brief intro woodmarsh projects academic works travel studios
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In this portfolio I have touched on some of my most favourite academic and professional works. This document will serve as a device which demonstrates my skills, passions and capabilities. All drawings are my own.
pottery museum software experience location
rhino 3d. rhino 2d drafting. 3ds max schematic design. design development xian. china
This is an ongoing project we are working on located in Xian, China. The brief called for a 100 000 sqm pottery museum and hotel. As a maker and collector of pottery the client requested a form highly sculptural and recognisable by the world. We worked for around 12 months refining the form communicating between ARUP in Shanghai and the local design institute (LDI) in Xian. The hotel is made up of 180 rooms, centered around a 80 meter high foyer which has a restaraunt at the top level. The central courtyard will act as an outdoor garden and retreat from the museu. Serving as a view for guests and at a glance the public. At the center of the courtyard is a subterranean oasis which will house palm trees and all things tropical giving people another reason to visit during the winter.
mint apartments software experience location
rhino 3d. autocad urban art contribution. design development. documentation port melbourne. australia
Referencing the sites maritime location, 2 sides of the building are a patterned concrete, with a texture evoking rippled water. Distributed within the patterned concrete are coloured windows, whose colour and orientation aim to randomly reflect sunlight, imitating the play of sunlight on water. The use of patterned concrete further references the sites immediate surroundings and adjacent buildings, namely those directly to the South and West, where textured concrete is successfully employed. In contrast, the North and West façades are largely glazed, allowing the majority of apartments views to the bay. This is further enhanced by ‘rippling’ the façade and extending the living areas slightly beyond the building fabric.
towers road software experience location
rhino 3d. autocad documentation. contract administration toorak, australia
The client like before asked for something out of the ordinary, and in woodmarsh style concrete was the chosen application for both materiality and as a form driver. The site boasts a corner location, crested atop of a hill. The house exterior is clad entirely of timber form concrete giving the illusion of timber slats featuring a contrasting zinc roof which both highlights the boldness of the concrete and exuberant forms. My role was to help the senior architect document and assist in design presentations. I detailed bathrooms for construction and rendered out material choices for the client.
pronto hq software experience location
CONCEPT 01
FINS RESIDE INSIDE OF THE FORM.
rhino 3d. autocad concept. town planning. schematic design port melbourne. australia
The site is comprimised of a fully operational concrete batching plant. The Pronto Head Office will serve as a beacon for the company, ferrying trucks in and out of the ground level while accomodating to admin staff above.
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CONCEPT 02
FINS PROTRUDE PAST CONCRETE FORM.
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My role was to work with the client and director in order to satisfy a form which was respective of the concrete facilities pre-fabrication capabilities. The extent of the batching facility meant we had little room for width, the entire building is only 7m wide. We made up for it in its height giving the design a strong street presence which can be seen from the westgate freeway.
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CONCEPT 03
FINS PROTRUDE PAST CONCRETE FORM. CREATING AN ARC.
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academic work
THE JET NEST software project location
rhino 3d. rhino 2d. tsplines. photoshop. illustrator. indesign. destination airport avalon. australia
In the early days of travel, airports were called ‘flying fields’ and they were little more than grassy strips with small holding areas for passengers. In the last 1950s, as travel by air became more affordable, airport design advanced to handle larger crowds and heavier planes. The airport construction boom of the 1960s brought with it an architectural style that mirrored the mystique and glamour of air travel, with passengers donning their finest clothing to dine at the airport restaurant before boarding that plane. From the 1970s to the mid 1990s, however, airports became ‘people processors’ and the romance disappeared. Terrorist attacks and increased regulations turned glass windows into opaque walls, and the need for rapid airport expansion with
limited budgets resulted in uninspired design. A traveller could anticipate few opportunities for fast food dining, let alone fine dining, gift shopping, entertainment or relaxation. Airports occupy pivotal positions in the geographies, economies and the ecologies of the cities that they continue to shape. In spite of this, airports occupy sort of a cultural blind spot, categorised by organised confusion. The void of the airport reads as an emptiness and in this emptiness produces in itself an urban vacuity. The Jet Nest acts as a destination airport positioned in the year 2020. It aims to reshape and reorganise the fixed terminal diagram inherent within all modern airports today. A catalyst for all ages, travellers and workers. The airport
will serve as a regional resource for Avalon and greater Melbourne. Jet Nest is designed to operate at the scale of landscape and infrastructures as an abstract and strange figure on the horizon. In reference to Greg Lyndsay’s Aerotropolis. Jet Nest could be an interpretation of that idea - substituting the commercial and global branding for which airports have become to programs that share a dynamism to air travel. Focusing exclusively on a multilateral approach that suits all of users of that space.
‘AN ALIEN HAS LANDED’ software project location
rhino 3d. rhino 2d. zbrush. maya. photoshop. illustrator. indesign. rmit building 36 melbourne cbd. australia
The aim of this speculative campus was to create an institution which embodies its own persona and learning environment. It will distinguish itself from its existing RMIT counterparts by extracting a series of principles from external resources to drive a shifting mix of program, circulation and formal expression. The process chosen was one which created a responsive plan and a contextually sensitive facade. The plan gradates from public to private, rounding up to level 8. The existing condition of building 36 represents a dense and claustrophobic surrounding which repels the occupier. The new and improved condition offers attraction, amazement and celebration for the occupier compelling them to remain inside the building. Before intervention basement and
ground floor were disconnected and isolated, now these two elements are celebrated in a triple height space. The entries reflect contextual, movement and planning requirements. One merges with the neighbouring 7-eleve, the other opens the basement level to the laneway and the corner entry exemplifies the street corner. The interiors of the building were constructed using a linear progam stacking. Rigid programs are placed towards the top of the building (classrooms, computer rooms, teachers offices) to maintain the required teaching and office space. Whereas towards the lower levels the planning becomes more drammatic and open. Ordinary classroom walls begin to sink into the slab offering natural
light and views of the outside, glazing masks most of the interior subdivisions enhancing visual links between students. Suttle floor rises and ramps begin to divide the plan into its seperate programs, avoiding the traditional extruded wall. The cube was a module which I expressed numerously through scale and repetitiveness to create the sinous relationship between process and architecture.
ECO TONE software project location
rhino 3d. rhino 2d. vectorworks. photoshop. illustrator. indesign. public wall sendai, japan
The aim of this project was to reactivate the desolate and abonded Orichimachi Precinct east of Sendai’s city centre. The project was not concerned with demolishing the existing, as this was already a too prevalent factor of the 2011 earthquake and tsnumami. Instead the focus was on retaining the existing and designing around those empty alleyways and roadways. The idea of a Roji wall came about by thinking of a way people could inhabit and personally make a part of the wall there own. populating it with traditional garden ornamentation and micro infrastructures. The wall would be perforated enough to allow transparency and a sense of openess but not to the extent of complete visibility. The wall snakes around a series of existing facilities,
including a library, tea rooms, class rooms, manufacturing facilities, school and warehouses. The wall serves to enclose the outdoor spaces creating an intinmate space for those more purpose built programs and in other areas such as the school and library the wall acts as a furniture and play device. Allowing the user to sit and place items in the wall openings. The Wall snaking around the school also serves as the privacy screen. The design also caters to future weather forecasts, in the event of a tsnunami the wall will break the impact of the waves, minimising destructioin on the orichimachi precinct and preserving the intimate spaces the users have created for themesleves. collaborators
Pauline Malaquin, Johan Laure
Continous activity
| WAW | Architectural project | Team E
Master plan
Recreate proximity
| WAW | Architectural project | Team E
| WAW | Architectural project | Team E
Conversation with the surrounding
| WAW | Architectural project | Team E
KOKUSAI TRAIN HUB software project location
rhino 3d. rhino 2d. 3ds max. maya. photoshop. illustrator. indesign. train station melbourne cbd. australia
Kokusai Central Station will become one of Sendai’s greatest landmarks. The site manifests rich cultural and educational programs. With over 160,000 expected people navigating their way through the Tozai train network daily. The brief called for a solution which would transform the Aobayama district, creating public spaces, developing green belts, promoting pedestrian and bicycle mobility; an opportunity to create a new topography to intensify the experience of the city as a collective process. The railway station has been designed in accordance with the urban role. The station serves as an intense public space which restablishes the connection between the North and South ends of Sendai-Nishi-Rd. Bleed
off zones have been addressed by creating positive and negative spaces, this is referring to program and refuge. This adjacency informs a constant state of connection to the site, allowing people/workers/passengers to feel safer knowing there is oepn green space around them in the case of a disaster. The large traversible roof is also an intergratÂ…ed of this process, giving its geometry and topograhpy to the volume of the station and the site. Within the station, the proposal houses large concourses which funnel entries to numerous key pressure points of the site. Externally, streets will be reconfigured as shared vehicle/ pedestrian routes. Building upon the briefs call for a 30 minute city. With the re-networked pedestrian routes and traversible station platform we
managed to create a radius where by all programs in the Aobayama district can be accessed by foot within 10 minutes of the Kokusai central station. The proposal also creates new civic and cultural spaces for the existing programs to use, therfore building upon the relationship between programs. We have rebuilt demolished programs such as the planetarium in an effort to preserve the tradition of Aobayama’s past whilst using the new architecture to both engage and embrace it.
collaborators
michael ferreyra
WORLD ARCHITECTURE WORKSHOP 10TH ANNIVERSARY, SENDAI, JAPAN
COPENHAGEN LONDON
PRAGUE SENDAI
PERTH