2013 professional portfolio s all

work

AYA MACEDA, architect

2000-2013 Professional Portfolio

With the role of Senior Associate and project architect at Australian studio, Popov Bass Architects (PBA), Aya Maceda was responsible for the realization of RESIDENTIAL projects, ranging from single dwellings to medium density apartments. She lead the INTERIOR ARCHITECTURE department at PBA, ensuring that the concept and high level of detailing of PBA’s architecture is carried through to the interiors, joinery and fitout across all projects.

apartments

2005-2013

pba australia

the work represented are those where aya maceda has been the lead architect architect from coneptualization - realization

single dwelling

interiors

BALMORAL HOUSE SYDNEY, AUSTRALIA 2009-2013 ROLE: Project Architect,

Interior Architect SCOPE: concept to construction full architectural scope sketch design, design development,detailing, documentation, material selection, interior fitout & contract administration

1

1 2 3 4

2

Entry through courtyard with concrete canopy Courtyard patio Living Room Balcony

3

4

5

6

5 Balcony facing Balmoral Beach -- an extension of the living space 6 Continuous living space from the courtyard patio to the open plan living room to the balcony and the beyond 7 Open plan living room, kitchen and balcony

7

8

8 Entry door with reflecting pond 9 Stairs in American Oak timber 10 Rear exterior view

9

10

AN EXPRESSION OF MATERIALS THROUGH CLARITY OF ASSEMBLY

MOSMAN HOUSE 2 SYDNEY, AUSTRALIA 2006-2010 ROLE: Project Architect SCOPE: concept to construction full architectural scope sketch design, design development,detailing, documentation, material selection, interior fitout & contract admin

An assembly of 4 off-form concrete walls, a vaulted metal roof and a terracotta clad volume rising above this vault to best command views of the harbour. The walls give a grounding to the building, protecting the interior from the elements and giving privacy.

1

5

1 2 3 4 5 6

Axonometric Lower Ground Floor Plan Ground Floor Plan First Floor Plan Entry Gate - framing a view Rear View

6

The plan shows a clear linear division between served and servant spaces. The living spaces and bedrooms open to the North and service areas and amenities are to the South.

2

3

1 2 3 4 5

Exploded Axonometric Lower Ground Floor Plan Ground Floor Plan First Floor Plan Section

4

There is a reliance on showcasing the richness of materials through clarity of assembly from exterior to interior.

1

2

3

1 2 3 4 5

4

Kitchen - custom precast concrete bench View upon entry Living Room Dining and Living Room Section

5

DEFINING NEW AND OLD

BRIGHTON HOUSE MELBOURNE, AUS 2005-2008 ROLE: Project Architect SCOPE: concept to construction full architectural scope design, design dev’t, documentation & contract administration

The project is an extension to an existing house. The new pavilion is a contrasting timber box (containing private areas) resting on a black steel pavilion (containing public spaces). A glass portal connects the NEW to the OLD. 1

2

3

6

5

1 Construction photo 2 Model 3 Concept render 4 Detail shot 5 Concept sketch 6 Completed project

4

1

2

3

4

5

The NEW is tucked in the rear of the property for privacy.

The NEW is not visible from the street.

6

1 2 3 4 5 6 7 7

Ground Floor Plan First Floor Plan Sketch Perspective New Pavilion Photographs Longtitudinal Section Northern Elevation

SHIFTING PLANES

COOGEE HOUSE SYDNEY, AUS 2011 (ONGOING) ROLE: Project Architect SCOPE: concept design to design development

The IDEA is a response to the harsh elements of the site and the client, a builder who specializes in off-form concrete.

From the street, the form is a play of textured concrete planes with edges detailed in timber. The main entrance is a double height space with a polished off form concrete wall, cantelivered stairs and a 9m long skylight above 2 to cast shadows over the promenade to the main living areas. From the rear facing the ocean, 3 concrete contilevering slabs shift in direction to create a play in form and allow strategic shading to spaces below. Concrete and glazing is used in this facade due to the strong winds and rain from this direction.

1 Rear Perspective 2 Ground Floor Plan 3 First Floor Plan 4 Lower Ground Floor Plan 5 Street Perspective 6 Sectional Perspective 7 Study Models of Cantilever 1

3

4

5

6

8

7

9

THE TREE PAVILION

PEARL BEACH HOUSE SYDNEY, AUS 2011 (ONGOING) ROLE: Project Architect SCOPE: concept design

The site is set in an Australian bush reserve facing the ocean. The proposal is a copper pavilion sitting on a glass base.

Copper was the material selected for its fire-resistant qualities and its colouring that mimics the hues of the bushland, especially as it ages and slowly patinas. A wedge is carved out of the side of the plan to announce entry to and to bring northern light into the spaces. A popout element is introduced between two of the site’s significant trees to allow for a space to experience the forest from within the dwelling.

1

2

3

4

5

1 2 3 4 5 6 7

6

7

Ground Floor Plan First Floor Plan Site Plan Section Concept Sketch Study Models Perspective from driveway

RESTRAINING OPULENCE

SYDNEY HOUSE AUSTRALIA 2009-2012 ROLE: Interior Architect SCOPE: Interior Architecture Material Selection Joinery Design Fixtures & Fittings Furniture Selection & Fitout

24.02.2012 1:200

Scale

Date

A

AM

Chck

No. 1 The Grantham t 02 9955 5604 f 02 9955 9258 e info@popovbass.com.au

2 Glen Street / Milsons Point / NSW 2061 / Australia

architecture/urban planning/interiors

ROLE: Project Architect

CL

Drwn

THE GRANTHAM SYDNEY, AUS 2007 - 2010

This drawing is copyright of Popov Bass Architects. It may not be used without written consent. Do not scale off this drawing. Use figured dimensions only. Verify all dimensions on site. Alex Popov Architects Pty Ltd ABN: 91 002 866 364. Alex Popov NSW ARB 4494 Brian Bass NSW ARB 6470.

Issue

PROJECT INVOLVEMENT: facade detailing, planning, design and contract administration for Level 1 and 4 apartments.

Entry Level Plan

CREATING A SENSE OF PLACE IN DENSE LIVING

CREATING A SENSE OF PLACE IN DENSE LIVING

THE LEIGHTON PERTH, AUSTRALIA 2007-2011 ROLE: Interior Architect SCOPE: interior spatial planning, joinery design finishes selection, interior fitout

The main goal for the project was to bring the qualities of a home into each apartment within this 60-unit development through the internal planning, finishes and fitout.

3 complimentary material schemes were selected for each unit type to allow varation for the users.

1 2 3 4 5

3

Interior view Material palette Western view Typical plan Northwest view

1

Title Page CLIENT ISSUE

06.11.09

SCALE

This drawing is copyright of Alex Popov Architects Pty. Ltd. ABN: 91 002 866 364 and may not be used without written consent.

Do not scale off this drawing. Use figured dimensions only. Verify all dimensions on site.

2

n consent. Do e. Alex Popov W ARB 6470.

4

5

The Leighton architecture/urban planning/interiors

2 Glen Street / Milsons Point / NSW 2061 / Australia t 02 9955 5604 f 02 9955 9258 e info@popovbass.com.au

MATERIALITY AND FORM AS DICTATED BY THE SITE

WOOLSTORES 7 APARTMENTS PERTH, AUS 2009 ROLE: Project Architect SCOPE: concept design development application

Form and Materiality reacts to extreme site conditions and prime views.

The site is situated on a NW corner with dominant ocean views to the west. The front of each unit is specifically oriented to views and the rear opens to a communal garden. The orth facing units in terracotta are “organic� in form and materiality while the west-facing units in zinc respond to the harsh western elements of sun and wind. All units are cross ventilated. The GF is open plan living while bedrooms are on the First Floor. Circulation & services run along one side to maximise efficiency.

2

3

4

SITE

0331 PP-011

MATERIALS, FINISHES & PERSPECTIVES 0331

0331 PP-012

PHOTOMONTAGE

0331 PP-013

PHOTOMONTAGE

0331 PP-014

OVERSHADOWING DIAGRAMS

0331 PP-015

CONE OF VISION DIAGRAM

0331 PP-016

OPEN SPACE/ AREAS CALCULATION

0331 PP-017

DIAGRAMS: HEIGHT & AREAS

0331 PP-018

DIAGRAMS: VISUAL IMPACT OF STAIR PROTRUSIONS

ER

EXTERNAL RENDER

ES

EXTERNAL SUNSHADE

G

ALUMINIUM FRAMED GLAZING

CONTEXT AERIAL PHOTOGRAPH

DIAGRAMS: HEIGHT & AREAS DIAGRAMS: VISUAL IMPACT OF STAIR PROTRUSIONS

ER

EXTERNAL RENDER

ES

EXTERNAL SUNSHADE

G

ALUMINIUM FRAMED GLAZING

H

PAINTED STEEL HANDRAIL WITH GLASS BALUSTRADE

LV1

EXTERNAL ALUMINIUM BLINDS

H

LV2 BALUSTRADE PAINTED STEEL HANDRAIL WITH GLASS

LV1

EXTERNAL ALUMINIUM BLINDS

LV2

EXTERNAL FIXED ALUMINIUM LOUVRES Sky.

RPF

OPEN SPACE/ AREAS CALCULATION

0331 PP-018

LEGEND

LEGEND

CONTEXT AERIAL PHOTOGRAPH

PP-016

0331 PP-017

RENDERED WITH PAINT FINISH

RPF

EXTERNAL FIXED ALUMINIUM LOUVRES RENDERED WITH PAINT FINISH SKYLIGHT

T

TIMBER

TB

TERRACOTTA BATTENS

TERRACOTTA BATTENS

TC

TERRACOTTA CLADDING

TC

TERRACOTTA CLADDING

Z

ZINC CLADDING

Z

ZINC CLADDING

Sky.

SKYLIGHT

T

TIMBER

TB

1 Site Sketch 2 North Facing INFORMATION Apartments DEVELOPMENT DEVELOPMENT INFORMATION 3 West Facing Apartments 4. Section 5 Perspective PROJECT:

PROPOSED 7 UNIT, 2 STOREY MULTIPLE DWELLING WITH BASEMENT CARPARK PROJECT: PROPOSED 7 UNIT,

SITE:

38 MARINE PARADE, COTTESLOE Ι LOT #50 (LOTS 1-6), CNR. MARINE PARADE AND WARTON STREET, COTTESLOE

VOL 468

FOL 182A

LOT AREA

2137m²

RES CODE

ZONED R30

2 STOREY MULTIPLE DWELLING WITH BASEMENT C

SITE:

38 MARINE PARADE, COTTESLOE Ι LOT #50 (LOTS 1-6), CNR. MARINE P

VOL 468

FOL 182A

LOT AREA

2137m²

RES CODE

ZONED R30

AREAS SUMMARY

CONCEPT PLAN

1

S:\Projects\2008\20080331 WOOLSTORES PTY LTD\0331 DOCUMENTATION\0331 DA\DA ACTIVE\0331 DA Active.plp

CONCEPT PLAN

PHOTOMONTAGE FROM MARINE PARADE

PHOTOMONTAGE FROM MARINE PARADE

CONCEPT SKETCH

CONCEPT SKETCH

AREAS SUMMARY

BASEMENT CARPARK

1577.23 m²

OPEN SPACE

1321.2 m²

PLOT RATIO AREA

2135.66 m²

BASEMENT CARPARK

1577.23 m²

SITE AREA

2,136.96 m²

OPEN SPACE

1321.2 m²

PLOT RATIO

1:1

PLOT RATIO AREA

2135.66 m²

SITE AREA

2,136.96 m²

PLOT RATIO

1:1

DETAILING

INTERIORS & DETAILS 2005-2012

This body of work represents three years of experience in design dev’t, documentation, detailing & contract administration with Sydney practice, FJMT Architects. The following body of work are Public & Institutional buildings, where Aya Maceda was key team member from concept design to construction. At FJMT, she gained the skill of realizing the ‘big picture’ ideas from large scale to the minutest details of the project.

2002-2005

fjmt architects australia

the work represented are those where aya maceda has been key team member involved in the documentation of the projects.

public

institutional

ARCHITECTURE REVITALIZING COMMUNITY

MAX WEBER LIBRARY SYDNEY, AUSTRALIA 2002-2005 ROLE: Key Team Member

PROJECT INVOLVEMENT: Design Development, Documentation, Joinery Design, Interiors, Design Support at construction Awards: RAIA Commendation for Public Buildings 2006, RAIA PREMIER’S PRIZE NSW 2007 The building is a simple assembly of two forms, a transparent glass and louver box and a solid terracotta clad box sitting in front of a public plaza.

Key team member from initial design, documentation, project coordination, contract administration and post occupancy.

Involved in user consultations with the library staff, council officers and users in order to custom design the spaces and extensive joinery for the library.

Grasping the full process of realising a design concept from planning, to faรงade design, incorporating various environmental technologies and refined detailing that the building required.

The subsequent images show the schematic & technical drawings produced to realise the interior spaces of the building.

1

2

4

5

3

1 2 3 4 5 6

6

Exploded Axonometric Exploded Axonometric of plan Main Stairs North-South Section Detail section of skylight Wall elevations and section

UNIVERSITY OF SYDNEY, SCHOOL OF IT SYDNEY, AUS 2004-2005 ROLE: Team Architect

PROJECT INVOLVEMENT: Facade Design & Detailing Spatial Planning Awards: Master Builders Association Excellence in Construction Award

The North-facing facade oriented to the street was the design focus. The facade is a dominant linear glass screen for a winter garden and serves as an acoustic buffer for the main building.

1

2

1 2 3 4 5

3

4

5

Winter Garden North-South Facade junction Level 1 Floor Plan Level 2 Floor Plan Facade Study Perspectives

It is our responsibility as architects to contribute to new ideas and to participate in a debate within the field.

2000-2012

competitions

the work represented are competitions under various firms and in collaboration with other architects

PERRY PARK COMPETITION SYDNEY, AUSTRALIA | 2012 for Popov Bass ARCHITECTS ROLE: Project Architect PROJECT INVOLVEMENT: Planning, Competition Presentation Coordinator

AUSTRALIAN PAVILION VENICE BIENNALE | 2012 FOR POPOV BASS ARCHITECTS ROLE: Project Leader

THE PATH ALONG THE 1 RIVER CONTINUES, alex popov and associates info@alexpopov.com.au INTERRUPTED

BY A PIECE OF AUSTRALIA BESIDE THE RIVER’S EDGE

The “crate” is divided into two parts: one of enclosure - a black timber box that contains the ephemeral nature of the exhibitions and required ancillary spaces; and one of openness - a glass vase that embodies a piece of Australian landscape and houses Australian lemon scented gum trees.

The two parts are separated by a path that is the continuation of the journey along the river.

The chosen location for the proposal is the current site of the Australian Pavilion, running adjacent to the river’s edge.

The proposal’s premise is the notion of a packing “crate” that represents a temporary piece of Australian landscape which has been captured, transported and relocated to become part of the Venice terrain.

ACCESS & PROGRAM

EXHIBITION

The main entrance at the north of the proposal is be- tween the black timber box and the glass vase with the exit at the south end. The primary ancillary spaces are located adjacent to the entry at the north, with the book store located at the south exit.

The enclosed exhibition space enables flexibility and ease of divisions within the room. The depth of the exhibition space allows for maximum viewing distances of between 5 - 8 metres and has a height of 5m. It is proposed that the exhibition space would adapt to the season changes by opening and closing accordingly. It facilitates for complete black-out as required for virtual display and presentations.

The glass vase can also house temporary outdoor installations to be experienced as part of the journey through the Australian landscape.

PLAN SCALE 1:500 1. ENTRY 2. OFFICES/STAFF FACILITIES 3. ENTRY/CLOAK/INFORMATION 4. WC 5. PLANT/BOH 6. MEETING/SECONDARY GALLERY 7. EXHIBITION 8. BOOK STORE 9. PATH 10. GUM TREES IN GLASS VASE 11. EXIT 2 alex popov and associates info@alexpopov.com.au

es

1 2

THE RIVER CONTINUES, INTERRUPTED BY A PIECE OF AUSTRALIA BESIDE THE RIVER’S EDGE.

es

3 4

5 6

9

7

10

PLAN SCALE 1:500 1. ENTRY 2. OFFICES/STAFF FACILITIES 3. ENTRY/CLOAK/INFORMATION 4. WC 5. PLANT/BOH 6. MEETING/SECONDARY GALLERY 7. EXHIBITION 8. BOOK STORE 9. PATH 10. GUM TREES IN GLASS VASE 11. EXIT

8

11

west elevation

yrtne east elevation

E BEINNALE COMPETITION 3 alex popov and associates info@alexpopov.com.au

6 6 setaicsoestasiacodsnsaa vdonpaovpopxeolpa xela ua.muoac.vmoopco.vpoxpeolap@ xeolafn@i ofni

”esouth sav“elevation / ssalg

rebmit krad

noitibihxe

ALONG THE RIVER CONTINUES, TED BY A PIECE OF AUSTRALIA BESIDE R’S EDGE.

n location for the proposal is the current site alian Pavilion, running adjacent to the river’s proposal’s premise is the notion of a packing represents a temporary piece of Australian which has been captured, transported and o become part of the Venice terrain. The vided into two parts: closure - a black timber box that contains eral nature of the exhibitions and required aces, and nness - a glass vase that embodies a piece n landscape and houses Australian lemon m trees. rts are separated by a path that is the n of the journey along the river.

N:

ed exhibition space enables flexibility and visions within the room. The depth of the pace allows for maximum viewing distances 5 - 8 metres and has a height of 5m. It is hat the exhibition space would adapt to the nges by opening and closing accordingly. It or complete black-out as required for virtual presentations. vase can also house temporary outdoor s to be experienced as part of the journey Australian landscape.

6 setaicossa dna vopop xela ua.moc.vopopxela@ofni

entry

4 alex popov and associates info@alexpopov.com.au

view from canal

WAR MEMORIAL COMPETITION CANBERRA, AUSTRALIA | 2006 FOR POPOV BASS ARCHITECTS

ESSED BY THE NARROW CONCRETE LINKS WORLD WAR I TRENCHES

A GLIMPSE OF THE WALL IS SEEN FROM THE FIRST POINT OF ENTRY. THE DESCENT INTO THE TRENCH FROM THE CAR PARK INVOKES CLEARING THE MIND OF THE MEMORY OF THE IMMEDIATE ENVIRONMENT (FORGET WHERE YOU HAVE BEEN).

THE TRENCH IS AN EXPERIENCE LEADING TO THE WALL.

A SEGMENT OF THE MEMORIAL PROVIDES A PLACE FOR THE INSERTION OF POPPIES AS A SYMBOLIC GESTURE FOR THOSE FALLEN IN WAR WHILST PROVIDING A VIEW TO THE PARLIAMENT AXIS BEYOND.

ROLE: Project Leader

CID 8008

6

8

6

5

4 RL : 561.00 1

7 GRASS BERMS TE TRENCH THROUGH GRASS BERMS 8 DROP OFF K & DROP OFF 9 CREVICES AROUND MONUMENT / PROTECTED SPACES BERMS 10 FLAG POLE ALONG APEX OF WWI & WWII FF 11 TEMPORARY FLAG STATIONS ES AROUND MONUMENT / PROTECTED SPACES 12 FLAG STATIONS LE ALONG APEX13 OF WWI & WWII FUTURE AMPITHEATRE ARY FLAG STATIONS ATIONS SITE PLAN @ 1:500 AMPITHEATRE

AN @ 1:500

3

11 VISUAL CORRIDOR

WORLD WAR I MEMORIAL WORLD WAR II MEMORIAL

4 RL : 561.00

3

1

VISUAL CORRIDOR

1 2

WAR I MEMORIAL3 APEX OF MEMORIALS / ACCESS TO PODIUM 4 CENTRAL AXIS / VIEWING CORRIDOR THROUGH WALL / WAR II MEMORIAL UNDERGROUND MEMORIALS / ACCESS TO PODIUM LINK FROM ANZAC PARADE CONCRETE TRENCH THROUGH GRASS BERMS L AXIS / VIEWING5CORRIDOR THROUGH WALL / 6 ANZAC CAR PARK & DROP OFF ROUND LINK FROM PARADE

RL : 565.00

7

APEX WHERE 2 WALLS MEET

9

11

8

5

7

9

RL : 565.00

RL : 565.00

10

APEX WHERE 2 WALLS MEET

RL : 565.00

2

10

2

12

12

13

RL : 557.500

13

RL : 557.500

CID 8008

CID 8008

THE SITE PLAN EXPRESSES THE GEOMETRY OF THE CONCEPT OF “THE WALL” RELATIVE TO THE AUSTRALIAN WAR MEMORIAL / THE PLAN FURTHER STRENGTHENS THE CHARACTER OF ANZAC PARADE THE SITE PLAN &EXPRESSES THE GEOMETRY OF IN A DIGNIFIED SIMPLE MANNER. THE CONCEPT OF “THE WALL” RELATIVE TO THE AUSTRALIAN WAR MEMORIAL / THE PLAN FURTHER STRENGTHENS THE CHARACTER OF ANZAC PARADE IN A DIGNIFIED & SIMPLE MANNER.

THE MEMORIAL SERVES AS A VISUAL PODIUM FOR ANZAC PARADE & THE AUSTRALIAN WAR MEMORIAL / THE WALL IS EXPRESSED WITH A TRANSLUSCENT PLATEAU AS SEEN FROM CENTRAL AXIS OF THE PARLIAMENT HOUSE & ACROSS LAKE BURLEY GRIFFIN THE MEMORIAL SERVES AS A VISUAL PODIUM FOR ANZAC PARADE & THE AUSTRALIAN WAR MEMORIAL / THE WALL IS EXPRESSED WITH A TRANSLUSCENT PLATEAU AS SEEN FROM CENTRAL AXIS OF THE PARLIAMENT HOUSE & ACROSS LAKE BURLEY GRIFFIN

THE SENSE OF DISCOMFORT IS EXPRESSED BY THE NARROW CONCRETE LINKS FROM ANZAC PARADE – MEMORY OF WORLD WAR I TRENCHES

A SEGMENT OF THE MEMORIAL PROVIDES A PLACE FOR THE INSERTION OF POPPIES AS A SYMBOLIC GESTURE FOR THOSE FALLEN IN WAR WHILST PROVIDING A VIEW TO THE PARLIAMENT AXIS BEYOND.

THE SENSE OF DISCOMFORT IS EXPRESSED BY THE NARROW CONCRETE LINKS FROM ANZAC PARADE – MEMORY OF WORLD WAR I TRENCHES

A SEGMENT OF THE MEMORIAL PROVIDES A PLACE FOR THE INSERTION OF POPPIES AS A SYMBOLIC GESTURE FOR THOSE FALLEN IN WAR WHILST PROVIDING A VIEW TO THE PARLIAMENT AXIS BEYOND.

CROSS SECTION A1 @ 1:500 CROSS SECTION A1 @ 1:500

MEMORIAL WALL CRESTS ARE RECESSED INTO THE CONCRETE PODIUM WALL MEMORIAL CRESTS ARE RECESSED INTO THE CONCRETE PODIUM

LONGTITUDINAL SECTION A1 @ 1:500 LONGTITUDINAL SECTION A1 @ 1:500

CREVICE FRAMES PODIUM AND CREATES SHELTERED AREA

PROPOSED LINK FROM ANZAC PARADE TO THE ROND TERRACES

CREVICE FRAMES PODIUM AND CREATES SHELTERED AREA

PROPOSED LINK FROM ANZAC PARADE TO THE ROND TERRACES

A GLI INTO MEMO THE T A GLI INTO MEMO THE T

ION

MEMORIALS

This proposal expresses the monument to WWI & WWII through a long monolithic wall which expresses life itself via the continuum of glass, perforated and broken by the chaos of war –

WORLD WAR I & WORLD WAR II MEMORIALS

This proposal expresses the monument to WWI & WWII through a long monolithic wall which expresses life itself via the continuum of glass, perforated and broken by the chaos of war –

DEATH AND TRAGEDY AS EXPRESSED AS A CANCER IN THE CLARITY OF GLASS. The central premise is that the monument should present a non-literal character using glass for its quality of material presence and yet filled with the shadow of tragedy.

On arrival, the intrigue of the wall is further heightened by a deeply cut trench of concrete from the car park and central axis leading down to the apex of the wall symbolising the separation of World War I and World War II via a narrow slot. The huge drama and scale of the wall in itself is an expression of the chaos and the war’s sheer scale.

SITE / HERITAGE STATEMENT The memorial creates an expressed “podium” or horizontal datum for the ceremony of Anzac Day viewed from across Lake Burley Griffin. There is a direct pedestrian link central to the site connecting the proposed underground access from Anzac Parade to the Rond Terraces.

The proposal provides a visual continuation of the fundamental axis of Canberra between Parliament House through to Mount Ainslie through the fissure in the proposed memorial wall.

VIEW

HEIGHT AND SCALE Expression of the monumental scale of this linear structure dispels the need for volumetric expression of a memorial.

The wall is 8 meters high at podium level. It is monumentality designed to be experienced up-close and intimately. From Anzac Parade, the “wall” is expressed as a faint translucent linear object beyond grass berms and concrete corridors. When viewed from across Lake Burley Griffin, the “wall” is expressed as a strong, reflective base for the Anzac Parade and the Australian War Memorial.

THE MEMORIAL WALL Timeline is visually expressed by the length and ACCESS volume of the LEVEL wall. The length of each wall A ENTRY centrally located underground pathway links AT EYE INTO TRENCH relating to each World War is proportional to the the memorial to Anzac Parade.The car park is number of Australian casualties. removed from the centre of axis and is shifted to The wall consists of glass blocks and concrete the side of the memorial. blocks. Each glass block is proportional to a 2 concrete walls open out from the apex of the human dimension. The concrete infill blocks monument to the car park and a drop off point of represent casualties during the two wars. At the the adjacent site to lead people in — like arms base, the blocks are laid vertically. As a person spreading out. These walls are at high level, faces the wall, he will see a faint reflection of bringing people through a long ramp down to the himself through the glass and its depth which podium. invokes contemplation.

There are “fractures” within each wall – a clear infill panel for the World War I memorial to MATERIALS / FINISHES / create a visual link for the Parliament House LIGHTING / CONSTRUCTION vista and a concrete infill panel for World War II There is calmness and drama in the contrast of to express contrast between the two wars. Both the glass broken by the concrete panels which “fractures” have a base below eye level with represent the number of Australian casualties. holes designed by an artist in collaboration for The reflectivity of the glass and changes of light, the traditional insertion of poppies in rememthe seasons of the year, the play of weather brance to those who have fallen. and the reflections of the lake further transmits character to the wall in particular at night—the wall will emit an eerie glow with the reflections of LANDSCAPE CHARACTER the red poppies in the dark. The wall sits on an Trenches slicing through the grass berms off form concrete podium. emphasise axis and serve as circulation paths The glass and concrete blocks are of one isolated by the shear adjacent walls silencing the dimension, creating a module and a grid for the surrounding for contemplation. The proposed construction. Each glass block within the wall landscaping is in dialogue with the Parliament are structural – enlarged and fully air tight glass House & Commonwealth Place opposite. The blocks. Vertical and lateral steel framing are soft landscaping contrasts with the hardness of incorporated and concealed within the depth of the concrete podium and walls. layers of the blocks.

DEATH AND TRAGEDY AS EXPRESSED AS A CANCER IN THE CLARITY OF GLASS. The central premise is that the monument should present a non-literal character using glass for its quality of material presence and yet filled with the shadow of tragedy.

On arrival, the intrigue of the wall is further heightened by a deeply cut trench of concrete from the car park and central axis leading down to the apex of the wall symbolising the separation of World War I and World War II via a narrow slot. The huge drama and scale of the wall in itself is an expression of the chaos and the war’s sheer scale.

SITE / HERITAGE STATEMENT The memorial creates an expressed “podium” or horizontal datum for the ceremony of Anzac Day viewed from across Lake Burley Griffin. There is a direct pedestrian link central to the site connecting the proposed underground access from Anzac Parade to the Rond Terraces.

The proposal provides a visual continuation of the fundamental axis of Canberra between Parliament House through to Mount Ainslie through the fissure in the proposed memorial wall.

THE MEMORIAL WALL Timeline is visually expressed by the length and volume of the wall. The length of each wall relating to each World War is proportional to the number of Australian casualties.

The wall consists of glass blocks and concrete blocks. Each glass block is proportional to a human dimension. The concrete infill blocks represent casualties during the two wars. At the base, the blocks are laid vertically. As a person faces the wall, he will see a faint reflection of himself through the glass and its depth which invokes contemplation.

There are “fractures” within each wall – a clear infill panel for the World War I memorial to create a visual link for the Parliament House vista and a concrete infill panel for World War II to express contrast between the two wars. Both “fractures” have a base below eye level with holes designed by an artist in collaboration for the traditional insertion of poppies in remembrance to those who have fallen.

LANDSCAPE CHARACTER Trenches slicing through the grass berms emphasise axis and serve as circulation paths isolated by the shear adjacent walls silencing the surrounding for contemplation. The proposed landscaping is in dialogue with the Parliament House & Commonwealth Place opposite. The soft landscaping contrasts with the hardness of the concrete podium and walls.

HEIGHT AND SCALE Expression of the monumental scale of this linear structure dispels the need for volumetric expression of a memorial.

The wall is 8 meters high at podium level. It is monumentality designed to be experienced up-close and intimately. From Anzac Parade, the “wall” is expressed as a faint translucent linear object beyond grass berms and concrete corridors. When viewed from across Lake Burley Griffin, the “wall” is expressed as a strong, reflective base for the Anzac Parade and the Australian War Memorial.

ACCESS A centrally located underground pathway links the memorial to Anzac Parade.The car park is removed from the centre of axis and is shifted to the side of the memorial.

2 concrete walls open out from the apex of the monument to the car park and a drop off point of the adjacent site to lead people in — like arms spreading out. These walls are at high level, bringing people through a long ramp down to the podium.

MATERIALS / FINISHES / LIGHTING / CONSTRUCTION There is calmness and drama in the contrast of the glass broken by the concrete panels which represent the number of Australian casualties.

The reflectivity of the glass and changes of light, the seasons of the year, the play of weather and the reflections of the lake further transmits character to the wall in particular at night—the wall will emit an eerie glow with the reflections of the red poppies in the dark. The wall sits on an off form concrete podium.

The glass and concrete blocks are of one dimension, creating a module and a grid for the construction. Each glass block within the wall are structural – enlarged and fully air tight glass blocks. Vertical and lateral steel framing are incorporated and concealed within the depth of layers of the blocks.

CID 8008

QUADERNS COMPETITION SPAIN | 2003-2004

collaboration with Koichi Takada and James Perry ROLE: Team Mem b er

THE COMPETITION International Housing in Catalonia Competition. 400,000 homes The population growth forecast in Spain = increase in demand is due mainly to newly independent inhabitants and the growing immigration wave. The large number of homes and the impact they will have on the territory make this the major problem facing the country in terms of architectural interventions.

THE QUESTION Addressing the issue of what housing does than what housing should be like. Rethinking collective space by transcending the private-public dichotomy; modelling the empty and the built space; incorporating tools traditionally associated with landscape architecture in order to deal with interventions that involve this kind of problem; understanding growth as a more complex and powerful movement than the simple reproduction or mechanical accumulation of units; incorporating density as a variable that is not necessarily negative, with a view to preserving the territory and intensifying urban realities; understanding sustainability as the substance, not as cosmetic legitimisation.

2009-present

private projects

BLUE MOUNTAINS HOUSE SYDNEY, AUS | 2010 UNDER CONSTRUCTION

PRIVATE

PUBLIC

ENTRY GARDEN

The house anchors itself to a sandstone cliff and creates a strong fortress of walls to protect itself from yearly bushfires in the area. The 3 main sections of the house – entry (“wet wall” – rock garden), public (open plan living, dining and kitchen) and ancillary (bedroom, bathroom, storage) are separated by the dominant sandstone walls that perform as fire shield, structural and spatial hierarchy defining elements of the home.

The house occupies a small clear area, 1% of the vast 2 Ha. bush reserve which will be a seasonal rehabilitation site for injured Australian wildlife. The client-builders are two conservationists who are building the project with recycled sandstone and steel, also with the intent of going off the grid

MANILA HOUSE PHILIPPINES | 2011 UNDER CONSTRUCTION

Through the inward reorientation of the house to the central double height interior space and exterior courtyard, private and public areas of this LIVE-WORK home are organized. Visual connections allow for a flow of light and air, and for the segmented areas of the house to relate.

BEACH HOUSE PHILIPPINES | 2012 DESIGN DEVELOPMENT

Designed as a respite for a writer-professor, the main house is a one level self-contained open plan studio on stilts with a separate flexible space below for guests. The house hovers over a steep site adjacent to a bamboo forest with views of South China Sea. With limited access and a sensitive terrain, the house is pre-fabricated, intending to have minimum impact during construction, also using the abundant bamboo in the area for screening, cladding and flooring.

SORSOGON FARMSTAY PHILIPPINES | 2012-2013 COLLARBORATION WITH MILO NAVAL Set in a remote coconut plantation in Sorsogon, Philippines, this project was conceived using a logical assembly and basic hierarchy of slab, column, beam, roof and screen, using locally sourced materials — coconut timbers, local stone, layered grass (nipa) roofing and concrete. The planning of each building surrounding a pool, is set by the grid of the coconut trees already established on the site. Implementing the idea of private & public spaces in a Filipino home, living spaces are completely open, oriented to the garden and bedrooms are enclosed (set on the sides of the main house or lifted above, contained by screens in the guest pavilions).

The non-complex, anti-over detailing strategies implemented for this remote construction is key to the realization of the project.

www.ayamaceda.com