A R C H I P E L A G O DESIGN THESIS STUDIO I MELBOURNE SCHOOL OF DESIGN I UNIVERSITY OF MELBOURNE
ARCHIPELAGO KATIE CHECKEN CLARA FRIEDHOFF PATRICK HEGARTY ADILAH IKRAM SHAH JAYDEN KENNY STEPHANIE KITINGAN JANNETTE LE MARC MICUTA JACK PU
STUDIO LEADER TOMMY JOO
Archipélago represents a collective individuals. We started the studio with one clear intention: thesis students should have complete freedom to set up their own individual agendas. This studio encouraged individual research and self-initiated projects with the confidence to present and ability to embrace the nature of critical discourse. We conducted series of seminars, intensive workshops, debates and selfcritiques which have produced independent thinkers who are able to work collaboratively.
I, the studio leader, would like to congratulate these 9 archipélagoes for their endless effort and trust they had for this studio. Architecture is an act of realisation that is to create something real, from a vague imagination into physicality. This is only a bridge and we are now one step closer to our continent. Pursue and pursue...
Studio leader, Tommy Joo
ARCHIPELAGO KATIE CHECKEN CLARA FRIEDHOFF PATRICK HEGARTY ADILAH IKRAM SHAH JAYDEN KENNY STEPHANIE KITINGAN JANNETTE LE MARC MICUTA JACK PU
STUDIO LEADER TOMMY JOO
Archipélago represents a collective individuals. We started the studio with one clear intention: thesis students should have complete freedom to set up their own individual agendas. This studio encouraged individual research and self-initiated projects with the confidence to present and ability to embrace the nature of critical discourse. We conducted series of seminars, intensive workshops, debates and selfcritiques which have produced independent thinkers who are able to work collaboratively.
I, the studio leader, would like to congratulate these 9 archipélagoes for their endless effort and trust they had for this studio. Architecture is an act of realisation that is to create something real, from a vague imagination into physicality. This is only a bridge and we are now one step closer to our continent. Pursue and pursue...
Studio leader, Tommy Joo
SPECIAL THANKS TO OUR CRITICS, GUESTS AND SUPPORTERS
PROF. PHILLIP GOAD DR. KAREN BURNS CHAIR. DONALD BATES PROF. ALAN PERT DENNIS PRIOR BYRON KINNAIRD KIM JANG YUN JOHAN HERMIJANTO MICHAEL ONG THOMAS STANISTREET
AND OUR PROUD SPONSORS,
Photographs courtesy of Adilah I. Shah.
SPECIAL THANKS TO OUR CRITICS, GUESTS AND SUPPORTERS
PROF. PHILLIP GOAD DR. KAREN BURNS CHAIR. DONALD BATES PROF. ALAN PERT DENNIS PRIOR BYRON KINNAIRD KIM JANG YUN JOHAN HERMIJANTO MICHAEL ONG THOMAS STANISTREET
AND OUR PROUD SPONSORS,
Photographs courtesy of Adilah I. Shah.
ARCHIPELAGO I DESIGN STUDIO MELBOURNE SCHOOL OF DESIGN UNIVERSITY OF MELBOURNE
PHONOMNESIS
/ Jannette Le
“There wasn’t a sound – literally, not one sound – from the moment I stepped inside and the doors slid shut. Deep rivers run quiet.” Haruki Murakami
P
honomnesis (pho- nomnèse) is the effect that refers to a sound imagined but not actually heard. It is a mental activity that involves internal listening: examples include re- calling to memory sounds linked to a situation, or creating sound textures in the context of composition. Phonomnesis remains one of the great methods of composition, since a theme – before it is actually played, whistled, or hummed – is a mental act. Some musicians cannot compose without actually listening, but others elaborate their works in ex- terior silence.
stimulate the imagination, which will evoke an ensemble of sounds necessary for the veracity of the story. Listening is an act that can sometimes be totally mental and silent. Graphic sonic effects, characteristic of strip cartoons and real phonomnesic indicators, transpose the sonic world into the visual field, in which the occupied surface and the shapes of letters combine to illustrate or invent the intended effect.
... the creation of a sound from memory, in the absence of a sound signal, is quite widespread. The simple reading of a description of the sonic universe is enough to
My thesis began with exploring sound itself and its relationship to architecture. I wanted to explore the possibility of creating architectural space without physical boundaries – and using the technology available to us in the present to create a different type of architecture. The concept of this project, Phonomnesis relies
PLACE OF INSPIRATION
PLACE OF PRODUCTION
SPECIAL THANKS TO
A little laneway off to the edge of Flinders Lane stinks of yesterday’s coffee and wet stones, but the hustle and bustle of the city is silenced and bizarrely, you can hear the call of birds above the clunking of the trams. That, and my kitchen. Because, you know. Food.
In the living room, surrounded by chocolate, cake, cookies and Kodiak Bears.
Tommy Joo, for being my guiding light through my semester, my wonderful studio mates in Archipélago, my family, all of my friends - especially the weekend studio sessions (Mitch and Collins - Kodiaks forever), and the endless sessions on skype (Mond, timezones regardless), Barbie, the constant sunshine, Will, for the music and Choi, for everything. I couldn’t have made it without you.
“Listening is a physical experience that occurs with your entire being as your body acts as a resonator, filtering the sounds around you.”
L
istening is a sense of touch that encapsulates the entire human body . As vibrations and soundwaves travel through the air and brush up against our eardrums, our ears act as resonators to translate the sounds in our minds, and our environments reverberate and reflect sounds towards us. Listening is a physical experience that occurs with your entire being as your body acts as a resonator, filtering the sounds around you. Sound is a forgotten sense when it comes to architectural design, often limited to the dis- ciplines of acoustic engineering and science. However, the language of architecture is one which can severely change the composition of the soundscapes around you.
heavily on the human mind and psychology and our awareness of what a space should sound like – how an echoing cavern would seem different to a small room. Using this basic human perception, the idea was to manipulate a soundscape and create architecture without physical walls. Designing an Architectural soundscape coupled with the visuals would enhance the experience of space Understanding the soundscape, feeling the size of it, feeling the effects of it on the body, would bring awareness to the scale and size of the design unlike that of a pure visual.
P H O N O M N E S I S / J a n n e t t e . L e
BIO Jannette was born at a very young age. Her skills and hobbies include breakfast, lunch and dinner. She likes to approach life like it is a drawing. Mistakes? No! They are birds now. Yes. Birds.
CONTACT jannettele@gmail.com
Architecture can be used to capture, enhance, channel and soften sounds. The link between the visual and the sonic has been explored through the fields of sound artistry, composition and engineering as well as psychological studies. Can an architec- tural representation have a sonic quality? Can we create a soundtrack for architecture through imagined space? Sound is unique in its ability to create spatial understanding. Many creatures on earth use sound to locate themselves. Sound is the first sense that hu- mans experience – you hear the world before you see it.
ARCHIPELAGO I DESIGN STUDIO MELBOURNE SCHOOL OF DESIGN UNIVERSITY OF MELBOURNE
PHONOMNESIS
/ Jannette Le
“There wasn’t a sound – literally, not one sound – from the moment I stepped inside and the doors slid shut. Deep rivers run quiet.” Haruki Murakami
P
honomnesis (pho- nomnèse) is the effect that refers to a sound imagined but not actually heard. It is a mental activity that involves internal listening: examples include re- calling to memory sounds linked to a situation, or creating sound textures in the context of composition. Phonomnesis remains one of the great methods of composition, since a theme – before it is actually played, whistled, or hummed – is a mental act. Some musicians cannot compose without actually listening, but others elaborate their works in ex- terior silence.
stimulate the imagination, which will evoke an ensemble of sounds necessary for the veracity of the story. Listening is an act that can sometimes be totally mental and silent. Graphic sonic effects, characteristic of strip cartoons and real phonomnesic indicators, transpose the sonic world into the visual field, in which the occupied surface and the shapes of letters combine to illustrate or invent the intended effect.
... the creation of a sound from memory, in the absence of a sound signal, is quite widespread. The simple reading of a description of the sonic universe is enough to
My thesis began with exploring sound itself and its relationship to architecture. I wanted to explore the possibility of creating architectural space without physical boundaries – and using the technology available to us in the present to create a different type of architecture. The concept of this project, Phonomnesis relies
PLACE OF INSPIRATION
PLACE OF PRODUCTION
SPECIAL THANKS TO
A little laneway off to the edge of Flinders Lane stinks of yesterday’s coffee and wet stones, but the hustle and bustle of the city is silenced and bizarrely, you can hear the call of birds above the clunking of the trams. That, and my kitchen. Because, you know. Food.
In the living room, surrounded by chocolate, cake, cookies and Kodiak Bears.
Tommy Joo, for being my guiding light through my semester, my wonderful studio mates in Archipélago, my family, all of my friends - especially the weekend studio sessions (Mitch and Collins - Kodiaks forever), and the endless sessions on skype (Mond, timezones regardless), Barbie, the constant sunshine, Will, for the music and Choi, for everything. I couldn’t have made it without you.
“Listening is a physical experience that occurs with your entire being as your body acts as a resonator, filtering the sounds around you.”
L
istening is a sense of touch that encapsulates the entire human body . As vibrations and soundwaves travel through the air and brush up against our eardrums, our ears act as resonators to translate the sounds in our minds, and our environments reverberate and reflect sounds towards us. Listening is a physical experience that occurs with your entire being as your body acts as a resonator, filtering the sounds around you. Sound is a forgotten sense when it comes to architectural design, often limited to the dis- ciplines of acoustic engineering and science. However, the language of architecture is one which can severely change the composition of the soundscapes around you.
heavily on the human mind and psychology and our awareness of what a space should sound like – how an echoing cavern would seem different to a small room. Using this basic human perception, the idea was to manipulate a soundscape and create architecture without physical walls. Designing an Architectural soundscape coupled with the visuals would enhance the experience of space Understanding the soundscape, feeling the size of it, feeling the effects of it on the body, would bring awareness to the scale and size of the design unlike that of a pure visual.
P H O N O M N E S I S / J a n n e t t e . L e
BIO Jannette was born at a very young age. Her skills and hobbies include breakfast, lunch and dinner. She likes to approach life like it is a drawing. Mistakes? No! They are birds now. Yes. Birds.
CONTACT jannettele@gmail.com
Architecture can be used to capture, enhance, channel and soften sounds. The link between the visual and the sonic has been explored through the fields of sound artistry, composition and engineering as well as psychological studies. Can an architec- tural representation have a sonic quality? Can we create a soundtrack for architecture through imagined space? Sound is unique in its ability to create spatial understanding. Many creatures on earth use sound to locate themselves. Sound is the first sense that hu- mans experience – you hear the world before you see it.
ARCHIPELAGO I DESIGN STUDIO MELBOURNE SCHOOL OF DESIGN UNIVERSITY OF MELBOURNE
HETEROTOPIA
H E T E R E O T O P I A / C l a r a . F r i e d h o f f
/ Clara Friedhoff
“A place where boundaries dissolve a little and we stand there, on the threshold, getting ourselves ready to move across the limits of what we were into what we are to be.” Victor Turner
T
his architectural thesis project is based on a personal interest in architecture’s role within the sociopolitical discourse. It is fueled by the constant debate concerning asylum seekers in the media as well as politics. In the last 10 years Australia’s approach to asylum seekers, the introduction of mandatory detention and offshore processing has been controversial and often removed from humanitarian values. However, according to the law seeking asylum is illegal under no circumstances. The slogan ‘Stop the boats’ has been used too many times in election campaigns. Faceless asylum seekers have become a symbol for Australia’s ‘border security’ tainting its international image. Most importantly, it often makes
us forget that it is physical and psychological displaced people and their lives that are concerned, who each have a story. Having migrated myself from Germany six years ago I am familiar with the difficulty of striking roots in a new place. However, due to my circumstances and country of origin, it has been made easy for me to now confidently call two places home. Asylum seekers are not so fortunate. They not only leave their home under extreme circumstances taking on an unimaginable tough journey, but they are also only welcomed by skepticism in Australia.
transition into the Australian landscape may be possible and in what way architecture can play a role in doing so. It aims to pose questions, challenging society and ourselves. It aims to create a place for the displaced.
“Heterotopia places humanitarian concerns on our doorstep triggering empathy and provoking a paradigm shift in a collective relationship to displaced people.”
BIO Born in Germany, fueled by passion and compassion, driven by dedication, motivated by laughter and life, believer in people, lover of beautiful things, rationalist, thinker, chocolate.
This project therefore asks: Is there a better way? It explores how an easier physical and mental
PLACE OF INSPIRATION
PLACE OF PRODUCTION
SPECIAL THANKS TO
It is all around us, the issue is ever present. Open the newspaper, listen to radio, and watch the news. At dinner parties, on the tram, in classrooms and walking down the street. If you just start watching you can see. Every time, I thought I had seen it all, I opened another newspaper pushing me and this project further.
Society, mind, paper, screen, cardboard, society, mind, paper, screen, cardboard, society, mind, paper, screen, cardboard, society, mind, paper, screen, cardboard, society.
Tommy Joo for his support and trust, his words of advice and encouragement. All studio members for a semester filled with fun and laughter, inspiration, discussion, late nights, work and friendship. My family and friends for believing in me throughout my degree, for always being there offering kind words and hands for model making despite my absence from their lives while completing this project.
H
eterotopia reframes the problematic of refugee detention and questions our societal complicity in policies that see those seeking asylum held in ‘factories of mental illness’. The project investigates the physical and psychological transition made by forced migrants as they enter contemporary Australian society, and through this, explores the notion of ‘place’ in our globalised society. Heterotopia proposes the Argus Building in Melbourne’s CBD as the centre of a web connecting a multitude of sites which integrate refugee processing and detention into the urban context. Can the integration of detention into the urban landscape break down the social and cultural barriers that exist between asylum
CONTACT clara.friedhoff@gmail.com
seekers and the Australian public? Can the elimination of spatial boundaries mitigate the feelings of isolation and alienation in a minority group which arrives traumatised and distraught? Can the problematic social implications of ‘out of sight, out of mind’ detention be subverted by transplanting this process into the city? Heterotopia places humanitarian concerns on our doorstep triggering empathy and provoking a paradigm shift in a collective relationship to displaced people. This project proposes that architecture can help articulate the question and offer elements of an answer.
ARCHIPELAGO I DESIGN STUDIO MELBOURNE SCHOOL OF DESIGN UNIVERSITY OF MELBOURNE
HETEROTOPIA
H E T E R E O T O P I A / C l a r a . F r i e d h o f f
/ Clara Friedhoff
“A place where boundaries dissolve a little and we stand there, on the threshold, getting ourselves ready to move across the limits of what we were into what we are to be.” Victor Turner
T
his architectural thesis project is based on a personal interest in architecture’s role within the sociopolitical discourse. It is fueled by the constant debate concerning asylum seekers in the media as well as politics. In the last 10 years Australia’s approach to asylum seekers, the introduction of mandatory detention and offshore processing has been controversial and often removed from humanitarian values. However, according to the law seeking asylum is illegal under no circumstances. The slogan ‘Stop the boats’ has been used too many times in election campaigns. Faceless asylum seekers have become a symbol for Australia’s ‘border security’ tainting its international image. Most importantly, it often makes
us forget that it is physical and psychological displaced people and their lives that are concerned, who each have a story. Having migrated myself from Germany six years ago I am familiar with the difficulty of striking roots in a new place. However, due to my circumstances and country of origin, it has been made easy for me to now confidently call two places home. Asylum seekers are not so fortunate. They not only leave their home under extreme circumstances taking on an unimaginable tough journey, but they are also only welcomed by skepticism in Australia.
transition into the Australian landscape may be possible and in what way architecture can play a role in doing so. It aims to pose questions, challenging society and ourselves. It aims to create a place for the displaced.
“Heterotopia places humanitarian concerns on our doorstep triggering empathy and provoking a paradigm shift in a collective relationship to displaced people.”
BIO Born in Germany, fueled by passion and compassion, driven by dedication, motivated by laughter and life, believer in people, lover of beautiful things, rationalist, thinker, chocolate.
This project therefore asks: Is there a better way? It explores how an easier physical and mental
PLACE OF INSPIRATION
PLACE OF PRODUCTION
SPECIAL THANKS TO
It is all around us, the issue is ever present. Open the newspaper, listen to radio, and watch the news. At dinner parties, on the tram, in classrooms and walking down the street. If you just start watching you can see. Every time, I thought I had seen it all, I opened another newspaper pushing me and this project further.
Society, mind, paper, screen, cardboard, society, mind, paper, screen, cardboard, society, mind, paper, screen, cardboard, society, mind, paper, screen, cardboard, society.
Tommy Joo for his support and trust, his words of advice and encouragement. All studio members for a semester filled with fun and laughter, inspiration, discussion, late nights, work and friendship. My family and friends for believing in me throughout my degree, for always being there offering kind words and hands for model making despite my absence from their lives while completing this project.
H
eterotopia reframes the problematic of refugee detention and questions our societal complicity in policies that see those seeking asylum held in ‘factories of mental illness’. The project investigates the physical and psychological transition made by forced migrants as they enter contemporary Australian society, and through this, explores the notion of ‘place’ in our globalised society. Heterotopia proposes the Argus Building in Melbourne’s CBD as the centre of a web connecting a multitude of sites which integrate refugee processing and detention into the urban context. Can the integration of detention into the urban landscape break down the social and cultural barriers that exist between asylum
CONTACT clara.friedhoff@gmail.com
seekers and the Australian public? Can the elimination of spatial boundaries mitigate the feelings of isolation and alienation in a minority group which arrives traumatised and distraught? Can the problematic social implications of ‘out of sight, out of mind’ detention be subverted by transplanting this process into the city? Heterotopia places humanitarian concerns on our doorstep triggering empathy and provoking a paradigm shift in a collective relationship to displaced people. This project proposes that architecture can help articulate the question and offer elements of an answer.
ARCHIPELAGO I DESIGN STUDIO MELBOURNE SCHOOL OF DESIGN UNIVERSITY OF MELBOURNE
PERCOLATE
P
E
/ Jack Pu
“Through contamination rather than purity and quantity rather than quality, only Bigness can support genuinely new relationships between functional entities that expand rather than limit their identities.” Rem Koolhaas
I
In the end the research came together miraculously to produce a reasonably specific problem. Supply was not matching demand.
Tommy would then ask me what I was interested in, which would give me the sweats because I struggled to answer; a piece of everything would be nice.
The typical high-rise typology systematically isolates people from life in the city. Exacerbated by continuing population growth this phenomenon has become irreversible. On the other hand we are becoming more open as a society, one empowered by technology to accelerate the zeitgeist.
My choices of studios have always been diverse. My CDE picks have had quite a diverse range of interest from sustainability to computation, the idea of committing to any particular idea was quite frightening which lead to a very relaxed approach to the beginning of the semester where I researched a bit of everything because I thought I could change topics drastically at any moment.
contemporary nomadic lifestyle. The opportunity presented itself. Solve this conundrum. The morphological changes as well as the sociological are seen as inevitable. My thesis is my attempt to reconcile the two once both theories are taken into account and push to their natural conclusion.
95
had a very mixed bag of interest when going into this thesis, because of this I had no idea where to start.
BIO Will eat your lunch. Did undergrad at University of Auckland. Grew up in the suburbs so I’m really uncultured. Only thing planned after uni is a hike up Mt Tongariro. Is eating your lunch.
Architecture has responded to these changes with sloth like speed. A product of need and greed the high-rise has privileged privacy and competition over community and collaboration. Its moral foundations now a relic of the past fails to support the
PLACE OF INSPIRATION
PLACE OF PRODUCTION
SPECIAL THANKS TO
All the places.
Everyone knows we did all our work at Inverloch.
Everybody, you know what you are to me.
“Boundaries must be blurred allowing activity to permeate the city.”
The turn of the century has shaken many of the established para¬digms of the 20th century. The shape the urban landscape has been pushed to the extreme whilst many of our social structures have eroded away
CONTACT jackpumail@gmail.com
It is 2050 Hong Kong during peak population. The functions of the home have been squeezed out by shrinking domestic developments, and exported into the wider city. The means of production and communication are now ubiquitous and accessible. The 21st century
will be the century of the communal, the collaborative, and the decentralised. A subversion of this typology is needed to enable change to thrive. Boundaries must be blurred allowing activity to permeate the city. The subterranean urban condition is excavated where needed and parasitic programs plugged in wherever desired relieving the functional burdens of private space and allowing public life to percolate.
24
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ARCHIPELAGO I DESIGN STUDIO MELBOURNE SCHOOL OF DESIGN UNIVERSITY OF MELBOURNE
PERCOLATE
P
E
/ Jack Pu
“Through contamination rather than purity and quantity rather than quality, only Bigness can support genuinely new relationships between functional entities that expand rather than limit their identities.” Rem Koolhaas
I
In the end the research came together miraculously to produce a reasonably specific problem. Supply was not matching demand.
Tommy would then ask me what I was interested in, which would give me the sweats because I struggled to answer; a piece of everything would be nice.
The typical high-rise typology systematically isolates people from life in the city. Exacerbated by continuing population growth this phenomenon has become irreversible. On the other hand we are becoming more open as a society, one empowered by technology to accelerate the zeitgeist.
My choices of studios have always been diverse. My CDE picks have had quite a diverse range of interest from sustainability to computation, the idea of committing to any particular idea was quite frightening which lead to a very relaxed approach to the beginning of the semester where I researched a bit of everything because I thought I could change topics drastically at any moment.
contemporary nomadic lifestyle. The opportunity presented itself. Solve this conundrum. The morphological changes as well as the sociological are seen as inevitable. My thesis is my attempt to reconcile the two once both theories are taken into account and push to their natural conclusion.
95
had a very mixed bag of interest when going into this thesis, because of this I had no idea where to start.
BIO Will eat your lunch. Did undergrad at University of Auckland. Grew up in the suburbs so I’m really uncultured. Only thing planned after uni is a hike up Mt Tongariro. Is eating your lunch.
Architecture has responded to these changes with sloth like speed. A product of need and greed the high-rise has privileged privacy and competition over community and collaboration. Its moral foundations now a relic of the past fails to support the
PLACE OF INSPIRATION
PLACE OF PRODUCTION
SPECIAL THANKS TO
All the places.
Everyone knows we did all our work at Inverloch.
Everybody, you know what you are to me.
“Boundaries must be blurred allowing activity to permeate the city.”
The turn of the century has shaken many of the established para¬digms of the 20th century. The shape the urban landscape has been pushed to the extreme whilst many of our social structures have eroded away
CONTACT jackpumail@gmail.com
It is 2050 Hong Kong during peak population. The functions of the home have been squeezed out by shrinking domestic developments, and exported into the wider city. The means of production and communication are now ubiquitous and accessible. The 21st century
will be the century of the communal, the collaborative, and the decentralised. A subversion of this typology is needed to enable change to thrive. Boundaries must be blurred allowing activity to permeate the city. The subterranean urban condition is excavated where needed and parasitic programs plugged in wherever desired relieving the functional burdens of private space and allowing public life to percolate.
24
R
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J
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ARCHIPELAGO I DESIGN STUDIO MELBOURNE SCHOOL OF DESIGN UNIVERSITY OF MELBOURNE
B E T W E E N . T I M E / P a t r i c k . H e g a r t y
BETWEEN TIME
“...seeks to draw out some of the physical and metaphysical qualities of the train journey”
/ Patrick Hegarty T SCREEN SHOT S: T RANSITORY
“Time doesn’t seem to pass here: it just is.” J.R.R. Tolkien
B
etween Time is an architectural response to the bodily experience of train travel. It is interested particularly in the atmosphere created around and within ones own body, as it is divorced from the earth by speed and enclosure, creating a unique spatial condition ripe for personal introspection and reflection. The personal intimacy experienced during a journey encases us like a force field, growing and dissipating on a gradient relative to the trains’ speed. For as the speed increases our connection with fixed-point earthly concerns weakens, and the impact of our confinement becomes more drastic. Parallel to this intimate inhabitation of our self, we are forced to consider (or reconsider) the earth at a new scale, for as our
immediate field of view blurs we can only observe the earth from a distance, and we watch the horizon move slowly by. Only the sky is unchanging. And so this notion of the timeless and our disconnection and reconnection with earthly time and space are unpacked in an exaggerated architectural program. This program seeks to draw out the inherent experiential qualities of the journey by exploring the framework of a fixed path, where the amount of space and subsequent spatial arrangement is defined by and restricted to that same path, for such is the condition of a train.
the site, and by using simple directional devices, scale, and repetition move the traveller to experience a more meaningful and seamless transition from earth time (real time) to a state of transit (between time) and back again.
BIO
The architecture itself hopes to create a pathway (or series of pathways) harmonious with
PLACE OF INSPIRATION
PLACE OF PRODUCTION
SPECIAL THANKS TO
The Royal Womens Hospital Carpark, Level 6.
3:00am
Tommy Joo and my fellow Thesis group members for the constant intelligent and critical engagement, inspiration and friendship. And to Robin and Peter, you know who you are.
Previously gained an undergraduate degree in Communication Design (Bachelor of Design) at RMIT. After working at a small architecture practice in Madrid, decided to apply for the Master of Architecture program at The University of Melbourne. Doesn’t regret decision. Is passionate about film and architecture.
CONTACT pdhegarty@gmail.com
ARCHIPEL AGO 2013 _ PATRI CK HEGART Y _ 3 63 100
he project is a train station located in Warrnambool, Victoria. It seeks to draw out some of the physical and metaphysical qualities of the train journey, framing arrival and departure as two physically separate but spatially overlapping experiences. Arrival occurs underground where the platform is split into individual ramps perpendicular to each door of the train. The pathways first extend out into a void with sky above and darkness below, and then continue on into the earth. Eight pathways end in massive curved chambers and become four pathways, which lead passengers up flights of stairs to the surface. These are intersected by large cuts in the earth, providing shafts of light at regular intervals, and
momentary glimpses of the sky. Departure occurs along a timber framework structure, which runs parallel with a non-descript concrete box containing the train station program atop the hill. This includes a ticketing office, restrooms and a café/waiting area. The structure then contours down around the hillside, across the arrival void, and into a semisecluded valley, where it becomes the platform from which the train departs. The valley platform and the underground platforms are linked by long flat voids in the hill, which provide a two-way visual connection from the point of arrival to the point of departure.
ARCHIPELAGO I DESIGN STUDIO MELBOURNE SCHOOL OF DESIGN UNIVERSITY OF MELBOURNE
B E T W E E N . T I M E / P a t r i c k . H e g a r t y
BETWEEN TIME
“...seeks to draw out some of the physical and metaphysical qualities of the train journey”
/ Patrick Hegarty T SCREEN SHOT S: T RANSITORY
“Time doesn’t seem to pass here: it just is.” J.R.R. Tolkien
B
etween Time is an architectural response to the bodily experience of train travel. It is interested particularly in the atmosphere created around and within ones own body, as it is divorced from the earth by speed and enclosure, creating a unique spatial condition ripe for personal introspection and reflection. The personal intimacy experienced during a journey encases us like a force field, growing and dissipating on a gradient relative to the trains’ speed. For as the speed increases our connection with fixed-point earthly concerns weakens, and the impact of our confinement becomes more drastic. Parallel to this intimate inhabitation of our self, we are forced to consider (or reconsider) the earth at a new scale, for as our
immediate field of view blurs we can only observe the earth from a distance, and we watch the horizon move slowly by. Only the sky is unchanging. And so this notion of the timeless and our disconnection and reconnection with earthly time and space are unpacked in an exaggerated architectural program. This program seeks to draw out the inherent experiential qualities of the journey by exploring the framework of a fixed path, where the amount of space and subsequent spatial arrangement is defined by and restricted to that same path, for such is the condition of a train.
the site, and by using simple directional devices, scale, and repetition move the traveller to experience a more meaningful and seamless transition from earth time (real time) to a state of transit (between time) and back again.
BIO
The architecture itself hopes to create a pathway (or series of pathways) harmonious with
PLACE OF INSPIRATION
PLACE OF PRODUCTION
SPECIAL THANKS TO
The Royal Womens Hospital Carpark, Level 6.
3:00am
Tommy Joo and my fellow Thesis group members for the constant intelligent and critical engagement, inspiration and friendship. And to Robin and Peter, you know who you are.
Previously gained an undergraduate degree in Communication Design (Bachelor of Design) at RMIT. After working at a small architecture practice in Madrid, decided to apply for the Master of Architecture program at The University of Melbourne. Doesn’t regret decision. Is passionate about film and architecture.
CONTACT pdhegarty@gmail.com
ARCHIPEL AGO 2013 _ PATRI CK HEGART Y _ 3 63 100
he project is a train station located in Warrnambool, Victoria. It seeks to draw out some of the physical and metaphysical qualities of the train journey, framing arrival and departure as two physically separate but spatially overlapping experiences. Arrival occurs underground where the platform is split into individual ramps perpendicular to each door of the train. The pathways first extend out into a void with sky above and darkness below, and then continue on into the earth. Eight pathways end in massive curved chambers and become four pathways, which lead passengers up flights of stairs to the surface. These are intersected by large cuts in the earth, providing shafts of light at regular intervals, and
momentary glimpses of the sky. Departure occurs along a timber framework structure, which runs parallel with a non-descript concrete box containing the train station program atop the hill. This includes a ticketing office, restrooms and a café/waiting area. The structure then contours down around the hillside, across the arrival void, and into a semisecluded valley, where it becomes the platform from which the train departs. The valley platform and the underground platforms are linked by long flat voids in the hill, which provide a two-way visual connection from the point of arrival to the point of departure.
ARCHIPELAGO I DESIGN STUDIO MELBOURNE SCHOOL OF DESIGN UNIVERSITY OF MELBOURNE
FRONT LINE
F R O N T . L I N E / A d i l a h . I k r a m . S h a h
/ Adilah Ikram Shah
“Architecture is a political act. It has to do with the relationships between people and how they decide to change their conditions of living. And architecture is a prime instrument of making that change” Lebbeus Woods
T
he Archipelago Design Thesis Studio offered the opportunity to investigate one’s personal position with respect to the discipline. It is supposed to be adventurous and ambitious; it is not supposed to be a finite endeavour. Consequently, this thesis became a sort of inquisition, in which the roles of Architecture were interrogated. I have consciously tried to look beyond the prevailing concerns within the contemporary architectural discourse, to the very nature of Architecture itself. Questioning the established paradigms within Architecture was a deliberate decision; a decision which brought along various complex yet fulfilling challenges.
This project was spurred by an early curiosity for cartography, particularly as a means to define power in space. My years of architectural education and photography work has also cultivated an interest in the role of representation in communicating architectural ideas, and how these forms of representation are then translated into built form. I felt that there exists a constant disconnection between architectural ideas on paper and its unintended political implications when these ideas become a reality. This line of thought then formed a natural progression, which resulted in the research background for this thesis.
methodology for the development of this project. Just as the existing archetype inflicts violence upon bodies in space using the architectural line, so does the newer order of lines upon the existing archetype. Accordingly, the final architectural outcome became somewhat secondary to the research themes being explored, but rather a testing ground for these ideas to unfold. It uncovers the role of architecture in relation to expressions of power in space, and explores the instrumentalisation of Architecture as a political weapon in times of conflict.
Following through from last semester’s work, the line thus became both a concept and
T
BIO Born in Caerdydd, raised in Kuala Lumpur and now based in Batmania, I am a Welsh-Malaysian architecture graduate studentphotographer. I do not usually unnecessarily use compound words.
contextual studies _ relations between Malaysia and Singapore
PLACE OF INSPIRATION
PLACE OF PRODUCTION
SPECIAL THANKS TO
At the bottom of a bottle.
Not a singular place, but often plural and inconveniently dominates all available space at home, in my study carrel, shared study spaces, at my friends’ homes…
Tommy for his unwavering guidance, dedication and encouragement throughout the semester, my amazing studio mates both past and present for their endless support, Amir whose presence I find soothing, Tasha for not being too alarmed by my behaviour for four years, and Adeline for the late-night motivational feline memes.
“It is a product of various underlying tensions; legibility vs ambiguity, private vs public, boundaries vs thresholds, and past vs future.”
CONTACT adilah.i.shah@gmail.com
he line is the most abstract diagram of power as administered in space. It traditionally defines two spaces by creating a boundary, which acquires a physical thickness when built and provides a measure for architecture to unfold its power. Therefore, how does the architectural line inflict violence upon bodies in space? Could the physicality of the architectural line be deconstructed and redefined beyond its role in demarcating power in space? Using the existing High Commission of Singapore in Kuala Lumpur as a site of study, the boundary has increasingly become an archaic architectural tool to enforce spatial exclusion. When tackling perceived spatial discrimination, there can be a
strong metaphor in confronting the order of existing boundary lines by a newer order of lines. The new High Commission thus becomes an analogy of the changing power relationships between Malaysia and Singapore. The physicality of the diplomatic process is fragmented so that spaces for public congregation and protest are placed between each and every element of the embassy, reinforcing a degree of encounter and confrontation that has been lost through the sanitisation of the existing building. It is the product of various underlying tensions; legibility vs. ambiguity, private vs. public, boundaries vs. thresholds, and past vs. future.
ARCHIPELAGO I DESIGN STUDIO MELBOURNE SCHOOL OF DESIGN UNIVERSITY OF MELBOURNE
FRONT LINE
F R O N T . L I N E / A d i l a h . I k r a m . S h a h
/ Adilah Ikram Shah
“Architecture is a political act. It has to do with the relationships between people and how they decide to change their conditions of living. And architecture is a prime instrument of making that change” Lebbeus Woods
T
he Archipelago Design Thesis Studio offered the opportunity to investigate one’s personal position with respect to the discipline. It is supposed to be adventurous and ambitious; it is not supposed to be a finite endeavour. Consequently, this thesis became a sort of inquisition, in which the roles of Architecture were interrogated. I have consciously tried to look beyond the prevailing concerns within the contemporary architectural discourse, to the very nature of Architecture itself. Questioning the established paradigms within Architecture was a deliberate decision; a decision which brought along various complex yet fulfilling challenges.
This project was spurred by an early curiosity for cartography, particularly as a means to define power in space. My years of architectural education and photography work has also cultivated an interest in the role of representation in communicating architectural ideas, and how these forms of representation are then translated into built form. I felt that there exists a constant disconnection between architectural ideas on paper and its unintended political implications when these ideas become a reality. This line of thought then formed a natural progression, which resulted in the research background for this thesis.
methodology for the development of this project. Just as the existing archetype inflicts violence upon bodies in space using the architectural line, so does the newer order of lines upon the existing archetype. Accordingly, the final architectural outcome became somewhat secondary to the research themes being explored, but rather a testing ground for these ideas to unfold. It uncovers the role of architecture in relation to expressions of power in space, and explores the instrumentalisation of Architecture as a political weapon in times of conflict.
Following through from last semester’s work, the line thus became both a concept and
T
BIO Born in Caerdydd, raised in Kuala Lumpur and now based in Batmania, I am a Welsh-Malaysian architecture graduate studentphotographer. I do not usually unnecessarily use compound words.
contextual studies _ relations between Malaysia and Singapore
PLACE OF INSPIRATION
PLACE OF PRODUCTION
SPECIAL THANKS TO
At the bottom of a bottle.
Not a singular place, but often plural and inconveniently dominates all available space at home, in my study carrel, shared study spaces, at my friends’ homes…
Tommy for his unwavering guidance, dedication and encouragement throughout the semester, my amazing studio mates both past and present for their endless support, Amir whose presence I find soothing, Tasha for not being too alarmed by my behaviour for four years, and Adeline for the late-night motivational feline memes.
“It is a product of various underlying tensions; legibility vs ambiguity, private vs public, boundaries vs thresholds, and past vs future.”
CONTACT adilah.i.shah@gmail.com
he line is the most abstract diagram of power as administered in space. It traditionally defines two spaces by creating a boundary, which acquires a physical thickness when built and provides a measure for architecture to unfold its power. Therefore, how does the architectural line inflict violence upon bodies in space? Could the physicality of the architectural line be deconstructed and redefined beyond its role in demarcating power in space? Using the existing High Commission of Singapore in Kuala Lumpur as a site of study, the boundary has increasingly become an archaic architectural tool to enforce spatial exclusion. When tackling perceived spatial discrimination, there can be a
strong metaphor in confronting the order of existing boundary lines by a newer order of lines. The new High Commission thus becomes an analogy of the changing power relationships between Malaysia and Singapore. The physicality of the diplomatic process is fragmented so that spaces for public congregation and protest are placed between each and every element of the embassy, reinforcing a degree of encounter and confrontation that has been lost through the sanitisation of the existing building. It is the product of various underlying tensions; legibility vs. ambiguity, private vs. public, boundaries vs. thresholds, and past vs. future.
ARCHIPELAGO I DESIGN STUDIO MELBOURNE SCHOOL OF DESIGN UNIVERSITY OF MELBOURNE
HENOSIS
H E N O S I S / S t e p h a n i e . K i t i n g a n
“We seek to reconnect what has already drifted apart.”
/ Stephanie Kitingan H
“The fundamental element of this cosmos is space... its nature is emptiness and because it is empty it can contain and embrace everything... space is the precondition of all that exists.” L.A. Govinda
‘an exploration of the cosmos...’
T
he structure of Studio Archipelago allowed for the inquiry of a diverse range of concepts based on the penchant of the individual. This thesis attempts to explore the connection that man has with the cosmos, through the use of alchemy as a poetic point of departure; which leads to the discussion of sacred geometry and its applications in ancient times in relation to spiritual and scientific dogma.
Proposing a theory of architecture that relies on the understanding of design patterns - which fundamentally influences our understanding of the spaces around us – is expressed through the themes of science and geometry, revealing a harmony at the heart of the cosmos, an order beyond the senses. The architecture per say is an attempt at prodding these themes, however it is the themes themselves that are more important, formulating a conceptual program that assists the exploration of these cosmic perceptions.
Briefly, alchemy concerns itself with the state of wholeness [henosis], science concerns itself with the structure of the whole and architecture is a representation of wholeness as a deep structure - present in the large-scale configurations of the world around us. These three concepts stand out because they can be experienced through a unique quality of relatedness, which in turn translates to a relatedness of ourselves to the whole, the whole being the universe that surrounds.
The unfolding of this highly subjective and elusive theme presents architecture as the common basis for man’s outlet and expression of a universal connection to the universe.
What transpires from this search is the revelation that the root connection between alchemy, science and architecture is the concept of wholeness.
PLACE OF INSPIRATION
PLACE OF PRODUCTION
SPECIAL THANKS TO
Moments of clarity amongst the shroud of cloud that is my mind. In hindsight to this thesis, it is interesting to reflect on the development of an idea through multiple schools of thought.
Locations are split between an ad hoc study and our studio space at Lincoln Square, providing an equal amount of needed solitude vs. awesome company with other inmates.
Our thesis tutor Tommy Joo, my family for providing me with an education and those intimate friends who allow me the imagination to speculate an intricately beautiful world beyond the one we can see.
enosis represents the state of wholeness - the art of liberating the cosmos from a temporal existence in an attempt to resonate our universal roots that bond us to this galaxy, this earth. Throughout the ages of civilisation, mankind’s quest to translate the unseen forces of the universe for human understanding has been apparent through the medium of architecture. This is a speculative thesis attempting to explore the current disconnection that man has with the cosmos, through the use of alchemy as a poetic point of departure. An interrogation is then made of a ‘new alchemy’ – through the emblematic use of knowledge - and its role as a
BIO Spent the past 7 years amidst creative endeavors completing her undergraduate in architectural studies and masters of architecture; moonlighting now and again as a galactic entrepreneur for spare change.
CONTACT stephanie.kitingan@gmail.com
prerequisite to the reinvigoration of this innate connection within a contemporary context. The dialogue then shifts to the discussion of geometry and the significance of universal patterns within the make up of our universe. The impetus of this thesis is accessed by exploring the qualities of symbolic design within a metaphorical narrative of scientific discovery. The architectural intervention is a twofold Phrontistery and Satellite, both ‘sites’ working together to explore the depths of space and its patterns. It is a place of knowledge and learning. We seek to reconnect what has drifted apart.
ARCHIPELAGO I DESIGN STUDIO MELBOURNE SCHOOL OF DESIGN UNIVERSITY OF MELBOURNE
HENOSIS
H E N O S I S / S t e p h a n i e . K i t i n g a n
“We seek to reconnect what has already drifted apart.”
/ Stephanie Kitingan H
“The fundamental element of this cosmos is space... its nature is emptiness and because it is empty it can contain and embrace everything... space is the precondition of all that exists.” L.A. Govinda
‘an exploration of the cosmos...’
T
he structure of Studio Archipelago allowed for the inquiry of a diverse range of concepts based on the penchant of the individual. This thesis attempts to explore the connection that man has with the cosmos, through the use of alchemy as a poetic point of departure; which leads to the discussion of sacred geometry and its applications in ancient times in relation to spiritual and scientific dogma.
Proposing a theory of architecture that relies on the understanding of design patterns - which fundamentally influences our understanding of the spaces around us – is expressed through the themes of science and geometry, revealing a harmony at the heart of the cosmos, an order beyond the senses. The architecture per say is an attempt at prodding these themes, however it is the themes themselves that are more important, formulating a conceptual program that assists the exploration of these cosmic perceptions.
Briefly, alchemy concerns itself with the state of wholeness [henosis], science concerns itself with the structure of the whole and architecture is a representation of wholeness as a deep structure - present in the large-scale configurations of the world around us. These three concepts stand out because they can be experienced through a unique quality of relatedness, which in turn translates to a relatedness of ourselves to the whole, the whole being the universe that surrounds.
The unfolding of this highly subjective and elusive theme presents architecture as the common basis for man’s outlet and expression of a universal connection to the universe.
What transpires from this search is the revelation that the root connection between alchemy, science and architecture is the concept of wholeness.
PLACE OF INSPIRATION
PLACE OF PRODUCTION
SPECIAL THANKS TO
Moments of clarity amongst the shroud of cloud that is my mind. In hindsight to this thesis, it is interesting to reflect on the development of an idea through multiple schools of thought.
Locations are split between an ad hoc study and our studio space at Lincoln Square, providing an equal amount of needed solitude vs. awesome company with other inmates.
Our thesis tutor Tommy Joo, my family for providing me with an education and those intimate friends who allow me the imagination to speculate an intricately beautiful world beyond the one we can see.
enosis represents the state of wholeness - the art of liberating the cosmos from a temporal existence in an attempt to resonate our universal roots that bond us to this galaxy, this earth. Throughout the ages of civilisation, mankind’s quest to translate the unseen forces of the universe for human understanding has been apparent through the medium of architecture. This is a speculative thesis attempting to explore the current disconnection that man has with the cosmos, through the use of alchemy as a poetic point of departure. An interrogation is then made of a ‘new alchemy’ – through the emblematic use of knowledge - and its role as a
BIO Spent the past 7 years amidst creative endeavors completing her undergraduate in architectural studies and masters of architecture; moonlighting now and again as a galactic entrepreneur for spare change.
CONTACT stephanie.kitingan@gmail.com
prerequisite to the reinvigoration of this innate connection within a contemporary context. The dialogue then shifts to the discussion of geometry and the significance of universal patterns within the make up of our universe. The impetus of this thesis is accessed by exploring the qualities of symbolic design within a metaphorical narrative of scientific discovery. The architectural intervention is a twofold Phrontistery and Satellite, both ‘sites’ working together to explore the depths of space and its patterns. It is a place of knowledge and learning. We seek to reconnect what has drifted apart.
ARCHIPELAGO I DESIGN STUDIO MELBOURNE SCHOOL OF DESIGN UNIVERSITY OF MELBOURNE
T H E A T R E . O F . C R U E L T Y / J a y d e n . K e n n y
THEATRE OF CRUELTY
“The abstracted movement of the dancer is derived from the discomfort induced by the chair and the phenomenological qualities of the site.”
/Jayden Kenny
“Theatre ought to peruse a re-examination, not only of all aspects of an objective, descriptive outside world, but also all aspects of an inner world, that is to say man viewed metaphysically, by every means at its disposal.” Antonin Artaud
S
t Kilda holds the 12th highest crime rate of any Melbourne suburb. Fraught with illegal prostitution, drug trafficking and frequent accounts of assault. Yet St Kilda is also a popular tourist zone for international visitors and resident Melbournites alike.
Early research led to Art Therapy and Augusto Boals ‘Theatre of the Oppressed’, but these methods seemed to perpetuate the empowerment of the spectator rather then the marginalised whose reformation was publicised and commodified.
These conflicting sides of St Kilda culminate on the St Kilda Triangle, caught between the family friendly foreshore and the busy esplanade frequented by debauched youth and the impoverished.
To achieve authentic unification the theatre must disempower the audience. Antonin Artaud’s ‘Theatre of Cruelty’ is a method whereby the audience is harassed and induced into a state of fatigue that stops passive observation and engages the audience physically and psychologically with the performers and each other.
My thesis is an exploration of a theatre might reconcile these otherwise disparate sides of a community. How might one make a genuine connection with the other.
broken, inequality of St Kilda’s cultural landscape.
BIO Completed his Bachelor of Creative Arts, majoring in Theatre Studies at the University of Melbourne in 2009. He then enrolled in the Melbourne School of Design 300pt Masters of Architecture program. After spending six years of study honing his critical thinking, he is now ready to take on the ultimate challenge...
Through a mutual baring of the soul and exposing our innate human frailty my thesis speculates what theatre might achieve for the
PLACE OF INSPIRATION
PLACE OF PRODUCTION
SPECIAL THANKS TO
Jogging at 4am.
Bonobo Radio on Pandora.com
Tommy for committing time and energy into the studio. Byron and Dennis for offering their critique and knowledge in such a pleasant and constructive manner. Mum and Dad, you are amazing. Leoni for supplying the projectors for my installation. Kasey for spending 3 hours with me one cold night on the St Kilda Triangle. Will for supplying and operating the camera that shot my installation footage.
T
he project consists of four drawings, an audio / visual installation and a one-to-one mock-up of the auditorium seat. Drawings intend to communicate the architecture of the theatre edifice and how it sits on the St Kilda Triangle site and responds to the existing context. For this reason the simple line work and shading has been rendered by hand with minimal intervention in Photoshop. The installation comprising three projectors and the auditorium seat, is a representation of the theatre experience. When one sits in the hard steel seat they are allowed to rotate 360 degrees. The seat forces the user to sit up straight and engage their bodies. Over time the seat induces a state of physical fatigue.
CONTACT jkenny@student.unimelb.edu.au
The abstracted movement of the dancer is derived from the discomfort induced by the chair and the phenomenological qualities of the site. The dancer visible experiences exhaustion and excursion which is the theatrical manifestation of the audiences metaphysical condition. When viewed in tandem the installation is the immersive representation of the theatre experience that is facilitated by the architecture, depicted in the drawings. In addition to the social speculation of my thesis the project is also an exploration of architectural representation techniques and how the complex and seemingly ephemeral qualities of architecture might be realised and communicated.
ARCHIPELAGO I DESIGN STUDIO MELBOURNE SCHOOL OF DESIGN UNIVERSITY OF MELBOURNE
T H E A T R E . O F . C R U E L T Y / J a y d e n . K e n n y
THEATRE OF CRUELTY
“The abstracted movement of the dancer is derived from the discomfort induced by the chair and the phenomenological qualities of the site.”
/Jayden Kenny
“Theatre ought to peruse a re-examination, not only of all aspects of an objective, descriptive outside world, but also all aspects of an inner world, that is to say man viewed metaphysically, by every means at its disposal.” Antonin Artaud
S
t Kilda holds the 12th highest crime rate of any Melbourne suburb. Fraught with illegal prostitution, drug trafficking and frequent accounts of assault. Yet St Kilda is also a popular tourist zone for international visitors and resident Melbournites alike.
Early research led to Art Therapy and Augusto Boals ‘Theatre of the Oppressed’, but these methods seemed to perpetuate the empowerment of the spectator rather then the marginalised whose reformation was publicised and commodified.
These conflicting sides of St Kilda culminate on the St Kilda Triangle, caught between the family friendly foreshore and the busy esplanade frequented by debauched youth and the impoverished.
To achieve authentic unification the theatre must disempower the audience. Antonin Artaud’s ‘Theatre of Cruelty’ is a method whereby the audience is harassed and induced into a state of fatigue that stops passive observation and engages the audience physically and psychologically with the performers and each other.
My thesis is an exploration of a theatre might reconcile these otherwise disparate sides of a community. How might one make a genuine connection with the other.
broken, inequality of St Kilda’s cultural landscape.
BIO Completed his Bachelor of Creative Arts, majoring in Theatre Studies at the University of Melbourne in 2009. He then enrolled in the Melbourne School of Design 300pt Masters of Architecture program. After spending six years of study honing his critical thinking, he is now ready to take on the ultimate challenge...
Through a mutual baring of the soul and exposing our innate human frailty my thesis speculates what theatre might achieve for the
PLACE OF INSPIRATION
PLACE OF PRODUCTION
SPECIAL THANKS TO
Jogging at 4am.
Bonobo Radio on Pandora.com
Tommy for committing time and energy into the studio. Byron and Dennis for offering their critique and knowledge in such a pleasant and constructive manner. Mum and Dad, you are amazing. Leoni for supplying the projectors for my installation. Kasey for spending 3 hours with me one cold night on the St Kilda Triangle. Will for supplying and operating the camera that shot my installation footage.
T
he project consists of four drawings, an audio / visual installation and a one-to-one mock-up of the auditorium seat. Drawings intend to communicate the architecture of the theatre edifice and how it sits on the St Kilda Triangle site and responds to the existing context. For this reason the simple line work and shading has been rendered by hand with minimal intervention in Photoshop. The installation comprising three projectors and the auditorium seat, is a representation of the theatre experience. When one sits in the hard steel seat they are allowed to rotate 360 degrees. The seat forces the user to sit up straight and engage their bodies. Over time the seat induces a state of physical fatigue.
CONTACT jkenny@student.unimelb.edu.au
The abstracted movement of the dancer is derived from the discomfort induced by the chair and the phenomenological qualities of the site. The dancer visible experiences exhaustion and excursion which is the theatrical manifestation of the audiences metaphysical condition. When viewed in tandem the installation is the immersive representation of the theatre experience that is facilitated by the architecture, depicted in the drawings. In addition to the social speculation of my thesis the project is also an exploration of architectural representation techniques and how the complex and seemingly ephemeral qualities of architecture might be realised and communicated.
ARCHIPELAGO I DESIGN STUDIO MELBOURNE SCHOOL OF DESIGN UNIVERSITY OF MELBOURNE
EXCHANGE
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/ Marc Micuta
“Historically, you think of manufacturing as an assembly line with thousands of workers and benefits. But here we are talking about very small batches, made close to consumers, and customised.” Ricardo Hausmann
W
ith current technology, most building materials used in the construction industry can be manufactured into components using additive manufacturing. The real barrier to adopting this technology for architectural design and construction is in the scale of the current stock of machines and the scale of the components they can output. Large scale specialist printers are becoming increasingly available. Structural components manufactured from steel and titanium alloys are in current production utilising additive manufacturing and are being used in the aeronautical industry.
gained traction in the media have been focused on the race to the first “3d printed house”. These speculative projects have successfully inspired collective imagination and have started a conversation, but my belief is that the first applications of additive manufacturing in the architecture and construction industries will be in a more subtle manner and focused on the production of specific building components that enable to construction of complex geometry. The size, efficiency and ability of the additive manufacturing technology is converging from rapid prototyping to industrial production capacity.
report released by RIBA in 2011 identified challenges facing the practice of architecture up until 2025. The report suggested further integration academic research and education into architectural practice in order to broaden the basic scope of services offered by architects. Could such a transition incorporate increased ownership over the manufacturing process through the use of additive manufacturing? How can architects utilise this transition to their advantage, to reduce time and cost in design and construction while improving overall construction quality?
Architectural applications of additive manufacturing that have
The Future For Architects?
PLACE OF INSPIRATION
PLACE OF PRODUCTION
SPECIAL THANKS TO
When distracted and daydreaming.
The Anchor Place Cavern.
Yien, Ros and Jacek for psychological support. Tommy and the Archipélago studio for design support.
T
BIO Born and raised in Switzerland, Marc is a qualified Civil Engineer who studied and worked in Sydney prior to moving to Melbourne. Marc has focused his interest in computational design and digital fabrication methods into the realisation of small scale timber installations.
“... innovation in architectural design and practice enabled by the advent of a networked, distributed and additive manufacturing and construction industry.”
he project was motivated by an interest in the possibilities for innovation in architectural design and practice enabled by the advent of a networked, distributed and additive manufacturing and construction industry. The design development focused on the iterative design of a series of joints intended to be fabricated using automated and additive manufacturing technologies. Parallel research focused on the future role of the architect and how the exchange between design practice, industrial manufacturing and academic research could be brought closer together under a single architectural program. The final architectural outcomes explored themes of
CONTACT mmicuta@gmail.com
on site manufacturing, mass customisation, recyclable building systems, demountable building systems and utilising both subtractive and additive manufacturing in a structural, aesthetic and tectonic language comparable to today’s standards of design and construction.
a
ARCHIPELAGO I DESIGN STUDIO MELBOURNE SCHOOL OF DESIGN UNIVERSITY OF MELBOURNE
EXCHANGE
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X
C
H
A
N
G
E
/
M
a
r
c
.
M
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c
u
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/ Marc Micuta
“Historically, you think of manufacturing as an assembly line with thousands of workers and benefits. But here we are talking about very small batches, made close to consumers, and customised.” Ricardo Hausmann
W
ith current technology, most building materials used in the construction industry can be manufactured into components using additive manufacturing. The real barrier to adopting this technology for architectural design and construction is in the scale of the current stock of machines and the scale of the components they can output. Large scale specialist printers are becoming increasingly available. Structural components manufactured from steel and titanium alloys are in current production utilising additive manufacturing and are being used in the aeronautical industry.
gained traction in the media have been focused on the race to the first “3d printed house”. These speculative projects have successfully inspired collective imagination and have started a conversation, but my belief is that the first applications of additive manufacturing in the architecture and construction industries will be in a more subtle manner and focused on the production of specific building components that enable to construction of complex geometry. The size, efficiency and ability of the additive manufacturing technology is converging from rapid prototyping to industrial production capacity.
report released by RIBA in 2011 identified challenges facing the practice of architecture up until 2025. The report suggested further integration academic research and education into architectural practice in order to broaden the basic scope of services offered by architects. Could such a transition incorporate increased ownership over the manufacturing process through the use of additive manufacturing? How can architects utilise this transition to their advantage, to reduce time and cost in design and construction while improving overall construction quality?
Architectural applications of additive manufacturing that have
The Future For Architects?
PLACE OF INSPIRATION
PLACE OF PRODUCTION
SPECIAL THANKS TO
When distracted and daydreaming.
The Anchor Place Cavern.
Yien, Ros and Jacek for psychological support. Tommy and the Archipélago studio for design support.
T
BIO Born and raised in Switzerland, Marc is a qualified Civil Engineer who studied and worked in Sydney prior to moving to Melbourne. Marc has focused his interest in computational design and digital fabrication methods into the realisation of small scale timber installations.
“... innovation in architectural design and practice enabled by the advent of a networked, distributed and additive manufacturing and construction industry.”
he project was motivated by an interest in the possibilities for innovation in architectural design and practice enabled by the advent of a networked, distributed and additive manufacturing and construction industry. The design development focused on the iterative design of a series of joints intended to be fabricated using automated and additive manufacturing technologies. Parallel research focused on the future role of the architect and how the exchange between design practice, industrial manufacturing and academic research could be brought closer together under a single architectural program. The final architectural outcomes explored themes of
CONTACT mmicuta@gmail.com
on site manufacturing, mass customisation, recyclable building systems, demountable building systems and utilising both subtractive and additive manufacturing in a structural, aesthetic and tectonic language comparable to today’s standards of design and construction.
a
ARCHIPELAGO I DESIGN STUDIO MELBOURNE SCHOOL OF DESIGN UNIVERSITY OF MELBOURNE
ETHEREAL
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/ Katie Checken
“In the wilderness, I find something more dear and connate than in streets or villages. In the tranquil landscape, and especially in the distant line of the horizon, man beholds somewhat as beautiful as his own nature.”
Ralph Waldo Emerson
S
ince humanity first sought shelter upon the land, it has adapted its environment for survival and comfort. We are innately connected to it and can find solitude in the raw wilderness. However, being social animals, we have been magnetized together into a collective formation, the city, sprawling the distance between man and untouched wilderness. With growing populations, rapidly advancing technologies and a desire to increase control over our environment, we have built a barrier between the natural world, and ourselves, denying the innate connection.
our society is so far removed from the environment, despite having an innate connection to it. This arguably being the source of our climate change problems, initiated the roots of where my research began, taking field trips into natural landscapes. Through these explorations, I was able to make revelations into the way we experience nature, and discover the dialogue between natural elements and architecture in an urban setting.
in the middle of the CBD, within the fast-paced lifestyle. Through this engagement, I believe we can benefit individually when dealing with both physical and emotional responsibilities, as well as collectively, in improving our connection and appreciation of the natural environment.
“Through engaging with these dual layers of abstracted nature, one is able to find a desired calmness, recharging the inner and outer self.”
BIO
After focusing my Masters degree on sustainability, I approached my thesis semester not wanting to design sustainable architecture, but rather to understand why
I reflected upon the growing distance between the city and untouched wilderness, and how it is becoming increasingly difficult for city dwellers such as myself to experience this nature, when attempting to live without car dependence. It was concluded that this experience must be available
PLACE OF INSPIRATION
PLACE OF PRODUCTION
SPECIAL THANKS TO
In the case of this project, I sought my initial inspiration from the raw wilderness itself. These ideas were strengthened and solidified through conceptual discussion with peers, as well as film, music, and literature – both relevant and irrelevant.
Our Lincoln Square studio space. Despite the poor ventilation, locked balcony doors, constant cloud of fruit flies and power tripping security guards, this space has provided me with much laughter and learning, with many memories to be cherished.
Most of my achievements would be have been realized without the ongoing love and support of my parents. They have been incredible not only during thesis, but throughout all of my education. Honorable mentions to all my friends, both architecture and nonarchitecture.
Katie has a Bachelor of Environments, and is majoring in sustainability in her Masters of Architecture degree. Within architecture, she is interested in the way materials age over time, creating a sublime beauty in older architecture that can be exploited by retro-fitting and re-appropriating. She is looking forward to working in an architectural firm, as well as continuing to pursue her external interests of filmmaking, art and hoola-hooping.
CONTACT katiechecken@gmail.com
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ature can be deconstructed into two layers; natural effects and natural objects. Natural effects include the raw elements light and wind. These elements are experienced by man through sensory engagement and cannot be touched. Natural objects are the raw elements water and earth, which are experienced through tactility and body movement. It could be said that natural effects engage with man’s inner senses, and natural objects engage with man’s outer senses. True connectivity with nature occurs when balance is achieved between both inner and outer senses, creating harmony and pure stillness. Spaces where man experiences this kind of serenity are places untouched by man, where the environment is raw and
unfiltered, including coastline, ocean, mountains, and forests. This methodology of composing sensorily wholesome and balanced spaces can be applied architecture, sanctioning our innate connection to nature. Through engaging with these dual layers of abstracted nature, one is able to find a desired calmness, recharging the inner and outer self. The design takes these concepts, and the ideas into a bathhouse retreat, where the user is taken through a series of atmospherically charged spaces, organized within an existing brick building in Melbourne’s CBD. These spaces are designed to transport the mind into a balanced state of ease, through the exposure to raw and filtered elements.
ARCHIPELAGO I DESIGN STUDIO MELBOURNE SCHOOL OF DESIGN UNIVERSITY OF MELBOURNE
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/ Katie Checken
“In the wilderness, I find something more dear and connate than in streets or villages. In the tranquil landscape, and especially in the distant line of the horizon, man beholds somewhat as beautiful as his own nature.”
Ralph Waldo Emerson
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ince humanity first sought shelter upon the land, it has adapted its environment for survival and comfort. We are innately connected to it and can find solitude in the raw wilderness. However, being social animals, we have been magnetized together into a collective formation, the city, sprawling the distance between man and untouched wilderness. With growing populations, rapidly advancing technologies and a desire to increase control over our environment, we have built a barrier between the natural world, and ourselves, denying the innate connection.
our society is so far removed from the environment, despite having an innate connection to it. This arguably being the source of our climate change problems, initiated the roots of where my research began, taking field trips into natural landscapes. Through these explorations, I was able to make revelations into the way we experience nature, and discover the dialogue between natural elements and architecture in an urban setting.
in the middle of the CBD, within the fast-paced lifestyle. Through this engagement, I believe we can benefit individually when dealing with both physical and emotional responsibilities, as well as collectively, in improving our connection and appreciation of the natural environment.
“Through engaging with these dual layers of abstracted nature, one is able to find a desired calmness, recharging the inner and outer self.”
BIO
After focusing my Masters degree on sustainability, I approached my thesis semester not wanting to design sustainable architecture, but rather to understand why
I reflected upon the growing distance between the city and untouched wilderness, and how it is becoming increasingly difficult for city dwellers such as myself to experience this nature, when attempting to live without car dependence. It was concluded that this experience must be available
PLACE OF INSPIRATION
PLACE OF PRODUCTION
SPECIAL THANKS TO
In the case of this project, I sought my initial inspiration from the raw wilderness itself. These ideas were strengthened and solidified through conceptual discussion with peers, as well as film, music, and literature – both relevant and irrelevant.
Our Lincoln Square studio space. Despite the poor ventilation, locked balcony doors, constant cloud of fruit flies and power tripping security guards, this space has provided me with much laughter and learning, with many memories to be cherished.
Most of my achievements would be have been realized without the ongoing love and support of my parents. They have been incredible not only during thesis, but throughout all of my education. Honorable mentions to all my friends, both architecture and nonarchitecture.
Katie has a Bachelor of Environments, and is majoring in sustainability in her Masters of Architecture degree. Within architecture, she is interested in the way materials age over time, creating a sublime beauty in older architecture that can be exploited by retro-fitting and re-appropriating. She is looking forward to working in an architectural firm, as well as continuing to pursue her external interests of filmmaking, art and hoola-hooping.
CONTACT katiechecken@gmail.com
N
ature can be deconstructed into two layers; natural effects and natural objects. Natural effects include the raw elements light and wind. These elements are experienced by man through sensory engagement and cannot be touched. Natural objects are the raw elements water and earth, which are experienced through tactility and body movement. It could be said that natural effects engage with man’s inner senses, and natural objects engage with man’s outer senses. True connectivity with nature occurs when balance is achieved between both inner and outer senses, creating harmony and pure stillness. Spaces where man experiences this kind of serenity are places untouched by man, where the environment is raw and
unfiltered, including coastline, ocean, mountains, and forests. This methodology of composing sensorily wholesome and balanced spaces can be applied architecture, sanctioning our innate connection to nature. Through engaging with these dual layers of abstracted nature, one is able to find a desired calmness, recharging the inner and outer self. The design takes these concepts, and the ideas into a bathhouse retreat, where the user is taken through a series of atmospherically charged spaces, organized within an existing brick building in Melbourne’s CBD. These spaces are designed to transport the mind into a balanced state of ease, through the exposure to raw and filtered elements.