Portfolio - Mai Alarilla 2017-2021

BA. ARCHITECTURE AND ENVIRONMENTS + MASTER OF ARCHITECTURE

2021

portfolio

Mai Alarilla

Curriculum Vitae

Mai Alarilla

EMAIL

laril

Master of Architecture Student

WEBSITE MOBILE

0481 542 362

PROFI L E

Master of Architecture graduate that is organised, detail-oriented and

develop new skills, as well as to share previous experience and skills

EDU CATIO N

EXPE R I E N C E

M. ARCHITECTURE University of Sydney 2020 - current

THE SHED CAFE AND CATERING EASTERN CREEK Cafe all-rounder Jan 2021 - current

BA. ARCHITECTURE AND ENVIRONMENTS University of Sydney 2017-2019 Dean’s List of Academic Excellence || 2018 HIGH SCHOOL Multiple Intelligence International School 2011-2015

inventory and stock safety and hygiene procedures

CnG DESIGN AND DISPLAY Intern May 2018 - Feb 2020 Assistance with concept design and layout of set and store window displays Drafting of technical construction drawings

SK IL LS RHINOCEROS

90%

GRASSHOPPER

70%

TOP OF THE CLASS PROFESSIONAL TUITION Tutor Jul 2018 - Aug 2019

AUTOCAD

50%

EXTRACURRICULARS

REVIT

50%

VRAY

75%

ADOBE PHOTOSHOP ADOBE ILLUSTRATOR ADOBE INDESIGN MICROSOFT OFFICE SUITE PHYSICAL MODELMAKING SKETCHING/ DRAFTING

SYDNEY UNIVERSITY DESIGNERS’ ASSOCIATION Industry Partnerships Head Nov 2018 - Nov 2019 Organising networking events including weekly talks and the annual USyd Architects’ Auction tours for students

90%

guests 90%

90%

SUDA’s network of speakers, sponsors and partnerships

UNIVERSITY OF SYDNEY FACULTY OF ARCHITECTURE AND DESIGN Student Mentor 2019-2021 THE FRESWIND SCHOOL PROJECT, UNIVERSITY OF SYDNEY Volunteer 2018

90%

R E F E R E N CE S

DR PRANITA SHRESTHA 80%

JUSTIN CAWLEY

80%

ESTRELLA CHAN

pranita.shrestha@sydney.edu.au, +61216386158 justin.cawley00@gmail.com, +61401227237

+61426270771

Project Contents

PRE-COVID19

Bachelor of Architecture and Environments Heavier focus on urban planning and mapping, accompanied by VRay + Photoshop graphics

Westmead Village

Graduate Capstone Tutored by Eduardo de Oliveira Barata 2019

Labour and Liberty

Materials Studio Tutored by Tiffany Liew 2018

POST-COVID19 Master of Architecture Experimenting with new, illustrative graphic design styles that required less computer power

Ayutthaya Rice Mill Co-op

Little People

2020

2021

Sustainable Research Studio Tutored by Justin Cawley

Just a Bunch of Bananas!

Graduate Thesis Studio Tutored by Sebastian Tsang 2021

Design for First Nations Studio Tutored by Michael Mossman

PreCOVID19

WESTMEAD VILLAGE

A Primary School without Borders 2019 Bachelor of Architecture and Environments Graduation Capstone Studio Under the Guidance of Eduardo de Oliveira-Barata Site: School Parade, Westmead In an urban fabric with a population that is becoming increasingly dense, how can children continue to be raised to be socially and physically aware without restriction or containment?

The Village is a precinct that is formed around the interconnection between the community and its children, utilising design approaches such as building arrangement and transparency and opacity manipulation to provide a domain that directs activity away from active roads and hazards without the need for harsh borders.

The interlinking form undulates and merges building to building, acting as both thoroughfare and playspace. Its layers are scattered with diverse textural, explorative play areas and ramps that lead into green spaces at every level, imparting a sensory experience for students, staff, and visitors alike while linking the buildings into one community space.

The building is lined with a timber honeycomb envelope incorporates an organic pattern and is planted with climbing vegetation that will grow along with the school’s existence, while also allowing for ventilation and sunlight to

Edges of the envelope are lined with openings that either blend with or accent the surrounding landscape, creating boundaries that don’t feel like boundaries- permeable borders for safety without exclusion or restrain.

Where children can safely coexist with vehicles, roads and other hazards while cultivating mental awareness of their surroundings to apply this knowledge onto the outer world as they grow.

LABOUR AND LIBERTY An Observatory for the Blind 2018

Bachelor of Architecture and Environments Materials Studio Under the Guidance of Tiffany Liew Created with Max Cha Site: Cockatoo Island Pier The brief for this studio was to design a blind observatory- one that utilises material characteristics to invoke an observation of Cockatoo Island itself.

the manipulation of interior space and quality to generate drastic changes in peripheral space and texture, creating a sensory experience while utilising only 2 materials. Through its form, Labour and Liberty attempts to capture the 3 stages of Cockatoo Island’s emotional history- its industrial period, its dormant period, and the present. The spherical volumes hidden in it’s boxlike skin requires visitors to engage with the pavilion by entering it, blind or not.

N

Flow between Sensory Frequencies

Sensing Spatial Material

Sensory Funneling

B

B

A

A

B

N A

The tunnel that connects the two openings represents Cockatoo Island’s period of dormancy. Its walls are lined with timber panels that have undergone shou sugi ban to give off a burnt scent reminiscent of the

sound other than the distant sound of the sea, conveying a sense of the island’s solitude and stillness.

As one exits the tunnel then enter straight into a sensory steel sheet, working with the existing ramp below to create increasingly hollow steps as one approaches the water, while the timber panels curve out and open towards the open sea- a sensory experience that represents the newfound activity from the island’s reopening to the public.

PostCOVID19

Sustainable Shelter 2020 Master of Architecture Sustainable Research Studio Under the Guidance of Justin Cawley Created with Max Cha and Anthony Bucciarelli Also published in Drawing Climate: Visualising the Invisible Elements of Architecture by Daniel J. Ryan, Jennifer Ferng and Erik L’Heureux Site: Hua Ro, Phra Nakhon si Ayutthaya (Thailand)

The brief for this studio called for an environmentally friendly, sustainablydesigned “shelter” for a chosen site amongst 3 of Southeast Asia’s largest cities- Kuala Lumpur, Jakarta, and Bangkok. The team’s chosen site is Ayutthaya, a province located north of Bangkok that proves to be highly relevant to its economic performance and faces many of the city’s same increasing humidity.

The design scheme proposes a rice milling co-op scheme directed towards the local farmers of Ayutthaya by providing them with the means to manage/ process their own produce without having to engage with commerical millers, thereby empowering them to dictate their own terms for production and distrbution, re-stimulating Ayutthaya’s local economic contribution to Bangkok ‘s GDP as well as recirculating income amongst the local community.

Ayutthaya is part of the Central Plains, one of the most intensely farmed areas in Thailand. While this small province oversees about 58% of rice production for the country of Thailand, due to the effects of climate change Crops must be rapidly harvested before they become severely damaged, as

The long-term goal for this scheme is to nurture a greater circulation of money and economic activity within the region. Careful attention is paid the economic cycles experienced by local rice farmers with no option but local community, the scheme proposes a school in collaboration with a local agriculture university and rice mill and storage that incorporates a range of sustainable agricultural practices, providing potential job opportunities for the locals.

Construction takes a cue from traditional Thai vernacular architecture and materiality. High ceilings and strategically positioned timber louvres promotes natural cross-ventilation and cools occupants. Recycled materials such as compressed earth ventilation blocks, timber and bamboo help to reduce heat gain and provide comfortable spaces in high humidity while also providing a modular system for long-term maintenance. The covered courtyard acts as a transition between the enclosed spaces in the building, to the exposed outdoor area.

1

1

bamboo timber roof slats

2 3 4 5

2

6

steel support posts with 300 x

7

steel framework made of square

8

3

9 10 brick

11 12

automatic rice mill system

13 14 stairs

15 16

4

17 18

5 6 7

8 9

10 12 13

11 14 15 16 17 18

boat jetty with bamboo structure

LITTLE PEOPLE

Multi-purpose Residential for the Indigenous presence in Redfern 2021 Master of Architecture From the Heart: Design for First Nations Research Studio Under the Guidance of Michael Mossman Created with Danielle Filler Site: Holden Street, Redfern The brief for this project prompts students to engage with the Koori Lighthouse Youth Organisation (KLYO) and client Mr Shane Phillips to redevelop its previous headquarters in Holden St, Redfern. The team was motivated by the message of the Uluru Statement From the Heart, as well as First Nations histories and connection to Country to design a place-based, mixed-use affordable housing that contributes to the rich history of Gadigal

The result is a 15-storey building embedded with First Nations lore, and prompts those who see it to wonder what stories lie in its fabric. While the and support for the local community, they (along with the building’s overall form) also seeks to share these stories with the world and reinstate the First Nations’ presence in Sydney. It does not aim to speak for or represent, but to invoke narratives and enable discussion, interpretation, and learning. It becomes a form that interacts with the sky and the seasons- a connection to country that will be hard to miss.

These maps demonstrate the aboriginal presence in the inner city, past, what one might have seen within 1 hour walking radius of our site, and a Blackwattle Bay seeping almost directly into the site.

The precinct is heavily embedded with rich layers of indigenous history the dilution of aboriginal presence in direct comparison to the density of metropolitan neighbourhoods, reinforcing the necessity to create a space that reinstates their presence and culture.

Visitors are greeted by a base that emulates the sandstone outcrops that towered over Gadigal Land natives as they made their way to Sydney’s bay to hunt. The undulations of the base are generated via Grasshopper to facilitate rainfall to emulate a mapping of Sydney’s very own pre-colonial waterways. Functions of the base include the chapel, community space, memorial building’s community gardens to introduce newcomers to other aspects of First Nations culture.

s

boora birra dreaming story the boora birra story tells the story of how sydney harbour was formed. the gadigal people would gather around fires to tell stories.

boora birra dreaming story

the laws and why it is necessary to obey those laws. they armed themselves into bands that roamed the flatlands, destroying the homes (gunyas) of the the boora birra story tells the story of how sydney old, stealing spears (gamay) and hunting harbour was formed. the gadigal people would weapons. and using them to fight the members of gather around fires to tell stories. other clans. the people (yura) heard them coming, and would conceal themselves on the burra birra. upon this vantage point, they watched with trepidation as one clan approached the home of the great eel (burra). the home of the great burra, was protected by the great warrior kamarai. kamarai heard noises of an approaching group and went to welcome his visitors. but he was quickly laughed at by the lawless ones, as he tried to avoid the jabbing of the spears. leading from many wombs, kamarai fell to the ground, in a deep pool of the river, the great burra heard the commotion, and heard the cries of help from his old friend (gamarada). the burra swam up to the service of the pool. the lawless ones saw the great burra and threw their spears (gamay) at the burra in fear as it pulled itself up and out of the water. its great body moved towards its old friend (gamarada), as the last spear (gamay) of the lawless ones struck its tail. the earth (pamul) began to shake violently and a great chasm opened up in along time ago there was no evil in this land the ground, swallowing the lawless ones as they (nura), the sea (garrigarang) was further east then fled towards the flat lands. then a storm came in it is today. the place called boora birra was high in from the sea (garrigarang) and the waves crashed the deep valley (yarrang) which it guarded. this across the flatlands, until they reached the cliffs valley was the home of the parra duwee, the eel's that marked the beginning of the highlands. (burra) dreaming spirit. the burra birra was a parradui spoke, "let this be a warning - the laws of special place (ngurang) for the woman this land must be obeyed, and the proper (dyinalung), who when needed, carried out the ceremonies must be carried out in the proper ceremony called butowee. every child (gurung), manner." Parra Dui turned to look at the burra birra when they reached a certain age was taken to s t other boora y t e birra llin g t h r o u g h a f a ç a d eslowly being engulfed by the waves. the burra birra where they were taught certain will now be a place where the sea creatures take things. the child (gurung) received special their children (gurang) to teach them the laws of protection from any the evil spirits which through researching rich (gumada), lore of First Nations peoples, we have designed a facade the land. but you may visit safely from time to time and cause them to do bad thatcould doesenter not them speak for or represent, but invokes these narratives to enable dicussion, so you will remember which lessons should be things. Because the place (nurung) between the interpretation, and learning for the everyday. the balconies wave with the facade passed onto the young. good lessons can always valley (yarang) and the sea (garrigarang) was flat

the rainbow serpent

boora birra dreaming story

there are multiple versions of the rainbow serpent

along timebirra ago story theretells wasthe nostory evil in land the boora ofthis how sydney

(nura), sea (garrigarang) was people further east then harbourthe was formed. the gadigal would The facade consists of multi-dimensional panels that story, across multiple indigenous clans across it is today. the place called boora birra was high in gather around fires to tell stories. the deep valley (yarrang) which it guarded. this valley was the home of the parra duwee, the eel's (burra) dreaming spirit. the burra birra was a special place (ngurang) for the woman (dyinalung), who when needed, carried out the ceremony called butowee. every child (gurung), when they reached a certain age was taken to the boora birra where they were taught certain things. the child (gurung) received special protection from any evil spirits (gumada), which could enter them and cause them to do bad things. Because the place (nurung) between the valley (yarang) and the sea (garrigarang) was flat the rainbow serpent represents the life-giving value with plenty of food, the people became fat, lazy of water and the cycle of the seasons. when it is and forgetful. the men (mula) no longer honoured not respected, the rainbow serpent can be the spirit (gumada) of the animals they hunted destructive, causing floods. and killed. they waisted much of their pray, eating only the parts they liked most and leaving the sharing a similar arched shape, the rainbow and remainder to rot away. the parents (dyinalung) no the serpent are common motifs in indigenous art. australia. all the stories share a common thread of an enormous snake that slithers underground and into the earth. its movement beneath the earth is directly associated to the earths topography; hills, gorges, rivers and lakes all emerge within what was otherwise a featureless terrain. when the rainbow serpent emerges out from beneath the earth, it awakens different groups of animals. it is said that the rainbow serpent slithered all over the country, providing nourishing water as it rested in waterholes, and forming geographical features on route.

lore. Its undulations are reminiscent of the legndary Rainbow Serpent or the Boora Birra dreaming story, train line are positioned in the formation of the Miyay miyay, while the Golden Guinea blooms in September to herald the incoming ceremonial season- a lighthouse for KLYO through both day and night.

the laws and they armed t the flatlands old, stealing weapons. an other clans. t and would c upon this van trepidation a the great ee was protecte kamarai hea and went to quickly laugh to avoid the many womb pool of the ri commotion, old friend (ga service of the burra and th in fear as it p great body m the laws and (gamarada) they armed lawless onest the flatlands to shake viol old, stealing s the ground, weapons. an fled towards other clans. from the seat and would c across the fla upon this van that marked trepidation a parradui spo the greatmus ee this land was protecte ceremonies kamarai manner."hea Par and went to slowly being quickly will nowlaugh be a to avoid the their children many womb the land. bu pool ofwill thereri so you commotion, passed onto old friend (ga be learned f service of the for the eora burra andgre th laws. the in fear and as it w p water great body m between the (gamarada) waves, hopi lawless ones

JUST A BUNCH OF BANANAS!

Finding identity in the ubiquity of Sydney’s urbanisation through the collection of hyphenated Asian-Australian experiences 2021 Master of Architecture Graduation Thesis Studio Under the Guidance of Sebastian Tsang Created with Grace Lee

Greater Sydney’s urbanisation plans for faceless urban development, placeless built-in-bulk residential estates, and many more proposed ubiquitous dimensions of space threatens to further dilute authentic cultural expression. What is to happen to the ethnoburbs and ethnic enclaves of Greater Sydney and all the occupants of their peripheries?

Just a Bunch of Bananas! is a satirical and radical exploration of the AsianAustralian hyphenated identity and its displacement in western society.

Through the lenses of the more prominent and widespread ChineseAustralian identity and the long-established but growing Filipino-Australian identity, it investigates the complexities of migrant home-building and their worlds. This multi-layered identity is conceptualised through illustrative drawing, in search for that middle ground that encompasses the moments

es

bridgings of a third identity of self in addition to one’s ethnicity and nationality.

Finding moments where the two coexist and interweave into a hybrid form.

Newlyweds External vs Internal

Single Young Adult

Under key themes of hyphenated identity and the relationship between an Australian exterior and Asian interior, research among Chinese-Australian and Filipino-Australian migrant diaspora was collected in the form of personal experiences and anecdotes.

These shared stories served as the basis Young Family for the creative seeds of the architectural intervention- the Kit of Parts.

Hyphenated Identity

Hyphenated Identity Understanding the juxtapositions and bridgings of a third identity of self in addition to one’s ethnicity and nationality.

Finding moments where the two coexist and interweave into a hybrid form.

External vs Internal Establishments of immigrant homes do not simply transplant traditional Asian building types to its new environment but rather transforms the common Australian building type to meet their set of needs and functions.

Newlyweds

Young Family

External vs Internal Establishments of immigrant homes do not simply transplant traditional Asian building types to its new environment but rather transforms the common Australian building type to meet their set of needs and functions.

Intergenerational Family

Intergenerational Family

TYPICAL COOKIE-CUTTER RESIDENTIAL FLOORPLAN

Steps leading to grandparents’ unit

THE 8 COMMANDMENTS OF A GOOD HOME

Columbarium Wall

In a more satirical, radical impression of how most Asian migrant families would with their own homes homes, a standard cookie-cutter apartment building characteristic of Sydney’s contemporary residential developments is interrupted and reworked, interwoven and punctuated with the moments one may recall from the hyphenated AsianAustralian experience.