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Portfolio
//
2022
Prepared for application to the Royal College of Art Architecture MA Programme.
CONTENTS
ACADEMIC
[ pg. 04 ]
CHRONOS Narrative architecture: The Library of Time.
[ pg. 14 ]
D R AW A multi-scale community centre.
[ pg. 24 ]
PERMEABILITY Centre for the Arts and Culture.
PROFESSIONAL
[ pg. 36 ]
G R A D UAT E R O L E Professional experience at B/O’S Architecture.
PERSONAL
[ pg. 40 ]
B E YO N D A RC H I T EC T U R E Fashion Design and Analog Photography.
04
T H E L I B R A RY O F T I M E
CHRONOS Te Ngakau Civic Square, Wellington City, New Zealand
2020 // Academic // Year Three, Semester Two Individual // Victoria University Architectural Design Studio
In this digital age we live in, the traditional
This project explores the question: How
purpose of libraries comes into question.
can architecture express the flow of time
As
methods
of
learning,
transferring
and bridge the past to the ever-evolving
and
writing
increasingly
present? Inspired by literature and the
become more digital, where does this
urban context this project uses light,
leave the plethora of knowledge recorded
structure and atmosphere to answer this.
information
in physical manuscripts and books? The oculus and skylight track the daily The
project
brief
was
to
redesign
and seasonal flow of time while the three
Wellington’s City Library using a narrative
central structural cores for circulation
and the structural properties of reinforced
represent the support that comes from
concrete. Considering the deep historical
knowledge that has come before us. All of
significance of the land and the evolving
which are weaved into a design that also
role of libraries in society, the Chronos
activates Civic Square by encouraging
project plays with the narrative of time.
movement towards the public space.
05
“So how, you might wonder, does one map the progress of time without the aid of a clock?
–
Indeed there are obvious an-
the shift from night to day to
swers
night again;
the transformation from spring to summer to fall to winter;
the metamorphosis from baby to boy to adult to old man to death.
Source: Hara
06
Contextual studies show: historical shoreline, commercial golden belt, pathways and greenery.
ON RECLAIMED LAND
07
MOVEMENT
ACCESS
OPENNESS
C ATA L O G U E
CORES
ARCHIVES
OCULUS
SEASONS
PROCESS SKETCHING charcoal / pastel / pencil / paper Exploring site movement and desired atmospheres.
08
S I T E E X P L O R AT I O N paper / analog photography / card / twine
Testing forms that direct movement through the site to Civic Square. Whereas the existing wall condition hides Civic Square from pedestrian view, the proposed form opens this up and invites movement inwards. Models also experiment with sunlight for the oculus and skylight.
09
A
STORAGE
IT ROOM
B
MAIN COLLECTION
C TERRACED KIDS ZONE
STUDY SPACES
D
E
F INDOOR CAFE
G
OBSERVING TIME
KITCHEN + CAFE
MEET ROOM
H OUTDOOR SEATING
1
2
3
4
5
6
7
CIVIC SQUARE
0
GROUND FLOOR PLAN Funneling movement through and around the library to Civic Square.
5
15m
10
C O N C R E T E FA C A D E Exterior form inspired by movement around site and openings for light.
CENTRAL CORES Cores for circulation containing archives are made up of shear walls to brace in both X and Y directions.
Gravity only Gravity & bracing
“ON THE SHOULDERS OF GIANTS” Future innovation can only exist with the support of past knowledge. The archives stored within the basement and cores structurally support the digital classrooms on the upper floors.
11
ENTRANCE RENDER “the shift from night to day to night again; the transformation from spring to summer to fall to winter;
12
LONG SECTION
the metamorphosis from baby to b
Movement upwards through the central cores represents the
for certain ages, intergenerational interactio
N PERSPECTIVE
boy to adult to old man to death.”
e transition from the old to new. With different floors catered
on is sparked within these circulation spaces.
13
0
2
4m
14
S A N KO FA :
D R AW Homewood, Pittsburgh, Pennsylvania, USA
2020 // Academic // Year Three, Semester One Individual // Penn State 4th Year Design Studio
Located in the Pittsburgh suburb of
The objective is to spark connection
Homewood, Pennsylvania, the Sankofa
between residents and empower them
Village
an
to create their own food security. In this
apartheid
centre, residents come to understand
and the looming gentrification of their
every step of the process from agricultural
neighbourhood. On a recently acquired
education to entrepreneurship, together.
Community
organisation
battling
Garden food
is
7,500 sqm site, the organisation requires spaces
for
harvesting,
education,
This
project
distribution, sales, dining, child-care and
the
administrative offices.
employing
takes
surrounding an
inspiration
urban
context
from while
environmentally-passive,
humanistic approach to the architecture. The concept, “draw,” proposes an energy-
At every scale, it aims to embody the
efficient scheme that draws in the residents
resilience required in the battle against
of Homewood into a space of seamless
food inaccessibility and gentrification.
cultivation, education and business.
15 800 yards
400 yards
200 yards
0 site
200 yards
fifteen
five 40°27’02.1”N
79°53’29.7”W
ten
U R BA N M A P P I N G Neighbourhood zoning, existing green belt and walking distances from the site.
16
BU I L D I NG T Y P O LO GY Community Commercial Residential
M OV E M E N T A N D AC C E S S Raised footpaths Bus routes Vehicle access
E N V I R O N M E N TA L wes
te rl y
Sun path Green belt Dominant westerly wind
sun path
S I T E L AY E R S
Series of information about the site and the
Using a primary western axis to organise
neighbourhood are layered upon each other
the site and orienting the buildings south
to determine main axis and entry points of
capitalizes on all day southern sun exposure
the site.
and the dominant westerly wind for passive temperature control techniques.
17
PROCESS MODEL paper / plastic / card / string
18
SKETCH PROCESSES charcoal / chalk / pencil / paper / card Exploring site organization, movement and relation to the immediate context.
19
1 2
3
4
5
7
6
S U S TA I NA B I L I T Y S E C T I O N
1
Solar panels integrated into the southern side of facade.
2
Overhang mitigates the high summer sun.
3
Operable skylights for passive ventilation.
4
Greenhouse functions as a temperature buffer zone.
5
Vertical chase for all mechanical services.
6
VRV system for heating and cooling. HRV system for ventilation. Outdoor units concealed by outer skin
7
Angled facade to direct rainwater for reuse in irrigation.
20
NORTH AND SOU
The outer skin ties together the various programmes at differen site. Made from corten steel, it symbolizes the community’s r
21
0
U T H E L E VAT I O N S
nt topographic levels and leads the people into the heart of the esilience and permanence in their fight against gentrification.
2
4m
22
E X P L O D E D A XO N O M E T R I C Learning spaces flow seamlessly into the greenhouse and making spaces.
23
E N G AG I N G T H E T O P O G R A P H Y
H E A RT O F T H E S I T E
24
C ATA LY Z I NG CO N N EC T I O N :
PERMEABILITY Marukaikuru, Miramar Peninsula, Wellington, New Zealand
2020 // Academic // Year Three, Semester Two Individual // Victoria University Architectural Design Studio
Marukaikuru
has
recently
become
a
remove barriers and catalyse connections
site for protests against the proposed
between artists of different disciplines,
property development. Those who oppose
artists to the public and the public to each
the development do so for reasons relating
other.
to unjust sales of tribal land and retaining the precious green space. The brief of the
At the urban scale, the design links to
project is to design a multi-disciplinary
a green belt and separates vehicular
arts centre amidst this conflict.
movement from pedestrians and cyclists. This
sheltered
path
provides
better
My vision for the Centre for the Arts
access to the Centre and to the rest of
is
Marukaikuru.
based
on
social
connection.
Now
more than ever people need a space in Marukaikuru where they can come
The
together.
therefore,
building technique tokyō to assist with
explores how planning, structure and the
longer spans and thus create more open,
concept of permeability can be used to
permeable spaces.
The
architecture
structure
adapts
the
Japanese
25
26
closedness
14
CONCEPT SKETCHES card / chalk / charcoal / pen / paper Sketches explore planning, openness and closedness and the overall concept of connection through space.
27
SITE MAPPING
P O H U TA K AWA
TI KOUKA
HARAKEKE
C OAS TA L F L A X
H I S T O R I C A L PA / K A I N G A
WA L K A B L E PAT H S
PA R K I N G
28
U R BA N S K E TC H M O D E L card / chalk / charcoal / twine / pins Using the site as a passageway to connect the wider Wellington region to Marukaikuru.
29
PROPOSED FERRY
RENDERING
U R BA N C O N N EC T I O N The project proposes a greenbelt combined with sheltered walkways to better connect pedestrians and cyclists to the Marukaikuru township.
Vehicle route Cycling route Pedestrian access
30
PERMEABILITY AN
The central void encourages interaction between the material filter light through this void and
31
C A F E
0
N D I N T E R AC T I O N
e public and the artists. The facade and PTFE roofing illuminate the open spaces on each floor.
1
2m
32
F I N A L V I S UA L I S AT I O N S card / timber / dried plants / twine / pins Scale model of the entire design and its context. Ground floor public spaces (above) Evening render, street view (right)
33
34
TOKYŌ TECHNIQUE
This Japanese wood construction technique is derived from an ancient Chinese building technique: dougong. The principle is to use multiple interlocking brackets to better disperse the weight of the beam down to the column.
As well as gravity loads, the plethora of connections help dissipate energy in earthquakes and strong winds. Combining this with glu-lam moment frames, the overall structure is braced more effectively against lateral loads and longer spans can be achieved.
35
View of the central staircase from the ferry dock entrance.
36
B / O ’ S A RC H I T EC T U R E LT D.
A RC H I T E C T U R A L G R A DUAT E
Lyttelton, Canterbury, New Zealand
2021 // Professional // Bull O’Sullivan Architecture Ltd
Being
at
The designs are created by the firm’s
required
architects and are then translated from
ranging
plans, sections, elevations and sketches
from visualizations, to CAD modelling to
into models by me. The scale models
drafting and detailling.
are created solely by hand and out of
Bull
an
Architectural
O’Sullivan
versatility,
Graduate
Architecture
completing
tasks
modelling materials such as scale timber, For the Bull O’Sullivan practice, model-
card and paper. I then photograph the
making is an essential part of the design
models before they are presented to the
process. Through the crafting of models,
clients.
the designers are able to communicate their ideas to the clients and see certain
The work displayed includes scale models
physical attributes such as sun shading.
of different typologies from residential dwellings to religious spaces to commercial and public facilities.
37
C H ATA M I S L A N D S C H A P E L scale 1:100 / dried plant / scale lumber
38
39
R E T R E AT T Y P O L O G I E S scale 1:100 / paper / scale lumber / rimu timber / stone Two bedroom unit (above) Sauna and spa (left, above) Cafe facilities (left, below / next)
40
A NA LO G P H OTO G R A P H Y A N D FAS H I O N D E S I G N
B E Y O N D A RC H I T E C T U R E Travel Photography and Fashion Design Elective
2019-2022 // Personal // Individual
My creative interests have always gone
site with film helps me to gain a deeper
beyond the realm of architecture. Abstract
understanding
art and photography are key elements in
atmospheric qualities. It allows me to
my process for both generating ideas
record elements that could later serve as
and representing them. Fashion too has
inspiration, directly and subconsciously.
of
the
site
and
its
always been an interest of mine. In a similar way, the slow process of Shooting with film photography induces a
photography also helps me to document
kind of meditative state. The slow nature
the
of analog photography forces one to filter
from travelling. The photographs are a
out the unnecessary and focus only on
record of the subjects and places that
capturing the essence of what is in front
I have encountered abroad. Film has an
of the lens.
incredible way of capturing light. Unedited,
plethora
of
inspiration
gained
each series tries to highlight the unique Essential to the start of my architectural
quality of light that contributed to the
projects is an on-site visit with my Pentax
atmosphere of these places at the time
Asahi
of shooting.
Spotmatic
II.
Photographing
a
41
Fashion Design Elective // 2019
How can architectural principles translate into
In the words of Tadao Ando: “architecture is the reconciliation or
the world of fashion?
synthesis of opposing concepts.” This dress named “DUALITY” looks at opposing concepts such as light and heavy, compression and tension, tight and loose. The neckline of the cropped bodice supports the metal wire structure under the skirt. Together, they support the rough cut heavy linen fabric of the skirt that contrasts the tight fitting upper, ultimately forming a design that synthesizes opposing forces.
42
M O O D Y M A N H AT TA N 2020 / Asahi Pentax Spotmatic II, ISO 400
43
A W E A R A B L E A RC H I T EC T U R E :
TENSILE DRESS Wellington City, Wellington, New Zealand
2020 // Academic // Year Two, Semester Two Individual // Victoria University Fashion Design Elective
This project combines a passion for
The dress uses underlying structure (wire)
architecture and an interest in fashion
combined with tension (string) to support
design. The brief was to create a silhouette
the heavy over garment and create an
around the bodice and construct a dress
architectural, structural like silhouette on
from scratch for the female form.
the body.
The concept of the dress comes from dualities.
A
tight
fitting
upper
body
contrasts with a rough draping bottom.
44
C R I S P B LU E S O F 2022 / Asahi Pentax
45
T O H O K U, J A PA N Spotmatic II, ISO 400
46
SAN FRANCI 2019 / Asahi Pentax
47
ISCO GOLDS Spotmatic II, ISO 400
48
L O M B A R D S T R E E T, S A N F R A N C I S C O 2019 / Asahi Pentax Spotmatic II, ISO 400
49
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