Full Landscape Architecture Portfolio - Mark Radford

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 Precenct Master Plan Precenct Refinement -

2011 Michael Fowler Centee 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

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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. Based from this analysis I divided the site 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 is explored in each pathway is to emphasis the physical play on scale.

The criteria in the third set of tests have a strong focus on the play between the existing height of the motorway and the height of the concourse by pulling out paths from between them. The play on levels, scale, difference between the masses (such as the concourse and the motorway) and void (of the train track space and servicing yards), and relationships between each space explained above is explained visually.

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

In this section of the course, the brief required us to detail one section of the design. This section of the master plan has the most thoroughfare between the stadium and the train station.

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 catalist 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

STA LK E R PROJECT

2011

This project was based of the Russian film ‘The Stalker’. The director, Andrei Tarkovsky had very intentional and intruding spatial qualities that strongly related to the emotions of the storyline. This design is located at the summit of Matia/Somes Island in the Wellington harbour.

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.

This quality is shown when entering the design through the void space into the sparse vegetation, then into the mass of the landform and surrounding vegetation. Throughout the sequence your views are canaled through the foliage of the trees where one is being controlled and restrained. The summit of the design is very confined and the foliage of the vegetation is canaling your views, forcing you to progress further into the design. Once you begin to bleed down through no defined path it becomes more intense, only to feel a great release as one approaches the void at the end of the sequence.

The brief outline lead the class through three main phases to producing a structurered process and coherent design Intent.

PHASE ONE:

In the early stages of this project we had to bring along an object that captured our emotions that could be used to build a model. I chose a bight blue steel tube as I felt it had the strong post-industrial feel. It then went through a series of forms. These forms become my atmospheric qualities 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 the brief outlined how important communicating the intangible spacial qualities are in a space. In exploring my site and relating it to the last two phases of the brief, I then created a textural pallet of spacial qualities of the sequences through the proposed plan.

AA

BB

CC

DD

EE Final Plan,

1:500 @ A1

Section A-A

Section C-C

Section B-B

Section D-D

Section E-E

A

Perspective of Lookout and staircase in centre.

Perspective of rock climbing wall.

Perspective looking towards Wellington Harbour.

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.

The brief outlined to produce three pathways from the old wharf 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

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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 onemetre old rock wall defines the edge of the courtyard. In the Southwest is a large opening with a stunning view directly over the Central wellingtons Harbour. This is one main focus and driving point in this design.

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The concept of design is to achieve a central point upon Matia (Somes) Island that 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.

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Site Plan,

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Scale 1:150 @ A1

Existing Planing and Character

Larger Planting Structure

Structural Planting and Members

Low Lying Planting

PLANTING PALLET 1.

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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

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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

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1. Common Heather (Calluna vulgaris) 2. (Tulbaghia fragrans) 3. Lavender (Laveandula angustifolia)

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6. Sea Squill (Drimia maritima) 7. Creeping Rosemary (Rosmarinus officinalis prostratus) 8. Poor Nights (Myrsine divaricata)

M ICHA E L F OW LE R C E N TER 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 amphitheater 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 SKETCHS

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

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.

STAT IC MOT ION I NSTA LL ATION

2010

This is a proposal for an temporary installation in the atrium of Te Aro Campus at the Victoria University of Wellington. The panel explains the process taken in the developing of the final form and location of the installation. Students will be obstructed by the installation in an attempt to slow down the movement of the space and create a fragmented atmosphere.

ph o t o g ra p hy

A “LI V I NG� PERSPECTIVE

2011

This single exposure series uses the windows reflection to portray their aspirations and emotions of the mannequins. These can be related to objects or people and how the mannequin is always stationary. The use of black and white portrays the emotion while keeping a hierarchy between the foreground, background and reflection.

Hanmer Springs, 2010

Milesworth Station, 2012

Hanmer Springs, 2011

South Point, Kiakoura, 2011

Hanmer Springs, 2011

Wellington Botanic Gardens, 2011

PE R S ONAL PHOTO GR A PHY In early 2010 I brought a Nikon D90 and took up photography to keep my creativitiy flowing during off time from university.

These are a few of my favorate personal photos I have taken during over this period.