Portfolio 2018

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ARCHITECTURE P O R T F O L I O 2 0 1 8 contents.

CV The Hinge The Young Old The Maker’s Farm Wave Hill Pavilion Kalkarindji Art Centre The Outre Gallery The LAGI The Oddish The Lantern The Precast Tower Construction Design


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Jinwoo Jung // 28.01.1994 // England-born Korean-Australian // Graduate of Architecture, MSD // +61 (0) 425 215 770 // jinwooj128@gmail.com // jjungarchitecture.wordpress.com


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Educational Background 2015-2017 2012-2014 2008-2011

Melbourne School of Design, University of Melbourne Masters of Architecture University of Melbourne Bachelor of Environments, Major in Architecture Melbourne High School

Work Experience & Volunteer 2018 2015-2017 2017 2016 2014

2012 2012

Technical Tutor, Melbourne School of Design Techincal advice & assistance in summer intensive subject ‘Tectonic Grounds’ at the Melbourne School of Design. Student Architect at Martino Leah Architects 3D Visualisation, 3D modelling, town planning drawings etc. on a range of upper0class single and multi-residential projects. Volunteer at 2017 Australian Student Architecture Congress Bower Studio Class of ‘16 Construction of the Kalkarindji Wave Hill Pavilion, as part of the 50th celebration of the Freedom Day Festival Member of AND Speaker Series A student-run speaker series inviting professional architects/designers to inspire and inform aspiring architectural students. Involved in organizing speakers, advertising and publicizing event. Mission trip/volunteer work in Cambodia and Thailand Organizer for leading youth groups throughout the trip, serving local schools and churches within villages. Construction works for Melbourne Full Gospel Church Primarily assisting finishing work such as tiling, sanding, cornicing, etc.

Awards & Achievements 2017 2016 2014 2012 2012

Architectural Thesis First Class Honours Studio Small First Class Honours Design Studio Fire First Class Honours Selected works for Virtual Environment, Melbourne GPO Exhibition Architecture Design Studio Earth Selected Works Exhibition

Skills

Language

A Referees

Jannette Le Office Manager, Peter Ryans Architect T: 0433 315 796 E: jannette.le@unimelb.edu.au

Rosalyna Wee Wee Mukai Architects Pty. Ltd. T: 0412 535 177 E: weemukai@gmail.com


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the hinge. Design Thesis Semester 2 2017 Masters of Architecture

The socio-physical threshold between the formal and the informal is a complex phenomenon within Jakarta, characterized by tensions such as the capacities and endurance of kampung dwellers, the vulnerability of the dwellers becoming complacent, and the discordant nature of the urban duality. A case study is the community of Kampung Tongkol which has shown strong endurance and capacities to face the t hreat of eviction by voluntarily cutting back their households to create spaces between the houses and the river, first in the 1980s and again in 2015. Despite such efforts, the community still faces tenure insecurity and remains ne-


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glected despite desire to connect to Kota Tua’s core zone through local job opportunities and tourism (Padawangi, et. al, 2016). The thesis explores the empowerment of such settlements through the usage of architecture and its context as a ‘hinge’, where it attempts to facilitate the composition of multiple different actors (such as the kampung dwellers, municipalities and tourists) and its socio-political impact- local histories, capacities and cultural practices are led into spaces of encounters, where through flexible and temporal appropriation of space the contribution and resilience of the Kampung community is demonstrated.

The resulting ‘hinge’ ultimately acts as a communal/economic/municipal platform where the relevance of the kampung communities in the livelihood of Kota Tua is reinforced through an active constant interchange and dialogue between the occupants of the site.


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site context.

as an act of resistence against plans, the residents of kampung their households to create a 5m frontage to try and legitimize the

government’s relocation tongkol have cut back setback from the river community’s existence.

alongside the cutting back of resident’s houses, the community have conducted communal operations such as launching a bamboo raft to clean the river. the rafts are also being used as children’s playground.

local warungs form a large part of kampung tongkol’s economy. from selling models of bajaj and pinisi ship to local culinary products using local fruit trees, many of these are also sold outside the kampungs and in the market.

within the setbacks created by the residents, communal activities and local culture have materialized to create flexible open platforms for gatherings, events and play area.


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4.

3. 1.

2.

4. 5.

proposed contextual circulation: Activation of walkable access and water access via kali besar canal, using site as an attractor point for the kampung and fatahillah square

kampung tongkol tourist zoning: 1. plant production zone 2. history and public features 3. historic zone 4. culinary zone 5. crafts zone formal settelments old town batavia

informal settelments Kampung Tongkol

EXPOSURE OF LOCAL CAPACITY

SOCIAL EMPOWERMENT

TOURIST ATTRACTION ECONOMIC OPPORTUNITY MULTI-ETHNIC LIVING QUARTER INTIMACY & LIVELIHOOD

THE HINGE RELIGIOUS ESTABLISHMENTS

MARKETS

ATTRACTORS

internal circulation & zoning public public/communal services & staff commercial communal

‘hinge’ points communal circulation

HETEROGENOUS SOCIAL COMPOSITION

REVERBERATIONS

ECONOMIC OPPORTUNITIES


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Axonometric diagram illustrating key moments of interaction and exchange within The Hinge. The facilities aim to create strong reconnection between Fatahillah Square on the East and Kali Besar canal on the West, whilst also creating appropriated spaces within the buildings for informal kampung communities, tourists and municipalities.


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Top: Section perspective of The Hinge illustrating the interchangeable nature of spaces and functions.

Above: Western elevation of the existing structure Rumah Akar, and of the activated promenade along the Kali Besar canal which connects the square to Kamoung Tongkol.


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A

B

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C

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9.

12.

C’

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4.

10.

13.

5. 6.

A’

B’

first floor plan 1:200 1. rentable gallery 2. renteable gallery 3. prayer room

4. ablution zone 5. staff lobby 6. WC

7. meeting room 8. office 9. workshops

10.collaborative studio 11. lobby/historical gallery 12.amphitheatre

A

13. youth hall

B

10. 1. 3.

4.

6.

12.

C

C’

7. 11.

2.

13.

8. 5. 9.

A’

B’

ground floor plan 1:200 1. kali besar promenade 2. public platforms 3. warung market

4. rumah akar courtyard 5. boat & onthel tourism office

6. cafe 7. central courtyard 8. staff circulation

9. WC 10. operable market entry 11. market/bazaar

12. dining area 13. open stage


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Section A-A’

Section B-B’


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1.

2.


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3.

4.

1. Perspective of market entry from Kali Besar 4 2. Public amphitheatre 3. Courtyard/gallery of Rumah Akar 4. Maker’s space


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the maker’s farm. Design Studio E Semester 1 2017 Masters of Architecture


Internal view of Eastern fig orchards. The orchards are harvested and maintained by local artists during their time of residence, expanding knowledge and awareness of urban food growth to the residence and the public.

THE Maker’s Farm is a collaborative space in which artists and the public engage to take part in living a healthier urban lifestyle. The Maker’s Farm houses an external and internal orchard that grows pear and fig trees with the capacity to gr ow up to 150 trees per type. Each tree will produce approximately 260-300 fruits per year, and will complement each other throughout the season. These orchards become a responsibility for

not just the harvesters but by the makers, being trained and educated during their residency. The driving architectural intent focuses on creating a visual and spatial relationship between all processes and the outcome, of first the process of the food production (growing, harvesting, processing, distributing) as well as the workflow of the makers (technical requirements, producing and exhibiting).

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First floor plan

Ground floor plan

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4.

2.

3.

A

1. Artist’s residence 2. Artist’s courtyard 3. Western orchard (pears) 4. Restaurant 5. Eastern orchard (figs) 6. Retail stores 7. Processing room 8. Cooling room 9. Central laneway 10. Markets

11. Eastern orchard(figs) 12. Maker studios 13. Gallery 14. Northern orchard (pears) 15. Outdoor exhibition area 16. Workshops 17. Buffer garden 18. Pick-up zone 19.Irrigation pond

20. Storage rooms 21. Balcony 22.First floor gallery 23. Collaborative open maker space


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22.

20. 23. 21.

C

B 18. 19. 14. 7. 8. 13. 9. 6.

16. 15.

12. 10.

5.

11.

17.

A’

C’

B’


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Top: View of the central market lane. The market acts as multi-sensory public realm where the process of the food production such as drying, packaging and selling is experienced as users traverse through.

3. 1.

Section B-B’ 1. Processing room 2. Market lane 3. Storage 4. Retail stores 5. Eastern orchards

2.

4.

5.


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3.

1.

Section C-C’ 1. Gallery 2. Maker’s studios 3. First floor gallery/storage 4. Eastern orchards 5. Northern workshops

2.

4.

5.


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Top left: View of artist’s resdiency Top right: Northen orchards and workshop space Above: Section A-A’


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Northern elevation

Eastern elevation

Section perspective


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the young old. Design Studio Semester 2 2016 Masters of Architecture

When we think of accommodation for the elderly, quite often it is easy to think of retirement villages or nursing homes, or other facilities in which there is a controlled environment with staffs and carers. There is a stigma towards these typologies that is associated with a sense of incapability and restricted living, as well as being very expensive. The truth of the matter is, despite the relationship of accommodation for the aged with an age-care facility, only a minority of the aged population in Aus-

tralia resides in these facilities whilst many continue to live independently, often in detached houses and in isolation along outer suburban areas. The aim of the project is to develop an independent multi-residential housing for the aged community that is not focused on the aim of ‘protection and care’ but to promote higher standard of wellbeing and liveability through accessibility, sociability, and security. Welcome to the age of the Young Old.


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Second Floor 7.

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4. 8.

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1. Single-Unit 1 2. Single-Unit 2 3. Couple-Unit 4. Common Laundry 5. Change Room 6. Gym 7. Studio 8. Atrium 9. Circulation Space 10. Terrace Communal Garden

4.

First Floor 1. Single-Unit 1 2. Single-Unit 2 3. Couple-Unit 4. Common Laundry 5. Computer Lab 6. Atrium 7. Circulation Space

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6.

5. 4.

3. 1.

2.

Ground Floor

11. 10.

3.

12.

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9.

2.

8. 6.

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5. 4.

1. North Entry 2. Exposed Vestibule 3. Common Lounge 4. Security’s Office/Residence 5. Open Library 6. Op-Shop 7. Courtyard 8. East Entrance 9. Cafe/Grocery 10. Emergency Room 11. Pick-up/Drop-off Zone 12. Stoarge


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Rooftop garden

Resident atrium

Ground floor atrium


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throughout the design process, 3 different apartment modules were adapted throughout the building. The above module demonstrates an adaptable micro living unit for 2 that sits below the volume constraint of 85m2 set by the studio. The plan integrates research-driven proportions, non-intrusive design and adaptable layout to ensure that the residents can continue to live independently. Harsh corners are minimized, and non-load bearing walls are able to be removed to expand the bathroom for wheelchair access. The following elevations and isometric drawings illustrate the smaller scaled joinery and fit-out details and of their usage by the residents, from the kitchen to the living/dining area all the way through to the bathroom.

Opposite: Adaptable apartment unit for 2, showing the pre and post adaptation phase 1. Kitchen/pantry 2. Living/dining room 3. Verandah 4. Bedroom 5. Bathroom 6. Cubicle


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3.

4.

2.

1.

5.

6.


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Kitchen

Living/dining


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Kitchen cabinetary details

Bedroom joinery detail


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Bathroom (post-adaptation)

Bedroom


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wave hill pavilion. Design Studio Semester 1 2016 Masters of Architecture


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The Bower Studio 2016 celebrated the 50th anniversary of the Wave Hill Walk-Off in the Northern Territory, by designing and building 3 bough shelters along key locations of the walkoff trail (Kalkarindji, Gordi Creek & Jinbarak). The design of the shelter was derived from the stories told by the community elders and traditional owners, as well as some abandoned artefacts found on site. The students were thoroughly involved in the

construction process, ranging from installing pad footings to fabricating benches and tables to be installed below the shelters. A wide variety of tools and constructoin techniques were introduced, and exposed the students to the real-life construction process which involved constant problem-shooting and setting deadlines to finish the project in time.


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Installation process

1. Excavation of ground for installation of footings.

2. Creating timber moulds for pouring of concrete.

5. Installation of steel ribs onto exposed concrete footings using dynabolts.

6. Each ribs were welded together with its relevant joining plates in accordance to its panel location prior to the installation.


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3. Mixing & pouring wet concrete into timber moulds.

4. Setting and curing concrete overnight.

7. Perforated/corrugated/blank steel framed panels bolted onto rib structure.

8. The individual panel orientation and typologies allow different light quality to shine through in each pavilion and create shadings from the harsh sun.


1.

2.

1. Installation of seating area in the Jiranbak site 2. Installation of exposed footings 3. Bench using recycled mahogany wood 4. Steel frame structure assembled on Jinbarak 5. Perforated steel panels on the Gordi Creek site

3.


4.

5.


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Karukanji art centre. Design Studio Semester 1 2016 Masters of Architecture


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As a continuation of the built Wave Hill pavilions, the Karunkarni Art Centre proposal for the town of Kalkarindji aims to redevelop the relationship between the local artists, residents and tourists through place-making and the local artworks, generating income revenue and reconnection between the tradition and culture of the land to the wider public. The art centre takes on a semi-enclosed form that activates peripheral zones around the centre of the town and

articulates existing socio-spatial use. It collectively aims to give active opportunity for the local culture and history of the Wavehill Walk-off to be recognized and passed down through generations, through celebrating the importance of cultural production.


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1. wave hill pavilion 2. entrance/verandah 3. office 4. heritage & art gallery 5. artist’s workshope

6. storage 7. exhibition area/function space 8. bush plant & medicine garden 9. existing art centre


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1.

2. 1. view of main entrance & verandah space, 2. view of heritage and art gallery


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outrĂŠ gallery. Design Studio Semester 2 2014 Bachelor of Environments Maj. Architecture


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The new design proposal for the Outré Gallery aims to undertake the gallery’s philosophy of ‘breaking out of traditional gallery setting’. The traditional setting of a gallery is reversed where the peripheral area is emphasized, with all activities revolving around the central void. Sitting along the corner of Albert St. and Sydney Rd., The Outré Gallery intricately works within the urban framework of Brunswick but still aim to maintain a vibrant, eccentric nature within; the exposed glu-lam

frames and the brick screen wall recognizes the prominent active zone along Sydney road, and evokes a sense of curiosity by giving glimpse of the internal environment. Internally, the circulation weaves around throughout the structure continuously for a consistent spatial flow, with each zones being distinguished through drastic contrast of its internal environment; the glue-lam frames dictates the circulation of the cafe, supported with custom-des igned kitchen and bar tables.


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Perspective from Albert St./Sydney Rd.

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7.

8.

2.

3. 5.

4. 1.

Ground floor plan


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10.

9.

A

A’

11. 12.

First floor plan

1. Foyer 2. Contemplation space 3. Cafe 4. Storage 5. Gallery 6. Book store 7. Office 8. Loading bay 9. Manager’s residence 10. Reading room 11. Staircase exhibit 12. Rentable gallery


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2.

4.

1.

3.

5.

Section A_A’

2.

1.

Section B_B’

1. Cafe 2. Gallery 3. Contemplative zone 4. Staircase exhibit 5. Workshop/drop-off zone 6. Entrance

6.


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Cafe

Bookstore

Rentable gallery


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LAGI initiative: Copenhagen Design Studio Semester 1 2014 Bachelor of Environments Maj. Architecture


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The LAGI project for studio Air aims to reclaim and revitalize an empty industrial site into a public community space that will, through its technology, facilities and art, stimulate and challenge the minds of the users about renewable energy and resource generation & consumption. The parametric design form aims to establish a new mindset to the visitors, allowing a revaluation of how creative

art can be incorporated into creating awareness for a sustainable built form. The form embraces minimal surfacing tools, creating a vibrant, abstract environment where public functions and features are intertwined into a whole. Using a solar pond energy generation system, the embodied energy is converted to electricity and sent back to the grid.


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8 1 2 3

1

Low-salt-content cool water

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Salt-gradient layer

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High-salt-content hot brine with heat-absorbing bottom

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Water circulating pump

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Organic working fluid pumped through copper tube in evaporator

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Organic working vapour drives turbogenerators to generate electricity

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Organic working vapour enters condensor and returns to fluid

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Low-salt-content cool water fed through condensor

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Organic working fluid is pumped back to the evaporator

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solar pond system

residual heat is used to heat swimming pools

extraction of solar energy via solar ponds

Rankine cycle generates electricty through turbogenerator, which in turn also generates residual heat energy

energy distribution

form generation

electricty produced is fed back into electric grids, or used for any other maintenance/functional reasons


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Solar pond

Central plaza

Swimming Pool

Plant room

Water features


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Top: Panel prototypes exploring material qualities of polypropylene, aluminium, plywood and acrylic. Opposite: Perspectives of the occupation of the land art by the public. Bottom opposite: Section view of the tectonic nature of the land art.

Throughout the design process, numerous prototypes were built and tested to analyse the qualities of the panels in which the design was to be created. The panels were tested according to their durability, flexibility, structural sta-

bility and aesthetics, using various panelling techniques and materials. The final laser-cut components were assembled at a 1:10 and 1:1 scale, detailing the panel materials and joint details.


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the oddish. Summer design elective 2017 Masters of Architecture

THE Oddish is a collaborative installation project undertaken with students of the University of Melbourne, United Make, and Cube Zero. Utilizing rapid prototyping, responsive design and collaborative process, The Oddish is a result of an intense 2 weeks process of designing, trouble-finding and fabricating. The individual flower petals made with thin paper is connected to a customized gear mechanism with light sensors connected to an arduino board. 6 petals of varying sizes are connected onto another sub-structure, forming 10 sets of clusters. The form and position of the clusters were determined using motion mapping from Kinect, maximizing performance in terms of motion, interaction and response. The Oddish was exhibited as part of the NGV Design Week 2017, and was commissioned for another set of installation for White Night Ballarat 2018.


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Diagrams showing the fabrication of the kinetic gear used to allow the flower to blossom and react to light.


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PAGE HEADING

Photos credit Yiheng Yang


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virtual environments. Design Studio Semester 2 2013 Bachelor of Environments Maj. Architecture


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Virtual Environments focuses on the reflection of the self-organization of the natural world and its application within the design process, adapting and expressing such processes through digital fabrication. The bark of a tree is consisted of the inner and outer bark. The outer bark is formed due

to its incapability to keep up the pace of the trunk growth, and represents the tree’s maturity and growth, as well as a symbol of protection. Through sketches, clay models and prototypes, the form was tested to incorporate the characteristics of both the inner and outer bark, the concept of the cycle of life

and its ergonomic qualities. After a series of prototypes testing the light exposure, joints, materials and strength, the final design was panelled and unrolled onto templates. After the fabrication of the model, 9 LED lights were embedded into the lantern, distributed around the ring-like form.


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construction design. Construction Design Semester 2 2013 Bachelor of Environments Maj. Architecture

Construction Design is a core subject which aims to undermine the relationships between the architect’s design intent with the constructional realization. Through the analysis of the constructional process of the Dandenong Education Precinct, a 1:20 physical model, 1:20 detailed axonometric drawing and 2 detail drawings was produced to highlight the underlying constructional methods, architect’s design intents, functions and services of a selected section of the building.


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Applied Construction is a core subject from the University of Melbourne which explores construction methods and details of high-rise buildings. This project was focused on the exploration of 3 main ideas: the usage of a triangular core with shear bands & outriggers, the usage of pre-cast concrete cladding material and the detailing of the core components of the crown, the body and the podium.


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the precast tower. Applied Construction, Semester 1 2016 Masters of Architecture


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3

A5.1

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Roof Plan

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2500mm

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Scale 1:100 at A2

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Section Detail

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Scale 1:50 at A2


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Acknowledgement I express my gratitude first and foremost to God for the unending guidance over my life. I also acknowledge all past tutors, students and friends for giving me guidance and support over the years of my education, providing me with words of wisdom, feedback, and food. I would also finally like to give a very big thanks to my parents - I would not have been here without your support and I am forever grateful for all that you have done for me. Thank you.




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