Max Hu Portfolio

CONTENTS

TRIAXIAL PAVILION Pavilion, Central Park, Sydney (usyd)

THE LIVELY INFILLS Flexible Apartment, St Peters (usyd)

CLIFF EDGE COMMUNITY CENTRE Community Centre, Weihai (tao)

THE RECOVERY OF A FALLEN HORIZON Artists In Residence and Research Facility, Lightning Ridge (unsw)

BAKERY IN WOOLLOOMOOLOO Woolloomooloo Bakery, Sydney (unsw)

OTHER CREATIVE WORKS

MAX HU

PORTFORLIO

E: Salvatoreh@live.com T: 0428023348 A: 408/18 Village Dr. Breakfast Point, NSW, 2137, Australia W: issuu.com/mhuarchitecture

RESUME

TriAxial Pavilion Central Park, Sydney (USYD)

Key Words: Pavilion, Digital Fabrication, Digital Architectural Research Studio Location: Central Park, Sydney Design Phase: Mar. 2014 - Jul. 2014 Project Director: Dagmar Ingrid Elfriede Reinhardt Project Tutor: Robert Beson Project Team: Max Hu, Harry Henshaw-Hill, Lex (Hongkai) Yuan A ‘Pocket’ Space ‘TriAxial Pavilion’ creates an intensified experience of light, sky and structure. The tri-axial plan generates 3 ‘pocket’ spaces which fold in from a larger, shaded gathering space. These ‘pockets’ create a sense of enclosure and serenity, whilst making the inhabitant more aware of the skyCOURTYARD beyond.

VIEW INTO THE The doubly curved structure is comprised of singly-curved timber structural elements, joined

as a thin waffle structure. Curved ply panels wrap the structure, a gap between the panels growing with the change in sectional curves allowing the panels to remain singly curved and easily buildable.

These slices in the cladding add a dynamism when the structure is traversed, creating continually varying changes in the structure’s porosity.

The structural method of vertical and horizontal strips of timber accentuated the overall shape’s curves, a series of elegant curves were created across the ‘surface’. This method of radial lines became a driving force in the progression of our structure, with a series of vertical strips extracted from our final mesh shape, bounded by horizontal rings.

Layered Space

Connecting Rings

2 planar surfaces were fixed at different heights within the spacebox. These planes were then pulled into tension, meeting and intersecting at points. Hard, circular rings were pushed through the soft fabric, these rings having the potential of becoming light wells or compression rings further in the design process. A large number of interesting and unique spaces were created, however the model was lacking a sense of cohesion and scale, it lacked the control to be able to proceed further.

The ideas of the previous model were translated into this experiment, however the overall form was greatly simplified. A tri-axial plan was created, with 3 columns at the perimeter forming a larger space in the centre. These columns were then cut to form intimate interior spaces open to the light above. This basic plan created continued through into the final design.

Weaverbird Base Geometry

Kangaroo Base Geometry

TRIAXIAL PAVILION

‘Kangaroo’ Physics

Kangaroo Base Geometry

AVILION

xperience of light and sky. paces which fold in from a pockets’ create a sense of e user more aware of the

ted from singly curved timfle structure. Singly curved en the panels grows with ping each panel as a singly ble. These slices in the clade is traversed.

Kangaroo Variation 1

Kangaroo Physics, a real physics simulator embedded in grasshopper, was used to try and recreate some of the analogue experiments in a digital realm. Primitive meshes were created, these were then pulled into tension, similar to what was done with the fabric modelling. A variety of interesting and dynamic spaces were created, these models also acting as pure tension/ compression models. This process was useful as a digital formfinding process, however, did not provide the level of control over the forms that we were seeking.

Kangaroo Variation 2

‘Weaverbird’ Variations

Triaxial pavilion creates an intensified experience of light and sky.

The tri-axial plan generates 3-‘pocket’ spaces which fold in from a larger shaded gathering space. These ‘pockets’ create a sense of enclosure and serenity, whilst making the user more aware of the sky beyond.

Weaverbird Base Geometry

The doubly curved structure is constructed from singly curved timber structural elements, joined as a waffle structure. Singly curved panels wrap the structure, a gap between the panels grows with the change of curvature in section, keeping each panel as a singly curved element, hence easily constructible. These slices in the cladding add a dynamism when the structure is traversed.

Kangaroo Variation 1

Cladding Variation 1

Kangaroo Variation 3

Weaverbird Variation 1

Weaverbird Variation 2

Cladding Variation 2

Weaverbird Variation 3

Cladding Variation 3 Cladding Variation 1

Kangaroo Variation 2

Cladding Variation 2

Cladding Variation 4

Extracting Structure and Surface

Our next series of digital experiments used sub-division modelling to produce the final geometries, utilizing Weaverbird’s cat-mull quark subdivision process. A primitive mesh was created parametrically, one ‘leg’ was Kangaroo Variation 3 This ‘leg’ comprises Weaverbird Variation 1 created first. of 3 diamond shapes, one at the ground, one in the middle, and one at the upper boundary, with the middle diamond being much smaller than the others. These diamonds are then connected by planar surfaces, this one leg is then polar arrayed to form the tri-axial plan. Weaverbird’s subdivision then creates a smooth, continuous surface which is able to be controlled fully by changing the initial parameters of the individual leg. This process finally gave us the design control over the form we had being striving to create since the initial spacebox Plan 1:50 experimentations.

Cladding Variation 1

Weaverbird Variation 2

Weaverbird Variation 3

Cladding Variation 3

Cladding Variation 4

Structural Axon

32mm structural ply waffle structure. 80mm wide beams.

2 x 3mm playwood sheeting fixed to beams with steel angles.

Folded steel plate connections.

Concrete footings.

Structural Axonometric Elevation A 1:50

Weaverbird Variation 3

Cladding Variation 4

Section A 1:50

Ply waffle struc

2 x 3mm playwood sheeting fixed to beams with steel angles.

32mm structural ply waffle structure. 80mm wide beams.

Cladding Variation 3

This led us to make the pavilion out of ‘developable strips’, a series of singly curved panels that would wrap around the structure.

Firstly, we quickly compared ex32mm structural ply waffle structure. 80mm wide beams. tracting horizontal and vertical strips. What we found was that with the horizontal strips, the curvature became segmented in the inhabitants’ eye-line, and we immediately favoured the vertical strips of cladding.

Folded steel plate connections.

When planning how to build the structure created, our main concerns were; to provide a continuous surface, to retain the surface curvature, and to create a system that would not distract from the overall form. We wanted to avoid any planar panelling, which would diminish the curvature of the shape, and wanted to find a way of creating a doubly curved surface without the use of memPlan 1:50 branes or casting.

Cladding Variation 2

Concrete footings.

Plan 1:50 Structural Axonometric Folded steel plate connections.

Elevation A 1:50

Section A 1:50

Ply waffle structure cut from 2400 x 4800mm sheets Elevation B 1:50

2 panels spliced together

Steel plate connection Section B 1:50

4 panels per leg, transported to site in pieces Elevation C individually 1:50

Panels spliced to create leg

3 legs joined together Section C 1:50

2 x 3mm playwood sheeting fixed to beams with steel angles.

Plan 1:50

Plan

Elevation A 1:50

Elevation a

Max Hu Harry Henshaw-Hill Lex (HongKai) Yuan

Section A 1:50

Section a

Structural Axonometric

Ply waffle structure cut from 2400 x 4800mm sheets Elevation B 1:50 Concrete footings.

Elevation b

2 panels spliced together

Steel plate connection Section B 1:50

Section b

Elevation c

Section c Developable Strips

Splicing

4 panels per leg

Curvature Forming Process

Construction Process

Singly Curved Panels To overcome the double curvature in the panelling, we allowed a gap to open up between each panel, allowing each panel to remain singly curved. The gap between panels increases as the change in sectional curvature increases. These gaps allow for a dynamism when traversing the structure, allowing glimpses into the spaces within the columns, and light to emerge from within.

The openings decrease and increase depending on the users’ viewpoint, from some views the structure appears solid and heavy, while from other views appears light and delicate.

Steps 1. 2 curves 2. First curve copied across 3. Curves lofted 4. Lofted Surface Trimmed

Structural Axo

Panelling Variations The vertical structural elements were extracted in a variety of ways to produce different variations in structure and cladding. The intention was to have the gaps between panelling to vary in a gradual process, to reduce any large jumps in the size of the gaps. Another consideration was the overall width of the panels which needed to be kept within 1200 to allow them to be cut from standard ply sheets.

Variation 4 shown is the final selection.

Karamba Testing The variations that were produced through Weaverbird subdivision modelling were then tested in Karamba to test the structural fitness of each variation, using the maximum deflection of each model to determine their structural performance. What resulted was a most structurally optimal form (variation 4), and a form which was more suitable proportionally (variation 2), with a sufficiently large middle space between the columns. Unsurprisingly the structures with a smaller internal space between the columns fared the best, resulting in a smaller span of the edge boundaries where the majority of the deflection was taking place. Another factor that determined the deflection was the curvature of the boundary.

The larger the curvature of the edge boundaries, the smaller that the deflection that occurred here. The form that we believed that was working the best proportionally was then altered slightly to increase its structural performance (variation 3). The edge boundary curvature was increased which pulled the overall deflection down to become closer to the optimal variations.

Vertical Strip - Test Model A test model was created of these vertical strips, and it became apparent that the strips had a large amount of double curvature. It was possible to attach each of these cladding strips to the structural members with some difficulty, however, using a less forgiving material than screen board this double curvature would prove to make construction impossible.

Form Study Models The digital variations created were 3D printed to examine formal and spatial qualities produced to inform the next round of variations.

Final Form The variations were refined according to scale, size, and structural efficiency to produce a final form for the pavilion structure.

Presentation Model Physical Model 1:10 plywood & air-ply

THE LIVELY INFILLS

St. Peters flexible apartment, Sydney (USYD)

Key Words: Medium-rise residential, Commerical, Retail Location: St Peters, Sydney Design Phase: Aug. 2013 - Nov. 2013 Project Director: Glen Hill & Michael Muir Project Tutor: Professor Glen Hill Project Team: Max Hu & Lex (Hongkai) Yuan Partnership: Ove Arup & Timber Development Association

In partnership with Ove Arup & Timber Development Association, ‘The Lively Infills’ explores the innovative use of timber in a complex medium-rise residential project.

The project is suspended over railway cutting adjacent St Peters – demonstrate VIEWstation INTO THE COURTYARD the economic viability of timber structural solutions allowed by lightness absent from concrete or masonry.

Since timber has a post-construction workability not found with concrete, masonry or steel, the programmatic focus of the project is on the critical issue of flexibility – the capacity to shrink or grow over time to suit the changing occupant needs.

The project ultimately reveals possibilities for ecologically and economically innovative solutions to transform a rail corridor into residence close to public transport.

FRAME AND INFILLS A new urban typology in St Peters offers both flexible and vivid living style above the railway cutting. The architectonic is expressed through the proposition of ‘frame and infills’ to achieve a clear structural logic, as well as improvising the interchangeability within the built envelope.

MAPPING: OVERALL CONTEXT

MAPPING: IMMEDIATE CONTEXT

Urban Siting & Orientation

Decomposition

Urban Commune

Solid massing

Threshold: Ground

One Fold: determines the street level difference

Threshold: Ground

The Frame: Structural/Support System

The ground is freed up for ambiguous movement

The permanence of the frame allows the freedom of the generic space to be altered, extended or used in a variety of ways.

The Frame: Vertical & Horizontal Circulations

Infills: L Shaped Apartments

Threshold: Ground

Multiple Folds: creates non-linear movement

The Allotments: Interchangeability

Introvert infills inside extrovert frame

THE FOLDING PLANE The geometry of ground floor folds according to the street level difference, maximizes ambiguous movement, at the same time creating small pocket spaces within the overall context including - resting steps, viewing platforms, cafe, shops, as well as open space for weekend markets.

Infills: Double Height

Infills: Open Ended

N

S

Shared Walls: Vertical Services Stacks

Screening: Noise Barriers

INFILLS LAYOUTS The apartments are initially provided as raw spaces for occupants to sub-divide and fit out themselves according to their needs.

The rooms are organized as functionally neutral rooms that without label to fit the demands of various uses.

Future long-term expansion can be achieved by building within the courtyard envelope.

THE LIVING INFILLS The infills are L-shaped apartments orientated towards both the Sydney CBD and Sydney park. The courtyard can be opened towards the internal space offering a more private and serene outdoor environment within each individual apartment.

CONSTRUCTION SEQUENCE

STRUCTURE AS SPACE

Tectonic: Construction Sequence Tectonic: Construction Sequence

CLT (crossed laminated timber) is the main structural material utilized in this project. Load bearing walls are pre-fabricated off site, by bonding together timber boards (western red cedar) with structural adhesives to produce solid timber panels with each layer of the panel alternating between longitudinal and transverse lamellae. Alternating the grain directions of each layer of timber reduces the effects of shrinkage and swelling, also, load may be transferred in more than one direction.

Layer 1: the ground slab (site)

Layer 1: the ground slab (site)

Tectonic: Construction Sequence Tectonic: Construction Sequence Layer 2: the structural columns

Layer 2: the structural columns

Tectonic: Construction Tectonic: Construction Sequence

Sequence

Layer 3: the structural slab

Layer 3: the structural slab

The structural walls are connected by means of horizontal timber slabs, these cross members – ‘the roofs’ form stiff frameworks that are extremely stable in their longitudinal direction, as a consequence, wind forces acting parallel to the walls do not produce large stresses.

Tectonic: Construction Sequence Tectonic: Construction Sequence

Tectonic: Construction Sequence Tectonic: Construction Sequence

Tectonic: Construction Tectonic: Construction Sequence Sequence

Layer 5: structural wall (prefabricated panels) Layer 5:the the structural wall (prefabricated panels)

Layer the structural wallswalls (lower level) Layer 6:6:the structural (lower level)

Layer 7: the Layer 7: infills the (lower infillslevel) (lower

Tectonic: Construction Sequence Tectonic: Construction Sequence Layer 8: the structural slab

Layer 8: the structural slab

level)

Tectonic: Construction Sequence Tectonic: Construction Sequence

Tectonic: Construction Tectonic: Construction Sequence

9: the structural walls (upper level) level) Layer Layer 9: the structural walls (upper

Layer 10: the infills (upper level) Layer 10: the infills (upper

Sequence

level)

North/East Section

THINKING MODELS

PRESENTATION MODEL Physical Model 1:200 plywood & boxboard

WORKING MODELS Physical Modes Scales & materials various

A FLOATING PLATFORM

Cliff Edge Community Centre, Weihai (TAO)

Location: WeiHai, ShanDong, PRC. Client: WeiHai Landscape Department.

Floor Area: 2100 sqm Architect: Trace Architecture Office (TAO) Design Phase: Feb. 2012 - Sep. 2012 Project Director: Hua Li Project Team: Max Hu, Joanna Gomes, Meng Nan Role: Project designer

CLIFF EDGE COMMUNITY CENTRE

The site is an extraordinary landscape, facing east towards the infinite horizon and sea. A natural cliff situated on the plateau acts as a backdrop to the landscape. The Cliff Edge Community Centre project seeks to create a poetic architectural gesture in a significant location within the city of Weihai, the hillcrest plateau in Tashan Park.

A FLOATING PLATFORM This light structure is held up by a grid of white concrete columns, touching lightly over the landscape. A layer of water gently covers the building’s verandah over the horizontal platform. From within the interior, the water surface stretches out and connects visually with the Bohai Sea. Above the platform, five concrete floating boxes with individual balcony provide privacy and a panoramic view towards Weihai City and the harbor.

VIEW OF COMMUNITY CENTRE FROM DISTANCE

South Section

Site Plan

Ground Floor

DISAPPEARING INTO NATURE To establish a relationship with the proposed sports field and the viewing platform on the Northern part of the site. We intended to to establish a community centre consisting of various gyms, cafes and restaurants. The challenge was to avoid a massed volume and shielding the grand scenery, thus we aimed to create a free, transparent horizontal space that is limited with low stone walls on which the volume settles and evanesce with the earth.

The ground level was primarily established to form a threshold for public space, which faces the ocean. restaurants were compressed into clusters of boxes which float above the main platform. The cliff in the background is visible through the gaps between each individual block.

First Floor

East Section

THINKING PROCESS Models are an efficient tool for threedimensional understanding of our design schemes. During our design phase, we built a series of working models to study the interaction of volumes, spatial atmosphere and to explore different schemes.

WORKING MODELS Physical Models 1:200 Cardboard

These working models helped us to recognize and develop our main architectural ideas from concept to detail, also helped us to examine and interpret materiality and lighting conditions.

VIEW OF COMMUNITY CENTRE FROM THE SOUTHERN ENTRANCE

VIEW OF COMMUNITY CENTRE FROM THE NORTHERN ENTRANCE

LOUNGE INTERIOR AND VIEW TO THE CITY AND SEA

A MOONSCAPE ON EARTH Lightning Ridge is a still active opal mine located in outback NSW on the world’s richest deposit of black opal. In the hot dusty landscape the physical conditions are severe and unfamiliar and temperatures are extreme.The landscape is powerful, both in its capacity to evoke an emotional response as well as in its relationship to the economic and social structure of the mining town. The place is full of stories and the ground layered with traces of its rich history, extraodinary physcially and for its cultural associations. Constraints such as very limited rainfall and almost unbearable summer heat making the place even more extraodinary.

THE RECOVERY OF A FALLEN HORIZON Artists In Residence and Research Facility, Lightning Ridge (UNSW)

Castle Mountain Prize in the Bachelor of Architectural Studies | Sydney 2011 National Accreditation | Sydney 2012

Key Words: Regional, Cultural, Residential Location: Lightning Ridge, Australia Design Phase: Aug. 2011 - Nov. 2011 Project Director: Professor Glenn Murcutt Project Tutor: Wendy Lewin

The manifestation underpinning this project is to explore the relationship between the sky, earth and horizon. Lightning Ridge Artist In Residence is an architectural horizon which lies between the earth and heaven. The dynamic undulations and the irregular patterns of the landscape requires a unique horizontality to define the datum line.

A DIALOGUE BETWEEN THE LANDSCAPE AND ARCHITECTURE Threshold - The architecture invites the vistors to take on a lyrical journey in search of a ruminative serenity.

Pathway - An architectural complex that meanders along the contours, dialoguing with the landscape and surroundings.

Spatial quality - The architecture explores ancient gathering forms, creating a juxtaposition between the enclosure and horizontal plateau.

Unearth - The architecture perceived as protrusions of earth itself. The horizontality as well as the juxtaposition of weight and lightness, opacity and transparency.

OVERALL CONTEXT Physical Model 1:200 Balsa wood + Boxboard

West Elevation

North Elevation

East Section

TOWARD A REGIONAL ARCHITECTURE The Artists In Residence Facility features a small gallery and opal research centre. Due to the harsh environment in Lightning Ridge, the facility was required to generate and store its own power and water as well as manage waste on site. Technology and its capacity to inform both an architectural conception together with material details was also an essential consideration.

South Section

East Section

VIEW INTO THE COURTYARD

NATURAL ENERGY Climatic responsive technology plays an essential role in this design.

Most of the habitable spaces are underground, creating thermal comfort and shading. The windcatcher (Malqaf a traditional Persian ventilation device) is utilized in combination with courtyards. This helps to capture the prevailing wind and to cool down the interior spaces.

EXTERIOR VIEW OF THE MALQAF

VIEW OF THE ARTIST STUDIO INTERIOR

BAKERY IN WOOLLOOMOOLOO Woolloomooloo Bakery, Sydney (UNSW)

WoodHead Prize in Architectural Communication | Sydney 2010

Key Words: Cultural, Civic Location: Woolloomooloo, Sydney Design Phase: Aug. 2009 - Nov. 2009 Project Director: Professor Peter Murray Project Tutor: Bruce Hanlee

The history of baking is associated with civilization and it’s settlement. There are unique qualities that are associated with these attributes such as mechanical advancements, oven technology, use of a mixture of ingredients and the development of society. My design aims to create an architecture that highlights and abridges the history of baking from it’s past with the present.

LINKING BAKING TO THE ENVIRONMENT Conventional bakery portraits an enclosed shell, the lighting and working conditions are inadequate. I challenged this notion by opening up the bakery to the surroundings, light and fresh air. Conceived to replicate a pavilion, the bakery is configured as a horizontal space where the open central courtyard defines the threshold to the building. The spatial concept proposes a visiting experience alternating between the interior of the bakery and the landscape outside, highlighting the inseparable relationship between baking and environment.

Floor Plan

North Elevation

West Elevation

NORTHERN FACADE

TWO EXPERIENCES COEXIST

North Section

The bakery intends to create two opposite experiences. The first is to close off the Southern facade from the busy street activities, a heavy masonry wall defines a boundary that conveys a sense of protection. On the other side, the building is seemingly transparent, creating an open space and a view towards the park. The extended floor that is covered with a roof plane creates an outdoor patio supported by concrete columns. In close reference to the ancient palaces, whose orthogonal geometry share a corresponding extroverted and introverted composition.

West Section

SOUTHERN FACADE

AN AUSTERE AND SENSUAL APPERANCE Brick is the prominent material utilized in this project. The horizontality of the building, which is broken by the fenestration, is accentuated by the re-use of bricks salvaged from the demolition of the buildings around the Woolloomooloo area.

The recycled bricks form the structural walls to the architecture, while the floors and ceilings are constructed using cement blocks. Both are versatile materials and the austere appearance and behavior beneath light express a sense of timelessness.

MAX HU

OTHER CREATIVE WORKS

PROFESSIONAL EXPERIENCE

INFORMATION

A GALLERY OF JUXTAPOSED ORDERS UNSW Year 2 Design Studio, Semester 1, 2010 Type: Gallery, Commercial Location: New Town, Sydney Instructors: Professor Xing Ruan, Felicity Wheeler

Birthday

11/20/1987

Nationality

Australian

Language

Mandarin Chinese & English

Address

408/18 Village Dr. Breakfast Point NSW, 2137. Australia

Email

Salvatoreh@live.com

2012

Intern Architect Trace Architecture Office (TAO), Beijing, China http://www.t-a-o.cn/ Project designer Project participated Cliff Edge Community Centre, Weihai, PRC

2009-2010

Junior Assistant Tonkin Zulaikha Greer Architects, Sydney, Australia www.tzg.com.au/ Student assistant Project participated Central Coast Arts & Conference Centre, Wyong, NSW National Centre of Indigenous Excellence, Redfern, NSW Burton Street Tabernacle, Darlinghurst, NSW

EDUCATION

A STUDIO FOR THE GEOGRAPHER

COLORFUL LIVING ABOVR THE SURFACE

UNSW Year 2 Design Studio, Semester 1, 2010 Type: Experimental Location: Experimental Instructors: Professor Xing Ruan, Felicity Wheeler

UNSW Year 3 Design Studio, Semester 1, 2011 Type: Residential Location: North Bondi Instructors: Professor Harry Margalit, Suzannah Potts

2013 - present

Master of Architecture The University of Sydney, Sydney, Australia

2009 - 2011

Bachelor of Architectural Studies University of New South Wales, Sydney, Australia

2008 - 2009

Bachelor of Interior Architecture University of New South Wales, Sydney, Australia

AWARDS, PRIZES, SCHOLARSHIPS 2012

2011

Castle Mountain Prize in the Bachelor of Architectural Studies University of New South Wales For academic merit and excellence in development of construction technology as demonstrated in the final year architectural design studio

2011

Faculty of Built Environment Dean’s List, Semester 1 & 2 University of New South Wales Achieved a Weighted Average mark (WAM) of 80 or above in a university semester

2010

The WoodHead Prize in Architectural Communication University of New South Wales For the best performance in architectural communication as demonstrated in the design studio ARCH1101/ARCH1102

2009

Faculty of Built Environment Dean’s List, Semester 2 University of New South Wales Achieved a Weighted Average mark (WAM) of 80 or above in a university semester

ARCHITECTURAL PHOTOGRAPHY Architectural Photography Final Exhibition, 2010 UNSW FBE Elective, Introduction to Architectural Photography, Semester 1, 2010 Instructor: Stephen Preece

Bachelor of Architectural Studies with Distinction University of New South Wales A distinction level of performance based on a weighted average mark (WAM) of at least 75% achieved in all courses completed since enrolment at UNSW which are credited to the relevant award

EXHIBITION 2014

Brand X Sydney Digital Architectural Research Studio project exhibition

2013

The Lively Infills Sustainable Architectural Research Studio project selected for exhibition

2012

National Accreditation Sydney Graduation Studio Project selected for exhibition

2011

‘Unearth // Elevate’ Graduation Exhibition Of Bachelor of Architectural Studies University of New South Wales

2011

Architectural Photography Final Exhibition University of New South Wales

2009

Year 1 Architectural Studies Final Exhibition Of Bachelor of Architectural Studies University of New South Wales

2008

Interior Architecture Grand Exhibition Of Bachelor of Interior Architecture University of New South Wales

ACTIVITIES 2009

Student Representative University of New South Wales