portfolio Mark Radford Landscape Architecture 2010-2012
skills Woodwork/Workshop Technical Drawing Hand Drawing Model Making Laser Cutting CNC Machine Photography Digital Fabrication Rendering Site Analysis Theory and Research Presentation Techniques
software Photoshop Illustrator InDesign AutoCAD AutoCAD Architecture Sketch Up ArchGIS Rhino 3D [Basic] 3ds Max Studio [Basic]
details Mark Radford, 1991. Bachelor of Architectural Studies Majoring in Landscape Architecture Victoria University of Wellington
Mark.e.Radford@gmail.com M-E-R-Photography.tumblr.com issuu.com/markradford9
contents 2012 Pititea Precinct Master Plan Precinct Refinement -
2011 Michael Fowler Centre Maria/Somes Pathway Courtyard Planting Plan Stalker Project Photographic Design -
2010 Wellington Carillon Project Te Aro Campus Installation Personal Photography -
PIPIT E A PR E C INCT M AST E R PL A N
2 01 2
The vision for this master plan is to manipulate the observer’s perception of continuity through the change of levels and sense of enjoyment throughout the entire site. The initial response was set out by the site analysis in the earlier framework stages where many physical and mental barriers become apparent. The analysis of the site was divided into three main interventions and set out three different criteria’s to test each intervention separately. The play on levels and the relationship between each level is explored within each pathway and is used to emphasis both the fine and dramatic changes of scale. By working on such a large and dynamic site, it taught me about different methods of analysing and comprehending the large scaled site. Due to the sites dynamic nature and this lead me to a unique solution to many of the problems that arose. Zoning Diagram
Traffic Circulation Diagram
Circulation Barriers Diagram
Traffic Hierarchy Diagram
Master Plan,
Scale 1:2000 @ A3 View Ports Diagram
Site Plan,
PRECINC T R E F IN E M E NT
1:800 @ A1
2012
The concourse is the main focal point of the context as this is where the structure is most emphasized and playful. This has the strongest impact on the observer in the space and defines the structure as one. This is because it is pulling from the top most surface of the concourse and threading it through the rest of the site. It is both the initial and end point that pushes and really forces the observer’s views away from the stadium and out to the city scape, wellington harbour, and entire project. This refinement of the master plan remains both playful and pragmatic but is refined to sustain different speeds of movement and places to sit to enjoy the view of the Wellington City Harbour.
3D
Model
S-a -
CS E -
CS -
S-a -
E -
Site Plan Elevation,
1:100 @ A1
DETAILING OF U PPE R MO ST PAT H WAY
2012
The master plan scheme accommodates for the increase in people while emphasising a playful and integrated design that incorporates all types of transport. This is still seen through detailing the fluid pathway as it is seen as a catalyst for the entire site. It aims to pull together the main destinations in the surrounding area and making the present unoccupied concourse into an eventful and lively atmosphere. This project focuses on the lowest section of the master plan as it is the entrance and dynamic section. By designing this section it acts example of how the master plan would not only function but also how it would be constructed. Due to the large area of the site, a criterion has been set to insure that the design has a strong coherence throughout each component. By placing a large emphasis on this criterion in the choice of materials and construction techniques it has developed a coherence and flow throughout the design. These pathways creates a unique experience as they give the observer a opportunity to elevated above the city, while still allowing interaction with the city and others that occupy the space through various forms of communication. Pathway Structure Diagram
Elevation
1:100 @ A1
Galvanised steel colum for aesthetical values w seen from above on th pathway structures.
Angled reinforced conc column with Z structure hold pathways 15m ab ground.
Section A-a
1:50 @ A1 Pine Column to support V structured roof structure above. Connected with a steel plate.
Wooden panel nailedt to the nailing plate, which is then bolted to the I-Beam Structure.
Secondry I-beam to cross section the structure frame and proved extra strenght and nailing space.
Plate set into column with baseplate connected to main structural I-Beam.
Angled Iheavy loa forces. D of the be structura the groun
Prestress concrete the steel bolts wit subsequ grout.
Detailing 1
Cross Sectional Elevation
1:50 @ A1
1:10 @ A1
M ICHA E L F OW LE R C E N TRE RENOVATION
2011
The Michael Fowler Centre is located in the heart of Wellington and was built with harsh rigid forms in the 1960’s. The brief for this landscape was to renovate an existing carpark into a vibrant and interactive public space. I achieved this by developing a adventurous elevated pathway that slightly sweeps over the existing motorway to attach to the existing City to Sea Bridge. This pathway is terraced and planted on the upper levels to create a more slow moving and intimate place to enjoy the views of the surrounding harbour. The form of the pathway acts as a amphitheatre with the terraced and fluid structural form. The materiality used is reflected from the surrounding context and broken down then placed throughout the site. Beneath the pathway itself is car parking to sustain the influxes of use of the theatre. In the lower section of the site, there are two large slightly grass fields for the public use. CONCEPT SKETCHES
View from motorway below to overhead pathway
View from the City to Sea Bridge onto pathway
View from ground level of the Fowler Centre and pathway
Site Plan,
Scale 1:400 @ A3
B-B
A-A
C-C D-D
E-E
G-G F-F
Section A-A
Location of Michael Fowler Centre
Section B-B
Main entrances onto site
Section C-C Road surrounding the site
Section D-D
Grass terraces on structure
Slightly elevated grass field
Planting on site
Overall plan
Section E-E
Section F-F
Section G-G
A
Perspective of Lookout and staircase in centre.
Perspective of rock climbing wall.
A
Site Plan,
Scale 1:300 @ A1
0.5m Contours
M AT IA /S OMES ISL A ND PATHWAY
Perspective
2011
Matia Island is a 20-minute ferry ride from Wellington Central, Harbour located within the centre of the Harbour. Once you arrive on the ferry the whole experience of visiting the island begins. Matia Island is controlled by the Department of Conservation to protect the native bush that has been growing there for over 150 years. This pathway connects the wharf directly to the summit of the island and could not connect with any existing pathways on the site. The first obvious obstacle was the topography of the site and organising the contours appropriately. This was achieved by developing a slope at 1:10 allowing for people of all ages to enjoy the walk.
Context Plan,
Scale
Due to the location and tourist attraction scene on the island, this scheme includes a rock climbing and abseiling wall centred around a existing rock face. This creates multi-uses of the walkway and makes the experience more enjoyable by all.
C OU RT YA R D PL A NT I NG PL A N 2011
21.
21.
9.
2.
2.
9. 2.
8.
8. 15.
14.
15.
18. 16.
22.
19.
13.
9.
18.
20.
22.
6. 11.
13.
14.
The location of this design is positioned within the buildings in the centre of the island. There is a large concrete courtyard the size of a tennis court with two surrounding upper banks to the North. The ground level is very flat and a one-metre old rock wall defines the edge of the courtyard. In the Southwest is a large opening with a stunning view directly over the Central Wellington’s Harbour. This is one main focus and driving point in this design.
21.
9.
3.
14.
Located on the centre of Matia (Somes) Island, this design frames the view over New Zealand’s capital city, Wellington, while immersing the viewer within New Zealand’s native plants. Once one enters upon island and makes the journey to the top, it soon becomes apparent that the native bush frames the 360-degree view over the Wellington Harbour District.
19.
20.
11.
7.
10.
11.
11.
15.
15. 17.
13.
17.
16.
14. 14.
14.
15.
14.
13.
23. 18. 22.
18.
23.
20.
18.
22.
16.
15.
12.
11.
5.
24.
3.
12.
21.
14.
20. 18.
6.
4.
13.
19.
3.
16.
20.
9.
11.
15. 12.
2.
17. 12.
16. 23.
10.
4.
14. 23.
14.
15.
16. 17.
19.
13.
18. 24.
20.
13.
20.
12.
18.
12.
18.
16. 22.
17.
18.
10.
22.
23.
15.
7. 7.
Site Plan,
1. 11.
5.
Scale 1:150 @ A1
Existing Planing and Character
Larger Planting Structure
Structural Planting and Members
Low Lying Planting
PLANTING PALLET 1.
4.
7.
10.
13.
16.
19.
22.
2.
5.
8.
11.
14.
17.
20.
23.
3.
6.
9.
12.
21.
24.
Situation Two: Elevation 18.
15.
Planting Key: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.
Elacocapus hookerianus Mysrine divarcata Olearia lineata Muehlenbeckia astonii Cordyline Australus Corfyline australis ‘Perpurea’ Coprosma repens Dodonaea viscosa Passiflora tetrandra Parsonsia heterophylla Phormium cookianum subsp. hookeri Hebe elliptica
13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24.
Chionochloa juncea Astelia nervosa Apodasmia similis Astelia Banksii Anemanthele lessonia Carex dipsacea Carex comans Muehlenbeckia axilaris Muehlenbeckia complexa Leptinella calcarea Acaena inermis ‘Purpurea’ Acaena microphylla var. microphylla
3. 7.
2.
4.
8.
18. 13.
15.
1. Common Heather (Calluna vulgaris) 2. (Tulbaghia fragrans) 3. Lavender (Laveandula angustifolia)
18. 20.
16.
16.
18. 13.
15.
6. Sea Squill (Drimia maritima) 7. Creeping Rosemary (Rosmarinus officinalis prostratus) 8. Poor Nights (Myrsine divaricata)
STAL KE R PROJ E C T
2011
Based off the Russian film ‘The Stalker’, it formed a process of designing a landscape very unique. The director, Andrei Tarkovsky had very intentional and intruding spatial qualities that strongly related to the emotions of the storyline. Although the final design is located at the summit of Matia/Somes Island in the Wellington harbour, these images are based more on the exploration and process undertaken. The three main special qualities that I felt while watching the film were; mass and void, intensity, and confinement and release. These become the main drivers throughout my design process. The mass and void spatial relationship was derived from early stages of development and become the dominant special quality throughout the design.
PHASE ONE:
In the early stages of the process, it began with an physical object that captured our emotions that could be used to build a model. The use of a bight blue steel tube had the strong post-industrial feel was transformed as it then went through a series of forms. These forms become my atmospheric qualities that I wanted to achieve in each space.
PHASE TWO:
In transferring the model into three types of spaces on the site, I used a literal approach as these forms had a beautiful quality. By starting with the more open and vertical forms in the first section above to ending in a very enclosed and dark space in the end. These related to the spacial qualities throughout ‘The Stalker” film.
PHASE THREE:
The next stage of process outlined how important communicating the intangible spacial qualities are in a space. In exploring the boundaries site and relating it to the previous two phases of the brief, it then created a textural pallet of spacial qualities of the sequences through the proposed plan.
Atmosphere Perspective
PHASE FOUR:
The final phase was about producing a single perspective that captures the atmosphere and concept while remaining realistic to the limitations of the site. The final concept was drawn from the forms of the model and the character of the existing rural site.
WELLINGTON C A R I LLON PROJE CT 2010
Located in the centre of Wellington City is New Zealand’s War Carillon. By exploring the different view shafts and scales of the Carillon through hand drawing and technical drawing, it gives the sense of atmosphere that is created by the architecture. A focus was placed upon the context and users of the space.