Architecture Portfolio 2019

DAMIEN BRADLEY PERRY A R C HI T E C T UR E

POR T FOL I O

EDUCATION

PERSONAL STATEMENT HIGH SCHOOL

Rangitoto College | Jan ‘09 - Dec ‘13 N C EA Le ve l 1 ,2 and 3 , e ndorse d w i th Exc e l l e nc e + vari ous aw ards i nc l udi ng C e rti fic ate of Exc e l l e nc e Aw ards f or D e si gn and Vi sual C ommuni c ati on – Se p te mb e r 2 0 1 2 and N ove mb e r, 2 0 1 3

BACHELOR’S DEGREE University of Auckland | Mar ‘14 - Nov ’16 Bac he l or of Arc hi te tc ural Studi e s. Fi rst i n C ourse Aw ard i n ARC H D ES 3 0 0 - Se mste r One 2 0 1 6 , ARC H PRM 3 0 4 - Se me ste r Tw o, 2 0 1 6 and ARC H D RC 1 0 2 - Se me ste r One 2 0 1 4

MASTER’S DEGREE University of Auckland | Mar ‘17 - Feb’19

DAMIEN PERRY CUR R IC UL UM

Parti c i p ati on i n the 0 1 7 AS Al p i ne Study Tour, Se me ste r 1 2 0 1 7 i nc l udi ng tw o w e e ks studyi ng at the U ni ve rsi tät I nnsb ruc k, Austri a.

VI A TE

EXPERIENCE CONTACT DETAILS email

d a m i e n . p e r r y @ m e . c om

p ho ne a d d re s s

+ 6 4 2 1 116 2124 9 7 Ra m e R oa d , G r e e n h it h e , Au c kl a n d 0632 N e w Z e a l a n d 1 1 J u l y , 1995

d .o .b .

ROWE BAETENS ARCHITECTURE Architectural Assistant | Feb ‘19 present C asual p osi ti on si nc e c omp l e ti on of the si s, mostl y c onsi sti ng of p hotomontage and 3 d vi sual i sati on w orki ng i n Photoshop C C to c ommuni c ate de si gns to c l i e nts

SUMMER RESEARCH SCHOLARSHIP Univerisity of Auckland | Nov ‘16 - Mar ‘17

REFERENCE GRAEME BURGESS

Thesis Supervisor

email

gra e m e . n z . b ur g e s s @ g m a il . c om

p ho ne a d d re ss

+ 6 4 2 1 300 412 Bu rge s s , T r e e p a n d K n ig h t A r c h it e c t s

Ti ny H ouse M ove me nt: A 'N e w ' N e w Ze al and typ ol ogy? - Re se ac h i nve sti gati ng the op p ortuni ti e s of ti ny house s and the i r vi ab i l ty i n a N e w Ze al and c onte xt, e xp l ori ng the p ossi b i l i ty of a ne w typ e of dw e l l i ng c oul d b e di re c te d tow ard i nc re asi ng de nsi ty w i th the l e ast c omp romi se on the tradi ti onal N Z l i f e styl e

3 2 A S t M a r y s R oa d , S a in t M a r y s B a y

SHRINKMASTER/ STRETCHMASTER Junior Draftsman/ Quote Estimator and Administrator | June ‘16 - Mar ’17 Pe rmane nt p art- ti me p osi ti on. I nvol ve d me asuri ng b ui l di ngs to p rovi de ac c urate shi nrkw rap and sc aff ol di ng quotati ons, and c ommuni c ati ng w i th c l i e nts to e nsure ac c urac y f or thi e r sp e c i fic ne e ds. Al so i nvol ve d moc ki ng up c onc e p t de si gns i n C AD f or b arri sol l i ghti ng sol uti ons f or c l i e nts.

AWARDS Fi rst i n C ourse Aw ard i n ARC H G EN 7 1 5 , 2 0 1 7 – Un i ve rsi ty of Au ckl a n d Fi rst i n C ourse Aw ard i n ARC H PRM 3 0 4 , 2 0 1 6 Fi rst i n C ourse Aw ard i n ARC H D ES 3 0 0 , 2 0 1 6 – Un iv e rsity of A u ck l a n d Fi rst i n C ourse Aw ard i n ARC H D RC 1 0 2 , 2 0 1 4 – Un iv e rsity of A u ck l a n d C e rti fic ate of Exc e l l e nc e Aw ards f or D e si gn and Vi sual C ommuni c ati on – N ove mb e r, 2 0 1 3 – R a n g itoto Col l e g e

2

C EO/Produc ti on D i re c tor of Young Ente rp ri se Busi ne ss, C harri , w hi c h w on “Start U p C omp any of the Ye ar”, “Exc e l l e nc e i n I nnovati on” and “Exc e l l e nc e i n C ommi tme nt” aw ards at the N orth Auc kl and YES c e re mony - Oc tob e r, 2 0 1 3 – You n g E n te rprise T ru st N e w Z e a l a n d

PORTFOLIO CONTENTS

2018/2017

2016

2015

ARCHDES 796, THESIS, 2018 UNCOVERING A LOST LITTORAL: RECONNECTING GREENHITHE WITH THE UPPER WAITEMATA with supervisor Graeme Burgess

ARCHDES 301, SEMESTER 2, 2016 D6 SCHOOL OF ARCHITECTURE: FIGURE AND GROUND with Craig Moller

26

ARCHDES 201, SEMESTER 2, 2015 D4 EVOLVING PRACTICES: AN ACCEPTABLE SOLUTION with Julie Wilson

46

36

ARCHDES 200, SEMESTER 1, 2015 D3 ELEMENTS OF DOMESTI_CITY with Anthony Vile

48

38

ARCHDRC 202, SEMESTER 1, 2015 ARCHITECTURAL MEDIA 2 with Aaron Patterson

52

ARCHDES 700, SEMESTER 2, 2017 AD2 DEVONPORT TOMORROW with Julie Stout ARCHDES 700, SEMESTER 1, 2017 AD1 REPAIRING THE INNSBRUCKERSTRASSE, SCHARNITZ, AUSTRIA with Mike Davis and Sacha Milojevic

4

10

ARCHDRC 304, SEMESTER 1, 2016 INTRODUCTION TO ARCHITECTURAL PHOTOGRAPHY with Simon Devitt

18

ARCHDES 300, SEMESTER 1, 2015 D5 INTENSIVE STUDIO: TRIAL AND ERROR with Kester Rattenbury and Kim Huynh

This thesis project has developed from a concern with context, This thesisplace project developedsignificant from a concern context, andhas community; designofdrivers of architecture place and explored community as significant of architecthrough previousdesign designdrivers projects.

The project evolves ture, uncovered though previous design projects.

The project from processes of mapping of the holistic Upper Waitemata evolves from a process of mapping of the holistic Upper WaitHarbour region and acknowledges the various historical, emata Harbour region and acknowledges the various historgeographical and physical features of this context, which are ical, geographical and physical featuresnetwork of this context which used to inform an expansive of public intervention informs the expansive public intervention within existing integrated within the existing suburb of the Greenhithe. suburb of Greenhithe.

Situated on the periphery of the estuarine waterscape of the Situated on the periphery ofHarbour, the estuarine waterscape of the Upper Waitemata the suburb of Greenhithe exists igUpper Waitemata the suburbofofitsGreenhithe exists norant toHarbour, the opportunities coastal edge and igthe harbour, norant to that the opportunities its coastal andand the harbour, is intrinsicallyoflinked to theedge history development of that is intrinsically toisthe history and the place.linked Neither proclaimed or development celebrated. of the place. Neither is proclaimed or celebrated.

This project focuses on bringing the past and an undiscovered This project focuses on bringing theforefront past andofanthe undiscovered existing condition to the suburbs identity. existing condition to the forefront the suburbs identity. of the site, Spaces have been createdofwhere the particularity Spaces have been created where the particularity of the site,where land its history and various topographical conditions, its historymeets and various land and unthe sea,topographical can start to beconditions, uncovered,where celebrated meets the derstood. sea, can start to be the uncovered, celebrated andhistory un- with the Through amalgamation of this derstood. identity Throughofthe of this the interventheamalgamation neighbourhood, thishistory series ofwith project identity oftions the neighbourhood, this visitors series oftoproject intervenwill invite and draw the suburb and provide tions will recreational invite and draw visitors suburb and provide amenity forto thethe local community. recreational amenity for the local community.

GREENHITHE

WAITEMATA HARBOUR

BEFORE AND AFTER Depicting the introduction of a barrier, in the form of a barbed wire fence defining the boundary of public and private on the Salthouse Boatbuilding yard

Along theAlong necklace six interventions: an amphitheatre, a theare necklace are six interventions: an amphitheatre, a lookout, alookout, wharf, aapavilion, reformed boatbuilding yard, and yard, and wharf, a apavilion, a reformed boatbuilding a campground.

Each site mediates threshold between land a campground.

Each site the mediates the threshold between land and the harbour, reinvigorate the occupation and recre-and recreand theto harbour, to reinvigorate the occupation ational usage of the coastline and harbour.

This will bring the ational usage of the coastline and harbour. This will bring the harbour back into back the everyday of the community harbour into the experience everyday experience of the community of this coastal suburb and ultimately uncover the lost littoral of littoral of this coastal suburb and ultimately uncover the lost Greenhithe. of Greenhithe.

ARCHDES 796, THESIS, 2018 ARCHDES 796, THESIS, 2018 UNCOVERING A LOST LITTORAL: RECONNECTING UNCOVERING A LOST LITTORAL: RECONNECTING GREENHITHE WITH THE UPPER WAITEMATA GREENHITHE WITH THE UPPER WAITEMATA

4

MAP OF SUBURBS ON THE PERIPHERY OF THE UPPER WAITEMATA HARBOUR 0

300

600

15000

SCALE: 1:30000

This project is realised as a cohesive ‘necklace’ of intervenThis project is realised as a cohesive of intervention; tion; a pedestrian pathway ‘necklace’ network, which is sensitive to the a pedestrian pathway network whichinformal is sensitive to the context, context, links the existing access-ways and extracts links the existing informal accessways, and extracts the naturaledge. the natural spatial conditions that exist at the littoral spatial conditions exist at the littoral edge. Building upon Buildingthat upon these found conditions along the foreshore, these found conditions along theisforeshore, designed inter-and various designed intervention used to create six events vention islinkages used to create six events and various linkagesaccess that between that complete connective pedestrian complete connective each site. pedestrian access between each site.

The project works to identify alongsites the along littoralthe interface, The project works tosites identify littoral interface, reclaimingreclaiming these spaces as public veininofthe thevein egalitarithese spaces in as the public of the egalitarian ideals of the Queen’s Chain.

Each intervention engages an ideals of the Queen’s Chain. Each interventiona engages a site-specific typology informed though an understanding of site-specific typology informed through an understanding of site history, occupation, and a physical experience of siteprior history, prior occupation, and physical experience of place, place, derived from in-depth sitesite exploration. derived from in-depth exploration.

SALTHOUSE

11 ALBANY

Riverhead Paper Mill Salthouse Boatbuilders

RO Pottery Works

1 LAUNCH AT RIVERHEAD 5 PAREMOREMO 2 HARKIN’S POINT

Riverhead Paper Mill (formerly a Flour Mill)

8 GREENHITHE 3 BRIGHAMS CREEK 4 RIVERLEA

6 WAIMARIE

9 HOBSONVILLE

10 BEACHHAVEN

1

FERRY TRANSPORT IN UPPER WAITEMATA HARBOUR: Analysis of the Upper Waitemata Harbour

Factory of R O Clark's brick and pottery works, Hobsonville

INDUSTRY IN UPPER WAITEMATA HARBOUR: Analysis of the Upper Waitemata Harbour

7 PINE ISLAND

TO AUCKLAND CBD

RIVERHEAD WHARF Original wharf located up from where the Riverhead Hotel and today the Riverhead pub is located. Today is the location of a boat ramp.

2

HARKIN’S POINT WHARF The wharf at Harkin’s Point rested on 20 totara poles arranged in 5 rows and sunk 5 ft. into rock. It ran out from the cliff face to a depth of 4 feet 6 inches at low water.

3

BRIGHAMS CREEK WHARF The wharf at Brighams Creek was at the very end of the estuary, 150 meters from where Highway 16 dips down past the old Sinton Homestead. Some of the early vessels could navigate the channels close to ebb tides, but today the extent of the silting up seas the estuaries almost drying out between tides.

4

RIVERLEA WHARF Riverlea Point. Pile remains of wharf served by ferry in 1880s-1890s.

5

PAREMOREMO WHARF Built by a Dr. Wallace, who owned 400 acres including the peninsula on which the wharf was sitiuated, to be serviced by the Bradney and Binns’ steamers, which plied up the harbour to Riverhead. Dismantled by the Auckland Regional Authority about 1995.

FERRY TRANSPORT IN UPPER WAITEMATA HARBOUR: From Riverhead to Auckland

6

WAIMARIE WHARF The wharf originally known as Waimarie Wharf was built in 1911 by the Auckland Harbour Board to service the population growth before the construction of staisfactory roads. This wharf was later used during the 1939 to 1945 war years for the delivery of aviation fuel to the Whenuapai Air Base. It was finally pulled down in the early 1950's.

7

PINE ISLAND WHARF (HERALD ISLAND) Original jetty improved ti a substantial wharf in the 1890’s. Vandals burnt down the original storage shed on the wharf in 1996 and the entire wharf was replaced in 2000. Images shows the Devonport Steam Ferry Co. boat, Condor, taking its passengers for a Sunday picnic to Pine Island.

8

GREENHITHE WHARF Greenhithe Wharf was built by Henry James Blythe, who purchased land a Greenhithe, as his own private jetty who welcomed use by other locals, later replaced with a new public wharf after 1899 by the Harbour Board to handle the increased usage. The mining and excavation of sand from Hum Bug Point undermined the wharves foundations, and ultimately, lead to its dismantlement.

9

HOBSONVILLE WHARF Hobsonville Wharf off Bruce’s Point, looking down the Waitemata Harbour with Greenhithe and Beachhaven in the distance

10 BEACHHAVEN WHARF Built on current site in 1887. Partially destroyed by fire in 1937, the was then altered byt the Harbour Board, making it a few feet narrower and making the steps and landing stage in a different way. Special launch from Beach Haven subsidised by the Land Company, in additon to services by the Hunters and Brodney & Binns.

11 UPPER ALBANY WHARF Albany Upper Wharf, was used by Thomas Hunter for transport of passengers and goods (1906 -1927).

Hunters vessels were the launches Regal I, Regal II, Nimrod and Centaur. Auckland Harbour Board deepened the channel in 1911.

Wharf demolished during 1930’s.

TOTAL LOOP

7.6 km

approx 110mins

(average walking time)

WAINONI

1.0 km

1

PARK

approx 15mins

W

A

1.6 km

approx 20mins

2 B

0.8 km

approx 15mins

COLLINS

PARK

GREENHITHE VILLAGE

3

0.6 km

approx 10mins C

4

0.5 km

2.1 km

approx 10mins

approx 35mins

5 D

6

Necklace Pathway

0.5 km

Wharf Road Access Trail

approx 10mins

(to Greenhithe Village)

Informal Pathways Public Reserve 6

Intervention Sites 1. Awatahi 2. Rame.. Salthouse 3. Rame..Grey Oaks 4. Rahui 5. Marae 6. Koki

A

Named Sections of Pathway A. Nga Hapuaato Coastal Walkway B. Te Wharemaenau Boardwalk C. Wainoni Boardwalk D. Te Whakatoro Coastal Walkway

5

0

5

10

25

00

55

10 10

0

5

10

25

SCALE: 1:500

6

25 25

0

5

10

SCALE: 1:500 1:500 SCALE:

SCALE: 1:500

0

5

10

25

SCALE: 1:500

25

SCALE: 1:500

0

5

10

25

SCALE: 1:500

5

1

VILLAGE GREEN AND CAMPSITES - Open central grassed area with camping sites around the perimeter edge of the clearing

2

FIRE PIT AND COMMUNAL KITCHEN - Gathering point on the edge of the village green with open fire and basic kitchen facilities

3

CAMPSITE ABLUTIONS BLOCK - Toilet and shower block embedded in the side of the hill, adjacent to the necklace pathway

4

KAYAK STORAGE PLATFORM AND RAMP - Existing launching ramp and grassed platform facing the mangroved inlet

5

7

A

6

WHARF - New wharf accessed from beyond the kayak platform on the northern side of the point

6

BEACH - Existing natural beach on the southern side of the point

7

POINT [TOR AND PLATFORM] - Natural landmark tor formation at the end of the point

8

COASTAL BOARDWALK - Coastal boardwalk providing access from the bush trail leading from the campsite connecting the reserve to Awatahi Place

4

3 1

A

B

1 1

1

1 1

ADDITION - Proposed intervention 1

SUBTRACTION - Existing features removed

2

EXTRACTION - Existing features incorporated into the proposal

1

NECKLACE PATHWAY - proposed and extracted [dashed]

1

INFORMAL PATHWAYS EXISTING RESERVE

B

RESIDENTIAL PROPERTY STREETSCAPE

0

5

10

8

25

SCALE: 1:500

7

A

0

1

2

5

SCALE: 1:100 PLAN OF FIRE PIT AND COMMUNAL KITCHEN

A

A

0

1

2

5

SCALE: 1:100 PLAN OF FIRE PIT AND COMMUNAL KITCHEN

0

1

2

5

SCALE: 1:100 SECTION A-A

8

B

B

0

1

2

5

SCALE: 1:100 0

1

2

5

SCALE: 1:100 SECTION B-B

PLAN OF CAMPGROUND ABLUTIONS BLOCK

9

This design project focuses on examining the existing urban and heritage patterns of the historic village centre in DevonThis design project focuses on examining the existing urban and port and evolving a design informed by these patterns to create heritage patterns of the historic village centre of Devonport and a vision of what a vibrant, community-orientated seaside evolving a design from them to create a vision of what a vibrant, urban village might be by mixing the modern with the old. community orientated seaside Urban village might be by mixing the modern with the old.

The design works to construct an identifiable centre at the core of the township, by removing the presiding occupation by cars, The design works to construct an identifiable centre at the core creating an open gathering space that connects the pedestrian of the township, by removing the presiding occupation by cars, routes of the surrounding blocks and streetscape that forms creating an open gathering space that connects the pedestrian Devonport. An institutionalised facility, the supermarket is routes of the surrounding blocks and streetscape that forms highly regarded and valued by the Devonport community, Devonport. An institutionalised facility, the supermarket is highacting as the unofficial centre and informal gathering spot. ly regarded and valued by the Devonport community, acting as Adjacent to the existing carpark the generic shed form domthe unofficial centre and informal gathering spot. Adjacent to the inates its surroundings, isolated from the historical fabric of existing carpark the generic shed form dominates its surroundDevonport. ings, isolated from the fabric of Devonport.

Isolated from the presence of the heritage facades of Victoria Isolated from the presence of the heritage facades of Victoria Road, the design retains several industrial buildings that are Road, the design retains several industrial buildings that are considered to reflect the character of Devonport as successconsidered to reflect the character of Devonport as successfully as fully as their Victorian counterparts. Fleet Street Panelbeaters, their Victorian counterparts. Fleet Street Panelbeaters, Hammer Hammer Hardware and the red sheds currently occupying Hardware and the red sheds currently occupying Ike’s Emporium Ike’s Emporium each contribute to the enclosure of the civic each contribute to the enclosure of the civic centre and help to centre and help to inform the integration of modern architecinform the integration of modern architecture to its established ture within its established context. context.

The arrangement of buildings around the town square work to The arrangement of buildings around the town square work to define a civic presence within the core of Devonport. Terraced define a civic presence within the core of Devonport. Terraced in in nature, the landscaped site consists of a series of defined nature, the landscaped site consists of a series of defined exterior exterior spaces accessed from a diagonal ramp that descends spaces accessed from a diagonal ramp that descends the site at the site at the intersection of Wynyard and Clarence Street. the intersection of Wynyard and Clarence Street. Prominently Prominently perched at the climax of this terraced approach, perched at the climax of this terraced approach, the Mesian the Mesian form of the food market celebrates its presence, form of the food market celebrates its presence, particularly particularly emphasised down the view shaft from Wynyard emphasised down the view shaft from Wynyard Street in the Street in the foreground of Mt Victoria. foreground of Mt Victoria.

The transparency of the facade allows for the interior marThe transparency of the facade allows for the interior marketspace to become an extension of the town square, working ketspace to become an extension of the town square, working to to redefine the grocery experience of Devonport to one that reredefine the grocery experience of Devonport to one that realises alises the potential of its public presence. The various functionthe potential of its public presence. The various functional al programmes of the food market are arranged at a human programmes of the food market are arranged at human scale and scale and unified beneath the gesture of the roof. The sawtooth unified beneath the gesture of the roof. The sawtooth formation formation of the roof helps to define the double height space of the roof helps to define the double height space the food the food market occupies. market occupies.

The building defines a new aesthetic and offers an architectural The building defines a new aesthetic and offers an architectural experience that deviates from that of a typical supermarket. experience that deviates from that of a typical supermarket. The The emphasis of light quality and visual connection of the inteemphasis of light quality and visual connection of the interior rior space to its exterior surrounds creates an architecture that space to its exterior surrounds create refine an architecture that better integrates that facility into the fabric of the village. better integrates that facility into the fabric of the village.

ARCHDES 701, SEMESTER 2, 2017 AD2 DEVONPORT TOMORROW ARCHDES 700, SEMESTER 2, 2017 with Julie Stout AD2 DEVONPORT TOMORROW with Julie Stout

10

11

A

A

A

A

A

A

BARTLEY TERRACE

FLEET STREET

THIRD FLOOR PLAN

SECOND FLOOR PLAN

FIRST FLOOR PLAN

GROUND FLOOR PLAN

SECOND BASEMENT PLAN

BASEMENT PLAN

CLARENCE STREET

PLANS SCALE: 1:500 A

QUEENS PARADE

SECTION A-A SCALE: 1:500

12

A

A

CLARENCE STREET

A

A

FLEET STREET

A

13

14

15

16

17

This design project was conducted as part of the 017AS Study Tour, through the European Alps. The design explores the unique border and landscape situation of the town of Scharnitz which delineates the Austrian-German border. The town itself is on the verge of a significant phase of urban recovery, with a 2-kilometre long motorway tunnel running west of Scharnitz currently under construction. This is expected to have major repercussions on the small town with traffic volumes expected to reduce by a quarter.

This project is focused on the Porta Claudia fortifications that are a major historical feature and landmark, situated at the northern end of the village. It is my investigation into this topic and the resulting architectural outcome that will help to drive the regeneration of the town and civic life, and start to rebuild the town’s identity and generate tourism opportunities to maintain the viability of businesses as the flow of people through the village is reduced.

While remains of the fortifications still exist on the western side of the Isar River, little evidence exists at surface level to the east. The architecture deals with the topographical condition of the existing archaeology that exists beneath the surface, to be revealed by a series of subterranean spaces designed to exhibit remains of the existing wall on the site that caps the village at its northern end. The architecture creates a linear journey designed to inform visitors of the history and development of Scharnitz and uncover the connection of the town to the fortifications that are seemingly separated in their current situation.

The seven spaces are each unique in size and form and interact with the existing fortification wall in different ways to allow visitors to understand the size, scale and location of this existing archaeology. Descending well beneath the surface the subterranean path opens onto the tranquil field and forest that is otherwise inaccessible due to the existing railway, before descending up above the cavalier wall to the top of the existing landscape terrace that exists over the site.

With minimal intervention of the existing landscape, the design aims to reinvigorate the importance of the fortifications to the small town, and better connect them to the township. It provides a facility where tourists and visitors can learn about and understand some of the rich histories of the alpine site, and what has occurred there in the past. A destination to encourage people to engage with such archaeology and encourage vehiclists to pass through and stop in the small town along the journey between Austria and Germany. .

ARCHDES 700, SEMESTER 1, 2017 AD1 REPAIRING THE INNSBRUCKERSTRASSE with Mike Davis and Sacha Milojevic

18

19

20

< SITE PLAN SCALE 1:200 @A1

AN ARCHITECTURE OF ENTROPY E

Situated in the dramatic alpine landscape of Austria’s Tyrolean Alps, the small border town of Scharnitz has a rich history that is not currently proclaimed or celebrated within the small village. This project focuses on bringing the past to the forefront of the town’s identity, creating spaces where the particularity of the site, and its unique situation as a border town, such as its ties to war and trade, can start to be celebrated and understood. Both for visitors passing through the town, and of course the emerging generations of locals by integrating this history into the identity of the town.

D

C

E D

This project focuses on the Porta Claudia fortifications that were constructed in 1664, during the Thirty Year War, by architect Christoph Gumpp. The Napoleonic wars of 1809 saw the control of the fortifications alternating between the Tyrolese, French and Bavarians until Napoleon used dynamite to blow up the fortifications following the victory by the Bavarians and French in late November. Nevertheless, remains of the extensive former defence system still stand today, up to 6m high stone walls on the western side of the Isar river, while little evidence remains on the surface of the walls that once occupied the valley floor.

G

C

The project works to uncover the existing archaeology of this fortification wall and accentuating its existence through the landscaping of the northern end of the town to articulate the existence of the historic piece of infrastructure. The architecture is developed through the creation of a facility within the small town where locals, visitors and tourists can physically engage with the existing remains through a series of underground spaces.

G H H

Reinvigorating the lost half of the Porta Claudia Fortifications

F

B

Following the path of the existing wall, the spaces aim to educate those interested in this rich history through carefully curated exhibition spaces spatially organised in reaction to the location of the historical fortification wall beneath the surface. Through in-depth gathering, analysing and mapping of the Porta Claudia fortifications the project resolves spaces that celebrate this existing wall within the present day context.

B F A

The architecture created has an awareness of its situation in the context of the archaeology that informs the sequences of spaces. The architectural spaces are not created with the concept of permanence but rather in respect to the longevity of the existing fortification wall and an understanding and respect of site the project is located. This informs a developed architecture that will react to this temporal change through a palette of materials that are responsive to use, wear, erosion and disintegration.

A

PLAN SCALE 1:200 @A1

21

1 THE GATEWAY

2

3

THE KRONENWERK

SECTION A-A

22

SCALE: 1:50

THE PROJECTOR

SECTION C-C SECTION B-B

SCALE: 1:50

SCALE: 1:50

4

5

THE INVERSE

THE TEMPLE

6 THE ESCAPE/ THE ARTEFACT

SECTION H-H

SECTION D-D

SCALE: 1:50

7

SCALE: 1:50

THE CAVALIER

SECTION E-E

SCALE: 1:50

23

100mm cobblestone path surface 200mm reinforced path slab

600mm reinforced concrete footing

300mm reinforced concrete retaining wall 120mm deep web-plate custom steel truss 70mm x 50mm ceiling battons

400mm reinforced concrete retaining wall 30mm fibre cement sheet 50mm sprayed concrete finish

SECTION F-F

24

SCALE: 1:50

500mm reinforced concrete pad foundation

25

This studio project focuses on two key aspects: the notion that architecture is an iconic event, and the selection of a singular material that will have considerable influence on the architectural outcome of the project. The program is for a Graduate School of Architecture on the vacant sites within the Christchurch Arts Centre. The program is a gallery exhibition space for the display work produced by the School of Architecture, and a School of Architecture Library.

The aim of this studio project is to achieve an architecture that is iconic while respecting the historical context of the existing Arts Centre, avoiding the use of obtrusive scale often used to achieve architecture of an iconic nature.

The design instead develops from a sectional concept where the functional requirements of the building are occupied in a basement, below entry level. The design focuses on the idea of the building as an object and makes use of the form above ground to encourage people to respond to and enter the building. The design also explores how the form of the building could impact or contribute to an iconic moment in the interior of the building and also the idea of the separation of the two functional requirements of the building while maintaining a key sectional relationship of the spaces within the building as a whole.

This concept has been developed further with the lily pad structural pattern that has informed the initial sectional concept of the design, and also through the use of water that controls the landscape surrounding the building to create two controlled entry points to the library, located at ground-level though a bridge and the exhibition space, that is accessed through a ramp that descends down to the entry/ cafe and gallery spaces. The pond surrounding the building also aims to control the ability of people to approach and touch the building to help maintain its objectivity.

The form of the design makes use of the limitless potential of the concrete as the buildingâ&#x20AC;&#x2122;s primary material and seeks to minimise the visual presence of other materials used. The glass used to make the structure weathertight and open atrium space below a comfortable space is constructed in a way as to not compromise the intended natural light quality of the interior space, resulting from the perforated concrete structure.

ARCHDES 301, SEMESTER 2, 2016 D6 SCHOOL OF ARCHITECTURE: FIGURE AND GROUND with Craig Moller

26

2

3

4

A

B

5

1

6

2

3

4

A

B

5

6

B

ARCHTECH 312, SEMESTER 2, 2016 DESIGN TECHNOLOGY 3 with Sarosh Mulla

DAMIEN PERRY | THE LILYPAD

1

A

A

A

16

B

B

15

1

17 12

12

C

C

11 D

D 14

13

Project Name

CHRISCHURCH SCHOOL OF ARCHITECTURE EXHIBITION & LIBRARY

10 E

E 9 8

7

Address

2 WORCHESTER BLVD, CHRISTCHURCH Central, Christchurch 8013 New Zealand

F

F 6 18

4

5

19

1

5

3

1 ENTRY RAMP - EXHIBITION 2 ENTRY BRIDGE - LIBRARY 3 LIBRARY ENTRY 4 LIBRARY ADMIN 5 BOOKSTACKS/ STUDY SPACES 6 LIBRARY ABLUTIONS 7 ATRIUM/ FOYER 8 CAFE 9 MALE ABLUTIONS 10 FEMALE ABLUTIONS 11 EXHIBITON ENTRANCE 12 EXHIBITION 1 13 EXHIBITION 2 14 EXHIBITION 3 15 GALLERY WORKSHOP 15 EXHIBITION STORAGE 17 STORAGE - LARGE INSTALLTIONS 18 WATER COLLECTION TANK 19 POND RESERVIOR TANK

G

G

A

A

B

A

B

B

2

No.

ROOF PLAN

SCALE: 1:500

GROUND FLOOR PLAN

SCALE: 1:500

Revision/Issue

Date

BASEMENT FLOOR PLAN SCALE: 1:500

Drawing Name

PLANS

SCALE: 1:500

Drawing No.

A3-01

28

AXONOMETRIC DIAGRAM SCALE: 1:300

CHISTCHURCH ART GALLERY

CHRISTCHURCH MUSEUM

TO CITY CENTRE

TO BOTANICAL GARDENS / HAGLEY PARK

ROLLESTON AVE

MONTREAL STREET

HEREFORD ST

WORCESTER BLVD

EXHIBITION

CIRCULATION/ ACCESS

SITE PLAN SCALE: 1:1500

29

ARCHTECH 312, SEMESTER 2, 2016 DESIGN TECHNOLOGY 3 with Sarosh Mulla

DAMIEN PERRY | THE LILYPAD 30mm High Strenght Steel Bar 15mm Steel Mesh Cage Reinforcing Well compacted, free draining granular fill

350mm Reinforced Concrete Wall

300mm Reinforced Insitu Concrete Floor Slab Well compacted, free draining granular fill

3mm Damp Proof Membrane

Geotextile fabric over Subsoil Drain

30mm High Strenght Steel Bar

150mm Coarse Sand Binding Geotextile fabric over Subsoil Drain

200mm minimum Compact Hard Fill

Project Name

CHRISCHURCH SCHOOL OF ARCHITECTURE EXHIBITION & LIBRARY

Reinforcing Steel welded to Steel Pile

300mm Diamater Tubular Steel Pile Insitu concrete filling

Address

2 WORCHESTER BLVD, CHRISTCHURCH Central, Christchurch 8013 New Zealand 850mm Wide Reinforced Concrete Footing (500mm deep)

15mm Steel Mesh Cage Reinforcing

300mm Diamater Tubular Steel Pile Insitu concrete filling

120mm Extruded Polystyrene Under-slab Insulation

3mm Damp Proof Membrane

150mm Coarse Sand Binding

No.

Revision/Issue

Date

200mm minimum Compact Hard Fill

Drawing Name

FOUNDATION DETAIL SCALE: 1:20

Drawing No.

30

A1-04

C

D

E

F

06 A3

A

B

G

07 A3

C

D

E

F

06 A3

G

07 A3

ARCHTECH 312, SEMESTER 2, 2016 DESIGN TECHNOLOGY 3 with Sarosh Mulla

B

DAMIEN PERRY | THE LILYPAD

A

04 A3

Project Name A

CHRISCHURCH SCHOOL OF ARCHITECTURE EXHIBITION & LIBRARY

A

04 A3

Address A

B

C

D

E

F

A

B

2 WORCHESTER BLVD, CHRISTCHURCH Central, Christchurch 8013 New Zealand

G

C

D

E

F

G

No. 09 A3

09 A3

10 A3

A

Revision/Issue

Date

A

10 A3

Drawing Name

STRUCTURAL SYSTEM SECTION A-A/B-B B

B

SCALE: 1:10 Drawing No.

A1-05

AXONOMETRIC DIAGRAMS SCALE: 1:300

INDIVIDUAL GLASS PANELS ASSEMBLED OVER CONCRETE FRAME

PRIMARY STRUCTURE 350mm REINFORCED CONCRETE

SUPPORTING STRUCTURE 230mm REINFORCED CONCRETE

SEAMLESS TRANSPARTENT CEILING APPEARANCE FROM ATRIUM BELOW

CHISTCHURCH ART GALLERY

300mm INTERNAL DOWNPIPE WATER COLLECTION TANK FOR GREYWATER REUSE WITHIN THE BUILDING

TO CITY CENTRE

RETENTION AND FILTRATION TANK TO SERVICE POND ABOVE

800mm REINFORCED CONCRTE WALL TO HELP SUPPORT CANTILEVER

ROLLESTON AVE

GLASS ROOF DIAGRAM

GLASS ROOF SLOPED AT 3° TOWARD CENTRAL GUTTER

STRUCTURE AND WATER COLLECTION

LIBRARY

PRECUT GLASS PANES

GLAZING BRACKET

EXHIBITION

REINFORCED CONCRETE

DETAIL LOCATION

350mm

CIRCULATION/ ACCESS

32

GLASS ROOF ASSEMBLY SCALE: 1:100

GLASS JOIN DETAIL

SCALE: 1:5 - LONG SECTION

GLASS JOIN DETAIL

SCALE: 1:10 - SHORT SECTION

ARCHTECH 312, SEMESTER 2, 2016 DESIGN TECHNOLOGY 3 with Sarosh Mulla

DAMIEN PERRY | THE LILYPAD 5mm Bituminous Membrane Waterproofing Aluminum Flashing Bronze Tab Fixing Drain Cap to Roof 20mm Thick Bronze Drain Cap Grating

12°

5mm Bituminous Membrane Waterproofing over Concrete Roof

Project Name

Aluminum Flashing

1560mm

CHRISCHURCH SCHOOL OF ARCHITECTURE EXHIBITION & LIBRARY

20mm Thick Bronze Drain Cap Grating

140mm

Bronze Tab Fixing Drain Cap to Roof

Address

30°

2 WORCHESTER BLVD, CHRISTCHURCH Central, Christchurch 8013 New Zealand

500mm

No.

500mm Diameter Aluminium Internal Downpipe, Insitu into Concrete Structure

Revision/Issue

Date

500mm Diameter Aluminium Internal Downpipe, Insitu into Concrete Structure

Drawing Name

GUTTER/ DOWNPIPE DETAIL SCALE: 1:10 Drawing No.

A1-07

in collaboration with Nick Rennie The design paper, in addition to our iconic project, also required us to design a second project in collaboration with another student. This project followed a different notion that ‘a building forms part of the fabric of the city.’

In pairs, we were required to design a slice of the overall School of Architecture building, which had to adhere to strict requirements that provided limitations to the design possibilities. Within 12m wide x 24m long x 26m high (16m above ground, 10m below) provided, we had to design our slice of the greater building using the functional brief supplied by our tutor.

Our design, employing concrete as the main material, was developed around the idea of openness and control. The main circulation of the building is separated from the main access level. From the entry at ground level that leads into the administrative level of the building, a staircase leads up to the first studio level at the heart of the building, opening onto an outdoor courtyard and leading to the main access circulation that allows access from basement level to the top floor.

Another staircase at ground level leads down to the public foyer space, that flows onto an open lecture theatre. A light well through most of the building opens onto this public foyer space, above the double height student workshop facility below.

The design looks to create an educational environment where security and privacy are at the forefront of the design. The building also looks to create spaces that are visually accessible to allow students to see the occupation of spaces within the building without having to move through the building and providing the facilities such as common rooms and computer labs, positioned to best support the primary studio spaces of the building.

The building works to provide comfortable and accessible works spaces within the confinement of the brief restrictions and makes effort to consider its role within the greater School of Architecture building. It also works to create a clear public threshold without compromising the open nature of the building interior.

AXONOMETRIC DIAGRAMS SCALE: 1:1200

STUDIO SEPERATED INTO THREE LEVELS PROVIDING DIFFERENTIATING SPACES FOR STUDENTS TO OCCUPY

STUDIO CONCRETE SKYLIGHT CANTILEVERED FROM SHARED WALL AND SUPPORTED

BY CONCRTE CEILING BEAMS BENEATH THE ANGLED SURFACE

ABLUTIONS

COMPUTER LABS LOCATED ATTACHED TO THE LIGHTWELL AS SUPPLEMENTARY SPACES TO STUDIO AREAS. EASILY ACCESIBLE AND VISABLE FROM STUDIO.

STAGGERED INTERAL CIRCULATION TO HELP DEFINE PUBLIC AND PRIVATE SPACE WITHIN THE BUILDING

ANGLED WALL AND ELEVATOR CREATE A SHAFT WHICH IS USED TO SUPPORT CANTILEVERED WALLS ON GROUND LEVEL WHERE THE FLOOR SLAB ISONLY ATTACHED TO ONE SHARED WALL

LOCKERS

COMPUTER LABS

COMPUTER LABS ELEVATOR SHALF LOCATED AT THE FRONT OF THE BUILDING FOR ACCESSIBILITY, WITH DOOR TUCKED AROUND FROM MAIN HALLWAY FOR EASIER USABILITY

SEMINAR ROOM

OUTDOOR COURTYARD AND COMMON ROOM

STAIRCASE TO FIRST FLOOR PROVIDES ACCESS TO THE STUDIO ABOVE, DIRETED TOWARD THE MAIN INTERNAL STAIRCASE WHICH HAS ACCESS TO ALL FLOORS STUDIO

ANGLED INSITU ROOF BRACES THE THE TOP OF THE ANGULAR COLUMNS IN COMBINATION WITH THE FLOOR SLABS CREATING A RIGID FACADE

BEAMS SPAN THE 12 METRE VOID BETWEEN TWO SHARED WALLS

SEMINAR ROOM LOCATED AT THE TOP OF THE BUILDING TO BEST SEPARATE IT FROM THE MAIN STUDIO SPACES TO CREATE A MORE FOCUSED LEARNING SPACE

200mm x 800mm BEAMS USED FOR LOWER THREE LEVELS, 200mm x 600mm USED FOR UPPER THREE LEVELS STAIRCASE TO FIRST BASEMENT LEVEL PROVIDES ACCESS TO THE PUBLIC AREA OF THE BUILDING, ALLOWING GUESTS TO ACCESS AND USE THE BUIDING WITHOUT INTRUDING UPON THE PRIVATE AREAS OF THE BUILDING

FIRST STUDIO LEVEL ENTRY OPENS ONTO THE STUDENT COMMON ROOM ADJACENT TO THE DOUBLE HEIGHT OUTDOOR COURTYARD ON THE NORTH FACADE OF THE BUILDING. THIS SPACE IS OPEN ITS OCCUPATION CAN BE SEEN FROM ALL THE LEVELS ABOVE AND FROM THE MAIN CIRCULATION STAIRCASE

ADMIN AND FACULTY

LECTURE THEATRE

STUDIO

ENTRY ABLUTIONS

OPEN PUBLIC FOYER

WORKSHOP AND MEDIA ROOM PUBLIC SPACE VISABLE FROM THE EXTEIROR AND IMMEDIATE INTERNAL ENTRY THROUGH MEZZANINE HALLWAY/FOYER ON THE GROUND LEVEL, ENCOURAGING AND PROMOTING MOVEMENT TOWARD THE PUBLIC SPACE OF THE BUILDING UPON ENTRY

TRIANGULAR COLUMNS GENERATE THE FACADE AESTHETIC AND SUPPORT THE CONCRETE FLOOR SLABS

200mm STRUCTURAL WALLS USED TO HELP SUPPORT CONCRETE FLOOR SLABS

STRUCTURE DIAGRAM

ARCHDES 301, SEMESTER 2, 2016 D6 SCHOOL OF ARCHITECTURE: FIGURE AND GROUND with Craig Moller

34

CIRCULATION CIRCULATION DIAGRAM DIAGRAM

CIRCULATION DIAGRAM

16

17

2

23

14 24

10 1

15

7

18

11 2 12

2 19

2

25 20 8 3 26 9

2 21

4

2 6

9

13

27

2 5

22 2

28

THIRD FLOOR PLAN SCALE: 1:100

1 LEVEL 3 STUDIO 2 MALE ABLUTIONS 3 FEMALE ABLUTIONS 4 DISABLED TOILET 5 SEMINAR ROOM 6 COMPUTER LAB - THIRD FLOOR 7 COMPUTER LAB - SECOND FLOOR 8 LOCKERS 9 LEVEL 2 STUDIO 10 OUTDOOR COURTYARD 11 STUDENT COMMON ROOM 12 STUDIO ENTRY POINT 13 LEVEL 1 STUDIO 14 FACULTY COMMON ROOM 15 FACULTY TOILET 16 BACK ENTRY 17 FACULTY OFFICE 18 ADMIN OFFICE

SECOND FLOOR PLAN SCALE: 1:100

FIRST FLOOR PLAN SCALE: 1:100

GROUND FLOOR PLAN SCALE: 1:100

BASEMENT PLAN

SCALE: 1:100

SECOND BASEMENT PLAN SCALE: 1:100

19 STUDIO ACCESS CIRCULATION 20 PUBLIC ACCESS CIRCULATION 21 ENTRY FOYER 22 ENTRY 23 COMPUTER STORAGE AND SERVERS 24 OPEN LECTURE THEATRE 25 MALE ABLUTIONS 26 FEMALE ABLUTIONS 27 OPEN PUBLIC FOYER 28 DISABLED TOILET 27 MATERIAL STORAGE 28 MEDIA ROOM 29 WORKSHOP 30 LOCKERS 31 EQUIPMENT STORAGE 32 WORKSHOP MACHINERY 33 DISABLED TOILET

35

ARCHDRC 304, SEMESTER 1, 2016 INTRODUCTION TO ARCHITECTURAL PHOTOGRAPHY with Simon Devitt

36

37

This design project explores the opportunity and architectural potential in works generated as a result of chance. Developing upon works generated through the I Ching, this project endeavours to continue to develop each work without the influence of ongoing critical thinking and planning, usually involved in producing design work. Generating outcomes without the influence of preconception involved embracing mistakes and implementing improvisational and problem-solving skills to allow these errors to inform and further develop ongoing experimental work.

The objective was to create outcomes disconnected to the mind of the creator, due to the nature of mindlessness involved in their creation. This consequently allowed for objectivity in evaluative critical thinking regarding their potential of works as generative sources for further experimentation. Through removing the bias of intellectual investment in producing the work, the architectural possibility of the randomly generated resulting installations can be considered impartially. This has allowed for the realisation of ideas that would have otherwise been discarded before any form of physical realisation, whether it be through drawing or physical making.

The ideas produced from randomly generated works are objectively evaluated to inform ideas or restraints for ongoing work but without any sort of intended or desired outcome.

This has allowed connection between developed works, but no limitation in the resulting outcome produced, which is dependant on factors that occur during the creative process.

The development of the three tangents of exploration occurs in tandem to help limit pre-conceptual thought from influencing the development of the work and allow the influence of each tangent to influence others in unexpected ways.

Working to create a collective exhibition in the level 4 studio mirrors the approach the critical thinking employed throughout the project. Using problem-solving skills, retrospectively after the development of works in most cases, to create a cohesive display of installations produced by different students. It has also provided constraints and opportunities in the installation of given works using the available structural components of the building, and variation of the potential spaces through the studio site. Critical evaluation reacting to the site restraints and opportunities has been influential on the development of installations in the exhibited form and the collective spaces formed as part of the exhibition.

ARCHDES 300, SEMESTER 1, 2015 D5 INTENSIVE STUDIO: TRIAL AND ERROR with Kester Rattenbury and Kim Huynh

38

39

40

41

2

52 3

4

5

mm

mm

1

mm

1. Roll paper out 2 meters 2. Birdmouth cut, 600mm isoceles triangle 3. Seperate cut triangle from roll 4. Repeat birdmouth cut 1550mm along the roll 5. Seperate cut from roll 6. Scrunch paper from pointed end toward birdmouth cut 7. Scrunch two birdmouth cut pieces in opposing directions.

BIRDMOUTH PAPER INSTRUCTION

42

6

7

1

2

3

4

5

CONNECTION PLAT PLAN SCALE: 1:100

HANGING PAPER ELECTRICAL CABLING BEAM FURNITURE

Y INSTALLTION, BROWN PAPER

LEVEL 4 STUDIO, BAY A Brown Paper 80gsm. 0.5mm Fishing Wire. Consists of 26 Birdmouth Paper components, connected by plats installed as depicted in supporting diagram, 1-6.

43

44

45

This studio project was a collaborative group project to redesign Sunset Beach Lifeguard Service Surf Club at Port Waikato, a long established, highly valued â&#x20AC;&#x2DC;cornerstoneâ&#x20AC;&#x2122; organization of the North Waikato community, under threat as a result of the ongoing erosion of the coastal site.

Our design concept was based around the idea of receiving and letting go, an idea explored in different ways relating to people, sand, and water. Development of the idea which began individually, followed by groups of three (where I joined the project) and eventually a group of 10.

One of the main things we focused on was designing a building for the context and people of the Port Waikato region, which resulted in our focus on creating an integrated facility that provides a replacement community space working with the private club. We also focused on the idea of meeting the future needs of the club. Established as a financially independent club, the future is something that needs to be planned for and considered in the design of the club, and as such needs to be able to cope with future expansion/ growth in the area.

As a primary recreation area for the Waikato community it is vital that the club is able to adapt the facilities for both public users and an expansion of club membership base, which will inevitably happen over time.

In terms of erosion which is the major issue threatening the existing facilities, we have designed a building which can be implemented in stages to fulfill the immediate expansion needs of the club, and allow the dune rehabilitation to occur and be accessed before the majority of the building is built to ensure that the new building will be used in the long term, and will not be threatened by erosion in the near future.

Our building is about providing the opportunity for the club to meet their requirements in the present without compromise in the long term that allows for future growth and expansion.

The design considers the potential future expansion, to attend to a staggered construction strategy that would not compromise the finished architectural outcome. It also provides the opportunity to get more reassurance on the erosion that could potentially compromise any building situated on the proposed site.

I had a leadership role in the group and was responsible for much of the communication in the group, and ensuring everyone understood their role in the group. I was also one of the three key people involved in the developed design after the group of 10 was established and was responsible for the production of the final plan and the 3D model which was then used by other group members to produce many of the final drawings.

ARCHDES 201, SEMESTER 2, 2015 D4 EVOLVING PRACTICES: AN ACCEPTABLE SOLUTION with Julie Wilson

46

West Elevation - 1:00

North Elevation - 1:100

Section B-B 1:100

Section C-C 1:50

47

This studio project was focused toward the elemental minimums required in regard to residential architecture in Auckland. In response to the â&#x20AC;&#x2DC;bigger is betterâ&#x20AC;&#x2122; consumer culture and in response to the current housing crisis through research and investigation into the minimum design, paring back to the basic requirements of a domestic living situation.

The first part of the project involved creating a small unit intended for a singular occupant. The interior floor area of the design is just above 16m2 and proposes the use of dynamic moving floors in the occupation of the different programmes within the unit.

The primary living space that contains the kitchen, dining and living space is located on the ground level of the unit. The bedroom is located on a moving mezzanine level which moves down over this kitchen dining space when used but allows the bathroom to remain accessible. The top level, where the entry to the building is located in a small office space with built-in storage, to allow the occupant to run a small business from within their small home. The design allows this space to be completely separated from the living quarters of the design.

The movement of the floors is done through four large metal screws and an electronic system accessed in the alternating stairway in the design. The two moving floors are able to attach and detach from the large screws which though a mechanical system move these floors to move up and down to create the three spatial situations. This allowing the occupation of the same space for the different functions, and to be of a comfortable size while being occupied, rather than a compromised version such as in other minimal space designs.

This concept was then used to generate an apartment building to be located on the corner of Greys Avenue and Mayoral Drive. The building developed to identify three typologies of apartments that the building would include and a half level system that allowed the moving floor idea to be implemented in a large scale situation.

Through a complex circulation system, individual to each level based on its access level and apartment arrangement and access. The building also integrates a dance studio at ground level that also employs the moving floor concept with carpark/ utility basement level and a double-storey community space to facilitate activities that building occupants could more comfortably do outside their minimal apartments.

ARCHDES 200, SEMESTER 1, 2015 D3 ELEMENTS OF DOMESTI_CITY with Anthony Vile

48

A

A

0m

1m

2m

A

A

A

A

49

TYPOLOGY ONE Single Bedroom Apartments

Access Level 9 3 Apartments

TYPOLOGY ONE Single Bedroom Apartments

Access Level 8 4 Apartments

Access Level 7 3 Apartments

TYPOLOGY ONE Single Bedroom Apartment Access Level 9

Access Level 6 4 Apartments

TYPOLOGY TWO Two Bedroom Apartments

Access Level 5 4 Apartments

TYPOLOGY TWO Two Bedroom Apartments

Access Level 4 3 Apartments

Access Level 3 4 Apartments

TYPOLOGY THREE Four Bedroom Apartments

Access Level 2 4 Apartments

TYPOLOGY THREE Four Bedroom Apartments

Access Level 1 7 Apartments

TYPOLOGY ONE Single Bedroom Apartments

TYPOLOGY TWO Two Bedroom Apartments

COMMUNITY SPACE Dynamic louge facilities and large exterior courtyard, games room, entertainment room and gymnasium (access from upper level)

COMMUNITY SPACE Dynamic louge facilities and large exterior courtyard, games room, entertainment room and gymnasium (access from upper level)

DANCE STUDIO Three story dance studio with changing rooms, cafe/lounge with commerical kitchen and viewing platform. Moving ceiling tranforms space into a event venue space.

TYPOLOGY THREE Four Bedroom Apartments

TYPOLOGY ONE Single Bedroom Apartments

DANCE STUDIO Three story dance studio with changing rooms, cafe/lounge with commerical kitchen and viewing platform. Moving ceiling tranforms space into a event venue space.

TYPOLOGY TWO Two Bedroom Apartments

TYPOLOGY THREE Four Bedroom Apartments

50

ARCHDES 200, SEMESTER 1, 2015 D3 ELEMENTS OF DOMESTI_CITY with Anthony Vile

PARKING/ UTILITY 10 carpark parking garage, with bike storage and large utility room

PARKING/ UTILITY 10 carpark parking garage, with bike storage and large utility room

TYPOLOGY TWO Two Bedroom Apartment

TYPOLOGY THREE Four Bedroom Apartment

Access Level 3

Access Level 1

51

52

ARCHDRC 202, SEMESTER 1, 2014 ARCHITECTURAL MEDIA II with Aaron Paterson

53