Diptych 2021 | Final Year Exhibition Catalogue by Faculty of ECMS

DIPTYCH 2021 MASTER OF ARCHITECTURE + LANDSCAPE ARCHITECTURE + URBAN DESIGN THE UNIVERSITY OF ADELAIDE SCHOOL OF ARCHITECTURE & BUILT ENVIRONMENT

DIPTYCH

Catalogue design by Athanasios Lazarou The University of Adelaide, School of Architecture & Built Environment, [08] 8313 5836 www.architecture.adelaide.edu.au

Thank you to the sponsors of the 2021 Final Year exhibition PLATINUM SPONSORS

GOLD SPONSORS

SILVER SPONSORS

Editing by Urs Bette, Tanya Court and Athanasios Lazarou Printed by Newstyle Printing, Adelaide Cover project by Zihe Chen

The school expresses its gratitude to those who gave their time to advise, discuss and critique the work throughout the semester: ARCHITECTURE Grey Barry Tom Borgas Micah Cruz John Culton Johnnie Dady Michael de Favari Minh Trinh Duc Andrew Durham Matthew Edwards Kevin Farries Enzo Ferraro Nigel Fox Ben George Steve Grieve Kirsty Hewitt Jenna Holder Sivam Krish David Kroll Kate Maiden Philippe Mortier Stephen Muecke Vu Le Nguyen Jorge Otero Pailos Cameron Raynes Caitlin Roy Meherzad Shroff Scott Smith Olyvia Solomon Deborah Turnbull Henry Williams Mladen Zujic

LANDSCAPE ARCHITECTURE & URBAN DESIGN Roy Blight Glenn Christie Stephani Clutterbuck Simon Gallucci Cathryn Hamilton Nikki Hamilton Daniel Hidvegi Melissa Kretschmer Lisa Lumsden Gini Lee David Paton Felicity Sando Surong Sun Dajon Veldman Chun Wang Ben Willsmore Claire Windsor Kaihang Zhou Wenxuan Zhang

ARCHITECTURE 40

STUDIO URS BETTE - COHABITATION

Zihe Chen Yucheng Dai Bao Nguyen Elmira Ranjbar Edward Omondi Jieyu Feng Xiaojia Li Quoc-Hieu Vu

50 56 60 64 68 72 76

86 92 96

100

104

110

114 120 124 128 132 138

STUDIO KERSTIN BRUNEDER - ADELAIDE CITY CONCERT HALL Xuong Khai Tran An Thuy Minh Nguyen Darcy Richardson STUDIO JOHN BYLEVELD - IN DEFENCE OF FUTURE KILLINGS: A [RE]SEARCH FOR THE ENDS OF HERITAGE Austin Hardcastle STUDIO ANTHONY COUPE - THE TRUE COLOUR OF THE SEA Jiaxin Wang Jiyuan Liu Jiahao Zhu Conor McClure Mingming Liu Geoffrey Baddams

144

STUDIO ATHANASIOS LAZAROU - FLASH-BULB FUTURES: ON THE POSSIBILITY OF ARCHITECTURE IN CAPITALIST RUINS

150

Harrison Gale Hugh Adare Ju Zheng Samuel Foo

156 162

168

STUDIO MIRAI MORITA - INSECTS

172

Xinyu Chen Mykaela Dearinger Kevin Miller Renae Schulz Nibras Noor

178 184 190 194

200

STUDIO PETER SCRIVER - RE-IMAGINING REDUNDANT BUILDINGS AND SITES AS ARCHITECTURES FOR LEARNING

204

Margherita Buselli Yuqiang Li Braeden Townsend Aiqian Liang Connor Dyer Syuan-Cih Li Samir Baraket

208 212 216 220 224 228

232

STUDIO AMIT SRIVASTAVA - SPACE ARCHITECTURE LAB (SAL)

236

Leyang Zhang Hanzhi Liu Bo Cui Chongming Wang Lik Hang Chan Echo Chen Monika Stankiewicz

242 246 250 256 260 264

LANDSCAPE ARCHITECTURE & URBAN DESIGN 272

276 282 288 292 296

STUDIO FRAHN’S FARM - JO RUSSELL-CLARKE Nadia Jamal Mitchell Lobb Eleanor Hughes Rachel Stuppos Olyvia Solomon

302

STUDIO ROXBY - TANYA COURT

306

Chuan Ma Shenghao Qin Caitlin Roy Isabella Bails Yingjie Feng Spencer Caon

310 314 320 326 330

334

338 342 346 350 354 358

STUDIO SOLAR NEXUS: EMERGING CHALLENGES FOR LANDSCAPE ARCHITECTURE AND PLANNING - SCOTT HAWKEN Zhuocheng Gu Ziyan Qi Yujia Cao Sharma Twinkle Wu Cong Yuecan Li

CLASS OF 2021 364 369

Architecture Landscape Architecture & Urban Design

FOREWORD - PROF. ALAN PETERS DEAN AND HEAD OF SCHOOL SCHOOL OF ARCHITECTURE & BUILT ENVIRONMENT, UNIVERSITY OF ADELAIDE

Welcome to the School of Architecture and Built Environment’s (SABE’s) 2021 Final Year Exhibition catalog. This is the fourth catalog in the “Yellow Book” series, a series that documents, through students projects, the design teaching and design philosophy of the school, and the way both of these have evolved over the past while. The work covers the best of the final semester design projects of students in the Master of Architecture, the Master of Landscape Architecture and the Master of Planning (Urban Design). These are capstone projects where students are asked to respond to an issue by imagining and developing an architectural or landscape intervention that might provide a highly innovative resolution. It is important to point out that this studio’s work, and thus this catalog, has a strong “designerly” focus rather than other topics that are also the subject of the school’s wider teaching and research foci. This primarily reflects the school’s professional outlook as graduating 7

students seek to enter their field of practice. Dr Urs Bette coordinates the studio on the architecture side, and Dr Tanya Court on the landscape and urban design side. Within this structure, students then elect to work with specific tutors and projects (Dr Urs Bette, A/Prof Peter Scriber, Dr Amit Srivastava, Athanasios Lazarou, Anthony Coupe, Kerstin Bruneder John Byleveld, Mirai Morita, Dr Tanya Court, Dr Jo Russell-Clarke, Dr Scott Hawken). As has been the case for the past few years, the work is very good indeed and reflects well on the students and on Dr Bette, Dr Court and the studio tutors. I congratulate them all. An innovation this year has been to bring the design of the catalog into the teaching program, and here I would like to thank Athanasios Lazarou who designed and edited the results you see here. I would also like to thank our sponsors who have made this year’s exhibition possible. 2020 was peculiar and strange, but for both staff and students there was a certain adrenalin rush attached to coping with the Covid-19 realities that beset us, and all others like us. By November 2020 most of us expected that 2021 would be seminormal – the delta variant was nowhere in 8

sight. Of course all that changed in a way that made 2021 a year like no other. Dual- and mixed-mode teaching became the norm, even though Adelaide was mostly a Covidfree bubble. The result has many positives, particularly the ability to engage with students across the globe. But it did mean that the very intimate studio culture that SABE has prided itself on for many years has been difficult to achieve. Most of us have spent more of our time working from home, even when it was not strictly necessary. Many, though not all, friends in the profession have told me that something similar has happened to their practices (particularly those working in Sydney and Melbourne). Heads of architecture schools across Australia report much the same at our various - on-line - meetings. I doubt this is the “new normal” but it is almost certainly an important waypoint on the way to a “new normal.” Congratulations to the students and studio tutors on excellent work!

DIPTYCH

STUDIO URS BETTE - COHABITATION

STUDIO KERSTIN BRUNEDER - ADELAIDE CITY CONCERT HALL

STUDIO JOHN BYLEVELD - IN DEFENSE OF FUTURE KILLINGS: A [RE]SEARCH FOR ENDS OF HERITAGE

STUDIO ANTHONY COUPE - THE TRUE COLOUR OF THE SEA

STUDIO ATHANASIOS LAZAROU - FLASH-BULB FUTURES: ON THE POSSIBILITY OF ARCHITECTURE IN CAPITALIST RUINS

STUDIO MIRAI MORITA - INSECTS

STUDIO PETER SCRIVER - RE-IMAGINING REDUNDANT BUILDINGS AND SITES AS ARCHITECTURES FOR LEARNING

STUDIO AMIT SRIVASTAVA - SPACE ARCHITECTURE LAB (SAL)

ARCHITECTURE MASTERS OF ARCHITECTURE Final Project is a self-led design studio, in which students are asked to develop an architectural proposition in response to a specific site, program or research question. The project develops along the students own lines of interest and inquiry. Accordingly they are given the opportunity to choose a studio leader from a pool of available staff members and their respective fields of interest. The studio leader’s role is to coach and assist the students in their design research. 39

STUDIO URS BETTE

“THERE ARE ANSWERS TO THE QUESTION THAT MAN HAS ALWAYS ASKED HIMSELF ABOUT ANIMALS. ARE THEY CLOSE TO US? VERY.”

COHABITATION STUDENTS 44 50 56 60 64 68 72 76

Zihe Chen Yucheng Dai Bao Nguyen Elmira Ranjbar Edward Omondi Jieyu Feng Xiaojia Li Quoc-Hieu Vu 41

Human/nonhuman comradeship in urban spaces Ninety percent of the mammals and seventy percent of the birds that currently live on this planet are farm animals, providing food for humans. Conversely, only ten percent of mammals and thirty percent of birds are wild. Probably 80 percent of wild mammals have disappeared from the earth since the beginning of civilization. These figures come from Richard Girling’s book ‘Man and the Beast’ that traces the human-animal relationship from the beginning until today. Even if you didn’t know anything about factory farming, methane emissions from cows, the extinction of species and rainforests that are turning into fields with fodder crops, the mere numbers indicate that something is out of balance in the relationship between this one species called humans and the rest. There are answers to the question that man has always asked himself about animals. Are they close to us? Very. Now that climate change and the extinction of species are acute threats, this knowledge has other implications than in the past. For the sake of survival, people today must admit that they have remain on par with animals,

depending on an intact environment. As architects we are used to focusing on human needs, designing building that revolve around our primary clients, that’s fair. However, our anthropocentric attitude has shot us in the foot. The recent experience of zoonosis, the transmission of SARS-CoV-2 from animals to humans, points that way. It is the result of the destruction and overlap of previously separated habitats. Looking at demographics this process is unlikely to stop, so the question is how we as architects and designers can respond. The first step is to think about buildings as an agent that is enchained in relational networks. Every building, besides its human occupancy, has an impact on other forms of life. If each design would consider at least one non-human client we would already be going a long way. The coupling of a human and a nonhuman client may only be a small step, but it raises the awareness that we cannot exist without being part of reciprocal partnerships. Architects have a unique skill set that combines cultural awareness with technical understanding and the ability to project and visualise alternative realities.

“AS ARCHITECTS WE ARE USED TO FOCUSING ON HUMAN NEEDS, DESIGNING BUILDING THAT REVOLVE AROUND OUR PRIMARY CLIENTS, THAT’S FAIR. HOWEVER, OUR ANTHROPOCENTRIC ATTITUDE HAS SHOT US IN THE FOOT.”

The students were asked to respond to the theme of cohabitation by selecting an issue or species, whose coexistence with humans inspired them. In the next step they defined the context that their human and non-human clients share, and from there they developed an architectural proposal that facilitates their coexistence. The aim is to acknowledge the reciprocal relationship that exists between all beings and that buildings are a living part of this network. Each student tackled this task in a different way. They examined migration routes of species, areas of conflict, friendship, economic and political dependencies, and often investigated process-based modes of form generation for their potential to suggest different modes of living together. The aim is for students to develop a spatial mode of thinking, evaluate the ‘unprecedented’ and translate their investigations into meaningful proposals that can be shared with others. In Final Project we encourage students to take a risk by disassociating themselves from ingrained architectural stereotypes and assumed modes of best practice. We like students to be inventors of

space, responding to the multiplicity of human needs - including art and poetry - and draw up the world they want to live in. By deliberately distancing themselves from existing stereotypes and modes of best practice, designers claim back creative agency, can see anew and use an objects’ individual affordance to hypothesise about alternative forms of organisation, both spatial and social. By weaving a performative surplus into a coherent narrative and developing a feasible implementation process, students give evidence of their creative thinking and capacity to innovate. Our graduates are comfortable with the fact that the world constantly changes, that our environments are negotiable, and that creativity is a key producer of reality. I commend all students for their tenacity and persistence in this semester and wish them every possible success in their unfolding careers! DR URS BETTE Course Coordinator and Studio Leader

3D printed structure axo

Site Plan

OPEN-PIT MINE REHABILITATION

Structure Explanati

waste calc-silicate rock

3D printing site

earthwork construction site (cut)

waste calc-silicate rock

3D-PRINTING AS REMEDIATION

Structure Explanation

Structure Explanation Site Plan

ZIHE CHEN CONCEPT

Structure Explanation

Open-pit mining is the most common method used to extract commodities from the earth. Mining operations are expansive, complex, and temporary. Once the production stopped, only a handful of mines are rehabilitated, while the majority remain as wasteland. Australia is home to an estimated 60,000 abandoned mines. Environmental issues caused by abandoned open pit mines include the loss of habitats for both animals and plants, air pollution and the contamination of soil and groundwater through acid mine drainage, not to speak of the direct death of animals during and after construction, as thousands fall into and perish in pits every year. ‘To Be Filled’ proposes a technical and organization framework for the rehabilitation open-pit mines, aiming to re-establish a diverse ecosystem by gradually 3D printing specific habitats for human and nonhuman beings. Considering the scale of the site and the complexity of the structure, the potential for aggregation and variation of the form has been enhanced by computational design and encoding design decisions. A 3D printer operates within the guidelines of a script that is inspired by the Mandelbrot set, enabling the inclusion of diversity and iterations. The script draws information from 3D GIS data (Geographic Information System Mapping) collected on site, determining its growth in combination with speciesspecific datasets, directing it towards the user’s (human and non-human) most suitable living conditions. The process is iteratively repeated, resulting in various levels of formal expressions and complexity. As an underlying premise, the project envisions mining companies to be liable for the rehabilitation of their mines with 5% of their taxable income. The implementation is carried out by Nomads, including 3D printer technicians, construction workers, biological scientists, managers and farmers. They travel from place to place, establishing communities, and in future iterations may even travel from planet to planet. The project is an opportunity to envision alternative scenarios, imagine new worlds that could be built on earth or in space.

MASTER OF ARCHITECTURE

TO BE FILLED

fill

Structure Explanation

Site Plan

fill

Structure Explanation

waste calc-silicate rock

1st layer printed following the grid as shown in the diagram

3D printing site waste calc-silicate rock

earthwork construction site (cut)

1st layer printed following the grid as shown in the diagram

3D printing site

vertical connect

2nd layer

earthwork construction site (cut)

waste calc-silicate rock

relatively low density of printed module groups allows the most of the sun for warmth and natural light

2nd layer

waste calc-silicate rock

relatively low density of printed module groups allows the most of the sun for warmth and natural light

waste calc-silicate rock

3rd layer

3 cores installed in each vertical section

LAYERING & SCRIPTING ECOLOGIES & HABITATS

fill

Site Plan

3 cores installe vertical section

3rd layer

waste calc-silicate rock

Structure Explanation

vertical sections connected with bridges

Structure Explanation

Grund Floor Plan 1:1000@A0

A waste calc-silicate rock

1st layer printed following the grid as shown in the diagram 3D printing site

earthwork construction site (cut)

vertical sections connected with bridges

2nd layer

waste calc-silicate rock

relatively low density of printed module groups allows the most of the sun for warmth and natural light

waste calc-silicate rock

3rd layer

3 cores installed in each vertical section

“A TECHNICAL AND ORGANIZATION FRAMEWORK FOR THE REHABILITATION OF OPEN-PIT MINES, AIMING TO RE-ESTABLISH A DIVERSE ECOSYSTEM BY GRADUALLY 3D PRINTING SPECIFIC HABITATS FOR HUMAN AND NON-HUMAN BEINGS.”

SITE SECTION - LAYER 1 PRINTED

SITE SECTION - LAYER 2 PRINTED

SITE SECTION - LAYER 3 PRINTED

The current new ‘ecological age’ features a strong environmental zeitgeist in the inevitable collision between urban and nature. Establishing new patterns of interconnectivity across different living agencies has become a new manifesto to deconstruct the hierarchy between human and nonhuman realms, reintroducing a mode of reciprocal cohabitation. Due to the unparalleled biomedical virtues, the blue blood of the Atlantic horseshoe crab has become an indispensable raw product for biomedical processes. It holds unparalleled value for the pharmaceutical manufacturing industry, and subsequently horseshoe crabs have been drained on a massive scale. And although the macabre activity has caused a significant decrease in the numbers of these ancient creatures over the past 40 years, severely inflicting coastal ecosystem, modern society keeps it running to avoid the collapse of essential medical services. The project attempts to ‘making kin’ and achieve human-animal reciprocity by acknowledging and re-formatting the exploitation of horseshoe crabs within Stone & feather the context Delaware Bay, New Jersey, USA. NEXUS is Horseshoe crabs and of migratory shorebirds about altering a ‘necessary evil’, the blue-blood industry, Atlantic horseshoe crabs are also the key players to in thecultivate coastal ecosystem along patterns of intimacy between species, new the Atlantic coast of the United States. Delaware Bay, is not only the world’s establishing a horseshoe crab research and educational largest horseshoe crab population but also is the largest staging area with for shorebirds institute, the aim of turning anthropocentric apathy into P in the Atlantic Flyway, with an estimated Legends 425,000symbiotic to 1,000,000 migratory shorebirds empathy. The form was derived from a sequence MA = Mingan Archipelago, Quebec converging on the Delaware Bay to feed DB = Delaware Bay, U. S. and rebuild reserves prior to ‘choreographies’ of energy interrelated ofBrazilthe horseshoe crab M = Maranhão, completing their northward migration. P = Pacific Ocean A = Atlantic Ocean spawning behaviours, capturing the spatial quality of their B95’s stopover sites important stopover sites non-hierarchical stacking, toOther shape architectural volumes B95’s migratory routes and spatial assemblages. Atlantic horseshoe crab(chosen) Migration fail stage what commonly NEXUS brings to Migration-main the front Migration – main spring happens behind the scenes. It invites the public into the B95’s Flight Legs 1 Rio Grande, Tierra del Fuego, Argentina, extraction process, enabling participants to accompany a to San Antonio Bay, Argentina: 900 miles San Antonio Bay, Argentina, 2 selected horseshoe crab throughout the process, from the to Lagoa do Peixe, Brazi: 1000miles Lagoa do Peixe, Brazil, 3 first encounter to the farewell return tomiles sea. The building to Delaware Bay, U. 5000 S.: 4 Delaware Bay, U. S.: to rufaa redsequence knot breeding grounds: 2000 facilitates the journey through ofmilesspatial 5 Rufa red knot breeding grounds to Mingan Archipelago, Quebec: 1500mile experiences, aiming to transcend exploitation and utilitarian 6 Mingan Archipelago, Quebec, to Maranhão, Brazil: 3700 miles Maranhão, Brazil,common, a hybrid space thinking towards creating7 a shared to Rio Grande, Tierra del Fuego, Argentina: 3700 miles for both them and us.

YUCHENG DAI

MASTER OF ARCHITECTURE

NEXUS

Limulus polyphemus

The life cycle

Spawning occurs between April and September (peak spawning period is between May andJune)

The female lays about 20000 eggs in the damp sand.

After6 weeks inside the egg, the Young horseshoe crabs forage After about 10years on the larvae hatch. on the mudflats and grow biggermudflats fully-grown horseshoe with each moult. crabs move to deeper water.

Primary foodsupply for the migratory shorebirds during their 2 to 3 week stopover.

GENESIS HORSESHOE CRAB ECOLOGIES

SPAWNING

EGG LAYING 135°W

LARVAE HATCH 120°W

MUDFLAP FORAGING 105°W

MOVE TO DEEPER WATER 90°W

MEDICAL CONNECTION - MILKING HORSESHOE CRAB ‘BLUE’ BLOOD

CONCEPT

Inclusive “milking” process

Annual Harvesting

600,000 /year*

“Milking” Percentage

30 %

Blue Blood Price

$60,000 /gallon*

Limulus Amebocyte Lysate

LAL

Create an unparalleled biomedical technology

FORMAL DEVELOPMENT

“THE PROJECT ATTEMPTS TO ‘MAKING KIN’ AND Section A ACHIEVE HUMAN-ANIMAL RECIPROCITY BY ACKNOWLEDGING AND RE-FORMATTING THE EXPLOITATION OF HORSESHOE CRABS.”

BAO NGYUEN

An urban experiment that draws inspiration from mycelium networks and Donna Haraway’s ideas on humans and non-humans forming a ‘family of vitality’. Its existence is linked to climatic changes, the reorganisation of ownership and the distribution of wealth, based on the idea that every form of life is equally precious. Central Sydney was selected as environment. Its ever upwards spiralling property prizes and residential towers presenting an equally hostile environment for humans and native wildlife. The structure aims to dissolve physical and social boundary, providing liveable space whose diversity appeals to many forms of life. Starting with the simple sketch of a family tree, the structure developed into three dimensional imaginations and knotted geometries. Its growth is artificial and synthetic, mimicking rhizomatic interconnecting networks, clinging on and drawing sustenance from hosts, with which they grow into reciprocal symbiosis. It is a habitable organism, developed by means of adaptive, transitory scenarios, written by growth scripts and algorithms that remain open to human and non-human input. Its primary function is to serve as a dwelling place, a refuge. All inhabitants, human and non-human, are ipso facto owners of the structure. Its public sphere is everywhere and belongs to the many. It is the result of political and territorial self-determination, operating with two main goals, variability and viability. Its growth cannot be controlled by political powers but is negotiated by users, based on shared experiences. The construction engine is a constituent part of the structure itself. It secretes the landscape where it is located and through which it moves. A contour crafting, computer driven machine, a mega-scale 3D printer that follows the desires of its users.

MASTER OF ARCHITECTURE

CITY OF KOALA

GENESIS MYCELIUM BRANCHING TO 3-D PRINTING

1. SITE

2. SETUP CORE & SCAFFOLDING

“A HABITABLE ORGANISM, DEVELOPED BY MEANS OF ADAPTIVE, TRANSITORY SCENARIOS, WRITTEN BY GROWTH SCRIPTS AND ALGORITHMS THAT REMAIN OPEN TO HUMAN AND NON-HUMAN INPUT.”

3. RAILING & COLUMNS

4. POINT-GRID FRAME

5. PRINTING ENVELOPE

6. HOUSING BLOCK ADDITIONS

BUILT OUTCOME BUILT OUTCOME

ELMIRA RANJBAR

Oysteya (Oyster-Ie: house of oyster) is an attempt to mend humans’ broken relationship with nature on a local scale. Coastlines, one of the most significant natural interfaces between humans and marine life, have gravely suffered from human activities. Coastal erosion is often associated with extreme weather events and currents threatening not only the land but also marine life. This issue can be tackled in many ways. However, the most sustainable approach must promise a long-term co-existence of all the inhabitants that rely on the coastline as habitat. In this proposal, restorative architecture is the medium through which a symbiosis between aquatic life and humans can be forged. The project establishes oyster reefs as natural breakwaters, protecting the coastline from erosion and improve water clarity as well as biodiversity. In addition to the environmental advantages of the project, it presents a great incentive for local communities to develop it as a cultural hub. A place where people not only learn about the importance of the shorelines and its aquatic life, but where communities can also enjoy the benefits of different programs. To achieve such mutualism, the artificial reef is located further into the water, allowing room for human activities closer to the shore. The platform caps a minimal structure on which introduced oysters will gradually create an artificial reef. Its structure is comprised of a floating limb that incorporates the oyster farm and three elements connected to the ocean bed. A jetty leads to a circular platform that services different water-based activities, an underwater restaurant and a market where freshly harvested oysters are sold support local tourism. Programs like this are introduced to vulnerable area to showcase a sustainable relationship between humans and the natural environment. They encourage respect for other inhabitants of the earth and act as educational precedents.

MASTER OF ARCHITECTURE

OYSTERYA

CONCEPT NATURAL SCENARIO

MAN MADE SCENARIO

FORMAL EXPLORATION

STRUCTURE

“RESTORATIVE ARCHITECTURE IS THE MEDIUM THROUGH WHICH A SYMBIOSIS BETWEEN AQUATIC LIFE AND HUMANS CAN BE FORGED.”

DETAIL - FLOATING PIER

EDWARD OMONDI

The future city of Konza aims to be a sustainable smart city that launches Kenya into a new era of prosperity, technology, and innovation. As part of this vision, the architecture reflects both the history of Kenya, as well as its values, qualities, and ambitions for the future. With the creation of new cities comes the risk of encroachment on animals’ habitats. Wildlife is a major part of Kenya’s economy, attracting large numbers of travellers annually. The architecture should reflect a careful consideration for the preservation of local wildlife. The “Kwa Umoja” project, a Swahili phrase which translates to “In Unison”, is designed to value humans and wildlife as being equally entitled to the land, reflecting a relationship of “kin”, where both are provided the opportunity to thrive. The project focuses on local baboons and aims to create spaces where baboons and humans cohabitate. The program is an Animal Research Centre, with a focus on primate research. The centre will serve the university and contribute to the innovation focus of Konza. It will be occupied by researchers and students alike, providing them with the most advanced technology to optimise research potential, including laboratories, a grand library, computer suites and workshop spaces. The facility will also include spaces of leisure, such as cafes and boutique stores. The architecture takes inspiration from Kenyan vernacular architecture as well as the natural habitat of the baboon. The centre will act as a suitable host for the local baboon population, who will be able to roam freely through the site, including the interiors, via an artificial voronoi tree. The tree aims to connect different spaces of Kwa Umoja and provide baboons with opportunities for movement, play and connection with humans. Kwa Umoja will also feature hydroponic planting rooms, where fruits and vegetables will be grown specifically for the baboons, who will be able to access them directly via the voronoi tree.

MASTER OF ARCHITECTURE

KWA UMOJA

SITE KENYA

MACHAKOS COUNTY

KONZA TECHNOPOLIS

“THE ARCHITECTURE TAKES INSPIRATION FROM KENYAN VERNACULAR ARCHITECTURE AS WELL AS THE NATURAL HABITAT OF THE BABOON.” 66

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H CL B LR

H RL

H CR LR

7 10 7

9 12

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R Reception L Library 6 H Hydroponics Rooms CL Computing Labs RL Research Labs LR Lecture Room CR Classroom O Office C Cafe B Boutique Store

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LEGEND

5 5

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Underground spaces also represented in above diagram despite not being illustrated.

10 10

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JIEYU FENG

Christmas Island is a tropical environment with a characteristic Red crab migration, usually taking place between November and December. During this time, a massive red crab army will cross the rainforest to reach the ocean beach. On their migration route they eat fallen leaves and fruits and contribute to the local rainforest environment by flipping the soil under the tree roots. Everything changed when Yellow crazy ants were brought onto the island. They quickly established super colonies that threatened the territory and existence of the red crabs, and subsequently the entire local eco-system. The ants’ main food source is the scale insect. Scientific research suggests an efficient way to curb the ant population, is to reduce its food source by increasing the numbers of parasitoid wasps that attack the scale insect. Rearing and nurturing the wasps over the course of one or two decades will establish a balanced ecosystem again. During the research, the problem of refugees raised to my attention. They are locked in a Detention Centre on the island and treated as criminals. They mainly come from New Zealand and Sri Lanka, and I discovered that both countries are famous for their honey and beekeeping culture. Subsequently I decided to bring beekeeping to the island. It aims to inform and support the breeding of wasps. Its secondary purpose is to serve as a therapy for the refugees, assisting their mental health by offering purposeful activities in a place of displacement. The building design is based on a rule come from hexagon. The whole model is built from outside to the inside; therefore its interior is full of chance CHRISTMAS ISLAND CENTRE encounters and spatial diversity that contrasts theDETENTION dull environment of the refugee habitation barracks. Three large chimneys act as the structural load bearing system. The top level is used as a wasp breeding greenhouse. After sorting out the adult wasps, they will be released to the outside through perforations in the large chimneys. The project aims to give the refugees a place to identify with and enable a working relationship with the local community and economy.

MASTER OF ARCHITECTURE

INTERMEZZO (BREEDING WASP + BEEKEEPER + ENVIRONMENTAL MANAGEMENT SCHOOL)

SITE

CHRISTMAS ISLAND DETENTION CENTRE

CHRISTMAS ISLAND

GROUND FLOOR A

44m 8m 8

20M 20m

FIRST FLOOR A

20m

“THREE LARGE CHIMNEYS ACT AS THE STRUCTURAL LOAD BEARING SYSTEM. THE TOP LEVEL IS USED AS A WASP BREEDING GREENHOUSE. AFTER SORTING OUT THE ADULT WASPS, THEY WILL BE RELEASED TO THE OUTSIDE THROUGH PERFORATIONS IN THE LARGE CHIMNEYS.”

20m

SECOND FLOOR

THIRD FLOOR A

DOWN UP

B UP

DOWN

20m

1 5

2 7

3 8

9 4

ber of marine species live by coral reef. Local economies e c ee e e ce and other marine creatures as a food source

Corals are m class Anthozo typically form tical individua the important cal oceans an form a hard s

XIAOJIA LI

Hong Kong is a mega city, where people live in high-density settings with little space to even bury their dead. The proposed crematorium and cemetery address this issue by creating an unconventional way to commemorate the departed. Their ashes are used to build an artificial reef at sea, providing a fertile ground for corals to inhabit and suggesting that the dead will gradually become corals. Coral reefs are expansive ecosystems, providing shelter and food for many different marine species. Corals are also an important aspect of the local culture. Its long history shows the use of corals in many different ways and the spiritual connection that people have with them. The building creates a journey for families and friends to remember and say farewell to the dead. After cremation their ashes are mixed and compressed with other materials to form a modular reef block. The reef block is laid out in the main hall, which, as part of the ceremony detaches from the building and floats out to sea. The float carries the deceased towards an underwater graveyard. Here, the relatives dive into the ocean and install the reef block in their selected position within a larger shelf.

MASTER OF ARCHITECTURE

DEPARTURE

GENESIS Program

CORAL

Basement Plan

Mountain terrain

PUBLIC PUBLIC PUBLIC PRIVATE

PRIVATE PRIVATE

Ferry Port

150m

Buddhist Temple

Public Fill Bank 10 0m

100

Camp site 50m

SITE TOPOGRAPHY

Topography of the

Designated Area No. 2 East of Tung Lung Chau

“THE BUILDING CREATES A JOURNEY FOR FAMILIES AND FRIENDS TO REMEMBER AND SAY FAREWELL TO THE DEAD. AFTER CREMATION THEIR ASHES ARE MIXED AND COMPRESSED WITH OTHER MATERIALS TO FORM A MODULAR REEF BLOCK.”

EXISTING ELEMENTS

CUTTING ELEMENTS

10 FORMULA: CUTTING ELEMENTS (A) ROTATE 900 (A) = (B) ROTATE 900 (B) = (C) ROTATE 900 (B) = (D)

BOOLEAN DIFFERENCE

(A) + (B) + (C) + (D) + N = RESULTS

X DIRECTION

+ +

OUTCOME

QUOC-HIEU VU

All organisms are linked in the global ecological system. Despite there being more animals than humans, an anthropocentric worldview has forced animals to adapt to human spatial ordering systems. Chimney Swifts are not disadvantageous to humans, instead they maintain a balanced ecosystem and consume insects that are harmful to humans. Originally nesting in dead trees, the chimney swift has lost vast areas of their original habitat, due to the deforestation in the wake of expanded farming, housing and the general ecological crisis. They adapted and found new homes in brick chimneys, yet humans have successively robbed them of this new habitat by using metal flue pipes. The aim of the project is to resolve the perceived conflict between humans and animals, projecting a shared infrastructure that allows for a variety of companion species to live together harmoniously in an imagined future society. An abandoned factory, Newry Mill, South Carolina, USA, serves as an example. It is adaptively developed, giving room to different species and serving as an active learning environment, where humans can experience ways to live together, and discover the hidden and great value that nature and its companions bring. The factory’s existing chimneys are multiplied, and additional wall cavities created to create a variety of new spaces to be occupied by humans, birds and insects. The birds’ faeces are collected and contribute to an algae farm, supporting the growth of Cyanobacteria, producing oxygen through photosynthesis. Surplus manure is used to fertilise garden plants. The whole building is a green machine where regeneration and discovery takes place. The architecture aims to become a bridge that reconnect different species. By creating and sharing wall space, inside and outside, the same object can serve different interests and effectively blur the boundary between human and non-human creatures.

MASTER OF ARCHITECTURE

LIVING WALLS: INTERSPECIES HOTEL

CONCEPT ADAPTIVE RELOCATION

HOLLOW TREE Hollow Tree

HOUSE W/CHIMNEY House with chimney Relocation process

FAKE Fake CHIMNEY chimney

+ MAIN BUILDING Main

with slabs

ATION

PRIMARY & SECONDARY TRUSSZoning diagramCOLUMNS & SLABS building Zoni Primary and secondary Primary truss and secondary truss Columns and slabs Columns and slabs

BOUTIQUE HOTEL (120 rooms)

RETREAT POOL

SERVIC

MASSAGE SAUNA

OUT-DOOR POOL

GYM

RESTAURANT

MANAGEMENT

CIRCU

“THE FACTORY’S EXISTING CHIMNEYS ARE MULTIPLIED, AND ADDITIONAL WALL CAVITIES CREATED TO CREATE A VARIETY OF NEW SPACES TO BE OCCUPIED BY HUMANS, BIRDS AND INSECTS.”

STUDIO KERSTIN BRUNEDER

“ADELAIDE IS THE FIRST, AND ONLY, DESIGNATED UNESCO CITY OF MUSIC IN AUSTRALIA ... YET, ADELAIDE HAS NO DESIGNATED CONCERT HALL TO DATE.”

ADELAIDE CITY CONCERT HALL STUDENTS 86 92 96

Xuong Khai Tran An Thuy Minh Nguyen Darcy Richardson 83

Adelaide is the first, and only, designated UNESCO City of Music in Australia. according to Adelaide City Council’s web page (https://www.cityofadelaide. com.au/about-adelaide/unescocity-of-music/) “The designation, bestowed on 15 December 2015, is an acknowledgment of the breadth, depth and vibrancy of the city’s music culture, its international reach, its history and its aspirations.” Yet, Adelaide has no designated Concert Hall to date. Students were tasked with designing a landmark concert hall at one of the four central business district city squares. The task included a detailed site analysis with the aim to create a responsive design that

reflected the site context and is sympathetic to its surroundings, local climate and the greater Adelaide urban locality. The students undertook research, gathering an understanding of the special and acoustic requirements of a concert hall. A lecture on acoustics further informed students about the key acoustic design elements, providing awareness about how the shape and materiality of a building influences the acoustic performance of spaces. This emphasis on functional design considerations of a building aimed to develop an understanding of designing within practical requirements and an awareness that design is not limited to its visual appearance.

“AN EMPHASIS ON FUNCTIONAL DESIGN CONSIDERATIONS OF A BUILDING AIMED TO DEVELOP AN UNDERSTANDING OF DESIGNING WITHIN PRACTICAL REQUIREMENTS AND AN AWARENESS THAT DESIGN IS NOT LIMITED TO ITS VISUAL APPEARANCE.”

The students were encouraged to reflect on the sociocultural impact of their design in the public realm. The location of the projects on current public squares was deliberately aimed at building an awareness of the responsibilities of an architect to extend considerations beyond a detailed functional design brief and make a contribution to the community. KERSTIN BRUNEDER Studio Leader

TOWER 3

“I would like to acknowledge the Kaurna people as the custodian owners of the lands and water in Adelaide, South Australia.” The project site is Whitmore Square situated between vibrant Chinatown and serene City South. It is also an important gathering site for local aboriginal people. Project Ipparrila was inspired by aboriginal culture met onsite and personal interaction with this aboriginal community. The proposed building design attempts to build a sociocultural bridge between the traditional owners of the land and modern society through contemporary architecture. Connect (to the land): The concert hall is submerged into the ground making a strong gesture to the connection with the land. Visitors enter the building away from symmetrical circulation, via a ceremonial plaza (yerta palti). In the centre, fire (kardla) is the heart of this public gathering space. The excavation of the soil required by lowering the building into the ground is proposed to be used to create the southern landscaped area of the proposal, which will remain as green space for the aboriginal community to gather. Gather: Gathering, story-telling and campfires have a strong reference in the aboriginal culture and are represented as a circle as a traditional symbol. The auditorium possesses a vineyard layout that audiences “camp” around the main stage whilst listening to the performance. Escape: A circular ramp around the auditorium leads to an open sky (ngayirda) performance space and provides a unique experience in the transition between being underground and above. The ramp provides a strong sense to the outdoor with visual connections to the sky and treetops via skylights through its randomly deconstructed roof shingle arrangement, a reference to the organic structure of nature. Belong: Project Ipparrila (gathering place) challenges conventional building materiality. Walls experiment with outback sand concrete natural coloured and aged. Eucalyptus charred timber is proposed as roof and wall cladding to the auditorium as its expanded grain also performs exceptionally acoustically. By moving the building into the ground the visual impact of the building mass is reduced and a sympathetic building scale is achieved, matching the predominantly low building heights of the site context forming a sense of belonging not only to the land but also to its urban context.

XUONG KHAI TRAN

MASTER OF ARCHITECTURE

PROJECT IPPARRILA (GATHERING PLACE)

CHAPTER I: KAURNA LAND

GENESIS

ABORIGINAL ART REPRESENTS THEIR RITUAL. THIS PAINTING ILLUSTRATES A GROUP OF PEOPLE GATHERING AROUND A CAMPSITE. THEY SURROUNDED BY THE BUSHLAND AND SCATTERED GNAMMA HOLES (WATER HOLES). RATHER THAN MOVING SYMMETRICALLY, INDIVIDUALS HAVE TO MOVE IN CIRCLE PATCH.

87 MUSIC IS THE LANGUAGE TO CONNECT MUSIC IS ABOUT STORYTELLING

“THE AUDITORIUM POSSESSES A VINEYARD LAYOUT THAT AUDIENCES “CAMP” AROUND THE MAIN STAGE WHILST LISTENING TO THE PERFORMANCE.”

EAST ELEVATION

WEST ELEVATION

0 SCA

S (SCALE 1:500)

FIREFLY FLASH PATTERN

AN THUY MINH NGUYEN

The project proposes a concert hall with 1000 seat capacity for Adelaide’s musical community. The site is Whitmore Square in the South-West of Adelaide CBD. The question I asked myself is: Could I design a building that adds a new quality to the site over and above its pure function? Can the building serve as a magnet for everyone that people come to the venue for many reasons? A building that is more about collaboration, rather than isolation?” Therefore, in the very first attempt to generate the form, two interlinking building volumes were established, with the eastern volume hosting the public areas and the western volume non-public areas such as rehearsal room and administration, creating an intimate public space forming a transition to the internal spaces by providing access to the internal public spaces and visibility to the non-public rehearsal space. This central courtyard became the most important space of the project. It functions as a huge outdoor lobby – a central space for the community offering a variety of activities at all times. A place to gather, a place to rest and observe practical performance in the rehearsal room and a place where people can experience the musical ambient and play with a wind harp, which is implemented in the façade design offering a natural calming sound experience. The courtyard is accessible from its north and south supporting the main pedestrian movements of the site. The overall project considered a wide number of sustainable aspects in its design. Placing the higher auditorium building volume to the west provides shading to the public courtyard, whilst the pedestrian access opening between the interlinking building shapes addresses the main site wind direction and allows for a naturally wellventilated plaza. A shallow pond surrounding the building will further enhance the micro-climate of the courtyard by cooling down the breeze during hot summer days. The façade design includes a double façade system, minimising the energy consumption of the building and includes photo luminescent panels, which glow at night powered by sunlight obtained during the day, providing a mesmerising shimmer effect during the night. In summary, the project opens a new perspective on the design of a concert hall, creating a semi-enclosed public space, maximising the connection between the user and the building and enhancing for the community sense of the square. It deeply takes into consideration it’s site context and includes a range of sustainable design initiatives.

MASTER OF ARCHITECTURE

HARLULUMINOUS

GENESIS

IDOR

water pond

EXTERNAL GLAZING ILLUMINATE - GLAZED BRICK

WIND CORRIDORSHADING WIND CORRIDOR WIND CORRIDOR

SHALLOW WATER PONDSolar index

Shallow water pond

SHADING Solar index INTERNAL GLAZING DOUBLE GLAZED

FACADE CORRIDOR FOR MAINTAINING

NATURAL CONVECTION VIA DEFINED OPENING

SHALLOW WATER POND EVAPORATIVE COOLING

WIND CORRIDOR Shallow water pond

SHADING SHADING SHADING

SOLAR INDEX

Solar index

DOUBLE FACADE SYSTEM

“THE FAÇADE DESIGN INCLUDES A DOUBLE FAÇADE SYSTEM, MINIMISING THE ENERGY CONSUMPTION OF THE BUILDING AND INCLUDES PHOTO LUMINESCENT PANELS, WHICH GLOW AT NIGHT POWERED BY SUNLIGHT OBTAINED DURING THE DAY,”

THE CLOUD

THE UNDERGROUND

PAINTSHOP

DARCY RICHARDSON

Adelaide was named city of music in 2015 by UNESCO; this title was an acknowledgment of the depth and vibrancy within the music culture. Currently most of this population and infrastructure are located in the NorthWest and North-East of the Adelaide CBD. I addressed this exclusion by selecting Whitmore Square in SouthWestern CBD as the site for my concert hall as this would diversify and populate music culture in a commercially underdeveloped quadrant of Adelaide. When analysing and researching Whitmore Square what stood out was not only the talent of creatives but the historical community of the visual arts. This was evident in the archived photographs and abundant street art hidden within the vicinity of the site. PaintWay continues and expands on this by celebrating Whitmore Square’s artistic history, rich in street art. The project devotes the ground plane to the public realm and retains the function of a public square. Four plinth-like supporting volumes emanate from the centre of the court; their exterior shells intended to simulate a large canvas for street art. The divisions between these supports establish well-ventilated laneways with rounded corners forming an infinite canvas inviting street artists from all over to leave their mark. The colourful, visually overwhelming appearance and ephemeral nature of these plinths is innately contrasted by the organic shape drifting above. This elevated form is dedicated to the intricacies of fine arts and music as referenced by its embodiment of a cloud. The cloud like volume is simplistic and pure in its materiality with a reflective white metal external cladding and a monochromatic interior. Through the inclusion of skylight ribbons of glass at the top of the building, daylight emerges into the interior spaces supporting a strongly introverted spatial experience. Absorbent materials bordering the lobby and various public areas will create a strong contrast to the vibrant external public space. This, together with the fluent organic forms that subtly break the light, will create an intimate and calming environment. The auditorium adapts the shoe-box design typology to achieve maximum acoustic performance in a thematic fashion relevant to the design intent. These adaptations are primarily seen in the seating arrangements moulding themselves into organic clusters, which can be arranged in different ways to address a multitude of specific performances.

MASTER OF ARCHITECTURE

PAINTWAY

CONCEPT

FORMAL DEVELOPMENT

OBSERVATIONS OBSERVATIONS 08 08

streetanda Various Various street art been painted in th been painted in the surrou whitmore square whitmore square seen on courtStrur an George George court and learlythe shows the pe learly shows pressen look to their displaa that lookthat to display environment. environment. If back we look back to t If we look to the histor we can Ruth we can see Ruthsee Tuck andT theaustralian south au from thefrom south in the squ teachingteaching in the square. his ination in om with inatiot his in om held in the festivals festivals held in the s uare assumption assumption towards toward a reati ne that eni would ne that would t froe institution on institution as a on as erta hall with providing a sa with providing a safe expre

LANEWAY AS ART CANVAS

BSERVATIONS OO BSERVATIONS OBSERVATIONS 08 08 08 street art and artmurals VariousVarious street Various art and murals have street and have murals have been painted the surrounding been painted inbeen the in surrounding area ofarea of area of painted in the surrounding whitmore square seen on seen Avoca whitmore square seen on Avoca street, whitmore square onstreet, Avoca street, court and Strurt GeorgeGeorge court George and Strurt street. This This court and street. Strurt street. This learly shows theshows pressen lo al eartists learly shows thelearly pressen e ofthe lo epressen alofartists of lo al artists thattolook to display their on theartbuilt that look display their to art on art thetheir built that look display on the built environment. environment. environment. If we lookto to the history ofhistory the square If we look back thelook history ofto the square Ifback we back the of the square we can see Ruth Tuck and Mervyn Smith we can see Ruth Smith weTuck can and see Mervyn Ruth Tuck and Mervyn Smith from thefrom souththe australian society arts of arts from the south australian society of artsofsociety south australian teaching in the square. teaching in the square. teaching in the square. om with the with annual his in his ominination withomthe annual artsthearts his ination in ination annual arts festivals theheld s an uare an easseen festivals held inheld the sinuare e seen a anas a festivals in the s uare e seen as a assumption towards atowards reative assumption towards a reative ommunity assumption a ommunity reative ommunity that would eni tsu from a large ne thatnewould enithat t from heni asu large ne would t hfrom su h a large institution as ert a on ert institution as a institution on hallas inahall om oninination ertom hallination in om ination with providing a safe expressive canvas. with providing awith safeproviding expressive a canvas. safe expressive canvas.

NEIGHBOURING STREET ART

the Sq Art InArt theInSquare

“FOUR PLINTH-LIKE SUPPORTING VOLUMES EMANATE FROM THE CENTRE OF THE COURT; THEIR EXTERIOR SHELLS INTENDED TO SIMULATE A LARGE CANVAS FOR STREET ART.” InSquare the In Square Art InArt the Art the Square

STUDIO JOHN BYLEVELD

“EXPERIMENTAL PRESERVATION APPROACHES INTERROGATE TRADITIONAL HERITAGE VALUES AND MAKES ONE RECONSIDER THE VALUE PROPOSITION IN THE LIGHT OF CONTEMPORARY ISSUES SUCH AS THE ENVIRONMENT, POLLUTION OR THE PANDEMIC.”

100

STUDENT

104

Austin Hardcastle

101

IN DEFENCE OF FUTURE KILLINGS: A [RE]SEARCH FOR THE ENDS OF HERITAGE

The studio explored experimental preservation methods, particularly the work of artist and architect Jorge Otero-Pailos, to create a new set of Heritage values derived from the Keswick Barracks. This new set of heritage values - or data - or meaning became the basis for a design proposition which enlisted a new cultural work for the site: State Heritage listed Building 32, the Headquarters or Administration Building located on the northern most part of the site. The 12.7 Ha site, developed from 1912 at the south-western edge of Adelaide Park Lands, is an item of major heritage significance. It is the only formally listed building on the

site having entered the State Heritage Register 27th September 1990. The Headquarters Building 32 is the only building on site that students had to engage with through their design propositions. The students were then asked to consider what constitutes ‘heritage’ values for them, in a contemporary Adelaide context, and then reflect that in their proposition for a new cultural work for the site. Experimental Preservation approaches interrogate traditional heritage values and makes one reconsider the value proposition in the light of contemporary issues such as the environment, pollution or the pandemic. Experimental Preservation

“EXPERIMENTAL PRESERVATION FURTHER SUGGESTS THAT THERE MAY BE HERITAGE VALUES IN OTHER LESS NOTEWORTHY ASPECTS OF THE BUILDING FABRIC AND NARRATIVES, THAT TRADITIONALLY WOULD NOT HAVE BEEN CONSIDERED VALUABLE BUT MAY RESONATE DEEPLY WITH CONTEMPORARY SOCIETY.”

102

further suggests that there may be heritage values in other less noteworthy aspects of the building fabric and narratives, that traditionally would not have been considered valuable but may resonate deeply with contemporary society. The design proposal invited students to develop a new cultural work; a public building that holds collective value - an architecture that houses and fosters shared meaning for a contemporary Adelaide context and offers a connection with the future generations. The Future Killings experiments in preservation, the design propositions for Keswick Barracks asked the students to make

comment on the critical and pressing issues of the day – and whatever the students felt particularly passionately about communicating to future generations… the Design of Future Heritage. JOHN BYLEVELD Studio Leader

103

104

AUSTIN HARDCASTE

Situated at the historic Keswick Military Barracks site, From the Shadows of Trauma explores the potential for a new architectural development to integrate with the state heritage listed Army Headquarters Building (Building 32). Adopting an experimental preservation approach, this project aims to explore new ways to preserve the rich history of the site, while also providing new meaning relevant to today and the future. The concept for this project was inspired by the history of the site, which developed rapidly due to the onset of World War I, just one year after Building 32 was complete. Most of the buildings constructed during this time were temporary constructions, and housed facilities for returning soldiers, leading to the question ‘what do returning soldiers need today?’. Sadly, Post Traumatic Stress Disorder (PTSD) is an issue that many returning veterans and their families are impacted by, with 5 - 20% of veterans experiencing PTSD in a given year, compared to just 1 - 5% of the general community. The issue of PTSD in military veterans inspired the idea to make Building 32 an education and support centre, dedicated to helping returning veterans and their families transition into civilian life. The form was generated by the shadows of Building 32 and lurks underground, impacting Building 32 in a similar way as a person suffering with PTSD would. From the outside, Building 32 looks fairly normal, as there’s no significant change or alteration to the original and historically preserved facades. However, while it’s hidden from the viewer here, the form looms below the surface, as it’s not until you journey underground and explore the sunken galleries and the exposed foundations below Building 32 that you can really understand or appreciate the stress and trauma that the structure is under.

MASTER OF ARCHITECTURE

FROM THE SHADOWS OF TRAUMA

SITE KESWICK BARRACKS

105

“THE FORM WAS GENERATED BY THE SHADOWS OF BUILDING 32 AND LURKS UNDERGROUND, IMPACTING BUILDING 32 IN A SIMILAR WAY AS A PERSON SUFFERING WITH PTSD WOULD.”

106

FORM GENERATION: SHADOW STUDIES

MARCH

JUNE

SEPTEMBER

DECEMBER

107

108

109

STUDIO ANTHONY COUPE

“CONCERNED WITH THE ROLE OF ARCHITECTS AND ARCHITECTURE IN/AS AGENCY AND ADVOCACY STUDENTS WERE RESPONSIBLE FOR SITE SELECTION, PROGRAMMING AND ENTERING INTO AN ‘ISSUE;’ FRAMED IN A WAY TO LIFT STUDENTS’ SOCIAL RESPONSIBILITY AND ENGAGEMENT IN THE WORLD AS A GOOD CITIZEN.”

110

THE TRUE COLOUR OF THE SEA STUDENTS 114 120 124 128 132 138

Jiaxin Wang Jiyuan Liu Jiahao Zhu Conor McClure Mingming Liu Geoffrey Baddams 111

“Sunsets in The Arafura Sea need a lot of indigo” - Robert Drewe, The True Colour of the Sea, Random House 2018, p.208 Within the framework of the final project studio course, this studio group condensed around a single theme – WATER. Students were asked to develop their own project that in some way addressed the theme. Concerned with the role of architects and architecture in/ as agency and advocacy students were responsible for site selection, programming and entering into an ‘issue;’ framed in a way to lift students’ social responsibility and engagement in the world as a good citizen. While the studio asked students to make decisions about site selection and programming (developing a brief) it also offered approaches to design based on fictional literature, encouraging a close-reading of the subject – be it the cultural – how it sits within

our cultural consciousness, or the physical attributes or properties of water as an architectural element. This might be it’s fluidity, reflectivity, sustainability, colour, or simple ‘otherness.’ LEARNING OUTCOMES On one hand, students were encouraged to think extremely broadly and provocatively and had the freedom to develop their own project on a very broad scale. On the other they had to participate in quite specific exercises relating to architecture and fictional literature through a series of workshops with author Dr Cameron Raynes. These took two forms with separate aims: the first – ‘flash fiction’ was a 500 word short story about the place and proposal which was aimed at shifting the point of view form author/architect to visitor/user experience. The second was the use of haiku based on different sources of literature and randomly combined to offer insights into how spaces

“WHILE THE STUDIO ASKED STUDENTS TO MAKE DECISIONS ABOUT SITE SELECTION AND PROGRAMMING (DEVELOPING A BRIEF) IT ALSO OFFERED APPROACHES TO DESIGN BASED ON FICTIONAL LITERATURE.”

112

or components might be looked at differently. In response to the relative ‘freedom,’ students cast a wide net, settling on issues related to seal level rise, First Nations water rights, cultural identity, burial, ocean pollution and remediation, immersive recreation, deep-time, and cultural maritime practices. Sites were similarly dispersed, with projects situated in the Faroe Islands, Maldives, Tasmania, Port Adelaide, China, Greenland, Brisbane, Adelaide Hills, Kanagroo Island, and the South Australia Riverland. As a self-directed research programme students developed a solid level of expertise around these subjects – both the issues and the proposed programming. They investigated a range of typologies and made informed decisions about the direction for their proposal. Where it was possible, students visited the site. Where there was no opportunity to do so, students forged connections to other experts, professionals,

researchers and community embers that provided the physical and cultural contexts such as topography, vegetation, dimensions, historical background, geological structure, access, emerging developmental contexts, geo-political framework, amongst others. ANTHONY COUPE Studio Leader

113

SAILING ROUTE

CEPT

FUNCTON CON T

DESIGN CONCEP e e e

e e ce c

c e ec

Infratructure

Completed

beautiful ems hidden in the c e environmental probl e e c e e e ee e ee e e ec r. d deep underwate e e c c e e e e ec c

Floating structure

site, and the re is built on the ing to the g: The infras tructu es of garbage accordenergy . In Separ ate buildin re collects and dispos they give each other floating structu When combined,the penguin habitat established route. contrast with addition, it is in sharp • • two mountains us mountain. The can be line of the previo that the building ing to the broken of the building, son, the building is formed generated accord In additio ing part is theoffacade d to the The building is and appearance. daylig the non-overlapp ht from being blocke terms overlap partly,ted with the environment inwhich prevent the can ain, better integra the trend of the mount according to . greatest extent

• •

e e

Channel e

c e

e e

e e e

ECTION

UCTURE | PLAN+S

FLOATING STR

Hotel (for tourists)

Marine garbage disposal

e ec e e e c e ce c ce ct the coast and the beach use a landscape corridor to conne oute, people can two Tasmanian Not far from the ains. mount the and is close to

Marine garbage disposal

Collect marine garbage

1:250@A0

GROUND FLOOR SITE PLAN

N Cape Queen Elizabeth

Track Route Tourist entrance

1:500@A0

Gallery

Staff entrance

Jetty

Leisure area & restauran

Exhibition & factory

Research centre

Hotel entrance

Hotel

114

Pure Water

Floating Structure

Penguin Habitat

JIAXIN WANG

“Perhaps the currents that drift down to bathe the resting places of the mackerel stir in the fish some dim perception of the progress of the ocean’s seasons - the old, unchanging cycle of the sea.” - ‘Under the Sea-Wind’, Rachel Carson This is the description of the marine life interacting with their living environment. The ocean current influences the mackerel just as the natural environment around us can impact our feelings and perception. Water is the carrier of life, but it is being threatened by human behaviour; a plastic bottle that people simply abandon will bring fatal harm to marine life. Located on the southern coast of Tasmania at the end of the eastern ocean current, this project is based around a ‘factory’ that aims to clean the seawater and recycle marine garbage. It is also an education facility that tries to raise awareness of the protection of the marine environment. Divided into two parts, fixed and floating, the facility provides a range of experiences. At its core, the project sits within the dichotomy of placing a ‘factory’ within an otherwise pristine natural environment. So the architecture has to negotiate this paradox to provide a successful outcome. Beginning to reveal the almost invisible nature of the problem, the entry zone allows visitors to experience the underwater world and the world of trash under the sea. The factory on the shore is used to assist the factory on the floating structure in the treatment of marine garbage, and is shown to visitors to understand the processes employed. Once through this, visitors will come to a building that integrates multiple functions of the library, restaurant, and viewing area. These reflective spaces remind people that in the beautiful environment they are now in, the seemingly problem-free world, the problem of marine debris is buried deep underwater. A companion floating structure, sails around the coast collecting marine garbage; ‘eating’ it; crushing it, and depositing it at the facility for research or disposal. Perhaps, this project can provide only limited outcomes. It cannot change the water problem of all oceans, nor can it save all marine life. However, the strong contrast between the site location and function of this project and the strong contrast of space are expected to awaken people’s awareness of water resources and marine biological issues.

MASTER OF ARCHITECTURE

OCEAN CENTRE

CONCEPT

115

* UP UP

MASSING

“BEGINNING TO REVEAL THE ALMOST INVISIBLE NATURE OF THE PROBLEM, THE ENTRY ZONE ALLOWS VISITORS TO EXPERIENCE THE UNDERWATER WORLD AND THE WORLD OF TRASH UNDER THE SEA.” 116

DETAIL: INTERFACE

DETAIL: REINFORCED CONCRETE

117

118

119

Social Issues

Cultural Issues

Physical Mode

- Aging of Population Elderly population（100 million）

Percentage 30%

25%

15%

10%

The population in China i s a g i n g r a p i d l y. T h e propor tion of people aged 60 years and above is expected to increase from 12% in 2010 to 33% by 2050, turning the population of the PRC into the oldest in the world. This trend results from the combined effect of increasing average life expectancy levels and falling fertility rates due to the impact of t h e o n e - c h i l d p o l i c y.

Aging Population

Traditional Funeral

- Land Resources 120,000 rmb 24,000 aud

¥107,500 (21,500 AUD)

100,000 rmb 20,000 aud 80,000 rmb 18,000 aud 60,000 rmb 12,000 aud 40,000 rmb 8,000 aud 20,000 rmb 4,000 aud

¥14,800 (2,960 AUD)

0 2002

2004

2006

2008

2010

2012

2014

2016

2018

The resources of the land are limited and in most of China's provinces, existing cemeteries will be used up within 10 years, while many cemeteries in large cities such as Beijing, Shanghai and Guangzhou are already in shor t supply. And cemeteries are becoming more and more expensive.

In ancient China, funeral activities were basically carried out within the religion. The ancients had an understanding of death, believing that people had souls and that the soul was alive after death and that it would affect the happiness of the living and the wealth of future generations. In China's thousands of years of tradition, it is not filial to bury one's ancestors well. In ancient times, people were ridiculed for trying tree burials and sea burials. Sea burials are a bit more difficult for families to accept than the traditional funeral, where the ashes are scattered into the sea and the deceased is "hard to find", leaving the living relatives with no place to send their thoughts.

2020

Beijing Cemetery Price Trend

Sea Burial

Funeral Method Land Burial

Coffin

Kept at Home

Funeral

Bury

Mourning

Cremation

Mortuary

Memorial Service

Cremation

Collect Ashes

Cemetery

Sea Burial

Mortuary

Cremation

Boarding

Memorial Service

Ashes Into the Sea

MORTUARY Mortuary

CREMATION Cremation

SEABurial BURIAL Tree

Section A-A

120

1:200

BOARDING Bury

MEMORIAL Plant Tree SERVICE

ASHESMourn INTO THE SEA

JIYUAN LIU

A person’s life is like a stone striking a ripple in the water. A stone hitting the water creates ripples just like we are born into this world. The size of the wave is like the vitality of human beings. The innermost circle of the wave is like childhood, gradually expanding to become a teenager, to the largest when it is middle age, then slowly decaying in old age, and after people die the wave completely disappears and becomes one with the water. In response to the studios’ theme of water, the design programme is built around a sea burial funeral home. China is facing the problems of an ageing population and shortage of land and investing in alternate sea burials can assist in effectively addressing these problems. While this offers a quite pragmatic response, the formal concept is built around the more poetic idea of ripples and their intersection. The project is located on Hailuo Island in Hebei province, China. Shaped like a placenta, the island with its sea-wall ring looks like a place that protects the living body. The end of a person’s life is also a new beginning. The funeral home is in the centre of the ring, forming an island, protected by a bridge. Just as a baby leaves its mother’s body, the deceased will leave the land through a burial at sea, using the ocean movement, ushering in a new beginning. The mist-covered bridge suggests a journey to another unknown world. The building includes an outdoor platform where the families of the deceased can scatter ashes into the sea. A glass roof with water allows people to experience the feeling of being underwater and experiencing ‘otherness.’ The inclined glass curtain wall gets more sunlight inside the building, and the combination of sunlight and water will give Ripple Experiment Ripple Experiment Experiment people aRipple feeling of rebirth. The architecture aims to evoke the highly emotive experience of the ideas and customs around life and death. When a person is alive, people pursue achievement, money, love, power and we are afraid that we will disappear and be forgotten. Therefore, we want to stand out by being different to feel special. But after death, all our special feelings have disappeared. Just like a drop of water is no different from another drop of water.

MASTER OF ARCHITECTURE

REBORN

GENESIS

The topic The topic proje proje fune The topic funer The proje The funer mis The The watermist in water in afraid th The mist afraid in th water afraid th

Haik Haik Haik

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FORMAL DEVELOPMENT

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“THE END OF A PERSON’S LIFE IS ALSO A NEW BEGINNING. THE FUNERAL HOME IS IN THE CENTRE OF THE RING, FORMING AN ISLAND, PROTECTED BY A BRIDGE. JUST AS A BABY LEAVES ITS MOTHER’S BODY, THE DECEASED WILL LEAVE THE LAND THROUGH A BURIAL AT SEA”

DETAIL: INTERFACE

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JIAHAO ZHU

Water is the carrier of memory, which can inherit culture and history. Ice is another form of water that can preserve objects and fix them at a specific moment in time and provides a physical record. The project sets out to explore the nature of water and memory through an architectural response. Greenland, the world’s largest island, located within the Arctic Circle offers a site with a receding glacier. Located in Nuuk, the capital of Greenland, the project incorporates a range of cultural programmes that respond to the idea of cultural memory on the site that used to be a glacier, metaphorically opening up the embedded narrative. It incorporates a library, a small concert hall/performance space and a market area. In Inuit culture, people have a special belief in totems, and they believe that totems will bring them hope. In response, the project incorporates a lighthouse, and the light of the lighthouse was used as a representation of faith and hope in the face of climate change and the dissolving of stories. Regarding the process of melting glaciers is used for as a reference the architectural design; from ‘completeness’ to melting, to collapse. Located at the focal point of the main part of the proposal is the lighthouse. When people stand within the main parts of the building and look at the lighthouse, the field of view and the perception of light changes, becoming narrower, which indicates when the glaciers melt, hope and faith will disappear. The project reflects the idea of melting and collapse through its materiality. Using the robust nature of concrete as a core, this is contrasted with more ephemeral materials such as timber evident in the market areas.

MASTER OF ARCHITECTURE

DYING GLACIER (WATER & MEMORY)

GENESIS LIGHTHOUSE

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THEATRE

EXHIBITION

MARKET

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CONOR McCLURE

Between July and September, the true colour of the sea in the Faroe Islands is stained red. The continual practice of whaling produces not only a contrast between the idyllic landscape and the extreme cultural practice, but a conversation regarding the moral quandaries of whaling and the preservation of culture. Outsiders perceive whaling as an outdated practice and call for a conclusion, while locals constitute whaling as an important aspect of their identity. As a small, relatively isolated population, outmigration, dependency on the maritime industry, and international boycotts as a result of negative connotations have beset the archipelago and placed the future in jeopardy. There are several distinctive idiosyncrasies on the archipelago, most notably being the landscape, maritime culture and tunnel infrastructure. The beauty of the landscape is further heightened by the Islanders’ devotion to minimal intervention, with roadways and tunnel systems respecting the natural mountainous terrain. Large islands are connected through underwater tunnel systems and a reliance on the maritime industry for both sustenance and economic requirements. In order to reshape the negative connotations within a controlled and respectful environment, the proposed intervention is a Maritime Education Centre to export the skills and knowledge of the archipelago. Klaksvik was selected to house the Centre as it contains the main fishing port to the archipelago, as well as several tunnel systems and two whaling sites. The design itself was developed with respect to the natural landscape and inspired by the archipelago’s extensive tunnel network. The Maritime Education Centre is embedded into the Klaksvik hillside within a cavity, with a series of tunnels providing circulation to and from the Centre. The Centre allows Islanders to share and channel their extensive maritime experience to the younger generations whilst altering the negative connotations that surround the idiosyncratic elements of their culture.

MASTER OF ARCHITECTURE

GENERATIONAL EXCHANGE

GENESIS

BRUTAL CONFRONTING CRUEL

28.

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SITE CIRCULATION AXONOMETRIC WATERWAY PEDESTRIAN TUNNEL ROADWAY TUNNEL FIRE SAFETY

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Sense of Place | Faroe Islands

lace | Connection via Tunnels

Sense of Place | Whaling Sites THE FAROE ISLANDS

TUNNELS

WHALING SITES

Miðvágur

Vestmanna

Hvannasund

Tórshavn

Hvalvík

Hvalba

Funningsfjørður

Trongisvágur

Klaksvík

10.

Vágur

TOWNS & ROAD NETWORKS

“THERE ARE SEVERAL DISTINCTIVE IDIOSYNCRASIES ON THE ARCHIPELAGO, MOST NOTABLY BEING THE LANDSCAPE, MARITIME CULTURE AND TUNNEL INFRASTRUCTURE.”

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Project

PROJECT

WIRECUT

TRIM SMALL VOLUMES 1

Wirecut through

Remove small volumes to generate form 1

TRIM SMALL VOLUMES 2

Remove small volumes to generate form 2

Mid Review | Final Project | MingMing Liu | 23

RATION

MIC FORM EXPLORATION

ternately gave a better control of the form. The xtruded circles created an interesting form that could eloped further.

Mid Review | Final Project | MingMing Liu | 30

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Mid Review | Final Project | MingMing Liu | 30

MINGMING LIU

MASTER OF ARCHITECTURE

REVELATION IN FLUORESCENCE

REVELATION IN FLU

Revelation in Fluorescence is a nuclear wastewater treatment station, established offshore near the MINGMING LIUof | A1705185 Fukushima Daiichi nuclear power plant. It consists two STUDIO: THE TURE COLOU OF SEA cores: one is a radioactive water treatment system that converts the main radioactive substances remaining BACKGROUND in 13th April 2021, the Japanese government formally decided to release nuclear wastewate radioactive water into electricity; the other is aOn fluorescent Daiichi nuclear power plant into the ocean, which is harmful to the marine environment. The Jap decision to discharge nuclear wastewater is alleged since the capacity of the storage tanks at t nuclear power plant for storingto nuclear wastewater is about to reach its maximum capacity. water tower that uses the radioactivity of titanium trioxide Increasing amounts of radioactive water have been stored in about 1,000 tanks at the Fukushim create fluorescence. 2011 when a massive earthquake and tsunami damaged three reactors and their cooling wat and began leaking. Pressure to decide the water’s fate has been built as storage space The project proposes to solidify thenated wastewater site runs out, with the plant’s operator, Tokyo Electric Power (Tepco), estimating all of the availa by the summer of 2022. 1.23m tonnes of water becomes contaminated when it mixes with water and then bury it under the sea, and use the fluorescence three damaged reactor cores from melting, which were being stored in 1,044 tanks, with the am increasing by 170 tonnes a day. effect generated by the process of nuclear wastewater To prevent radioactive contamination, TEPCO cooled the reactor core with water, which turned int For the past 10 years, TEPCO has been cooling the nuclear core with water, and the con degradation to alert the world’s concern aboutwater.nuclear been pumped out, run through a device called “Alps” (Advanced Liquid Processing System) and st This liquid pollution, thus this project name as “ Revelation inpurification system able to removes most of the highly radioactive materials and he wastewater, but this system does not remove tritium, a hydrogen radioisotope that is harmful to h Fluorescence”. Although this architectural intervention is Tritium is at the highest level in this contaminated wastewater, and it is not absorbed easily by sediments. In addition to tritium, which is difficult to remove, in 2018 scientists discove relatively small in relation to world disasters,bottom it isradioactive believed several isotopes in treated effluent, including carbon 14, cobalt 60 and strontium 90 longer to decay, and they are likely to enter marine sediments and be easily absorbed by m that every attention to a problematic event willtake be guide isotopes areapotentially toxic to to humans and can affect the marine environment in a more long-ter In addition to the potential for serious contamination of the marine environment by radioactive ocean currents, contaminants may also spread throughout the Pacific Ocean waters or a better outcome. In this design proposal, while the radioactive project ocean in response to ocean current. proposes to purify and reprocess nuclear wastewater, it is also expected to use the power of design to illuminate people’s concern about nuclear waste. As people near the bay look out over the sea from the shore, they can see as night falls, the dark sky illuminated by the fluorescent light, and its reflection on the sea. When the level of fluorescence is most intense, it means that the concentration of nuclear wastewater and the danger to human beings is increasing; consequently, when the danger of nuclear pollution is reduced and disappears, the fluorescence of the buildings will also disappear. This is the revelation of fluorescence under the nuclear contamination crisis. Buffer Tank

Salt (RO M

Condensate Storage Tank

Nuclear Contaminated Water

Con Wate (Kur

Reactor Building

Turbine Building

Iron Carbonate Coprecipitation Coprecipitation Treatment Treatment Facility Facility Filter

Adsorbent 3

HIC 5 for Adsorbent

HIC 6 for Adsorbent

Adsorbent 5

Adsorbent 6

Adsorben

Filter

Pretreatment Facility

Adsorbent 1 Adsorbent 4

HIC 1 for Sludge

HIC 2 for Sludge

HIC 1 for Adsorbent

HIC 2 for Adsorbent

Adsorbent 2 Adsorbent 4

HIC 3 for Adsorbent

Adsorbent 3

HIC 4 for Adsorbent

SITE ANALYSIS

After a tsunami hit the Fukushima Daiichi nuclear power plant, it caused three reactor cores to me anese government ordered the emergency evacuation of all residents within a 30-kilometer radi to radioactive material leaks. The accident was classified as a maximum level 7, and the Fukushim power plant was forced to accept the fate of permanent decommissioning. However, it will take a NUCLEAR WASTEWATER years to fully decommission the reactor.

GENESIS

20KM 30KM

50KM

100KM

8.0 uSv/h 4.0 uSv/h 2.0 uSv/h 1.0 uSv/h 0.5 uSv/h 0.25 uSv/h 0.125 uSv/h

150KM

200KM

250KM

DESIGN CONCEPT

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WATER TOWER

Deuterium

Helium

Tritium

Neutron

FILTRATION

ELECTROLYSIS

NUCLEAR FUSION

DEEP BURIAL

Energy

PLASMA

“WHILE THE PROJECT PROPOSES TO PURIFY AND REPROCESS NUCLEAR WASTEWATER, IT IS ALSO EXPECTED TO USE THE POWER OF DESIGN TO ILLUMINATE PEOPLE’S CONCERN ABOUT NUCLEAR WASTE.”

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Heavy Metal Liquid

Tritium Waste

Precipitation

Refinement

Deep Burialism

Decay of Tritium Atom

Radioactive Wastewater

PURIFICATION & POWER

Concentrate

FLUORESCENT Fluorescent Protein

Hydrochioride

HY = E2-E1

Refining Tritiated Wastewater

Emit β Rays Tripeptide Unit A

Ser-65

ELECTROLYSIS

Tyr-66

Gly-67

Stimulate Electrons to Higher Energy Levels Chromophore Impurity ion

Deutium Gas

Plasma Generator

Tritium Gas Precipitation

Deutium Plasma

Proton Loss

Tritium Plasma

Divertion in Vacuum

Negative Charge Conformation Tokamak Reactor

Heat Energy

POWER GENERATOR

Electron Transition to Lower Energy Levels

EMIT FLUORESCENCE

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GEOFFREY BADDAMS

For millions of years, a metamorphic rock deposit soaked in a saline solution, causing the rock to dolomitize. The salty seas receded, and for millions of years more, PERFORMANCE SPACE the landscape was carved away by the rainwater, carving channels and valleys into soil and stone. Finally, some intelligent apes settled in the area and in mere decades, STASIS CHAMBER carved away shelves of dolomite to use as roads and railway ballast, leaving exposed layers of deep-time. The scale and harshness of these quarries CAR PARKING evoke an sense of awe and put into perspective the fleeting timescale of a human life. Some accept their ephemeral PEDESTRIAN ACCESS/ nature, and enjoy their life moment to moment, content DROP to hear aVEHICLE story or playOFF about the vastness of the universe. Others, discontent at their mortality, choose to enter a stasis chamber,PERFORMANCE soaking in aSPACE saline solution to pause the aging ENTRYWAY (UNDERGROUND) process in the hope that science will one day extend their existence. The project enters this philosophical schism and provides facilities for each within the setting of an Adelaide quarry.

MASTER OF ARCHITECTURE

TEMPORAL DICHOTOMY PROJECT

CONCEPT MODEL

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“THE SCALE AND HARSHNESS OF THESE QUARRIES EVOKE AN SENSE OF AWE AND PUT INTO PERSPECTIVE THE FLEETING TIMESCALE OF A HUMAN LIFE.”

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STUDIO ATHANASIOS LAZAROU

“THE COMPLEX WAYS IN WHICH THE MATERIAL REALITIES OF ARCHITECTURE INTERSECT AND OVERLAP THE PRESENT WITH THE FUTURE (AND PAST) IS EVIDENT IN THE ROLE OF BUILDING ITSELF.”

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STUDENTS

150

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162

Harrison Gale Hugh Adare Ju Zheng Samuel Foo

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FLASH-BULB FUTURES: ON THE POSSIBILITY OF ARCHITECTURE IN CAPITALIST RUINS

“There are in French two words for ‘future’ which cannot be adequately rendered in English: futur and avenir. Futur stands for ‘future as the continuation of the present, as the full actualization of tendencies already in existence; while avenir points more towards a radical break, a discontinuity with the present—avenir is what is to come (avenir), not just what will be.” a i a ami Dangerously (London: Verso, 2012), 166 62 individuals hold more wealth than half the world. The six warmest years on record have all occurred since 2015. More people have died from gun violence in the United States than the cumulative total deaths of all wars since its founding (1,516,863 gun-related deaths against 1,396,733 war deaths.) In Australia there are 1,089,165 empty dwellings and 116,000 people who are homeless. So, what do you do when the world starts to fall apart? For Anna Lowenhaupt Tsing, author of The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins, the answer is to “go for a walk, and if I’m really lucky, I find mushrooms.” Finding mushrooms is an act of critical optimism: an act of looking for tomorrow. As part of the funghi family

mushrooms can rapidly cultivate from fruiting to spore overnight. Mushrooms have a habit of simply ‘appearing’ from one day to the next, and yet, the conditions of their appearance tomorrow are set in the conditions of today. They are always there but exist tomorrow. Consequently, finding mushrooms is neither radical break nor a continuation of the present: it is both avenir and futur. As Lowenhaupt Tsing writes, “Mushrooms pull me back into my senses, not just-like flowers-through their riotous colors and smells but because they pop up unexpectedly, reminding my of the good fortune of just happening to be there. Then I know that there are still pleasures amidst the terrors of indeterminacy.” The appearance of mushrooms proposes a question of change that challenges our understanding of tomorrow from the (uncertain) perspective of today. Foraging for mushrooms reveals processes of change happening two ways. The finding of the mushrooms occurs suddenly as a shock or interruption, rupture or cut, almost by surprise, whereas the conditions for the mushrooms to grow occurs incrementally in a series of gradual actions across a long period of time. Change therefore takes place in the art of noticing the conditions which

“THERE IS POSSIBILITY IN THE PRECARITY OF THE MATSUTAKE. THUS, THE MATSUTAKE IS A PECULIAR SPATIAL PRACTICE THAT REVEALS THE RELATIONSHIP BETWEEN ENVIRONMENTAL DESTRUCTION, SPECULATIVE CAPITAL ACCUMULATION, AND INSECURE LABOUR PRACTICES.”

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lead to their fruiting and in their foraging itself. The particular mushrooms referred to by Lowenhaupt Tsing are matsutake mushrooms. The matstutake are wild mushrooms that live in human-disturbed forests. They spring up where trees are felled. They have a rich aroma that is highly valued and, consequently, they are the most expensive mushroom on earth, selling for as much as $600 per pound. This price draws people away from low paying insecure jobs to become foragers. This spatial practice of foraging for mushrooms has drawn people previously employed at WalMart to the fields of Oregon to seek the matsutake, and to seek the possibility of tomorrow. So, the matsutake is a peculiar spatial practice that reveals the relationship between environmental destruction, speculative capital accumulation, and insecure labour practices. The spatial practice of matsutake mushroom foraging opens an expanded field of enquiry across broader social, economic and political contexts that question the future by privileging the present. FLASH-BULB MEMORY The studio was not interested in mushrooms. Rather, the studio was interested in the

relationship’s mushrooms reveal, and, in the broader ways spatial practices such as mushroom foraging can begin to articulate possible futures from the perspective of the present. Matsutake mushroom foraging is what Lowenhaupt Tsing labels a “capitalist edge effect”, or simply put, a marginal spatial practice operating on the periphery of our knowledge. The studio’s aim, therefore, was to develop a richer understanding of marginal spatial practices more generally (going beyond mushrooms), and in turn, to learn what architectural thinking can offer these practices in privileging the present (given the disciplines unique “contemporary self-awareness”; a label ascribed by Daniel Sherer). The complex ways in which the material realities of architecture intersect and overlap the present with the future (and past) is evident in the role of building itself. This is something Irenee Scalbert makes clear, “Building projects may, like nature, be developed and realised in real time, but the rules which guide their developments exists outside of real time. The entire conception of architecture is based upon events which, it is assumed, will take place”1. Buildings, like time, take shape in past and future, but are contained in the present.

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Importantly, the act of giving attention to things informs their significance. As Walter Benjamin writes, the act of noticing is key: “Anyone can observe that the duration for which we are exposed to impressions has no bearing on their fate in memory. Nothing prevents our keeping rooms in which we have spent twenty-four hours more or less clearly in our memory, and forgetting others in which we passed months.”2 Further to this, Benjamin’s illumination of flash-bulb photography makes a distinctive argument for privileging the present, again as Benjamin writes, “It is not, therefore, due to insufficient exposure-time if no image appears on the plate of remembrance. More frequent, perhaps, are the cases when the half-light of habit denies the plate the necessary light for years, until one day from an alien source it flashes as if from burning magnesium powder, and now a snapshot transfixes the room’s image on a plate.”3 How we notice things and give them attention renders their significance. Thus, in privileging marginal spatial practices we can enlarge the role they have in the present, consequently shaping the future. Benjamin’s flash-bulb formation of time draws a similar bow to William James’s description of attention, whereby “an object once attended will remain in the memory, whilst one inattentively allowed to

pass will leave no traces behind.”4 The importance of these fragments, or flashes of recognition, emerges from the temporal meeting of the present (the snapshot or the object attended). Time-past and timefuture is bound up in the present. The importance of the present is not necessarily a new idea. Rather, what matters is what significance the present holds. We can articulate this method in a similar manner to John Berger’s deceased mother in Here is Where we Meet, who, as she walks the streets of Lisboa, tells Berger “the dead don’t stay where they are buried”5. For Berger’s mother, time itself matters less than the place of time itself (“everything in life, John, is a question of drawing a line, and you have to decide for yourself where to draw it.”6). Given the uncertainty of the world we currently live in, acknowledging what to focus on is key. Returning to Zizek, “we should bring in the perspective of the future, taking them as limited, distorted (sometimes even perverted) fragments of a utopian future that lies dormant in the present as its hidden perspective.”7 This is a reading of time which holds lineage to St. Augustine’s conception of temporality: “the present of past things, the present of present things, and the present of future things.8 Our confession here, consequently, is that causality can be read as “temporally heterogeneous, not temporally uniform.”9 The studio’s central aim, therefore, was explicit: to make the significance of the present larger. Students were asked to privilege the present by pursuing marginal spatial

“THE IMPORTANCE OF THE PRESENT IS NOT NECESSARILY A NEW IDEA. RATHER, WHAT MATTERS IS WHAT SIGNIFICANCE THE PRESENT HOLDS,”

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practices. Once selected, students were tasked with learning the intricate details of their spatial practice: diagramming its wants and needs, considering what entanglements and spatial relationships enable it, articulating where it take places, and speculating how can the practice grow? From there the studio took a decisively ‘hands-on’ approach. Engaging with local artist Tom Borgas, students were tasked with creating a concept model which reflected these newly discovered spatial relationships. This model would serve as the final working-form of the ‘building’ and be developed across the semester. To assist this the semester saw a range of knowledge frameworks thrown at the group: Rumsfeld-Johari Windows, logical fallacies (post hoc, ergo propter hoc: after it, therefore, because of it), Escape from Trude (Calvino), narrative rupture (‘Through the Looking Glass’) Montage (‘La Jetee’), and Image (Herzog). As such, the presented work is as much a form of storytelling as it is architecture (or what I would happily label, ‘speculative nonfiction’). It was a small group, but a tight-knit team. Each project not only produced a narrative of how their spatial practice could grow in the future, but also represented the student’s own interests and values. Harrison Gale explored slow fashion in antagonism towards

fast fashion to produce a ‘Slow Fashion House’ (read, commune) in rural Japan. Equal parts architecture dwelling fashion house, it’s residents grow clothes from Algae. Hugh Adare investigated the right to repair movement from the perspective of farmers in rural Iowa, USA, in the backyard of John Deere. The project addresses the multiple ways in which architects design for weather, and may continue to do so as the climate continues to breakdown. Samuel Foo interrogated the heights of New York through the Peregrine falcon, rethinking the skinny skyscraper and the air rights above us to challenge the hierarchies of New York, the vertical metropolis. The studio challenged the students to look closely at the world around them. It invited them to make a determination on what they find value in, and, by what means can they represent said value and test it - both today and tomorrow. In giving attention to ‘today’ we can hopefully start to work towards tomorrow. In short, we shouldn’t’ simply learn about marginal spatial practices, we should learn from them. As Frederic Jameson once wrote, “Ontologies of the present demand archaeologies of the future, not forecasts of the past”10. So, let’s look for tomorrow, today.

1. Irenee Scalbert, A Real Living Contact with the Things Themselves (Zurich: Park Books, 2018), 79. 2. Walter Benjamin, One-Way Street and Other Writings, trans. Kingsley Shorter Edmubd Jephcott (Frankfurt: Suhrkamp Verlag, 1970), 342. 3. Ibid, 342-43. 4. William James, the Affects of Attention, 248. 5. John Berger, Here Is Where We Meet (London: Bloomsbury, 2005), 42. 6. Ibid, 42.

a i a ami a sy Verso, 2012), 128. 8. Robert P. Kennedy, “The Confessions as Eschatological Narrative,” in A Reader’s Companion to Augustine’s Confessions, ed. Robert Peter Kennedy Kim Paffenroth (United States of America: Westminster John Knox Press, 2003), 178. 9. Sewell Jr, Logics of History: Social Theory and Social Transformation, 101 10. Fredric Jameson, Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions (London: Verso, 2005), 215.

ATHANASIOS LAZAROU Studio Leader

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HARRISON GALE

The rate in which we consume information, resources, and culture is accelerating. This increase in speed is tied to its production. Just as the Industrial Revolution enlisted machines to manufacture goods and globalisation distributed them to new markets, the digital revolution allowed us to move information instantaneously. Where something is made is no longer where it is sold, and what is made now moves so fast it has seemingly become an image. This acceleration in speed is reflected in fashion by what is called ‘Fast-Fashion’. Designers traditionally created garments on a two-season a year basis; Autumn/Winter and Spring/Summer. In contrast, fast-fashion has 52 micro seasons a year and it is common to have multiple new releases of clothing per week. However, with speed comes a cost. As of 2015, 80 billion pieces of clothing are purchased each year, 85% of which ends in landfill. The Fast Fashion industry is responsible for 10% of total global carbon emissions. The garment industry is a low-capital, labour intensive practice, which sees developing nations exploited for their unethically cheap labour, lenient labour laws, and lax regulations. Cities are increasingly the place of fast fashion. A quick visit to the high-street of any global city reveals a familiar language of consumption. Importantly, there is a correlation between the speed of fashion and architecture. Coined by Rem Koolhaas in 2001, the term “junkspace” refers to architecture that is trendy, poorly built, and image driven. The speed of fashion and architecture works to present the desirable – the image seen – whilst actively concealing the harm that it causes – the image unseen. ‘Slow Fashion House’ proposes that architecture can facilitate slowness and production. To do so there must be a return to the local, there must be a return to slowness. We need to rethink and reimagine the medium in which fashion is made. ‘Slow Fashion House’ is about making, the making of architecture, fashion, and values. Located in the Ozeghara Marshlands of rural Japan, ‘Slow Fashion House’ is home to a group of designers who produce microalgae grown biogarmentry. ‘Slow Fashion House’ is a response to the issues posed by fast fashion. It emphasises the value of locally sourced material, and handmade (grown) clothing. There is a need for fashion and architecture to return to slowness. Therefore, the questions ‘Slow Fashion House’ asks is simple: how can we change the speed of fashion?

MASTER OF ARCHITECTURE

SLOW FASHION HOUSE

PROCESS SLOW MAKING

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“LOCATED IN THE OZEGHARA MARSHLANDS OF RURAL JAPAN, ‘SLOW FASHION HOUSE’ IS HOME TO A GROUP OF DESIGNERS WHO PRODUCE MICROALGAE GROWN BIOGARMENTRY.”

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CONSUMERS RESOURCES

SLOW FASHION HOUSE

LEVEL 5

LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

ROOF

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IOWA

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Barometric Pressure :

990 hPa

Humidity :

74%

Temperature :

16.8 C

Wind Gusts :

35 km/h

Rain since 9am :

1mm

Elevation :

8800m

Monday

17 Partly cloudy all day with light winds

HUGH ADARE

“After repeated attempts to contact your Services and Maintenance Department about the issues surrounding our right to repair, I now write to the shareholders of Deere & Company. A farmer’s tractor is their most important tool. For generations we have learned to become experts with this tool. This expertise has extended to repairing our tractors. We have been able to easily diagnose issues and then make judgments if we are able to fix it, or, if we require manufacturer assistance. Being able to fix our equipment ourselves not only saves us money, it also saves us precious time. Farming is increasingly reliant on short windows of opportunity to seed crops or harvest produce. Increasingly, the effects of climate change have been leading to greater instances of crop losses through extreme weather. Now we are no longer able to fix our tractors ourselves. Something as simple as low pressure on a hydraulic line is now reason to call the manufacturer to perform the repair. We need the right to repair our tractors.”

MASTER OF ARCHITECTURE

DEAR JOHN DEERE,

- Kind regards, Your customers It’s 2050 and human life is run by subscription. Big tech companies have monopolised all aspects of life from transport, entertainment, communication, education and repair. Repairs only happen to those covered by a subscription, an ever-growing cost but the only way to keep operations running. High-tech farming is the primary land use by area with greenhouses spreading far and wide across the landscape for fruit, vegetables and herbs. Farmers are now the pinnacle of software and engineering with over 30 years of hacking experience, they are the outlaws in the subscribed world. Repairing their own equipment and hacking new software is now a daily activity where they continue to advance technology to greater efficiency and precision. In a high-tech agricultural world, the biggest threat is climate change and extreme weather. Hailstorms and floods are the greatest cause of grain and corn crop loss in Iowa - a community of farmers aim to prevent weather damage. A weather farm that extracts the high levels of Co2 from the atmosphere seeds the sky to alleviate any chance of hail forming across the entire state. A farmer’s greatest wish is to be able to control the weather… and now they can.

CONCEPT FARMING THE WEATHER

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DATA RECEIVED

QUID

OLID

WEATHER INTERCEPTION

ANALYSIS LIQUID SOLID

FARMING

PREPARING LIQUID SOLID

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SEEDING

RAINING

PRESSURISED

AIR INTAKE

LIQUID CO2

DISTRIBUTED WITH COMPRESSED AIR

“A WEATHER FARM THAT EXTRACTS THE HIGH LEVELS OF CO2 FROM THE ATMOSPHERE SEEDS THE SKY TO ALLEVIATE ANY CHANCE OF HAIL FORMING ACROSS THE ENTIRE STATE.”

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JU ZHENG SAMUEL FOO

Arguably one of the most intense expressions of capitalism today, New York City embodies the coexistence of the radical inequality between the rich and poor. This inequality asserts itself in the verticality of the city: New York is tall. The rich occupy penthouses and offices overlooking the city, whilst the homeless survive in the cracks of the city’s urban and social fabric. The expanding wealth disparity creates a nucleus for highly exclusive, anthropomorphic ideals in architecture, that fail to consider its effects within the a broader ecological context. Recently, however, that ecology has changed. Some parts of New York have become taller than others. A recent architectural development in New York is the rise of the skinny skyscraper. The pencil-thin skyscrapers are occupying new heights in New York through a process of ‘air-rights’. As Oliver Wainwright writes, airrights are bought through “a zoning policy that allows a developer to acquire unused airspace nearby, add it to their own lot, and erect a vast structure without any kind of public review process taking place.” These towers are the “global surfeit of super-rich buyers” and have been described by Durbach Block Jaggers more as ‘sky scratcher’ than skyscraper. It seems the architecture’s dominion over the landscape was first scraped, and is now being scratched. Yet the sprawling concrete metropolis of contemporary New York City is a far cry from its undisturbed natural landscape centuries ago. A perverse antithesis to nature, the city paradoxically is now considered to have the largest population of urban peregrine falcons in the world. The peregrine falcon’s survival situation in New York is the manifestation of how the marginalised exist within an environment that they do not have full control over, yet somehow, manage to survive within it, by demonstrating an ability to adapt. It is estimated that between 100 million and 1 billion birds die from encounters with windows each year. This conflict has lead to New York to recently pass initiative 1482B, which requires 90 percent of the first 75 feet of new buildings to be constructed with materials that are easier for birds to identify as obstacles. So, as architecture starts to work with the birds, can we rethink architecture to work for the birds? Can the verticality of the city return to the birds? Can the skyscraper start a new ecological conversation and rethink the New York skyline?

MASTER OF ARCHITECTURE

AIR RIGHTS: FALCONS IN THE NEOLIBERAL CITY

CONCEPT ANTHROPOCENTRIC ANTHROPOCENTRIC

NATURE

FALCON-CENTRIC FALCON-CENTRIC

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1 : 100 000

0KM

2 km

2KM

4 km 4KM

ANTHROPOCENTRIC

NATURE

Empire State Building Empire State Building 20 W 34th St, NYC Empire State Building Empire State Building Height: 443m

SUPER THIN SUPER-THIN

SUPER THIN SUPER SUPER THIN THIN

20 W 34th St, NYC 20 Height: W 34th 443m St, NYC 20 W 34th St, NYC Height: 443m Height: 443m

Pencil Tower Hotel Pitt St, Sydney Pencil410 Tower Hotel Height:Hotel 100m Pencil Tower Pencil Tower Hotel Width to Height Ratio: 1:16

NARROW BASE NARROW-BASE

NARROW BASE NARROW NARROW BASE BASE

410 Pitt St, Sydney 410Height: Pitt St,100m Sydney 410 Pitt St, Sydney 100m Width Height: to Height Ratio: 1:16 Height: 100m Width to Height Ratio: 1:16 Width to Height Ratio: 1:16

601 Lexington Avenue 153 East 53rd St, NYC

Height: 279m 601 Lexington Avenue 601 Lexington Avenue 601153 Lexington Avenue East 53rd St, NYC

153 East 53rd St, NYC Height: 279m 153 East 53rd St, NYC Height: 279m Height: 279m

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Chrysler Building Chrysler Building

405 Lexington Ave, NYC Chrysler Building Chrysler Building Height:Ave, 319m 405 Lexington NYC 405 Lexington Ave, NYC Height: 319m 405 Lexington Ave, NYC Height: 319m Height: 319m

Steinway Tower 111 West 57th St, NYC Steinway Tower Height: 436m Steinway Tower Steinway Tower Width to57th Height 111 West St,Ratio: NYC 1:24 111 West 57th St, NYC Height: 436m 111 West 57th St, NYC 436m Width Height: to Height Ratio: 1:24 Height: 436m Width to Height Ratio: 1:24 Width to Height Ratio: 1:24

Rainer Tower 401 Union St, Seattle, Washington Height: 1567m Rainer Tower

Rainer Tower Rainer Tower

401 Union St, Seattle, Washington 401 UnionHeight: St, Seattle, Washington 1567m 401 Union St, Seattle, Washington Height: 1567m Height: 1567m

AMERICAS TOWER

WOOLWORTH

40 WALL ST

70 PINT ST

CHRYSLER

SET BACK SET-BACK

SET BACK SET SET BACK BACK

SKYSCRAPER TYPOLOGIES SKYSCRAPER TYPOLOGIES SKYSCRAPER TYPOLOGIES

731 LEXINGTON

EMPIRE STATE

FALCON-CENTRIC

731 Lexington Avenue 731 Lexington Avenue Lexington Avenue Ave, NYC 731405 Lexington 731 Lexington Avenue Height: 319m 405 Lexington Ave, NYC

7070 Pine St, NYC Pine St 70 Pine St Height: 70 Pine 290m St, NYC

40 Wall St, NYC 40 Wall St 40 Wall St Height: 283m 40 Wall St, NYC

405 Lexington Ave, NYC Height: 319m 405 Lexington Ave, NYC Height: 319m Height: 319m

70 Pine St, NYC Height: 290m 70 Pine St, NYC Height: 290m Height: 290m

40 Wall St, NYC Height: 283m 40 Wall St, NYC Height: 283m Height: 283m

Central Park Tower 1225 West 57thTower St, NYC Central Park Height: 472m Central Park Tower Central Park Tower Width to Height Ratio: 1:23

1225 West 57th St, NYC 1225 West 57th St, NYC Height: 472m 1225 West 57th St, NYC 472m Width Height: to Height Ratio: 1:23 Height: 472m Width to Height Ratio: 1:23 Width to Height Ratio: 1:23

70 Pine St 70 Pine St

432 Park Avenue 432432 ParkPark Ave, 57th St, NYC Avenue 432Height: Park426m Avenue 432 Park Avenue Width to Height Ratio: 432 Park Ave, 57th St,1:15 NYC 432 Park Ave, 57th St, NYC Height: 426m 432 Park Ave, 57th St, NYC 426m Width Height: to Height Ratio: 1:15 Height: 426m Width to Height Ratio: 1:15 Width to Height Ratio: 1:15

40 Wall St 40 Wall St

One 57 157 W, 57th NYC OneSt,57 Height: 306m One 57 OneRatio: 57 1:11 Width157 to Height W, 57th St, NYC

157Height: W, 57th306m St, NYC 157 W, 57th St, NYC 306m Width Height: to Height Ratio: 1:11 Height: 306m Width to Height Ratio: 1:11 Width to Height Ratio: 1:11

Astor Tower

Torres de Colón

Vancouver House

1300 N Astor St, Chicago, IL Height:Tower 91.14m Astor

Calle de Génova, 2, Madrid Height:de 116m Torres Colón

1480 Howe St, Vancouver, BC Height: 150.3m Vancouver House

Astor Tower Astor Tower

1300 N Astor St, Chicago, IL 1300 NHeight: Astor St, Chicago, IL 91.14m 1300 N Astor St, Chicago, IL Height: 91.14m Height: 91.14m

Torres de Colón Torres de Colón

Calle de Génova, 2, Madrid Calle de Génova, 2, Madrid Height: 116m Calle de Génova, 2, Madrid Height: 116m Height: 116m

Vancouver House Vancouver House

1480 Howe St, Vancouver, BC 1480 Howe St, Vancouver, BC Height: 150.3m 1480 Howe St, Vancouver, BC Height: 150.3m Height: 150.3m

425 Park Avenue 425 Park Avenue 426425 ParkPark Ave, NYC Avenue 425 Park Avenue Height: 262m 426 Park Ave, NYC 426Height: Park Ave, NYC 262m 426 Park Ave, NYC Height: 262m Height: 262m

53 West 53 53 W 53rd NYC53 53 St, West Height: 53 300m West 53 53 West 53 Width to 53 Height Ratio: W 53rd St,1:12 NYC

53 Height: W 53rd 300m St, NYC 53 W 53rd St, NYC 300m Width Height: to Height Ratio: 1:12 Height: 300m Width to Height Ratio: 1:12 Width to Height Ratio: 1:12

Kuala Lumpur Tower Kuala Lumpur, Malaysia Kuala Tower Height: Lumpur 381m

Kuala Lumpur Tower Kuala Lumpur Tower

Kuala Lumpur, Malaysia KualaHeight: Lumpur,381m Malaysia Kuala Lumpur, Malaysia Height: 381m Height: 381m

PERSPECTIVE SECTION X

1 : 200 X

“AS ARCHITECTURE STARTS TO WORK WITH THE BIRDS, CAN WE RETHINK ARCHITECTURE TO WORK FOR THE BIRDS? CAN THE VERTICALITY OF THE CITY RETURN TO THE BIRDS?”

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166

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STUDIO MIRAI MORITA

“LET’S THINK ABOUT WHAT WE CAN DO AS ARCHITECTS WITH THE FASCINATING WORLD OF INSECTS.”

168

INSECTS STUDENTS 172 178 184 190 194

Xinyu Chen Mykaela Dearinger Kevin Miller Renae Schulz Nibras Noor 169

What do you think when you hear insects? Some may like them, some may not. There are ones people like and some people dislike. There are pretty ones, there are ugly ones. In any case, insects are integral part of this planet, which is often overlooked, marginalised by us humans. Let’s think about what we can do as architects with the fascinating world of insects. There are beautiful structures that are created by insects which are more commonly known, like bees and wasp nests, ant colony and spider webs. There is no doubt, many Architects, designers and artists have been inspired by the beauty and structural qualities taken from insects’ habitats. Fashion designers has collections inspired by insects. Universities around the world has been researching into insect morphologies, skills, behaviours and developing innovative structures. There are artists who are using their design skills to help the insects and not only be inspired. Architecture students and offices have attempted to design colonies to help bees. There have been research into building materials as well that are friendlier to nature and not only humans,

alternative construction material which plants and insects can flourish rather than killing them. Insect is topical and people are interested. So, what can we do with insects? That is the question given to the students to explore. Students took the topic of insects in many different directions. It was enjoyable to see how architecture can bridge between different environments. Some took inspiration from insects as form, some looked at behaviours, some looked at their habitats, some took inspiration from the insect world more generally. Students projects took many unexpected turns which lead them to their final outputs. One student tackled the plastic waste on the beach with the digestive power of mealworms. The student, through rigorous research into their characteristics and habitats developed a mobile structure that slowly moves along the beach picking up plastic waste left by humans. Along the way the student merged mechanical system with mealworm and presented a convincing yet fantastical creature enhancing the ability of mealworm, cleaning up humans’

“ALL THESE PROJECTS PERHAPS HAD ONE LEG IN THE FANTASTIC WORLD AND ANOTHER IN REALITY, WHICH IS THE BEST PLACE TO BE AS THE FINAL PROJECT IN ACADEMIC CAREER.”

170

mess. Another student embraced the power of the locust plague which devours everything eatable in their way and turn it into a spectacle where architecture is designed to work with the changes of the environment. There was a project inspired by a rain moth who lives for a day out in the open air which inspired a flying balloon which followed the rain and took people on a journey of their life and left them somewhere unexpected. In another case, redback spider inspired a project that speaks to the strength of women. All these projects perhaps had one leg in the fantastic world and another in reality, which is the best place to be as the final project in academic career. The explorations were fun and courageous. It was a pleasure to see students merge their own interests with the topic of the studio and develop a proposal of their own unique world. Students have shed a tiny bit of light into how architecture can be more ephemeral, moving transforming. Raised questions on how we can think sustainability from different perspectives, and how architecture can really work with the environments. It was interesting

to explore architecture from very different scales also. Students had to rewire their brain to accommodate the scale of insects and not only humans. It was challenging and some students tackled it with great pleasure, some perhaps struggled to grasp this scale difference. Either way the challenge of doing so itself was well worth the time, energy and learning experience. Good luck to all students with their bright futures ahead. I hope they do not forget about the little existence of insects and other small being that are so crucial in this world as they tackle real world architecture problems in their careers. Thank you for all your efforts, discussions and fantastic outcomes. I look forward to seeing you flourish in architecture discipline or elsewhere. MIRAI MORITA Studio Leader

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172

XINYU CHEN

While we (humans) soak up the relaxing cadence of crashing waves on the beach, ocean is becoming garbage soup. There is often plenty of rubbish left on the beach especially after the hottest days of the year—and most of it is plastic. Is there any chance to change this situation? The investigation of this project is mealworms. The aim of the project is to create a self-sustained system which digest beach plastic waste. The project processes plastic waste by relying on the ability of mealworms to digest plastic without toxic output. Once the plastic has been consumed by mealworms, mealworms can return to the ecological cycle without polluting the environment. The project started with insect research. When exploring the forms and characteristics of various insects, mealworms aroused my keen interest. As a widespread insect, mealworm participates in all aspects of human activities, it is often used to feed birds, fish, and poultry. In addition, some cultures also make it into high-protein food for human consumption. Most importantly, it is one of the few environmentally safe plastic management sources while remaining safe as a protein-rich food source for other animals including humans. Through a lot of exploration of the feasible method, I learned about how to collect beach waste and breed yellow mealworms, including understanding the system structure of the beach garbage collector created by professional cleaning companies and inquiring about the environmental conditions and screening methods required for breeding yellow mealworms. Constantly improving concepts and functions gradually make this system become feasible. Guardian of the Shore slowly glides and collects plastic waste along the beach. Along with the morphological study of the project, inherited the form of yellow mealworm such as the bamboo-shaped body, transparent and uneven skin, mouthparts, and legs and feet, mechanical system is also mixed in the composition of the building. A delicate balance between mechanical and organic forms is achieved. The design of space also considers function and spatial texture. The translucent plastic container as facade allows the plastic to slowly degrade visibly. Vertical greening pots, bird feeding devices realize the re-use of the production in the mealworm farming process and give reasonable and interesting functions. As a walkable “creature” it incorporates natural energy and light sources. Wind from the ocean, sun from the sky for moving the building and other devices and rain from the clouds is used as the water consumption of the building.

MASTER OF ARCHITECTURE

GUARDIAN OF THE SHORE

GENESIS BEACH LITTERING

173

“THE GUARDIAN OF THE SHORE SLOWLY GLIDES AND COLLECTS PLASTIC WASTE ALONG THE BEACH.”

0 DAYS

10 DAYS

A MEALWORM

174

REPETITION

11 DAYS

TRANSFORM

TRANSPARENT

EYES

175

176

177

178

MYKAELA DEARINGER

Derived from the cyclical, seasonal and unpredictable breeding rate of the Australian Plague Locust, Spectacle of the Seasons is an artesian pool facility designed to celebrate the ephemerality of seasonal change. The facility creates opportunity for the public to enjoy the spectacle of seasonal diversity by embracing seasonal change to celebrate the conditions and opportunities each climatic event presents. Located north of the Moree township, the project invites local and migrating locust populations northern Australia to the structure to feast, and attract visitors to experience the project’s unique, everchanging conditions. The region is highly susceptible to locust outbreaks and is renowned as the Artesian Spa Capital of Australia, sourcing its water from the Great Artesian Basin. The project celebrates the submission to the elements to activate the adaptive program of the facility. Typically, Spectacle of the Seasons is a series of artesian pools intertwined with community gardens, which are enclosed by bales of hay supported by a dense steel frame “field”. During the winter, the hay encloses the facility to create a series of indoor pools. Throughout the summer, locust swarms are invited to consume the hay, transforming the structure into a bare expanse of mesh designed to emulate the sensory effect of a locust swarm, creating a series of outdoor recreational pools for the public to enjoy. However, during more extreme weather events, the project embraces seasonal temporality by hosting programs which activate during drought and flooding events. During seasonal flooding, the gardens become submerged and interconnect with the pools, and the project adapts into a recreational facility, welcoming users to enjoy pools for recreational diving and watersports. During a drought event, the facility adapts to accommodate an amphitheatre, rock climbing walls, skate park and restaurant, showcasing and celebrating opportunities inspired from adverse weather conditions.

MASTER OF ARCHITECTURE

SPECTACLE OF THE SEASONS

CONCEPT

FORM DEVELOPMENT: SUBTRACTION

Integrating metaphor of locusts’ appetitie

1. FIELD

2. SUBTRACTION

3. OUTCOME

4. DISSOLUTION

01.

02.

03.

04.

Field array composed of the three layers of mesh.

Subtracting from the field to achieve form.

Outcome

Dissolve edges.

179

“DURING THE WINTER, THE HAY ENCLOSES THE FACILITY TO CREATE A SERIES OF INDOOR POOLS. THROUGHOUT THE SUMMER, LOCUST SWARMS ARE INVITED TO CONSUME THE HAY, TRANSFORMING THE STRUCTURE INTO A BARE EXPANSE OF MESH DESIGNED TO EMULATE THE SENSORY EFFECT OF A LOCUST SWARM, CREATING A SERIES OF OUTDOOR RECREATIONAL POOLS FOR THE PUBLIC TO ENJOY.”

FLOOD

180

SEMI-FLOOD

1:10 at a

TYPICAL

SEMI-DROUGHT

DROUGHT

181

182

183

2000MM

184

Meetings is an amalgamation of connection nodes to create awareness of its local situated ecosystem in particular the Bogong Moth, the Pygmy Possum and human. The design process started with researching the Bogong moth, an insect I have memories of but wanted to discover more about, this investigation lead to the discovery of its steady decline in population and its annual migration travelling thousands of kilometers to congregate in the Victorian Alps to escape warm temperatures extending their lives at high altitudes. As the moths make this journey across vast country, they play a greater role in the ecosystem working as pollinators and providing as a crucial food source to the lesser-known endangered Pygmy possum located around Mt Bogong. To create architecture that could benefit moth, possum, and human a site was selected in Falls Creek, the closest ski resort to Mt Bogong but also a destination used as a gathering point for winter and summer adventure holidays. In doing so, the site can act as a sheltered space for all three parties involved while exposing them to each other and creating awareness by exposure. The layout of the structure is situated within an assembly of ski runs. The proposal aims not to reduce natural habitat and incorporates the roof design as a ski slope during winter and mountain bike and hiking trail which existed there before. Australian planting and Internal spaces varying in scale like the habitats of the moths and possums while the layout is based off the natural progression of hiking up the slope creating a journey with meeting nodes scattered between the possum nursery, café space and moth incubatory trying to bolster the numbers of the moths and support the ecosystem and by introducing meetings creates appreciation for its surrounding ecosystem.

KEVIN MILLER

MASTER OF ARCHITECTURE

MEETINGS

CONCEPT BOGONG MOTH

2 MONTHS

EGGS EGGS SUMMER JAN

2 MONTHS

CUT WORM CUT WORM

FEB

MAR

APR

MAY

ADULT MOTH ADULT MOTH SPRING

WINTER

AUTUMN

ESTIVATION CONT.

1 MONTH

PUPA PUPA

JUN

RESIDES IN NORTHERN HABITAT

JUL

AUG

SEP

OCT

NOV

DEC

ESTIVATION

185

GENESIS

“TO CREATE ARCHITECTURE THAT COULD BENEFIT MOTH, POSSUM, AND HUMAN A SITE WAS SELECTED IN FALLS CREEK, THE CLOSEST SKI RESORT TO MT BOGONG BUT ALSO A DESTINATION USED AS A GATHERING POINT FOR WINTER AND SUMMER ADVENTURE HOLIDAYS. THE SITE ACTS AS A SHELTERED SPACE FOR ALL THREE PARTIES INVOLVED WHILE EXPOSING THEM TO EACH OTHER AND CREATING AWARENESS BY EXPOSURE.”

SUMMER 186

SUMMER JAN

MAR

APR

ESTIVATION CONT.

MAY

JUN

JUL

AUG

SNOW SEASON

HIBERNATION

SEP

OCT

NOV

DEC

ESTIVATION

POPULATION DROP

OFF PEAK HIKING SEASON

BREEDING SEASON

SPRING

WINTER

AUTUMN FEB

OFF PEAK HIKING SEASON

BREEDING SEASON

ANNUAL PROGRAM TIMELINE

WINTER 187

188

189

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RENAE SCHULZ

A significant insect to Australian heritage, and cultural staple, the rain moth poses traits unique to the insect world. A three-stage life cycle begins by feeding on native tree roots underground for 4-6 years. The larvae is commonly known as the Witjuti or Bardi Grub. As the pupae comes to the surface, it waits in anticipation for the rains before a short, but full 24 hours of adult life with a sole purpose to mate and reproduce. The female will lay her eggs in flight directed at the base of trees. The rain pushes the eggs deeper into crevasse and provides new growth and soft roots for the young larvae to begin a new cycle of life. The rain moth relies on the rain to finish what it starts ultimately keeping the species alive. ‘Follow the Rain’ takes the concept of lifecycle and applies it to a gentle collaboration between machine and nature, relying on the rain to keep a species growing while creating an opportunity to be, and experience everything the rain is. Sited at the east end of Karrawirra (Torrens River), Adelaide ‘Follow the Rain’ begins its life through an underground hydrogen facility, working to sustain a fuel source for a short, but sweet moment of life. A constant turn-around of material engineering and unmanned flight technology works to produce multiple bio-degradable, hydrogen balloons. A seed orchard located next to the facility provides Australian native seeds to be implanted within the balloon’s membrane, allowing a future of growth. Working in anticipation and waiting for the rains, the completed and hydrogen filled, balloons leave the facility, following the rain path for 24 hours before landing in an open field. Two travelers jump onboard and are greeted with an experience of rain from the source itself. A time to be, to experience everything the rain offers, without a foot on the ground. As the rain clears the balloon falls, a gentle decent on a space to now inhabit. ‘Follow the Rain’ ends a life of flight here but begins a new life of disintegrating with the conditions and sprouting new growth.

MASTER OF ARCHITECTURE

FOLLOW THE RAIN

GENESIS RAIN MOTH LIFECYCLE

191

192

ANTENNA TO FORM

FORM TO SITE

“A TIME TO BE, TO EXPERIENCE EVERYTHING THE RAIN OFFERS, WITHOUT A FOOT ON THE GROUND. AS THE RAIN CLEARS THE BALLOON FALLS, A GENTLE DECENT ON A SPACE TO NOW INHABIT.” 193

194

Insect theatre is a project that attempts to function as a device in which insects act as actors and perform remarkable feats while we watch, while also allowing visitors to use insects as a source of inspiration as they reimagine the world. Insects have been around for nearly 350 million years and can be found in almost every ecosystem on the planet, but they are still undervalued. Their impact to the environment and humanity is enormous. Insects serve as pollinators, decomposers, predators, and sustenance for humans and animals alike. Insects are the source of silk, and some of them have inspired the development of future robots. The project itself is designed to operate as a lens through which visitors can be immersed in the world of insects and watch spectacles on stage that occur in the world around us with insects. The project focuses on building a variety of human size and insect scale settings and attempting to mix them together in order to create moments with insects in which we may watch the beautiful things that insects do around us in an engaging way. Because scale was a key aspect of the project, form inspiration came from drawing out scale variants of several South Australian insects and creating shadows from them and tracing them out to figure out new information. The project’s location is near the Adelaide Parklands and Festival Centre, as well as the Torrens River and various types of programs inspired by insects are housed in the project. It has underground galleries and exhibition spaces, an insect shop, various insect-related workshops for adults and children, a restaurant where people can try insects as food, and a yoga and meditation studio, all of which are designed to help visitors learn and be inspired by insects while watching them and, rather than disregarding them, understanding the value of insects for us and our environment.

NIBRAS NOOR

MASTER OF ARCHITECTURE

INSECT THEATRE

CONCEPT

SCALE

195

SHADOW ANALYSIS

196

SCALAR FORM-MAKING

“THE PROJECT FOCUSES ON BUILDING A VARIETY OF HUMAN SIZE AND INSECT SCALE SETTINGS AND ATTEMPTING TO MIX THEM TOGETHER IN ORDER TO CREATE MOMENTS WITH INSECTS IN WHICH WE MAY WATCH THE BEAUTIFUL THINGS THAT INSECTS DO AROUND US IN AN ENGAGING WAY. .”

197

198

199

STUDIO PETER SCRIVER

“HOW CAN THE BUILT FABRIC AND INTRINSIC ORDER OF STRUCTURES BE ADAPTED TO NEW PURPOSES OR CULTURAL PRACTICES?”

200

RE-IMAGINING REDUNDANT BUILDINGS AND SITES AS ARCHITECTURES FOR LEARNING STUDENTS 204 208 212 216 220 224 228

Margherita Buselli Yuqiang Li Braeden Townsend Aiqian Liang Connor Dyer Syuan-Cih Li Samir Baraket 201

This studio explores ‘Architecture’ in the broadest of understandings, as the embodiment of social order and values in physical form and space. Conversely, architecture has often been conceived as a tool to construct and constrain cultural practices through the design of fit-for-purpose microcosms – worlds within worlds – for the users that they serve. Indeed, social engineering in that sense could be regarded as one of the prime functions of institutional architectures such as schools, along with hospitals, military barracks, and prisons. But even everyday commercial and industrial workplaces, as well as places of leisure and community such as hotels, community centres and places of worship can constrain rather than sustain social growth and wellbeing. Buildings also embody the energy and resources invested in their design and construction, and become receptacles of cultural memory as they live-on and age. They may therefore evoke strong emotions as well – comforting or disturbing depending on the case – for the

communities that they accommodate, or for whom they are the familiar and enduring features of the built environment around them. But how can past architectures help us re-imagine future design possibilities, when the world around a building changes, or when the former worlds within the institutions or industries that gave those buildings their original forms have vanished? How can the built fabric and intrinsic order of such structures be adapted to new purposes or cultural practices? And, how might the tectonic culture of redundant architecture be re-engaged creatively to assist rather than resist growth and change? This year, students who chose to address these core questions in this research-studio option were asked to re-examine the form and function of the ‘school’ as a type of institutional architecture that can shape the lives of young people profoundly, for better or for worse. Instigated by major ongoing SA Government investment in new and retrofitted school infrastructure – including the building of a major new

“BUT HOW CAN PAST ARCHITECTURES HELP US RE-IMAGINE FUTURE DESIGN POSSIBILITIES, WHEN THE WORLD AROUND A BUILDING CHANGES, OR WHEN THE FORMER WORLDS WITHIN THE INSTITUTIONS OR INDUSTRIES THAT GAVE THOSE BUILDINGS THEIR ORIGINAL FORMS HAVE VANISHED?”

202

secondary school in the Adelaide metropolitan region – students were asked to explore how outmoded school buildings or other redundant architectures (institutional, industrial, commercial or communal) could be creatively expanded and re-imagined for re-use as inspiring new places of learning and healthy social growth and development for 21st century youth. In each case the student was required to begin with an intensive physical, historical, and qualitative design documentation and deconstruction of the existing fabric of their self-selected building/site. Each then developed an original brief and design proposal for how that fabric could be sensitively but creatively adapted to accommodate the social as well as the educational needs of future generations of high school students, reflecting specific curricular and/or communal foci in each case. This year the range of student selected sites and adaptivere-use scenarios included seven different heritage places in Adelaide, some of which have had difficult histories, as well as a declining

commercial complex and existing school. Two additional sites in China – a former shipyard in Shanghai, and a pioneering example of early modernist hotel architecture in Qingdao – were re-imagined as next generation secondary schools for Chinese youth by students working remotely in those cities. ASSOC. PROF. PETER SCRIVER Studio Leader

203

204

MARGHERITA BUSELLI

This project proposes the adaptive re-use of the former Brompton Gasworks to create a new Technical High School. The Bowden Heritage precinct, formerly known as the Brompton Gasworks site, is situated in the Brompton and Bowden suburbs, just 2.5 km outside of Adelaide’s CBD on its North-West side. Bowden has become the first higher density infill project to be undertaken in South Australia, so the proposed re-purposing project will be part of a bigger planning scenario. In fact, it was only after Renewal SA had purchased the site of the former Brompton Gasworks that it then developed the Bowden Master Plan, anticipating the renaissance of Bowden as a “vibrant inner-city destination”. In addition to high-density affordable houses, it will include a mix of retail, commercial and community activity blending the past with the future. Through 140 years of operation, the Brompton Gasworks has undergone countless transformations reflecting the evolution of the relevant technologies. Early buildings were demolished to make space for new and more sophisticated ones. Whilst some fortunately survive, having been adapted and reused for new purposes, little is still standing today of what was before. The most substantial concentration of retained structures and building fabric will host the new Tech High School. The new school will integrate past and future not just by blending the heritage buildings already existing on the site with newly designed buildings, but through its curricula as well, probing the social and industrial memories and material culture of the place as key learning resources. The additional extent of the former gasworks site will be integrated in part into the new high-density housing scheme proposed by Renewal SA while the remainder will be reserved for a public park and amphitheatre, as well as sporting facilities and residential accommodation for student boarders.

MASTER OF ARCHITECTURE

BROMPTON TECH HIGH SCHOOL

STRUCTURE STUDY

205

HOUSING

HIGH SCHOOL CAMPUS

STUDENT ACCOMMODATION

AMPHITHEATRE

SPORTING FACILITIES

“THE NEW SCHOOL WILL INTEGRATE PAST AND FUTURE NOT JUST BY BLENDING THE HERITAGE BUILDINGS ALREADY EXISTING ON THE SITE WITH NEWLY DESIGNED BUILDINGS, BUT THROUGH ITS CURRICULA AS WELL, PROBING THE SOCIAL AND INDUSTRIAL MEMORIES AND MATERIAL CULTURE OF THE PLACE AS KEY LEARNING RESOURCES.”

206

1913

1924

1958

1984

2000

2021

207

208

YUQIANG LI

‘Union’ is a scheme for the adaptive re-use of the former Grenfell Street Power Station (1901-1925), now the home of Tandanya, Australia’s National Aboriginal Cultural Institute (est. 1989). A new public high-school is proposed to serve all students living in and near Adelaide’s CBD, with special support and resources for indigenous students. Acknowledging the historical injustices of colonization, and the many complex social issues that have continued to exclude indigenous Australians from full and equal opportunity in contemporary society, this project focuses on the empowerment of knowledge and the broader role of education in building firm social foundations as well as skills. Specifically, it attempts to address two particular questions: (1) How could the original mission of Tandanya – to be a hub of first nation’s culture and enterprise – be renewed on the site whilst overcoming the institution’s current isolation? (2) How could the existing architectural fabric and material culture of the site be adapted into a place of learning and opportunity? Unity through the diversity of aboriginal and other cultural identities to be reflected and respected in the school is the key concept and design driver for the re-development. Already integrated in the site’s building history, the scheme retains the existing public function of Tandanya as a cultural knowledge hub for the aboriginal community but now conjoins this, within the Palladian Styled walls of the original Grenfell street building, with the library of the new school. The East Terrace heritage façade forms a heterogeneous streetscape with high historical value but the unrelated office building on the corner of Pirie street is retrofitted to better harmonise with the whole. At the same time, these buildings are linked together to provide general classrooms, laboratories, teachers’ offices, and a roof garden that extends the interior to the Parklands beyond. Dormitories for country students are located securely within the western boundary of the campus.

MASTER OF ARCHITECTURE

UNION

HISTORY WAR & SOCIAL CHANGE (1941-1927)

A SITE OF CHANGE DEPRESSION & SOCIAL CHANGE (1885-1913)

209

1.TANDANYA CULTURAL CENTRE 2.MAIN SCHOOL ENTRANCE 3.MAIN TEACHING AREA 4. STUDENT DORMITORY 5. TANDANYA GARDEN 6. SAND PAINTING AREA 7. PLAYGROUND 8. VEGETABLE PLANTING AREA 9. PARKING/SCHOOL-BUS PICK-UP

Ea t Terrace Elevation Scale 1:250 6

danya Elevation e 1:250

tion 210 50

Ea t Terrace Elevation Scale 1:250

Short Sectio Scale 1:250

“THE EAST TERRACE HERITAGE FAÇADE FORMS A HETEROGENEOUS STREETSCAPE WITH HIGH HISTORICAL VALUE BUT THE UNRELATED OFFICE BUILDING ON THE CORNER OF PIRIE STREET IS RETROFITTED TO BETTER HARMONISE WITH THE WHOLE.” 1. TANDANYA

REMOVE WORKSHOP SPACE

SEPARATE ROOF AND FACADE

PALLADIAN DIVISION INTO THREE PARTS

ADDING SYMMETRY

2. EAST TERRACE

MOVE REAR BLOCK TO FRONT

EXPAND CONNECTIONS

UNDRESS EXTERIOR, REMOVE SIGNAL TOWER

EXCAVATE VOID

UNIFY EXTERIOR / ADD CONNECTIONS

3. WEST AREA (STUDENT DORMITORY)

TRACE SHAPE OF ORIGINAL BUILDING

REPLACE SMALLER BLOCK WITH RIGHT BLOCK

REMOVE ROOF AND SHORTEN CONNECTION

EXCAVATE VOIDS FOR LIGHT

ADD INTERFACE FOR SHADING

211

212

BRAEDEN TOWNSEND

This project is a proposal for the adaptive re-development of the existing Springbank Secondary College campus into a thriving specialist secondary school. The current state school teeters on the edge of closure as dwindling numbers, lack of funding, and loss of school zoning question the need for such a large campus space. A once leading sports and vocational program-oriented school, the current site bears the scars of its past ambitions and failures. It is only by attempting to understand these scars that we can begin to see the tools needed to regain the intentions of the past and re-apply these towards a new design. Examining the history of the site, we see a recurring cycle of Ambition, Growth and Erasure. Initially proposed for development as an ambitions housing estate, it was redeployed and grew instead as an RAAF camp during WW2 and subsequently as provisional housing for new migrants. As a school it also grew rapidly in its early years but unstably, slowly declining and contracting in due course as redundant facilities such as the Disability Unit were erased. To ‘Reboot the School‘, the proposal breaks the existing modular framework through a series of designed additions and interventions to the structures of both the modular school buildings themselves and the school curriculum, bringing ambition and innovation back into the school environment through integration with future technologies and industries. Importantly, the proposal also restores and enhances the primary purpose of the school to provide an equal learning experience for students of all abilities. In implementing this proposal, it was also considered crucial not to erase the presence of the site’s past. This understanding has underscored the principles of Intervention, Freedom, and Choice as the primary drivers of the ultimate design

MASTER OF ARCHITECTURE

REBOOT

PRINCIPLE IMPROVING ACCESS TO LEARNING

TACTILE GUIDANCE

470mm

14:1 RAMP ACCESS

VARIETY OF LEARNING SPACES

213

EXISTING ‘FINGER’ DESIGN WITH MODULAR ADDITIONS

PROPOSED DEVELOPMENT

214

PROPOSED SITE PLAN

FORMAL DEVELOPMENT

“THE PROPOSAL BREAKS THE EXISTING MODULAR FRAMEWORK THROUGH A SERIES OF DESIGNED ADDITIONS AND INTERVENTIONS TO THE STRUCTURES OF BOTH THE MODULAR SCHOOL BUILDINGS THEMSELVES AND THE SCHOOL CURRICULUM.”

215

1:500

216

Concept - Mat-building City of Adelaide

Adelaide CBD Hindmarsh Square

Location Plan (Not to scale)

'CITICOM' 1 Metrics

Building in Site

Northern Elevation 1:1000

Internal Wa Building in Site

In the 1960s, the concept of mat building was applied to the construction of European universities for consideration of mobility between different programme.

ACTIVE-HINDMARSH BUSINESS SECONDARY SCHOOL Site Information

ite Information

External Wall

2 Programme

Typical mat buildings can be divided into several modules by a very large number of vertical line segments to form different complex geometry.

AIQIAN LIANG

Adelaide, SA

MASTER OF ARCHITECTURE

Site Information

Concept - Mat-building

The site – the existing ‘Citicom’ development of the 1980s – is located in a transit-rich part of Adelaide CBD. Site Information Concept - Mat-building Recently these facilities have not kept up with the further Concept - Mat-building development in the area so it is proposed that six of the original complex of nine small office buildings be converted into a new secondary school with special programs Site Information Concept in - Mat-building business. Two of the existing buildings are retained for lease by local businesses to provide internship opportunities for students while the central building is removed to bring light and space into theBackground heart of the new school. History The scheme re-imagines the spatial geometry of the existing commercial complex as an educational campus by revisiting the concept of ‘mat building’ that was previously History Background most progressively applied to the design of new European Develop Process universities in the 1960s. The concept optimses freedom of mobility between different programmes and departments, History Background History Background providing convenient and flexible experience for both students and staff on campus. Through the renovation Develop Process and adaptive reuse of the existing site, the structure of History Background PROCESS columns remain as the most eye-catching characteristic, and the entire structure is divided into several modules by Develop Process Develop Process a very large number of vertical line segments generating a History Background rich and complex geometry. The project maximizes visual Develop Process and physical egress to corridors and school grounds, for REMOVING Develop Process convenience and safety as well as access to natural light and landscaping. Designed for future flexibility, the spaces may also be easily modified. Making full use of the site’s excellent EDITING Develop Process structure to provide a diverse, flexible, healthy, and positive Typology learning environment, the scheme aims to foster a sense of community and individuality, providing a ‘home base’ for CONTOURING each student and their teachers in this central location in Adelaide’s CBD on which to create a vibrant new secondary Typology school of business. Adelaide, SA

City of Adelaide

Adelaide CBD Hindmarsh Square

Location Plan (Not to scale)

Adelaide, SA

City of Adelaide

Location Plan (Not to scale)

Adelaide CBD Hindmarsh Square

Adelaide, SA 1 MetricsCity of Adelaide 'CITICOM'

Western Elevation Typical mat buildings can be divided 1:1000 into several modules by a very large form different complex geometry.

Adelaide, SA

City of Adelaide

Adelaide CBD Hindmarsh Square

City of Adelaide

Western Elevation 1:1000

Northern Elevation 1:1000

1:1000

Building in Site

2 Programme

In the 1960s, the concept of mat building was applied to the construction of European universities for consideration of mobility between different programme. Western Elevation

Adelaide, SA

City of Adelaide

Adelaide CBD Hindmarsh Square

Western Elevation 1:1000

Location Plan (Not to scale)

Internal Wall

Building

2 Programme

Northern Elevation 2 Programme 1:1000 In the 1960s, the concept of mat building was applied to the construction of European universities for consideration of mobility between CBD 'CITICOM' different programme. 1 Metrics

Adelaide Hindmarsh Square

'CITICOM' Location Western Elevation Plan (Not to scale)

Northern Elevation 1:1000

External Wall

Building in Site

Ground Floor Plan

3 Space

GroundInternal Floor Wall

Ground Floor

construction of European universitiesPublic space for consideration of mobility betweenOther use different programme.

Building in Site

3 Space

Ground Floor

Upper Level

Usage: Commercial & Office

S h a d ra c h Wo o d s d e c l a re d t h a t

1:1000 Commercial & Office ‘In a groundscraper organisation Usage: greater possibilities of community Recent User: Companies & Staffs and exchange are present without Area: nearly 10,000 ㎡ The Hindmarsh Square necessarily sacrificing any tranquillity.’ Congregational Church and 3~6 levels with underground parking

Recent User: Companies & Staffs 4 Concept Diagram

Core Public s Other u

Upper Proto Level

Ground Floor

Building in Site Roof Level

3 Space

Building in Site

Upper Level

S h a d ra c h Wo o d s d e c l a re d t h a t

‘In a groundscraper organisation Circulation Flexibility

S h a d ra c h Wo o d s d e c l a re d t h a t

greater possibilities of community

without M a xand im iexchange z i nPlan g v i are s u apresent l GF Programme D e s i g n i n g f o r f u t u r eTypic Ground Floor

tranquillity.’ a n dnecessarily p h y s i c a sacrificing l The a c c Free e s s any flexibility, University of enabling spaces t o c o r r i d o rBerlin, s a n dCandilis, to Josic, be easily modified and s c h o o l g r o u Woods n d s t oand Scheidhelm, easier usage for student provide circulation for and staffs Building in Site Ground Floor 1963 convenience and safety S h a d ra c h Wo o d s d e c l a re d t h a t ‘In a groundscraper Roof Level organisation greater possibilities of community and exchange are present without 4 Concept Diagram necessarily sacrificing any tranquillity.’

3 Space

Circulation Area: nearly 10,000 ㎡ 3~6 levels with underground parking Former ABC Studios Demolition and

Flexibility AccessibilityBussiness space Active Core Maximizing visual Designing for future Open spaces with flexible Make full use Public space 'Citicom' a nby d Adelaide p h y s i cCity al access flexibility, enabling spaces entrances and exits,as natural venti Other use t oCouncil corridors and to be easily modified and well as specific dedsign ensuring indoo school grounds to easier usage for student of students and teachers and thermal com Building in Site Ground Floor Upper Level Roof provide circulation for and staffs with disabilities Spaceaccommodation Adelaide is set to see the completion of a new concept in 3office with the convenience and safety Usage: Commercial & Office Centraal Beheer off ice 4 Concept Diagram extension of the Citicom project in the city's eastern precinct. S h a d ra c h Wo o d s d e c l a re d t h a t building, 1970s Recent User: Companies &‘InStaffs a groundscraper organisation Area: nearly 10,000 ㎡ greater possibilities of community Citicom stage Circulation Flexibility 4 1Concept Diagram 3~6 levels with underground andparking exchange are presentof without A prestigious office development which combined the aesthetic and parking requirements decentralisedAccessibility Circulation Flexibility Active Integration necessarily sacrificing any tranquillity.’ Maximizing visual Designing for future the Aurora Hotel opened door

Usage: Commercial & Office Recent User: Companies & Staffs Area: nearly 10,000 ㎡ 3~6 levels with underground parking

tenants with a strategic city location

Maximizing visual Designing for future ↓ and physical access flexibility, enabling spaces Citicom stage 2Former ABC Studios The Hindmarsh Square Demolition and t o c o r r i d o r by s aantiled d and to be easily modified individual and separately saleable'Citicom' office buildings, landscaped plaza. and Congregational Church Comprise and by Adelaide linked City school grounds to easier usage for student the Aurora Hotel opened door Council provide circulation for and staffs convenience and safety

Open spaces with flexible entrances and exits,as well as specific dedsign of students and teachers with disabilities

flexibility, with enabling outdoorspaces M aakned f p uh l ly us iscea ol fa tchc ee s s Combined to be easily modified and conditions, including n att ou r ac lo vr er ni d tDifferent i ol artsi o an n , d Attempts s c h o oindoor l g r o uquality n d s t o n a t u easier r a l l usage i g h t for a n student d ensuring for landscaping and staffs andprovide thermalcirculation comfort convenience and safety

Original

Circulation

Adelaide is set to see the completionUsage: of 1981 a new concept in office accommodation with 1985 the 4 Concept Diagram Commercial & Office extension of the Citicom project in the city's eastern precinct. Recent User: Companies & Staffs

Flexibility

Maximizing visual

a n d p h y sIntegration ical access Flexibility Accessibility Active Area: nearlyCirculation 10,000 ㎡ Citicom stage 1 to corridors and 3~6 levels with underground parking A prestigious office development which combined the requirements M aaesthetic x i m i z i n gand v i sparking ual D e s i g n i n g f oof r fdecentralised uture Open spaces with flexible M a k e f u l l u s e o f t h es c h oCombined o l g r o u nwith d s outdoor to Square enabling spaces Former ABC Studios conditions, including Work and completed Citicom Stage a n dAdelaide p h y s i c a lCity a cThe c eCouncil sHindmarsh s flexibility, entrances exits,as onDemolition n a t u r a land v e n t i l a t i o n provide , circulation for tenants with a strategic city location decided to Attempts Church and modified and 'Citicom' by Adelaide CityDifferent n a t u rand a l safety light and The Hindmarsh Square by the Premier, Mr Former ABC Studios Demolition t o implement c oand r r i d o r Congregational scontrolled and to be easily well1officially as specificopened dedsign ensuring indoor qualityconvenience development ↓ the Aurora Hotel opened door Council landscaping Congregational Church and Bannonand teachers 'Citicom' by s cAdelaide hof o oeastern l gCity r o u n fringe d s t o of Hindmarsh easier usage for student of students and thermal comfort Citicom stage 2 the Aurora Hotel opened door Council provide circulation for and staffs with disabilities Square Comprise individual and separately saleable office buildings, linkedand bysafety a tiled and landscaped plaza. convenience

Adelaide 1983 is set to see the completion of a new concept 1986 in office accommodation with the extension of the project in the city's eastern precinct. Adelaide is set to see the completion of a new concept in office accommodation withCiticom the Original extension of the Citicom project in the city's eastern precinct. Circulation Flexibility 1981 1985 Citicom stage 1

1983

delaide City Council decided to mplement controlled development f eastern fringe of Hindmarsh quare

1984

1981 1986

Active - regular grid system Int

Different Att

- divided into seve Grid system learning from mat-large number of ver building Original form different comp - regular grid system

- characterised by its large scale and high Different Attempts 2. Basic form density 5. Adjusting - divided into several modules by a very large Original number of vertical line segments to form different complex geometry

Original

1986 Building Type / Modernism

1987

Accessibility

Open spaces with f entrances and ex well as specific d of students and te with disabilities

Grid system lea building

Accessibility

1985 Citicom stage 1 The Citicom Centre, Hindmarsh Square, dates from A prestigious office development which combined the aesthetic and parking requirements of decentralised the early 1980s and is a good example of the ‘modified tenants with a strategic city location Work completed on Citicom Stage Adelaide CityModernism’ Council decided phase of to guidance: it follows from 1. Removing 2. Basic form opened by the Premier, Mr Hornibrook Group ‘Adelaide is on the move' implement controlled Grenfell anddevelopment’s Frome St1officially building ABC building demolished ↓ development Baulderstone the 1976 Old City of Adelaide Plan. The Bannon complete, Piriebetween St building nears of eastern fringe Hindmarsh announced as sucessful tenderer for Citicom stagedemolished 2 pavilionof forms transformed the interface the Old ABC building Hornibrook Group Work completed on Citicom Stage Baulderstone completion. Square Stage2 site and the square. Comprise individual and separately saleable office buildings, linked by a tiled and landscaped plaza. announced as sucessful tenderer for 1officially opened by the Premier, Mr 5. Adjusting Stage2 1983 1986 Bannon

1984

Designing for future flexibility, Functional enabling spaces to be easily modified and Foster sense easier usagestudents' for student of community and and staffs individuality, provide a "home base" for each student and teacher

1. Removing Combine Open spaces with flexible Make full use of the by i conditio entrances and exits,as n a t u r a l v e n t i-l acharacterised tion, natura well as specific dedsign ensuring indoordensity quality landscap of students and teachers and thermal comfort with disabilities

The Hindmarsh Square Former ABC Studios the aesthetic and Demolition A prestigious office development which combined ofDdecentralised M a xparking i m i zand i n requirements g visual esigning for future Citicom stage 1 Congregational Church andcity location 'Citicom' Adelaide a n by d p h y s i c aCity l access tenants with adecentralised strategic A prestigious office development which combined the aesthetic and parking requirements ofOld ABC building demolished Baulderstone Hornibrookflexibility, Group enabling spaces t oCouncil corridors and to be easily modified and ↓the Aurora Hotel opened door Different Attempts tenants with a strategic city Studios location announced as sucessful tenderer for The Hindmarsh Square Former ABC Demolition and school grounds to easier usage for student Citicom stage 2 Stage2 ↓ and Congregational Church 'Citicom' byAdelaide Adelaide City provide circulation for and staffs Work completed on Citicom Stage City Council decided to Comprise individual and separately saleable office buildings, linked by a tiled and landscaped plaza. Adelaide is set to see the completion of a newopened concept in Premier, office accommodation with the Citicom the Aurora Hotel opened door stage 2 Council convenience and safety 1officially by the Mr implement controlled development1984 1987 extension ofHindmarsh the Citicom project in theBannon city's eastern precinct. Comprise individual and separately saleable office buildings, linked by a tiled landscaped plaza. of eastern fringe ofand Square with the et to see the completion of a new concept in office accommodation Citicom stage 1 Original 1981 which1986 1985 the Citicom project in the city's eastern precinct. 1983 A prestigious office development combined the aesthetic and parking requirements of decentralised 1981 1985 with a strategic city location tenants ‘Adelaide is on the move' Grenfell and Frome St building ↓ fice development which combined the aesthetic and parking requirements of decentralised complete, Pirie St building nears 2 1. Removing The Hindmarsh SquareCiticom stage Former ABC Studios Demolition and completion. ategic city location Congregational Church and 'Citicom' by Adelaide City Comprise individual and separately saleable office buildings, by a to tiled and landscaped plaza. Work completed on Citicom Stage Adelaide City Councillinked decided Old ABCdoor building demolished Baulderstone Hornibrook Group the Aurora Hotel opened Council 1officially opened by the Premier, Mr implement controlled as development Work completed on Citicom Stage announced sucessful tenderer for Adelaide City Council decided to Bannon of eastern fringe of Hindmarsh 1officially opened by the Premier, Mr Stage2 implement controlled development ual and separately saleable office buildings, linked by a tiled and landscaped plaza. Bannon of eastern fringe of Hindmarsh Adelaide is set to see the completion of a1981 new concept in office Square accommodation with the 1985 Square 1984project in the city's eastern precinct. 1987 extension of the Citicom 1983 1986

1987

1. Removing 3. Contouring

6. Flattening

Original

Structural columns

1985

9. Simplify 2. Basic form

1. Removing

Building Type / Modernism

Old ABC building demolished Baulderstone Hornibrook Group ‘Adelaide is on the move' Grenfell announced as 2. sucessful tendererand for Frome St building The Citicom Centre, Hindmarsh Square, dates from Basic complete, form 1. Removing 3. Contouring Pirie St building nears ‘Adelaide is on the move' Grenfell Frome St building Stage2 the early 1980s and is a good example ofand the ‘modified Work completed completion. Adelaide City Council decided complete, Pirie St building nears on Citicom Stage Baulderstone Hornibrook Group Modernism’ phase oftoguidance: it follows from 1officially opened by the Premier, Mr implement controlled development completion. announced as sucessful tenderer for 1984 the 1976 City of Adelaide Plan. The development’s 1987 Bannon of eastern fringe offorms Hindmarsh 6. Flattening Stage2 5. Adjusting pavilion transformed the interface between the Square site and the square.

ld ABC building demolished

Typology

Existing Site Functions

1987 1983

delaide is on the move'

The Citicom Centre, Hindmarsh dates from St building Grenfell and Frome Old Square, ABC building demolished the early 1980s and is a good example ofPirie the ‘modified complete, St building nears Modernism’ phase of guidance: it follows from completion. the 1976 City of Adelaide Plan. The development’s pavilion forms transformed the interface between the 1984 site and the square.

Typology

1987

Building Type / Modernism Existing Site Functions Structural columns

ticom Centre, Hindmarsh Square, dates from ly 1980s and is a good example of the ‘modified nism’ phase of guidance: it follows from 76 City of Adelaide Plan. The development’s n forms transformed the interface between the d the square.

Typology

xisting Site Functions Building Type / Modernism Structural columns

Lobby / Reception Office place Meeting room Lounge Public space Teamwork space Other usage

‘Adelaide is on the move'

Level 5

9. Simplify

6. Flattening 8. Griding

7. Applying line segments system

Ground Floor

Structural columns

9. Simplify

7. Applying line Revised segments system

Level 3

Existing Site Circulation Structural columns Level 4 Level 2 Lobby / Reception Office place Meeting room Lounge Public space

9. SimplifySIMPLIFY

Level 2

Level 4

Site

9. Simplify Level 1 Lobby / Reception Office place Meeting room Lounge Public space Teamwork space Other usage Level 6 Ground Floor Level 5 Main flow Vertical circulation Main entrances

GRID-ING

10. Detailing 6. Flattening

5. Adjusting

10. Detailing

Ground Floor Level 6

Level 1

Level 5

Revised

Level 4 Level 1 Site Level 3

Ground circulation Attempts on upper levels

9. Simplify

10.3.Detailing Contouring

5. Adjusting

Level 5

Site Functions

Teamwork space The Citicom Centre, Hindmarsh Square, dates from Other usage the early 1980s and is a good example of the ‘modified Modernism’ phase of guidance: it follows from the 1976 City of Adelaide Plan. The development’s Level 6 the interface between the pavilion forms transformed site and the square. 5 Functions ExistingLevel Site

Level 3

5. Adjusting ADJUSTING 7. Applying line segments system

9. Simplify 2. Basic form

Lounge Public space

Level 4 Teamwork space Structural columns The Citicom Centre, Hindmarsh Square, dates from Other usage the early 1980s and is a good example of the ‘modified Modernism’ phase of guidance: it follows from Grenfell and Frome St building the 1976 City of Adelaide Plan. The development’s complete, Pirie St building nears Level 3 pavilion forms transformed the interface between the Level 1 completion. site and the square. Level 6

Office place

Level 1 Level 6

/ Reception

Grenfell and Frome St building Pirie St building 1. nears The Citicom Centre, Hindmarsh Square, datescomplete, from Removing Level 1 completion. the early 1980s and is a good example of the ‘modified Baulderstone Hornibrook Group Level 6 Modernism’ Lobby / Reception phase of guidance: it follows from announced sucessful tenderer fordevelopment’s the 1976 as City of Adelaide Plan. The Level 5 Office place forms transformed the interface between the Stage2 pavilion Flattening 6. 5. Adjusting Meeting room site and the square.

Lobby / Reception Meeting room Existing Lounge Public space

4. Rationalizing

1986

Building Type Structural /‘Adelaide Modernism columns is on the move'

uilding Type / Modernism

place

In the 1960s, the concept of mat building was applied to the construction of European universities for consideration of mobility between different programme.

necessarily sacrificing any tranquillity.’ construction of European universities Core for consideration of mobility between Public space different programme. Other use

Usage: Commercial & Office ‘In a groundscraper organisation 4 Concept Diagram greater possibilities of2community Building in Site Recent User: Companies & Staffs Programme and exchange are present without Bussiness space Area: nearly 10,000 ㎡ I ntranquillity.’ the 1960s, the concept of necessarily sacrificing any Core 3~6 levels with underground parking mat building was applied to the

Western Elevation

Building in Site Typical Floor Plan Bussine

GF Programme

Building in SiteWall External

Building in Site

GF Program

Building in Site External Wall

Usage: Commercial & Office 4 Concept Diagram Universitat Politècnica de S h a d ra c h Wo o d s d e c l a re d t h a t Recent Typical User: Companies Staffs mat buildings&can be divided Building in Site 2 Programme Valencia, L35, 1970 ‘In a groundscraper organisation into several by a very large Area: nearly 10,000modules ㎡ greater possibilities of community In the 1960s, the concept of number vertical line segments to 3~6 levels withof underground parking exchange are present without mat building applied the Ground Floorcomplex Plan and GF Programme Typicalwas Floor Plan toBussiness form different geometry. space

3 Space

1:1000 'CITICOM'

Northern Elevation 1:1000

Typical mat buildings can be divided into several modules by a very large number of vertical line segments to in Site Ground Floor Plan form different complex geometry.

In the 1960s, the concept of mat building was applied to the construction of European universities 3 Space Building in Site 1 Metrics for consideration of mobility between S h a d ra c h Wo o d s d e c l a re d t h a t different programme. Typical mat buildings‘In cana be divided groundscraper organisation CBD External Wall 'CITICOM'Internal Wall into several modules greater by a very large Building Adelaide in Site Prototype possibilities of community number of vertical line toare present without andsegments exchange Hindmarsh Square form different complexnecessarily geometry.sacrificing any tranquillity.’ 2 Programme

Location Plan (Notnumber to scale) of vertical line segments to

Northern Elevation 1:1000

Building in Site

Typical mat buildings can be divided into several modules by a very large number of vertical line segments to form different complex geometry.

Northern Elevation 1:1000

Building in Site Prototype

1 Metrics

Western Elevation 1:1000 1 Metrics 'CITICOM'

10. Detailing DETAILING

Ground Floor

217

External Building Wall in Site

Project Brief Project Brief Internal External Wall Wall

Prototype Internal Wall

Site Plan 1:3000

Prototype

Grenfell St Hindmarsh Square Universitat Politècnica de Valencia, L35, 1970

Grenfell St Hindmarsh Square

Universitat Politècnica de Valencia, L35, 1970

Pirie St

Building in Site 2 Programme

gramme

Ground Building Floor in Plan Site

GFGround Programme Floor Plan

Typical GF Programme Floor Plan

Typical Level Two Typical Floor Lev P

Site Plan 1:3000

Frome St

Building in Site 1 Metrics

rics

mat buildings can be divided Typical mat buildings can be divided ral modules by a very large into several modules by a very large of vertical line segments number to of vertical line segments to erent complex geometry. form different complex geometry.

Frome St

ncept - Mat-building Concept - Mat-building

Typical Floor Plan

1 9 6 0 s , t h e c o n c e p tI no ft h e 1 9 6 0 s , t h e c o n c e p t o f lding was applied to mat the building was applied to the ion of European universities construction of European universities deration of mobility between for consideration of mobility between programme. different programme.

Pirie St

Future school

- Online learning - Innovation - Investigation - Collaboration - Co-creation

Curriculum

- Technology - AI - Flexible - Diversification - Functions - Beyond classroom

Education facility

-Learning,anywhere - Group work - Real-life issues. - Integration with the environment

Usage: Secondary School with Usage: special Secondary programs School in business with special programs in business Land Area: 10,000 ㎡ Land Area: 10,000 ㎡ Target users: 2,000 Target users: 2,000 Bussiness space Core Public space Other use

Building in Site 3 Space

Ground Building Floor in Site

Bussiness space Core Public space Other use

Upper Ground Level Floor

The Free University of Berlin, Candilis, Josic, Woods and Scheidhelm, 1963

Roof Upper Level Level

The Free University of Berlin, Candilis, Josic, The site Woods and Scheidhelm, facilities 1963

'Citicom' is located The in site a transit-rich 'Citicom' is part located of Adelaide in a transit-rich CBD, builtpart in the of Adelaide 1980s. Recently CBD, built the in the 1980s. Recently the have not kept up with facilities the development have not kept of up thewith area.the Since development the site was oforiginally the area. Since office the building, site was originally office building, it was decided to convert it into it was a new decided secondary to convert school it into withaspecial new secondary programsschool in business with special and two programs of the in business and two of the buildings were selected to provide buildings internship were selected space for to provide companies. internship The concept space for of 'mat companies. building' The will concept be of 'mat building' will be applied into the design process. applied It would into the be design makingprocess. full useItofwould the site's be making excellent full strcture use of to theprovide site's excellent a strcture to provide a diverse, flexible, healthy anddiverse, positiveflexible, learninghealthy environment and positive and atmosphere learning environment for its users.and atmosphere for its users.

Roof Level

h Wo o d s d e c l a re d tShhaat d ra c h Wo o d s d e c l a re d t h a t oundscraper organisation ‘In a groundscraper organisation possibilities of community greater possibilities of community hange are present without and exchange are present without ly sacrificing any tranquillity.’ necessarily sacrificing any tranquillity.’

Structure

Structural Column System Structural Column System Centraal Beheer off ice building, 1970s

cept Diagram

Centraal Beheer off ice building, 1970s

4 Concept Diagram

ulation

izing visual ysical access ridors and grounds to circulation for nce and safety

Circulation Flexibility CIRCULATION

M D ae sxiigmn i n z gi nfgo rv fius tuuarle aflexibility, n d p h y senabling i c a l a cspaces cess tto o be c oeasily r r i dmodified ors an and d seasier c h o ousage l g r ofor u nstudent ds to provide and staffscirculation for convenience and safety

Accessibility Flexibility FLEXIBLE

DOpen e s i g spaces n i n g fwith o r fflexible uture flexibility, entrances enabling and exits,as spaces to well be easily as specific modified dedsign and easier of students usage and for student teachers and withstaffs disabilities

ACTIVE

Accessibility Active MOpen a k e fspaces u l l u swith e o fflexible the n entrances a t u r a l v e nand t i l aexits,as tion, ensuring well as specific indoor quality dedsign and of thermal studentscomfort and teachers with disabilities

Integration Active

INTEGRATED

Combined with Make fu l l uoutdoor se of the conditions, n a t u r a l vincluding entilation, n a ensuring t u r a l l indoor i g h t aquality nd landscaping and thermal comfort

Functional Integration

FUNCTIONAL

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218

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Functional Foster students' sense of community and individuality, provide a "home base" for each student and teacher

Program Teaching Building

Teaching Building

Main education space

Internship Building

Providing business internship for students in a former office building by local companies

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Halls, labs etc.

School Canteen

Large enough space on the B1 floor for dining hall

219

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Alter deco looks to challenge our current vision of secondary school learning and the curriculum as a whole. Altering our understanding of schooling by applying a ‘stage’ (not age) learning curriculum, this adaptive reuse scheme proposes a transformation and extension of the old South Australian Harbours Board building on Mclaren Parade, Port Adelaide, into a marine and naval industries focused secondary school. Initial site explorations immediately identified strong themes of industrialisation and rich maritime history, as the name carved into the stucco of the gently curved facade so boldly stated. Further site and contextual research raised questions about the industrialisation that occurred during the rise of Port Adelaide and what effect that might have had on the SA school system. Recent statistics revealed that the limited number of students progressing to industry based learning such as TAFE was down to just 3.2%. The project therefore asks: Could this extraordinary gap between university students, on one hand, and TAFE students and those studying trades, on the other hand, be reduced significantly through the design of a different type and form of secondary school? Through a methodical investigation of the formal, tectonic and spatial characteristics of the Harbours Board building, a language and theme for the new scheme were developed. By shifting my idea of design research, using design as a tool for seeing and thinking, I was able to uncover the intricacies and character of the existing building. This has led to a design focused on looking towards the future and rethinking the art deco characteristics of the original front facade. Alter Deco revisits the Art Deco style with a more contemporary and fluid take, extending primary characteristics and features derived from the existing building to the larger waterfront site adjacent to create a substantially new campus supporting both academic and vocational training in marine sciences, technology and aquaculture. "/!

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MASTER OF ARCHITECTURE

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“A DESIGN FOCUSED ON LOOKING TOWARDS THE FUTURE AND RETHINKING THE ART DECO CHARACTERISTICS OF THE ORIGINAL FRONT FACADE.”

223

224

SYUAN-CIH LI

The Parkside Lunatic Asylum was opened by the SA government in 1870. It was once a place where those abandoned by society were confined. More recently, with the gradual decommissioning of the former hospital, the future use and/or redevelopment of the complex and its extensive grounds have been the focus of much discussion and debate by different professional, government, community and developer groups. Hypothetically reconsidering the decision to convert it into the film production studios and art school that a portion of the complex now serve, this project addresses the challenge of how these ‘difficult’ buildings could be repurposed into a particularly wonderful new public high school. The design tactic for this adaptive re-use project is to re-imagine these historic hospital buildings from the inside out; to create interesting and interactive learning spaces within, with as little change to the external structure and facades of the heritage buildings as possible. In the preliminary design research, investigation focused on the typology and atmosphere of the patient wards and other typical spaces of the original hospital using photo collages and other graphic techniques to capture and interpret the psychology and emotions evoked by these spaces. Further detailed study of window openings and the spatial dimensions and proportions of typical room types in the original buildings highlighted the significance of the quality of light in preserving the most positive spatial characteristics of the old building, and altering the more negative ones. The developed design consists of a series of further architectural experiments conducted primarily in section throughout the various blocks and wings of the complex. These explore the internal reorganisation of structure, opening voids and apertures, and tuning the light and shape of spaces to transform the once claustrophobic and fearful hospital wards into brighter, more welcoming and engaging learning spaces.

MASTER OF ARCHITECTURE

RE-IMAGINING AN ISOLATED HOSPITAL BUILDING AS NEW TYPE OF SCHOOL

SITE

225

226

“THE DESIGN EXPLORES THE INTERNAL REORGANISATION OF STRUCTURE, OPENING VOIDS AND APERTURES, AND TUNING THE LIGHT AND SHAPE OF SPACES”

227

228

SAMIR BARAKET

The projected North Terrace High School Campus is a proposal for the adaptive re-purposing of the 3 historically distinct buildings that comprise the site: Romilly House, North Terrace House and the North Terrace Warehouses across the main road. These buildings each speak in a very different architectural language and represent completely different and contradictory eras of architectural design. Romilly is the oldest, a late-Victorian structure decorated with classical Italian ornament. It was designed by Michael McMullen who was responsible for the East End Markets as well as many other buildings on Rundle Street. In contrast, ornament is completely abandoned in the neighbouring North Terrace House, designed in the 1950s by prominent Adelaide Modernist architect John Chappel. The strict and uniform lightweight glass façade of this multistorey office building proudly fronts North Terrace. However appropriately the modernist design principles of Chappel’s open-planning are re-deployed for learning purposes in the new scheme, McMullen’s intricate decoration captures the most interest in formal terms. A playful reprise of the classical ornament and aesthetic is therefore a key design driver. Expressing a sense of ‘journey’, physically and spatially, across the site, the scheme also reflects the personal journey and growth of adolescents who are learning not only in the classroom but in their day to day lives. Considering the energy of high school angst and the importance of culture in the lives of the youth, McMullen’s ornament is revisited in the upper-storey additions to his building, with new materials and critical attitude. Grotesquely distorted window shapes and forms define the edgy design aesthetic of the new High School. Arches are subtracted and warped and used only in shape. The use of translucent polycarbonate cladding to highlight sub-structure as a design feature thematically encourages students to understand how things are put together.

MASTER OF ARCHITECTURE

JOURNEY OF THE MIND

GENESIS

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“EXPRESSING A SENSE OF ‘JOURNEY’, PHYSICALLY AND SPATIALLY, ACROSS THE SITE, THE SCHEME ALSO REFLECTS THE PERSONAL JOURNEY AND GROWTH OF ADOLESCENTS WHO ARE LEARNING GROUND FLOOR PLANNOT 1: 200 @ A0 ONLY IN THE CLASSROOM BUT IN THEIR DAY TO DAY LIVES.” 0

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DOWN

231

STUDIO AMIT SRIVASTAVA

“IN SETTING UP A PROJECT IN OUTER SPACE, THE STUDIO REMOVES THE FRAMEWORK OF DESIGN AND CONSTRUCTION AVAILABLE TO STUDENTS IN A STANDARD URBAN PRACTICE, AND FORCES THEM TO DEAL WITH ALL ASPECTS OF THE DESIGN AND CONSTRUCTION PROCESS.”

232

SPACE ARCHITECTURE LAB (SAL) STUDENTS 236 242 246 250 256 260 264

Leyang Zhang Hanzhi Liu Bo Cui Chongming Wang Lik Hang Chan Echo Chen Monika Stankiewicz 233

Space Architecture Lab (SAL) was established in 2019 to mark the 50th anniversary of the Moon Landing and anticipating Adelaide as the new home of the Australian Space Agency (ASA). With the subsequent formation of the Andy Thomas Centre for Space Resources (ATCSR) at the University of Adelaide, the lab is now part of a university-wide network on space research and works with the Lunar Construction Group (LCG) and the Deep Space Habitation Group (DSHG) to consider challenges of human habitation on the Moon. NASA’s Artemis Program has set a goal to establish sustainable human presence on the Moon by the end of this decade, and there are countless architectural challenges on the way that need our attention. The SAL design research lies at the intersection of In-Situ Resource Utilisation (ISRU), Robotic Construction, and specific disciplinary challenges of Form and Tectonic Culture. The simple aim is to develop a new sustainable framework for construction with efficient use of new materials and technologies, that reduce dependencies on formwork. But the question of form also extends into issues of cultural development and aspirations. Here the project

particularly deals with the psychosocial effects of being in an extreme alien environment, and the role architecture can play in ensuring our psychological wellbeing for deep space habitation. This year the students were encouraged to engage with new materials and technologies being developed at the University of Adelaide. The new work on developing Laser Sintered Regolith as small building blocks has gathered international attention and offers a viable alternative to proposals of 3D printing on the Moon. Students were encouraged to engage this material in their design process and develop ways of deploying the material without use of traditional labour or formwork. The students also collaborated with researchers in mechanical engineering on the new work being done in the area of swarm robotics and specially the use of soft robots. Once again, these new technologies were considered in reconceptualising the entire production process and the unique challenges of construction logistics posited by being in the lunar context. Beyond these technological opportunities and challenges, the students needed to consider

“WITH THE SUBSEQUENT FORMATION OF THE ANDY THOMAS CENTRE FOR SPACE RESOURCES (ATCSR) AT THE UNIVERSITY OF ADELAIDE, THE LAB IS NOW PART OF A UNIVERSITY-WIDE NETWORK ON SPACE RESEARCH AND WORKS WITH THE LUNAR CONSTRUCTION GROUP (LCG) AND THE DEEP SPACE HABITATION GROUP (DSHG) TO CONSIDER CHALLENGES OF HUMAN HABITATION ON THE MOON. ”

234

unfamiliar environmental concerns such as cosmic radiation or micrometeorite attacks, and completely rethink any assumed formal or construction language that they may have employed on Earth. But in doing so, they needed to be mindful of the existing flows of tectonic culture that will continue to define our approach to materials and form. They further needed to account for the impact of this extra-terrestrial environment on the human body, including patterns of mobility and physical confinement, to modify their approach to internal programming and spatial design. Finally, the design process was also affected by the psychological considerations of isolation, proximity, and conflict to explore architectural responses for psycho-social wellbeing. The Final Architecture Project offers an opportunity to both inspire and challenge the students through the establishment of a unique design project. Beyond setting up an inspiring and exciting design opportunity, this process also tests the limits of disciplinary knowledge and challenges any inherent assumptions about the profession. By setting up a project in outer space, we have removed the framework of design and

construction available to students in a standard urban practice and forced them to deal with all aspects of the design and construction process. A complete systemic approach to construction that looks at bringing together automation, materiality and form development will provide considerable benefits for defining the next era of design activities on Earth. Furthermore, the insights into human psychological wellbeing in extreme environments of the Moon will provide a basis for creating better solutions for human habitation in remote conditions like mining, or simply enhancing psycho-social behaviour through design. It is expected that understanding these aspects of the discipline in an alien environment will make the students more attuned to the importance of continually innovating and updating disciplinary understanding and set them up for the profession of the future. DR AMIT SRIVASTAVA Studio Leader

235

236

LEYANG ZHANG

This project aims to explore the impact of new movement patterns which are specific to the lunar environment. Recent developments in structural and design computation have already started challenging the planar geometries of modern architecture. Architects such as Claude Parent, Paul Virilio and Frei Otto have all conducted experiments on the integration of vertical and horizontal movement. More recently, in Toyo Ito’s Taichung Opera House, the floor and walls have lost all distinction. Unfortunately, however, all these projects are limited in fully exploring this integration of surfaces, as some of the anticipated movement patterns are simply not possible on Earth. With a gravity that is only one-sixth of that on Earth, the Moon offers new design opportunities. Architectural elements and spaces are intimately connected with the capacities of human mobility. So, the project uses new patterns of mobility as a basis to explore the corresponding changes in form, scale and boundary and allow for a new architectural and spatial language to emerge. It starts with developing a library of movement patterns on the moon and combines them with corresponding continuous minimal surface forms. It further combines strategies from FOA and OMA to create new programmatic responses. Using FOA’s penchant for unique architectural form through circulation diagram and OMA’s integration of disparate functions using stacking, it offers a solution for a new Lunar Materials Laboratory. The facility provides for specialized scientists who might only be present on the moon for a short term, but also for long-term workers who will be responsible for testing and construction. The daily work cycle of these two different types of user groups provide various circulation patterns, the intersection of these with the movement library and the corresponding continuous minimal surface forms is used to develop the final structure.

MASTER OF ARCHITECTURE

UNDER 1/6

GENESIS MOON MOVEMENT

237

“THE PROJECT STARTS WITH DEVELOPING A LIBRARY OF MOVEMENT PATTERNS ON THE MOON AND COMBINES THEM WITH CORRESPONDING CONTINUOUS MINIMAL SURFACE FORMS.”

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239

240

241

242

HANZHI LIU

This project examines the psychological impact of isolation, social conflicts, and physical confinement, and explores the potential of inflatable capsule structures, under a hypothetical lunar exploration scenario, situated beneath the lunar surface, inside a lava tube. The project continuously reconsiders the desig process and leads to a fuzzy resolution. On the one hand, there is a level of precision required for mechanical resolution of sizing and scaling that create ergonomically oriented and efficient capsules to satisfy basic human needs, which could be almost described as technophilic. Yet, on the other hand, the psychological challenges presented by isolation, physical confinement, and lack of resources present constant pressures on the design. Here, the touch of soft, textured, and expandable volumes is used to diminish the harsh precision of the engineering. It provides fuzziness, but also a physical and metaphorical transparency through the layers of fabrics and skins that continuously redefine the physical space and the social context developing within. Similar to the undefined nature of the design process, the hypothetical expedition taking place under the lunar surface also proposes hard to resolve social challenges, which adds to the complexity of the project. Here we return to the psychological studies of arctic missions where the physical confinement often led the explorer to adopt isolation in exchange for privacy. A whole new scope of inquiry opens up that uses this fuzziness of human psychological states to map the emerging divisions between otherwise undefined spaces. The fabric based system adapts through providing for a transparent, expandable, communal space; translucent habitation modules; and solid confined personal capsules, as the scenario might require. In a sense, the fuzzy logic of the formal configuration is defined by the variable nature of socialising individuals, acknowledging the intricacy of an ever-deteriorating social context within the nearly everlasting underground survey mission.

MASTER OF ARCHITECTURE

20,000 MILES BENEATH

CONCEPT

243

244

“A WHOLE NEW SCOPE OF INQUIRY OPENS UP THAT USES THE FUZZINESS OF HUMAN PSYCHOLOGICAL STATES TO MAP THE EMERGING DIVISIONS BETWEEN OTHERWISE UNDEFINED SPACES.”

245

246

BO CUI

This project explores the possibilities of textiles or fabric as a solution for construction on the Moon. As a lightweight and highly engineered material, textiles can be developed to address the structural and environmental needs of lunar habitation. They are also extremely efficient in terms of packing volume and can be easily transported as part of the payload. Considering the extreme costs related to transportation of materials from earth, this can provide a cost-efficient solution to the problem of building on the Moon. There are already existing proposals that rely on inflatable living modules to regulate the needs of internal air pressure on the moon. But I am also proposing an interwoven pneumatic system that will provide a rigid structural support to the overall architectural edifice. For developing this interwoven pattern, I conducted research into the cultural practices and patterns of weaving. Using various Chinese weaving patterns, I developed a way to weave the pneumatic structure and propose a system that would provide a rigid support for the outer layer. Of course, any structure on the moon must deal with hard environmental conditions and provide protection from radiation and micrometeorites. So, the pneumatic membrane will need to be covered with a thick layer of regolith. Here I have employed architect Nader Khalili’s proposition for Super Adobe, presented to NASA in the 1980s, which uses a sandbag system for the outer shell. We can carry textile bags from earth which will be filled with lunar regolith and used as a compressive building system. The overall structure is topped with a cupola that modulates the harsh sunlight before allowing it into the building. Human culture, including architecture, has forever experimented with textiles, and this project intends to take this language of Textile Tectonics to the Moon.

MASTER OF ARCHITECTURE

TEXTILE TECTONICS LAB

CONCEPT INFLATION SYSTEM

247

CHINESE WEAVING

OUTER SHELL

INNER SHELL

248

“USING VARIOUS CHINESE WEAVING PATTERNS, THE PROJECT PROPOSES A WAY TO WEAVE THE PNEUMATIC STRUCTURE AND PROPOSE A SYSTEM THAT WOULD PROVIDE A RIGID SUPPORT FOR THE OUTER LAYER.”

249

250

1969

CHONGMING WANG

This project is driven by the human pursuit of eternity and hope for the future. The flooding of the Svalbard Seed Bank in the Arctic brings new meaning to the fragility of human endeavours on Earth and the impact of Climate Change. In comparison, the otherwise harsh environment of the moon seems to provide a sense of permanence and continuity, with the marks of Apollo 11 still preserved. So, the project aims to employ the moon as an eternal repository and create a plant laboratory and seed bank to preserve human knowledge. The design uses the symbolic representation of the natural cycle of life to create a structure that becomes a beacon for humanity and offers a sense of hope for a timeless future. Taking Armstrong’s first footprint on the moon as a starting point, the design brings together all the architectural elements to emphasise its importance and create a memorial to the human spirit. This is further defined by a central reflecting element floating above the footprint that can be used for Lunar Laser Ranging. As a laser beam sent from Earth is reflected back the whole external ring lights up and the entire phenomenon can be observed through an astronomical telescope. Underneath the footprint in the centre is located a seed bank where the seeds collected from the surrounding biological laboratory are stored. The building uses modular construction, with a 3D printed regolith-based foundation and prefabricated aluminium panelling systems. The surrounding laboratory is used for researching space agriculture and the various sections are designed around the life cycle of plants. This expands the impact of the first footprint and indicates our desire to create a new ecology where plants can thrive besides the first humans on the moon.

MASTER OF ARCHITECTURE

REINCARNATION

GENESIS

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Food product storge FOOD PRODUCT STORAGE Daily storge DAILY NECESSITIES STORAGE Bed necessities Food product storge WORKBENCH Workbench Daily necessities storge Memorial sofa MEMORIAL SOFA Workbench Memorial sofa KITCHENKitchen MODULEmodule

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GROUND FLOOR PLAN PREFABRICATED SPLICABLE BOARD Prefabricated splicable board

252

FIRST FLOOR PLAN

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Center SeedSEED bankBANK plan 1:500 CENTRE

“TAKING ARMSTRONG’S FIRST FOOTPRINT ON THE MOON AS A STARTING POINT, THE DESIGN BRINGS TOGETHER ALL THE ARCHITECTURAL ELEMENTS TO EMPHASISE ITS IMPORTANCE AND CREATE A MEMORIAL TO THE HUMAN SPIRIT. ”

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253

254

255

256

LIK HANG CHAN

Light is the essence of life. Sunlight is not only the main source of energy for all living organisms, but it also has many specific benefits for human physical and mental health. However, in the lunar context, we need to consider the lack of atmosphere which leads to extreme heat and solar radiation, and does not allow for easy access to sunlight. This design aims to provide a range of solutions for the lunar environment that can address the human psychological need for light, colour and texture. The design process started with analysing a series of precedents that manipulated light in various ways to create different internal atmospheres. A sub-selection of fifteen (15) lighting atmospheres were reconstructed using sections and rendering to further understand the architectural processes of manipulating light. The final form emerged as a combination of these digital models and atmospheric renderings. The building is located at the rim of Shackleton Crater near Moon’s south pole, where the sun is always close to the horizon and provides dramatic light. The overall aim is to create a ‘light journey’ for the inhabitants and various programs are designated to the various sections to align with the corresponding atmosphere. Light is not the only medium to create atmosphere, so colour and texture also play an important role. By using a range of colours for the interiors, the spatial sequence is further enhanced. The textures and the play of light and shadow also creates a sense of drama. Architecture on the moon requires a complete rethink of our assumptions about spatial design and a lot more consideration will be required. But this sunlightoriented experiment can at least begin to unpack the complex task of addressing human spatial and psychological needs on the moon.

MASTER OF ARCHITECTURE

LIGHT IN THE DARKNESS

Genesis

GENESIS

Compressed and Rigid Living Environment in Space

257

“THE DESIGN PROCESS STARTED WITH ANALYSING A SERIES OF PRECEDENTS THAT MANIPULATED LIGHT IN VARIOUS WAYS TO CREATE DIFFERENT INTERNAL ATMOSPHERES.”

Sunligh

Ground Floor Plan

C E

Images

258

cept ncept veloped cept

Sunlight Manipulations

n how sunlight be manipulated eveloped on how sunlight be manipulated veloped n how sunlight be manipulated

ncept

eveloped n how sunlight be manipulated

li Sun ght

Ma n ipul ns atio D

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3. INTERLOCKING TILES

3. Interlocking Tiles

3. Interlocking Tiles 2. Pattern System

2. PATTERN SYSTEM

2. Pattern System

2. Pattern System 1. Inflatable Modules

1. Inflatable Modules

1. 1. INFLATABLE MODULES

260

Inflatable Modules

ECHO CHEN

MASTER OF ARCHITECTURE

TILING PONDS

GENESIS 5. FABRICATION

Fabrication - Interloc Tiles

4. REALISATION

Fabrication - Interloc Tiles 4. Realization - Tiling System 5.

Fabrication - Interloc 4. Tiles Realization - Tiling

3. TESSELLATION PATTERN

System 3. 5. Materialization Fabrication - Interloc Tessellation Pattern Tiles 4. 5. Realization - Tiling Fabrication - Interlock 3. System Tiles Materialization -

Tessellation Pattern 2. 4. Control Diagrams Realization - Tiling Surface System 3. 4. Materialization Realization - Tiling 2. Tessellation Pattern System Control Diagrams -

2. SURFACE CONTROL DIAGRAM

Surface 1. 3. Input - Skeleton Materialization -

Tessellation Pattern 2. 3. Control Diagrams Materialization 1. Surface Tessellation Pattern Input - Skeleton 2. Control Diagrams Surface

1. INPUT SKELETON

1. 2. Input - Skeleton Control Diagrams Surface

1. Input - Skeleton

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POINT

SKELETON

MEDIAL AXIS

PRUNING

QUAD DIVIDE

CURVE

MEDIAL AXIS

CLOSING

HEX DIVIDE

SURFACE

MEDIAL AXIS

GRAPHING

DIAMOND DIVIDE DIVIDE MESH

3 6 8 1 2 8 7

262

COURSE MESH

DENSE MESH

1.AIRLOCK 2. SOFT HATCH 3. LIVING 4. CREW QUARTERS 5. CREW UNIT 6. WORKING LAB 7. MAINTENANCE AND REPAIRS 8. GEOTECHNICAL ENGINEERING 9. METALLURGY LAB

TESSELLATING

DENSIFY PARAMETERS

“AS A LIGHTWEIGHT AND HIGHLY ENGINEERED MATERIAL, TEXTILES CAN BE DEVELOPED TO ADDRESS THE STRUCTURAL AND ENVIRONMENTAL NEEDS OF LUNAR HABITATION.”

2 3

6 7

2 10

4 10

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EARTH - CORBELLING AS VERNACULAR PRECEDENT

MOON - ZERO GRAVITY CORBELLING PROPOSAL

264

MONIKA STANKIEWICZ

With ARTEMIS, we are getting boots on the Moon by 2024. However, to sustain a longer-term presence, we need to develop an in-situ lunar architecture that can both protect and outlast our people. Some of these challenges are similar to what our nomadic ancestors faced, having to build shelters in remote environments with limited resources. Except, this is under more extreme conditions, after all our inhabitants cannot simply walk outside to expand or even repair their base. They must rely on their robotic companions to do the heavy lifting, building, and repair traditionally done with human labour. The Tantalus Domes project explores the design of a lunar base that has expanded from an initial outpost, into a large scale geotech and materials research station using an innovative mortarless lunar-masonry based construction system. This system has been designed to be resilient against micrometeoroids, easily buildable and repairable by robots, and capable of having one or more parts removed without structural collapse. This system introduces a vernacular lunar robotic architectural language. As the nomadic people in Aleppo or the monks of Skellig Michael once did, this project proposes to use the most commonly available local material in the construction of its buildings – lunar regolith – which can be formed into solar-sintered bricks like those under development at the University of Adelaide. In using these bricks, we can employ a system of corbelling to create forms that flow above and below the lunar surface, and when blended with prefabricated elements from Earth, create diverse psychologically satisfying spaces that reference how far we’ve come since building the Treasury of Atreus. Much like Tantalus who reaches for nourishment, the technology required to realise this project is just out of reach, but it is in the spirit of humanity that we persevere.

MASTER OF LANDSCAPE ARCHITECTURE

TANTALUS DOMES

GENESIS MOON MASONRY

Sintered highland regolith blocks (shaping varies based on structure)

Sintered mare regolith blocks (standardised)

Block pattern optimised for ease of replaceability of blocks

265

S p

CORBELLED DOMES ANALYSIS Corbelled domes act as a ‘false dome’ with its structure relying on receiving a purely compressive force to transmit the load down and hold its own components in place

Corbelling rules of thumb, overhanging and compressive force respectively, where 12, 10, 8 and 5 are used to provide the support for 11 and 9.

Above far right: curves theoretically possible with a single stack of bricks, with varying block lengths or heights following the curvature ratio rules as set up in the grasshopper code. With compressive force from lunar regolith, the creation of ‘free-standing’ curved wall interiors without building an entire dome is possible.

Initial iteration of variations of combinations of potential domes.

Overhanging rule of thumb translated into grasshopper which was then used to vary the height or width of the blocks

“AS THE NOMADIC PEOPLE IN ALEPPO OR THE MONKS OF SKELLIG MICHAEL ONCE DID, THIS PROJECT PROPOSES TO USE THE MOST COMMONLY AVAILABLE LOCAL MATERIAL IN THE CONSTRUCTION OF ITS BUILDINGS – LUNAR REGOLITH”

266

LEVEL 2

LEVEL 5

LEVEL 1

LEVEL 5

LEVEL B1

LEVEL 4

LEVEL B2

LEVEL 3

267

JO RUSSELL-CLARKE - STUDIO FRAHN’S FARM

TANYA COURT - STUDIO ROXBY

SCOTT HAWKEN - SOLAR NEXUS STUDIO: EMERGING CHALLENGES FOR LANDSCAPE ARCHITECTURE AND PLANNING

268

Final Landscape Architecture Project is a self-directed design studio in which students are asked to develop a landscape architectural proposition in response to the sites and themes raised by the studio. This year students worked with studio leaders on three sites, two of which have an important arid and water focus: Studio Roxby led by Dr Tanya Court at Roxby Downs, Studio Solar Nexus led by Dr Scott Hawken based at Port Augusta and Studio Franh’s Farm in Monarto led by Dr Jo Russell-Clarke. This structure gives the students a wide variety of contemporary landscape architectural topics to explore, from the ecological to historical, social, political and economic concerns. This year’s sites coincidentally had strong aboriginal, soil and water issues to consider. The design project progresses along with the student’s own areas of curiosity and investigation. The role of the studio leader is to support and guide the students in their design research. The final presentation is to a panel including members of the landscape architectural profession along with invited community and allied professional guests.

LANDSCAPE ARCHITECTURE

MASTERS OF LANDSCAPE ARCHITECTURE

269

Students undertaking the urban design project did so within the landscape architecture studio groups.

270

URBAN DESIGN MASTERS OF PLANNING (URBAN DESIGN) The Urban Design Project is regarded as the capstone design studio for students in the M.Planning (Urban Design) program. The course focuses on the definition, development and description of a major culminating urban design project that both challenges and demonstrates students’ skills in and knowledge of urban design. The project will be of moderate complexity, negotiating issues at several scales and alert to multiple social, political and biophysical environmental and engineering contexts. Responses should demonstrate familiarity with common processes and competency in typical phases of urban design thought and practice. The final presentation should show thorough integration of all major urban design considerations as taught in the academic program and be inclusive of relevant broader planning knowledge. 271

JO RUSSELL-CLARK

“THE STUDIO ASKED FOR EXPLORATION OF MORE SOPHISTICATED APPROACHES TO BIG, COMPLEX AND SHIFTING LANDSCAPE PROBLEMS THAN EITHER SIMPLE ‘HANDSOFF’ OR ‘HAND-ON’ ATTITUDES TO HUMAN INTERVENTION.”

272

STUDI0 FRAHN’S FARM STUDENTS 276 282 288 292 296

Nadia Jamal Mitchell Lobb Eleanor Hughes Rachel Stuppos Olyvia Solomon 273

The Frahn’s Farm studio asked students to consider the role that landscape architecture can play in developing stronger and better integrated plans for rural site regeneration, including human occupation and interaction in new, positive ways. The woodland ecosystems of the Adelaide Hills are under threat from land-clearing, weeds and climate change. Frahn’s Farm is a 550ha property located near Monarto. It is the major project site of habitat restoration undertaken by non-profit group Bio-R led by Director and University of Adelaide Associate Professor Dr David Paton AM. This initiative aims “to drive the restoration of woodlands in heavily cleared landscapes of South Australia to arrest the ongoing and imminent decline of native species.” A particular focus is reversing the troubling decline of woodland bird species. What role can landscape architects have in such projects? The studio asked for exploration of more sophisticated approaches to big, complex and shifting landscape problems than either simple ‘handsoff’ or ‘hand-on’ attitudes to human intervention. While regeneration is a key aim, additional, complementary uses might include accommodation, education or entertainment events, amongst other activities that can assist in appreciation of the work, raising revenue and awareness as well as enjoyment of good landscape outcomes.

Following site visits and research of local histories, students developed a range of programs that built on evolving knowledge of several key interests. Mitchell Lobb’s Friendly Fire envisaged an experimental research site translocating eight Australian environment types that could educate the public on the importance of traditional owner land management techniques. Much is still being learnt about cultural burning as a new tool for fuel reduction. However, the site is not only a living laboratory for long-term trials. It also provides unique and provocative experiences of how landscapes respond to friendly fire. A complex, emerging threat to the health of many landscapes is disposal of human bodies. Toxic practices and limited space are addressed by Olyvia Solomon’s Death as Nature. Incorporating natural burial, native cut flower farms and native bee conservation, the project develops an integrated process for long-term regeneration of Frahn’s Farm. It also appeals to a growing interest in environmentally sensitive death practices, as well as creating a range of appealing spaces appropriate for different types of memorialisation, reflection and gathering. Inspired by research into local Indigenous history, Eleanor Hughes developed MABOC: The Queen Monarta Aboriginal Birthing on country Centre. Hughes’ careful

“THE WORK OF LANDSCAPE ARCHITECTS IS MOST VALUABLE IN SHOWING HOW SITES MIGHT APPEAL TO MANY INTEREST GROUPS”

274

consultation with a range Indigenous and healthcare professionals led to a proposal comprising four areas: the indoor birthing hub, outdoor birthing area, childcare and classes space, and an area for sorry business. The proposal is a prototype for further such facilities to be designed with Aboriginal women and community, seeking to “empower women, maintain connection to Country and enable cultural birthing practices to occur in a safe and comfortable environment”. Rachel Stuppos’ National Indigenous Cultural Centre for Artists of Today was another project that explored the possibilities of supporting Aboriginal culture. Considering that Country is the source of physical as well as cultural and spiritual succour, Stuppos discovered a wealth of diverse achievement across the spectrum of artistic media today, along with a growing popular interest in Indigenous practices. Linked to known festival programs, the proposal connected a landscape of purpose-grown native species, to workshops, outdoor galleries, exhibition spaces and a sculpture trail, an amphitheatre for performance and events, as well as on-site camping accommodation. In Exploring birds in their natural habitats, Nadia Jamal has addressed the primary concern of Bio-R and aim of Frahn’s Farm. The design proposes a spine of five different habitats through the centre

of the site, linked by an existing road in a rare consideration of the common – sometimes convenient and sometimes necessary – mode of experiencing environments from the car. Each habitat is planted to attract particular species and offers carefully located viewing moments, intended to minimise disturbance to the birds. “Opportunities for bird watching include elevated, sunken and ground hides, parking areas designed for car hides, vehicle and foot paths, elevated and sunken walkways, as well as strategic seating and camping.” A twitchers delight! These and other proposals for Frahn’s Farm reveal the many possibilities for integration of fascinating and fun site engagement with environmental rehabilitation. The work of landscape architects is most valuable in showing how sites might appeal to many interest groups through integration of complementary programs and raising awareness, particularly at the local level. To arrest further degradation and disappearance, the multiple threats to our remaining endemic landscapes need to be tackled by as many supporters with as many strategies as possible. This year’s final projects give us cause for hope. DR. JO RUSSELL-CLARK Studio Leader

275

OPEN GRASSY WOODLANDS

MIXED WOODLANDS

MALLEE WOODLANDS

HEATHLANDS

GRASSLANDS

276

NADIA JAMAL

The core aim of this project is to reconstruct bird habitat on site to reverse the decline in woodland bird species and attract people to the site by offering bird watching as a carefully curated program of different opportunities. The reconstruction of bird habitats on site including food, shelter and water - is crucial to conserve the species that exist on site and to attract more species. Providing access to focused habitat reconstruction also raises awareness of the crucial role of habitat loss in the decline of bird species. Visitors will be encouraged to appreciate birds in their natural habitats and experience the beauty and importance of the habitats themselves. The project proposes the reconstruction of a sequence of different regional bird habitats including grasslands, heathlands, mallee woodlands, mixed woodlands and open grassy woodlands. The focus on woodlands reflects the aim of Frahn’s Farm rehabilitation works for woodland birds. The presence of people on site is concealed within the landscape through a variety of techniques to prevent disruption for the birds and to enhance the bird watching experience. Opportunities for bird watching include elevated, sunken and ground hides, parking areas designed for car hides, vehicle and foot paths, elevated and sunken walkways, as well as strategic seating and camping. The conditions within each habitat – including vegetation type, structure and density – are designed to conceal the presence of people and provide distinct experiences for bird watching throughout the site. The habitats are positioned along the main central road of the site to provide people with a visual experience of the different habitats as they move directly through the landscape. In each habitat vehicle paths provide a direct route through the habitat. Drivers and their passengers can pull over and bird watch from their car, moving through the sequence of habitats, Parking allows bird watching in vehicles for extended periods. Foot paths and seating allow for bird watching while moving slowly through the habitat, while bird hides offer undisturbed bird watching at leisure. Camping allows people to remain within the habitat until their bird watching experience is sated.

MASTER OF LANDSCAPE ARCHITECTURE

EXPLORING BIRDS IN THEIR NATURAL HABITATS

CONCEPT VEGETATION HEIGHT TYPOLOGIES

277

“THE PROJECT PROPOSES THE RECONSTRUCTION OF A SEQUENCE OF DIFFERENT REGIONAL BIRD HABITATS INCLUDING GRASSLANDS, HEATHLANDS, MALLEE WOODLANDS, MIXED WOODLANDS AND OPEN GRASSY WOODLANDS.” 278

OPEN GRASSY WOODLANDS

MIXED WOODLANDS

MALLEE WOODLANDS

HEATHLANDS

GRASSLANDS

279

280

281

282

DDA PATH

MAIN PATHWAY

OVERGROWN

ESPERANCE MALLEE

BUFFER ZONE

FIRE BUFFER ZONE

MAIN PATHWAY

EXISTING ZONE

SOUTHWEST AUSTRALIA SAVANNA

RECENTLY BURNT

MITCHELL LOBB

Australia burns every year. What can we do about it? By educating the public on the importance of traditional owner land management techniques, demonstrating the effectiveness of these techniques and revising our current approach, the project aims to re-introduce traditional owner land management techniques to bush and rural land Australia-wide. This is done by experimentally demonstrating eight distinct environments from around Australia, each from different climates comprising different native flora, and introducing them to suitable locations across the site at Frahn’s Farm. Cultural burning is the key land management technique of the project, which was utilised well before settlement in Australia. It is the practice of burning overgrown shrubs and understory in a controlled, ‘cool’ manner, thereby reducing the severity of naturally occurring bushfires. Layouts on site were derived from the existing Frahn’s Farm restoration plan and addressed the existing goals of establishing a minimum of 100 species of flora on site. Reconstructing and improving habitat on site for fauna, the Farm aims to reach 80% restoration of habitat on site and reduce the critical decline of woodland bird species. These points were key drivers for initial design processes, and effort was made to ensure they were all met. This limited the project site to the southern half of Frahn’s Farm. Each environment location on site was separated by key pathways that connect the north to the south. Each pathway not only provides access but acts as a fire buffer zone, also splitting the environments into burn zones that can be burnt at different stages to demonstrate multiple stages of re-growth for each. Secondary pathways are also located through each environment, providing complete DDA access from north to south at a slope less than standards require. These considerations have created a plan for a cultural burning precinct that demonstrates different stages of burning for key environments across most of Australia’s states. It offers an experimental research site that educates the public on the importance of this cultural burning and provides unique and provocative experiences of landscape responses to friendly fire.

MASTER OF LANDSCAPE ARCHITECTURE

FRIENDLY FIRE

GENESIS FIRE PATHWAYS

283

“EACH PATHWAY NOT ONLY PROVIDES ACCESS BUT ACTS AS A FIRE BUFFER ZONE, ALSO SPLITTING THE ENVIRONMENTS INTO BURN ZONES THAT CAN BE BURNT AT DIFFERENT STAGES TO DEMONSTRATE MULTIPLE STAGES OF RE-GROWTH FOR EACH.” 1. MAIN ACCESS 2. MAIN PATHWAYS 3. DDA PATHWAYS 4. CARPARK 5. EXISTING VEGETATION 6. MITCHELL GRASS DOWNS 7. CARPENTARIA TROPICAL SAVANNA 8. SOUTHWEST AUSTRALIA SAVANNA 9. ESPERANCE MALLEE 10. MURRAY DARLING WOODLANDS + MALLEE 11. SOUTHEAST AUSTRALIAN TEMPERATE SAVANNA 12. WEST AUSTRALIA MULGA SHRUBLAND 13. NULLARBOR PLAINS

284

5 3 2

2 3

S2 3 6

7 2 5

285

286

287

288

Cultural Warning: People of Aboriginal and/or Torres Strait Islander descent are advised that this project may contain images or names of people who are deceased.

ELEANOR HUGHES

Cultural Acknowledgement: I acknowledge and respect the traditional owners of the land in which this site and project lays, the Ngarrindjeri people, and pay respect to other groups nearby.

MASTER OF LANDSCAPE ARCHITECTURE

MABOC: QUEEN MONARTA ABORIGINAL BIRTHING ON COUNTRY CENTRE

The Queen Monarta Aboriginal Birthing on Country Centre (MABOC) is focused on designing with Aboriginal women and community to create a safe space for Birthing on Country. It is designed to empower women, maintain connection to Country and enable cultural birthing practices to occur in a safe and comfortable environment. The design is proposed as a prototype for a design-based program that could be modified and applied to other locations. The main criteria when designing this centre was to give women and visiting family and friends options and How personal, first-ha control over their birthing experience. to design principles th The concept and subsequent design were driven by four key factors: The connection to environmental PRINCIPLES rehabilitation through BioR, the history of Queen Monarta, the area’s high Aboriginal population, and the push for revival of How personal, first-hand interviews and l culture and practices. To create a culturally sensitive design, to design principles that underpinned the members of the local Aboriginal and midwifery community were consulted. The design includes four main areas: the EASE EASE Indoor birthing hub, outdoor birthing area, childcare and One level, minimal Provi classes space, and the area for sorry business. Through How personal, first-hand interviews and levellearning changes andtranslate ‘hom steps. doesn to design principles thefordesign the consultation five key principles were developed that that underpinnedneed influenced the design of each of the aforementioned spaces: ease of movement, creation of ‘homely’ and comfortable HOME EASE HOME FA environment, familiarity in the environment and plantingOne level, minimal Provide comfortable Utilis How personal,and first-hand interviews and levellearning changes andtranslate ‘homely space’ that provi used, focus on community connection, the importance of steps. doesn’t feel clinical. as wi to design principles that underpinnedneed thefor design provi healing through space and connection to Country. and f envir The indoor birthing hub is designed as a safe FAMILIAR and ‘homely’ environment with views and connection EASE HOME FAMILIAR CO One level,to minimal Desi to surroundingHow landscape and to allow women feel Provide comfortable Utilise vegetation to personal, first-hand interviews and levellearning changes andtranslate ‘homely space’ that provide shade, act large need steps. as windbreak and and i supported andtodevelop a rapport with medical staff. The doesn’t feel clinical. design principles that underpinned thefor design provide connection comm and familiar in m outdoor birthing area is designed to be a comfortable and environment. private space directly connected to the landscape that is COMMUNITY EASEfor seatedHOME COMMUNITY H welcoming for families with areas gathering, FAMILIAR One level, minimal Provide comfortable Utilise vegetation to Design space with Focu ceremony and sharing stories. Finally, the‘homely place for level changes and space’ that Sorry provide shade, act large family groups and re need for steps. doesn’t feel clinical. windbreak and and importance of rathe Business is an area for healing and quiet reflection withasprovide connection community networks on sa familiar in mind. minimal focus on negative aspects of grief, but rather onand environment. presence in landscape and taking time to relax. HEAL

LEARNI

LEARNING I

LEARNING IN PRI

LEARNING IN PRINCIPL

LEARNING IN PRINCIPLES

EASE

HOME

FAMILIAR

One level, minimal level changes and

Provide comfortable ‘homely space’ that

Utilise vegetation to provide shade, act

COMMUNITY Design space with large family groups

HEAL

Focus on healing289 and reflection spaces

d 5

Entry to MABOC Ambulance/emergency entrance + parking Public carparking Indoor hub entrance + yarning circle Indoor birthing suites Childcare + perinatal classes OUTDOOR BIRTHING AREA

Hard-surface play space + court

290

Outdoor birthing pods

EUCALYPTUS FASCICULOSA (PINK GUM)

RED GRAVEL SECONDARY PATH

Lawn area for outdoor classes BRACHYCHITON RUPESTRIS (QUEENSLAND BOTTLE TREE)

RAMMED EARTH SEATING

EXISTING GRASSY GROUNDCOVER

EXPOSED AGGREGATE MAIN PATH

1. MAIN EXPOSED AGGREGATE CONCRETE PATH 2. SECONDARY RED GRAVEL PATHS 3. OUTDOOR BIRTHING SUITES/PODS 4. GARDEN BEDS WITHIN EXISTING GRASS/GROUNDCOVER ON SITE 5. LARGE RAMMED EARTH YARNING CIRCLE AND FIRE PIT

Shelters over Sorry Business space Remnant Vegetation

4 3

8 12

9 11

6 10

AA 7

0 0m

20 20

SITE PLAN 1. ENTRY TO MABOC 2. AMBULANCE/EMERGENCY ENTRANCE PARKING 3. PUBLIC CARPARKING 4. INDOOR HUB ENTRANCE + YARNING CIRCLE 5. INDOOR BIRTHING SUITES 6. CHILDCARE + PERINATAL SUITES 7. HARD-SURFACE PLAY SPACE + COURT 8. LAWN AREA FOR OUTDOOR CLASSES 9. OUTDOOR BIRTHING PODS 10. LARGE YARNING CIRCLE + FIRE PIT 11. SHELTERS OVER SORRY BUSINESS SPACE 12. REMNANT VEGETATION

50M 50

“THE OUTDOOR BIRTHING AREA IS DESIGNED TO BE A COMFORTABLE AND PRIVATE SPACE DIRECTLY CONNECTED TO THE LANDSCAPE THAT IS WELCOMING FOR FAMILIES WITH AREAS FOR SEATED GATHERING, CEREMONY AND SHARING STORIES.”

291

292

RACHEL STUPPOS

The National Indigenous Cultural Centre for Artists of Today is a place to showcase, celebrate and learn from living Indigenous artists of today. The site design was driven by research into artistic practices that occur on the land. Through a deep analysis of today’s Indigenous arts, a program was created which explored how visitors could experience the full cycle of production and creation of some Indigenous arts forms through the site’s planting palette. Ideally visitors would attend workshops with an artist in residence, pick the plants that they would need in their artwork and see how a plant can be transformed into a work of art. These workshops will take place in one of ten individually and purposely designed studio spaces that cater to the needs of the art-form that it hosts. Key plants will be grown in a native ‘orchard‘ and an amphitheatre will offer opportunities for display and opening events as well as performances. A Gallery Wall can accommodate changing displays of hanging art while a central zone hosts light and digital art installations. An accommodation area was also considered, with cabin and camping facilities to give visitors and artists who have travelled to work and see the site a nearby place to stay. The site will work in partnership with nearby cultural centre, Ukaria, and Jurlique to fund operations. In return, the site will explore, with the assistance of a cultural advisor, opportunities for Jurlique to create a new range of products using only native products. The Indigenous Cultural Centre will also work with other philanthropic bodies such as the Adelaide Festival and Tarnanthi, and places where art therapy could be vital – such as the nearby Indigenous rehabilitation centres, schools, and community centres. Additionally, the project can enhance landscape architecture and art that celebrates Aboriginal culture by providing scholarships and design competitions for university students to design an aspect of the site, including the network of small locations along the sculpture trail, in collaboration with an Indigenous artist.

MASTER OF LANDSCAPE ARCHITECTURE

NATIONAL INDIGENOUS CULTURAL CENTRE FOR ARTISTS OF TODAY

GENESIS

Orchard

Banksia integrifolia Coast Banksia

Garden Bed

ORCHARD

Dropping leafs

Tracing around the leafs

Rationalising

293

11 1

6 2

7 43

3 16

1 12 5

18 17

8 9

GROUND SURFACE TREATMENTS

Ground Surface Treatments

DIRT PATHWAY/TRAIL RED COMPACTED GRAVEL RED DIRT FEATURE PAVING - SHARED PATH FEATURE PAVING - PEDESTRIAN ONLY ASPHALT DARK PATTERNED PAVING LIGHT PATTERNED PAVING TAN COMPACTED GRAVEL

PLANTING ZONES

Planting Zones

Reflection Garden REFLECTION

GARDEN PLAZA TERRACE Plants relating to Indigenous PLANT RELATING TO arts INDIGENOUS ARTS Serenity Walk WALK SERENITY Amenity - Car Park AMENITY - CAR PARK SWALE Swale Amenity - PlazaAMENITY

Amenity - Rooftop Terrace AMENITY - ROOFTOP

MAIN PRECINCT MASTERPLAN 1. SPECIAL EXHIBITION SCULPTURE AREA 2. OPEN AIR PAVILION 3. LIGHT INSTALLATION ART AREA 4. LIGHT INSTALLATION STAGE/PLINTH 5. FACILITIES/STORAGE 6. AMPITHEATRE 7. UNDERCOVER GALLERY WALL 8. ENTRY STATEMENT 9. SWALE WITH BIRD BATHS 10. PATHWAY CONNECTING TO LAVENDER FEDERATION TRAIL 11. PATHWAY CONNECTING TO GREATER SCULPTURE TRAIL 12. REFLECTION GARDEN 13. WORKSHOP STUDIO - SAND PAINTING 14. WORKSHOP STUDIO - STONE CARVING 15. WORKSHOP STUDIO - WOOD CARVING 16. WORKSHOP STUDIO - INDOOR 17. WORKSHOP STUDIO - WEAVING 18. WORKSHOP STUDIO - SCREEN PRINTING 19. WORKSHOP STUDIO - INDOOR 20. WORKSHOP STUDIO - PAINTING TYPE 01 21. WORKSHOP STUDIO - INDOOR 22. WORKSHOP STUDIO - PAINTING TYPE 02

WATER ELEMENTS

Water Elements

Swale SWALE Water Feature WATER FEATURE

“VISITORS WOULD ATTEND WORKSHOPS WITH AN ARTIST IN RESIDENCE, PICK THE PLANTS THAT THEY WOULD NEED IN THEIR ARTWORK AND SEE HOW A PLANT CAN BE TRANSFORMED INTO A WORK OF ART.” 294

1 6

6 1 4

2 5

6 3 1

4 1 6 6

ORCHARD MASTERPLAN

PLANTING ZONES Planting Zones

AMENITY - ORCHARD RAISED PLANTERS AMENITY - YARNING CIRCLE PLAZA PLANTS RELATING TO INDIGENOUS ARTS

Amenity - Orchard Raised Planters Amenity - Yarning Circle Plaza

Plants relating to Indigenous arts

1. ORCHARD 2. YARNING CIRCLE 3. GARDEN BED 4. GATHERING SPACE 5. FEATURE PAVING 6. PICNIC SPACE 7. SHARED PATH TO MAIN PRECINCT 8. ENTRY STATEMENT 9. PATH LEADING TO LAVENDER FEDERATION TRAIL

Orchard Ground Surface Treatments

GROUND SURFACE TREATMENTS DIRT PATHWAY/TRAIL FEATURE PAVING - SHARED PATH FEATURE PAVING - PEDESTRIAN ONLY Irrigated Existing TurfEXISTING TURF IRRIGATED Dark Patterned Paving DARK PATTERNED PAVING Light Patterned Paving LIGHT PATTERNED PAVING TanTAN Compacted Gravel COMPACTED GRAVEL Dirt Pathway/Trail

Feature Paving - Shared Path

Feature Paving - Pedestrian Only

295

MEADOW 0

WOODLANDS 0

NATIVE CUT FLOWERS 0

296

OLYVIA SOLOMON

Death as nature investigates the practices of natural burial, native cut flower farms and native bee conservation to create a restoration project on the site of Frahn’s Farm. Natural burial is a growing industry, providing an alternative to present resource- and energy-intensive methods of body disposal. A regeneration plan indicating a priority of landscape needs and a contour map are the basis for the organisation of the site. Firstly, degraded areas in desperate need of care are allocated a landscape type: woodland, meadow or native cut flower farm. Each of these three landscape types are then organised into three setout experiences: clusters, rows or scattered. Clusters represents family and friends, rows signify traditional cemeteries and scattered symbolises ashes or free associations. As time progresses, meadow may evolve into woodland – the aim of Fran’s Farm work – and more areas of the site are able to be regenerated through their use as natural burial sites. The project can continue to evolve and expand across the landscape. The importance of this proposal relates not only to prompting a different way of thinking about death, but also ways in which landscapes can be conserved and flora and fauna can be protected through planting of native and indigenous habitat. Although death is an uncomfortable subject for some people, associating it with new life, flourishing vegetation and an increase in biodiversity can make it easier to discuss and appreciate as a natural conclusion of life.

MASTER OF LANDSCAPE ARCHITECTURE

DEATH AS NATURE

CONCEPT

F L O WCUT ER NATIVE FA R M FLOWERS

N AT I V E C U T

W OODLAND WOODLANDS

MEADOW

_landscape evolution

2021 2021

2026 2026

2041 2041

297

_masterplan 2031

ROWS

CLUSTER 1

R O W S

C L U S T E R

R O W S

’s

C L U S T E R

Fa rm

S C AT T E R E D

Vacant burial plot

S C AT T E R E D

R O W S

Vacant burial plot Occupied burial plot

Vacant burial plot

Occupied burial plot

Hydroseed planting

Occupied burial plot

CLUSTER Mausoleum/tomb

B2 C1

ROWS A3

D1 D3

1:200

WOODLAND: SCATTERED: 20x20 sample 2

12 7

3 TOTAL m2 NOTE: 7

rosea

12 12

Meadow planting from hyrdoseed with species mix listed in planting schedule

CODE

SPECIES

No. 3

300

4 1

300 500

Banksia prionotes Chamelaucium Grevillea robusta

3 3 4

300 300 300

2 20

500

Leucoxylon ssp. leucoxylon Total no.

20 12 12 44

.'splendida'

25 5 15 45

Pot size

Acacia acinacea Acacia fimbriata Angophora floribunda

NATIVE CUT FLOWER: ROWS: 20x20 sample CODE

SPECIES

1:200

12 7

500 150

Brachyscome formosa Rhodanthe chlorocephala ssp. rosea Scaevola aemula Schoenia filifolia Trachymene coerulea

Pot size

Tubestock 100

3 TOTAL m2 NOTE: 7

12 12

Meadow planting from hyrdoseed with species mix listed in planting schedule

CODE

SPECIES

4 1

300 500

Banksia prionotes Chamelaucium Grevillea robusta

3 3 4

300 300 300

2 20

500

Leucoxylon ssp. leucoxylon Total no.

20 12 12 44

Atriplex resicania

Brachyscome iberidifolia Chrysocephalum apiculatum Chrysocephalum baxteri Hardenbergia violacea Lomandra micrantha Rhodanthe chlorocephala subsp.'splendida'

TRADITIONAL CEMETERIES AND SCATTERED 7SYMBOLISES ASHES OR 8 FREE ROW S ASSOCIATIONS.”

Rytidosperma setaceum

25 5 15 45

Actinotus helianthi Brachyscome formosa Brachyscome multifida Dianella caerulea

Lechenaultia macrantha Scaevola aemula Themeda triandra Trachymene coerulea

Total area m2: 139

LEGEND MEADOW PLANTING

S C AT T E R E D PLANT WOODLAND

NATIVE CUT FLOWER FARM 0m

20 50M

MAIN ACCESS ROAD

MAINTENANCE SHED

WALKING TRAIL

WATER COURSES

RECEPTION + CARPARK

BURIAL SIZE 1200X2500

50 0

298

10m

Pot size

Actinotus helianthi

6 “CLUSTERS REPRESENTS FAMILY

No.

Acacia acinacea Acacia fimbriata Angophora floribunda

Austrostipa elegantissima Cullen australasicum Dianella revoluta Themeda triandra Thysanotus multifloruslaurina

10 CL S T EFRIENDS, R AAUAND ROWS SIGNIFY

1:200

WOODLAND: SCATTERED: 20x20 sample

SPECIES

150

Eucalyptus polyanthemos Ozothamus diosmifolius Pycnosorus globosus Xerochrysum ‘cockatoo’ Total no.

MEADOW: CLUSTER: 20x20 sample

12 50 50 171

No.

Anigozanthos flavidus

1:200

300

299

300

301

TANYA COURT

“HOW TO IMPROVE THE HORTICULTURAL OFFERING IN ROXBY DOWNS WHILE ALSO BEING MINDFUL OF THE IMPACT OF CLIMATE CHANGE?”

302

STUDIO ROXBY STUDENTS 306 310 314 320 326 330

Chuan Ma Shenghao Qin Caitlin Roy Isabella Bails Yingjie Feng Spencer Caon 303

Studio Roxby considers how to improve the horticultural offering in Roxby Downs while also being mindful of the impact of climate change. There are two key aspects to a climate change response for the town. One is to ameliorate effects for the town itself and ideally increase the enjoyment of its landscapes for residents and visitors. The other is to protect and extend the local ecology and planting, incorporating it into schemes that will include other non-local species for their different benefits such as increased shade. Located on the traditional lands of the Kokatha, Olympic Dam and Roxby Downs have deep connections to aboriginal culture, in addition to its pastoral history and mining experience. Roxby Downs is 570 km northwest of Adelaide. Roxby Downs township, named after the nearby pastoral station, was purposebuilt to support the mine at Olympic Dam. The town has a surprisingly large range of community facilities for an outback settlement. Tourism within Roxby Downs is small but steady given its isolated location. However, it can be suggested that those who visit are usually either friends or relatives of the town’s residents, are visiting for Olympic Dam related reasons or picking up supplies on the way to someplace else. Roxby Downs’s relationship with the arid landscape, alongside the mining activity, are the

biggest attractions for tourists. The Roxby Council climate change policy “recognises climate change science and the impact this will have on our remote community with work, transportation, wellbeing and lifestyles.” The policy emphasis a variety of foci but the most relevant for this studio is Ecosystem Protection, where “Roxby Council recognises the unique terrestrial ecosystems in our arid region and will protect and maintain the vegetation and fauna within the ecosystem against the rising threats of climate change.” The aim is to ensure that the local natural environment “is healthy and resilient to emerging threats and is valued both in its own right and for the essential contribution to our health and wellbeing through its provision of a range of ecosystem services.” This aim will require a range of horticultural responses that consider local ecological resilience as well as an environmental amenity for humans. The most important response to contribute to health and wellbeing will be to establish a town tree canopy. This is challenging as the endemic ecology does not generally include large trees. There are no endemic eucalyptus apart from the creek loving River Red Gum (Eucalyptus camaludenisis) and the Coolabah (E. coolabah). Other species will need to continue being used. Threatened species and other

“LOCATED ON THE TRADITIONAL LANDS OF THE KOKATHA, OLYMPIC DAM AND ROXBY DOWNS HAVE DEEP CONNECTIONS TO ABORIGINAL CULTURE, IN ADDITION TO ITS PASTORAL HISTORY AND MINING EXPERIENCE.”

304

threats to biodiversity can also be addressed through horticultural means, improving habitat and reducing erosion. There is some logic to using species further north of Roxby Downs as climate change advances and changes weather patterns. These include the smaller mallee eucalyptus, larger acacias and other small tree or large shrub species. This provides the opportunity to experiment with new species in the town. The response will not only be horticultural but include a range of related strategies and interventions including new sources of energy and forms of stormwater management. Water is a key issue. Rainfall is highly erratic with longterm averages of 150 mm. Water is a complex issue in the region. Especially contentious is the use of water from the Great Artesian Basin (GAB). Studio Roxby asks students to reconsider the town including not only the horticultural but also social, educational, economic, tourism and environmental aspects. Studio Roxby is not only specific to Roxby Downs. There are lessons here for arid settlements everywhere. Isabella’s Bails modest project “Dune Street” looks to remodel the existing streets for future warmer conditions. What may have been best practice in the late 1880s is updated with more contemporary practices, importantly modified for an arid

context that also anticipates further climate change. Another key feature of the town, the sand dunes are also reconsidered in Chuan Ma’s project “Resurgence”. How might these now-degraded dunes be enhanced to become public parks alongside their ecological roles? On the edge of town, Zhenghao Qin’s “Over the Sand Dunes” proposes a regionally scaled playground providing a variety of experiences for locals and visitors. Spencer Caon and Yingjie Feng were undertaking their final project in the master of Planning (Urban Design), Both proposed major new programming elements. Feng’s Inland “Gaddadu” focused on training and cultural facilities celebrating the local Kokatha people. On the other hand, Coan proposed education facilities; framing the town as a campus. Both identify the single purpose of mining towns as lacking much-needed diversity. Many of these projects make proposals that could also be case studies for other arid towns, mining towns or for post-mining scenarios in areas that are hot and dry. Thanks to students for considering this important issue. DR. TANYA COURT Course Coordinator and Studio Leader

305

PHASE ONE: EXISTING CONDITIONS

PHASE TWO: 0-1 YEARS - ORGANISE GREEN SPACE

PHASE THREE: 1-2 YEARS - PLANTING BEGINS

PHASE FOUR: 2-3 YEARS - LANDSCAPE NODES

PHASE FIVE: 3-5 YEARS - PRODUCE DIVERSITY

306

CHUAN MA

“Resurgence” is a modest arid botanical garden for residents and visitors of Roxby Downs. In response to the regional climate and production conditions, the use of a new irrigation systems can help plants grow more effectively, especially during plant establishment. The aim of the design is to provide a daily leisure botanical garden for urban residents and tourists and enrich people’s entertainment activities. When people come in from the entrance, they can choose to enter the main path or the smaller trail. Both paths move through the three areas of the botanical garden, namely the desert plant area, the mixed area and the tall tree area. Trails can bring people closer to the plants, but the main paths have more recreational activities, such as viewing platforms, barbecue areas, and wide lawns. At the same time, the botanical garden regulates the microclimate of the area and plays a role in improving the environment generally, while providing an oasis for animals and insects as well as humans. Plants produce oxygen through respiration and reduce carbon emissions. Taller trees cast shadows and can lower the temperature by more than 2 degrees. Botanical gardens form a small ecological circle and increase ecological diversity. At the same time, plants screen wind and sand and improve the surrounding urban environment.

MASTER OF LANDSCAPE ARCHITECTURE

RESURGENCE

GENESIS ARID ROXBY DOWNS

307

PLANTING - WINTER (DESERT SHRUB AREA) 3-5M

2-4M 1.5-4M

0.2-0.4M 0.1-0.3M 0-0.1M

PURPLE FLOWERED PEA VINE

WIRY HONEY-MYRTLE

RASPBERRY JAM WATTLE

FRINGED EVERLASTING HONEY POTS

GRASS-LEAVED SCRUBBY CYPRESS PINE HAKEA

“A DAILY LEISURE BOTANICAL GARDEN FOR URBAN RESIDENTS AND TOURISTS AND ENRICH PEOPLE’S ENTERTAINMENT ACTIVITIES.” 308

PLANTING - SUMMER (STREET AREA) 8-30M

7-8M

3-5M

1-3M 0.5-1.5M

CREAMY HONEY MYRTLE

TUCKEROO

SA BLUE GUM

NEAT WATTLE

SALTY SHEOAK

309

310

ZHENGHAO QIN

“Over the Sand Dunes” aims to enrich the play experience of local children, enhance the lived context of local residents. Improving facilities for children will contribute to attracting families to the town avoiding an increase in-fly in/fly-out workers. An amusement park of five different playgrounds are proposed, themed around local unique animals. Some focus on physical exercise, some on the development of imagination, and some on the cultivation of good personal qualities. These playgrounds will be located in the west of the current residential area of Roxby Downs. The playspaces use 10 principles: 1. Design for different types of play. 2. Create a sense of place. 3. Don’t limit children’s creativity. 4. Attention to detail. 5. Consider the “flow” of the space. 6. Create zones for different energy levels. 7. Both ornamental and playable. 8. Design differentiated spaces, but preserve intersections. 9. Work with, not against nature. 10. Basic facilities must be considered. Each playground corresponds to these principles. The design of each of the playgrounds is linked with local animal species. Different playgrounds also have different themes of playing, which are based on the living habits of each animal species. The Dragon Playground emphasizes the “flow” of the space. The Bilby Playground has a focus on creating zones for different energy levels. The Lizard Playground maintains the balance between ornamental and playability. The Quoll Playground celebrates a Sense of place. Finally, the Bird Playground pays more attention to not limiting children’s creativity. “Over the Sand Dunes” will also become an important foundation for the development of tourism in Roxby Downs, in addition to providing an excellent play experience for local children and residents.

MASTER OF LANDSCAPE ARCHITECTURE

OVER THE SAND DUNES

GENESIS MALLEE DRAGON

GREATER BILBY

WOODSWALLOW

SHINGLEBACK LIZARD

WESTERN QUOLL

LITTLE CORELLA

311

PLAYGROUND 1: MALLEE DRAGON 1 5 6

1. MICRO TOPOGRAPHY 2. ROCK-CLIMBING SLOPE 3. BUSH-CROSSING SLOPE 4. CLIMBING ROPES 5. TUNNELS 6. SLIDES 7. SEATS 8. PATHS

8 8

PLAYGROUND 2: GREATER BILBY 7

4 3

1 6

1. MICRO TOPOGRAPHY 2. TRAMPOLINE PLATFORM 3. SLIDE 4. CROSS THE WILD 5. SHADE AND SEATS 6. TUNNELS 7. PATH TO PREVIOUS PLAYGROUND 8. PATH TO NEXT PLAYGROUND 9. PATH TO BOTH SIDES

PLAYGROUND 4: WESTERN QUOLL 7

6 4

312

1. MICRO TOPOGRAPHY 2. PLANK PATH 3. COVER PILLARS 4. TAIL RAMP 5. STEP PLATFORMS 6. BOARDWALK 7. EXISTING INTERNAL ROAD 8. QUOLL’S HUG

TRIODIA SCARIOSA

MAIREANA ERIOCLADA

TRIODIA SCARIOSA

ACACIA RAMULOSA

MAIREANA ERIOCLADA

DAMPIERA ACACIA ATRIPLEX METALEUCA LINEARIS ARGYROPHYLIA RHAGODIODES ALTERNIFOLIA

ACACIA ATRIPLEX ACACIA CHENIPODIUM ARGYROPHYLIA RHAGODIODES AMBLYGONA CURVISPICATUM

METALEUCA ACACIA DAMPIERA ACACIA LINEARIS RAMULOSA ALTERNIFOLIA ANEURA

HARDENBERGIA ACACIA CHRYSOCEPHALUM COMPTONIANA AMBLYGONA APICULATUM

313

314

CAITLIN ROY

Guiding Star National Park is an arid stargazing park located on Kokatha Country southwest of the Roxby Downs township in South Australia. The previous use of the site ‘the horse and pony club’ was under-utilised (one day a year for a race day) and had impacted on the natural ancient land. This new park will restore the landscape in a contemporary scale, form and construction while allowing opportunities for stargazing, guided tours and trails (historical and cultural), functions, camping, glamping and showcasing endemic arid planting. The Park is proposed to be led by local Aboriginal people and provide hospitality and research traineeships. ‘The sky is a reflection of the land’ is an idea that is believed in many different cultures. Aboriginal culture is the oldest of these cultures by far, with evidence of Aboriginal people in Australia dating back 65,000 years. Astrology and astronomy have been found to influence landscape design (manmade or naturally occurring) through a variety of ways. The approach taken with this design is through mapping the movement of the night sky at Roxby Downs, specifically the Seven Sisters’ dreaming story with Nyeeruna, older sister Kambugudha in the Hyades star cluster and the Yugarilya sisters in the Pleiades cluster. This story is known across many Aboriginal language groups with different interpretations. Across the world the same stars have similar stories or characters for example, in Greek mythology these same stars form Orion and the Seven Sisters of the Pleiades cluster. In this project the ancient sky blankets the ancient land while also providing a guiding artwork to manipulate the ground plane. The new landforms act as a tool to observe celestial bodies in return. While this site design reflects a deeper meaning of the stars across the world, the overarching form and program simulates the landscape with artificial sand-dunes and building hybrid. This allows for both program function and landscape restoration.

MASTER OF LANDSCAPE ARCHITECTURE

GUIDING STAR NATIONAL PARK

GENESIS THE SKY IS A REFLECTION OF THE LAND

315

SHARED PATH - COMPACTED GRAVEL - 60000MM

RAISED TIMBER BOARDWALKS - 2000MM

LAYERED RAMMED EARTH CONSTELLATION TRAILS - 4000MM

RED SAND CONNECTING PATHS - 2O00MM

CONSTELLATION TRAILS ‘UNDER DUNES’ LAYERED RAMMED EARTH - 4000MM

CONNECTING PATHS ‘UNDER DUNES’ COMPACTED RED GRAVEL - 2000MM

“THIS NEW PARK WILL RESTORE THE LANDSCAPE IN A CONTEMPORARY SCALE, FORM AND CONSTRUCTION WHILE ALLOWING OPPORTUNITIES FOR STARGAZING, GUIDED TOURS AND TRAILS (HISTORICAL AND CULTURAL), FUNCTIONS, CAMPING, GLAMPING AND SHOWCASING ENDEMIC ARID PLANTING.”

316

MASTERPLAN 1. ATLAS DUNE / 7 SISTER 2. BELLATRIX DUNE / STAR IN ORION 3. BETELGUESE DUNE / STAR IN ORION 4. RIGEL DUNE / STAR IN ORION 5. OMICRON TAURI DUNE / STAR IN TAURUS 6. ALDEBARAN DUNE / OLDER SISTER IN TAURUS 7. ELECTRA DUNE / 7 SISTER 8. MAIA DUNE / 7 SISTER 9. TAYGETA DUNE / 7 SISTER 10. ALCYONE DUNE / 7 SISTER 11. MEROPE DUNE / 7 SISTER 12. PLEIONE DUNE / 7 SISTER

EXISTING TREE REMOVED TREE ORBIT GARDENS FIRE PITS OLYMPIC WAY (MAIN ROAD) SHARED PATH

6 3

7 8

2 9

317

318

319

320

ISABELLA BAILS

Dune Street is a street design guide to modify existing streets in Roxby Downs, considering the future warming of its arid climate. The detailed examples for specific streets in the guide can be translated to other streets in Roxby Downs and other arid towns. Woomera, Leigh Creek and Coober Pedy could all benefit from the strategies shown in this guide, to modify microclimates and improve the lifestyles of residents. Temperatures are set to increase by up to 2.4C in 2050, justifying a design intervention for the streets of Roxby Downs. There will likely also be an increase in the frequency of recharge-generating rainfall events, meaning more heavy rainfall, more frequently than at present. The heavy rainfall will bring with it flooding, which means that tree species selections will have to take this into account. This guide focuses on four typical streets within Roxby Downs and a surrounding sand dune. The focus streets run both North/South and East /West, with many of the sand dunes running across these streets. Dune Street strives to create a vegetated, pedestrian-focused spine concentrating on tree canopy, provision of shade, cool street technologies and traffic calming techniques. If the council leaves the streets as is, the remaining trees will continue to die off. This will leave the streets with less tree canopy, therefore effecting the local microclimate. This means people will not want to go outside as the average temperature in Roxby Downs increases, effecting their wellbeing. Improving the existing streets and their amenity is imperative. Undertaking experimental planting for streets and dunes should be urgently considered. As the temperature increases, the species that will be able to grow in that hot environment also changes. These changes should be anticipated now.

MASTER OF LANDSCAPE ARCHITECTURE

DUNE STREET

GENESIS CHANCE TACTICS

321

“IMPROVING THE EXISTING STREETS AND THEIR AMENITY IS IMPERATIVE. UNDERTAKING EXPERIMENTAL PLANTING FOR STREETS AND DUNES SHOULD BE URGENTLY CONSIDERED.”

PROPOSED

EXISTING

EXISTING (BOTTOM) / PROPOSED (TOP)

322

EXISTING

PROPOSED

323

324

325

326

Gravel

YINGJIE FENG

Inland ‘Guddadu’ is in the arid area of the inland center of Roxby Downs, South Australia, 511 kilometers from Adelaide. This area is part of Kokatha Country currently under the jurisdiction of the Roxby Downs Council. The town, with a population of around 4000, exists to support the nearby mining operations. Kokatha people, as the traditional owners of land including the mines and Olympic Dam, had disagreements as early as the government’s approval of the Roxby Downs indenture in the 1980’s. In 2005, BHP Billiton acquired Western Mining Corporation (WMC), and the ownership of Olympic Dam was transferred. As a tenant of traditional land, BHP formulated the first Reconciliation Action Plan (RAP) in 2007. However, the plan still has no concessions on the most critical land rights. The aboriginal people can only realize cultural protection if they have the right to speak in their land. Inland ‘Guddadu’ seeks to redress some of this imbalance transforming the town with greater aboriginal presence including the establishment of cultural centers, training facilities and accommodation. The theme colours in this design adopt tones borrowed from the local landscape, reinforcing connection to Country. The patterns in the design are inspired by the shape of the archaeological stones on site, the marks on the Kokatha grinding stones, and the patterns of traditional aboriginal string games. The String game pattern represents cultural tolerance and implies the desire for reconciliation between the Kokatha and local communities. The project is divided into eight areas. The plaza located at the center of the site will serve as the main core of the community. The design concept is a pedestrianfriendly street. Residents and tourists in the town can easily access this area. The Cultural Centre is the main venue for promoting local Kokatha culture. The training centre building provides vocational training for the Kokatha and other Aboriginal people. There is a small desert park in the south of the hotel. Tourists can experience and learn the culture of the Aboriginal people near the hotel. The large bush tucker park provides residents and tourists with a special desert landscape experience. Local edible species will be planted and Aboriginal tents can also serve residents as places for meetings and ceremonies.

MASTER OF PLANNING (URBAN DESIGN)

INLAND ‘GUDDADU’: PLANNING FOR ROXBY DOWNS TOWN CENTRE VITALITY

GENESIS

Gravel

Scr

Gravel

Scra

Gravel

Scratches

Gravel

Scratches

String 8

327

CENTRE PLAN

BUSH TUCKER PARK

328

“THE PATTERNS IN THE DESIGN ARE INSPIRED BY THE SHAPE OF THE ARCHAEOLOGICAL STONES ON SITE, THE MARKS ON THE KOKATHA GRINDING STONES, AND THE PATTERNS OF TRADITIONAL ABORIGINAL STRING GAMES.”

TRAINING CENTRE PLAN

329

Proposed Open Space Provision and Programming

Legend Building Programming

Proposed Open Space Provision and Programming

Proposed Open Space Provision and Programming Proposed Open Space Provision and Programming

Healthcare

Civic/Community

Retail/Commercial

Hospitality

Residential

Education

Legend Open Space Building Programming

HEALTHCARE Healthcare

Civic/Community

RETAIL/COMMERCIAL Biodiversity Zones Retail/Commercial

Legend

Hospitality

Building Programming

Legend Building Programming

RESIDENTIAL Residential

Open SpaceHealthcare

Civic/Community

Retail/Commercial Biodiversity Zones

HOSPITALITY

Retail/Commercial

Public Open Space EDUCATION

10 10

1: 2500

50 50

100M 100

100

Education

Open Space Education

Open Space

1: 2500

Hospitality

Sand Dunes Residential

Residential

Education

Sand Dunes CIVIC/COMMUNITY

Healthcare

Public Open Space

BIODIVERSITY ZONES Biodiversity Zones Recreation Zones

Recreation Zones SAND DUNES

Biodiversity Zones

Sand Dunes

PROPOSED OPEN SPACE PROVISION & PROGRAMMING

Car & Pedestrian Circulation 50

PUBLIC OPEN SPACE Public Open Space

Public Open Space

RECREATION ZONES Recreation Zones

1: 2500 10

100

Recreation Zones

1: 2500 10

Sand Dunes

100

Legend Pedestrian Circulation

Primary Paths

Secondary Paths

Tertiary Paths

Car Circulation

Car & Pedestrian Circulation Car & Pedestrian Circulation

Roads

Off-Street Parking

Other

Pedestrian Circulation

Legend Legend

Pedestrian Circulation

PRIMARY PATHS

Primary Paths Primary Paths

SECONDARY PATHS

Secondary Paths Secondary Paths

1: 2500

10 10

50 50

Existing Buildings

TERTIARY PATHS

Tertiary Paths

100M 100

Tertiary Paths Car Circulation

Car Circulation

ROADS Site Extents

CAR & PEDESTRIAN CIRCULATION

Roads Roads

OFF-STREET PARKING

Off-Street Parking

Other

Off-Street Parking

Other

330

Existing Buildings 1: 2500

Existing Buildings

TRANSIENCE

Theme: Transience

SMOKE

Symbol: Smoke

SPENCER CAON

Over the course of the last two years, online and remote learning has become the new normal for many students and teachers. This style of learning is highly isolating, and creates a disconnect, not only between students, but also between them and the content they are trying to understand. The project – Transience: Remote Learning – looks to redefine how we approach education by developing a remotely located university campus which offers direct, hands-on content in conjunction with professional industry. The town of Roxby Downs, and more specifically, its centre, Richardson Place, was selected as the site for the new campus due to its remote location, one-dimensional industry presence within the town (mining), and its highly transient, young population. The project begins with slogans from past marketing campaigns from the University of Adelaide, and principles of American college campus design such as: 1. Giving priority to the plan in its entirety, rather than individual spaces and buildings. 2. Utilising density and programming to encourage interaction. 3. Using landscape elements to build a language that speaks to the campus’ uniqueness and its connection to its surrounding context. 4. Considering environmental issues. 5. Pacifying the role of the car. 6. Using architecture for landmarks and placemaking. 7. Incorporating new technologies. 8. Connecting positively with the surrounding urban areas. 9. Creating beauty and meaning within spaces on campus. These principles, in conjunction with past marketing research and the current course offerings of the University of Adelaide suggested a strong focus on energy and mining research, sustainability and environment studies, along with defence, cyber and space offerings. Looking to revitalize the underutilised urban centre, Transience: Remote Learning introduces new programming to Richardson Place. It provides flexible public open spaces and landmark architecture to help build a strong identity for the proposed campus, and for Principles/Form the township of Roxby Downs as a Design Generation Tactics whole, whilst attracting a new demographic to the town.

MASTER OF PLANNING (URBAN DESIGN)

TRANSIENCE: REMOTE LEARNING

CONCEPT

PERMEABILITY

LIGHT

Theme: Permeability

Symbol: Light

331

“LOOKING TO REVITALIZE THE UNDERUTILISED URBAN CENTRE, TRANSIENCE: REMOTE LEARNING INTRODUCES NEW PROGRAMMING TO RICHARDSON PLACE.”

Interface between existing Roxby Link, and proposed biodiversity zones, public courtyards, and landmark “Light Ray” pergola.

6 1 2 2 3

4 1 5

MASTERPLAN 1. MAIN CAMPUS ENTRANCE 2. COMMUNAL STUDENT HUNG

3. SCIENCE & ENGINEERING LABS Legend

4. RE-PURPOSED VACANT SHOPS FOR DORMS & TEACHING Main campus 5. STUDENT DORMSentrance 6. MULTIPURPOSE TEACHING SPACES Communal student hub

1. 2.

332

Perspectives Multipurpose teaching spaces

Perspective 1

Roxby Link complex.

1. NEW STUDENT HUB COMPLEX

Hub Complex

Roxby council offices.

ROXBY LINK COMPLEX

2 - Western Campus Entrance PROPOSED STUDENT HUB COMPLEX

3 - Student

EXISTING YOUTH HUB & KITCHEN

by Link complex.

Roxby council offices. “Light Ray” pergola creates Existing youth hub & kitchen. access and overall cohesion.

2. WESTERN CAMPUS ENTRANCE

mpus Entrance

PUBLIC COURTYARDS 3-

Light Ray” pergola . accesscreates and overall cohesion.

ROXBY COUNCIL OFFICES

‘LIGHT RAY’ PERGOLA ENTRANCE

BIODIVERISTY ZONES Student Accommodation

Vacant to shops/offices in Roxby their environment.

and pop-up events.

3. STUDENT ACCOMMODATION

EXISTING SAND DUNES PRESERVED

Axonometric Diagrams of Key Areas

to their environment.

and pop-up events.

the campus.

the campus. VACANT SHOPS/OFFICES RE-PURPOSED

STUDENT DORMS

classes and other amenities.

1. NEW STUDENT HUB COMPLEX 2. WESTERN CAMPUS ENTRANCE

3. STUDENT ACCOMODATION

10 50 100M

333 1 - New Student Hub Complex

2 - Western Campus Entrance

3 - Student Accommodation

SCOTT HAWKEN

“THE STUDIO ENGAGED WITH LOCAL ENERGY ADVOCATES AND ACTIVISTS, ECOLOGISTS AND BOTANISTS, RENEWABLE ENGINEERS, AND MANAGERS, AS WELL AS LOCAL BUSINESSES AND GOVERNMENT.”

334

STUDIO SOLAR NEXUS: EMERGING CHALLENGES FOR LANDSCAPE ARCHITECTURE AND PLANNING STUDENTS 338 342 346 350 354 358

Zhuocheng Gu Ziyan Qi Yujia Cao Sharma Twinkle Wu Cong Yuecan Li 335

The Solar Nexus Studio investigates the implications of both “disinvestment” from carbon intensive fossil fuel industries and the “investment” in carbon negative or neutral, renewable energy production. The studio asks the question what does this transition mean for the profession of landscape architecture? Multiple renewable energy projects are currently underway across South Australia which has played an important role in moving Australia forward along the renewable sustainable transition path. South Australia has over 50 per cent wind and solar and is on track to achieve 100 or more per cent over the next five or six years. The site for the studio’s investigation is Port Augusta, which is arguably the renewable capital of Australia and a “gateway” or new type of energy “port”. Thirteen renewable projects are concentrated in Port Augusta alone. For example, Sundrop farm sited on the periphery of Port Augusta, uses solar thermal to supply desalinized water to the

largest tomato farm in Australia. The success of this farm, situated as it is in the desert, is a remarkable achievement, and a sign of the opportunities achievable through the creative entrepreneurship around the water-energy nexus. In the Solar Nexus Studio, students visited the town of Port Augusta, in South Australia’s iron triangle, as well as its various post-industrial and new-industrial landscapes. The studio engaged with local energy advocates and activists, ecologists and botanists, renewable engineers, and managers, as well as local businesses and government. The tour took in the arid coastal ecology of Port Augusta where the desert meets the sea. Port Augusta is the gate way to Australia’s largest wilderness region – the semi-arid and arid landscapes of the Australian interior. The studio therefore positioned the town as both a destination and gateway to a new energy and ecological future. Landscape architects

“PORT AUGUSTA IS THE GATE WAY TO AUSTRALIA’S LARGEST WILDERNESS REGION – THE SEMI-ARID AND ARID LANDSCAPES OF THE AUSTRALIAN INTERIOR. THE STUDIO THEREFORE POSITIONED THE TOWN AS BOTH A DESTINATION AND GATEWAY TO A NEW ENERGY AND ECOLOGICAL FUTURE.”

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have a role to play in the design of a range of projects associated with energy transitions. These include the remediation of massive fossil fuel power plants, the design of vast new industrial energy and agricultural farms, and new as yet unexamined types, such as small scale off grid communities, community based agricultural systems, and the greening of the desert, to create more hospitable habitats for both people and wildlife. Such projects must address the many social, ecological, and economic challenges facing the town of Port Augusta. The studio examined the following premises: • Landscape architects can ensure infrastructure projects consider the human dimension, the role of nearby towns, urban liveability, and identity. • Landscape architects can contribute to energy transitions by means of strategic landscape planning and design. • Landscape architects can work on the siting and design of renewable

energy technologies in the landscape, mainly, but not exclusively, wind turbines and solar farms. • Landscape architects can imagine and invent new types of landscapes based on emerging technologies. • Landscape architects can calibrate and design the spatial relationship between the energy-water nexus and communities. DR SCOTT HAWKEN Studio Leader

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ZHUOCHENG GU

Data has been described as the “new oil” of our age and is the most valuable commodity today, powering corporate infotech giants such as Facebook, Google, and Amazon. These infotech companies all rely on large energy hungry data centres. This project proposes the construction of a massive data centre park upon Port Augusta’s industrial wastelands to remediate the site and to take advantage of cheap energy provided by the renewable’s revolution spearheaded by Port Augusta. In 2016 Port Augusta’s two coal-burning plants, which had powered almost half of the state of South Australia since the 1980s, were demolished ending the town’s ties with the fossil fuel industry. However, the toxic legacy of fossil fuel production is not easily removed. A giant “ash dam” containing Coal Bottom Ash (CBA) remains unremediated to this day. The “ash dam” is 273ha in size with a thickness of 4m to 8m, putting environment and community health at risk. In this project the ash dam is remediated as a biologically and technologically rich platform for the vast new energy hungry data centres powered by the abundant solar energy available in Port Augusta’s arid landscape. The project integrates cutting-edge ash recycling systems turning the CBA into Silicon Gulf’s construction materials in order to build the data centres. “Silicon Gulf” investigates remediation and regeneration at two scales: 1) Extensive remediation across the whole “ash dam”: a combination of mechanical and biological remediation is choreographed in space and time to allow some of Australia’s unique and remarkable plant communities, such as saltbushes samphire and acacia, to colonise the wastelands through a process of “natural” succession. These plants once characterised Port Augusta but disappeared during the industrialization of the landscape. 2) Intensive remediation of the “polishing ponds” area: a business and ecological park is built within the polishing ponds area. Construction techniques include the use of recycled CBA materials. This innovative hybrid landscape serves as a tourism destination to showcase both Australian technology and the Australian outback. The Silicon Gulf project shows how landscape architects can work with economically frugal processes and ecological powerful processes. It adapts both natural and technological regeneration techniques to transform the toxic legacy of today’s carbon hungry economy.

MASTER OF LANDSCAPE ARCHITECTURE

SILICON GULF: TRANSITION FROM WASTELAND TO REGENERATIVE TECH PARK

CONCEPT

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“THE ASH DAM IS REMEDIATED AS A BIOLOGICALLY AND TECHNOLOGICALLY RICH PLATFORM FOR THE VAST NEW ENERGY HUNGRY DATA CENTRES POWERED BY THE ABUNDANT SOLAR ENERGY AVAILABLE IN PORT AUGUSTA’S ARID LANDSCAPE.” PROJECT TIMELINE

DYNAMIC GROUND CONDITIONS

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ZIYAN QI

MASTER OF LANDSCAPE ARCHITECTURE

OPHELIA EDIBLE PARK

Ophelia is a well-known as a Shakespearian literary figure who drowned herself in a river in Denmark. There have been many interpretations of Ophelia; most imposed upon her by others. In this instance the tragic figure of Ophelia is used as a metaphor for self-determination as Port Augusta breaks with tradition, casts off social stigmas, and searches for a new identity. Just as beautiful flowers and symbols of life surround the drowning Ophelia, Port Augusta’s ecology and solar farms present a new identity and urban rebirth, upon a toxic fossil fuelled past. The Ophelia Edible Park project is located on the coastal margins of Port Augusta City and Port Augusta West as a botanical and agricultural attraction. The project Ophelia Edible Park takes urban agriculture as a theoretical basis to develop a community-friendly, food-producing, eco-friendly urban scheme, to address a range of problems in Port Augusta, such as vacant land, limited vegetation coverage, isolated energy stations, and poverty. The initiative involves developing linkages with peri-urban energy parks and the utilisations of vacant lands inside and on the fringes of its urban landscapes. It aims to form a sustainable and accessible food-producing landscape. The Park adopts a hybrid, multi-functional approach integrating both recreational and productive economic landscapes. Ecological habitat, community food production, urban-suburban energy production, and community sociability are the landscape programs that are developed and interwoven within the park. However, the principal program that defines the park is urban agriculture. Urban agriculture is an essential part of the urban context as it plays an important role in enhancing sustainable transitions, urban resilience, and human-nature connectivity. A series of elements are embedded in the park, including two photovoltaic devices, three wind turbines (rotor dia.70m), the sienna pavilions, the agricultural museum, and hydroponic systems. The Park provides Port Augusta with new recreational space, job opportunities, tourism values CONCEPT and community interactions, which are highlighted in Port CHANCE TACTICS - SAMPHIRE Augusta’s current development plan.

ABSTRACT

REARRANGE

SPLIT

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“OPHELIA EDIBLE PARK TAKES URBAN AGRICULTURE AS A THEORETICAL BASIS TO DEVELOP A COMMUNITY-FRIENDLY, FOODPRODUCING, ECO-FRIENDLY URBAN SCHEME,” MASTERPLAN 1. SPENCER GULF 2. URBAN GREEN SPACE 3. URBAN FARM 4. URBAN ROAD NETWORK EXTENSION 5. JOY BALUCH AM BRIDGE 6. JOY BALUCH AM BRIDGE REPLICATION 7. PARK PEDESTRIAN

8. EUROKA PHOTOVOLTAIC DEVICE 9. COASTAL AGRARIAN MUSEUM 10. SIENNA PAVILION 11. FLUID FACTORY 12. PICKERS CENTRE 13. HYDROPONIC CENTRE 14. CENTRAL SCULPTURE

15. MANGROVE EXTENSION 16. SAMPHIRE CLUSTER 17. SALTBUSH CLUSTER 18. FLINDERS RANGES OUTLOOK 19. FREIGHT SERVICE ROUTES

9 18

10 3

14 16

17 15

13 15

16 17

13 7

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MANGROVE ZONE SALTBUSH ZONE

15 4

16 11 19 7 13 16 17 1

16 3

16 10 17

7 17

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YUJIA CAO

Port Augusta is located in the semi-arid climate region of South Australia and has abundant solar and wind energy resources. The town has used this to its advantage to transition from fossil fuel to renewable energy. This industrial and economic transition provides new development opportunities for the town as a regional centre for education, health, and cultural services. This project involves the development of a therapeutic campus or “Wildscape” that links Port Augusta Hospital to the wider landscape to provide psychological and physical benefits for hospital patients and their families. Local ecologies are used within the campus so that they thrive in Port Augusta’s arid climate. The wildscape concept requires lower maintenance to succeed on its own and supports biodiversity and recreational functions appropriate to Port Augusta. This project involves the creation of a continuous ecological network along the waterfront. The surrounds of the therapeutic hospital campus area provide picnic sites, reflective rest spots, and outdoor cooking facilities to enhance people’s participation in the landscape and provide multi-sensory healing effects. Additionally, the campus provides many paths to exercise and wheelchair accessible routes so that people with various physical conditions are able to access and use the wildscape. The project adopts sustainable principles such as the use of drought tolerant plants which require minimal water and solar panels to supply energy to the buildings and various facilities. Operating costs for the landscape are therefore minimal.

MASTER OF LANDSCAPE ARCHITECTURE

REGIONAL HEALTH CAMPUS “WILDSCAPE”

CONCEPT URBAN WILDSCAPE

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7 1

500M

013

“THE SURROUNDS OF THE THERAPEUTIC HOSPITAL CAMPUS AREA ENHANCE PEOPLE’S PARTICIPATION IN THE LANDSCAPE AND PROVIDE MULTI-SENSORY HEALING EFFECTS.” 348

MASTERPLAN 1. COMMUNITY PLAZA 2. PLAYGROUND 3. ENVIRONMENTAL LEARNING CENTRE 4. SALTMARSH OVERLOOK 5. CHENOPOD WALKING TRAIL 6. SAMPHIRE EXPLORE TRAIL 7. CAMPING GROUND 8. THERAPEUTIC HEALTH CAMPUS 9. VIEWING PLATFORM 10.RECREATIONAL SPACE

3 6

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SHARMA TWINKLE

Water Ecology Hub is a waterfront park proposal for Port Augusta, located at the tip of the Spencer Gulf in South Australia where the desert meets the sea. It embraces coastal and arid ecologies to connect residents, students, tourists, and educators with nature. The Park aims to provide habitat for local indigenous species, especially endangered ones, and the opportunity for visitors to experience nature. The design creates a dramatic and varied experience to support the development of ecological knowledge for a range of visitor types. This is achieved by a variety of parkland spaces, or zones, focused on inspiring and communicating ecological knowledge for different visitor demographics. The Park is divided into four zones, and each zone provides activities and ecological interpretation for different user groups. These user groups are families, scenic tourists, active tourists, and students along with education staff. The four zones include: 1.) “Wild Play” provides nature play opportunities for children and families. 2.) “Conservation Oz” emphasizes the importance of local conservation and sharing stories. In addition, exhibits for threatened native animals increase awareness of conservation priorities, threatened flora and fauna, and sustainability agendas. 3.) “Little Island” provides habitat for the endangered species in the upper Spencer Gulf and offers facilities for scuba diving, wind surfing and kayaking. 4.) “Eco Labs” accommodates a university hub and ecological research and teaching labs to attract international and local students. Facilities are provided for researching and learning about Port Augusta’s ecology.

MASTER OF LANDSCAPE ARCHITECTURE

WATER ECOLOGY HUB

CONCEPT

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5 6

MASTERPLAN

352

1. CHENOPOD WALK 2. ACACIA WALK 3. MALLEE WALK

4. MANGROVE WALK 5. ORE GARDEN 6. COMMUNITY GARDEN

7. CAFETERIA 8. UNI HUB 9. ECOLOGICAL RESEARCH

10. WILD PLAY 11. OPEN WOODLAND

9 7

“A HABITAT FOR LOCAL INDIGENOUS SPECIES, ESPECIALLY ENDANGERED ONES, AND THE OPPORTUNITY FOR VISITORS TO EXPERIENCE NATURE.”

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ARID LAND

GREEN ROOF

TRESTLE

BOTANIC GARDEN

TWO KINDS LAND

SOLAR FARM

GREENHOUSE

SOLAR PANELS WITH GREENHOUSE

TEXTING FARM

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WU CONG

Port Augusta is located on the Spencer Gulf in South Australia, close to the sea. Despite this proximity to the coast, fresh water is scarce. Historically, the development of Port Augusta has been hampered by water shortages. Only when a pipe was built to Port Augusta from the Murray River, was the economy of Port Augusta ensured. Therefore, water resources have always been an important consideration for local development and construction. With the development of contemporary desalinisation technology powered by cheap energy from renewables, new opportunities for water production are emerging. Using technology developed in Singapore, this project involves the construction of a compact urban scaled desalination plant in Port Augusta. The infrastructure is linked to the development of an agricultural and recreational park around it. The selected site for the project is nearby the town and links the surrounding urban communities with this new energy, agricultural and recreational infrastructure. The compact desalinisation plant supplies fresh water to the park and the surrounding town lessening pressure on the ecologically compromised Murray Darling River system. The crops produced by greenhouses in the park also provide economic benefits to Port Augusta and other regional cities. Desalination produces fresh water as well as solid and liquid waste. The solid waste containing algae and organic matter can be reused for soil restoration and experimental planting on nearby farmland. The solar panels on the park’s Greenhouse produce energy that can be used for both desalination and the greenhouse operations. In this way, a closed-loop ecological industrial resource chain is formed. This provides a new direction for DESIGN the green construction PROCESS of Port Augusta while improving economic and social development.

MASTER OF LANDSCAPE ARCHITECTURE

DESALINISATION PARK

GENESIS CIRCUIT BOARD

CIRCUIT BOARD

355

“WITH THE DEVELOPMENT OF CONTEMPORARY DESALINISATION TECHNOLOGY POWERED BY CHEAP ENERGY FROM RENEWABLES, NEW OPPORTUNITIES FOR WATER PRODUCTION ARE EMERGING.” MASTERPLAN 1. DESALINATION 2. GREENHOUSE FOR PORT AUGUSTA 3. BOTANIC GARDENS 4. TRESTLE 5. SOLAR FARM 6. CAR PARK

7. SALT POOL 8. GREENHOUSE FOR OTHER CITY 9. PROMENADE GARDEN 10.CITY PARK 11. TEXTING FARM 12. BOTANIC GARDEN

TRAFFIC FLOW TRAFFIC FLOW

SOLAR FARM AREA SOLAR FARM AREA

PROGRAM & ORGANIZATION 1

GREENHOUSE GREENHOUSE AREAAREA

ARID LAND PLANTING ARID LAND PLANTING AREA AREA

VEHICLE ENTRANCE VEHICLE ENTRANCE

EXISTING VEGETATION EXISTING VEGETATION

TRAFFIC FLOW

SOLAR FARM AREA

DESALINATION PLANT DESALINATION PLANT

LAWN PLANTING AREA LAWN PLANTING AREA

GREENHOUSE AREA

ARID LAND PLANTING AREA

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80m

400m

8 7

357

358

Algae farms can produce oil-rich algae, Botryococcus braunii, on a large scale, which is refined to produce biofuel. Biofuel is a renewable energy source and is one of the alternatives to petrol. However, this is just one product of the algal farm which also includes edible and culturally significant algae. The algae botanical garden, museum and various experiential activities will educate people and increase their acceptance of algae, thus contributing to bringing algae into focus as a future facing sustainable crop. The landscape is designed as a landmark tourist destination, attracting local, state and even international visitors to consider algae. Through this project Port Augusta will not only be a centre for clean energy production but will also become a renowned centre for science and education on the algae industry.

YUECAN LI

This project presents a vision for an experimental algal farming site for Port Augusta. The project proposes that the algae farming industry will develop in synergy with tourism, the clean energy industry and traditional agriculture, and will help develop an innovative ecological and economic environment. The algae farm will create jobs, boost the local economy, and raise revenue. By taking full advantage of landscape design tools and industry partnerships, the algae farming industry can be economically sustainable in the local area.

MASTER OF PLANNING (URBAN DESIGN)

AN ALGAL ECONOMY FOR PORT AUGUSTA

GENESIS ALGAE AS BIOFUEL

1802 PORT TOWN

1864 LAND TRANSPORT HUB

1877 RAIL NODE

1957 FOSSIL FUEL POWER STATION

2016 CLEAN ENERGY

NOW

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“ALGAE FARMS CAN PRODUCE OIL-RICH ALGAE, BOTRYOCOCCUS BRAUNII, ON A LARGE SCALE, WHICH IS REFINED TO PRODUCE BIOFUEL. HOWEVER, THIS IS JUST ONE PRODUCT OF THE ALGAL FARM WHICH ALSO INCLUDES EDIBLE AND CULTURALLY SIGNIFICANT ALGAE. THE ALGAE BOTANICAL GARDEN, MUSEUM AND VARIOUS EXPERIENTIAL ACTIVITIES.”

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CLASS OF 2021

ARCHITECTURE

HUGH ADARE

SAYEDA AHMADY

YASAMAN AKHLAGHIRAD

DEAN ARTHUR

GEOFFREY BADDAMS

SAMIR BARAKET

MARGHERITA BUSELLI

LIK HANG CHAN

JINZE CHE

ECHO CHEN

XINYU CHEN

ZIHE CHEN

month 30 human habitat (space environment simulation green house) 40% completion

SERENA CHUONG

364

BO CUI

YUCHENG DAI

ARCHITECTURE

MYKAELA DEARINGER

CONNOR DYER

JAMES EID

THAMEESHA ELIYAPURA

JIEYU FENG

JU ZHENG SAMUEL FOO

HARRISON GALE

CHENYI GAO

YUAN GAO

SHANGYI GUO

ZHIYU HAN

AUSTIN HARDCASTLE

TAO HU

SUBHASHINI RAVINDRAN IYER

RAZEIA JAWID

LEGAL SQUARE

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ARCHITECTURE

CHEE KEAT KHOO

SYUAN-CIH LI

XIAOJIA LI

YUQIANG LI

AIQIANG LI

HANZHI LIU

JIYUAN LIU

MINGMING LIU

ZHIYU LIU

CHUN-YI LU

JIAN LUO

JACKSON MATTHEWS

CONOR McCLURE

KEVIN MILLER

AN THUY MINH NGUYEN

Elevation -

North / West

Reverse Surface (Brick -> Window) Reality world (Original building) V.S. Virtual world (Additional building)

interior void space

28.

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ARCHITECTURE

BAO NGUYEN

NIBRAS NOOR

EDWARD OMONDI

CLARE OXENHAM

ELMIRA RANJBAR

DARCY RICHARDSON

THE CLOUD

RENAE SCHULZ

LOGAN SMITH

MONIKA STANKIEWICZ

XINYU SUI

THIEN KHOI TA

SIN HONG VINCENT TEE

BRAEDEN TOWNSEND

XUONG KHAI TRAN

QUOC HIEU VU

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ARCHITECTURE

CHONGMING WANG

JIAXIN WANG

YI WANG

TIANWEI WEI

JIANYI XU

YE XU

QI XUE

CHENGXUAN YANG

MINGYU YANG

GENGHUAN ZHANG

LEYANG ZHANG

XINYU ZHANG

XIYU ZHANG

JIE ZHENG

JIAHAO ZHU

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LANDSCAPE ARCHITECTURE & URBAN DESIGN

YUJIA CAO

SPENCER CAON

WU CONG

Interface between existing Roxby Link, and proposed biodiversity zones, public courtyards, and landmark “Light Ray” pergola.

KATELYN DIPROSE

YINGJIE FENG

POCKET PARK 3 - HABITAT

JAMES GILLETT

OUTCOME

KATELYN DIPROSE • A1704536

LARCH 7033 • FINAL PROJECT

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ZHUOCHENG GU

ELEANOR HUGHES

ISABELLA BAILS Sensory Garden Creek System Adventure Nature play

BIOR Reveg

Labyrinth

Proposed site

Bird Trail

Look out Trail Nature/Planting trail Bird Box trail Dry Creek trail Kangaroo trail

Scout Training grounds Virtual Reality Garden Cafe / Kitchen Garden Scavenger Trail

Look out with

seating Seating

NADIA JAMAL

FENGKE JIANG

RUNQIU LI

PERSPECTIVE

YIFENG LI

YUECAN LI

PEIRAN LIU

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LANDSCAPE ARCHITECTURE & URBAN DESIGN

MITCHELL LOBB

CHUAN MA

ZIYAN QI

ZHENGHAO QIN

RUSHUI PING

YELLOW GUM CAMPGROUND: PERSPECTIVE VIEW SUMMARY BIO R RESTORATION CATEGORY EXISTING VEGETATION

CATEGORY 1 & 2: RECONSTRUCT AND IMPROVE MALLEE WOODLAND AND TALL TRUNK 70'S PLANTING SPECIES PRESENT: - Callitris gracillis

THEME

PERENNIAL GARDEN

EXPERIENCE DESCRIPTION

THE CAMPGROUND WILL CREATE A MASS OF COLOUR AND FLOWERS WITH BOTH GROUND COVERS AND SMALL SHRUBS. CAMPSITE WILL LOOK OUT ON THIS SPACE WHILE HAVING LARGER TALL TREES AND SMALL SHRUBS TO INFILL THE IMPROVE SECTIONS OF LANDSCAPES, THIS WILL ALSO CREATES SCREENING, SHADING AND ALLOW CAMPERS TO FEEL IMMERSED IN THE VEGETATION.

PATH TYPES

LOOSE AGGREGATE: FOR PATHS AT 900MM FOLLOW THE VEHICLE ACCESS WHILE THE COMPACT QUARRY RUBBLE PATH THAT MOVES THROUGH THE ENTIRE SIT IS 2.5M

ACCESS

FOLLOWING A CENTRAL COMMUNAL SPACE IS A ONE WAY VEHICLE ACCESS WITH PARKING ALLOCATED AT EACH CAMPING SITE THE ENTRY TO THE CAMPGROUND IS FROM HARTMANN RD AND MOVES PAST THE PAPER BARK CAMPER TRAILER CAMPGROUND

NEW VEGETATION TYPES

MIX: TALL TREES, SMALL SHRUBS, GROUND COVERS, GRASSES AND LILLIES/HERBS

SALLY ROWETT

DENSITY: UNDER STORY EXISTING TREES TO BE SPARSE WITH INFILL OF SMALL SHRUBS AND GROUND COVERS CENTRAL GARDEN WILL BE DENSE WITH LILLIES/ HERBS, GRASSES AND SMALL SHRUBS NO BIGGER THEN 600MM

_masterplan 2031

Rushui Ping a1707851 PLANNING 7030

ROWS

CAITLIN ROY

OLYVIA SOLOMON

CAMP PAD (DESIGNATED SITE AREA)

CLUSTER

EXAMPLE SPECIES OF PLANTINGS: TREES - Myoporum platycarpum LILLIES/HERBS - Bulbine bulbosa - Arthropodium strictum - Convolvulus remotus - Arthropodium strictum - Cynoglossum suaveolens EUCALYPT - Eucalyptus leucoxylon SMALL SHRUBS - Dianella revoluta - Dampiera dysantha GROUND COVER - Goodenia pinnatifida - Vittadinia blackii SIZE: 9M X 4M SHAPE: RECTANGULAR WITH AN AND ADDITIONAL SPACE FOR OUTDOOR SET UPS

TIMBER EDGE AWNINGS AND

RACHEL STUPPOS

MATERIALITY: COMPACT QUARRY RUBBLE

S C AT T E R E D

CLUSTER

ROWS

There are two artificial waterpoints on the farm. One is north of Harman Road and the other is south of Frahns Farm Road. Both water spots are made up of water tanks that provide a safe source of water for the birds to better cope with extreme temperatures.

CLUSTER

However, the water point is far from existing nest boxing, and the water supply from the two points is not enough to supply all the animals in the area.

ROWS

YI SUN

Rain-day Park Rendering

SHUO WANG

SHARMA TWINKLE

S C AT T E R E D

10m

Water tanks & pipeline

10m

NORTH

Key Area Plan 1:2000

Nest boxing

ARID GARDEN ANDLegend SOLAR PANEL AREA Detail/planting plan: Astronomical Statgazing Maintain

STRUCTURES

Legends Reconstruct Maintain Nest boxing Water courses Baseflow in mount lofty ranges Main path Water point (Water tank) SA water Piepeline

outdoor planetarium washroom/walk path

YUWEI ZHONG

JUNYU ZHENG

0.25

0.5

timber tables/seats/beds WANGYING ZHU timber seats/beds quartz path

Km 0

Reconstruct

concrete paving

1.5

TREES/SHRUBS Acacia retinodes Podolepis aristata Source from: https://www.solarquotes.com.au/panels/direction/

Westringia eremicola Bulbine bulbosa Guichenotia ledifolia Minuria leptophylla Eucalyptus calycogona UNDERSTORY

RAINGARDEN STREETwalk path

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Lawn

Senna artemesioides

20m

Wahlenbergia stricta -15-

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The University of Adelaide, School of Architecture & Built Environment [08] 8313 5836 www.architecture.adelaide.edu.au

PUBLISHED DECEMBER 3, 2021 SCHOOL OF ARCHITECTURE & BUILT ENVIRONMENT, UNIVERSITY OF ADELAIDE PRINT RUN: 450 COPIES

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NET WEIGHT: 485gm

DIPTYCH (NOUN), AN ARTWORK COMPRISED OF TWO PANELS CONNECTED BY A HINGE; A WORK OF TWO MATCHING PARTS. THE TITLE REFLECTS THE TWO MODES OF LEARNING (IN-PERSON & REMOTE) DURING THE PANDEMIC.