Architecture Portfolio - Fraser Carroll by fraser_carroll

fraser carroll ARCHITECTURE PORTFOLIO

fraser_carroll@hotmail.com www.instagram.com/fraserc_ issuu.com/fraser_carroll www.linkedin.com/in/frasercarroll

fraser carroll Kensington, Melbourne | + 61 402 935 541

Software

Hello! My name is Fraser, I have just graduated from RMIT and I am extremely excited to gain experience in the industry. I have a passion for architectural design that engages and facilitates greater cultural significance, user interaction and sustainable practice in a technological and conceptual capacity. My love for carpentry has resulted in the upmost respect for high quality detailing and joinery and I strive to incorporate this into my architecture.

Photoshop Illustrator InDesign Rhino 3D Grasshopper Revit Vray Enscape AutoCad Sketchup

I can offer versatile and professional skills, well-suited to high performing team-oriented working environments. My academic work spans production of such projects through a multitude of computer aided design programs and physical experimentation to ensure successful architectural realisation and delivery. I believe the mélange of formal exploration with refined detail will always deliver the most conscious and evoking intervention.

Education

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Other

Model Making Laser Cutting 3D Printing

2018 - 2020 Royal Melbourne Institute of Technology - Masters of Architecture

Thesis Supervisor - Dr. Peter Brew - HD Studios: - Emma Jackson - Fidelity - DI - Biolab - HD - ARM - Defying the Ideal - HD

2019 Delft University of Technology - Exchange Student Studios: - MVRDV - The Why Factory - EPG

2014 - 2016 Curtin University - Bachelor of Applied Science (Architectural Science) - DI 2013 Tafe Central - Project Management (Cert. IV)

Interests

Architectural Currently undertaking 2021 Microhome Competition and Architecture of Illusions Competition Achievements MArch Thesis, High Distinction MArch, Distinction - Achieved Graduate of Architecture. Architecture competition through Because Architecture Matters (BAM) - Shortlisted top 25 projects Completed exchange semester at TU Delft Architecture competition through Bee Breeders, Shortlisted top 40 projects Completed Bachelor of Applied Science (Architectural Science) - Distinction Head Of School Commendation for Academic Achievement Selected by Curtin University to enter Glenn Murcutt Blue Scope Steel Student Award Achieved a Certificate IV Project Management from Tafe Central

Professional Experience/ Volunteer Work:

Architectural Focus Architectural Visualisation’s for Hugh Jones in association with MCA Architects 2021-present. My contributions include interior sketch and design development conveyed through high quality visualisations and drawings in a compressed timeframe. Electrical Drafting Assistant for De Beaux Drafting 2020-present. Working across a range of scales, including public and private projects, my position involves mark ups, documentation and office administration. Student Staff Consultative Committee RMIT, 2018-2019 My position involved regular consultation with individual and groups of students for improvements to the RMIT Architecture building. Subsequent negotiation with staff for the facilitation of requests. Curtin University Student Services 2017 Working in Administration for the Health Sciences Faculty. My role included administrative duties in data entry, management of records as well as general costumer service. Fabrication, construction and installation for HighTide Pavilion by Harris Architects and Felice Varnis’ art installation for the 2017 Fremantle High Tide Art Biennale.

Hospitality Grounds of Arcadia, Melbourne April 2018 - July 2019 Private function venue housed within the Hellennic Museum of Melbourne. Hosting exclusive events including dinners, weddings and work functions, my role incorporated organisational responsibilities, event coordination and bar, canapé and table service. Mrs Brown Bar, North Fremantle, Perth. Approved Manager, 2015 - 2017 Wine bar in North Fremantle, specialising in local and Australian wines as well as beer and spirits. As an approved manager my responsibilities included shift management and venue coordination, bar service and venue. Staff received routine product and service training and with local viticulturists and wine makers. Guild Hall, North Fremantle, Perth. Febuary 2016 - September 2017 Private function venue hosting weddings work functions and events, my role included organisational responsibilities, event coordination and bar service. Product and service training included wine, cocktail and beer cocktail education.

TA B L E O F C O N T E N T S

01 State of Exception 2020 RMIT Thesis [p.6]

02 Lost in Landscape 2019 Competition - Shortlisted [p.16]

03 Neurolancer 2020 Competition - Shortlisted [p24]

04 Byford Bath House 2015 Curtin, WA [p.28]

05 RMIT Studio: Fidelity 2018 Darwin, NT [p.34]

06 Cross Park Pavilion 2016 Curtin, WA [p.46]

07 RMIT Studio: ARM 2019 Fitzroy, VIC [p.52]

08 Photography

[p.62]

State of Exception Subject: Year/Semester: Involvement:

Thesis - Major Project Fifth/Second Individual Project

This project seeks to explore the relationship between architecture and the code which governs its execution. Here, the building code’s origins and definitions are the battleground, asking where architecture is to be found between the rules of the code and the desires for an object. It is at the intersection of these qualities that an architecture is to be recovered.

that one day we might shape it.

The proposal is sited on Mantra Bell City – a precedent where the laws around imprisonment of refugees was recently suspended. Departing from this irony, the restrictions and classifications of the architectural industry are scrutinised with the vision statements of an activation centre becoming the testing ground for the exploration of rule. From this, a new metropolis emerges with the code performing to reveal the priorities of our discipline. The project giving form to our rules so

By giving property to the code and its requirement, as separate from the architecture while simultaneously demanded by it, the conversation is transferred to the labour of the object Symbiotically torn between requirement and desire, the project finds this value in the object. Its inherent value as a functionalist and its intrinsic value as an ornament. It is architecture in a political form as we tease out the morality of our law.

The process finds the tolerance between code and function, use and value. It occupies the tension between how a building acts and the requirements of law. These thresholds are then tested against our desires, finding irony in the gap, and affording value to the code as an architectural construct.

Through an object/architecture relationship the programs synthesise the preferenced qualities in architecture, exposing their duality in relevance of undesirable schemes.

Perched on a ridge, parallels are seen around the city. Sites of mixed-use activity centres, or multi-structured ensembles, hovering at the height of their locality.

Paying homage to the Pittura Metafisica, the architecture is rendered empty with objects scattered through its landscape.

To gain access to the site they must meet the aesthetic, as such the programs are not concerned with their character, they attempt to assimilate into the ideal form of their adjacencies. Appropriating the culture in an effort to minimise their impact on the neighbourhood.

Through the blurred spatialisation of the interior and exterior, a door is opened to a new architecture that lowers the division of identity. Through meeting each other, the found moments of these collisions force a negotiation of their rules and order.

The rules and regulations are given limits, dictated by context, they are played into with extremes causing excess or necessity. This action has given form to the reality of the situation and by doing so acknowledges the necessity for much of the restriction in the first place.

The unity of two buildings now sharing a main access creates an interesting language of the exterior wall, and the subsequent requirements of the BCA. Expectations such as fire compartments, and materiality were necessary changes to meet the Fire Resistance Level.

The requirement for drainage, gutters served by a down pipe every 12m brings new character as the rain heads gather at the intersections. Given agency, their rationality becomes uncanny.

An option for an emergency exit, forcefully placed through the measurement of a straight line and a circle. This is code after the architecture.

As it is indifferent to the aesthetic, the fire resistant materiality becomes immaterial, and thus is clad in homogeneity.

The rules of rises, goings and landings are subject to testing, validation from hazard strips calls into question the constitution of a stair.

Thresholds are tested to understand the rationale behind the ideology of the code. Complacency is resisted to retain authorship.

A finite spectrum of measurements in multiple directions reveal a magnitude of opportunity. Each object can be imbued with its own qualities and identity.

Lost in Landscape Competition: Organisation: Involvement:

Icelandic Volcano Museum Bee Breeders Group Project

The Icelandic landscape is a rugged terrain of unbounded beauty and complexity. Lost in Landscape seeks to immerse us in the wild through a subterranean journey. Visitors enter the site from the road, journeying down the path that works and winds to transition between the urban nature of the road and the isolated emotions of nature. As the path sinks, the walls rise and the view and knowledge of orientation is lost, the user is now part of the terrain. Following the trail, down stairs and ramps, around corners and under overhangs, the nature of

the structure begins to expose itself. As you a stumble upon the entrance to the museum embedded in the path the sensation of a cave is pressed upon you, delving deep into the earth to lose all context of the surface. The interior journey begins following an increasingly undulating and complex path that takes the user further down before ejecting them into the cavernous space of the Northern Lights Viewing Room. For the first time they are able to see Hverfjall with new eyes.

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First Floor Plan 1 2 3 4 5 6 7 8 9 10 11 12 13 18

Car park Entrance Path Reception Lockers Gift Shop Toilets Northern Lights Room Function Hall Cafe Office Reception Technical Private Offices Staff Parking

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After the exhibition space, ascension seeks to tease the viewer with an overview of the landscape before redirecting them back into the earth. Deep in the journey, the long gallery twists and turns, slowly lowering the user under the bridge to the café. Once rested the journey begins

again to the lower level, the final coup de grâce, under the path and out of the building to allow the user to explore the terrain freely, having journeyed underground, the desire to climb is encouraged by the many trails leading to the viewing platforms at the height of the peak.

The Path

Neurolancer Competition: Organisation: Involvement:

Workplaces for Tomorrow Because Architecture Matters Individual Project

Isolation. Overlooking remote coastlines, above the clouds. Connected. The allure of tomorrow beckons a bright sunrise. The central nervous system of the Global Economy stirs as the Freelancers wake. In the near future, our lives will be centred on the Gig Economy. The ever-increasing automation of work has left traditional manufacturing roles obsolete and the ‘creatives’ will take over. Today, one-third of Fortune500 companies employ through freelance platforms such as Upwork (99Firms 2020) and within five years, half of the US working population will turn to freelance (McCue 2020). The likely chance of viral outbreaks, displaced climate refugees and uninhabitable regions of the earth will

increase. The solution is up, disconnect with the land and live in the clouds, here we can work, we can play, and we can allow the planet to heal. Within weeks of Italy’s COVID-19 lock down, the Venetian canals were clear, not much later jellyfish and dolphins reappeared. The exponential increase in technology means we will never be disconnected. Turn into the skid, do not fight the inevitable, embrace the technology and do not lose sight of aesthetics. The technology of the future will provide the answers, lightweight materials, powerful electromagnets, transportation drones. Our grounded existence will not hold back our flight. Let us ‘leave’ the earth to regenerate and return only to see her flourish.

With our journey to the sky, our love for aesthetics must not be over-powered by our pragmatism. Just as architecture exists currently, we must continue to design and aspire to qualities of the unique. The ideation of a successful repulsion system and innovation in the material industries will allow the designs of our homes to continue their affinity for beauty and inspiration. The perpetuation of unique architecture will cause concurrent satisfaction in the home and the workplace. A study from Stanford University declares working from home increases efficiency by 13% (Bloom et al. 2014). The conclusion included the congenial nature of home life caused fewer breaks and sick days to be taken and the extension of accessible hours. As the boundary between work and living blurs, the inevitable is a society that works from home and with the innovation of tomorrow, we too will soar, all we must do is take off.

Byford Bathhouse Subject Year/Semester: Involvement:

Architecture and Spatial Grammar Studio Second/First Individual Project

The Byford Bathhouse is a healing and recovery centre designed to focus on the recovery of the mind. The Byford Bath house is located in the rural suburb of Byford, 50 minutes from the Perth CBD. The site is isolated and vast, with only one entrance, allowing the bathhouse to be well hidden from surrounding intruders and the form is embedded on the valley side, offering the users a stronger filter of the outside world. Healing and recovery is often centred around physical impairments, dismissing mental

health as a secondary ailment. The Byford Bathhouse offers an escape from any pressures and issues of circumstance, allowing the patron to seclude themselves from society and retreat into relaxation and comfort. Assigned with the specific typology of “healing and recovery”, the Bathhouse seeks to redefine the typical expectations of a health centre by using sensory perception, aquatic interaction and spatial influence to indulge the mind and encourage the imagination.

sensory perception experimentation The five senses play a pivotal role in the perception of an environment and as a result, to design a healing and recovery experience, an architect must define the divergent interactions with each sense.

“When the architectural experience becomes multi-sensory, all the senses are equally experiencing the quality of the space, which will strengthen the existential experience.” Panagiotis Hadjiphilippou. The Byford Bathhouse uses sensory deprivation and reintroduction to amplify the users appreciation of the healing techniques that water can provide.

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Floor Plan 1 2 3 4 5 6 7 8 9 10 11

Path Entrance Reception Office Staff Kitchenette Change room Storage Sensory Dome Spa Sensory Tunnel Spa GeoPool Long Pool Private Spa’s

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RMIT Studio: Fidelity Subject: Year/Semester: Involvement:

Studio Fourth/First Individual Project

My first studio for the M-Arch course at RMIT was experimenting with the traditional concepts of urban planning. The project centred around Darwin as the nations new capital in 2050, with the intentions of scripting the city based off the current utilisations and patterns presented from the local inhabitants. Analysing one aspect of Darwin, we detached ourselves from the data and agitated the results to overcome any bias and obvious directions that presented themselves. The idea was to reach an outcome that we as individuals or groups would never conceive alone. Generating an urban plan using the mapped data we then analysed a behaviour on a micro level and taking that data, substituted our behaviours into

the plan. The results created a mesh of broken data that clashed and fought with itself. To test the results, we examined one node of the data and re-scripted the outputs to represent coded environments. The project wasn’t designed to reach an entirely habitable city, but to ensure that we as “urban planners” weren’t controlling the outcome too much and forcing the inhabitants to live the way we desire. To maintain this goal we were only focusing on one node of the city and refining it within our own guidelines. For the remainder of the city the intention is to have competing architecture firms and citizens to generate, innovate and utilise the spaces as they so desire. An overriding factor with this project was surrealism, the outcomes shouldn’t work.

Calibrating Country The first drawing in the set, to map one aspect of Darwin’s culture.

Thinner Ice The third drawing, scripted and agitated results of the Calibrating Country and Thin Ice.

Predator Drawing A behaviour chosen from a micro level of Darwin. Heavily fluctuating tidal movements and the infrastructure designed to pass that obstacle.

One node of the new Darwin urban diagram, the outcome presenting itself to be read in the form of data.

Diagram For a City - The coded drawing that when deciphered, dictates the new relationships of Darwin’s urbanity.

A plan view of Darwin’s recoded environment.

Aerials views of a node of new Darwin. Each relationship unique and specific to its isolated environment.

Darwin

Darwin 2.0

Darwin 3.0 Estimated retraction of coastlines with rising sea levels

One aerial node of new Darwin. Each relationship unique and specific to its isolated environment.

Script over Darwin 3.0

Translated the script’s density to result in vertical rise

Script to Height

Urban Behaviour Maintaining detachment from the code input, I used the existing built environment to inform in the code for the new mega-city infrastructure.

Urban Behaviour 2.0 The modularity of the construction process details an indefinite vertical rise. Complete one section, move up to the next level.

Urban Behaviour 3.0 Once sufficient height is reached, to solve the issue of traversing structures, piers and bridges are added to aid the movement of pedestrians.

Finalised Modular Structures Balconies Unfinished Modular Additions Potential Areas for Future Development Pedestrian Networks

Cross Park Cricket Pavilion Subject: Year/Semester: Involvement:

Architectural Discourse and Spatial Intelligence Studio Third/First Individual Project

The concept of this project was heavily centred around the ideas of luxury and sustainability. How these two concepts can intermingle to create outcomes that encourage sustainable design with luxurious environments. The council of Armadale requested design submissions for a new pavilion, replacing the current structure that was built in 1964. Despite the rural nature of the area, the surrounding native bush land and the previous indigenous land owners, none of the numerous current clubhouses at the park show any acknowledgement of an indigenous past. The Cross Park Cricket Pavilion seeks to highlight the historical context of the land upon which it is built and provide the future users of a link to past

techniques of habitation. Among many names, My-a, meaning hut or home was one of the most common forms of Aboriginal architecture. A modern interpretation of the structure, the Cross Park Pavilion has been refined to suit a more modern context with sustainable features and an evolved sense of luxury. The parks rural setting experiences minimal light pollution and to increase the appreciation of the stars, the pavilion’s design inhibits the users’ vision in all directions except directly up or immediately out onto the playing field. The design for the Cross Park Pavilion was selected by Curtin University as the entrance for the 2017 BlueScope Glenn Murcutt Student Prize.

Bark Experimentation Model

Mya-Mya Inspiration and Form Extrusion

Bark Representations Integrated with Shading Techniques

Concept Section

Aerial Perspective

South East Elevation

RMIT Studio: ARM Defying The Ideal Subject Year/Semester Involvement

Studio Fifth/First Individual Project

My third studio at RMIT, and my final studio before thesis was centred around secular civic architecture. The studio was a practice based studio run through Ashton Raggatt McDougall (ARM), from their firm in Flinders St, Victoria. The brief consisted of the simultaneous design of a Museum of Local Government and a Public Housing Complex on adjacent sites. The intention was to experiment with ornamentation in architecture following Robert Venturi’s polemic: the duck and decorated shed. Taking ornamentation from secular aspects of Melbournian society and re-imagining a society that praised these qualities. The Museum brief was to follow “ornament through form” methodology, taking a literal approach to ornamentation, we experimented with bold forms, not necessarily appropriate or

functional but nevertheless, symbolic. While the Public Housing was to follow “ornament as a cloaking device”, where patternation was to be the primary focus taking floor plans from João Álvaro Rocha’s 1999 Social Housing Project and only affecting the interior where the facade design necessitated. To aid in the design process, I envisioned the project through the lens of post occupancy maintenance workers and cleaners, an aspect of architecture often overlooked and relegated to afterthought. The studio included weekly assignments of analysing aspects of pop culture including cinema, art and literature and attempting iterations of the brief’s outline to best understand the concepts and decisions that would benefit the final project.

An Imminent Infatuation - Manifesto The path of remnant obsession is a heterotopia littered with relics and artefacts. To the left of our site we see the old library and town hall. The repositories of knowledge and law. We see a community garden and childcare centre where children grow analogous to the food they consume. Of the two which is the ideal? Of the two, what do they have in common? The journey in front of us plays out the dichotomy between obsessive cleaning and devotion to maintenance. The building to the south orbits the broom-closet, dictating the optimal outcome for cleaning. Square form for ease of preservation, robotic service for automated care and attention. Dust has nowhere to rest and nothing is out of place. The museum to the north represents a culture that worshipped the tool and praised the repair, designing entire cultural centres to navigate the exhibitions of maintenance. Have we reached insanity? Can we save ourselves? Or is this the new ideal?

Fitzroy Public Housing Ornament as Cloaking Device Process

Museum of Local Government Ornament as Form Process

First Floor Plan

Photography Amongst travel and architecture, I enjoy film photography. I am currently shooting on a Nikon fm2. All photos are unedited.