetic sensitivity and broad intellectual interests - and socially charming.

Madam’s Salon was taken as an evocation, trying to collect the nuances from the biography of Lin Huiyin, celebrating her achievement in literature and architecture, it also commemorates her legendary life.

31 31

Beer, Bottles and Bureaucracy Maia Heysen Supervisor: A/Prof. Graham Crist

What can the contemporary Town Hall be? This question is tested in a corner of the amalgamated City of Yarra local government at a junction between Clifton Hill and Fitzroy North.

To make a more local civic building, the design imagines three situations: First, a branch office of the Yarra council within walking distance of the neighbourhood. Second, a council owned brewery created as a local social enterprise (and following European examples). Third, a bottle recycling depot which anticipates the new bottle refund policies and urban glass recycling processes.

At the junction of these three program pieces is a circular atrium which is part Beer Hall, part Civic Chambers - a place for informal exchanges or a raucous gathering driven by drinking or local politics.

Beer, Bottles and Bureaucracy is a study in architecture being both monumental and informal, finding a way to be civic without being a relic. It takes the monument off its pedestal but also elevates it. The design is also a study in transparency - in organisation and in material. While the building collects glass and consumes it, it also treats the glass skin as something with its own radiant and light solidity.

Council Entrance

L

D

OSE

N W TO

HAL

OP

The Approach

NEW

PR

Council Office Windows

L

N W Y TO RO

HAL

FITZ

L

D

OO GW

N W TO

HAL

IN

LL

CO

L

OL

G

MIN

PO

D

ON

IM L SW

ON FT

N W TO

HAL

HM

RIC

HIL

CLI

OL

G

MIN

PO

IM Y SW RO

FITZ

Site Plan

BR U GLA NO TA UT, SS PA VILL COLO GN ION (1914 E )

E

IC

CIL

OFF

UN

A

RR

Y CO CIT

YA

N

IL

NC

OU YC CIT A RR LAN YA EP SIT

Behind Open Windows

Ground Floor Plan

Brewery Entry

Glass Recycling Drop off

Approach to the Depot

Section 01

The Open Door Brewery

First Floor Plan

Clifton Hill Stadtkrone

The Beer Hall

Beer Bottles and Bureaucracy

33 33

Ned’s Shed Cody McConnell Supervisor: Dr. Michael Spooner

On the 11th of March 2022, the first accident occurred.

The hand of ‘God’ touched an Isuzu N series at 11am on the site of the Montague St Bridge. With a low clearance of 3.0m, each passing truck mere centimetres away from eternal fame or perhaps more fittingly, perpetual notoriety.

This project sets itself out as a TAFE, dedicated to the automotive. Sitting adjacent to the Montague St Bridge, it does not seek to find a resolution or solution, rather to applaud its neighbour.

The bridge acts as an impetus, unravelling a series of further accidents which feed back into the TAFE. The building observes the pragmatics of its program dutifully albeit with kinks and uncanny shifts through the method of inserting numerous anecdotes.

Consequently, the project becomes a review of the bridge, a celebration of its larrikin-like anti-hero nature and architecture’s ability in uncovering the slippages within the city, heralding them with wonder and delight.

ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. CODY MCCONNELL. 15.06.22

B

B.

A

A.

AN AUTOMOTIVE TAFE ADJACENT TO THE MONTAGUE ST BRIDGE

NED’S SHED

ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE

ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE ST. MONTAGUE

35 35

Professional : Professional Riley Faulkner Supervisor: Simone Koch

This major project is an inquiry into the perception of the practice, profession and subject of architecture...Not the perception, in as much as...An exploration into professionalism...not professionalism, but...The facilitation between architect and trade...Not the facilitation, in as much as...The link between myself and my dad.

We break the flux of sensible reality into things, then, at our will.

Professional : Professional is all of the above, all at once. An assessment of current and past professional practice, whilst projecting a personal future practice. It is a description of an object or person. A status that warrants demonstration and responsibility, never assumption.

It’s this attitude I’ve carried on to inform my perception of professionalism. The final project, an architects’ office and trade workshop asks, “What if an architects’ office operated out of a trades workshop?” and vice versa. It demonstrates my perception through attempting to fill the gap between architect and trade, via a series of ideas and devices: - If private is for private, and public is for public, then how can private be for public?

- The social responsibilities and obligations of the architect to ‘The Public.’

- The subversion and recasting of familiar objects into unfamiliar settings.

The responsibility of the profession is greater than its status. Professional : Professional lays it out, it offers a seat at the table to professional and architect and tradespeople, myself and my dad.

37 37

Strangely Familiar Rhani Wijaya Supervisor: Simone Koch

A few memories from a very suburban childhood. This project has grown from the idea that landscapes both built and natural act as our playgrounds. It's in these playgrounds, in the inbetween spaces, forgotten places, the places we roam, imagine, and discover that we understand ourselves. We are shaped by the places we know but we also create them, and I’m interested in what comes first; landscape, architecture, people - place? What makes a place and what is our responsibility to it?

This is a reconsideration of a new housing estate in the outer suburb of Sunbury. It’s an attempt to explore the ways in which new suburbs can work differently, so that when new estates do pop up in empty paddocks, they are reflective of the diversity of their communities, that they offer opportunities for childhood delight and exploration, show care for the landscapes they occupy, but mostly that embedded within them are memories of place.

A VERY SUBURBAN CHILDHOOD

A SU PLA BURB A DIS CE FO S A COV R ERY

CAPE A LANDS ORIES EM M R FOR OU

WE DO R? AT E WH EMB M RE

39 39

Urban Ayiwang Mingxian Liu Supervisor: Brent Allpress

Urban Ayiwang is an Urban Oasis market journey convergence. This project site is closely connected to a metro station. The theme is to research the future development of the city and transportation.

Trying to explore the future development potential through transportation-oriented development.

Meanwhile, critical thinking and challenging of typical and traditional Ayiwang architecture in the process of market design. Testing a new typology of Ayiwang, through transliteration and continuity, creates an interesting commercial district.

This journey of Urban Ayiwang is in seeking the historical features of the city that are fading with time, bringing the new and old cultures into collision with each other in the journey.

5

3

1

2

4

8

6

7

1

2

3

4

5

6

URBAN AYIWANG URBAN OASIS MARKET JOURNEY CONVERGENCE

7

8

41 41

The Resilient Response Guide Taya Tahir Supervisor: Dr. Leanne Zilka

A resilient city can be defined as “a place that has the ability to absorb, recover and prepare for future shocks. It is also about converting “risks” into opportunities for systematic transformations.

Focusing on Port Phillip, which is due to be affected by flooding in the next 10 years. As climate change becomes a reality, this project firstly analyses the city's urban condition, then looks at how other cities nationally and internationally deal with flooding. Finally, making a series of surgical interventions that allow for Port Phillip to better position itself to resist flooding without the need for unaffordable interventions that would be impossible to be realised.

The main objective of this project is not to create one hero building, but rather take the role as an architect and use those skills to coordinate a systematic approach of interventions such that the interventions allow people to adapt to life with floods and help the community act.

43 43

A Roaming Public Realm of Cliffs, Caves, Valleys and Plateaus Changyu Xiang Supervisor: Vicky Lam

Chongqing is a mountainous city divided into an upper and lower half by a 250-metre contour line.

The locals navigate between these 2 parts of the city through a myriad of stairs, climbing streets, elevators and walkways. Always thinking of Chongqing as either Upper City or Lower City as if passing through an invisible wall.

This project seeks to blur this divide, and inject the unique experience of ascending this populous mountain city. The design process begins with the research of the many solutions for navigating its terrain. This results in a catalogue that was divided into landscape and topographic categories such as; Cliffs, Caves, Valleys and Plateaus that exist independently within the built fabric of Chongqing.

The ambition of the project is to experience the city as if one is viewing a Chinese Shanshui landscape painting, where the eye roams across the layers of mountains and paths from the foreground to the background, creating a visual roaming path.

If the city slowly emerges out of the landscape in Yang Yongliang’s paintings, here, landscapes emerge out of the city. Walkways, climbing streets and buildings are integrated along a chosen site in Chongqing to create a new roaming public realm.

45 45

Parliament Extension Yan Yan Supervisor: Brent Allpress

New Parliament House is a way to use architecture to define what my concerns are, and what I’m interested in - including politics, cities, social media and our future.

Most of the political buildings in use are now behind the times we live in, and it may be difficult for the spaces of these buildings or the symbols/figures it represents to carry today’s political content and civic narrative. Political architecture will be transformed into a kind of machine that uses architectural facades to give citizens and cities illusions.

This project not only involves its overall relationship within old building, but can also attract people's attention to political issues and the relationship between the city.

47 47

Public Protocols Fatin Fazira Rosly Supervisor: Dr. John Doyle

Examination of the legal definition of public space reveals that it is impossible to define public space simply on the basis of ownership. The law does not consider ownership and land titles as the basis of what makes a space public. The legal criterion for delimiting a space as “public” is access and use. Once a space is legally defined as “public” on this basis, then ownership is not an obstacle to its public status.

Public Protocols is interested in understanding and unpacking the nuanced territory that public spaces operate in. It looks at the ill-defined nature of what constitutes public space, the role of architecture as a public agent, and the degree to which architecture permits or excludes acts of publicness - both in publicly owned and privately owned land. The way public space is defined is ambiguous and is formed by a series of different kinds of nested definitions and agreements – some of which can be paradoxical and contradictory. It is within these slippages and spaces of negotiation that this project situates itself.

It questions the agency of urban design and architecture to shape a view of public space and looks at the incremental contribution of these elements to reshape or even subvert the typical understanding of public space.

49 49

Spatial Episodes Hyung Jin Moon Supervisor: Dr. Christine Phillips

The current spatial model assumes that the journey of waking up in the morning and arriving at work through the doors of an office building is a linear course from point A to B, despite the fact that it is far from the reality of the personal experience of traversing public spaces. More often than not, architecture are blocks of guidelines and wayfinding, or backdrops to the more tangible and intimate activities, dreadfully detached and frigid to the human experience. Opportunities of public engagement or service is neglected if it does not correlate to the specific business plan that it stands for.

Spatial Episodes proposes that architecture is more than an object in both its value to the public and in its spatial experience. It is a malleable process that responds, reacts, and adapts to specific movements, sensory experiences, and the mundane activities that permeates the merely 4meter-wide civic ground of the footpath. In an attempt to provide moments of delight, interaction, happenstance, and details considered within the walls of any given building. The project challenges how conventional architecture is understood, considering its effect beyond the "what it is" to the "how it is" to any given pedestrian.

51 51

Inclusive Homes for the Forgotten Akiko Bamba Supervisor: Dr. Leanne Zilka

Melbourne is growing faster than most cities of similar size in developed countries. This pressure has produced a range of housing that is the result of a financial model, rather than reflecting how people live or want to live. It excludes many people who are increasingly marginalised. Seperate from mainstream profit driven housing that is fine for some of the population, but not for all. This project seeks to provide housing that decreases loneliness (one of the biggest issues facing people today); provides the infrastructure for a community to thrive, shows generosity to those who are not able bodied, are single parents, are ageing alone, and allows for flexibility so that residences can join or give independence as these needs arise. It is social housing that does not see housing in silos of affordability.

The Arden Precinct in North Melbourne is used as a testing ground to offer this generosity to those who have been ignored in current housing options. Located next to the new Arden Station the site is part of a number of sites that either have been redeveloped into multi residential developments, or are proposed to. The project integrates different types of courtyards to create privacy for each home and each community, it aspires to create a defined place to live and support each other.

INCLUSIVE HOMES FOR THE FORGOTTEN

NORTH MELBOURNE RECREATION RESERVE

NORTH MELBOURNE RECREATION CENTRE NORTH MELBOURNE POOL

ARDEN STREET

PS / SHO NTS AURA REST

18 17 16 15 14 13 12

DN19

UP

APT ENT.

/ PLAY KIDS ALM IC RE PUBL

11 10 9 8 7 6 5 4 3 2 1

19 18 17 16 15 14 13 12

11 10 9 8 7 6 5 4 3 2 1

APT ENT.

ant Restaur

DN 19 18 17 16 15 14 13 12

11 10 9 8 7 6 5 4 3 2 1

APT ENT.

DN

UP

DN 19 18 17 16 15 14 13 12

UP

11 10 9 8 7 6 5 4 3 2 1

UP

RE DCA CHIL

BARWISE STREET

18 17 16 15 14 13 12

11 10 9 8 7 6 5 4 3 2 1

PS / SHO NTS AURA REST APT ENT.

UP

N ATIO N ST RDE 2025 A NEW ING IN N OPE

AY LANEWLY SED N PROPO TRIAN O PEDES

DN19

/ PLAY KIDS ALM IC RE PUBL

APT ENT.

ent Apartm e Entranc

11 10 9 8 7 6 5 4 3 2 1

UP

IC MED

TIES FACILI CARE

APT ENT.

NTRE AL CE

DN

ent Apartm e Entranc

19 18 17 16 15 14 13 12

DN

19 18 17 16 15 14 13 12

11 10 9 8 7 6 5 4 3 2 1

UP

PS / SHO NTS AURA REST

GROUND FLOOR PLAN 1:300

ARDEN URBAN RENEWAL PRECINCT

ANYONE NEED CARERE TO STAY/LIVE WITHIN UNIT

AGEING PARENTS WITH CHILDREN DISABILITIY. MULTIGENERATIONAL UNITS EXTRA DOOR TP BETWEEN 2 UNITS W

CARE PERSONS UNIT

W

PEOPLE WHO HAVE DISADVANTAGES WITH CARE DOG - EXTRA SHARED OUTDOOR SPACE DN

UP 1 19 2 18 3 17 4 16 5 15 6 14 7 13 8

W

W

12 9 10 11 9

8

7

6

5

4

3

2

11

1 19

18

17

16

15

14

13

12

W

10

UP

W

W

W DN

SEMI PRIVATE CORTYARD

W

KIDS PLAY

W

SEMI PRIVATE CORTYARD

PUBLIC REALM BELOW SHARED CORTYARD

W

W

11

10

9 12 8 13 7 14 6 15 5 16 4 17 3 18 2 19 1

UP

DN DN

UP 1 19 2 18 3 17 4 16 5

W

15 6 14 7 13 8 12

W

9 10 11

SINGLE PARENT WITH YOUNG CHILDREN. OVERLOOKING TO COURTYARD /KIDS PLAY PUBLIC REALM BELOW SHARED CORTYARD

W

W

W

TYPICAL 1 BED 1 BATH UNIT

SINGLE PARENT WITH YOUNG CHILDREN. SHARED BALCONY BETWEEN 2 UNITS TO OVERLOOKING TO COURTYARD /KIDS PLAY

SEMI PRIVATE CORTYARD

W

W

W

W

MULTIGENERATIONAL UNITS SHARED BALCONY BETWEEN 2 UNITS TO OVERSEEING EACH OTHER GSEducationalVersion

FIRST FLOOR PLAN -APARTMENTS 1:100

SEMI PRIVATE CORTYARD

SEMI PRIVATE CORTYARD

SHARED CORTYARD

SEMI PRIVATE CORTYARD

APARTMENTS

53 53

CO-WORKING OFFICE RESTAURANTS / SHOPS

KIDS PLAY/ PUBLIC REALM

RESTAURANTS / SHOPS

PUBLIC REALM BASEMENT CARPARK

CARE FACILITIES

AKIKO BAMBA

Being Typical _ Living For All Khushbu Sanghani Supervisor: Ian Nazareth

The population in Australia is about 24 million. However, according to Australian Bureau of Statistics (2015), there are about 20% of the overall population that are considered disabled. Houses are the places that are mostly used by people, whether it is with disability or not! Affordable, stable housing is needed to support people with disabilities in achieving their life goals and aspirations.

In this project, designing innovatively can also help people living with disabilities feel more included in society, rather than excluded. Therefore, the accessibility becomes the most crucial element when it comes to designing.

Being Typical not just focuses on people with disabilities, but also people who are experiencing the age throughout his/her life. Living for all is an exploration of people’s daily lifestyle, whilst making living more live and connected to nature in the context of a Melbourne suburban area – a developing area in terms of density as well as in quality of life! The idea of the project is to make movement – a journey as friendly as possible to every user group along with the experience of neighborhood and nature Bringing the life into the site.

BEING TYPICAL

LIVING FOR ALL

55 55

Reverse Atrophy Ekaterina Fatekhova Supervisor: Dr. Leanne Zilka

My proposal reacts to recent legislation that looks to overhaul current burial practices in Melbourne.

Specifically, the renewal of graves and the intention to increase burial capacity whilst placing 20year time limits on the length a grave can remain untouched. This change allows for a re-think of existing graveyards, and I have sought to cement a sense of place and belonging through a careful planning of what remains, and how the landscape, new facilities and burial techniques can integrate with the existing graveyard with sensitivity. It tackles the tension between our obligation to preserve the memory of the dead, and the opportunity to renew and improve the way we look at grave sites in their urban context.

The Cheltenham Pioneers Cemetery has reached capacity and is run down, unkept and stagnant. It holds many notable graves from the local community’s history and is highly significant, worthy of preservation, yet ripe for a new way of thinking.

Reverse Atrophy curates an area for those that are grieving, while encouraging community members to explore and learn about their local history, through the implementation of fragmented niche walls and elevated platforms for exploration, reflection, and mourning. Planned interventions recognize and celebrate the overgrown graves, broken brick pathways and movement overtime as moments of significance. The curated decay and decomposition of the land is returned to the site’s parkland surroundings, whilst new graves and alternative burials resume life, growth and activity within the cemetery.

57 57

Strordinage Experiment Wilhelm Sisouw Supervisor: Brent Allpress

Strordinage Experiment frames, diffuses, and blurs the lines between plan and view, section within render, structure within program, façade within threshold, atmosphere within perspective and lastly indoor within outdoor to create the following: An experiment that trials an architectural design tool for the future. The notion that an architect or designer can utilise AI generated concept architecture created from text prompting, helping to inform their design process, BUT not their design outcome. For the outcome is up to the architectural designer to finalise.

Program, context and inspiration can be specific to the occupant.

Programs of private/public housing frame a gallery space within, whilst diffusing urban porosity within its thresholds, as a programmatic response to the Prahan Community.

Retail, lifestyle-hospitality are over utilised due to Chapel St. Architects Robin Boyd, Carlo Scarpa & Stephen Holl become virtuoso exploration for concept architecture prompting, as a personal preference, but also the necessity due to their exemplar agendas reacting to mixed housing, gallery space and public activation.

‘Ordinary’ defines by standard social housing blocks and basic materials palette, but the ‘Strange’ procedure creates specificity through its AI concept architecture and prompted design development, thus the output of the ‘Strordinage’.

59 59

ZERO-G Ruoxing Wang Supervisor: Prof. Tom Kovak

The experimental site of the project is Ma Wan Island, Hong Kong. With the development of future urbanisation, the island will face problems such as overpopulation, sea level rise and ecological destruction.

The project uses the concept of a decentralised city and digital development experiment to design the possibility of future city. Zero-Gravity design will separate human life and natural environment, not only make the natural environment better protected, but to also refer to the concept of floating to cope with future sea level rise. On the other hand, through the evolution of the urban system to predict the ideal development of the future city, and the buildings throughout the city will use local timber architecture materials to make the building more sustainable, the organic parametric structure separates the private, public and vertical spaces of the volume. In addition, the flexibility of timber and bamboo can weave the future building structure, and the movable technological facade structure can avoid the urban heat island effect caused by direct sunlight. While the timber frame form also enables the development of the whole sustainable city to have more lightness and flexibility to meet the sustainability of the future Zero-Gravity organic city.

61 61 MAJOR PROFECT FINAL PRESENTATION SUPERVISOR: TOM KOVAC STUDENT: RUOXING WANG

CITY X

The Air Compass Songyi Yan Supervisor: Ian Nazareth

"Compass", represents a guide, pointing to a direction.

Just like this project, I hope it can be used as a direction for people to live in, in the future.

As the population increases, the population density will increase on a limited land area, especially in urban areas. In the future, people may gradually need more 'land' to live. However, when the ground area has been saturated, the "land" in the air can expand the living space of human beings.

This is how this project shows people in the form of a "compass" how comfortable life will be for human beings after population saturation in the future.

This project is divided into two areas, one is a private area mainly for residential areas, and the other is a multi-functional public area: an area where offices, commercial areas, shops, entertainment, and sports are integrated.

THE

AIR ‘COMPASS’

63 63

Everlasting Living Culture Jingwen Luo Supervisor: Dr. John Doyle

Everlasting Living Culture is an experimental housing project that speculates on what will happen to a historical district in Chengdu if the century old Hakka household is redeveloped.

Focusing on the transient population of Chengdu, the project seeks to explore the potential for typological innovation that occurs by the scaling up and reorganization of existing traditional Hakka housing typologies. Key elements of the original project were identified, pulled apart and repacked to adapt the behavior of contemporary residents. When occupied, the project becomes animated, activated by the diverse and particular spatial practices of its residents.

As whole the complex seeks to preserve and continue the living and built culture of Chengdu migrant communities. Everything changes in time, but a living culture will always remain if it is nurtured.

65 65

The Everyday Extraordinary Lily Jiang Supervisor: Dr. Anna Johnson

This Major project research looks into questions of the familiar and the unfamiliar, the everyday and the extraordinary as they affect and constitute a comfortable public space. Built heritage allows us to understand our collective identity and defines our sense of place and belonging. These questions will be tested through an abstracted process and the revitalisation of Chinatown mall in Fortitude Valley. Placed into, and above an existing carpark, this project aims to make a new familiar from the built environment, the community and behavioural culture of the local Chinese population.

With the new and upcoming commercial tower to be built on top of the existing carpark, the site chosen serves as an apparatus in response to “re-staining” the Chinatown mall, with the carpark then turned into a large scale residential, mixed-use community hub.

The familiar recollections and qualities are emulated within the new spaces, consequently, the potential for new rituals and culture could surface. How a space is to be occupied is always understood, yet how it could be occupied is open to interpretation.

67 67

Makutano Munene Rwigi Kithinji Supervisor: Adam Pustola

It’s not the death, It’s the reinvention.

Centred around large monocultural shopping complexes, our fringe suburbs are quickly constructed with ‘Town Centres’ that offer little more than retail and commercial spaces. The digital world poses a threat to the spatial composition of these centres and the social cohesion of communities.

In time, shops will close, and retail giants will adapt, but social infrastructure will remain ever in demand with ongoing maintenance burdens. Here lies an opportunity for the shopping complexes to relieve the burden, forming a symbiotic relationship between the commercial and social aspects of the Town Centre.

Could the new centre become a consolidation of social infrastructure disrupting the suburban labyrinth, reclaiming and redefining the “anchor” from purely financial motives? Could the centres be “OF” the land rather than “ON” the land? Could the new co-locations facilitate serendipity at their interfaces?

Deliberately instigating collisions whether elastic or inelastic, the shopping centre morphs into a new age Town Centre. A social condenser, that brings commercial, social and community activities together through interfaces of shared nodes and functional blurring of boundaries. Makutano seeks to create a crossroads of community by challenging and recreating the dynamic between social and commercial typologies. A place to go intently, not only to spend money but invest time and energy that may result in new acquaintances as reward.

69 69

Whispering City Phnom Penh Thanouk Sok Supervisor: Vicky Lam

This project explores the intermittent decline and fluctuations of urban growth in the city of Phnom Penh that can be traced to the built fabric of the city.

The design is underpinned by research on the history of the pre-war modernist shophouses and apartments, followed by the wartime abandonment of the city and the subsequent influx of highdensity buildings around these settlements in more recent times. This results in insufficient public facilities, and amenities in neighbourhoods. This project attempts to reconfigure the rooftops and design facilities of the surrounding informal settlements around Phnom Penh's Central Market, to connect to its context.

In most private developments, segregating private space and public space is emphasised through physical barriers. Informal settlements disregard such ideas and interconnectedness between residents of informal settlements play their part as members of a closely-knit society that rely on each other.

The design process hopes to emulate a forest system - with everything living in it being relational, connected, and sensitive to its surroundings. Can informal settlements inspired by the relational nature of the forest system, provide a model for new development?

Hence, the design aims to promote a new urban growth that retains the spatial quality and social connection that these informal settlements provide to allow for greater interaction.

WHISPERING CITY, PHNOM PENH

71 71

City X Guowei Xia Supervisor: Prof. Tom Kovak

City X is a design project about future cities to solve environmental problems and social crises that we may be faced with in the future. Since human beings entered industrialisation, people have been choosing centralised urban structures for higher production efficiency for over 200 years.

Because the core area of the city can provide better resources to attract high-quality labor. However, the centralised model brings about many problems such as unbalanced regional development and unequal distribution of resources. Therefore, the current centralised urban structure is unsustainable.

The site of the project is on Mawan Island in Hong Kong, which reflects the characteristics of the centralised model. After research, I found that the decentralised city model could be an effective way to achieve sustainable development, and the main reason for people in the past to choose the centralised model is transportation cost. I used the slime mold to simulate the route and chose a multilayer Highline to connect the buildings to get an efficient transportation system. On the other hand, the land saved by the Highline can provide more space for local wildlife and plants. Finally, I set up some clean energy equipment on the building and combined it with local sustainable materials.

CITY X MAJOR PROJECT MA WAN ISLAND

FINAL PRESENTATION SUPERVISOR: TOM KOVAC STUDENT: GUOWEI XIA

Highline

Building Group

Pathway

Mawan Island

Slime Mold Simulation

Existing Transportation Hubs Connecting with Off-island

Terrain

Planned Transportation Hubs on the Island

Coastal Line

Stage 1

Stage 2

Stage 3

Stage 4

73 73

Wake Up To Make It Real Jason Manolitsas Supervisor: Patrick Macasaet

The Australian Dream of owning a quarter acre block of land has resulted in a housing condition that begins to doubt whether that dream is what anyone really wants or needs. Through questioning the traditional ideals of ownership through commercialised planning schemes, can an alternative proposition exist that gives people back more at a higher standard of living?

How can we challenge suburban sensibilities and planning regulations of property, boundary and ownership that result in the mass housing estates that currently exist? If we reimagine what the parameters are in which boundaries of ownership are generated and how we can live within them, what is the architectural language that is manifested as a result.

Through metric, ecological, and experiential drivers, the project questions these boundaries of ownership. It begins to remodel what a typical outer Victorian suburban housing framework looks like and how it operates. In contrast to current models, the project draws from site-based data and flora to generate planning schemes through the procedural. With metric interrogation into the removal of the heavy prominence of road infrastructure within current suburban hierarchy.

The architecture generated operates within a new framework of ownership, modes of living and occupancy represented by a qualitative unique vernacular and language. Response to site and opportunity result in a sustainable dialogue between intervention of a suburban systemic exhaustion and what a dream of ownership through housing can look like.

WAKEUP TOMAKE ITREAL Jason Manolitsas s3541369 The Australian Dream of owning a quatre acre block of land has resulted in a housing condition that begins to doubt whether that dream is what anyone really wants or needs. Through questioning the traditional ideals of ownership and commercialised planning schemes, can an alternative proposition exist that gives people back more at a higher standard of living?

Lot #07

Scale: 1:150

Lot #09

Lot #20

07 09

20

Communal Area Housing Detail Lots

75 75

Prospective Re-Use James Devereux Supervisor: Peter Knight

It is common practice to stage projects over time, as it is to renovate, repurpose and reuse existing buildings – but how does a project react when you merge these two strategies together?

Prospective Re-Use is a project which explores how adaptive relationships work.

The architecture which is initially erected for the forthcoming 2026 Commonwealth Games is programmed with the future use the ‘precinct’ in mind (Geelong foreshore). Moments such as this include the event space canopy which has an inbuilt gantry system - a nod to Geelong’s industrial past – allowing for flexible roof formations. Another being the highline which can disassemble a portion of itself, when pedestrian use inevitably becomes lower once the crowds of the Commonwealth Games are no longer - the seating can then be used for the public realm.

The adaptive relationships are designed to be sustainable in how they interchange, provide a foundation for either future works or future use of the spaces they occupy.

PROSPECTIVE RE-USE VELODROME

GAMES MODE

GEELONG FORESHORE

VELODROME/

POST GAMES

THEATRE

HIGHLINE

HIGHLINE

GYMNASTICS

LIBRARY

EVENT SPACE

EVENT SPACE

SKATE PARK

SKATE PARK

MEDIA

CAR PARK

ATHLETE

RESTURANT /

MUSTER

GALLERY

PUBLIC REALM PUBLIC REALM EX. CONTEXT EX. CONTEXT

TO BE RENO’D

TO BE RENO’D

GAMES MODE

POST GAMES MODE

GAMES MODE

GAMES MODE

POST GAMES MODE

POST GAMES MODE

GAMES MODE

POST GAMES MODE

POST GAMES MODE

GAMES MODE

GAMES MODE

POST GAMES MODE

POST GAMES MODE

GEELONG FORESHORE

GAMES MODE SECTION 1:500

VELODROME

ATHLETE MUSTERING

HIGHLINE

EVENT SPACE

ATHLETE MUSTERING

HIGHLINE

EVENT SPACE

GAMES MODE SECTION 1:500

GYMNASTICS

CONNECTIONS SITE BOUNDARY

FERRY TERMINAL HERITAGE HOMES

ER ST

MERC

HERITAGE BUIDLING

REET

PRINCESS HIGHWAY

VELODROME

PUB

W

ES

TE

DEAKIN

GEELONG TRAIN STATION

RN

BE

AC H

PUB DEAKIN APARTMENTS

RO AD

DEAKIN

BROU GH

AM

STRE

ET

77 77

Sanctuary Yidi Wang Supervisor: A/Prof. Graham Crist

Sanctuary is a quiet performance and consultation space in a hectic Melbourne city centre site, at the junction of Victoria and Mackenzie Street. It extends Opera Victoria’s adjacent space and transitions to Carlton Gardens through a winter garden and informal public spaces.

The architectural aim is to make spaces that can shelter physically and psychologically, providing the City of Melbourne with a space of serene atmosphere as sanctuary from the noise and anxiety of urban life. Functionally, the building’s spaces are of three types: The SMALL spaces focus on privacy as consultation rooms, consolation rooms, private reading, or rest space. MEDIUM spaces are equipped as workshop and rehearsal rooms for either Opera Victoria or community group shared use. The LARGE space is the flexible public room – an internal winter garden, and informal performance space aimed at both events and individual hanging out. A roof garden above it looks over the city and down into the glazed space.

On a busy urban street corner, this project creates a space of stillness.

79 79

Make Up the Unreal Fangxuan Zhu Supervisor: Vicky Lam

Shanghai Fake debutantes, an Internet buzzword of 2020, refers to a group of girls who share resources to make themselves appear to be living enviable lives.

At that time, I had just finished my five-year dormitory life. I share a room with up to 7 other girls in a 12 square meter room sleeping in bunks. Living very different lives at the same age as Shanghai ‘debutante’ has led me to ponder the fake culture and identity behind the fake debutante phenomenon. I am interested in the contrast between the ‘debutante’ world and the dormitory world, bringing these two very different worlds together, inserting the world of the ‘Debutante’ into the realities of dormitory life. Students can either take the fancy debutante route or the real dorm route as if toggling between being a socialite and being a student.

Similar to the make up transformation videos, reality transforms into beauty and sometimes to vulgarity through make up and filter distortions. Through rescaling, distortions and tricks, insert the unfit debutante space into the dormitory. Explore what is the real beauty and what is the crazy falsehood in this process. The overlap of the two spaces breaks the monotonous and repetitive space inherent in Chinese dormitories so that students living on different floors can enjoy different resident environments, and provide students with richer possibilities of after-school life.

Fangxuan Zhu Hebei

MAKE UP THE UNREAL

#SOCIAL MEDIA #FAKE CULTURE#DEBUTANTE#BEAUTY STANDARDS I m interested in the contrast between Shanghai fake debutante world

dormitory world, bringning these two very different worlds together, world of the ‘Shanghai Debutante’ into the realities of dormitory life.

and

inserting the

Similar to the make up transformation videos, reality transforms into beauty and sometimes to vulgarity through make up and lter distortions. Through rescaling, distortions and tricks, insert the unnt debutante space into the dormitory.Explore what is the real beauty and what is the crazy falsehood in this process.

81 81

Supervisors Semester 1, 2022 Major Project Coordinator Amy Muir Major Project Moderation Panel Prof. Vivian Mitsogianni Dr. Lucinda McLean A/Prof. Graham Crist Dr. John Doyle Amy Muir Major Project Supervisors Adam Pustola Anna Jankovic Dr. Anna Johnson Brent Allpress Dr. Christine Phillips Dean Boothroyd + Liam Oxlade Dean Boothroyd + Prof. Mark Jacques A/Prof. Graham Crist Ian Nazareth Dr. John Doyle Dr. Leanne Zilka Dr. Michael Spooner Patrick Macasaet Dr. Peter Brew Peter Knight Simone Koch Prof. Tom Kovak Vicky Lam

Students Semester 1, 2022 Akiko Bamba Audrey Adams Avi Paneth Caleb Lee Carrie Lu Changyu Xiang Cody McConnell Ekaterina Fatekhova Ekaterina Rumiantceva Fangxuan Zhu Fatin Fazira Rosly Flynn Eady-Jennings Guowei Xia Hyung Jin Moon James Devereux Jason Manolitsas Jennifer Chen Jiameng Zhang Jingwen Luo Khushbu Sanghani Lily Jiang Maia Heysen Meagan Brooks Michelle Zhang Mingxian Liu Munene Rwigi Kithinji Rebecca Boland Rhani Wijaya Riley Faulkner Ruoxing Wang Shunjie Bi Songyi Yan Taya Tahir Thanouk Sok Wilhelm Sisouw Yan Yan Yidi Wang Yiqiao Zhao