Selected Works 2020 - 2022
Portfolio Saafiyah Hussain
B.Interior Architecture (hons) B.Architectural Studies
About me Architecture, film, people, games. The new age of the built form is no longer witnesses the debate between form over function, but rather the acceptance of the effect architecture has on people, and how we as designers can perpetuate this. The basis of my interest stems from looking at architecture through the lens of a director/game designer, a speculative theory based off Keiichi Matsuda - where the viewer becomes the protagonist. This involves looking to patterns of human interaction, movement and nature. With an understanding of all of this, we begin to look at architecture as the set where the narrative takes place. My honours project focuses on how this could be perpetuated with the use of new technologies such as AR. It also focuses on how we as designers can use multiple modes of creative outlets to showcase our ideas, through video and graphic design.
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1. The In-between Civic Centre Project 2. ACT 4 Civic Centre Adaptive Re-use Project
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3. Hyperaware
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4. Sample DA documentation
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5. Graphic Design Work
Cafe and Dwelling Project
Wedding Invites and LJ10
Curriculum vitae
02 EMPLOYMENT 2021 2022
GRAPHIC DESIGNER
Ligature Journal at Tiliqua Press •
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Worked with other designers from different design disciplines to challenge stereotypes placed on print media Explored the concept of ‘Imperfection’ by taking part in collaborative discussions where different ideas were explored.
03 PROFESSIONAL SKILLS
Sketchup Photoshop Indesign Autocad ArchiCad Revit 3DS Max Rhino
2021
PEER MENTOR
University of New South Wales •
Saafiyah Hussain
Advised students in the Built Environment UNSW on how to navigate workload.
Premiere Pro
04 SELF-EMPLOYMENT
email: saafiyahhussain@gmail.com phone: 0406281998
2020
current location: Sydney, NSW current work rights: Australian Citizen 01 EDUCATION 2021 2022
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Mentored students in 2nd year Design Studio with realising their conceptual designs.
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Contributed solutions that ensured that the digital learning be as easy as possible, students confirmed that this solution enabled them to be more productive.
Bachelor of Architectural Studies
Featured on UNSW BE exhibition homepage for video exploration.
2021 2022
HEAD GRAPHIC DESIGNER
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Awarded with the Dean’s Merit list 2020.
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Placed 5th in cohort for honours studio project, with work being featured on the @ IA_UNSW Instagram page twice.
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Higher School Certificate
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FELIX OPPEN
Director at Tiliqua Press •
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0414877803
LYDIA MORGAN
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Featured in the Luminosity Exhibition 2019.
AMITY COLLEGE
Wedding Invitations + Branding
Communications and Marketing at ARC UNSW
• 2015
GRAPHIC DESIGNER
Tharunka UNSW
UNIVERSITY OF NEW SOUTH WALES
Bachelor of Interior Architecture (hons)
2019
IA University of New South Wales
UNIVERSITY OF NEW SOUTH WALES
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2016 2020
DESIGN STUDIO DEMONSTRATOR
Designed the layout of 6 issues that were released throughout the year, as the sole graphic designer. Relied on contributions for illustration content. Delegated tasks amongst design contributors and offered critical advice to ensure style of publication was kept. Managed a team of designers to keep consistency across website, magazine and social media pages.
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06 AVAILABILITY +PREFERRED LOCATION
5 days a week from Mon-Fri Preferred Location: Sydney Studio
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2021 GRADUATION STUDIO 249 BLENDE ST, BROKEN HILL NSW 2880 PROGRAMS USED:
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CONCEPT - THE INBETWEEN
Within Indigenous Australian culture, storytelling is not linear, it is about the side conversations you have along the way. These moments can be recreated in the built form through meandering spaces, to strengthen connections to each other, and build community. To emulate this narrative, as perpetuated by the Indigenous Australian form of storytelling, the built form aims create performative spaces which insights conversation. Then the idea of spectacle makes a person pause and wonder. When a passerby walks past it becomes a shared experience, and hence a conversation is formed. Storytelling is an act of performance. And to create a performative space is through the enhancing of the inbetween space to become this performance space. This concept is largely seen in the main reading room area. Hence, to amplify the in-between spaces and to then support the act of conversing is a main strategy of this project. Early Explorations of space on rhino
Click the poster on the left to view The In-between video
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Initial Concepts
Final Concept Private Areas Writers residence studio
The themes of discovery are also evident in the performative spaces
1. The Spectacle
Public Areas 2 The In-between
3. Loss + Discovery
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The final concept was taken from the In-between and merged with the ideas presented in Loss + Discovery. Whereby the user goes on a journey of loss of space to discovering a central element.
Staff Areas + Outback Letterbox entry from Blende St.
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Main Reading Room
In the final reading space, there is a strong emphasis on creating conversations as people gather around the central element which is a directly emulated by the Indigenous Australian concept of “Connection and conversation around the campfire”. This is visualised in the diagram above. The rammed earth of the walls is comprised of aggregates sourced from excavating the site, giving it the red dirt colour, synonymous with the outback of Australia 8
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The Spatial Narrative 1. A Meeting Place - Exterior space where the curve guides people to one entrance 2. A Moment of Pause - The insertion allowing sunlight in makes the user pause to look. 3. Create Conversation - These then become moments of conversation of people having the same experience 4. Perform - By browsing books and seeing people through shelving.
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2020 INTA GRADUATION STUDIO ADAPTIVE REUSE OF WHITE BAY POWER STATION PROGRAMS USED:
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CONCEPT - ACT 4
Act 4 is a centre for the revival of cinema where the architecture perpetuates a filmic narrative and guides the visitors on their own journey as the protagonist. It acts as a prediction of what the future world would be where Hollywood and social media becomes the epitome of consumption, and people begin to lose their sense of self. The sensory journey which ACT 4 provides, is to highlight the unique narratives that each individual owns and to strengthen it by allowing them to create and spectate films. By doing so, the bridge to our true culture is restored. To view what could be a persons individual narrative, click the film poster on the left. The research booklet can be found here
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Act 01 The Distribution Tower - previously the Ash Tower - is where the user is given their AR goggles in order to start their narrative. It is given to them via a robotic arm and the lighting in the centre of the circle denotes when they have successfully synchronised the AR system with the physical environment. This signals the next person to come through.
Robtotic Mechanism + AR Interface
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Act 02 The cinema space below is where patrons experience cinema through Augmented Reality (AR). This space utilises the Lens in conjunction with a vibrotactile flooring system to emulate different environments. These scenes shown here depict how the user is able to participate in the film as a charater, and experience first hand emotions. The aim of this space is to get people to understand films, so they can then create their own in the next act.
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Act 03
PRODUCED BY AN AUTODESK STUDENT VERSIO
This is where visitors are encouraged to create their own cinematic pieces of work and also encourages team work. The table are movable to foster a more collaborative experience. Once an idea has been cultivated, the user touches the Idea Wall which acts as a visual and tactile input of their ideas. PRODUCED BY AN AUTODESK STUDENT VERSION
original scale 1:5 scaled down by 75% L IFX L E D L IGH T ST RIP S
50 X 50MM WO O D STU D S
TO U C H SE N SO R DATA CA BL E
5MM A D H E SIVE L IGH T A SH CO RIA N SMA RT SU RFAC E MAT T E F IN ISH PRE - CUT.
The Idea Labs Scale - 1:100 @A1
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In-between
DWELLING + CAFE 53 AND 55 GEORGINA STREET, NEWTOWN PROGRAMS USED:
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CONCEPT - HYPERAWARE: CREATING SANCTUARY THROUGH ISOLATION OF SENSE
In a suburb bustling with noise, a place to seek refuge in is very important to the livability of the space. But what if creating a sanctuary was a community thing rather than solely an individual thing? The courtyard becomes a sanctuary not of isolation from people, but an isolation of sense. Playing with how limited sight through the use of fog (as used for the moss garden) could add to the hyperawareness of the other senses. The discovery through limited sight = sensorial experience. It initiates conversation through shared experience. The blending of these two narratives will create an atmosphere which will inspire moments of social interaction and isolation and effectively: Sanctuary.
PRODUCED BY AN AUTODESK STUDENT VERSION
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Focus Areas: 1. Master Bedrom - Parents 2. Children’s bedroom
VOID
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Ground floor plan 1:!00
First floor plan 1:100
PRODUCED BY AN AUTODESK STUDENT VERSION
VOID
The dwelling type shown here is designed with a specific family type in mind. Young families and the need for privacy is taken into account in this space. There is also a focus on light and shadow as it focuses on the heart of the home - the kitchen and by extension, cooking - as a performative action.
PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
Master Bedroom
PRODUCED BY AN AUTODESK STUDENT VERSION
Views onto communal courtyard as well as limited sight into rooms below, denoted by the arrows on the drawing to the right. This space aims to create a sense of a sanctuary by isolation, yet a person is never truly away from the main living spaces. The polycarbonate barriers also allow for the presence of a person in this bedroom to be known to the people below through the movement of their shadows that dance on the walls of 18 the ground floor.
1:20 Detail section
Children’s Room The ground floor bedroom makes use of the level change by incorporating shelving as a structural and functional element. This bedroom was specifically designed as a children’s bedroom, with the parent/ guardians room slightly visible from the above polycarbonate partition. Shelving/seating detail
Shelving/seating diagram
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PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION DEVELOPMENT APPLICATION PROGRAMS USED:
A university given DA drawing documentation set for a Class 7B to a Class 5 building with focus on BCA Section D: Access + Egress, BCA Section F: Health + Amenity, AS 1428.1-2009, AS 1428.1 -2009.
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PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSIO
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LAMISA & RIHAB WEDDING INVITES PROGRAMS USED:
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CONCEPT - BASED OFF OTTIMO HOUSE VENUE
Client had asked for a design which represented her as well as her love for her dream wedding venue Ottimo House. The design was influenced by the clients love for plants and incorporated the various flora found in and around the venue. The shape of the background on the itinerary of the invite is taken directly from the shape of the loveseat that the client would be sitting on at her wedding. It acts as a modern play on traditional nikkah invitations. These two pages are part of the final presentation to the client. Saafiyah Hussain
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LIGATURE JOURNAL ISSUE 10 PROGRAMS USED:
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CONCEPT - THE IMPERFECTION OF PERFECTION
An exploration of Annie Mckinnon’s Essay Close but not Perfect. Her essay explores how VR can never replicate reality because it lacks the imperfection humans inherently own. The design follows a similar sentiment that tells a narrative through its pages. The design first starts off very reminiscent of a computer interface, but as the pages go on, it becomes consumed by a handwritten script. This depicts the story of how the imperfection of the human hand can not be fully replicated. Below is a 3DS Max render of this idea, visualised.
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You’ve reached the end of my portfolio, I hope you got to know me a little better and,
Thank You!