Portfolio Architecture 2015
Hana Nihill
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Curriculum Vitae Mobile Email Address
07500 171181 hnihill@student.unimelb.edu.au 27 Aldensley Road, Hammersmith, London W60DH
Education 2015 2014 2011 2000-2006
Technical Skills
Currently enrolled in Masters of Architecture /// Weighted Average 84.25 University of Melbourne, Bachelor of Environments Brisbane Girls Grammar /// ATAR 98.00 AMEB Piano grades 1-7
Photoshop Indesign Illustrator Rhino and Grasshopper Google Sketchup Autocad Vray
Leadership 2014
Editor and Designer /// Ormond Papers Lead a team responsible for the publication, marketing and editing of an annual journal showcasing a series of essays and visual material produced by students and alumni of Ormond College. Faculty Representative /// Environments, Ormond College Coordinated a series of faculty events that brought students of the college together with industry members. Liased with college faculty to create an extended tutorial program that would be beneficial to all students.
2013
Designer and Contributor /// Ormond papers Responsible for working in a small team to design an annual publication. Involved liasing with printers and coordinating staff and budget.
2011
School Prefect
2015
Participant in 2015/2016 Hong Kong-Shenzen Architecture and Urbanism Biennale Gift to the City Studio Prize for most outstanding studio project Prize for Outstanding Contiribution to College Community Environments award /// Higest achieving Environments student Ormond College First in Ancient History /// Brisbane Girls Grammar State Finalist Debating QLD State Finalist Model United Nations QLD
Achievements
2014 2013 2011
Work Experience 2015
[2]
Digital Fabrication Technician /// University of Melbourne FabLab Involved in operating digital fabrication machinery including Laser cutters, 3D printers and CNC routers in order to translate students digital fabrication files into physical models.
Panelist for Final Critique assesment at University of Melbourne Formed part of several panels that consisted of universiy academics and practitioners who assisted in critiquing Masters students and undergraduate students end of year projects. Design and Layout for Trinity College Academic Journal Involved co-ordinating with the editors of the Trinity College Melbourne academic journal to produce a 200 page publication. Renderings for New Graduate Centre at Ormond College Translated two dimensional plans into a three dimensional rhino model Rendered model in Vray to produce advertising and promotional material 2014
Private Tutoring in Maths and English Worked independently with several high school students in years 8-11 on maths and english
2013
Tutoring For Excellence in Maths and English Tutored students in years 8-12 from several areas in Melbourne in maths and english Tutored students with learning disabilities Catering Peter Rowland Was involved in setting up and catering large events at Flemington Racecourse and around Melbourne Internship at Urbis Worked in several Departments of the multidisciplinary design company including International Property Economics, Urban Planning and Landscape Architecture Delivered Research packages to all departments Worked on basic photoshop, illustrator and autocad documents
2011
Private Tutoring in English Peer tutored english students in years 11 and 12
Community Service 2012 2011 2010-2011
Tutoring at Carlton Homework Club Volunteer trip to Borneo to build schools in remote communities Volunteer at Hilltop Gardens Nursing Home
Spoken Languages English Moderate Proficiency in French and Spanish Nationalities Australian Spanish
References
Scott Woods PhD candidate, tutor and lecturer at the University of Melbourne E: scottwilliamwoods@gmail.com P: +61 412 886 020 Dr. John Harris Senior tutor in History and Literature at Ormond College E: jharris@ormond.unimelb.edu.au P: +61 432 097 475
[3]
Precedent Research
Office of Metropolitan Architects VS The City An Explor ation enclosure of the disseminat ion of the in Prada’s traditiona FLagship store in l city New Yor k by OMA
h of the
on the strengt life, through the space of the city, So one passes, through everyday le ful, rewarding, or at least survivab vectoral to make that passage meaning
Museum Airport ecology
g itionin Air Cond eriors less Int t Window s/movemen or Nature Escalat
ing Shopp
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Central Multi-Purpose Bench
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Survival Tactics In one of the many tomes OMA has laid their stamp on, Mark Wark proclaims that ‘one passes, through everyday life, through the space of the city, on the strength of the vectoral, to make that passage meaningful, rewarding, or at least survivable.’ in Melbourne, that vectoral force is characterised by small, beautifully curated interiors, page long coffee lists, smashed avocado and skinny jeans that litter the graffiti clad alleyways and puncture the sides of tram lined streets. It seemed inevitable then as students of Architecture at the University of Melbourne that rather than designing a house, we designed a cafe, come bookstore, come art gallery. On an unassuming corner of Brunswick’s Sydney Road, we were tasked with imagining the demolition of a particularly lurid pharmacy and the insertion of a new, historically respectful addition to the cluster of cafes in the area. Interacting with ideas of newness, shopping and voyerism the scheme imagined overlapping void spaces and infinitely flexible, manoeuvrable furniture. Art, coffee, books, and seating all sat together nestled amongst the shelving and bench systems that tentatively defined space in the store. The process began with an exploration of OMA’s Prada Epicentre in New York and progressed through to a flexible, contextualised space.
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Virtual Bunkers Claude Parent and Paul Virilio thought that, by simply sloping a floor plane, it could become a wall as well as a ceiling and eventually a space. They thought that their sloping floor planes could reintroduce conciousness into architecture, could re-introduce the body to space. This project takes their oblique function and re-works the horizontal and vertical axes of orthoganal building blocks. By taking otherwise standardised building components and tilting them, the tower becomes a writhing mass of interlocking volumes. The distinction between plan and section becomes meaningless and with the destruction of that distinction comes the impossibility of functional planning. Coming off the back of my participation in the Hong Kong-Shenzhen architecture and Urbanism Biennale, this project seeks to propose a space that reacts to geometry as opposed to predetermined usage. It offers up an endlessly complex maze of space, that can be defined by internal re-working as the user requires offering up a new understanding of building envelope and planning that can never hope to dictate narrative and function.
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Ten Essays on Estrangement Eisenman’s houses I-X are infamous at this point. Those that were built are scattered around the US, crumpling under the burden of weather and habitation. The others happily sit in the words and diagrams that Eisenman produced as he attempted to first de-motivate the archtiectural sign, and later introduce the possibility of formlessness into buliding. This project was an attempt to follow Eisenman’s process through from house I-X. In order to do this the houses were dissected and the essentail transformations that eisenman wrought on the 9Grid that all the houses sprung from became walls. The CORNER, a source of much contention for Eisenman, is similarly analysed throughout the grid that the house transformations play out on. These corners are alternately structural, de-motivated or performative. Their relative importance to each of the houses is shown in each of the piecharts that sit below the grid.
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Models
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Model Photo
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Translating the Artwork: Nusa Kambungan, Ben Quilty
Final Joint
Assembly
Fabrication
Assembly System
The Pharmakon The gallery space has become a contentious one, an architecture that mediates not only human relationships with space, but with art. These mediations have the potential to create conflicting narratives that see architecture and art either compliment on destroy one another. After interviewing a series of artists, curators and architects this project and the one following explored the way in which architecture could facilitate the viewing of art. Challenging Fydor Dostoyevsky’s “sickness” as he described in Notes from Underground, the gallery was an exercise in irrational imagination. This gallery in particular was intended to display Ben Quilty’s Nusa Kambangan, in a way that connected to a piece of his interview in which he spoke to the vagaries of language and artistic communication. Initially, the quote and the artwork were laser-cut into perspex, along with a diagram of a potential gallery. The perspex was then cut into the squares that became the pieces of a mnemomic, subjective architecture. Combined with a joint that allowed for a flexible configuration, the model imagined an architecture as a system, being constantly reshaped by the individual as they chose to interact with it.
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Polypropelene ‘Leaves’ Connected via red thread to small DC motor driven in two directions by an arduino board at intervals of 5 seconds
MDF ‘Ribs’ Laser cut in segments and then connected using superglue and added red thread for reinforcement.
MDF ‘Windows’ These window frames were purposefully banal. Painted white on one side, they were simply the frames for the perspex panes through which the user witnessed the moving garden.
DCM Motors Two small DCM motors were connected to either side of the structure on the ‘legs’ and rotated slowly in two directions lifting the ‘leaves’ upwards and downwards to simulate a breathing motion.
MDF ‘Legs’ The legs that supported the rest of the structure were a solution to the problem of hanging the sculpture from the delicate mesh of the exhibition space. Designed around my eye height, they give a strange sense of proportion to the rest of the form. Arduino and Battery The arduino and battery were housed at the base of the structure and wired to the two DCM motors higher up in the legs. The Arduino was programme to rotate clockwise for 5 seconds and counterclockwise for 5 seconds.
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Crashing into the ___________ This project is a failed machine for navigating the void. Much like the white cube gallery, it initiates a recursive process that can only arise out of an absence, yet in trying to materialise that recursive process it destroys -whilst simultaneously creating- the absence from which it came. Like the relationship between the formal and the non-formal that Daniel Liebskind describes, the machine proposes a series of spaces that exist to prompt an exploration of purely subjective non-space. In order to do this a series of paradoxes are proposed throughout. The delicate shimmering foliage with the mechanical whirr of the motors, the rigidity of the external structure with the organic forms and delicate material draped between them. The constant questioning of structure compels the subject to extrapolate correlates that create an internalised architectural/artistic experience that illuminates the true function of the “pristine� gallery space as the sole facilitator of individualised artistic geometry/abstraction/interpretation.
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Details of the Machine
Much of the machine sought to create confusion in the viewer. It seemed as though as soon as the possibility of movement was introduced to the structure, the assumption was that the ‘ribs’ with their skeletal formation and rounded joints would assume still more anthropomorphic qualities and begin to pivot around the frame. Instead it was the plastic, hanging, seemingly impotent ‘leaves’ that were lifted up and down via a motor system that was hiden by invisible fishing line. The movement was further hiden by the white shroud that dressed the undersides of the ribs on one side of the machine. Intended to create suspense, or rather gaps and questions, the loud whirr of the motors were the only thing that alluded to any added function as one stood passively viewing the machine.
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Ten Essays on Estrangement: Model The model for this convoluted spread of grid transformations had to convey the more physical aspects of how the floating structure would anchor itself to the ground. There was a particular focus on expressing the structrual connections of the span in the central beams of the grid as they punctured through the transparent perspex. The relationship that each ‘house’ had to the others was also explored through the use of playing cards, a reference to Rosalind Kraus and Eisenman’s book ‘Houses of Cards’.
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