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INTRODUCTION I. STUDIO AIR ... - ..- -.. .. --- / .- .. .-. II ET III. STUDIO FIRE >>A >>B ... - ..- -.. .. --- / ..-. .. .-. . >> .>> -... I V. C H R I S T M A S PA G E A N T -.-. .... .-. .. ... - -- .- ... / .--. .- --. . .- -. V. V I R T U A L E N V I R O N M E N T S ...- .. .-. - ..- .- .-.. / . -. ...- .. .-. --- -. -- . -. - ... V I . S E L E C T E D I M AG E S ... . .-.. . -.-. - . -.. / .. -- .- --. . ...
INTRODUCTION
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’m O liv ia. I c u r re nt l y st ud y Env i ro nm ent s (Ma j o ri ng i n Arc hite c tu re) c omb in e d wi t h a n Ita l i a n La ng ua g e D i p l o m a a t t he Un ive rs ity of Me lb o urne. Thi s wi l l b e my fo ur t h i n a tota l of si x yea rs of st ud y. Th is p or tfolio c o nta i ns so m e of t he wo rk f ro m my p a st t hree ye ars of stu d y a nd a l so wo rk f ro m ot her p a r t s of my l i fe. I am inte reste d i n m a ny f i el d s of d esi g n, not so l el y t he b ui l t an d in h ab itab le wo rl d . Ho p ef ul l y, t hi s p o r t fo l i o d em o nst ra tes th is c u r ios ity ab ou t set d esi g n, g ra p hi c s, l i fe d ra wi ng s, i l l ust rat i o n a nd p ro p d esi g n.
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II. STUDIO AIR << separate booklet - please see attached!
... - ..- -.. .. --- / .- .. .-. Studio Air used computer generated design to formulate a response to t h e L AG I 2 01 4 e n e r g y g e n e r a t i o n c o m p e t i t i o n . B y u s i n g p a r a m e t r i c design through the computer program Grasshopper, energy output of our design was maximised, made more efficient while iterations created inf i n i te res p o n s es to t h e s i n g l e p ro b l e m . It wa s a n ex t re m e l y h e l pf u l i n s i g ht into the future of design. This project was completed in a team of three students.
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II. STUDIO FIRE >>A
... - ..- -.. .. --- / ..-. .. .-. . >> .Th e St u d i o Fi re b r i ef st i p u l a te d t h e d es i g n of a n ew a rc h i ves fo r Me lb o u r n e Un i ve r s i t y. In t h i s p ro j e c t , we ex p l o re d t h e t h e m e s of g ra f f i t i , p a l i m p s e st s a n d c a b i n et s of c u r i o s i t y.
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m e l b o u r n e u n i v e r s i t y a r c h i v e s P E R S P E C T I V E N O R T H - W E S T F A C A D E B U R N T W I T H G R A F F I T
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Here, it is possible to see the rough grid of the suburb. Strong lines are broken by natural features of the Brunwick area. The idea of the vertical is something that I want to use in my final design - it places emphasis on area and is able to deflect and alter the human perception of space.
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Externally, my Studio A design explores the themes of graffiti and the palimpsest, and challenges the idea that graffiti is an additive process. Instead, my external cladding is reductive and involves the burning of material to produce a different kind of graffiti that hints at the precariousness of the built environment and places the archives in a compromising position. This explores the notion that things become increasingly of value or importance when under threat. Internally, the archives are a cabinet of curiosities - the shelving is not linear or in a grid formation but rather, a rabbit warren of networks hidden deep below the earth, capped by the needed rooms for the functioning of the archives. The entrances to the archives is hidden, barely visible if walking from Syd n ey Rd . Th e ex t e r n a l c l a d d i n g acts as a kind of neighborhood picket fence, disguising the archives from their true intent. Once the slipway entrance has been found, the internal space opens to reveal a garden between two buildings - the public space on the right and the private quarters on the left. S T A T E M E N T I N T E N T I O N
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Underneath, a swelling cauldron of shelving sits, hinted at on the surface through the whirlpool curves of the t w o a b o v e s t o r y b u i l d i n g s . To e n t e r , both buildings are linked by a series of Piranesi style stairs, starting at different heights of the six basement stories. Th e Re a d i n g Ro o m i s t h e m a i n l i n k between the private and public spaces and acts as a buffer to access the archives. Inside, it is much like a church, with a high ceiling and a series of reading vaults in which one can study and close the curtains behind them. The idea was to make the reading room a positive and intriguing space in which to discover the treasures of the archives. The steps down to enter the reading room also give the public a chance to glimpse the internal archives, making the archives more public and given back, in a way to those who use Melbourne University. Th e b a c k wa l l of t h e Re a d i n g Ro o m contains a screen that provides information about banned books in Australia and the power of print.
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1. CONFERENCE ROOM 2. CLASSROOM 3. MEETING ROOM 4 . S TA F F K I T C H E N 5. OPEN-PLAN OFFICE 6. D I R E CTO R ’S O F F I C E 7. E L E VAT O R 8 . L O A D I N G B AY 9. M A L E B AT H R O O M 1 0. F E M A L E TO I L E T 11. SCHOLAR’S OFFICE 12. QUARANTINE 1 3 . D I G I TA L P R O C E S S I N G A R E A
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14. MEETING AREA 1 5 . M A I N C O U R T YA R D 16. HIDDEN STRUCTURAL COLUMNS 1 7. G A L L E R Y 1 8 . C LOA K R O O M 1 9. P U B L I C M A L E T O I I L E T S 2 0. P U B L I C F E M A L E TO I L E T S 2 1 . E L E VAT O R 2 2 . LOAC K E R R O O M 23. RECEPTION 24. CONCEALED ENTRANCE
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L 1 . V I S I T I N G S C H O L A R ’ S A PA R TMENT I. LAUNDRY I I . WA L K I N R O B E I I I . E N S U I T E B AT H R O O M I V. I N T E R N A L C O U R T YA R D V. B E D R O O M M O D U L E V. I . D I N I N G R O O M V I I . K I TC H E N E T T E VIII. LIVING ROOM 2. SCHOLAR’S ENTRY CORRIDOR 3. LEFT RAMP
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In my proposal, the Outré Gallery becomes a public map, an artwork of changing and continually updating markings – a palimpsest of burnt lines that represent the occurrences in Brunswick. The building encourages people to mark their place and add to the palimpsest and graffiti that gives Brunswick much of its character. It challenges the notion of graffiti being an additive process and instead becomes a medium where material is removed. A curved façade and the café in the b u i l d i n g’s t h r e s h o l d d r a w p e o p l e i n t o t h e recesses of the space while maintaining the straight street frontage. This intern a l /e x t e r n a l s p a c e c a n b e c l o s e d a t n i g h t through the use of recessed sliding do ors. In this way, the building is almost given a double frontage and allows for additional display
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fo r t h e O u t r é G a l l e r y ’s A r t . The interior of the building is divided into t w o m a i n s e c t i o n s – t h e p r i v a t e m a n a g e r ’s spaces and the public gallery and bookstore. While the gallery uses dramatic ceiling heights and a concrete embedded stairway to create theatrical spaces for t h e a r t , t h e m a n a g e r ’s f l a t i s m o d e s t a n d domestic, set over split levels. The terrace c o n n e c t s t h e m a n a g e r ’s p r i v a t e s p a c e t o his office, removing the need to enter from street level. My design aims to provide a backdrop for print art while adding to the character of t h e S y d n e y R d /A l b e r t S t c o r n e r o f S y d n e y Rd .
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S T A I R C A S E . E L E V A T O R . B O O K S T O R E A N D G A L E R Y . C A F E . S T O R E R O O M . M A N A G E R ’ S G A R A G E . M A N A G E R ’ S K I T C H E N . L O U N G E A N D D I N I N G O O M . S T A I R C A S E T O L E V E L W O
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I N T E R I O R R E N D E R S The bookstore has custom designed display units with fully re-arrangable shelving, allowing for flexible use of the space during temporary exhibitions. Matching is the f r o n t c o u n t e r, m a d e f r o m p u r e monolithic materials (as is the rest of the shelving) ensuring the artwork remains the primary focus of the space. In the background it is possible to glimpse stairs set into a concrete mass which travel to the second floor of the gall e r y. T h i s p r o v i d e s a d r a m a t i c
The bookstore has custom designed display units with fully re-arrangable shelving, allowing for flexible use of the space during temporary exhibitions. Matching is the f r o n t c o u n t e r, m a d e f r o m pure monolithic materials (as is the rest of the shelving) ensuring the artwork remains the primary focus
stage set, again aiding in the successful display of the Outré G a l l e r y ’s c o l l e c t i o n s . The cellar in the basement level of the gallery is an additional space within the cabinet of curiosities which is the g a l l e r y . To h e l p f a c i l i t a t e i n the creation of micro-communities in Brunswick, the bo okstore provides a space to mull over bo oks and wine, or give authors and artists a space for bo ok and exhibition launches. Arched vaults create
of the space. In the background it is possible to glimpse stairs set into a concrete mass which travel to the second flo or o f t h e g a l l e r y. T h i s p r o v i d e s a dramatic stage set, again aiding in the successful display of the Outré Gall e r y ’s c o l l e c t i o n s .
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V. V I R T U A L E N V I R O N M E N T S
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This project involved the translation of a natural process into a physical, c o m p u t e r g e n e ra t e d p i e c e t h a t c o u l d b e wo r n o n t h e b o d y. I c h o s e t h e g r o w t h o f a p o m e g r a n a t e t r e e â&#x20AC;&#x2122;s f r u i t . C o m p l e t e d i n 2 0 1 2 , t h i s p ro j e c t st i l l h a u nt s m e t o d a y.
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The initial natural process I looked at was growth â&#x20AC;&#x201C; the transformation of a system into something more comp l e x . H o w e v e r, i t c a n a l s o m e a n a n organism becoming more developed. I began by researching the amazing conversion of a yolk into a chicken, a natural process that takes an average of 20 days. While in animals, something wet like a yolk turns into something soft like a chicken, the opposite is true of fruit. The softness of petals instead morphs into the wet, stickiness of fruit flesh. This observation aided me in my s k e t c h p r o p o s a l - t h e Tr a n s f o r m a t i o n of delicacy to stiffness. This was my inspiration for my lantern-transformation through growth. To r e p r e s e n t t h i s c h a n g e , I d e c i d ed to use a pomegranate, which is a slightly unusual fruit.
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I wanted to create something that mimicked the fluency and slickness of growth, the natural progression. I began by moulding exactly what I had d r a w n h o w e v e r, t h e s p h e r e a t t h e f r o n t of the body was too heavy and disrupted the balance that I wanted to create.
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I added an extra frill to the neckline and altered the shape of the sphere to a f l a t t e r, a l m o n d f o r m . T h i s c r e a t e d b a l ance and represented the natural pro-
c e s s m o r e w h o l l y. I l i k e t h i s s h a p e m o r e .
It suggested the end of the growth process through the abruptness of the s h a p e , h o w e v e r, a f t e r g r o w t h c o m e s d e c a y. I w a n t e d m y l a n t e r n t o s u g g e s t that this process is continuous and
so I decided to adjust the sphere to a more guiding shape â&#x20AC;&#x201C; that of an almond.
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Vir tual Environments was an erratic and up-and-down process for me. Design is never straight forward and this is a difficult concept to accept. It is very hard to achieve perfection and a result that designer is happy with. Looking back on my lantern there are things now that I wish were differentc h i e f l y, t h e p a n e l l i n g t y p e a n d t h e i r c o m p l e x i t y. H o w e v e r, d e s i g n e r s e v o l v e a n d the understanding of what is p o s s i b l e c h a n g e s t o o . Te c h nology is helping us to realise this- anything imagined is able to be made tangible.
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V I . S E L E C T E D I M AG E S
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>> Life drawing
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Anticlockwise from top >> Modern Melbourne Assignment >> Church in the Cinque terre (Italy) >> Church in La Spezia (Italy) > > C a s t l e i n Tr i e s t e ( I t a l y )
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Ispettrice wildenstein una favola italiana : : : pubblicata in 2013
colour blindness check
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Backup >> Goat
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