design portfolio.
m adel i n e
g o l d s m i t h
2020 B.Arch. St. M.Arch
cover image. Thesis practice based research, Poetics of place, a thesis painting exploring my childhood connection to playing at sugars beach on Kumerangk. Exploring how non-indigeonous designers can show sensitivities to sacred land in their design process.
about. I am highly inspired and motivated by place based design processes and community driven architectural initiatives. Practicing an approach to design through sensitivity towards people, place and our lived experiences in the designed spaces of our everyday. Through 5 years of architectural education at UniSA, a few international study tours and a semester exchange in Sweden I am proud of the personal development this course has invoked in me, a passion, curiousity and consideration of design. An engrained sensibility developed in my early childhood, which was shaped in the garden, behind a sewing machine or above a canvas with a paintbrush in my hand. Whether it was helping dad with restoring wooden boats/furniture or an independent creative endeavour I was always occupied and surrounded by the mess of my projects. I learnt to make the most of what was available and to enjoy the methods of creating as an outlet. I see my spatial practices and identity as a designer influenced by these same ideals today.
p a r t 1. r e s e a r c h poetics of place
Autumn 2020,
Hindmarsh Island
infrastructural love
Spring 2020,
Venice
building community
Autumn 2019,
Liljeholmen
a farm in the marshes.
2020,
Venice
home ground.
Autumn 2019,
Adelaide
p a r t 2. s t u d i o p r a ct i c e
okutani’s house. Spring 2018, Osaka
p a r t 3. m a k i n g making. Autumn 2019, Stockholm material study.
Winter 2019,
Stockhom
a bed frame.
Summer 2020,
Hindmarsh Island
p a rt 1 .
research
Impressions of Self on the Land , Oil on Paper, 594 X841 mm
Shifting Land and waters, temporality of the Tides , Oil on Paper, 594 X841 mm
Poetics of Place Autumn 2020, Hindmarsh Island Independent Thesis I undertook a thesis on practice based research, during the first half of 2020 during a state wide travel lockdown due to covid-19. I decided to approach the project from a place of comfort and wonder, reflecting on memories of a place I love that is in the early process of planning for development. Poetics of place is a collection of design processes exploring my childhood connection to playing at Sugars beach on Kumerangk. Exploring how non-indigeonous designers can show sensitivities to sacred land in their design process. Aligning the design theory of affect in our environment with anthropology literature of the lived experiences and generations of knowledge of the Ngarrindjeri Nation. I also undertook a precedent study of designers using drawing as research, reflecting on personal memory and identity of place, painting place and making in place. I concluded that the poetics of places comes from intimate understanding and exchange between the body personal connection to the land through lived experiences and memory. For architectural interventions to engage holistically with time and space, the body and land, the designer must undertake a personal connection to that place through immersive and reflective practices.
process [ curiosity+conversation - reflective writing of memories of place - site visit - drawing place - making in place - analysis ]
Infrastructural Love Spring 2020, Venice Research Practices
“Nobody lives everywhere; everybody lives somewhere. Nothing is connected to everything; everything is connected to something” Donna Haraway, Staying with the Trouble, 2016 My practiced based research is a collection of explorations of place through the human and non-human occupation of the everyday detail. Applied to an imagined project of my final year studio work on slow food infrastructure of the island of Sant’ Erasmo in the Venetian lagoon. I was inspired by the essays of Architecture and Feminisms, Ecologies, Economies, Technologies , specifically the chapter on Infrastructural Love (Hannes Frykholm, Olga Tengvall). A proposal for architectural interventions to activate and connect a series of forgotten places in Sweden. The process of their architectural project proposal discussed in the text began with writing the image captions, moments felt and experienced by people and animals Oil on Canvas, 6 x A3 research paintings process [Imagine occupation of place - write image caption - sketch - paint - share]
Vem hänger du helst med? Vad är din passion i livet?
Hur hör vi ihop? KOM och FIKA MED OSS PÅ Torsdag kl 11:00
KOM och FIKA MED OSS PÅ Torsdag kl 11:00
Vad har du för relation till djuren? Vad har djuren för relation till dig?
KOM och FIKA MED OSS PÅ Torsdag kl 11:00
KOM och FIKA MED OSS PÅ Torsdag kl 11:00
Vad gör dig till den du är? KOM och FIKA MED OSS PÅ Torsdag kl 11:00
Building Community Spring 2019, Liljeholmen, Stockholm Client Engagement A small project on community building and the architects role in the communication with and understading of the client . Working closely with NAV Sweden the masters students seperated into groups and interacted with a community organisation for a week . I was involved in the Djururmnasiet a school with students aged 13-19 who integrated animals into their education . After meeting with the head of school we decided to use our architectural skill sets to create a more open dialogue between the students and the teachers. A truly challenging excersice in group dynamics finding my personal role within a team and a hollistic outlook on the importance of taking time to understand the client and thier needs.
process
[ team building - client meeting - site visit - client engagement]
p a rt 2 :
studio practice
produce baths
ridotto di sant’ erasmo
greenhouse
seed saving
wetland watch tower
isola di sant’ erasmo, venezia
a territory of desire, and the market garden of the venetian lagoon
a farm in the marshes. 2020, Venice
Slow food infrastructure for Sant’Erasmo, for the local network of market gardners and alternative tourism. The peripheral islands of Venice consist of ethereal marshy landscapes and agricultural traditions of the market gardens that support a hungry city. This project looks at how architectural interventions can help provide food security to the ancient landless city and adapting existing farming traditions to encourage the nourishment of human and nonhuman life in the lagoon. This project responds with the agency of nourishment and care and towards living on damaged land. How can architecture assist to support human life in the Venetian Lagoon through environmentally and socially sustainable infrastructural interventions. This project discusses the infrastructure required for a slow food community on the island of Sant Erasmo in Venice. As an integrated approach of the revitalisation of place through the identity and cultural practices of growing and eating food. The Slow food movement and Cittaslow were the proposed clients for this project. Both organisaions encourage a belonging to place through engaging with the processes of growing and eating food. process [agency- site research - mapping - landscape planning - design development]
Cittaslow hub and Wetland Watch tower The wetland watch tower is the main point of arrival, a public multiple veiwing points directed at the neighbouring marshlands and the distant sites of ancient Torcello. The occupation of the surrounding buildings are proposed to be seed saving facilities for distribution and community run exchange of seeds for local market gardens. The seed packing room is tucked beneath the earth offering moments of veiwing from above.
learning from the landscape
northern elevation seed saving seed saving facilities and a cittaslow hub
western elevation seed saving observation tower with veiws to torcelllo, and sunken seed saving facilities
seed saving and cittaslow hub
osteria carciofo A farm to table artichoke restaurant located at the centre of the northern end of the Island. It is an adaptive re-use of an existing 19th C Napoleanic fortification. The space is divided by the central clay hearth. I have incorperated the element of water pools on the exterior to reflect and distort the history of the site. I used the metaphor of the artichoke through the spatial patterns, peeling the armoured walls away to reveal the heart.
slowly eating the armoured petals of the artichoke to reveal the soft heart.
chimney beyond
tile ridge line mortar
13mm Acoustic Ceiling panels above restaurant seating Restored Clay Roof Tiles Sarking Oak Timber Wall plate Wind Bracing Strap
Original oak Timber Columns
In-Situ Concrete wing beam
Restored Oak Timber Roof Framing
5mm Weathering Steel Flashing
500mm Existing Clay Brick Walls
230mm Thermal Resistant Fire Brick, Finished with Clay Render sourced from the Site
3mm Copper Lined Bulkhead
5mm Weathering Steel
Carlo Scarpa Artichoke Pendant lighting
Mezzan 1500
exhaust service kitchen
4mm weathering steel ballustrade fins
Brushed Stainless Steel Finish, 9mm Fireproof linning
reflective pools
4 mm weathering steel
Ground 12mm double glazed sky light
grill Reclaimed clay brick floor
artichoke prepping station
3mm Copper Capping over existing brick
Existing Fort Wall Footings
display cabinets cloak room
Existing Fort Wall Footings Supported in In-Situ Concrete
entry ramp Uplighting shadow gap
Lower G -1800
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structural anatomy of the osteria carciofo, tucked within a 19C napoleanic fort.
neighbouring farmers tending to their perenial artichokes in the early morning. The harvest from today will be taken to the produce baths for washing and packing before Marco delivers it by boat to his regular customers in Venice.
produce baths Located at the south west edge of the site. The driving idea is to connect farms with the commons, by introducing shared infrastructure for washing, packing and storing produce. There is also the addition of a flexible market place for tourists and long lunch table for the locals. The form is informed by the patterns of the ancient fish traps that neighbour the site.
learning from the landscape
produce baths elevations shared produce washing facilities, seasonal marketplace and community kitchen
reed filtration beds
tool shed cold store
honey room
loading dock
marketplace produce baths
bike path bike parking
Ⓝ ground floor plan 1:200
ROOF TOP GARDEN COMMUNAL
8X PENTHOUSE APPARTMENTS COMMUNAL 8X 2 BEDROOM APPARTMENTS 4X ONE BEDROOMS COMMUNAL 16X ONE BEDROOM APPARTMENT WITH ADDITIONAL SHARED BALCONY COMMUNAL 2X MID PLANT
16X ONE BEDROOM APPARTMETNSWITH ADDITIONAL SHARED BALCONY
COMMUNAL 8X 2 BEDROOMS APPARTMENTS 4X ONE BEDROOMS KINDY 2X CO-WORKING
maddie goldsmith
bec o’brien
alyssa nelson
agustya adhar
home ground. Autumn 2019, Adelaide This project was a Co-living high density tower located on the corner of Frome st and North Terrace in Adelaide. The team of four approached the design and materiality of the building drawing from the elements of an organ that was previously on site in the church. My main contribution to the project was managing and coordinating the workload between the four group members. By organising meetings, writing and collating information for the project plan and asigning tasks. The drawings I contributed to the documentation set included; designing the facade and public areas of the building including the ground floor, rooftop terrace and communal living floors. process [site visit - precedent studies - collaboration - construction drawing]
homeground
Okutani’s community. Spring 2018, Osaka (Study Tour) thresholds - collaborative cross cultural work - food, culture and architecture A renovation of the Nagaya (traditional row houses) that have been left vacant due to an aging population. These buildings must be thoughtfully adapted as they have a cultural significance which helps define a sense of place and connection with the past. By collaboratively studying the structural composition of one of the Post-War Nagaya on the site, with architecture students from Osaka City University, it was apparent that maintaining the original post and beam structure is vital in respecting the craftsmanship. The structural grid is based off of the tatami proportions, these proportions have informed the structural grid of the new proposed buildings on the northern section of the site. process [ site visit - cultural consultation - mapping - drawing - 3Dvisualisation]
food culture
urban gardening
engaging community
ファーストフロアプラン FIRST FLOOR PLAN 1:50
地上のフロアプラン GROUND FLOOR PLAN 1:50
Ｎ
A study tour like no other. Sandwiched between two super typhoons this trip was a chaotic and valuable turning point in my five years of architectural education. Studio friendships were cemented and a sensibility and passion for detail and tectonics developed. I reflect on my time there often and the connections we made with the Japanese students that welcomed us into their lives and cultural practices.
p a rt 3 :
making
Making. Autumn 2019, Stockholm LA STRADA NOVISSIMA An exploration into our imagination as designers. Walking through the minds of 22 architectural students represented through intuitive making in the destoryed offices we occupied. My room reflected memories from home, picking flowers with my grandmother and watching the seasons pass. The veil reminded me of my time sewing and the sea mist in the mornings that I missed dearly and a foginess the clouded my brain from a transient life in a new city. process
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making
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reflection
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making
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drawing]
Material study - CLT. Winter 2019,
Stockholm
GRASP - when art form and core form are indistinguishable Each student was donated a 1000 mm x 1000 mm block of cross laminated timber. The project was an experimentation for how to create trectonic structures using CLT. My piece was inspired by the warp and weft structures of textiles. The proportions of the structure were determined by the existing proportions on the manufactured material. I welcomed the roughness of the joints, that were evidence of it being a handmade structure juxtaposing with its highly engineered makeup. process
[sourcing
material
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testing
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making
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reflection
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drawing]
plan
4 A102
plan @ 1:5
section
perspective @ NTS
perspective section @1:5
section detail
A bed frame. Summer 2020,
Hindmarsh Island
This project was driven by learning through making and crafting, by being resourceful and concious of not buying mass-produced furniture. By selecting timber from my fathers stockpile, I was drawn immediatly to the wonky imperfect olive branches for the bed legs. The trees were cut down in 1973 from an olive grove in Hackam where the land had been sold for a housing development. The grove thought to have been planted in the 1880’s. I used a European Cyprus pine for the frame collected from a farm in Tintanara in the South east in the 1980’s.
process
[
sourcing
material
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drawing
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making]
thank you!