Armano Papageorge Architecture Portfolio

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Armano Papageorge Bachelor of Architectural Studies Graduate Current Masters Student Victoria University of Wellington New Zealand

OBJECTIVES - To contribute my knowledge and skills in design and building construction related areas with emphasis on analysis, design development, 3D modeling and presentation - To apply these objectives into an environment in which these skills will be valued and valuable.

- To create opportunities to improve and broaden my skill set to ensure that I continue to create productive contributions to the architectural practice I become involved with.

WORK EXPERIENCE Nov 2015 - Mar 2016: Architectural Intern at Warren & Mahoney Architects Ltd. Dec 2016 - Current: Architectural Designer / Draftsman for Pacific Edge Homes, based in Auckland.

EDUCATION 2009 - 2010: NCEA Level 1 achieved with Merit 2010 - 2011: NCEA Level 2 achieved with Excellence 2011 - 2012: NCEA Level 3 achieved with Excellence 2013 - 2016: Bachelor of Architectural Studies (BAS) 2016: First year of Masters of Architecture completed (M.arch)

AWARDS & ACHIEVEMENTS 2013: NZIA Graphisoft Student Design Award 2014: Works selected for Studio Christchurch architecture exhibition

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Mobile 0276276266 Email a.papageorge@hotmail.com Website http://cargocollective.com/adpapageorge

PROFESSIONAL SKILLS Computer Literacy: - 4 years experience with Autodesk REVIT - 4 years experience with Autodesk 3DS MAX - 4 years experience with Google SketchUp - 6 years experience with Adobe Photoshop - 6 years experience with Adobe Illustrator Building & Construction Skills: - Worked as a building labourer for Takahe Construction in Christchurch during the summer of 2011-12 - Working and construction knowledge of timber framed buildings, interior and exterior finishes, decks, roofing and foundations.

Model Making Skills: - 4 years experience constructing models, working from scales of 1:500 to 1:25 details.

- Working knowledge of modelling materials and processes including card, plaster, wood, metal, paint, fibreglass and resin.

Workshop Skills: - 4 years experience in wood and metal workshops.

- Experienced in the use of a variety of hand power tools, table and band saws, metal and wood lathes, planes, thicknesses, brazing, MIG welding, soldering, metal casting, and spray painting.

Sketch & Hand Drawing Skills: - 8 years experience in the use of colour, line, tone and shading for design processes.

REFEREES Guy Evans Project Architect Warren & Mahoney Christchurch, New Zealand

Mark Southcombe Senior Lecturer / Architect Faculty of Architecture & Design Victoria University of Wellington

Work: +64 3 961 1709 Email: guy.evans@wam.co.nz

Work: +64 4 463 6295 Mobile: +64 27 3131203 Email: mark.southcombe@vuw.ac.nz

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PROFESSIONAL

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ACADEMIC

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HIGH / HEREFORD STREET, CHRISTCHURCH This is a project I worked on for Warren & Mahoney, under the supervision of Principal Architect’s Bill Gregory and Trevor Boustead.

The project entailed the design of a building designed for retail purposes on the ground floor, and office etc. purposes on the first floor.

The facade design consists of vertically placed staggered panels with irregular strips of vertical stone veneers.

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LANE WAY REVITALISATION

Alley ways within Wellington exist as forgotten, barren spaces that have immense potential for revitalisation. The notion of an alley way is commonly attributed to criminal activity, or simply nothing at all, thus greatly detering most if not all potential inhabitance. Continued neglect will only continue to prompt negative activity within these spaces, and massive opportunity is thus lost to create a beautiful network of hospitable lane-ways within Wellington that could have the potential to grow into an even greater context. The biggest challenge that will need to be solved is the fact that the surrounding buildings are commonly 3 stories or more, thus sunlight has minimal accessibility to these regions. A carefully thoughout process will need to be undertaken to ensure that the spaces that house the proposed architecture are not the same environment, but have the addition of dwellings. The surrounding context will need to be re-evaluated to ensure a hospitable atmosphere prior to the incorporation of said architecture. Penetrations and faceting are a couple examples of how to edit the surrounding buildings in order to create the required transparency within these dead spaces. The challenge here will be judging where and how to do so without severely damaging the existing building’s integrity.

To identify these lane-way sites that prompt in-between, platform and airspace potential for cost effective, sustaibable, adaptable and attractive architectural interventions that can accomodate people whom are attracted to the concept of an urbanised living environment. Several lane-ways within Wellington already have developments planned, such as Leed, Eva and Egmont Street. Hence a sense of relevence becomes evident as this scheme would aim to enhance an already developed concept.

In term this would be aimed towards the Wellington City Council, as they are primarily responsible for these existing development proposals. If found successful for creating positive urbanised interaction and reducing the negativity that is attributed to these spaces, a larger scope could be applied for these architectural dwellings and could be applied to similar conditions throughout Wellington. Furthermore, this would be aiding towards solving Wellington’s current housing predicament as common rent prices exceed $200/week, thus detering people from residing within the CBD. Given Wellington’s vast wastage of forgotten alley way space, these infill’s could provide an entirely new layer to defining urbanised living. In 30 years, these revitalised lane ways could be more hospitable than the common house.

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CULTURAL NARRATIVES Yesterday’s Tomorrow

The develop design objective was to further integrate the architecture with the intended cultural narrative. This initial objective was to create a Space Elevator that could transit various items to outer space. Although because of this notion of a ruin that has procured from Peter Schneider’s epigraph, an allegorical program will be added to the design. This allegorical program will be applied as if I have created a science fiction narrative for the project: the construction for this space elevator commenced several years ago, however due to economical reasons its construction had to be abandoned. After several years of enduring the conditions of Owhiro Bay, the building has been recommissioned to serve a temporary function until we are at an economical status that will allow the space elevator construction to continue.

This building will temporarily serve as a testing facility investigating and producing 3D printed lunar construction through solar collection, as it would be extremely expensive and time consuming to have to transit typical construction materials via space shuttle to outer space. As stated in Guy Marriage’s article, the ‘Solar Sinter Project’ is already developing such efforts.

Because this is such a large facility and there are a lot of solar panels, I would assume the building could procure an immense amount of solar energy. Hence this building has an additional role of providing the city with electricity through this absorption of solar energy. Smaller architectural interventions will act as ‘power poles’ that will be disbursed between the Owhiro Bay Quarry and the urbanscape.

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Preliminary

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Developed

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NZ SCHOOL OF MUSIC

This School of Music has followed a stringent ritual which has influenced the massing of the building, and thus the structure and programming which would work in tandem.

The massing of the building has been derived through an analysis of how acoustic reverberation occurs within a rectangular space i.e. the shape of the site. When a sound is made within a space this reverberation takes a circular form. As time proceeds the circle becomes increasingly larger. When the circle makes contact the boundary of the space, the edges of the circle bounce back inward. At each point of intersection with either the space boundary or with the sound itself, I marked this point. Over a series of 6 time frames (amount of levels in the building) I marked each intersection that was created in each frame. Throughout each time frame the amount of intersections increased, thus the mass making denser and more sporadic. The completion of this process provided me with a form which I molded into what became the building. The most compelling outcome of this analysis was the void that was created in the centre of the mass. It was then decided that this would efffectively act as the foyer / atrium as it created an intense focal point for the design. Because the massing created an immense amount of unnoccupiable spaces I had to moderate it in order to comply with the programming requirements set by the brief. I ended up with boxing of the North, East and West faces of the building in order to cater for the programming, and left the South face to occupy the main entrance which would lead to this void atrium. In doing this I have created an even medium between the required programming and the concept of my design.

Because the South and East faces of the site are the ones which are the most engaging, I knew they had to be aesthetically pleasing.

With the Void atrium space already in place at the South end to attract occupants, the East face also needed to possess this architectural prowess. A primary component of my concept was that the reverberation created a more densd mass as once would ascend through each level. I wanted the East facade to reflect this, thus I introduced the concept of a glass facade that would gradually form as timber cladding as each level increases in a faceted fashion.

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CHRISTCHURCH HOUSING

This architectural scheme was a proposition for urban housing within Christchurch City.

The site was located directly east of Latimer Square at the corner of Manchester Street and Hereford Street The primary principles that drive this residential scheme are to provide an expansive perspective of the inner city through a combination of urban and biophilic environments.

There are several courtyards throughout the site which are intended to act as a focal point for occupants to congregate.

Other communal spaces include a cafe / restaurant / bar in the centre of the site, and a gym / pool directly north of the cafe / restaurant / bar.

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NEWTOWN COMMUNITY CENTRE This scheme was to envelop the creativity that is spawned and even celebrated within Newtown. More specifically being the artistry of graffiti found throughout this suburb, in particular the site itself where it is more than evident, but more importantly the musical culture. I utilised structural frameworks that derived its form from the an analysis of a piece of music to dictate the dimensions of these structural forms in three dimensions: the northern facade, eastern facade, and the top elevation. I would then proceed to develop my spaces within these structural forms, of which provided great guidance in terms of the most efficient layouts and orientations of each environment.

At the east elevation of the site, where one of three dimensions of my musical form analyses took place, consists of an extrusion of these structural forms out onto the boundary of both the footpath and the car parking. This first extrusion to the boundary of the footpath creates shelter and guidance for pedestrians venturing through this area, and the second extrusion to the boundary of the car parking is to no longer be car parking, but a cycle lane. Again this provides shelter for people venturing through this space, although these structural don’t simply provide shelter and guidance through the space but also creates a vibrant exploration of my envelopment of the creativity of Newtownians.The parts of these structural forms that exist on the exterior of the building have been coated with graffiti artworks, so as to enable onlookers to create a vibrant connection to this evident culture within Newtown. Initially the incorporation of this bicycle lane was going to serve as a substation for bicycle parking, however in noticing an empty side up the road from the site I have proposed this as a potential area for bicycle parking. Aside from the primary entrance at the east end of the site, there is also a secondary means of entry along the extent of the north facade which serves as a much softer entry way. In realising the different behaviours of Daniell St (very busy) and Newtown St (much quieter), I wanted allow these behaviours to influence the way in which people would enter the building.

The main entrance at the east end would be intended for mass congregations for pedestrians before entering the building, as the entrance is recessed 4m to allow for these congregations to occur. Whereas the three smaller entrances spread out across the northern façade is intended for more casual entry from people who may have been enticed by the structural art work, and thus now want to explore the interior.

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S9 ARCHITECTURE STUDIO

The way in which I have analysed the context of my site is by indicating any form of open space along the axis my Studio will be facing. In examining the manner of these spaces, I concluded an aspect within my Studio’s architecture that would serve as a dominant structural / aesthetic element.

I had analysed two pieces of architecture

by Lina Bo Bardi that present similar design qualities as to what I wish to achieve. In particular the Museum of Contemporary Art and Museum of the Seahorse.

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To whom it may concern Reference for Armano Papageorge November 2015 I have come into contact with Armano Papageorge as his course co-ordinator, senior lecturer and tutor in ARCI 211 Architecture Design at Victoria University of Wellington School of Architecture 2014 and in the Christchurch Summer School in February 2015, and have got to know him well over the period of the two courses. ARCI 211 Architecture Design is a tutorial based studio design course with an emphasis on developing design thinking and skills. The summer school was a four week full time project based course.

Armano’s design studies in the ARCI211 course began with a quick-fire ‘House of Dreams’ proposal which he presented to a high standard design, and finished with a Student Housing project in Wellington. His design progressed steadily over time and resulted in an ambitious design that was well documented and presented. The Christchurch project, a major collaborative project titled ‘Shifting Scapes’, was developed in collaboration with a team of two other people. Armano made a leading contribution to the overall project design and its representation particularly focused on the housing component of the design. The project has subsequently been exhibited in the Studio Christchurch Retrospective Exhibition in Christchurch October 2015. Armano’s design results in the second and third year studio courses are strong.

Armano is a good natured fun student with a good academic record who works hard to meet the course learning objectives in a creative and well developed way. He contributes positively to the studio learning environment. He has a developing level of design judgment, and above average drawing and presentation ability. I found him to be an easy going, clear thinking student with a good sense of humor and a growing commitment to working through the architectural implications of an idea. He is intending to find work in an architectural office over summer and this speaks volumes. In my view he would be a great intern over summer.

Please contact me personally if you wish to discuss any aspect of this reference.

Yours faithfully

Mark Southcombe

Architecture Programme Director

SCHOOL OF ARCHITECTURE Te Kura Waihanga 139 Vivian Street, PO Box 600, Wellington, New Zealand Phone +64-4-463 6221 Fax +64-4-463 6204 Email mark.southcombe@vuw.ac.nz Website www.vuw.ac.nz/architecture

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