the portfolio of
julia loo
projects
back to [black] Bachelor of Architectural Studies / Year 2 Semester 2 (2011)
Model Making (conceptual and 1:1 scale), Adobe Photoshop, Adobe After Effects Folly and event design (winning design in the Back to [Black] design group) for the 2011 Rugby World Cup ‘Fantrail’ event held at Myers Park in Auckland, viewed by both local and international visitors; group work with Gary Wang, Tessa Song and Zee Shake Lee. As a colour, black usually connotes death and darkness. But here in New Zealand, our sports teams wear black with a sense of pride. It is the All Black’s colour. But to us, black is not just a colour; it is the absence of light. When the colours, black and white, are inversed, the idea of positive and negative space becomes ambiguous. A negative space is created by the angled folly, to capture the ‘black’ space between the folly and the shipping container. On the other side, the leaning folly projects a negative sense of the folly about to collapse onto the pathway. Lighting, attached to the scaffolding, is used to reveal the structure, as well as isolating the folly to give the illusion that it is floating on top of the container. When the lighting is inversed, the space between the folly and the shipping container will be lit up, giving emphasis to the negative space. The idea of cut outs creating negative spaces was brought forward onto our event development. Our event design consists of black blocks with voids cut out to contain the dancers. As the dancers leave the void, the negative space will be lit up. The contrast of the change between the voids being filled and emptied will be highlighted. The blocks will be spaced out accordingly to allow passersby to walk through and experience the space between each block themselves. In the moment where all the dancers leave their blocks at the same time, the passersby will be overwhelmed by the sudden chaos crowding the pathway. Then back to silence. Having collaborated with the Dance Studies students, the voids are shaped in such a way that it creates a space for the dancers to be creative; they are free to fill the voids, move in the voids and travel between blocks however they want to. When the blocks are aligned, the light from the voids will cut through the space. Then the black background will be highlighted and it will no longer be the absence of light.
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“Black is not just a colour; it is the absence of light. When the colours, black and white, are inversed, the idea of positive and negative space becomes ambiguous.� 5
inside-out Bachelor of Architectural Studies / Year 3 Semester 1 (2012)
Model Making (conceptual), Adobe Photoshop, Adobe After Effects, Adobe Illustrator, AutoCAD, Google SketchUp, Vray, ArcGIS A project to design an Education Resource Centre on Motuihe Island, Auckland. The main form of the centre resembles the offset of volumes, creating an interesting form. The converging walls leading to the entrance convey a welcoming notion to guests. The auxiliary spaces of this centre are out-of-sight when guests first enter the centre; they are lead directly to the function room. A contrast in materials represents the distinction between the main centre and the auxiliary spaces, with the concrete material fitting the function of the workshop. The office is elevated above ground level to utilise the difference in height so the staff are able to provide surveillance over the entrance of the centre whilst having privacy to carry out tasks. There is an abundance of openings within the centre to make full use of the natural lighting, as electricity is hard to obtain on the island.
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3280
2250
3900
200
1600
2300
1400
3100
2900
2800
100
NOTES:
1
ERC OFFICE
2850
4800
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RECEPTION
3 ENTRANCE
4
1020
RESEARCHER ROOM
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DETAIL A
1960
A
DINING AREA
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Maori tradition tells of a long history of settlement on Motuihe (Te Motu-a-Ihenga, meaning Ihenga's Island) and of gourd and taro cultivations on the island. Many sites of former occupation remain, including two pa (earthwork fortifications) - the larger one at Pa Point (Te Rae-o-Kahu).
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The name comes from Te Motu-a-Ihenga, meaning 'Ihenga's Island' in MÄ ori.
3.
Groves of olive trees and Norfolk pines are some of the tell-tale signs of early European settlement of Motuihe. The island was purchased from its Maori owners in 1839, and the island has been farmed since the 1840s.
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Between 1873 and 1963 the island's western headland was crowded with buildings - a very different scene from the tranquil rural landscape of today.
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A human quarantine station was built in 1873 and first used in 1874 when scarlet fever arrived on an inbound ship.
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The station operated for nearly 50 years. Graves from the victims of an influenza epidemic in 1918 can be seen.
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The station was used as a prisoner of war camp during World War I.
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Its most famous prisoner.
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The colourful German Captain Felix Von Luckner, escaped after only three weeks in captivity here, was recaptured.
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And immediately staged another escape.
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During World War II.
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The complex of buildings was converted into a naval training base, HMNZS Tamaki, and barracks, parade grounds, tennis courts and other developments were added.
STAIRS TO ACCOMMODATION
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2730
8
3060
5200
5 A
1.
LEGEND: timber wall
3360
5340
FUNCTION ROOM concrete wall
accommodation
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KITCHEN
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2660
2300
window above
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PRIVATE TOILET
10 A ASSISTED TOILET
A
detail A on sheet 4
section A-A on sheet 3
3400
2100
PUBLIC TOILET
DETAIL A
2300
STOREROOM
1000
2300
1000
1200
2200
1270
1600
1270
1300
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jA uR Cl iH aI T El CoT oS
p.o.box 91 422, auckland 103 jervois rd, herne bay, auckland julialoo@hotmail.com julialooarchitects.co.nz ph 09 378 4338 fax 09 378 4339 mob 021 312 015
1960
3240
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PROJECT NO:
MOTEDU001
REVISIONS:
A B
02.06.2012 09.06.2012
CLIENT APPROVAL BUILDING CONSENT ISSUE
P R OJ E CT T IT L E :
EDUCATION RESOURCE CENTRE
DR AWIN G T IT L E :
PLAN
CL IE N T:
THE MOTUIHE ISLAND RESTORATION PROJECT TRUST MOTUIHE ISLAND, AUCKLAND
DAT E :
11.06.2012
DR AWN B Y: CHE CK E D B Y:
DY JL
ADDR E S S :
SC A L E (A 3 ):
RE V: B
1:100
SH EET NO :
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school of fish Bachelor of Architectural Studies / Year 3 Semester 2 (2012)
Model Making (conceptual), Adobe Photoshop, Adobe Illustrator, Adobe InDesign, AutoCAD, Rhinoceros, Analog Sketching
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A proposal for a visitor/cultural centre on Puketutu Island, Auckland, inspired by the technical, behavioural and figural investigations of a school of fish. Each pavilion were designed according to its programme and a significant part of the Kelliher family’s history with the island. The main focus of the centre is on the basalt wall with a walkway that extends from the mountain into the sea, with its axis pointed towards the Manukau Harbour.
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akarana golf and bowling club Master of Architecture (Professional) / Year 1 Semester 1 (2013)
Model Making (conceptual), Adobe Photoshop, Adobe Illustrator, Adobe InDesign, AutoCAD, Revit With the decrease in memberships and a more profitable use of land at the Mt Albert Bowling Club site, the bowling club will be merging with the Akarana Golf Club that is situated along the renowned Dominion Road. The intention of the project is to provide golfers and bowlers the opportunity to experience and appreciate the assets that the two differing sports contribute to the club, as well as being able to coexist with each other. A main communal pathway, through the middle of the two sporting areas, acts as a threshold that will increase interaction between the two groups and their relative sport. On the left side of the pathway are three bowling greens – one indoor and two outdoor. The orthogonal bowling elements work with the romantic landscape of the golf course by having the modest spaces flow naturally with the landscape. The spaces are also visually exposed and accessible for all members of the newly formed club.
The juxtaposition of the bowling greens creates interesting spatial experiences by offsetting the floors. This produces negative spaces in between that hold programme strips and a sheltered walkway. The existing clubhouse remains the main facility for the club so the
programme strips hold the other necessary programmes that a typical bowling club contains, such as changing rooms, office and meeting room. At the start of each programme strip are timber caps that take on the role of inviting members into the space, and act as roofs of the transitional spaces from the open landscape into a colder space. Bars are also located at the start of the strips to further encourage both member groups to socialise there and watch a bowls game while they are there. The indoor bowling green is mostly to be used for international or corporate events, and during poor weather and season. Therefore the walls and roof are insulated to ensure the indoor green is comfortable to be used. A full-sized bowling green is around 42.4 metres by 40.6 metres, including the rough green. With such a huge span of space, a flat ceiling would feel burdensome to the members below. The sawtooth roof gives the illusion of a lightweight roof, as it looks like parts of the roof have been lifted up. The southeast-facing openings of the roof will allow indirect sunlight through into the space.
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papakainga 2030 Master of Architecture (Professional) / Year 1 Semester 2 (2013)
Model Making (conceptual), Adobe Photoshop, Adobe Illustrator, Adobe InDesign, AutoCAD, Rhinoceros, ArcGIS Five blocks of land on the Devonport Peninsula were selected for this design brief as they were recently returned to Ngati Whatua O Orakei. My initial sketches from the site visit mainly highlighted the movement, sound and lighting of the site. The idea was then portrayed in my paintings and the theme of ‘liveliness’ became my approach to the group master planning and my own design of the community hub. The final community hub design consists of a waka for the body elevated above ground by a steel spiral core and sheltered by a translucent roof. It is situated at the end of Rutherford Street, acting as a gateway into the community. The “waka” is along an axis towards the intangible heart in the centre point of the community.
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The symbol of the waka represents the history of the Ngati Whatua and the landing of the community, leaving a significant mark. The floor plan of the hub follows the “anatomy” of an actual waka; the head holds a multipurpose hall with a view towards the community, the engine is powered by the liveliness of community and a library at the end steering the community with knowledge and education. The steel core is the epitome of liveliness. It holds a low-angled ramp for circulation up to the building, suitable to be used by everyone, including the disabled. The dynamic form enlivens the area and will attract more people to the building. The translucent roof provides indirect lighting into the building. At night, shadows will be cast on the roof in contrast with the lighting, making the liveliness evident in the dark too.
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‘kiwi’ville Master of Architecture (Professional) / Thesis Year (2014)
Model Making (conceptual), Adobe Photoshop, Adobe Illustrator, Adobe InDesign, AutoCAD, Rhinoceros, ArcGIS, Analog Sketching As our ethnic diversity has been expanding, New Zealand currently has an abundance of housing communities where people live around residents from different cultural backgrounds. ‘Can they co-exist together’ can no longer be the question, as multicultural communities is not a new concept in New Zealand; it is now the norm, especially in major cities such as Auckland. The sense of vibrancy and vitality you get from multiculturalism is clearly evident in the multicultural celebrations, festivals and marketplaces taking place in our society today. This has evolved a bicultural New Zealand into a multicultural society. This situation should be utilised, not criticised.
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The word ‘village’ connotes family or wholeness in a community. The purpose of this thesis is to propose a residential community design that best fits the 21st Century New Zealand and will attract like-minded people to inhabit. ‘Kiwi’ville (derived from the term ‘Kiwi village’; and ‘kiwi’ is the colloquial term for New Zealanders) will be a residential community where the relationships between residents can be enhanced with communal spaces and housing layout that are influenced by the different cultural roots of New Zealand. This thesis acknowledges the potential in the multicultural communities of New Zealand. It investigates the social aspect of communal living and compares the cultural elements of the demographic. The thesis progressed through stages of detailed site mapping and demographics, analysis on the communal lifestyle, and research on vernacular buildings belonging to the different ethnicities. The design issues are addressed through a residential community
project on a site in Belmont, Auckland. This project is an investigation into how the architecture can potentially make this lifestyle more favourable for future residents. The impact of children’s play in a community and the educational factors through interaction will be rewarding for the community. The conventional notions of public and private are challenged, utilising the ambiguous spaces, which are pivotal for the design of this community.
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physical modelling
naked house by shigeru ban Bachelor of Architectural Studies / Year 2 Semester 1 (2011)
Model Making (scale 1:100), Adobe Photoshop
Precedent model of the Naked House by Shigeru Ban (Japan, 2000); group work with Grace Leung.
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the terrace development Jasmax / July 2013
Model Making (scale 1:200), Adobe Illustrator, AutoCAD, Revit As part of the University of Auckland Open Desk Initiative, I completed an internship at JASMAX for a two-week period. During that time, I produced a detailed physical model of The Terrace Development in Christchurch.
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She produced a detailed physical model of the development. She figured out the complex building forms from the Revit model and then elevated them in Autocad for laser cutting. The resulting model gave a valuable sense of proportion and materiality to the various building types in the development. We would have no hesitation in recommending Julia to a prospective employer. JAMES WHETTER Associate Principal at Jasmax
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conceptual work
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