Built Environment
LOWER SYDNEY TOWN HALL 26 - 11 - 19 27 - 11 - 19
EIGHTY EXHIBITING POSTGRADUATE STUDENTS
SIXTY THREE EXHIBITING UNDERGRADUATE STUDENTS
BACHELOR OF ARCHITECTURE CATALOGUE
BACHELOR OF ARCHITECTURE CATALOGUE
201 9 FAC ULTY OF B UILT ENVIRO NME NT
THE UNIVERSITY OF NEW SOUTH WALES BUILT ENVIRONMENT
1.0 MESSAGE FROM THE DEAN OF FBE
2.0 MESSAGE FROM THE DIRECTOR OF ARCHITECTURE
3.0 SPECIAL THANKS TO ALL OFFICIAL SPONSORS
GLENN MURCUTT SOFALA
4.0 REGIONAL STUDIO
ANITA PANOV & ANDREW SCOTT NOTHING MATTERS
5.0 URBAN STUDIO
6.0 ARCHEX 2019 COMMITTEE
Professor Helen Lochhead Dean of the Faculty of Built Environment
UNSW Built Environment: Shaping Future Cities Congratulations to our Bachelor of Architectural Studies and Master of Architecture students on completing their studies at UNSW Built Environment. We warmly welcome you to our alumni community. UNSW Built Environment provides the platform to generate innovative solutions for today’s world that also anticipate and mitigate tomorrow’s urban problems. Our imperative is to make the world a better place through a better built environment. Every year accomplished academics and award–winning practitioners lead our Architecture programs, providing a firm foundation to launch your professional careers, to design and build more sustainable, liveable cities. The architectural projects that follow profile an inspiring and creative compilation of your work during the course of your studies. Each year, our students create projects that understand, respond to, and enhance specific environmental, sociocultural and economic contexts. This portfolio of work addresses diverse urban challenges and through creative problem solving, result in compelling projects with many interwoven stories. When viewed together, they provide glimpses into our world and the potential to improve it with clear, innovative ideas and design propositions that challenge the status quo. Together, you and your future colleagues will contribute to architectural design and place-making solutions to many of the future challenges facing our cities – solutions that, today, have yet to be imagined. In your future pursuits, I urge you to keep following your individual passions while welcoming interdisciplinary collaboration. This will produce authentic, multi-layered solutions that stand the test of time in a quickly changing world. We look forward to hearing about your future endeavours and the impacts they have on the communities that you serve. Please update us throughout your career at BEalumni@unsw. edu.au. I also invite you to join our LinkedIn group (UNSW Built Environment) to maintain connections with your peers and other UNSW Built Environment alumni as you move into the next steps of your career. We are also grateful to our alumni who support future students with scholarships, prizes, internships and mentoring programs. It is a real delight to support and celebrate our graduates’ achievements and I look forward to seeing how you choose to shape your future. Thank you for the energy and passion you have devoted to your degree at UNSW. I wish you all the very best.
Dr. Philip Oldfield Director of Architecture
My congratulations to our 2019 Bachelor of Architectural Studies graduation year. We are proud of your achievements and celebrate this significant milestone in your academic trajectory. The projects gathered in this catalogue are testament to your capacity in the conception and development of architectural ideas, as a collective cohort and as independent designers. And congratulations and sincere thanks to the studio leaders and staff who structure and support our students’ enquiry. At UNSW Architecture we are privileged to shape our third year major studio through collaborations with Australia’s most acclaimed architects; our success is indebted to their generous contributions to architectural education. Professor Glenn Murcutt leads the Regional Studio while Anita Panov and Andrew Scott of Panov Scott Architects lead the Urban Studio. Supported by Dr John Gamble and Shaowen Wang, alongside experienced and passionate teaching teams, they have devised ambitious curricula that adapt their respective design methods to an educational setting. I’d also like to say a special thank you to our Student Exhibition Committee who along with Dr. Luciano Cardellicchio have worked tirelessly to put together every aspect of the ARCH-EX exhibition – including this catalogue – while simultaneously completing their studies. At UNSW Architecture we aim to educate well-rounded graduates committed to complex urban and landscaped environments as the primary matrix for architectural investigation; graduates equipped with the acute sociocultural understanding and technical expertise to pursue an ethical direction in architecture. The projects that emerge from the Bachelor of Architectural Studies capstone studio, the culminating piece in three years of undergraduate study, beautifully capture our aspiration. Congratulations again to our 2019 graduates and their tutors!
SOFALA Architecture + Regional Stream
Framed by an ecological functionalist view of Architecture as articulated by the Finnish Architect and Theorist Juhani Pallasmaa, the 2019 Regional Studio required the design of a small regional art gallery and artist-in-residence in the beautiful landscape and village of Sofala, 250kms north-west of Sydney. The village is Australia’s oldest surviving gold town and today prospectors and fossickers still work the area, 70 years since the last gold mine closed. The Sofala Art Gallery will provide three x 4-monthly exhibitions each year of works that are of the region and specifically of villages, townships, landscapes and the portrayal of life over the last 170 years. Some of Australia’s great artists – including Arthur Boyd, Margaret Olley, Brett Whiteley and John Olsen – have painted, filmed or photographed, and composers written musical scores in, Sofala and the nearby town of Hill End.
Professor Glenn Murcutt
Many works are held in Australian art galleries and private collections. Included in each exhibition will be works, readings and musical performances of the selected artists-in-residence, past and present. The studio emphasised the development of designs through an exploration of the historical village of Sofala, the landscape and the natural and modified environment. Students were required to investigate, reveal and represent solutions that respond to the scale of the village and the works of the artists and the landscape, informed by a knowledge and appreciation of the cultural history of the particular place. They sought to discover architecture that is a response to Place and not one of Imposition.
Location: Coordinates:
Sofala -33.0808, 149.6882
Regional Stream 2019
Ashley Dunn (Dunn & Hillam Architects)
Regional Stream 2019 Ian Martin (Patonga Design)
Regional Stream 2019
James Stockwell (Stockwell Design)
Jonathan Temple (Dunn & Hillam Architects)
Andrea Wilson (ARM Architecture)
Anna Ciliberto (CILIBERTO)
DETAILED SECTION A SCALE 1:20
Nathaniel Cajee Syiem @ nathaniel.syiem@gmail.com 0423 683 947
Shaped by Nature “ The architect must see back to the origins -- where else does original work spring from?” -Tomoya Masuda
Nature is the perhaps the most original architect, shaping landmasses for eons. In today’s modern era where embodied carbon emissions pose a huge threat to the global climate, perhaps, it is time to look for ways and means to imbue our architectural dictum with the importance of nature and how one can work hand in hand with it to create an architecture that is responsive and culturally appropriate. The overall design of the Sofala Gallery stresses on the importance of passive cooling and heating, naturally diffused lighting in the galleries, and reduction of embodied carbon by using locally sourced materials.
NATHANIEL CAJEE SYIEM Z5135615 Above; Detailed Section
R01
Shunyang Chen @
cwilliamsy@gmail.com 0432 071 180
cWilliamsy william.c.s.y
The Rustic Anapest “The Gallery and Artist-inResident brings a new identity to the nostalgic town, Sofala, and revivals the rustic history of gold-rush. � The design emphasizes development through an exploration of the historical village, the landscape and the natural and modified environment. North facing glazing maximizes natural sunlight use in winter for passive heating. Spaces like the library and shop have open views to the beautiful riverbed of the Turon River, while the main gallery spaces are hidden from direct sunlight, taking advantage of the building’s large volume to create a rustic iconic facade to attract visitors. Large studio space for artist provide privacy, and the accommodation encourages engagement with the local village.
Above - Photograph of Model (View from Turon River)
R02
Top Left; Ground Floor Plan Bottom Left; Sectional Detail Right; External and Internal Elevations
Chong Zhe Wei @ czhewei96@gmail.com 0478 774 370
@czhew
Presence The journey to Sofala was pleasant and refreshing. There was a certain sense of lightness and tranquility, as if a part of the self was left in the city. Upon reaching the site, one would feel a surge of sensory experiences; the gentle rain on the skin, smell of fresh grass and mud, birds chirping and nesting on the neatly lined trees. There was a sudden recall of emotions and realisation of a gap in my memories. It was neither distant nor far. It felt present and surreal. This project aims to evoke the clarity of our memories through an art gallery. It captures, construct and amplify specific atmospheric qualities. A self-contained space allows a personalised experience with minimal intervention from the site. The usage of contrasting materials also illustrate and explore how the old can be made new and present can be brought into the future.
R03
Top; Ground Floor Plan Left; Perspective, Section Right; Concept Model, Elevation
Brittany Elliott @ 2brittanyelliott@gmail.com 0415 043 796
@Brittany Elliott
The Rustic Anapest
The gallery and residence embraces and preserves the integrity of the township and natural landscape, responding to site conditions, function and human needs. Sofala’s mining history is reflected in the town’s built character. The gallery responds to this in scale and with organic materiality that encourages a play on light and shadow, shaping the internal and external experience. The underlying principles of the scheme, through passive design techniques, is to maintain optimal gallery internal conditions to protect and display the work of regional artists and artist-inresidence. The internal shaped roof forms harness and direct the southern natural light into the flexible gallery spaces. A long spine transit acts as an axis between the northern spaces that open to the river views and the gallery. Breaks in the internal spaces open to semi-enclosed terraces which provide glimpses and connection to the natural landscape as one navigates between spaces. R04
Flynn Fielding @ flynfielding@gmail.com 0430 162 981
@FlynnFielding @flynnstagram__
Left; Elevation Perspective, Exterior Perspectives Below; Internal Gallery Elevations
The Basalt Flow Regional Art Gallery, Sofala The Basalt Flow Regional Art Gallery is an acknowledgment to the rich history of Sofala, the space is reflective of the surrounding environments such as the differing levels of the rolling hills, the cracked and carved faces of the basalt rock that lines parts of the river and the states of movement within the river bed whether it be flowing or dry. The dichotomous relationship between the robust nature of the materiality of the site and the frailty of the surrounding nature offers multiple purposes for the surrounding and extended community therefore creating juxtaposing experiences for a wide demographic, paying homage to the various time periods within Sofala’s history.
R05
Chad Gao @ gaochad312@gmail.com 0405 772 683
chaddd_312
Left; Site Plan @ 1:1000 Below; Photographs of Model
Touch the Earth This project aims to respond to the site by designing an art gallery for the local community, and providing a studio with accomodation for artists. The project is located on the western side of Sofala village, and is divided into two parts by the road. The northern side is the gallery, artist’s studio, and accomodation. The south houses ancillary facilities and parking spaces. The original town bridge is preserved and placed at a communal area in between the gallery and artist’s studio. It connects with a platform in the middle of the Turon River, which extends to the north. The gallery is made with sandstone, while the artist’s studio and living area is cladded in timber.
R06
Above; Gallery Plan, Gallery Perspective Right; Concept / Gallery, Residential and Studio Sections
Leo Guo @ design.leoguo@gmail.com 0415 156 801
@leo_eats_food
Sofala Regional Gallery
Sofala is a small rural town that is rich in history and culture. It resides nestled and hidden away in the Australian landscape. The design of a regional gallery and artist in residence space must employ a sensibility to the site that surrounds it. In keeping with the scale and atmosphere of Sofala, the buildings utilise a rustic and honest palette of locally sourced materials. The form and rhythm is dictated by a number of structural solar chimneys connected to underground earth tubes. This greatly reduces energy requirements whilst maintaining the stability of internal conditions necessary for a gallery space.
R07
Left; Cross Section Right; Plans, Section Below; Photograph of Model
Fangzi He @ hefangziarch@gmail.com 0411 726 096
Sofala Art Gallery Sofala Art Gallery is located in a beautiful small town, which is surrounded by beautiful natural scenery. It can be called a miniature village of the town. The main concept is to ensure people can enjoy the natural environment while passing through the spaces. The main body of the gallery was divided into four parts, and an exhibition space is located on two levels of the main building. The small scale gallery echoes the town’s topology, and creates a rich indoor and outdoor space experience.
R08
Peter Ioannou @ peterioannou27@gmail.com 0420 881 846
@peterr.ioannou Left; Ground Floor Plan Right; Cross Section and Exterior Perspective Below; Gallery Construction Section
Art Gallery of Sofala
Inspired by the rich social history of Sofala, the project aims to assimilate into the site by referencing the scattered layout of Sofala’s built environment. A series of clustered forms blend among the trees and direct visitors from the communal street out towards the natural landscape, where they may experience art in a tranquil environment. While enclosed gallery spaces act as spaces of refuge, promoting a focus on the artworks within, a series of openings and retreats offer moments of prospect, allowing visitors to experience the natural environment beyond.
R10
Ahmed Al-Ahmedi @ Ahmed96isam@gmail.com 0478 017 481
@Ahmed.isam_
Terkib
Double glazing Reflective Surface Sun panel Insulationl
Zinc roof C-purlin
Concrete column Concrete Element
Gutter
Timber cladding Timber batten Air gap Insulation Waterproof membrane Concrete wall Glazing Timber floor Timber Batten Floor slab Tiles
Above; Lecture Hall Prespective, Detail Section Top Left; South Elevation Bottom Left; Perspective
01
Designing a space to exhibit a wide variety of artworks is one of the main goals of this project. This gallery was developed, so different artworks can be spotted from different angles across the room. The area has a level of openness that there is no one particular way for circulation. Freedom is an important aspect. Hence visitors can draft their path to go around the gallery as there is a different experience with each route. The multifunctional gallery spaces are designed to be adaptable to any type of event or art presentation. The digital art room can screens film/video work on a small or large scale. This space also serves as a lecture hall for local workshops or lectures for the locals. On a macro level, this building was designed to fit in the context of Sofala. With respect to form, scale, and materials.
R11
Shriti Joshi @ shritijoshi@hotmail.com 0449 875 432
www.linkedin.com/in/shriti-joshi
Harmony with nature “Architecture has its own realm. It has a special physical relationship with life. I do not think of it primarily as either a message or a symbol, but as an envelope and background for life which goes on in and around it, a sensitive container for the rhythm of footsteps on the floor, for the concentration of work, for the silence of sleep.” -Peter Zumthor Located at the entrance of the village of Sofala, at the Turon river valley, this gallery with an artist accommodation is nestled innocuously into the landscape. It’s grounded, low-lying structure and its use of open courtyards allow visitors to quite literally to be in touch with the natural environment.
Above; Sectional Perspective of the Gallery
The design of this building is defined by a single longitudinal spine which opens up to various spaces. With careful consideration of optimal solar access for gallery and service spaces, this design makes the most of the sunlight, minimising excessive glare and summer heat, while making the most of the winter heat. It is designed using natural materials - fulfulling the aim to live in harmony with nature. R13
Left; Exterior, Interior Perspectives Right; Aerial Perspective Below; Ground Floor Plan
Luke Josifov @ lukejosifov@gmail.com 0431 511 180
@luke_josifov
Sofala Art Gallery The art exhibited at the gallery is largely curated by an artist-inresidence. The private dwelling and studio are granted expansive views of the river, promoting tranquility and inciting creativity. River views are granted to four gallery spaces united by a large foyer that doubles as a performance space, Long corridors maintain an axial connection to the site, while concrete blades on the southern facade frame nuances of the casuarinas along the river banks. The artworks are protected from direct sunlight via strategic positioning of large skylights, creating a sculptural form that blends the existing topography around the river, binding the building to the landscape.
YeJin Kim @ ye_jin_kim@hotmail.com 0422 876 900 Top Left; Full Spread of Concept Plan Middle Left; Long Section Bottom Left; Exterior Perspective Below: Model of Gallery, Interior Perspectives
@yej.kim
Structure and Fragmentation “I believe in the idea that architecture holds gravity and weight, and that it makes you feel the soil. It is always a comparison between man’s rational thought and nature... Architecture is nature’s other. ” In order to preserve the historical integrity and natural topography of the Sofala site, the interior spaces of the gallery were arranged in a layered organisation that unfolds as a formal civic structure close to the main street. It gradually transitions into lighter, more open and transparent series of spaces that open outwards into courtyards and the natural environment. The main foyer was designed to be grand and heavy, and the subsequent sequence of spaces interplay light and shadow as one moves through the architecture - a dialogue of formal concrete against glass, timber and moments of rest within the landscape.
R15
JOHN PASSMORE - JUMPING HORSE MACKEREL 1219mm x 1498mm
LUKE SCIBERRAS - SWALLOWS NEST CREEK 1600mm x 2400mm
Top; Gallery Section at 1:50 Middle; Ground Floor Plan Below; Nothern Elevation Right; Exterior Perspective, Gallery Perspective
RESIDENCY
STUDIO
MULTI USE
ART GALLERIES
IMPERMERNANENCE
PERMERNANENCE
IMPERMERNANENCE
PERMERNANENCE
Nick Koh @ ncko.kw@gmail.com 0423 271 813
@nc.ko @nc.ko
Sofala - Impermanence and Continuity Sofala, a town born during the Gold Rush, the entropy it experienced in its wake. A lasting reminder of impermanence. Much like the process of gold mining, the creative output of artistic endeavor would constitute a new gold that can invigorate the town, and add to Sofala’s identity. This project incorporates a sense of permanence and structure to the historical presence of entropy, and seeks to derive a continuity amidst permanence and impermanence.
FOYER
ARCHIVES
IMPERMERNANENCE
PERMERNANENCE
The continuous monolithic roof form articulates the concept, and organizes the program of the building in “zones” of permanence and impermanence – an expression of the creative and curatorial spirit of art. Zones of permanence include: Artist’s Studio Space, Art Galleries, and the Staff functions. Zones of impermanece include: Artist’s Residence, Outdoor Spaces, and Transitional Spaces such as the Entry and Foyer.
R16
Jenny Ke-Yi Lin @ jennylin2250190@gmail.com 0401 252 082
www.linkedin.com/in/jenny-k-lin @jennylin2129
Of Earth and Sky
Top Left; Floor Plans Bottom Left; Perspective of the Gallery Interior Above; Cross Sections of the Gallery Below: Sectional Model @ 1:20
“An art gallery, artist-in residence and public recreational gardens framing the new entry to the historical township of Sofala, NSW”
Nestled into the Turon River valley at the gateway to Sofala, this scheme proposes transparency-like sequences of framed view-points to and through the town and the landscape, connecting the ground and sky, that is informed by the site’s topography and topology. The new buildings for viewing and making art encloses a variety of leisure activities on constructed terraces, leading to the river bed and across the valley, integrating with the historical town in a manner that is dramatic, but sit within the landscape as a back-drop to the art and leisure of the town.
R17
Above; Ground Floor Plan Right; Sections
Taija Love @ Taija@balmoral-beach.com 0403 670 674
@TaijaLove
Sofala Art Gallery, Studio and Residence The aim of the Regional Studio was to design an art gallery, studio and house to reinvigorate the local culture at Sofala and celebrate Australian artists who have been inspired by the landscape. Three main aspects guided my design; the local context, the art of the region, and sustainability. An amphitheater and sculpture garden were designed to provide public space for locals. The sculpture garden inspired by a dream time story from the Wiradjuri people, the traditional custodians of the land. The undulating roof mimics the soft, rolling hills that enclose the town. The interior moves the viewer through the gallery between the street and the river. SIPS panels have been used to remove all masonry from the structure, in addition to passive design elements to ensure a sustainable design solution.
R18
Carolyn A Love @ contact@carolynalove.com 0432 521 420
@carolynalove @carolynalove
Sofala Regional Gallery: Elemental “The underlying principles of my scheme prioritise the use of light and thermal mass, to create a revitalising gallery experience on a dynamic historic site.� The layout was carefully considered, with spaces separated by a monumental rammed earth spine, between those benefiting from the sunny northern aspect of the site, and those needing diffused, indirect southern light. Passive solar and thermal techniques are used to maintain perfect gallery conditions. The separation between lightweight framing structures and the solid wall is also emphasised. As one moves between spaces, through the wall, the aspect alternates between the prospect of the Turon river, and sheltered refuge of the more controlled gallery spaces.
Above; Rendered Sectional Perspective Left; Floor Plan @ 1 : 500
R19
Jingyao Lu @ sylvialu415@gmail.com 0426 970 415
@guluvee
Sofala Gallery: Breaking Through Above; Perspective of entrance Below; Photograph of Model Top Left; Perspective of the cantilevered gallery Bottom Left; Gallery section
“Take a step out of the Casuarinas and touch nature. � The design proposal is to build a long and deep gallery that extends out of the beautiful Casuarinas to provide an unblocked view of the beautiful riverbank. The gallery is a 48 meter long cantilevered building, with all service spaces arranged along it. The curtain wall at the end of the gallery frames the panoramic view of the scenery of the opposite bank. The artist studio and residence are linked with the gallery, allowing the artist to live and work easily. There are curtain walls facing north in both the studio and residence, providing sufficient natural light into the space. A long ramp stretches from east to west linking the upper site and the lower riverbank, encouraging visitors to draw meaningful connections with the site. Three platforms at different heights allow people to rest and relax.
R20
William Mackenzie @ will.john.mackenzie@gmail.com 0410 343 737 @wjmackenzie
Sofala Regional Gallery & Artist’s Residence
Top Left; Site Plan @ 1:1000 Above; Gallery Entrance, Inner Courtyard & Fountain Bottom; Gallery Interior
Planned around the existing trees on the site, the fingers of the gallery reach out to and undulate around the casuarina trees on the bank of the Turon River. The parallel spaces of the building create strong vectors out from Denison Road for visitors to directly connect the art to the landscape in which it was created. Direct light is filtered by the casuarina trees and these shadows subtly change throughout the day as the sun moves and the wind blows. Using a series of layered steel trusses, an extensive series of skylights collect indirect sunlight and further wash the translucent roof of the galleries with natural light. Extensive consideration was given to the creation of town services, including a solar farm with battery storage and a wastewater treatment facility using native reeds, both with the capacity of servicing the entire town of Sofala.
R21
Above; Concept, Something Light-weight Right; Perspective through main area
Zan Liang Mah Gareth @ garethmah@gmail.com 0433 971 838
GarethMah @garethmahh
Stratified Voids At the intersection of spatial law, artworks and the land, the project proposes a composition of architectural elements to perform as a gallery that legitimize the land formed by the Gold Rush. ‘Stratified Void’ reflects on narratives throughout the history of the region, critiquing current gallery strategies. The scheme explores the geographical and social history of the region. A series of datums leading up from the historical Turon River and from the town of Sofala, act as strata that curate the spaces of the galleries within. These architectural elements choreograph a rhythm of the land to shape the spaces within. Acts of observation and simulation through media-led investigations predict and intensify this process, forming an understanding to direct the formation of new land whilst providing access to it.
R22
Left; Cross Section @ 1:20 Above & Right; Full spread concept Below; Ground-floor Plan @ 1:200
Mao Yue @ maoyue1995@gmail.com 0412 620 512
@sachiko_cinderella
The Fold A museum of abstraction; contemporary memories of Sofala. Once a prosperous mining town, Sofala has lost is past glory. However, it has retained its essence through its warm, wild-looking landscape and town setting. The museum intends to preserve the characteristics of Sofala town and re-interpret it through abstract, triangular forms extracted from the typology of the site. By experimenting with origami patterns and foldingunfolding cut outs, the roof was derived as the generator for the rest of the museum’s form and spaces.
R23
Grace Mcilroy @ gmcilroy.95@gmail.com 0432 632 0265
gracemcilroydesign.myportfolio.com
Regional Hub
My design draws inspiration from the undulating rhythm of the hills of Sofala and aims to create a cultural hub for the area, attracting artists and art viewers alike. The gallery is a flexible space, providing four internal gallery spaces, each with a unique visual to the landscape below. The spine of the building - a cavernous space that connects all galleries - provides a rhythm in the journey from the foyer through to the offices. The external sculpture garden is designed to be a functional space - one that can accommodate a sculpture exhibition by day, and a cocktail function by night with an integrated, concealed bar area. The town of Sofala demands an architecture that will endeavor to regenerate and revitalise for years to come.
Above; Rendered Perspective
R24
Curtis McMillan @ cjmcmillan@gmail.com 0478 983 600
@curtis-mcmillan
Zen and the Art of the Sun “It’s the sides of the mountain which sustain life, not the top.” - Robert Pirsig
Sofala is a town robbed of its former glory in an age-old struggle against nature. The bridge which was lost to flooding in the 1980s is re-used as a walkway, with a swivel mechanism that will resist future flood events. Rammed earth thermal mass and glazing interact with the roof forms to create micro-climates resistant to the area’s extremes. The gallery space diffuses direct sunlight over a central earthen mass, and the studio space uses a thermal mass core to split light from the North and South, suitable for art-making. The residence is an ascetic cottage, with Japanese amado shutters and a wood stove, oriented to the view upstream.
Above; Site Plan
R25
Zachary Morris @ zacharykmorris@outlook.com 0411 580 627
@zachary-k-morris15 Left; Site Plan @ 1:1000, Site Sections @ 1:1000 Below; Site Model @ 1:200, Site Perspectives
@zacharymorrisarch
Sofala Light
“Architecture is not just an articulation of function and space. It is an expression of feeling, emotion and beauty that is embedded within the individual and imprinted in the environment, a reflection of nothing less than the most powerful and influential experiences. “
Sofala Light is an art in residence that unfolds along the Turon River from art gallery to studio and retreat. The art gallery is organic in its materiality and control of the light into the open and flexible display space. The gallery extends into the casuarina landscape and cantilevers subtly over the sloped landscape. The gallery is located to the West to and the retreat to the East to provide central space for locals to swim, fish or celebrate the river. Residence of the gallery have refuge in a small cluster of buildings, each with prospect that projects into the landscape.
R26
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
Kate Morris @ kate@boroniapark.com 0412 727 057
@katemorris-au Left; Ground Floor Plan, Sections @ 1:200 Below; Rendered Perspectives
@katemorrisarch
The Oasis: Gallery + Artist Residence
The project aims to provide a cultural, social and environmetally sustainable Oasis that breathes new life into the town of Sofala. By enhancing the natural qualites of the site such as the river and local flora, a unigue gallery experience has been created where one can simultaneously appretiate the history of Sofala, as well as the current qualites of the site. The Oasis invites one to explore the landscape from a different perspective, placing emphasis on the everchanging riverscape that is the heart of the town.
R27
Above; Site plan and Section Right; Interior Section and Perspectives
Harrison Page @ harrisonjspage@gmail.com 0435 776 942
@harrisonjspage
Gallery for the Arts - Village of Sofala Driving inspiration from the Turon River, the concept proposes a juxtaposition between the significance of the river and the subtending typologies from the landscape in the architecture. This juxtaposition contrives an eclectic transition from exterior to interior as circulation paths accustom the visitor to a lighting experience which mimics the characteristics of the river. The exterior form adopts the traditional Australian composition of a gable roof with deep verandahs, while the interior ceilings contradict this typology with a curved ceiling by which water reflections capture the visual effect of being inside and underneath the river.
R28
Top Left; Section B @ 1:200 Bottom Left; Section C @ 1:200 Top Right; Sofala Site Plan @ 1:5000 Middle Right; Ground Floor Plan @ 1:2000 Bottom Right; Platform Floor Plan @ 1:2000
WASTE MANAGEMENT WATER COLLECTION RELOCATED FOOTBRIDGE
Li Kuang Pung @ punglikuang@gmail.com 0404 123 123
LiKuang Pung @plikuang
Art @ Sofala Vast landscape across the Turon River, which channel the liveliness of nature across the entire township of Sofala. Within the greens, peace and calmness is found. Located at Sofala, the last surviving gold-mining town dated as far back as 1851. With the Turon River flowing on the northern side of site, and the entrance of Sofala town on the east, this art gallery seeks to bridge the historical past of Sofala with the advancement of its visitors. As one journeys through the art gallery, they will experience the subtle changes of space, with a largely glazed front of house to the cozy gallery with appropriate openings, illustrating the transition between an urban setting to that of a rural township. The ascended building height, together with the descending landscape, makes room for platforms at ground level designed to exhibit installations and other large scaled works. This art gallery should not be seen as a new building erected on site, but one that blends with its surrounding. R29
Above; Cross Section of Studio Below; North Internal Elevation of Gallery and East Internal Elevation of Gallery Right; Exterior and Interior Perspectives
Oskar Robertsson-Smith @ oskarrobo@outlook.com 0416 195 843
www.linkedin.com/in/OskarRS @curiousjyeart
Osmosis The regional landscape is a series of images that blend gently in one another. This blending has been sought after by this project. Osmosis is the process of ‘bleeding into’. Artists in their residency in Sofala must be able to absorb aspects of the region into their work. The spaces have been configured to reflect this philosophy. Sliding panels and walls act as adjustable membranes to aid in the process of osmosis. The dynamism of these moveable partitions accomodates the changing wishes of the artists, staff and public. Osmosis is followed by the idea of relationships. That many spaces share common functions. These points of overlap have been expressed in this project. Specifically in the gallery/library/ archive arrangement.
R30
Jessica Ryan @ jmarieryan1@gmail.com 0402 462 241
@jessica-ryan-17488717b
‘The Steel Canopy’ A study on Rural Architecture in the town of Sofala. Upon visiting the site, the riverbed leaves the greatest impression behind for the visitor. As one moves through the place, filtered light and hovering canopies create a feeling of tranquillity. The Steel Canopy seeks to enhance this feeling, and was situated to sit long across the cliff edge. This allowed it to rest amongst the Casuarinas, and become part of the site. Windows were used to connect different external and internal spaces with the site, allowing the building to become a part of the landscape and its beautiful experience. A common iron aesthetic found in Sofala was replicated, and utilised to produce a lightweight building that achieves harmony with its surroundings.
Above; Site Plan
R31
Ming Yao Seet @ stmgyo@gmail.com 0421 739 257
@stmgyo
Manifesting History / Spatial Phenomena Left; Cross Sections @ 1:20, Sketch Renders Above; Floor Plan Below; Sectional Model @ 1:20
“to represent history through poetics and form, the intangible spirit of the spaces created.”
Manifesting the history of Sofala through the experience of a journey involving prolonged exploration and discovery, where artworks are gradually discovered through meandering movements, similar to how the gold was discovered along the Turon River. This spatial phenomena enhances inquisition and prolongs curiosity for the visitors. To create the meandering form, the building flows around the existing trees, submersing itself into the landscape, with rammed earth walls that reminisce the tones of earth, giving the viewer a notion as though they were “mining art.”
R32
Ivy Un San Tong @ ivyunsan.tong@gmail.com 0451 671 120
@iives.ii
Sofala Art Gallery & Artist-In Residence N
The site is situated next to the Turon River at Sofala. All proposed buildings are elevated by a meter to prevent flood damage. The art gallery and artist’s studio orient to the south for soft and consistent light while the residence and admin buildings orient north for optimal sunlight. Timber blades on the sides of windows and the angle of the roof help to control direct and indirect sunlight.
Above; Site Plan @ 1:2000, Perspective of art gallery, studio and artists in residence Top Left; Perspective of gallery entrance Bottom Left; Perspective of studio & artist in residence, Perspective of artist in residence - south east facade, Interior perspective of hallway towards art gallery
The exterior walls of the art gallery & studio are built of rammed earth, while plasterboard line the interiors. For the residence and admin building, light grey off-form concrete is used for the exterior wall, and rammed earth for the interior wall. The vibrant colour of rammed earth juxtaposes with the light grey concrete; a cue of connection is established through the material palette between the art gallery and studio.
R34
Cheuk Ling, Wong @ cheuklingwong21@gmail.com 0432 063 173
Stephanie Wong
Sofala Public Gallery and Artist-In Residence The historical village of Sofala is recognized as having an authentic “old world charm”. The site abuts the main town and is south of Turon River. The facility includes a gallery for Sofala’s art, accomodation and a studio for the Artist-in-Residence program. The project explores the natural and modified environment of Sofala, responding to the scale of the village and works of artists. It is informed by a knowledge and appreciation of the cultural history of the site.
Above; Rendered Perspective of Exhibition Space Middle; Long Section of Exhibition Area Below; Cross section of Exhibition Area Left; Floor plan, Rendered Perspective
R35
Yoyo Xiong @ z5107009@ad.unsw.edu.au 0420 676 800
@zixixiong
Sofala Artist-In-Residence Gallery Regional studio introduced the notion of ‘the thinking hand’, and use hand-drawing throughout the whole design process. The initial stage is a quick sketch while camping at the site and a drawing looking down at the site became very inspirational for the roof design at a later stage. Through the plan drawing, there was an idea of compression and expansion, revealing and concealing, and guidance for human movement and sight explored through the manipulation of thickness, angle, position and adjustability of the wall element. The section drawings consider how to catch southern light and use roof volume to reflect, bounce or filter direct sunlight before it hits the lower part of the gallery space.
Above; Detail Section of Gallery Room Two Top Left; Detail Section of Entrance Bottom Left; Rendered Perspective of Entrance
R36
Jessie Xi Yang @ yangxi961023@gmail.com 0406 961 023
@xi_yang_6
Above; Site Model Below; Section Model @ 1:20 Right; Site Plan, Detail Section @ 1: 20
The Glimpse of Nature
“Art is born of the observation and investigation of nature.� The concept is to integrate the building with its surroundings. The gallery has a panoramic view of the landscape, framed by the rammed earth partition walls that create a visual sense of art and harmony with nature. Moving through the space, the openings shift and give views of nature outside. This is inspired by the experience of walking among the Casuarina trees by the river. Spatial flexibility is achieved by sliding walls which can separate or merge various spaces. The gallery follows the site contours, weaving through the landscape. It also fosters a greater appreciation of art and nature, and more importantly, its own town.
R37
Mozhi Yin @ Mozhi-Yin@outlook.com 0412 016 235
@youseemoredawn
Top Left; Site model @ 1:500 Bottom Left; Concept drawing of elevation, Building Model @ 1:200 Below; Building Model @ 1:200
Konoma - Gallery & Artist’s Residence “physical space cannot be isolated from the human experience of place, activity and time- the objective and subjective are interdependant.”- Rory Spence. The term ko-no-ma in Japanese means ‘among trees’, it does not simply represent a static state, but also a pause in time, a moment that allows individual interpretation. The design emphasises this relationship between human, landscape and architecture. It sits on a large platform which can be seen as a “stage of life”. The negative space between the building and landscape opens up the view from the street to a tree line among the river, in order to reduce the disturbance to the site and bring the feeling of nature and awareness of time to the visitors.
R39
N
Yue (Sophia) Yin @ sophiayin0314@gmail.com 0426 628 188 @sophiayin__
Top Left; Site Plan Bottom Left; Interior Perspective Below; Model Photograph
The Museum of Sofala & The Artspace The Museum of Sofala and The Artspace (Artists-in-Residence) sit in the beautiful town of Sofala, next to the Turon River. While standing close to the river bed, I was stunned by the embracement from the nature and the terrain. To replicate and emphasize on the beautiful experience, a sense of surrounding is carried out throughout my design. Museum spaces and the Artspace are individually linked by glazed and sheltered corridors. Among the flourish trees, the elevated spaces alongside the generously glazed walkways blur the fine line between privacy and publicity, insinuating visual continuity between the users and the surrounding landscape. The walkways also provide a flow of experience. Generous space is remained between the two buildings, allowing public access to visit and experience the site.
R40
Top Left; Cross Section Bottom Left; Ground Floor Plan Top Right: External Elevations Bottom Right; Hand SketchedPerspective
Cooper You @ you_cooper@hotmail.com 0434 195 120
@Cooper You @cooperyou
Sofala Art Gallery & Artist in Residence A gallery that captures one’s experience through Sofala, embracing and celebrating the various conditions of the site.
SOFALA ART GALLERY
From the suspenseful morning fog to the warm afternoon sun to the cool winter’s night, the proposal captures this dynamic quality and creates animate spaces throughout which can reveal different perspectives of the local art that is housed within. The southern natural light is directed by the internal angled roof forms which creates an internal sentient light.
R41
Above; Elevation, Physical Model Right; Render and Design Process
Kefeng Yuan @ kefeng.yuan@student.unsw.edu.au 0435 948 897
@y_kefeng
Gallery for the Arts Sofala Based on the history of the town, many Chinese and foreigners live in the region. The design incorporates the socio-cultural history of the context to organise the gallery. Visitors move from place to place either through enclosed galleries, or paths which conceal the destination until arrival. These spaces would appear at the turn of a path, through a window, or perhaps hidden behind foliage. They might be revealed through round “moon doors” - like a painting. Through the “moon gate”, visitors can see the spaces at various angles.
Zhirong Zhu Top Left; Site Plan Bottom Left; Interior Elevation of the Gallery Below; Building Model @ 1:20, Sectional Model @ 1:20
@ lesliezhu1997@gmail.com 0422 172 332
@jing1997_
Falling Leaves, Crouching Rocks “Falling Leaves, Crouching Rocks� is consisted of an art gallery , an artist studio and an artist-in residence at Sofala, NSW. The design emphasizes the presence of the site. Spaces are divided into a series of small volumes and grouped together to form various sized courtyards for visitors and residents at Sofala to rest and explore. Thus, the gallery is weaved into the social fabric of the town and becomes a public space for the people. Landscape elements like trees, rockeries, and pond are integrated into the design with rammed earth wall as the primary structure. This project attempts to bring people, art and nature together, and encourages people to perceive art and landscape differently.
R43
NOTHING MATTERS Architecture + Urban Stream
It has been said that if everything matters, then conversely, nothing matters. We are not so nihilistic and find such dereliction of judgement problematic. But we do agree that everything matters in the development of an architectural project. The breadth of consideration is directly correlated to the success of the transformation of place. But then perhaps there is a way in which the corollary might hold. It could be that the space made that serves no demanded purpose is what really matters, this ‘nothing’ makes for a beautiful experience. Central Park in Manhattan, the steps of our Opera House and the roof of Sean Godsell’s House in the Hills come to mind.
Andrew Scott
Anita Panov
panovscott
panovscott
If we can accept this idea about sweet nothings, we might extend it further. Every other day we hear about the success of the city. It is our greatest invention and hope for navigating the times ahead. From the industrial revolution it has been typified by the accelerated intensification of land use. The measure of the city is spatial efficiency. Today, though, our condition is changing. More and more our future will be typified by limit, by repair, regrowth - by progammed inefficiency. Perhaps our principle method will not be addition but subtraction. In this sense we find hope. In the centre of our city, a place with reportedly some of the most expensive floor area in the southern hemisphere, the City of Sydney is proposing to make a new Public Space. This is our premise and so project.
Location: Coordinates: Area:
Circular Quay -33.861998, 151.208184 1080 sq.m (Building A) 408 sq.m (Building B) 2028 sq.m (Podium)
Urban Stream 2019 Andrew Scott (panovscott)
Urban Stream 2019 Anita Panov (panovscott)
Urban Stream 2019
David Ostinga (Ostinga Architecture)
Urban Stream 2019
Mitchell Thompson (Retallack Thompson)
Urban Stream 2019 Jennifer McMaster (TRIAS)
Jessica Braid @ jessica.b65@hotmail.com 0421 902 414
jessica-braid-a3309b180/
‘School of Architecture’ The School of Architecture is a place for students to design freely, create and be inspired by their surroundings. The form of the school wraps around a central courtyard, creating an intimate and exclusive space for learning in Sydney’s CBD. It is a space that is immersive, and connected to nature. Set in an urban context, the harsh concrete exterior walls block out the everyday noise and congestion of city life - an oasis whereby students can connect with their work. The interior classrooms offer a contrast to the ‘typical’ learning experience, whereby each classroom is set out with a unique layout, for its specific use. Ultimately, this design constructs an innovative learning environment that will allow flexibility and creative stimulation.
Above; Perspective through main area
U01
Left; Section Model @ 1:100 Right; Southeast Elevation Render Below; Aerial Perspective
Murphy Zilin Chen @ murphy.zilin.chen@hotmail.com 0416 682 339
@melodysunbeam
The Cube Puzzle
The Cube Puzzle is an art school located in the midst of the city and it is to be shared by the public as well as the students. It is designed to be distinguished from the surrounding official buildings as a school should be more active and energetic. The building is fabricated with materials that would age with time; concrete, timber and stone, which give a sense of warmth. It is constructed by intersecting modules, which are the functional rooms. The giant concrete columns are structures that hold up the boxes, avoiding additional walls within each room in order to create a wall-less space.
U03
Top Left: Elevational Perspective Bottom Left: Balsa Wood Model @ 1:50 Top Right: Perspective Detail Bottom Right: Part Elevation
Man Wing Choi @ manwing611@gmail.com 0411 285 255
@wing.choi___
The Exploration: Walking Through This is a STEM School located in Sydney CBD and open 24/7 to the students and public. It aims to provide a space to promote experimentation and collaborative skills. The bridge as the main entrance is designed to encourage exploration by walking through instead of observing from outside. Workshops and wet labs arranged into open plans promote interaction between learners. The staircase wraps half of the building outside of the workshops, providing immediate view of people’s movements. It also performs as a linkage to a wider view from the workshops, showing the external urban context. The school is divided into three layers. The lower levels provide open spaces for visitors to engage into different public events. The first and second levels are semi-public spaces with library and communal spaces for students and public, while the upper levels are private area requiring passes to enter.
U04
Left; Exploded Axonometric Right; Balsa Wood Model @ 1:50 Below; Aerial Perspective
Rachel Ditton @ rachelditton@gmail.com 0413 152 126
@RachelDitton
The S.T.E.M. School ‘LEARNING TREE’ With simple timber structure and flexible planning, the ‘Learning Tree’ adapts fro various STEM activities whilst promoting green design in our cities. At its core, ‘the learning tree’ as a tertiary STEM institution on George Street aims to efficiently adapt to various learning environments. Classrooms including wet labs, general study environments, outdoor learning areas and workshops are placed around a central atrium. Forward-thinking in its timber structure, the building posesses a distinct logic and hierarchy in the planning changes between floors and different sizing of beams. With movable walls and flexible classrooms, the school can adapt to the rapid advancement of technology and learning practices associated with STEM curriculum.
U06
AERIAL PERSPECTIVE NATALIE WING SUM HO
Natalie Wing Sum Ho @ nataliexnoodles@gmail.com 0478 754 166
@nnw_arch
Left; Aerial Perspective Bottom Left; Photographs of Model Below; Rendered Elevation
The Perimeter
The Perimeter is a porous habitable public space for the people of our city that also protects the core of a high school. It aims to suit people from different demographics, such as teenagers who like to dance, grannies that want to draw, or just the homeless who need shelter when it rains. The “perimeter� is fabricated with timber modules and a core that is constructed with concrete. It is a place that is located in the midst of the city that facilitates education and provides a vertical expanding public space.
U09
Left; Cross Section @ 1:200 Right; Context Plan @ 1:500 Below; Rendered Elevation @ 1:20
Taylor Joffe @ taylor.joffe13@gmail.com 0407 202 802
@taylorjoffe
Studio Tower
Sydney’s CBD is a centre of commerce, business and industry, a place where construction and urban growth is constant. This project explores the idea for a potential new age design school. A school that lives in the new decade for Sydney’s new generation. A school that never sleeps. This concept for ‘Studio Tower’ is a practical arts school for all ages and all people in the community. The tower is a transparent beacon on George St that encourages design, artmaking and expression. The translucency of the tower provokes pedestrians to look in, watch and wonder about what’s happening like in Alfred Hitchcock’s film “Rear Window.”
U10
Top Left; Section Model @ 1:50, Rendered Elevation Bottom Left; Rendered Perspective of Plaza Top Right; Longitudinal Section Bottom Right; Aerial Perspective
Jade Lau @ jadelau97@gmail.com 0449 160 803
@JadeLau @jade.idk | @cutouts.co
In Between the Rims Aiming to be a place that encourages expression and experimentation with a desire to bring a piece of ‘culture’ back into the city. The school is designed to look and act as a monument, exposing and exchanging knowledge and culture. It ties multiple functions into one to promote public interaction and strengthen relationships with the broader community. Thereby, the plaza plays a very important role that defines the space within the school for a ‘Innovative Learning Environment (ILE)’ school typology that encourages collaboration and independent learning strategies. Spatially, the building is organised as a permeable ring of buildings that contain learning spaces, gathered around a central outdoor space that students are encouraged to get together in.
U11
Top Left; Perspective through the main gate Bottom Left; Exploded Detail, Rendered Elevation Right: Balsa Wood Model @ 1:50
Liz Sze Man, Lau @ lauszeman1109@gmail.com 0415 594 321
@____novembernine
The Urban Threshold The School of Art and Design encourages motivation and exploration. As a space shared by students and surrounded public, the balance between public and private is decisive. The front gateway separates the busy surroundings from the school, achieving a sense of secure transition. Yet, it is a shelter for the public - a welcoming gesture and territory. After passing through the entry threshold, there is a generous public open square in between the village-liked building, allowing students and public to pause and take breaths before entering the ‘rooms’. The building provides multiple accesses into the interior and street lane below. The ‘offset’ plans and sections allow for free movements and fluid hierarchy in this geometric building form which responds to the urban ‘grid’ pattern. Instead of being publicly open, all of the buildings are facing each other to establish a private working and study area. The roof top garden above the dining area and gallery provides a green and active view for the studios and buildings around. U12
Above; Rendered Elevation from George street Right; Site Plan/ Section/ Aerial Perspective
Miranda Qian Li @ mirandali0000@gmail.com 0423 952 993
The Focal Point This project aims to create a Focal Point by fragmented buildings in urban conditions, which invites people to public space by seamless connection, enhancing the connection between the buildings and the surrounding environment. The buildings are connected by underground space, separating relatively public and private spaces, echoing each other, and showing more possibilities in terms of function and space. The faรงade consists of a three-stage material with channel glass, an opaque concrete wall and dark metal curtain wall. The triangular form and colour changes emphasize the dramatic sense of height.
U13
Hans Lin @ hslam0722@gmail.com 0452 600 722
@HansLin98
Urban Condenser The Urban Condenser as a STEM school advocates a form of programmatic layering within the building fabric to encourage dynamic coexistance of activities. Approaches in creating the built form of the Urban Condenser include the intentional overlapping and intersection of programmes within a space through circulation. In this example, shared circulation nodes create collision zones of varied constituencies. The premise is that these areas of collision create the environment where there is potential to allow for otherwise disperse groups to interact.
Above; Programme Plan Top Left; Site Plan, Section Bottom Left; Rendered Elevation
U14
Top Left; Aerial Perspective Bottom Left; Balsa Wood Model @ 1:50, Floor Plans Right; Rendered Elevation
Boyong Lu @ tim19970609@gmail.com 0413 750 930
The Third Space The aim of this project is to create a school with a series of “third space” within the urban context. The third space can be defined as a kind of informal public gathering space with high spatial quality and experience. Within this space, people can use their spare time to communicate, relax, and exchange their ideas and resources informally. This project represents the third space as a series of “staircases” from outdoor staircase and plaza area, to informal learning spaces connecting the first and third floor, and outdoor amphitheatre at the rooftop. The third space also constructs the form, layout and other basic elements of the project.
U15
Miriam Jane Lui @ miriamlui1998@gmail.com 0413 939 847
Left; Photographs of Balsa Wood Model @ 1:50 Right; Conceptual Render (Part Elevation) Below; Site Plan
Sydney STEM Academy
As an institution with leading advanced technology facilities and world-class academic staff members, Sydney STEM Academy aims to provide tertiary education open to HSC level students, high school graduates and those who wish to further their knowledge in the field. Situated at the heart of Sydney, students are given the opportunity to integrate with nearby industries, preparing themselves for better employability. The crescent shape of the building suggests embracement as well as the act of presenting itself. With its living faรงade, the liveliness of the district and wellbeing of its users are heightened. Additionally, the piazza along with the grand staircase allows for numerous possibilities of activities.
U16
Holly Meagher @ hollymeagher@ymail.com 0466 879 698
https://www.linkedin.com/in/ hollymeagher/
Exploded Circulation
HaIer
Exploded Circulation allows people to experience the site and its external surroundings from all heights and locations. It promotes the pace in which people move through the site and suggests places to stop and enjoy the moment. This school promotes the idea of outdoor learning and therefore the movement through the spaces as well as the classrooms are both inside and outside. This creates a better learning experience and environment for the students.
HaIer
Above; Aerial Perspective, Section Left; Rendered Elevation
U17
0 2
10m
Celine Noviany @ celinenoviany@gmail.com 0411 049 753
https://www.linkedin.com/in/ celine-n-59b1b916a/
Left; Aerial Perspective Bottom left; Fifth Floorplan (Cooking class) Bottom right; Detail Elevation Below; Balsa Sectional Model
Creative School for Rehabilitation This school focuses on creativity for the purpose of rehabilitating oneself from the stress of urban life. It focuses on learning through philosophy, making, and horticulture. Both comfort and protection is evoked within the tower, with a delicate open-top mesh atrium, enveloped by thick, heavy walls. The concept of equal opportunity is embedded with the square plans, with quadrants that transform to accommodate new activities. Spaces are arranged in repeated quadrants in section, with a functional level, a shared level and two specialised learning levels such as woodwork and painting, These specialised levels cross-pollinate each other through connecting bridges within the atrium.
U18
Yong Hong Phua @ bryanphua20@gmail.com 0426 107 807
Yong Hong Phua @yonghong.psd Top Left; Balsa Wood Model @ 1:50 Bottom Left; Exploded Axonometric Bottom Right; Rendered Elevation
Pafō
A school within the city caters to users seeking refuge from the busy urban environment, exploring into the beauty of art and design. It is a learning hub for students and also a space for the public for activities such as dining, resting and dining. The arch-ed gesture of the main building (first floor and above) creates an opposing form to the descending steps that lead into basement level. It mimics a “stage” and “seating” like arrangement. When students are working on 1st and 2nd floors studios, it feels as though they are performing on stage as pedestrians look upon them from ground and basement levels. The arch-ed form also promotes a new perspective as users can creates a personal workspace within a open studio arrangement that enables one to open and close up spaces, using columns and canvases as partitions.
U20
Ananta Pradipta @ aanantapradipta@gmail.com 0413 908 101
ananta pradipta Left; Balsa Wood Model @ 1:50 Bottom Left; Aerial Perspective Below; Rendered Elevation
@ananta.pradipta
Spaces in Between
The brief was to emphasize the importance of nothingness while establishing a school that provides an extended public space supporting any kind of activities. Located in the heart of Sydney CBD, going for the spaces in between for the concept of the school to establish spaces to encourage people to interact and share experiences. The architecture is made to mimic the surrounding by having 3 tall buildings whilst establishes the hierarchy of privacy by the window sizes. The plan was made after the concept, where it split from one solid plan to three plans that creates circulation out of the building and encourages people to walk and interact.
U21
06 MY PROJECT EMILY SU
06 MY PROJECT EMILY SU
1:50 SECTIONAL MODEL
Emily Jingwen Su
06 MY PROJECT EMILY SU
@ emilyjsu1@gmail.com 0422 930 218
emilyjsu1 @emilyjsu1
Top Left; Ground Floor Plan @ 1:500 Bottom Left; Balsa Wood Model @ 1:50, Perspective Curtain Detail Below; Aerial Perspective
Carving Thoroughfare Noun: A path forming a route between two places This STEM focused tertiary school serves its educational function as a thoroughfare through students’ stages in life, whilst fulfiling its physical function as a harmonious space promoting thoroughfare to the back street, between EY and the school’s courtard. Ideas pertaining to growth, transparency and fluidity were important to showcase through the form, inspiring self-directed learning and a fostering of STEM interests. A folding facade and the use of curtain walls allow for an integration of public and private, and promotes autonomy and a versatile use of space without compromising a sense of belonging, ownership and connectedness within a busy urban context.
U22
Scale: 1:500
2
10M
Top Left; Aerial Perspective Bottom Left; Section Drawing and Model Photograph Below; Ground Floor Plan with Context and Rendered Elevation
Junzheng Wang @ wjz556778@gmail.com 0452 156 778
Making Urban: Life Between
scale: 1:1000
0
10
20M
The design is an art school with a public piazza. The aim is to make the people who go into the buildings have a good experience. When they stand in different areas, they can experience different views and feelings. The Piazza area has two levels, and it can let people have a vertical view of the area. The underground space is a public skateboard park. The school design is divided into two buildings. Building A is all for teaching areas, like studios, computer lab, and lecture area, and Building B is for the office areas, like the student center, teacher’s office, and meeting rooms. The roof area is a garden, and covers a theater. The site is between George Street and a lane. The design can connect them and attract people to go into the public piazza.
U23
Top Left; Rendered Perspective Bottom Left; First Floor Plan, Balsa Wood Model @ 1:50 Right: Rendered Elevation
Teresa Wang @ teresawang1909@gmail.com 0412 178 646
/teresa-wang-ba7455163
The Multipurpose Hub The Multipurpose Hub acts as an extension to the urban ommunity through its flexible spaces and encouragement of multidiscplinary learning environments. The Hub accomodates a traditional school during the day, a practical school for adults after hours and a night club in the basement floor once the sun goes down. The facade features lourves which rotate throughout the date for maxmium thermal comfort and efficiency. The school circulates around a central atrium which brings light and ventilation to all the floors. The three vertices provide vertical circulation, which make way for large open and flexible spaces to be created. The Hub coexists with the urban landscape, fostering an active learning community designed to teach for the future.
U24
Stephanie Wong @ stephanie.wong0601@yahoo.com.hk 0481 981 460
Stephanie Wong @__stepbysteph
Left; Perspective Bottom Left; Photographs of the models Below; Rendered Elevation
The Con-Tech-Tion The design encourages active learning between different faculties by creating shifting boundaries between different spaces. There are multi-use and level changes of different spaces which aim to inspire students and create an active learning environment for students to be more creative and more engaged in learning. The school is divided into three parts in which public spaces are placed on the lower levels while the private spaces are placed on the upper level. The gallery and the common working space acts as the boundary between both parts. Curtain walls are used to convey the concept of transparency that encourages students to build confidence.
U25
Left; Aerial Perspective Bottom Left; Photographs of Model Below; Balsa Wood Model @ 1:50
Ruiyi Yan @ yanruiyi@gmail.com 0450 523 737
The Underground Base The aim of this project is to create a school which contributes a public space for the busy city life and multi-functional space for the students and citizen. The underground research base hides into the busy city which provides a religious atmosphere for study. Two natural light columns as the core, defines the different function of areas linked by the served space and guides people to congregate. That could offer study spaces, and even for function for exhibition use. The ground area contributes a large free area for public recreation. Different experiences of ground and underground, lightness and darkness, busyness indicate a shift in perspective as one transitions down to a new world.
U26
Hao Yan @ yanhao98919@foxmail.com 0412 034 689
@Hao Yan @yan_hal Top Left; Aerial Perspective Bottom Left; Balsa Wood Model @ 1:50 Below; Rendered Elevation
Facing the Junction: An Entrance, A Shortcut “The building is more than a series of internal and external spaces for human activities It also plays a role in the urban context, responding to the potential relationship in a bigger vision.� Surrounded by skyscrapers, the project - a design school in Circular Quay, can be seen as an entrance to the rich urban context in the rear of the site, with its arch-like shape and outdoor stairs leading to the lower streetscape. The building also offers a quicker route to the transportation hub, attracting pedestrians to cross the front urban square, move down the stairs, and experience a well-designed lower streetscape before they reach Circular Quay Station.
U27
Above; East Elevation. Right; Ground Floor Plan, Sectional Perspective.
Yingze Zhang @ vesper01121997@gmail.com 0404 846 362
@Yingze Zhang @vesper_ze
Garden School: The School of Creativity The project challenges the typical perception of a school: a school should be more than a mere place for instruction, learning and education, but a hot spot for everyone to socialise and to spend time in. As a School of Creativity, the Garden School is operated 24/7 throughout the year, in which the role of a teacher and a student can be changed interchangeably, in particular, a teacher whose primary role is to deliver classroom instruction in the day time can alternatively become a student when the sun shifts to the moon. This design promotes students to also play the role of a teacher and conduct teaching. The School integrates a number of microclimates throughout its interior and public spaces. The use of vegatation with green plantations in its study spaces enables students to make a more autonomous choice when looking for their own cozy corner to relax and work in.
U29
Wenxuan Zhao @ zwx1967449804@gmail.com 0424 838 650
Left; Street Perspective Bottom Left; Photos of Models Below; Rendered Elevation
Move in Journey This project is to design a school for students, and the public after night time. The stair is a significant element which can be linked to different levels. When people enter the school, they can view plenty of different spaces on their way to the rooftop garden. They can also take a different route, through the interior, as they move downwards. The public has different methods of entering the building, and will not affect the school operations.
U30
From the ARCHEX 2019 student group of curators, designers and organisers, we greatly appreciate your support. We’ve discovered first hand that the exhibition doesn’t happen without your generosity and so we’d like to extend our admiration to all our sponsors! NSW Architects Registration Board Bates Smart Ethos Urban PBD Architects Tzannes Grimshaw Architectus NBRS Architects PTW Architects TURNER FJMT DWLA+ Hill Thalis Mok Design Studio Rothelowman TKD Architects Rothelowman
ARCHEX Committee 2019 Organisation
Fabrication
Philip Oldfield
Thomas Choo
Shaowen Wang
Tany Tan
Luciano Cardellicchio
Carlos Veas
Benjamin Allen
Caleb Xu
Janette Tin-Yee Tam
Project Management
Marketing
Valentina Kusova
Harry Joe Kealy
Matthew Dawoud
Tongxin Wang
Jason Cheung
Hanzhi Fang
Rebecca Fray
Xingtong Tao Qian Li
Finance
Event Coordination
Khaled Bou Fahkreddine
Seo-Yeon Jung
Samuel Mok
Diannia Lim
Dean Wardy
Shao Liang
Publication Joanne Hui Lee Ling Juncheng Hu Andrew Yip Sidath Chheang
Ruidi Zhou