Architectural Culture: New Perspectives 2017

ARCHITECTURAL

NEW

CULTURE

PERSPECTIVES

Architectural Culture: New Perspectives 2017 © ISBN: 978-0-9808689-9-9 Published for the Sydney School of Architecture Graduate Exhibition 2017.

First published in 2017 by Harvest: Fresh scholarship from the field. A Freerange Press imprint.

Sydney School of Architecture, Design and Planning, University of Sydney Wilkinson Building 148 City Road University of Sydney NSW 2006 Australia Editors Adrian Thai Arianna Brambilla Designer Adrian Thai Printer Oxford Printing © Architectural Culture: New Perspectives 2017 This book, Architectural Culture: New Perspectives, and all works depicted in it are © editors and contributors, 2017. All rights reserved.

Contents

Welcome to Ersilia Arianna Brambilla

4-5

Master of Architecture Matthew Pullinger Catherine Lassen Catherine Donnelley Mano Ponnambalam Chris Smith Michael Tawa Simon Weir

6-25

Bachelor of Design in Architecture Catherine Lassen & Rizal Muslimin

26-51

Bachelor of Architecture and the Environments Dagmar Reinhardt

52-65

Bachelor of Design in Architecture (Honours) / Master of Architecture Ross Anderson

66-69

Honours

70-79

International Studios Matthew Mindrup Michael Muir Franรงois Blanciak

80-89

Graduate Exhibition Studio Franรงois Blanciak

90-93

Tin Sheds Gallery

94-101

Student Excellence

102-109

Supporters

110-115

WELCOME Editorial

Arianna Brambilla

In Ersilia, to establish the relationships that sustain the city’s life, the inhabitants stretch strings from the corners of the houses, white or black or gray or black-andwhite according to whether they mark a relationship of blood, of trade, authority, agency.1

Ersilia is an imaginary city, one of the 50 invisible cities of Calvino.1 It is a representation of the essence of all cities; the weaving of connections and bonds made from hundreds, thousands of people. Ersilia is the inner soul of a city, a web of hyper connectivity that binds people to ideas, to resources and knowledge. And for this reason, it is why a city resists the weathering of time, while people and buildings are bound to the laws of nature.

When traveling in the territory of Ersilia, you come upon the ruins of abandoned cities, without the walls which do not last, without the bones of the dead which the wind rolls away: spiderwebs of intricate relationships seeking a form.1

Ersilia embodies the spirit of a society, its intangible qualities, living off connections and relationships. Indeed, the School of Architecture, Design and Planning has its own Ersilia, threaded from the intricate networks of students, staff, alumnus and industry partners. As future architects, students learn how to establish and nourish the connections in their own Ersilia from their inception to the School.

Architecture is a particularly strong framework that connects between different worlds: concept and design, culture and society, imagination and reality. This is powerfully evident in the graduation works, with architectural thoughts realised in wholly unique and distinct propositions. The projects that students have undertaken, in the opportunities and limitations they have provided, represent a forging of connections between different cultures; new perspectives that challenge the accepted

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standards. Akin to that of a spider weaving its web, an intensive and difficult task that conceives immeasurable beauty as a final outcome, the students in their graduation works seek to intertwine new strings, producing outstanding works that represent the culmination of years of architectural prowess. There is a delicate synthesis of interdisciplinary knowledge that creates profound and thoughtful speculative spaces that blur the boundaries of reality and the imagined.

The 2017 graduate exhibition is an exciting journey between architecture and culture, showcasing work produced by students from the Master of Architecture and the Bachelor of Design in Architecture degrees, and for the first time, the Bachelor of Architecture and Environments degree. The exhibition concept gives thought to the foundational form of the city, extending the traditional architectural limits beyond our Ersilia, that of the walls lining the School’s building, towards something greater, something substantial and significant. In contrast to Calvino’s city, the School is vibrant and forever evolving; it equips students with a world class education that promotes creativity, problem solving and critical thinking. Our architectural research and design challenges us to ‘unlearn’ what we already know about the world around us, and to imagine new perspectives that dispute the status quo.

We thank the students for their unwavering passion, dedication and efforts throughout their educational journey. We also thank all our colleagues, our tutors, alumnus and industry partners for their ongoing support and enduring contributions in confirming the strong bonds, and weaving new ones, in the intricate architectural nets of our evergrowing Ersilia.

It is with immense honour and delight that we launch the review of this year’s work, hoping that it will be the first step in a brilliant career for our graduates. This Ersilia will always be here treasuring the web of connections created by our students. Now it is your turn to give them a form.

Italo Calvino, Invisible Cities (1972)

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ERSILIA

MASTER

OF

Andrew Hogan, Link

ARCHITECTURE

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Master of Architecture

Bays Precinct Renewal

MARC5001 Semester 1 2017

Matthew Pullinger

Students Ian Thomas Borg Shook Qing Chia Kurt Denys Ha-Sun Katherine Lilly Harbison Andrew Hogan Junzhou Jiang Siddharth Kumar Yingzi Li Alexandra Luu Kun Lyu Alexander Henry Nankivell Junyi Pan Alessandra Sergi Chanel Kai En Wong Yu Zhang Yan Zhuo

The notion that an 80-hectare ‘blank space’ could exist in Sydney – at the centre of Australia’s only global city and home to 5 million people – is erroneous.

Challenging students to understand the metropolitan systems, politics and patterns of urban development, we asked each one to further structure a design response to the Bays Precinct, encompassing the full extent of the site – including Blackwattle, White and Rozelle Bays.

Through careful observation, and questioning of the site and the city beyond, students studied the underlying natural systems – the flooded river valley, creeks, vegetation types, topography and geology – and then the overlay of cultural, social and political deposits – from indigenous occupation of the site through to the present tangle of roadways, concrete aprons, contaminated land, industrial relics and highly contested politics. Via this analysis, students framed the city’s expectations for the precinct and, importantly, how these needs might best be met.

Working in groups to propose a master plan, each student then selected a site and developed an architectural project. Encouraged to proactively respond to default economic and development models currently employed in Australia and throughout the globe, students designed a procurement and delivery process to support their broader design objectives.

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MATTHEW PULLINGER UNIVERSITY OF SYDNEY ARCHITECTURE 2017

for an adaptive reuse of the White Bay Power Station as a sustainable energy storage facility, and a waste and water treatment plant that could recycle the city’s waste products and convert them into reusable resources. The design ties in these renewable processes with a transport hub and a public plaza to become the new beating heart of the city.

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(Above) Andrew Hogan ‘Link’. The first stage focuses on a new master plan for the Bays Precinct. The design posits a new innovation district on the Glebe Island peninsular as an archtype for high density, mixed use living, presenting the potential for denser residential living and employment, the leverage of mass transit, and re-population of urban cores. The second stage features a proposal

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Master of Architecture

Hyperfunctionalism

MARC5001 Semester 1 2017

Catherine Lassen

Students Jingyi Cai Shi Chen Sarah Creedy Lachlan Finn Allan Michael Follett Matthew Haddrick Ziyi Huang Xiaocan Li Thomas Loosli Diana Misenkova Hugh Nagle Sarah Wangyue Ouyang Ana Subotic Colebee Arthur Wright Ling Zhai Jiayue Zhang Anthony Zonaga

Increasing unaffordability of home ownership in globalised cities such as Sydney, now the second most expensive city in the world to buy property, has prompted claims of crises in this domain, bearing on planning, economic, ecological and cultural thinking.

Radical housing proposals by disciplinary figures ranging from Le Corbusier and the Russian Constructivists, Alison and Peter Smithson to the Japanese Metabolists, provide important historical context for developing an architectural position in relation to collective shelter. Recent architectural exhibitions at MoMA such as Uneven Growth: Tactical Urbanisms for Expanding Megacities (2015) and Foreclosed: Rehousing the American Dream (2012) highlight a demand for today’s architects to formulate knowledgeable strategic responses to future habitation patterns.

Working between critical analysis of past and present exemplars and a search for speculative ideals, this investigation tested exploratory higher density modes for dwelling in Sydney. Combining pragmatic and ideal criteria, students posed individual frameworks that nominated a range of performance expectations for their architectural projects, aiming for multiple, coherently related functional strands.

Minimal expectations that maintained individual privacy and amenity with adequate natural light and fresh air were encouraged in conjunction with organisational systems that privileged economy and flexibility of use. Speculative models posited in critical or theoretical response to studied examples were further possible.

Within the (2016) winning ‘Kensington to Kingsford’ master plan, students selected sites in productive alignment with their proposed range of hyperfunctional criteria.

Working in each of these chosen urban and disciplinary contexts, architectural designs were individually developed.

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CATHERINE LASSEN

GROUND FLOOR PLAN

LANE

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SITE 02

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PD AC

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MODULE DESIGN + TILING

ANZAC

PARADE

Living Vs. Retail Space

master plan, the project proposes a system of living and working built into the existing subdivision pattern of the two suburbs. The system represents a symbiosis of traditional apartment housing sold for profit and subsidised living similar to shop top housing. Here communal living quarters intermix with retail space, allowing the inhabitants an opportunity to engage with the economy in a meaningful and sustainable way.

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(Above) Ana Subotic ‘Precariat Social Housing’. ‘Precariat Social Housing’ proposes a radical new way of thinking about social housing. Built on the research undertaken by professor and economist Guy Standing, the project explores the architectural implications of housing what Guy Standing calls the ‘new proletariat’ – underprivileged workers, often over-educated and underemployed, who are pushed into precarious employment. Working with the new Kensington to Kingsford

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

HOUSTON

Master of Architecture

Xenophilia

MARC5001 Semester 2 2017

Simon Weir

Tutors Catherine Donnelley Mano Ponnambalam Chris Smith Michael Tawa Simon Weir

In ancient Greek literature, forms of the word xenia (ξείνία) are fairly common but the word has no direct translation into English or Latin. The Greek word relates to ritualised codes of hospitality, and depending on the context, ξείνία is often translated as host, guest, friend, foreigner, stranger, or mercenary, or into reduced forms like man or you.

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

The root has survived in English mostly in its negative form, as xenophobia, fear of the strange and foreign. Yet architecture, and certainly all forms of public architecture, should be engaged in precisely the opposite, thus this studio begins with the rarely heard word, xenophilia.

First, we must refuse the two over-simplified inversions of the phobia – an affection and attraction toward the strange, and hence a latent dislike of the familiar – and return to something akin to the original Greek conception: generous hospitality toward strangers. In architecture, the familiar stranger divide refers not only to those of local and foreign nationality, but more intimately to the occupiers of the building and the public inhabiting the shared domain of the street. The measure of architecture’s xenophilia is the generosity that it shows to the public domain.

This socially inclusive aspect of xenophilia connects ethically and historically to the formation of the original Greek democracy and the vast production of perennially famous public architecture. Thus the core aims of this studio are to find, encounter and invent a xenophilic public architecture for the precinct around Sydney’s Oxford Street.

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UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Kingsley May, The Peoples House

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CATHERINE DONNELLEY UNIVERSITY OF SYDNEY ARCHITECTURE 2017 14

(L) Kevin Heng ‘Ideaotheque’. Humans are born isolated in mind and emotion from one another. What we can think and what we can feel are split, tied only by our capacity to communicate. The internet serves as our greatest form of communication in this epoch. It serves as an invisible tie, potentially linking every human being together. Maintaining the neutrality of the internet is as fundamental as the neutrality of light or water. The ‘Ideaotheque’ Sydney attempts to conquer the two oppositions against the internet; Access and Interface. Furthermore it serves to manifest the internet as a monument of society, a figurative bond housed within the public spaces and data centres of the ‘Ideaotheque’. The drips and echoes of light and water throughout the building serve to ground other ephemeral qualities whilst the shadows cast remind users that remnants of themselves are forever drifting though the internet.

(R) Benjamin Charlton ‘Sydney Recomposition’. Death is an inescapable, fundamental component of life. Without death there is no life. Despite this, contemporary Western culture has pushed death out of its cities to the periphery where it can be ignored as a manageable inconvenience of life. This sanitised, safe version of death that we have crafted starts to crumble when we understand its psychological and environmental impacts. 160kg of CO2 is released for each body burned via cremation and traditional burial uses up to 2.4 million litres of embalming fluid, which contains toxic chemicals such as formaldehyde, per year in Australia. This project investigates how Katrina Spade’s Recomposition on model, in which human corpses are composted in a compact urban structure, could be implemented in the Sydney context whilst creating a secular sacred space capable of addressing a new relationship with death.

CATHERINE DONNELLEY

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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MANO PONNAMBALAM UNIVERSITY OF SYDNEY ARCHITECTURE 2017 16

(L) Gemma Sedgwick ‘Secular Respite’. In the spirit of xenophilia, the concept aims to provide a sense of community with an introspective yet collective focus: a sanctum of contemplation where strangers share one journey. Constructed as a series of spaces that orchestrate movement and celebrate light, the building’s inward focus offers a brief hiatus from the city. With seven rooms including a prelude, counterpoint, conservatory and cloister, each is experienced consecutively, gradually shifting focus from the collective to the individual. Rather than a labyrinth, the path is clear to its users, using sight lines to encourage exploration not hesitation. Through synchronising movement, this shared experience establishes common ground, inspiring kindness towards strangers through moments of interaction. (R) Isabell Grady ‘Palmer Street Playground’. A

gift or mystery box can be seen as an open door through which the act of xenia flows. Oxford Street for many people is a place to be intimate, a place to party and a place where anything is possible. By exploring how the mystery box works in architecture, a space is composed where individuals are inspired by infinite potential. The intersection of childcare and nightclub programs challenge and examine the juxtaposing of day and night social occurrences on Oxford Street.

Whether it is a walk down a long corridor, waiting in line to enter a nightclub or a child peering down Alice’s rabbit hole, suspense becomes the catalyst for discovery and learning. My project encompasses the slow unwrapping of an architecturally xenophilic gift, as one enters into a wonderland, a playground of dreams.

MANO PONNAMBALAM

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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CHRIS SMITH UNIVERSITY OF SYDNEY ARCHITECTURE 2017 18

(L) Ashhar Khan ‘Place Of Dignity’. ‘Place Of Dignity’ is an exercise in architecture based on the concept of Xenophilia which stems from having empathy for the unknown object or person. Being able to give back to the community, to the people who need it most, was the vision that drove the design project. Many of the essential amenities of modern life that we take for granted are unaccessible to the homeless. Their daily challenges of survival inhibit their attempts to reintegrate into society. The project is a formulated response, an alternative solution to provide services vital to the short-term needs of the homeless while also assisting in their long-term rehabilitation. The architecture facilitates its occupants through different programs of physical cleansing, bodily nourishment and training of the body and mind to promote a sense of community,

responsibility and independence. (R) Xue Li ‘Empty Intellect and Body Sensation’.

The bath house aims to empty the intellect and restore a peaceful tranquility via a sensory journey through internal spaces. The translucent change room is the beginning of journey, where the exposed nudity becomes the image of the lane. Bodies come out of change room, walk on the lane towards the bath. Light, water and spatial heaviness are important sensory elements within this project, which undresses the visitor’s thoughts and submerges the body in water. A solid stone wall distinguishes public and private pools, where small apertures puncture through to generate different views of the other bathers’ body parts. The scheme becomes an interplay of public and private, fluidity and solidity, body and earth.

CHRIS SMITH

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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MICHAEL TAWA UNIVERSITY OF SYDNEY ARCHITECTURE 2017 20

(L) Abtin Shahverdi ‘Media Centre’. The media distributing news can be purported to play a significant role in how communities regard each other. The more comprehensive and accurate the news is, the more profound and less stereotypical inter-community recognition can be realised; the matter which might contribute to a transition from xenophobia to xenophilia. Taking this into consideration, the proposal establishes a ‘Media Centre’ comprising of a news agency that embodies a space where news is displayed along with distributing it globally through the cyberspace. These are aimed at providing audiences with an alternative viewpoint on what is occurring across the globe and consequently a comprehensive and accurate recognition of it. (R) Cynthia Batisan ‘Porositic Art Network’. This project aims to explore the permeable capacity of the site in

opening up potential areas to create new networks and uses. Cities are usually overpowered by capitalism where people build areas for profitable purposes, neglecting the growing need of consumers, residents and employees for public spaces. Due to limited land in the project site, maximising space inside and outside the building and air space seem to be the ideal way to open these desired networks. The project also aims to give these spaces back to the public using the established connecting network. These provide a series of spaces for any type of political, abstract, sculptural, local and contemporary art, free for the public to see. The artworks are arranged in transition zoning coordinated with the architectural design of the structure creating a new way of experiencing art with the city.

MICHAEL TAWA

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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SIMON WEIR

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(L) Steven D’souza ‘Phronesis, a place for the spirit and body’. The concept of xenophilia is grounded in the notion of the guest and host, a relationship between strangers. Within a contemporary urban context, public architecture must serve to become a host to its most important guest, the individual within the city. The city can be viewed as a ‘forum for action,’ as well as ‘a place for things,’ and therefore public architecture must embrace this duality, its role must be to educate people in both the spiritual and rational. My building seeks to develop the introverted and extroverted aspects of each of Aristotelean knowledge; Episteme, Techne, Phronesis, Sophia and Nous through formal and spatial relationships.

The building embodies xenophilia through program, spatial and formal elements, inviting the public into an oasis within the urban fabric for self-development through education. (R) Kingsley May ‘The Peoples House – The Performance

of Interaction; The Dance of Debate’. ‘The Peoples House’ is a direct reaction to both the enduring conflict of democracy and the current social and political climate. Evident in recent international events, public debate has evolved to rely less on articulate argument rather thriving on the spectacle of ‘untruths’ and ‘fakenews’. It favours the hounding of those with whom we disagree and suppresses the voice of unpopular opinion. It is in this disfiguration of public discussion, we find ourselves headed toward a fractured, xenophobic society. ‘The Peoples House’ is a primarily public space that supports the education and practice of discourse.

Toeing the line between Sydney’s formal and informal democratic spaces, the architecture observes the merging of classical and contemporary forms, spaces, and materials to create environments that are concurrently tensive yet familiar.

The voices of a diverse nation are played out in a new forum – The Peoples House.

SIMON WEIR

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UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Master of Architecture

Student Index

MARC5001 2017

Semester 1

Semester 2

Catherine Lassen Jingyi Cai Shi Chen Sarah Creedy Lachlan Finn Allan Michael Follett Matthew Haddrick Ziyi Huang Xiaocan Li Thomas Loosli Diana Misenkova Hugh Nagle Sarah Wangyue Ouyang Ana Subotic Colebee Arthur Wright Ling Zhai Jiayue Zhang Anthony Zonaga

Catherine Donnelley Benjamin Huw Charlton Unjai Choi Jessica Molly Cohen Phillip Graham Kevin Heng Ji Hoon Hong Luke Anthony Johnson Fook Hong Timothy Lee

Matthew Pullinger Ian Thomas Borg Shook Qing Chia Kurt Denys Ha-Sun Katherine Lilly Harbison Andrew Hogan Junzhou Jiang Siddharth Kumar Yingzi Li Alexandra Luu Kun Lyu Alexander Henry Nankivell Junyi Pan Alessandra Sergi Chanel Kai En Wong Yu Zhang Yan Zhuo

Mano Ponnambalam Miranda Qiqi Chen Haoqi Gong Isabell Jane Grady Eric Hu Ali Akbar Khan Wendy Lam Gemma Grace Sedgwick Dao Min Wong Yi Wu Shu Yang Yuebo Yuan Chris Smith Menglong Chen Sharon Cheuk Yao Cheong Qiqin Feng Jingyi He Suzanne Charlotte Hendry Ashhar Ateeq Khan Xue Li Wensi Liu Kumuthini Ravindra

Michael Tawa Cynthia Batisan Amelie Devaux Matthew Hunter Thomas Larkins Shuoyi Li Abtin Shahverdi Tasman Shen Jennifer Yung Chun Su Ho Hei Yick Simon Weir Steven John D’souza James Cameron Ellis Samuel Jansen Green Harriet Kensell Jing Liu Kingsley Lachlan May Adela Hil Yu Ngui Cassandra Amrita Prasad Yi Wu

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UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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BACHELOR

IN

OF

DESIGN

Tamiru Kawashima, The Pavilions

ARCHITECTURE

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Bachelor of Design in Architecture

Domain Threshold

BDES3027 Semester 2 2017

Catherine Lassen & Rizal Muslimin

Tutors Sean Akahane-Bryen Mitchell Bonus Anna Field Deborah Hodge Alexander Jung Ivana Kuzmanovska Jennifer McMaster Mahroo Moosavi Thomas Stromberg Michael Tawa

On the eastern edge of the Sydney Domain, behind the Mint on Hospital Road, students proposed a public space for discussion, display and performances. Seeking to strengthen connections between the Domain and Macquarie Street, this speculative design exercise investigated an architecture interrelated with the adjacent symbolic landscape or urban void, as well as the parallel dense city grid.

Particular attention was paid to ‘communication’ techniques of architectural representation to conceptually clarify design direction as well as generate new prospects. Through the iterative re-drawing and re-making of what one ‘sees’ and ‘reads’ students were asked to isolate particular architectural components or strategies, leading to a precise yet abstracted, open-ended depiction of a studied architectural work or urban context.

As part of this process, close studies of Utzon’s architecture provided an opportunity for computational design thinking from first principles. Design discipline evident in his work spans numerous scales, ranging, for example, from broad organisational decisions to detailed prefabrication ambitions. Conceived as parametric, thoughts that inform geometry can be seen as connected to attitudes towards the program and structure, extending to performance requirements such as acoustics. Framed as rule governed, his methodological process afforded a context from which to imagine fresh possibilities.

Strategic clarification through parametric schemas offered students extended tools for establishing an internally coherent new framework; explicit representation helped promote intuitive-driven designs toward realised intentions.

Structural and material thinking was encouraged in alignment with students’ design priorities; part and whole were seen as continuously interconnected. Within this framework, the building was considered in relation to its larger urban ambitions and historical setting. Speculative architectural thought conceived via multiple modes of making helped to frame intelligible, inventive, doubly digital and material propositions.

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UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Caitlin Condon, Space as Canvas

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SEAN AKAHANE-BRYEN UNIVERSITY OF SYDNEY ARCHITECTURE 2017 30

(L) Cassie Brigden ‘Two Community Theatres’. This proposal introduces two theatre typologies lacking from Sydney’s theatre landscape, a traditional outdoor amphitheatre and an underground transverse theatre with a central linear performance space. The remaining program elements are contained within a tower schema that acts as a microcosm for the city. A light envelope of translucent skin surrounds a vertical series of indoor-outdoor floor plates, containing individual programmatic boxes and voids characterised by patterns of function and circulation. The multi-functional collection of public and private spaces is flexible to the needs of Sydney’s growing cultural community and

a continuity of the city’s urban fabric. (R) Connie He ‘Between Anchors’. A scattered composition of twenty one anchors sink into the earth, establishing the outsets that orchestrate a controlled chaos of fragmented geometries. Each point characterises a specific threshold typology defined by a series of parametric rules, generating a journey through a performance of harmonious transitions. Through the arrangement of frames that form around each anchor, frequent moments of convolutions within the plan create a series of junctures, providing opportunities for interactions within the segmented program.

SEAN AKAHANE-BRYEN

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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MITCHELL BONUS UNIVERSITY OF SYDNEY ARCHITECTURE 2017 32

(L) Nazgol Asadi ‘Hidden Ballet Theatre’. The site of the project is located in an area which creates two kinds of human experience. One section contains high-density buildings with minimum open area, whereas the other side is completely open and public. The project site is on the edge of this transition, allowing for an opportunity to create a connection between these two parts. The building seamlessly blends into the Domain while the Domain becomes part of the building. The columns at the ground level blend into the trunk of trees and the upper level hides behind the canopy of the trees. The balcony above creates a framed view through the trees into the Domain. (R) Julia Georos ‘A Soapbox for Sydney’. For two-hundred years, the social, cultural, political and economic

institutions which have established today’s Sydney have predominantly been carved out of the Domain. Bounded by Hyde Park Barracks, the Mint and Sydney Hospital, my proposal for a new theatre and exhibition precinct aims to capture the history of the site and invent a new civic institution for our city’s artists and political activists. An amphitheatre and stylobate signify the key performance and exhibition spaces, grounded above a podium containing artist residences and workshops, public forum places, exhibition, admin and hospitality spaces, all constructed in sandstone. Above, lightweight steel structures shelter the site.

These roofs are impermanent, changing year to year as new artists and architects make their mark on the precinct.

MITCHELL BONUS

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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ANNA FIELD UNIVERSITY OF SYDNEY ARCHITECTURE 2017 34

(L) Sarah Gan-Brown ‘Urban Choreography’. Utzon often drew inspiration from the way pedestrians moved through space and for the Kuwait National Assembly he recognised that people traditionally moved across the land. He then rejected the idea of a skyscraper, where travel occurred vertically, and created a dramatic pedestrian experience around a horizontal path. Realising that visitors to the Sydney Living Museums are encouraged to lose themselves in the urban fabric, my design operates as a series of interventions. These insertions are positioned around the foundations of the demolished building and bring the performance onto the street. Here the site is celebrated as the existing architecture forms the stage-set to the pedestrian performance. (R) Luke Hannaford ‘Skins’. A

new theatre and exhibition space is proposed at the threshold between Sydney city and the Domain parklands. Situated on this limit, the proposal generates a ‘performance landscape’ that perforates the dividing band of colonial buildings, blurring the boundary between city and park. Utzon’s principles of ‘additive architecture’ provided an initial lens for the project, informing a series of rigorous mappings of the Domain as a field condition. In response, the project creates an inhabitable perimeter, framing a series of flexible skins that operate within a dense tree grid and provide the necessary performative functions of the various theatre spaces.

ANNA FIELD

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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DEBORAH HODGE UNIVERSITY OF SYDNEY ARCHITECTURE 2017 36

(L) Lisa King ‘The Forum’. In a visually busy context, this new building responds through contrast – the pure simplicity of its form and colour – stark white bricks precisely crafted in a sheer and monumental way. It seeks to reflect and honour this same context, the play of gloss and matte finishes in its elevations, the sunlight emerging through the trees in the Domain, the almost mosaic detail of The Mint and The Barracks’ original sandstone, and the simple rectilinear forms of the new additions to The Mint and Sydney Hospital. The building itself aims to act as a conduit for the passing of knowledge, a ‘Forum’ for architecture in the city. One space, yet many. Accessible to all. Crafted, as the Opera House podium was, by the circulation of people through the building. (R) Emily Malek

‘In Conversation with the Ground’. Our cities are often vertical, linear spaces operating on a single plane. Our eyes must travel upwards to see their form explode in the space above far our reach. Here the theatre is pulled into the earth allowing the ground plane to operate on a human scale; enticing interaction. The performance begins playfully on the ground above, arousing our excitement. The theatre’s dramatic descent encourages us to leave the city behind and enter a new realm. The manipulation of the ground plane blurs the interface between useable and unusable space. A space previously unrealised has been activated, bringing forth a new way of experiencing the site, dissolving the city scale; whilst simultaneously choreographing a new potential for performance.

DEBORAH HODGE

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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ALEXANDER JUNG UNIVERSITY OF SYDNEY ARCHITECTURE 2017 38

(L) Vladislav Trofimov ‘Domain Performance Centre’. Pedestrian circulation between the heritage institutions along Macquarie Street transition through large open spaces, tight alleyways and courtyards. The project creates a spatial experience of compression and release in movement between Martin Place, St James Station, Hyde Park, the Domain and the Art Gallery of NSW. The diagrammatic expression of compression and release forms the spine of the proposal with programmatic elements inbetween the circulation. The spine forms ramps, seating and shelter, accentuating circulation between Macquarie Street and the theatre spaces at the rear. Analysing Utzon’s use of the section and platform generates a strategy of an adaptive skeleton, which in plan and section adapts to the changing programmatic needs of the theatre. The architecture

forms an interactive gesture forming a permeable transition between landscape, city and the program. (R) Dayie Wu ‘Untitled’. From a spectrum of monotonous modularity to multi-faceted spatial perception, the project draws from the study of Konrad Wachsmann’s design philosophy as well as his ‘Dynamic Structure’ model. The potential of modular assembly is the focus point as the project adopts an extension of this sophisticated pre-fabricated modular system to weave an innovative network structure with a secondary and tertiary skeleton system, vessel system as well as a skin system. Reminiscent of architectural biomimicry, the interplay of physical transparency, reflective illusions and absent volumes within the interior spaces enhances the complexity and continuity to invert spatial expectations compared with experiential reality.

ALEXANDER JUNG

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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IVANA KUZMANOVSKA UNIVERSITY OF SYDNEY ARCHITECTURE 2017 40

(L) Emily Flanagan ‘Spotlight’. An observer becomes a performer when under a spotlight. This is an exploration of the consuming focus created by a theatre spotlight when manifested in architecture. A series of focal moments create an architecture of fragmented and suspended experiences, exploring the relationship between observer and performer and the point at which this flips.

In highlighting an individual, a spotlight places them in a position of prominence.

With prominence necessarily comes responsibility, and with responsibility, an awareness of self within a wider social network. Therefore, spotlighting an individual is reconstituting their relationship with the whole. (R) Nick Woolley ‘Periphery’. Our city is culturally bankrupt. Now made in the image of

government and developers, the city sells its past for a short-sighted future, privatising what little public space remains. ‘Periphery’ proposes a mediation, a space both within and without, an architecture that allows for introspection whilst simultaneously observing our surrounds as a basis for debate, communication and rebellion. A curvilinear polycarbonate canopy draws inwards from its extremities, meeting a continuous brick topography to create pockets which embrace without restricting. Together, these fragments act as medium rather than endpoint, a framework for fostering culture whilst promoting self-critique, returning agency to its rightful owners, inhabitants of the city. The periphery does not remain silent.

IVANA KUZMANOVSKA

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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JENNIFER MCMASTER UNIVERSITY OF SYDNEY ARCHITECTURE 2017 42

(L) Caitlin Condon ‘Space as Canvas’. This design aims to create an open public plaza that becomes a canvas for artistic intervention and space where public life, art and place engage in a collaborative dialogue. Located in a culturally charged site on the precipice of two of Sydney’s defining typologies — the city and the harbour— the area is an inherently interesting space for artists’ to celebrate our city and contribute to our sense of identity and place. In response to Uzton’s investigation of the relationship between the circle and the grid, the design extracts these geometries from the immediate context and re-interprets them to create interesting spaces that provoke innovative curatorial responses. (R) Brennan Clody ‘Jazz Garden’. A product of vast emotional range, the Jazz genre

yearns for spaces that cater to the extremely intimate, as well as the celebratory and formal. Hence the idea of the counterpoint – indeed counterbalance – finds its way into an architectural form that can be used by large groups, the soloists, the users of the park, the workers of the city, the listener, and crucially; the jazz musician. ‘Jazz Garden’ sits heavily with its white masonry blocks only to be lifted by planting; a scheme built upon the equal proportion of flower to stone. The architecture is a conversation, it is an exchange, it has the potential to break the structure of the city down, and it is constantly ebbing and flowing with the seasonal patterns of bloom – it is a monument to the emotional being.

JENNIFER MCMASTER

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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MAHROO MOOSAVI UNIVERSITY OF SYDNEY ARCHITECTURE 2017 44

(L) Miriam Osburn ‘Bodies/Ground’. This proposal explores the permeation of the ground plane by bodies in kinesis. Responding to Utzon’s use of the horizontal threshold as an influence on movement, the design aims to evoke awareness of the ground mass as a mediating plane within the urban context. Performance exists as a transient intervention in space, with bodies engaging and interacting with the spatial container. At each permeation of the ground plane, the body is engaged in movement and tension, creating evocative potential for performance at all points of threshold. The resulting spaces facilitate an innately temporal performance which responds to its architecture through movement. (R) Tamiru Kawashima ‘The Pavilions’. The translation of Delueze and Guattari’s six principles

of rhizome informs an architecture void of hierarchy. In conventional arborescent architecture, walls and doors are the tools used to enforce hierarchy and the distinction of space – they are obstructive elements dictating circulation and boundaries. This intervention proposes a modular strategy composed of operable panels subverting the fundamental notion of a wall. Modularity accommodates evolution necessary for a rhizomatic system whilst simultaneously generating a highly versatile non-site-specific architecture. The result is a radical intervention scattering mass laterally, juxtaposing the arborescent context and establishing an infrastructure with countless applications and configurations.

MAHROO MOOSAVI

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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THOMAS STROMBERG UNIVERSITY OF SYDNEY ARCHITECTURE 2017 46

(L) Miles Dean ‘Spolia’. By investigating what it means for architecture to be public in this immediate and extended urban fabric, the program is constructed through intentionally stolen typologies. It answers to the city’s verticality, defined by an activated ground plane, arrays of identical floors and a symbolic crowns. A new tower set off from this body floats above an inverted podium that reflects inwards and upwards with the body of the building both its canopy and stage.

Classical tectonics of surrounding architecture is bastardised again with faux sandstone columns controlling light and aspect in response to conditions both internally and externally, thus creating a transparent and performative threshold as a direct criticism of the glass and steel box. (R) Chaoran Ni ‘The Floa†ing’.

“From the beginning I knew my destination, and I chose my route accordingly. But am I working towards an extreme of joy, or pain?” Our city is huge. Buildings are constantly reused, re-designed or demolished, with countless resources being expended in the process. There lies a perennial question; as an architect, how can resources and effort be maximised in order to develop better spatial experiences?

What sort of innovative technologies can be used in the process? The answer in this project is that of alluring moments that are generated by different spatial experiences, allowing viewers to take away vivid and precious memories. “I know how this story ends; I think about it a lot. I also think a lot about how it began.”

(Quotes from ‘Stories of Your Life and Others’ Ted Chiang)

THOMAS STROMBERG

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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MICHAEL TAWA UNIVERSITY OF SYDNEY ARCHITECTURE 2017 48

(L) Blake Davis ‘Primitive Contemporary’. This project grew out of the pure masonry, primitive forms and augmented idealism of Jørn Utzon’s Can Lis. The centre seeks to be seen as a ‘primitive contemporary’ building – the basic classical elements of architecture arranged for modern use, while insisting on traditional craftsmanship. Here the column, masonry wall, pediment and axial plan are taken and gently distorted to the demands of the site and a modern program. It seeks to do this on their own terms, not as a post-modern pastiche. Just as the Mint and Hospital nearby show their significance in their architecture, this project seeks to endow similar gravitas on the arts. (R) Sophia Swift ‘A Space Above’. ‘A Space Above’ plays with the implied space of a roofline and its effect on our subliminal

wonderings. Utzon’s Herning Prototype breaks from a functionalist uniform as the roofline takes off above a constant horizon. It is whimsical in this way and yet stoic in its emphasis on where we are – we are human bodies standing between the two most universal elements, earth and sky. When we consider this question of where we are, in relation to the Domain, we are confronted by the solidity of a civic edge that the site creates with the monumentality of Macquarie Street, the towers of the CBD and the mass of an open field. My project acts in antithesis to these qualities shifting our relationship with the sky and the city. We question these spatial relationships as the notion of a roofline becomes a continuous and habitable surface for immersive public performance.

MICHAEL TAWA

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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Bachelor of Design in Architecture

Student Index

BDES3036 2017

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Sean Akahane-Bryen Cassandra Brigden Seungcheol Choi Sophie Grainne Jean Corr Joshua Thomas Grasso Connie He Noor Hiwa Hermz Jack Hubbard Lawrence Fei Fan Liang Kenny Lin Geoffrey Liu Mary Peters Haochen Sun Hung-Chih Wu Li Yang Hanqiu Yu

Anna Field Jordon Dov Blanket Serena Fay Bomze Philip Che Melanie Lorraine Chow Henry Foley Sarah Chun Chu Gan-Brown Luke Wills Hannaford Ani Hoxha Cathleen Jia Hui Lin Ali Megahed Abdul Nasir Harry Stitt Hualin Teng Zita Michelina Walker Florence Hua Min Zhu

Mitchell Bonus Nazgol Asadi Shicheng Bai Walter Stuart Boyd Olivia Grace Britt Yunyi Fan Tze Kang Wesley Fong Julia Georos Andrew King Khoo Zheng jiang Li Lucy Patricia Sharman Jing Sun Xinrui Wang Zimba Gyeltshen Wangchuk Ze Wu

Deborah Hodge Xinyuan Feng Eliza Jane Fulham Wenqian Gao Eva Hammans Sandra Ho Lisa Anne King Elizabeth Emma Lee Siyong Liao Yujing Liu Bichen Liu Emily Clare Malek Ella Rose Scanlan-Bloor Nehal Singh Adam Tao Zong

Alexander Jung Atheer Bassil Al Khmesi Stephanie Cheung Li-Hsien Lee Mauricio Lopez Castaldi Jeremy Hao Luo Owen Olthof Vladislav Trofimov Jarrod Van Veen Yue Wang Andrew Wu Dayie Dylan Wu Shuangshuang Xu Qining Yang Rui Xin Ray Yue Ivana Kuzmanovska Rachelle Abou Saleh Jordan Michelle Aitken Ben Ding Yunn Chen Charles John Cummins Emily Louise Flanagan Song Gao Jacob Ryan Levy Vanessa Jingyi Li Georgia Nicol Lucy Xin Rui Nie Yilin Qiu Katrina Louise Texilake Justin Andrew Van Ryneveld Nicholas Woolley Shiying Xie Oi Ting Yeung

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Mahroo Moosavi Asmaa Al Hashimi Matthew Damian Brooks Guobin Dai Negar Dehghan Ziyun Gao Jewel Xiao Jue Huang Alexander Santo Ilardo Tamiru Xavier Kawashima Emily Yuet Lau Veronica Yolanda Morales Corrales David Peter Moss Christie-Anna Nguyen Miriam Jean Osburn William Stephenson Liying Tan Boqun Wang

Thomas Stromberg Guang Yu Chen Miles David Dean Michelle Xue Feng Alex Forbes Khulan Gankhuyag James Graham Eliza Mary Hawthorne Jingwei Li Andrea Michael Chaoran Ni Maddison Roseman Nicola Shear Nathan Souriyavong George Stavropoulos Elise Joy Vollugi Michael Tawa Zeinab Allam Joshua Cai Marianna Carr Blake Davis Evgeniya Egorova Pok Him Fung Jamie-Lee Garner Zhe Hu Eveline Patricia Husandy Linda Xiao Xia Lin Katie Louise Riley Matthew William Roll Lucas Rusiecki Sophia Swift Christian Tilia Zhongxiao Wu

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Jennifer McMaster Azwad Akram Somar Simon Alhajali Beatrice Bursa Brennan Clody Caitlin Condon Nicholas Hartley Angela Wing Yan Kwong Xuhui Lin Shengyang Lu Alishba Rubbani Dale Schoon Yuzhong Shi Dylan Jacques Stuntz Samuel David Ian Treharne Yanwen Zhang Siyun Zheng

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BACHELOR

AND

OF

ARCHITECTURE

Nayanthara Herath, Creatives Playground

THE

ENVIRONMENTS

Bachelor of Architecture and Environments

Notes on Education

Dagmar Reinhardt Architectural practice is an exciting and increasingly complex field of operation, due to the changes and specifications in the nature of the profession. The role of the architect remains critical to the production of culture as a framework for society and the individual. In addition, new domains of applied science and technology have become significant elements in architectural practice, such as computer-aided design techniques, advanced manufacturing, energy conservation, building performance simulation, structural engineering, economics, property development, ecology, lighting, acoustics, and urban planning.

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

The Bachelor of Architecture and Environments (BAE) at the Sydney School of Architecture is a multidisciplinary program that is geared to convey to students the fundamental principles of future careers in architecture and the built environment.

An in-depth understanding of said domains, the knowledge of differentiation in disciplinary approaches, and a ‘literacy’ of applicable methods and technologies in diverse facets are critical to this pedagogical curriculum. In the context of today’s multifaceted career pathways in the field of architecture and the environment, the BAE degree is strategised to combine attributes of Science and the Humanities and open up different thinking frames, disciplinary lenses, and prospective career pathways. At the core of this architectural curriculum is a studio-based approach that runs through design exercises, with conceptual and practical instructions and methods for identifying, critically examining, and designing for human experience and perception. Problem-finding is here securely tied to problem-solving, which explores and continually tests what design options are available, and what the impact of these options are on a multiple criteria scale.

As a new combined and hybrid undergraduate degree between the disciplines of Architecture, Design, Urban Design, Urban Planning and Architectural Science, the BAE introduces key thinking processes in the first year that bridge between design-based approaches such as sketching, modeling, profiling techniques, and history and theory, and scientific-based approaches such as mathematical and empirical thinking. Building on this foundation, methods for collaborations and interdisciplinary teamwork are taught in a series of Design Integration Labs with a specific disciplinary lens that brings together students, academics, practitioners, and industry. The second year deepens the disciplinary agenda of the three main streams through two Design Integration Labs (DIL): the DIL Materials (Architecture) and the DIL Energy (Architectural Science) – these parallel the exploration of cities through form and development. Students develop a thorough understanding of the collaborative relationship between architects, urban planners, urban designers, heritage conservation, property developers, engineers, construction managers and other built environment professionals. These DILs extend into third year with a focus on Urban

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The Bachelor of Architecture and Environments formulates an education aligned with and directed toward practice, and thus thrives on the dynamic educational program that provides constant exchanges with leading practitioners through lectures, seminars, internships, and reviews. In this manner, the Bachelor of Architecture and Environments provides students with the skills and knowledge to operate successfully in today’s complex and globalised industries and practices in architecture, design, construction and planning.

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Design and Urban Planning. The DIL trio are paralleled with intensive practical work in the highly specialised labs of the Sydney School of Architecture, Design, and Planning. These introduce applied practice methods and research in the Audio and Acoustics Lab, the Lighting Lab, the IEQ Environmental Quality Lab, and the DMaF Advanced Manufacturing and Fabrication Lab. Students develop their projects through computational 3D modelling and scripting software and evaluate design solutions by using cutting-edge simulation and performance software. Students engage further beyond their core studies in an elective range that comprises history and theory; property development; experimental structural principle; building material properties; robotic fabrication; and best practice construction, to name but a few. In the third year, the final Capstone Project allows students to graduate with a project focus of their choice, and which specialises on a combination of Architecture/Architectural Science, or Architecture/Urban Design and Planning. This gives students access to postgraduate studies, and thus the ability to proceed in a range of professional master’s courses, such as the Master of Urban and Regional Planning, Master of Urban Design, Master of Heritage Conservation, Master of Interaction Design and Electronic Arts, or the Master of Architecture.

The final capstone project for a new museum with 3500sqm exhibition and service spaces, plus an equal amount of open city scape in Camperdown, demonstrates the capacities that this new breed of architecture graduate is capable of. Starting with an intensive urban analysis and integration of Active Design Guidelines, the project moved fast into intriguing spatial designs, with detailed façade and material approaches, and continued embedding bioclimatic strategies with simulations and analysis of thermal comfort and performance, daylight and overall energy efficiency.

We congratulate our first cohort of 2017 and are proud to present graduates with high technical competence, team spirit, and design excellence. We wish you all the best for your future.

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Bachelor of Architecture and Environments

Crossing the Nature-Culture Divide: Urban Culture Ecologies

BAEN3002 Semester 2 2017

Dagmar Reinhardt

Tutors Dagmar Reinhardt Eduardo De Oliveira Barata

In light of Sydney’s present urban growth, and with a projected 50 per cent increase of urban expansion and residential/infrastructural mass by 2030, there is an urgent need to align urban development and architecture with nature and culture. Consequently, the 2017 DIL capstone unit focuses on ‘Urban Culture Ecologies’ – an interdisciplinary field concerned with the relationships between human and other living organisms, cultural production, and their urban environments. Urban Culture Ecologies focuses on how cities can become places where artificial, natural and cultural ecosystems coexist in harmony, and considers the fabric of the built environment and city as a multifaceted, interstitial production in the discourse of human-nature-nurture interactions.

Guest tutors Christhina Candido Adrienne Keane Tooran Alizadeh Arianna Brambilla Richard Hough UNIVERSITY OF SYDNEY ARCHITECTURE 2017

The overall brief focuses on the densely packed and diverse precinct of WestConnex, works with the Annandale/Camperdown site at Bridge Road, and integrates the Parramatta Road Urban Transformation Program.

Students were asked to carry out intensive research – into contemporary architectural ideas, museums as a city motor, urban context and conditions, cultural relationships, practices of public space-making, microclimates and environmental performance – and then use their findings to propose innovative forms of architecture. Students were required to develop a site-specific response for a museum brief, where the architecture acts as a threshold or mediator between cultural occupancy and the immediate surrounds, for the benefit of an ecologically and culturally balanced urban environment.

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regulations

building performance

large scale developments urban planning and design policy making

thermal comfort site workspace scenarios

social and cultural interactions

building mass and micro-scale

climate and bioclimate

urban design and planning/ society centered

green architecture quality

project intersection

performance criteria, values and measurment

community shadow and green bioclimatic strategies orientation, sun path, prevailing winds

the street, park and plaza occupancy, density

urban motor inside out relationships

building and facade

social and cultural interactions urban spaces, place and collective

material performance

infrastructure connections and relationships other spaces (kitchen, workzone, lounge)

other buildings program and function

colour, light, sound

material, structure, construction

architecture/ human centered

community typologies

neighbourhoods, other cities

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

architectural science/ performance centered

space and typologies design and variations

history, theory, memory

views

human experience, perception, action and interaction

form and geometry

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UNIVERSITY OF SYDNEY ARCHITECTURE 2017 58

(L) Hamish Bresnahan ‘Sense’. ‘Sense’ is a museum that acts as a platform to artists and visitors to explore their own understanding and how their wider senses interact with the environment around them. This project has been developed on different scales; acting as an green refuge in the dense urban surroundings, using passive and active design principles to create a high-performing building specific to its site, and creating unique exhibition spaces that are specific to one of eight senses, but still flexible enough to allow variation in the choice of pieces displayed.

The winding circulation of the project allows the visitor to dictate their journey through the senses, without a specific structured order to the exhibition. (R) Jake Boydell ‘The Royal Alexandra Hospital’. This project sees the rejuvenation of the

heritage site, ‘The Royal Alexandra Hospital’ in its conversion to an urban hub for the suburb of Camperdown in order to revitalise the precinct. The extension explores and investigates key facets of the original structure in its materiality and reimagines them in a contemporary manner, differentiating the two halves.

Perforated brick screens provide transparency and merges the notions of interior and exterior, as they provide vignettes into moments around them, producing unique experiences. These dynamic spaces highlight the overarching idea of integrating and serving the public with accessibility, usability and programming of the streetscape.

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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5. Visitors service/education space 6. Retractable wall 7. Mens bathroom 8. Womens bathroom 9. Electrical 10. Security 11. Storage 12. Landscaped area 2 13. Bathroom 14. Collection presentation space 15. Collection presentation space 2

20. Office 21. Office 22. Administration space/foyer 23. Loading dock 24. Water Basin 25. Water Basin 2 26. Seating 27. Back of house 28. Conflagration 29. Elevated staircase 30. Water feature 31. Water basin

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UNIVERSITY OF SYDNEY ARCHITECTURE 2017 60

(L) Ellie Chesterman ‘Exalt’. “To glorify”, “to elevate” “to bring to ones attention”.. a museum exhibiting fire and water, ‘Exalt’ endeavours to illuminate the Camperdown precinct by allowing one to experience the natural elements in a geometric space. What was once natural has been organised and arranged in an idealistic way where users can connect with fire and water in an atmospheric environment. The water (ocean) exhibits are positioned on the ground floor and the fire (volcano) exhibits are positioned on higher ground creating transitional spaces between the floors of the building; of contrast in hot and cold, on and off, within and without. (R) Nayanthara Herath ‘Creatives Playground’. ‘Creatives

Playground’ is an exploration into landscapes, inspired by Isaamu Noguchi’s simplicity and push for the creative mind to be explored through a playful context. The design for the communal museum precinct acts as an extension of the outdoor landscape through to the five levels inside. It is constructed around four main components; urban landscape, centralised access ways exterior to the museum levels, the play of layering landscapes and facade design. All which have been continuously influenced and driven by active design guidelines and bioclimatic strategies as a language of sustainability in the functions of the building as well as for its continued lifecycle.

CERAMIC FRITTING OF THE EXTERNAL FECADE GLASS AND THE INTERNAL GLASS WALL WILL CONTROL THE AMOUNT OF RADIATION ENTERING THE BUILDING ALLOWING MINIMUM HEAT ABSORPTION DURING SUMMER AND MAXIMUM USE OF NATURAL LIGHT DURING WINTER

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HEAT REDUCTION WARM AIR WILL RISE DUE TO DENSITY AND ESCAPE THROGUH THE EXHAUST FANNING SYSTEM.

COOLING MECHANISM OPENINGS WITHIN THE EXTERNAL CERAMIC FRIT GLASS WILL ALLOW FOR COOL BREEZE TO FLOW THROGUH THE SPACING INBETWEEN THE CERAMCERAM IC FRIT GLASS AND THE INSULATION SYSTEM.

THERMAL MASS (CON(CON CRETE) DURING WINTER, CONCON CRETE WILL ABSORB HEAT THROUGH THE HOURS OF THE DAY AND RELEASE IT THROUGH

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PASSIVE DESIGN STRATEGIES HAVE BEEN USED IN ORDER TO IMPROVE BUILDING PERFORMANCE AND TO REDUCE THE AMOUNT OF ENERGY BEING USED BY THE BUILDING PER YEAR. DIAGRAM 1 PASSIVE DESIGN STRATEGIES

FAN FORCED FLOOR VENTILATION SYSTEM STEEL TANK UNDERGROUND PROVIDES CONTINUOS FLOW OF HOT/COLD AIR THROUGH A PIPING SYSTEM INSTALLED IN EVERY FLOOR INBETWEEN ITS STRUCTURAL ELEMENTS. STAFF WILL HAVE ALL CONTROL OF FLOOR TEMPERATURE THAT WILL REGULATE THROUGH THE BUILDING.

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UNIVERSITY OF SYDNEY ARCHITECTURE 2017

INTERNAL AIR REGUREGU LATION HOT/COLD AIR WILL KEEP TEMPERATURE LEVELS AT A COMFORTABLE RATE BY REGULATING INTERNAL ATMOSPHERIC TEMPERATEMPERA TURE LEVELS USING THE INFLOOR PASSIVE VENTIVENTI LATION SYSTEM OF THE PLAYGROUND.

CREATIVES PLAYGROUND:MUSEUM OF INTERACTIVE ARTS

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UNIVERSITY OF SYDNEY ARCHITECTURE 2017 62

(L) Daisy Little ‘Museum of Australian Art’. Cutting and slicing through the urban fabric of the city block, the project establishes connective lines of prominent Australian artists, derived from significant locations of their lives and works. The resulting and densely textured pattern organises spaces of various shapes and sizes, materials and atmospheres for the museum. The exhibited works showcase the multinationality, cultural diversity and unique artistic personalities that constitute the contemporary Australian artistic landscape. The interactive street facade guides and lures the passing audience into the building. In here, perspective views between spaces combine into a theatre of dimensions, where people are watching people watching artworks. (R) Annika Lyon ‘The Museum of Biomimicry

and Technology (MoBaT)’. ‘MoBaT’ is a new centre for education and research in Camperdown, showcasing the unsung field of biomimicry through the exhibition of design and engineering innovations informed by organisms and systems found in nature. The traditional museum function is complemented by research and coworking amenities to encourage multidisciplinary collaborations between universities and industry, with the goal of fostering Australian innovation. The building itself is influenced by biomimicry, most notably through the use of folded plates – a structural system derived from the folds of Fan Palm leaves – which provide a distinctive form for the new landmark structure.

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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Bachelor of Architecture and the Environments

Student Index

BAEN3002 2017

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Kamilah Miriam Abdula Samuel Bailey Jake William Boydell Hamish Alan Bresnahan Rohan Gemin Buddhipala Ellie Chesterman Ariel Carlo Del Rosario Rohan Downs Roy Shan Elder David Fonseca Ladron De Guevara Alberto Giovani Halim Jarrod Haynes Tianchang Hu Chuchen Huang Vito Fu-Keung Hui Nayanthara Herath Kristian Eric Jebbink Caitlin Jones Samia Laghmari Bethany Jean Lane Ruoxue Li Daisy Little Tianliao Liu Hannah Lupton Annika Jacobsen Lyon Max Wilberforce McInnes Jarred Petero Sacha Read Matthew Richardson Ellen Louise Ryan Naveed Zafar Saleh Prudence Pui-Cheng Tang Samuel Jia He Tiong Imogen Wetzell Ramsey Phoebe Wood Edward Wu Hong Liang Yin Tina Yun Ling Huan Zheng Hannah Sonia Zicat

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UNIVERSITY OF SYDNEY ARCHITECTURE 2017

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BACHELOR

OF

DESIGN

Vania Alverina, Hidden Reverse Bookstore

(HONOURS)

AND

MASTER

IN

ARCHITECTURE

Beverly Lim, PocketBook

OF

ARCHITECTURE

Bachelor of Design in Architecture (Honours) / Master of Architecture

A New Double Degree in Architecture

Ross Anderson

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

The first cohort of students in the new five-year Bachelor of Design in Architecture (Honours) / Master of Architecture degree commenced their studies this year. The vertical double degree couples the undergraduate and postgraduate architecture degrees and additionally embeds undergraduate Honours, which otherwise requires an additional full year of study. These new students will undertake all of the same core subjects in the core areas of architectural design, history and theory, communications, technology and professional practice as their peers in the two standalone degrees.

At the same time, they will complete a select suite of new subjects interleaved with the core subjects over the duration of the degree, and constituting undergraduate Honours. It is an alternative model for Honours, which is elsewhere generally based on the model of higher degree research, whereby students research a topic relatively independently for a year under the supervision of a single academic supervisor. In this new pedagogical model, students will cultivate their research capacities in an appropriately staged manner over the course of a number of years alongside their peers – as a collective rather than solitary experience that acknowledges and supports modes of architectural research beyond the architectural humanities.

In their first two years of study, students will undertake intensive architectural design studios led by eminent local and international architects, and in their third year they will commence a series of research-rich subjects. The subject Critical Thinking in Architecture will cultivate key skills and cultural competencies relating to the important role of critical inquiry in architecture. In Architecture Research Areas, they will be introduced to the spectrum of modes of architectural research – from the humanities to the hard sciences to research by design – and will begin to focus in on one of these areas. Research Methods in Architecture will further advance students’ working knowledge of research. They will develop the broad intellectual framework for their Architecture Dissertation and write a provisional research proposal that will be circulated to prospective academic supervisors.

The culmination of the Honours component will be the Architecture Dissertation, affording students the opportunity to carry out a substantial piece of research on a topic of their own choosing under the individual supervision of an academic with expertise in the area. The dissertation may take the form of a traditional thesis, or of a scientific report, or a studio design supported by a textual exposition that will theorise and contextualise the work.

Although the full new suite of Honours subjects will be progressively rolled out over the coming years, the commencing cohort undertook Honours Intensive Studio 1 in the middle of this year. Professor Tom Heneghan from Tokyo University of the Arts was invited to Sydney to lead the week-long architectural design studio, which

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Students developed their project in a studio setting alongside their peers over the course of one week, impelled by a suite of lectures and seminars that addressed key themes of the project. They communicated their final architectural proposition for critique at the end of the week via one drawing and one scale model, supported by a verbal presentation. Their diverse and compelling projects revealed the capacity for books to be as much cultural and material artefacts as receptacles for information or bearers of stories, much like architecture itself.

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

called for the design of a very small standalone bookstore – no larger than a standard shipping container. The scale was more like that of a ticket booth, newspaper kiosk or bus shelter than that of a building. While a bookstore of this stature might be most plainly composed of a long timber table and a cash register, students were tasked with exploring the rich conceptual territory that can be animated by close consideration of the shared characteristics of books and architecture. Students decided the focus, character and location of the bookstore for themselves, bearing in mind that an imaginative alliance was to be developed between the architecture and the books that it would host. Some projects were conceptually underpinned by the content of the collection, say non-fiction, literature or poetry. And some had a more idiosyncratic logic – catering only for books of a certain colour, or those printed in a particular typeface. Some students were driven by an appreciation of books as made artefacts, and considered books’ stitching, cover, paper stock, print quality, smell or feel.

Consideration was intended to be given to the frame of mind that the bookstore would seek to solicit in its customers – perhaps earnest, thoughtful, reflective, inspired, or light-hearted. The architecture of the bookstore might have been desirous of attention or reserved, open to all or very esoteric. It might have been serious or witty, friendly or aloof.

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HONOURS

Isabell Grady, Becoming-Architecture

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Honours

Deconstructing Dunwall: Building an Immersive Imaginary World through Dystopian Video Game Architecture Anthony Zonaga Transnarrative and transmedial imaginary worlds span across multiple interactive and static media such as books, television, film and video games, and require methods of world-building in order to create an authentic and coherent experience for the viewer. The aesthetic depiction of the environment is a predominant means of world-building in contemporary single player games and is heavily influenced by architectural design.

Despite this, the role of architecture in shaping imaginary game worlds remains a largely unexplored field.

This report aims to discuss the architecture of the fictional city of Dunwall, which is the setting of the video game Dishonored, and the effect that this architecture has on the experience of the player as they progress through the game. We assert that Dishonored is a noteworthy example of how architecture in video games can transcend a traditional role of static backdrop in order to function as an integral aspect of the game.

Consequently, we assert that this highlights the ability of meticulously designed game architecture to improve world-building and player experience across all video games.

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Becoming-Architecture

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Honours

Isabell Grady The stalk of the orchid is reminiscent of a mouth with an exposed tongue and produces a pheromone that captures the approach of the wasp. The orchid does not pretend to be a wasp, but forms a map with the wasp, finding points of intersection in which they can descend together and within one another. This sensual dance between the orchid and the wasp sweeps both away into a becoming of each other.

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Becoming occurs in our relations with architecture: it is within rhizomic movements of people gathering in a public space, upon stairs or a moment within one’s bedroom. It is also the bed, sheets, curtains, air and elements that the space is composed of. These compositions of particles gather at intense points; they are spaces that continue to grow, expand and condense. Through the philosophy of Gilles Deleuze, Félix Guattari and a fixation on Salvador Dalí’s painting, ‘My Wife, Nude, Contemplating Her Own Flesh Becoming Stairs, Three Vertebrae of a Column, Sky and Architecture,’ my paper seeks to uncover the instance of ‘BecomingArchitecture.’

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Honours

Dis/placed

Alia Nehme In a world of disappearing islands, a whole population is faced with the complex and uncertain future of crossing borders and cultures. Excessive carbon emissions produced by industrialised nations has indiscriminately burdened the vulnerable coast of Kiribati’s 33 atolls, deeming it uninhabitable within upcoming decades due to sea level rise. The answer to saving their livelihoods may lie in the mass migration of communities to the higher topography of the Kiribati government’s purchased estate in Vanua Levu, Fiji. A humanitarian issue intertwined with social, cultural and political challenges is addressed through an architectural proposition. The design of a community meeting house, derived from the principles of the traditional Kiribati maneaba, enables a model of adaptability and resilience. The proposition lays out the framework for communities to establish, take ownership, share common threads of culture, form a new identity, define the place and flourish in a transcultural environment.

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Psychogeography and the Virtual City – Using Social Media Sensing Data to map Sydney’s Urban Dynamics

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Honours

Andrew Hogan Architects have a responsibility to examine and consider the public realm in order to design within the city.

Historically, the public realm has always been a physical concept mapped with plans and diagrams but in the age of technology virtual spaces have become an increasingly common arena for interaction. By capturing their daily lives on social media, users simultaneously build a virtual representation of the built environment and provide a window into its dynamics.

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At its core, psychogeography seeks to evaluate the actual human experience of a city. This project presents the virtual public realm as a new method to gain this insight: the geo-location data embedded in social media posts reveal the location, time, thoughts and activities of users inhabiting the urban space, which relates directly to real human experience and interaction with the physical city. By harnessing this information we can outline the invisible city and understand valuable information regarding human interactions with the built environment.

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Honours

Sydney Recomposition

Benjamin Charlton

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Death is an inescapable, fundamental component of life. Without death there is no life. Despite this, Death is an inescapable, fundamental component of life. Without death there is no life. Despite this, contemporary western culture has pushed death out of its cities to the periphery where it can be contemporary Western culture has pushed death out of its cities to the periphery where it can be ignored as a ignored as a manageable inconvenience of life. This sanitized, safe version of death that we have manageable inconvenience of life. This sanitised, safe version of death that we have crafted starts to crumble crafted starts to when crumble when itsenvironmental psychological and environmental impacts.

160kg we understandwe its understand psychological and impacts.

160kg of CO2 is released for each bodyof CO2 is released for each body burned which 11577 tonnes of CO2 burned via cremation which via totalscremation approximately 11577totals tonnes approximately of CO2 for Australia annually.

Traditional burial uses up Traditional to 2.4 million litres of embalming contains toxic such fluid as formaldehyde, per for Australia annually. burial uses up tofluid, 2.4which million litres of chemicals embalming which contains year inas Australia.

This reportper speculates on Australia. how death can be report repatriated into everyday and death investigates toxic chemicals such formaldehyde year in This speculates onlife how can how the Recomposition model proposed by Katrina Spade could be implemented as an alternative for the be repatriated into everyday life and investigates how the Recomposition model proposed by Katrina Australian urban context. The process is based around the aerobic decomposition of human bodies in a Spade could be implemented as an alternative Australian urbanforcontext.

Thethe process is based compact urban structure, resulting in a for rich,the fertile soil: the potential new life from end of another. around the aerobic decomposition of human bodies in a compact urban structure, resulting in a rich, fertile soil: The potential for new life from the end of another.

Plant Dyeing and Hand Weaving

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Honours

Bethany Sullivan My report draws together disparate threads – ranging from Gottfried Semper’s writing on the origins of textiles and architecture, to the work of Anni Albers and others connected to the Bauhaus weaving workshop, contemporary Australian artists such as Sally Blake, the science of dyeing and the chemistry of colour, along with my own art practice – in order to investigate the relationship between hand making and architectural design. As a key part of my research I dyed skeins of Australian merino wool using plants foraged from the garden and local streets (eucalyptus, bracken, magnolia) or saved from the kitchen compost bin (avocado pips, the water remaining after soaking black beans and lentils) to create a palette of over twenty unique colours, which I then wove into wall hangings using a rigid heddle loom. Throughout this process, I have been able to explore notions of sustainability, colour, line, design feedback, texture, line, shape, composition, and contrast, all of which can flow through to architectural design.

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Honours

The Genesis of Great Digital Cities: An Exploration into the Habitation of the Virtual World Kingsley May We currently exist in a digital universe. Since the establishment of the internet, the online digital domain has rapidly permeated into the everyday lives of citizens globally and is exponentially dictating the way we live and spaces in which we exist. This virtual world is a fluid environment of shifting scales, a vast landscape of information providing the user an unprecedented opportunity to be involved in large diverse communities whilst concurrently sourcing specific individuals who are ideologically aligned. However, it is this very vastness that requires a systematic categorisation of information, people and communities in order to make the digital landscape navigable to the user, inherently limiting the very potential for greater user exposure.

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As the line between the physical and virtual world progressively disintegrates and more of our experiences occur in this predetermined algorithmic realisation, it is essential to explore alternative methods of navigation and inhabitation for the virtual world. Here architecture has the potential to positively influence the manifestation of this new digital space and user experience, and provide the intrigue of diversity and unforeseen interactions that define our current physical urban experiences.

The Architecture of Postponed Desire

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Honours

Timothy Huang Desire is Primal: the drive that exists within all of us, the beginning of an expedition into unknown territories.

We construct architectures to house these desires in a structure and put up signs about who we are. We search and search for more signs, hoping we shall be eventually content with a state of being. We experience reality through these signs because they mean something: photographs, records, monuments and details that speak of the individuals and the society that inhabit these spaces. Or maybe not, maybe we shall never feel fulfilled; our structures are castles in the sand waiting on the shore to be washed back into the gentle yet violent waves of the sea. Thrones of dirt that eventually collapse into the ground, leaving behind vague traces of whatever once was and shall never be. Desire promises everything and nothing; we plead with it, holding onto photographs of ex-lovers, mementos from one’s childhood. Desire simply laughs at us. It says: “No, Fuck You, not yet but you may be fulfilled eventually.” We never will be, yet we search and construct our lives anyway because we shall always hope and dream.

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INTERNATIONAL

STUDIOS

Vanuatu International Studio, The Freswind School Project

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

International Studio

Abandonment, Collection and Reuse in Philadelphia, PA

14 – 24 July 2017

Matthew Mindrup

Students Ian Borg Henry Charles Brown Yulia Cai Miranda Chen Maddie Dawson Alison Gong Hong Li Wensi Liu Ke Han Shen Tasmen Shen Mitchell Tran Shu Yang

This ten-day travel elective explored historical and contemporary strategies for re-imagining and collecting architectural structures and cultural objects in the American city of Philadelphia, Pennsylvania. Having served as the nation’s first capital and cultural centre at the time of the American Revolution, Philadelphia went on to become one of the strongest and most diverse manufacturing hubs in the North America acquiring the name “The Workshop of the World”. Yet between 1950 and 1990 Philadelphia’s population declined and in the name of urban renewal, many significant historical structures were not torn down but transformed, covered-up and replaced. Today there are still swimming pools hiding beneath train-lines, movie theatres in disguise as grocery stores, cornices peering out from behind modern facades and boarded-up industrial buildings that conceal nineteenth century companies still in use. During this travel tour, students were provided with museum tours, guest lectures from the local architectural faculty (David Leatherbarrow) and theorists (Nadir Lahiji), a walking tour and office visits (Onion Flats and Digsau) that explore Philadelphia’s attitude towards its historic and contemporary architecture. In response, students walked, looked, and explored Philadelphia’s center city producing hybrid drawings and mappings that catalogue, analyse and “re”-represent its rich history of accumulating and reconfiguring abandoned objects and structures through diverse strategies of abandon, reconfiguration and reuse.

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International Studio

The Freswind School Project

17 – 26 July 2017

Michael Muir

Students James Ellis David Da Costa Enes Anna Ewald-Rice Emily Flanagan Douglas Hamersley Connie He Suzanne Hendry Katie Hubbard Adam Madigan Nina McDonald Matthew Naivasha Miriam Osburn Lucy Sharman Tara Sydney Yuxiao Wang Colebee Wright

Late last year, Mathew Aitchison, Ken McBryde, Michael Muir and Wendy Christie from the School of Architecture, Design and Planning were asked to visit and discuss appropriate community development with the Ohlen Freswind community. The community is made up of people from all over the islands of Vanuatu, at present squatting on government land on the outskirts of Port Vila, the capital of Vanuatu. The government is relocating this group, some one hundred and twenty households, onto higher ground outside the catchment area of Port Vila’s water supply. Land and services – roads, water, and electricity – have been provided for the individual households to lease and to construct their homes, and for the community to develop appropriate buildings – a school, market, churches and so on.

During that first visit, the people of Freswind set a community school as the most important priority – a community building that they could all be proud of.

We saw this project as an opportunity to fashion a compact between our school and the Freswind community, working together – students, staff and community members – in an ongoing relationship. From the outset, we wanted our students and staff and the community to be involved in every stage of the project together, from its definition to its construction and completion.

We felt the only genuine way to start this process was for us, staff and students, to visit the community so they could begin to tell us what we needed to know.

Sixteen students and four staff visited Vanuatu for ten days in the winter break to immerse ourselves in the life and culture of Vanuatu, Port Vila and Freswind. We organised a loose research structure working in four groups of four students each, gathering information, images, expert advice, local knowledge, opinions and thoughts on aspects of life in Vanuatu most pertinent to the project. We broke the research up into five principle areas – ‘working with the community’, ‘teaching and learning’, ‘designing for climate’, ‘designing for cyclones and earthquakes’, and ‘materials and construction’. Each day was spent talking with community members and leaders and local experts – taking every opportunity to find out how the school would need to be made.

We began identifying patterns, drawing diagrams, taking photographs and developing a series of design principles to guide our project. Slowly a direction became clear. We were creating a broad yet detailed brief for a school to be specially made for the Freswind community – ‘The Freswind School Project’.

We have fashioned these principles into a series of booklets to guide those coming next to the project – students, staff, community members, volunteers and any and everyone willing to help.

The principles have also served as the foundation for a first pass at a single classroom design, which will be workshopped, prototyped and fabricated as funding becomes available.

We are keen for the whole of the School of Architecture, Design and Planning to get behind the project and hope that all of us can use our design skills to make a difference.

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Proposed pavilion at Cadigal Green, University of Sydney

Proposed pavilion at Cadigal Green, University of Sydney 86

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ALLOW FOR CROSS V E N T I L AT I O N DURING TROPICAL RAIN

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

T h e F r e s w i n d S c h o o l P r o j e c t

Rain in Port Vila is often torrential and when winds are strong can also behorizontal. Vanuatu’s wet season, December to April, is also the hottest time of the year. It is important to allow for air to move through openings while protecting them from the rain with deep awnings, eaves and shutters.

One of the booklets produced for the studio 87

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

International Studio

LIXIL International Student Architectural Competition Japan

8 December 2016 – 16 March 2017

François Blanciak

Students Yen Dao Phillip Graham Xuhui Lin Imogen Wetzell Ramsey Tasman Shen Wendy Shi Liying Tan Brandan Villatora Liying Yang Tina Yun

This elective is based on the brief for the 7th LIXIL International Student Architectural Competition organised by the Japanese publisher Shinkenchiku-sha and Kengo Kuma, which have selected the University of Sydney to submit an entry in 2017. The students worked as a team on a single entry under the supervision of François Blanciak, and were in competition with other selected architecture schools worldwide to design a sustainable spa in Taiki-cho, Japan (Hokkaido).

As opposed to the usual pitched roof which is essentially designed to fight against natural forces, the submitted entry proposes to welcome the water inside the building so as to re-use it for the spa. The material used to perform this function is (partly conical) polycarbonate tubes, which mimic the reeds of the Japanese river banks used in local indigenous (Ainu) architecture. The bundling of these translucent elements is used to not only build the walls and roof of the spa but to maximise the collection of water from rain and snow (which falls heavily in Hokkaido), resulting in the conceptual erasure of the roof. Compost derived from the neighbouring stables is employed to heat the water of the spa, and in turn to melt the snow as the produced vapour and gas travel upwards through the tubes.

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GRADUATE

STUDIO

EXHIBITION

2016 Architecture Graduate Exhibition Opening Night

Graduate Exhibition Studio

Exhibition Urbanism

Franรงois Blanciak Students Hanna Farrell Ziyun Ella Gao Xuhui Alphonse Lin Yiling Elaine Qiu Liying Tan

The design of the 2017 Architecture Graduate Exhibition moves out of the building where it is supposed to take place. It extends beyond its traditional architectural limits, and towards the city. This unusual parti refers not only to the desire to enhance the interaction of this exhibition with the city but more fundamentally, through the morphology of its structure, to the foundational form of the city. In Roman antiquity, the templum was a diagram drawn by an augur to register the settlement of a new town, which took the idealised form of a thin cross within a thick circle (Rykwert, 1976), such as described by the writer Hyginus Gromaticus (1st century BC). This ritual of inscribing a limit is here emphasised, to the point that the limit itself becomes architecture.

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

As a means to provide clarity and unity within the complicated plan of the Wilkinson building, the design features a 26-metre-diameter circle that encompasses three separate spaces: two rooms housing distinct exhibitions of graduating projects (undergraduate and postgraduate) and an outdoor timber deck. This large circle is physically manifested equally by its presence and absence, as a thick dotted line whose footprint is extruded to form 13 identical structures, each one the size of a small building, suggesting the possibility of a formal link between every part of the exhibition. The vertical surface of these individual elements is used to further unify the exhibited content, featuring composite layouts of line drawings (one per student) from the different architecture degrees represented in the show. As in the Roman templum, the circle is cut by the orthogonal walls of the existing building, yet the form of the dotted line transcends the hermetic dimension of this diagram of ancient urbanism. Its porosity allows for flow and inclusiveness, rather than congestion and exclusiveness, thus leading and extending to the other parts of the exhibition.

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TIN

SHEDS

GALLERY

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Tin Sheds Gallery

Lines of Enquiry Venice | Yarrabah

9 – 31 March 2017

‘Lines of Enquiry’ showcases the depth and breadth of our students’ postgraduate experience. From novel architectural investigations that engage with philosophy, globalisation and ethics to collaboration with indigenous communities in North Queensland, this exhibition demonstrates the critical thinking and creative expression of our students. Physical and digital media including 3D models, printed booklets, video, animations and drawings will all be on display.

Venice Architecture Biennale Curated by Michael Tawa Thirteen Master of Architecture students exhibit speculative architectural models which were conceived for the 2016 Venice Architecture Biennale.

The Loop: Venetian Futures Ana Subotic, Tye McBride and Tiffany Liew, Master of Architecture alumni, were collectively awarded a Byera Hadley Travelling Scholarship to document and reflect on the execution of ‘The Pool’, Australia’s contribution to the 2016 Venice Architecture Biennale.

Yarrabah / Burri Gummin Affordable Housing Project Curated by Zoya Kuptsova, Sascha Solar-March, Vi Le and Harry Catterns Students present their sustainable design solutions for affordable housing formulated in consultation with community leaders in this tropical environment south of Cairns.

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Coincidences

27 April – 26 May 2017

Curated by John Wardle Architects

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Tin Sheds Gallery

‘Coincidences’ is an exploration of the work and methodology of John Wardle Architects (JWA) carried out by a series of prominent architectural photographers, an artist and filmmakers. This exhibition interrogates the boundaries between public and private spaces. Can a foyer have the intimacy of a living room? How might a house have the civic atmosphere of a university hall?

A series of 26 images are presented in pairs, thus drawing out points of commonality – ‘coincidences’, across seemingly unconnected architectural contexts. A second exhibition chamber adjacent includes an immersive film installation by Coco and Maximilian describing a survey of JWA work across varying scales. This is accompanied by a series of 3D visualisations of projects soon to commence construction.

Contributors include photographers Sharyn Cairns, Erieta Attali, Sam Noonan, Kristoffer Paulsen, Brett Boardman, Earl Carter, Peter Hyatt, Dianna Snape, Peter Bennetts, John Gollings, Shannon McGrath, Trevor Mein, Max Creasy and artist Peter Kennedy.

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Tin Sheds Gallery

Unfinished

15 June – 21 July 2017

Curated by Iñaqui Carnicero and Carlos Quintáns ‘Unfinished’ saw the Spanish Pavilion take out the prestigious Golden Lion at the 2016 Venice Architecture Biennale. Curated by Iñaqui Carnicero and Carlos Quintáns, ‘Unfinished’ examines how Spanish architects responded to the 2008 economic crisis with wit and imagination. The exhibition presents a series of photographs of incomplete construction projects, alongside 55 recent buildings that reveal design strategies generated by an optimistic view of the constructed environment. The projects featured have understood the lessons of the recent past and consider architecture to be something unfinished, in a constant state of evolution, and that positively impacts humanity.

This exhibition constitutes the focal point of ‘40 Days of Spanish Architecture in Australia’, an event series that celebrates contemporary architecture from the Spanish perspective, whilst drawing parallels to the Australian experience.

The opportunity to bring ‘Unfinished’ to Australia was made possible through the dedicated promotion of Spanish architecture by the General Sub-Directorate of Architecture at the Ministry of Development, the Madrid Chamber of the Spanish Institute of Architects (COAM) and the Instituto Cervantes in collaboration with the University of Sydney School of Architecture, Design and Planning.

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A small exhibition

10 August – 15 September 2017

Curated by panovscott Architects

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Tin Sheds Gallery

‘A small exhibition’ is the gathering of 20 projects made in the last few years by local architecture practices, or by practices working locally, at a small scale. Each project is residential in nature and comes about as a result of the transformation of an existing space, or place. In each instance the result has been a radical increase in the amenity enjoyed by the inhabitants within a tiny footprint, literally, environmentally & economically.

For us these projects provide an answer to the deceptively simple question: how could we live better?

Contributors include: Nicholas Gurney, Anthony Gill, Retallack Thompson, Ian Moore, Takt, Stephen Collier, Alexander Symes, Archer Office, Silvester Fuller, panovscott, Trias, Drew Heath, Durbach Block Jaggers, Breathe Architecture, Casey Brown, Architect Prineas, Welsh Major, Peter Stutchbury, Tribe Studio and Brad Swartz.

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‘A small exhibition’ curated by panovscott Architects

Midnight

28 September – 10 November 2017

Curated by Catie Newell

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Tin Sheds Gallery

This exhibition lingers in the night. The suspended installations and photographic prints measure the difference between darkness and illumination, revealing alternate forms in night and day, from near or far, and from various points of view. Intricate and suspended, the works require an attentive, intimate viewing, and a deepened sensitivity to the different spatial worlds that light and dark inscribe.

The materials are selected from the wires that construct the night time infrastructure of Detroit: ‘Dead Wire’ is a spatial interruption into the extensive copper wire scrapping industry within the city. The copper has been scraped, stripped and twisted to create the delicate strands. In ‘Overnight’, a thin gauge of copper holds aluminum wire in suspension, forming subtle figural implications of architectural space. The aluminum has been delicately wound and pulled to unravel and stress the system, increasing its electrical inefficiencies, so the formal masses hover as sporadically lit architectural moments of night.

The photographs that hover between these two vanishing instants of Detroit are part of the ongoing series ‘Nightly’, which records the presence of another city – a city disappearing into a darkness that removes the city’s daytime walls, alters its spaces, and haunts.

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‘Midnight’ captures an instant in Detroit when darkness is displaced and light misregisters the urban landscape.

STUDENT

2017 Architects Medallion recipient Georgia Forbes Smith, Architecture of Measure

EXCELLENCE

Awards, Prizes and Scholarships

NSW Architects Registration Board Architects Medallion Georgia Forbes-Smith (Master of Architecture) Australian Institute of Architects NSW Graduate and Student Architecture Awards First Degree Design Award (Runner-up): Adam Vandepeer (Bachelor of Design in Architecture) Architectural Technologies Award: Timothy Qi Nan Li (Master of Architecture) Jianzhang James Wang (Master of Architecture)

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Architectural Technologies Award (Runners-Up): Sharon Cheuk Yao Cheong (Master of Architecture) Fook Hong Timothy Lee (Master of Architecture) Ho Hei Yick (Master of Architecture) Masters Graduate of the Year Prize: Mitchell Page (Master of Architecture) First Degree Graduate of the Year Prize: Janelle Woo (Bachelor of Design in Architecture) History and Theory Prize: Pascale Roberts (Master of Architecture) Construction and Practice Prize: James Boden (Bachelor of Design in Architecture) MADE by the Opera House Scholarship 2018 Daming Zhu (Bachelor of Engineering (Civil)/Bachelor of Design in Architecture) Archiprix International 2017 Jonathon Donnelly (Bachelor of Design in Architecture, Master of Architecture) Jennifer McMaster (Bachelor of Design in Architecture, Master of Architecture) Vivid 2017 IES Light and Sculptures Installation Award 2017 Benjamin Jay Shand and Nicolas Locane – ‘Parallax’ Sculpture by the Sea 2017 Clitheroe Foundation Emerging Sculptor Mentorships Sophie Lanigan and Isobel Lord – ‘Temple’

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Australian Institute of Architects Graduate Architectural Technologies Award Timothy Qi Nan Li & Jianzhang James Wang, Generative Components

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Photo credit: Julieta Locane

Vivid Sydney 2017

Parallax

26 May – 17 June 2017

Benjamin Jay Shand and Nicolas Locane ‘Parallax’ is a large suspended light installation that seeks to reinterpret the qualities of a cavernous ceiling, utilising light to emulate an organic pulse. The work instills an extruded sculpture with dynamism through kinetic motion and enveloping forms as illuminated verticals fall from a gridded lattice. A void at the centre of the sculpture contributes to its dynamism by creating opportunities for an overwhelming, human-scale interaction. ‘Parallax’ presents an ever-changing appearance according to viewer perspective, whilst a diffuse glow moderates to create a lit topography undefined by the work’s physical limits, achieving an immersive sensory experience.

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Photo credit: Julieta Locane

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Photo credit: Jessica Maurer

Sculpture by the Sea 2017

Temple

19 October – 5 November 2017

Sophie Lanigan and Isobel Lord Temple is an architectural ephemera reflecting the landscape beyond. It functions as a reflective temple to time, with mirrored external walls abstracting and augmenting the landscape; instead of placing an object on the site, an altered reality is presented and offers an experience rather than an item.

Minimally offset mirrored walls provide entrance and obscure the centre piece – an altar. As individuals walk through the pavilion they are encouraged to deposit a handful of sand into the altar. A refrain to the passing of time and the community on the beach, the altar will fill up with sand over the course of the exhibition, revealing a spatial peculiarity of never stepping into the same space twice.

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Photo credit: Jessica Maurer

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Photo credit: Jessica Maurer

Supporters

The Sydney School of Architecture, Design and Planning would like to thank the following supporters for their generosity in making the 2017 Architecture Graduate Exhibition and publication possible.

Platinum Architects Registration Board

UNIVERSITY OF SYDNEY ARCHITECTURE 2017

Gold Bates Smart Bosco Lighting FJMT Grimshaw Silver Architectus Fox Johnston Hassell Utz Sanby Architects Bronze Bespoke i2C Make Architects TKD Architects Tonkin Zulaikha Greer Trotec Young Henrys

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Platinum Supporters

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Gold Supporters

Bates Smart would like to congratulate this year’s graduates Supporting The University of Sydney, Architecture Graduate Exhibition 2017

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Silver Supporters

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Bronze Supporters

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ISBN 9780980868999

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