PORTFOLIO PRATIKA
TALEGAONKAR
Landscape // Architecture // Urban Design
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"I'm not interested in living in a fantasy world ... All my work is still meant to evoke real architectural spaces. But what interests me is what the world would be like if we were free of conventional limits. Maybe I can show what could happen if we lived by a different set of rules." - Lebbeus Woods
CURRICULUM VITAE Name: Pratika Talegaonkar Nationality: Australian Email: ptalegao@gmail.com Current location: Melbourne, AU Languages: English, Hindi EDUCATION 2008-2013 Undergraduate degree Bachelor of Design (Landscape Architecture) - Honours First Class Bachelor of Urban and Regional Planning - Honours First Class GPA 3.1 Univeristy RMIT University, Australia
WORK EXPERIENCE 2013 – 2017 (current) Landscape Architect City of Stonnington, Melbourne (Urban and Infrastructure Projects Department) Project management and delivery of small to medium scale projects including conceptualisation, communication, public and stakeholder consultation, planning, scheduling and construction. 2011 – 2013 Urban Designer (Intern) City of Stonnington, Melbourne (Public Spaces and Environments Department) Assisting design team to manage large scale projects including translating ideas from planning policies to urban design outcomes and being involved in concept generation and design development. 2012, December Urban Planner (Intern) Growth Areas Authorities (GAA) + RMIT, Melbourne (Government Planning Authority and University collaboration) Assist RMIT team in the timely preparation and completion of Urban Design Framework and Precinct Structure Plans for development of a new town - Sunbury South in Melbourne. 2012 – 2017 (on going) Freelance Designer and Illustrator Consultation and design development of logos, book cover designs, and illustrations for various clients including schematic presentation of visual concepts produced using combination of hand drawing and Photoshop. 2013-2014 Sessional Tutor RMIT, Melbourne Sessional teaching and assisting in Studios for Double Degree program including assisting students in generating theoretical frameworks and critiquing presentations and providing feedback on student work
SKILLS Model making Freehand drawing Oil Painting Graphic design Illustration Writing COMPUTER KNOWLEDGE Photoshop Illustrator InDesign AfterEffects Autocad Rhino 3D Google Sketchup Microsoft Office
AFFILIATIONS Goldenkey International Honour Society LGpro - Local Govenrment Professionals
REFERENCES Professional Simon McKenzi McHarg Landscape Co-ordinator City of Stonnington smckenzi@stonnington.vic.gov.au +61 477 390 896 Acadamic Dr Judy Rogers Architecture Lecturer RMIT judy.rogers@rmit.edu.au +61 3 9925 3518
ABOUT ME I am an avid learner and a dreamer. My projects have an inclination towards futuristic design and sci-fi phenomena as I am quite fascinated by the power of imagination. From very early on in my academic life, I became interested in the design of the built form and the process that Landscape Architects go through to come to a final outcome. I have learnt to combine theory, history, philosophy, culture, design methodologies, technology, abstract images, modeling, sketching, and experiences to create a design solution that is holistic and thought-provoking. Having a professional and an academic background in Landscape Architecture and Urban Planning has enabled me to become a versatile thinker. By managing challenging inner city projects I have developed an interest for innovation in construction and the application of creative sustainable design solutions to growing urban problems such as lack of green space and increasing housing densities. On a professional level, I believe we must be open-minded and ready to improve ourselves as we work in a collaborative team environment. I feel as though we have a social responsibility towards improving the lives of the people we design for and without passion, ones’ design cannot be fully realised.
CONTENTS ACADAMIC WORKS
1. PUMP A HOME
2. SAVED BY THE BRIDGE!
3. DARK TOURISM PROFESSIONAL/BUILT WORKS
4. THE URBAN 'INBETWEENERS'
5. A LOG BY THE RIVER
6. MARMALADE POD
7. A COBBLE MESS
8. WINDSOR MID-BLOCK STATEGIES, POLICIES & DOCUMENTATION WORKS 9. PUBLIC REALM STYLES & GUIDELINES 10. STANDARD DETAILS & SPECIFICATIONS ABSTRACT WORKS
11. MAPPING WATER
2011
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ELEVATION A-A
"I've always been interested in the idea of the artificial landscape. Reforming the landscape Architecture being a method of reforming the earth's surface." - Lebbeus Woods
ELEVATION B-B
PUMP A HOME
Studio: Theory of Rainbows, RMIT, 2011
ARCHITECTURE
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Left: 1. 2. 3. 4.
PUMP A HOME
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Concept Sketch of Flying inflatable homes Bless you, Ulf Lundin, 2000 Location plan; Residential homes in South east Melbourne (current) Model of "experience Inflatable home" Sketch of form generation
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Hand drawn plan and elevations.
YEAR 2070: Based around the scenario of climate change, heavy droughts and a spring season causing asthma and allergies in central Victoria, this projects envisages a climate controlled and a transportable home for the residents of the future. With increasing difficulty in finding financial resources and space to build new homes in drought prone lands of south-east Melbourne, land is now available for 'rent' as long as families carry their customised inflatable homes from one location to another suited to their needs. This project dreams a future where the concept of 'ownership' is defined by change. The landscape is seen as 'open' to use for all with the notion that the built form should mold around the
existing land terrain and not the other way around. This is a society where human beings are starting to change their way of living by becoming harmonious with nature, a concept long lost since the advent of the industrial revolution. This studio encouraged students to re-imagine the use of natural phenomena to design for future catastrophes. Such scenarios allowed students to create a world with a new set of rules. This project embraces air pressure as a casual law to define the use of inflatable materials. 'Air' in a world of pollution, has become the building block for homes.
PT_Acadamic selected works 2011
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Plan of Inflatable home
Elevation A-A
PUMP A HOME
Elevation B-B
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2011
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“Science fictional architecture is not an imagination of a utopian mind, it is about confrontation, knowing the ‘here and now’, of a new way of recognising ‘reality’. - SpaceBuster, Raumlabor, 2006
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Growth: The inflatable structure can be conceptualised to change shape and form like the 'Amoeba'. As the organism alters its form by retracting and extending its arms, the inflatable house can grow based on changes where families expand and shrink over time.
Space: Compartmentalized spaces within the structure replicate today's ideology of a generic home with living room, bedrooms, kitchen and bathrooms.
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PUMP A HOME
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Juxtapositioning homes from future to current homes Diagrams for understanding expansion of homes Hand drawn axometric of ground level Hand drawn axometric of internal views
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Hand drawn exploded flood plans
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PT_Acadamic selected works 2011
Level 2: Dome
Land services: Based around the footprint of existing house and the land area of 600 sq.m, the land provides supply points for Electricity, Water, and Air pressure. The inflatable homes can connect to these services via internal PTFE coated fibre glass pipes that can mold into any forms. Technology in 2070: • Abudance of Thermal power • Pneumatic air supply to homes • Recycled water use • Reuse of sewage to generate biofuel
Level 1 : Ground living
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PUMP A HOME
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SpaceBuster, 2009
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State 1: Packed and mobile
State 2: Inflate begin
State 3: Family of 2
State 4: Family of 4
State 5: family of 6 1
Air pressure: The home inflates from a pneumatic air supply charged by the movement of a car as it drives into the garage. The bubble is also supported by air pressure generated by a sustainable pneumatic device underneath the land during an event of possible deflation. Form: The shape of the inflatable home responds to the environment, particularly in location of nearby trees. This allows for the structure to embrace the landscape as it becomes a part of it.
Left: 1. 2.
Different states of Inflatable home Diagrams for understanding expansion of homes
Right: PUMP A HOME
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Render of view inside living room in the Inflatable home Hand sketch and photoshop of possible views into room from outside
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Interior: Furniture items are minimal and become compacted into the inflatable structure as it deflates ready to This project confronts the be transported to another land notion of a comfortable home (see left - image 2). and bring forth an image of The living arrangement of such a space that challenges the homes is based on the idea boundary that separates the that average families like to private from the public. live in a location for minimum "People can inhabit anything. And they 3 years. can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that's both liberating and alarming." -Rem Koolhaas
PUMP A HOME
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Inflatables as apartments: The idea of the Inflatable homes can also be imagined for a collective living scenario. The model on the left shows concepts and ideas of how linear concrete structure can become permanent backbone to the more temporary inflatable spaces. The apartments of the future can be as tactile as the single inflatable homes allowing new dwellers to inflate from any available slots in the central tubular link as seen in the model on the left.
PUMP A HOME
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PT_Acadamic selected works 2011
Left: 1. 2. 3.
Hand made model - Single dwelling inflatable home Hand made model - Multi dwelling inflatable homes Hand made model - possible structure that could contain inflatable homes for a collective living space.
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Views into hand made model Collages of hand model showing the experience of being in an inflatable home
PUMP A HOME
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The membrane of the bubble is translucent so people on the inside can see schematically what´s going on outside and vice versa. The membrane acts as a semi-permeable border between the public and the more private.
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Fibre glass tubes act as the pneumatic structural frame for the inflatable membrane. Inflatable material is made out of ETFE film which is light, transmits more light and resilient and recyclable.
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PUMP A HOME
Left:
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Collage inside view Materiality of Inflatable structure
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Collage outside view
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2012
PT_Acadamic selected works
SAVED BY THE BRIDGE!
URBAN DESIGN
LANDSCAPE ARCHITECTURE
Studio: 2112Ai Maribor, RMIT, 2012 This project became a part of the collaboration between the City of Maribor in Slovenia and the 100YC [100 Year City] project. International architecture institutions were invited to present visions for a future scenario set in the next 100 years. This was also shown in The Venice Biennale 2012.
Left: Plan of Lent Bridge precinct
Right: 1.
SAVED BY THE BRIDGE!
ARCHITECTURE
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Timeline of urban change
TODAY, 2012: Maribor is the second largest urban centre in Slovenia, located at the foot of the green slopes of Pohorje, surrounded by rolling hills and the flat Drava plain. River Drava dissects the city into two parts - north and south bank. Maribor's old town is situated in the north bank, making this the heart of all cultural and traditional activity. The open spaces here and its landscapes offer a characteristic experience to the residents and tourists. The residents of the town enjoy various cultural and social activities like theatre, art, wine drinking and other recreational activities like hiking, cycling, skiing and recently skateboarding. FUTURE, 2112: The future of Maribor 2112 is a series of dramatic and climatic events starting from the disappearance of the snow on the Alps to the rise in the sea level of the Mediterranean sea. Trickling effects of melting of ice has flooded the city leaving many streets covered in water, including public open spaces, squares and piazzas.
The city that grew due to the attractive open spaces offered by the old town has suddenly now becoming dysfunctional. As many cities in Slovenia succumb to flooding, migration to the city of Maribor due to its safer north location has put pressure on the city to provide new and innovative open spaces adaptable to flooding, and growing population with multi-functional facilities. Majority of the new and old residents have moved to the South bank as the city sprawls to accommodate urban growth, leaving the north bank to become a relic from the past. Climate change as a phenomena has also put pressure on the energy industry leading to advancements in technology to collaborate with the urban experience. The old town is no longer celebrated as the heart of Maribor. A new centre has risen, right where the crisis began - on the Drava river. This project presents a system of structures as bridges over the river that together form the centre for open space, trade, culture, urban forest, linkage and transport. The crisis has created a perfect mix for the nourishment of a secondary form of energy generation powered by human kinetic energy and motion. Due to it's close proximity to 'Lent' square, the new series of open spaces derive a collective name - 'Lent' bridge.
2012 2012
PT_Acadamic PT_Acadamic selected selected works works
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SAVED BY THE BRIDGE!
2012
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"While architecture may also be a tracking device for urban development in 100 years’ time, urbanism can be seen as an ongoing attempt to rationalise over such developments, to inject direction, order, logic and judgement into structures that have emerged, and to provide a rationale, an understanding and an evaluation of their historical dynamics." - Peter TomaŞ Dobrila & Tom Kovac, 2112Ai[100YC], 2012 Walkability and habitable circulation. Bridge over river, new public space explores the idea that walking and sustainable transport can becomes means of earning 'energy credits'. Architecture becomes an entity that marries human activity with the energy industry as it creates a new form of currency. The following page shows the rational behind employing energy credit benefits to public spaces. As people enjoy the cultural and functional activities, the overall project envisages an economic and a technological benefit for the space users.
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FORM: The form of the bridge takes inspiration from the multi-layered topology of Maribor. The mountains and the low plains represent various 'heights' of experience. The currently popular cable cars also play a role is influencing the transport network as the highest level on the bridge system. The form explores walkability and habitable circulation in the central and lower levels of the collective bridges. GRADIENT: This benefits the variable energy generated by difference in height. VIEWS: It is essential that the views into Old Town are maintained as an aspect of remembering the past.
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Left: 1. 2.
SAVED BY THE BRIDGE!
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Form generation using a cube Form generation using a flat plane to create a geometric compartment Form generation of Bridge based on composition and energy credit system.
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Diagram to understand the relationship between function and energy credit system. Collage view into different layers of the bridge Collage view into open space connecting with river
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PT_Acadamic selected works 2012
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Lent Bridge - Outdoor cinema
"Piezoelectric surfaces"
Public space
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SAVED BY THE BRIDGE!
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Open space, plaza, active recreation
Green space with passive recreational activities
Skate park, skatable ramp, transport
Transport network for cars, other hovering vehicles
Tourist centre, mixed use buildings
SAVED BY THE BRIDGE!
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Left: 1. 2.
Exploded axometrric showing layers of activity Collage view of open space + Energy credit
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Lent Bridge - Masterplan Lent Bridge - Elevation Birds eye view into part of Bridge 2
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PT_Acadamic selected works 2012 SAVED BY THE BRIDGE!
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2013
PT_Acadamic selected works
DARK TOURISM
URBAN PLANNING
LANDSCAPE ARCHITECTURE
Studio: Studio 8, RMIT, 2013 Graduating project How can the creation of the experience of urban exploration generate a new type of tourism in a post-mining Landscape?
experience. Dark landscapes can be perceived to be as rebellious as it's explorers in form and experience.
The mining industry has transformed the makeup of mining towns through the phenomenon of ‘FIFO’ where towns have become accustomed to a sense of temporarily through the short stay of ‘visitors’ - the miners, while at the same time leaving behind a permanent mark on the landscape in the form of open-cuts and underground shafts. In the coming postmining era, a new form of appreciation of the anthropocene: human-induced changes to the landscape is evoked. In this project, this is achieved through a focus on a new type of tourism where FIFO workers are slowly replaced by new type of tourists.
This project is based in the post-mining landscape of the town of Cobar located in New South Wales, Australia and specifically focuses on the Great Cobar Open-cut mine.
DARK TOURISM
The conceptualisation of the post-mining landscape draws on what Tim Morton (2010) theorises as Dark Ecology. It involves accepting what is seen as negative changes in ‘nature’. He insists instead of “getting over nature, perhaps we need to get under it, or go through it” (ibid, p 255). A new form of tourism: ‘Dark tourism’ can then be theorised as expressing an interest in the transformation of the landscape through eyes that can see beauty in what is damaged and bodies that become powered to explore it.
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A growing culture of Urban Exploration draws on this subversive experience of ‘dark’ nature, that celebrates the abandoned world of decaying objects and scarred landscapes. Its underlying motto “Explore Everything” (Place Hacking, 2012) quite literally means ‘everything’ in ‘any way’ because Urbex denies authority simply because it is part of the
Drawing on theoretical ideas, this project emphasises on designing for human instincts, perception and the psyche of the tourist. Using Joseph Campbell’s mono-myth ‘The Hero’s Journey’ (Vogler , 1999), the project exhibits the ‘staging’ of the features of a tourist site such as the entrance, the information centre, camping area and the exploratory underground using a standard path for the adventure of a hero in a storyline with experiences of ‘call for adventure’ to ‘ordeal’. Given that the tourists choose and control their own journeys, ‘multiplicity’ becomes a theme for designing so that when tourists encounter these design interventions, the way they perceive and use it is left entirely up to them. As the experience of urban exploration embraces the idea of decay, the creation of three 'staged' interventions to form a journey on the post-mining landscape generates a novel appreciation for an exploratory form of tourism. This project involved many diagramming and mapping techniqies that were supported by theorises and methodologies. This design process played an important role in the conceptualisation of the final design.
PT_Acadamic selected works 2013 DARK TOURISM
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2013
Present: Mined landscapes are left without any remediation work to reinstate the landscape back to it's original state. Many of these mines have become quite a fad in the "urban exploration" culture where adventure enthusiasts travel to explore old mines that have been left untouched for years.
showing transition from mining industry to post-mining tourism industry
Cobar town
18kn
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DARK TOURISM
SPECIALITY STORES AND BUSINESSES FOR TOURISTS
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MINING COMPANIES INVESTMENT
FIFO
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TOURISTS
MINERS
MINING
TOWN COMMUNITIES (Cobar)
Great Cobar open cut
PT_Acadamic selected works 2013
2063
Future: It is the beginning of the age of the Anthropocene, where the human-induced changes in the landscape create positive experiences that envoke a an interest in ‘decaying’ or ‘damaged’ landscape. The project acknowledges a growing culture and interest in the post mining landscape. The design intervention is not a structure but a series of structures that evoke certain qualities of the mining landscape as travellers traverse their way through the field.
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BEHAVIOUR
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DARK ECOLOGY
Tim Morton
INDUSTRIAL TOURISM
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P LA OST [ ND -I RE S ND SO C U UR A CE PE ST R
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POST-MINING
TOURISM SET UP
*Photography by [ EXPERIENCE ]
URBEX (urban exploration)
Urban Explorers WIDER AUDIENCE TO GENERATE TOURISM
[ PRECEDENT ]
No Authority. No rules. Infilterate. Pause. Admire. “Explore Everything” - Place Hacking
MULTIPLICITY
GENERAL PUBLIC
HUMAN CENTRIC DESIGN
David Maisel, Black Maps: American Landscape and the Apocalyptic Sublime, 2013
DARK TOURISM
"That conflicting sensibility is inherent to industrial tourism around the world, as remnants of industry’s past and bastions of its present draw visitors who are curious about society’s growth over time” (Sood, 2011)
DARK TOURISM
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CALL FOR ADVENTURE ENTRANCE
MEET THE MENTOR INFORMATION / EXCHANGE CENTRE
CROSSING THE THRESHOLD CLIMBING - CAMPING
Hand sketch diagram looking at the possible transition of the mining industry into a post-mining tourist attraction.
‘STAGING’ URBEX JOURNEY THEORY/METHOD: NEW TYPE OF TOURISM new type of design process
DARK TOURISM
Movies and many storylines use The Hero’s journey as a standard path for a hero who takes a journey. It begins with the introduction to the setting, leading him or her to learn more about the journey through by meeting a mentor, then entering the action packed or dramatic scenes of ordeal and eventually ending with the climax signifying some form of achievement or a revelation about the whole point of the journey.
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The symbolism of the Journey's Stages can be seen a paradigm for representing a physical journey. The staging of each of the three interventions reveals a certain human-centric quality staged for the hero/urban explorer/tourist. The Hero's Journey becomes an important emotional or psychological journey as it is physical. Like in a movie, a character's actions and decisions in response to the Journey's stages enables him or her to grow, the designed interventions will enable the explorer to learn more about the site and navigate based on instincts, perceptions and psyche. The intereventions are based on the given rule that the explorers choose their own journeys.
PREMISE OF THE POST-MINING 'STORYLINE' There is a need for the use of the post-mining landscape to address deeper trends in tourism that are theoretical, challenging, and untested. A part of the purpose of the 'Hero's Journey' methodology is the design process is to enable a new form of experience to unfold whether we as designers prescribe it as a linear storyline or leave it entirely upto the subjects to create their own journeys. This technique accepts that the world generally changes its perceptions about the environment once something new and bold has given it the stimulus. Emerging theories such as Dark Ecology can start challenging the current practice of mine closure making people aware of an alternate experience of the landscape.
PT_Acadamic selected works 2013
GEAR DECAY BUILDINGS
BEHAVIOUR
PAUSE
OBJECTS
MACHINARY
PHOTOGRAPHY
TALL THINGS (HEIGHTS)
VIEWING
CAMPING
ABANDONED INDUSTRIES
WALKING
VENTURE
CHARACTER
UNDERGROUND
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Urbex is the exploration of abandoned human-made or natural ruins with a central obsession with decay and the belief that there is beauty in death. It is also commonly referred to as infiltrations and has other names such as draining, urban spelunking, urban caving, or urban hacking. This type of a subversive culture is inspired by the notions of dark ecology where an active curiosity to find a hidden world creates a sense of adventure. This fuels a desire to actively venture and find pause moments that become captured either through photography or memory. Urban exploration is one the ways in which Dark Tourism becomes realised.
CLIMBING
HIKING
CAVING/ TUNNELLING
“Dark ecology is the ultimate reverse of deep ecology. The most ethical act is to love the other precisely in their artifciality, rather than seeking their naturalness and authenticity. Dark ecology refuses to digest plants and animals and humans into ideal forms" Tim Morton, 2010 DARK TOURISM
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DARK TOURISM
Call for Adventure Meet the Mentor Crossing the Threshold The Ordeal 34
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MASTER PLAN 1 Intervention - Entrance 2 Intervention - Information Centre 3 Intervention - Sky Camping
DARK TOURISM
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2013
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Intervention - Entrance
The entrance becomes a gateway for more than one entry. Using Erin Manning’s conception of ‘chunking’ and ‘autistic perception’, the design intervention enables the explorers to choose the direction in which they want to approach the site. Chunking is the behaviour of ordinary ‘neurotypical’ humans that tend to follow the most obvious or objective way into an environment following a road but ‘autistic perception’ is a perception that everyone poses except that people don’t tend to use it much. It means that humans are able to make more than one connections in landscape and henceforth see and take more than one entries into the site. The vertical poles become devices that fragment the site visually enabling the tourist to create their own hierarchies and orders which could enable them to make multiple connections in what they see. Through this they are able to choose their own path and make multiple versions of entrances into the site based on their perceptions and interests. Left: 1.
sketchs of visual poles as framing entrances
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DARK TOURISM
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collage view
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DARK TOURISM
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Intervention - Information Centre
Meeting the mentor in a hero’s journey is described as a transcendental and a spiritual stage where the hero gains knowledge, makes friends and learns more about his journey to come. It is also a passive refuge space designed to create a feeling of safety and enclosure. It is ‘atmospheric’ in its nature because entices the explorers to pause and relax. Its structure is influenced by the Donger system and its frames are used as the remanents signifying a sense of decay which becomes a way of acquiring an aesthetic quality that urban explorers tend to find fascinating.
DONGER FLOOR PLAN USED BY MINERS
DECAY
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ALUMINIUM DECK
DARK TOURISM
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3D MODEL
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This part of the design intervention is a non-conventional form of an information centre which in its structure has no form of signifying objects such as chairs or desks or couches and no authority telling tourists where to go and what’s best about the site. This information centre is an exchange centre for all tourists to leave some of their information or gears behind or use other information or gears left behind by previous explorers. Using corten steel material for frame constructions creates less of a need for maintenance since there is no one controlling the site but the users themselves.
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Location adjacent to open cut cut mine
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Diagram of form and inspiration for Information Centre design Collage of information centre
DARK TOURISM
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2013
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Intervention - Sky Camp CAMPING SPACE REQUIREMENT
Crossing the threshold in a hero’s journey is described as a point when the hero has to make an entry into the special world from the ordinary world. This moment can be seen as ‘thrilling’ because the hero is scared and fearful of the path the journey might take but is also aware that the journey will reveal happy or positive moments. Thrill can be described as a combination of emotions. The design combines fear and pleasure through which the tourists can explore the boundaries of real dangers, seen or sensed while experiencing moments of achievement and pleasure.
MODELLING POSSIBLE PATH OF TRAVEL ON OPEN-CUTS
Tourists are able to climb down 150m deep open cut and stop at a series of ‘corten discs’ or sky camp down the path of ropes they choose. These stopping spaces allow them to camp, sleep or to simply use as viewing platforms. This design intervention also exhibits the unconventional sleeping habits of urban explorers and their obsession with heights.
DARK TOURISM
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ADJUSTABLE ROPE INSERT HOLE
SIDE VIEW
TOP VIEW
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“If we were to be interested only in those features of our environment which are suggestive of safety, cosiness and comfort, and not at all concerned with those which suggest danger, what sort of recipe for survival would that be? Seeking the assurance that we can handle danger by actually experiencing it is therefore itself a source of pleasure.” Appleton, 1994
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Sketch of possible jounrye through mine
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Collage view 1 of Sky camping Collage view 2 of Sky camping Sections of a typical sky-camp disc Plan of typical sky-camp disc Location of experience in the mine
DARK TOURISM
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LANDSCAPE ARCHITECTURE
2014
PT_Professional selected works
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THE URBAN 'INBETWEENERS'
THE URBAN 'INBETWEENERS'
URBAN DESIGN
URBAN PLANNING
City of Stonnington, 2014 Project team : Urban Design and Strategic Planning
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This project involved collaboration with Strategic Planning Department to exhibit various 'pocket park' designs to apply for a Public Acquisition Overlay (PAO) over private properties in the Local Government of Stonnington. This meant the designs and project would have to be approved by VCAT (Victorian Civil and Administrative Tribunal). This is the governing jurisdiction that approves changes to Planning policies, zones and design overlays in Victoria, Australia. The intention behind this was to create more open space in suburb of Prahran in Melbourne, which is currently lacking green space for public use. It is forecasted that Prahran will experience a 31% population increase by 2021 and a transformation of the built environment including increase in building densities. In order to assist Council in the Panel Hearing, the following concept designs were prepared to demonstrate how the land may be used at some time in the future. The design provides a conceptualised park interface between adjoining building developments and a pedestrian link. The design exhibits a series of shared spaces with lighting, pavements and directional elements that would takes users on a journey.
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VCAT approved the amendment to the Planning Overlay and the Council anticipates construction of pocket parks in acquired properties in the next 10 years.
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Pocket Park Landscape plan and Urban Design Analysis Photomontage of view into Pocket park with outdoor cinema
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Collage of view into street connecting pocket park Collage of view into pocket park between buildings
PT_Professional selected works 2014
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THE URBAN 'INBETWEENERS'
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LANDSCAPE ARCHITECTURE
2015
PT_Professional selected works
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A LOG BY THE RIVER City of Stonnington, 2015 Project Team: Urban Design and Environments Budget: AUD 50,000 The project was part of a Biodiversity Revegetation works near the Yarra River banks in Melbourne. The original site was covered in weeds and waste. As a result, beautiful view to the river was also screened. Many residents of suburb of South Yarra and the local school requested that a simple space with good quality seating was required for resting and enjoying the area's proximity to the river. Our design wanted to use sustainable materials for the construction of a bespoke seat that blended with the natural landscape. We also wanted to celebrate the idea of 'bringing back of the flora and fauna to the river'. Accordingly, the concept idealised the image of 'logs' that appear near water-bodies.
A LOG BY THE RIVER
The use of natural stone gravel as pavement complimented the form and appearance of the seat. The seat itself exhibits the use of Class AA recycled bridge timbers sourced from a near-by bridge reconstruction fixed on top of recycled Australian basalt stone plinths reclaimed from old kerbs within in the city used in the 1950s for road construction.
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I was involved in producing concepts, construction details, contracting, scheduling and construction of this project. The seats are well used in summer months by locals as they appear to sit ideal like logs by the river.
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Plan of seat Photo of built work
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Elevation of seat Construction drawings
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PT_Professional selected works 2015
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A LOG BY THE RIVER
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2015
PT_Professional selected works
4 x BIKE RACKS
LEANING BENCH
RAISED PLATFORM AREA
TIMBER DECKING TIMBER CLAD SEATING RAISED GARDEN BED
LANDSCAPE ARCHITECTURE
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MARMALADE POD City of Stonnington, 2015 Project team: Urban Design, Infrastructure and Jam Factory (stakeholder) Budget: AUD 80,000
URBAN DESIGN
This project included design and construction of a 'parklet' taking up 3 existing car parking spaces on Chapel Street - a premier destination for shoppings and eating in Melbourne. The idea of the pod seeks to improve the pedestrian space by providing additional public seating, greening, ten bicycle lock rails. This would create a ‘point of difference’ enhancing the street character.
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MARMALADE POD
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Plan of parklet post-construction photo
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Photos of built works Series of sections and elevation showing view of parklet interior and exterior structure
The structure is 17 meters long and 1.6 meters wide and forms a semi-permanent kerb outstand built 500mm from the existing bicycle lane. The structure consists of a recycled plastic cladding, pedestrian seating with a raised planter barrier to protect pedestrians from passing bicycle and traffic movement. This parklet replaces parking spaces, and has been designed to respond to
the need for additional bike parking and pedestrian seating along Chapel Street. The form of the structure reflects the existing character of the surrounding streetscape and buildings. The design of the pod reveals the structural frames inside reflective of the exposed timber frames and brick facade of the Jam Factory building, which it sits in front of. The corten screen also brings out the colour of the 'maramalade' taking on a literal representation of the name of the structure. I was involved in concept generation, detail design, documentation, consultation and construction of the structure. This parklet is very popular amongst it's users and has now influenced many other local governances of Melbourne.
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MADMALADE POD
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A COBBLE MESS Left:
City of Stonnington, 2013 Project team: Urban Design, Infrastructure Client: VicTrack Budget: Pocket park componenet AUD 30,000
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URBAN DESIGN
LANDSCAPE ARCHITECTURE
ART
The project became park of a major road re-constructure in suburb of Glenferrie costing $1 million. An adjoining pocket park was included in the works to become a part of the public space. As my first project as a student, I was asked to design a central feature pavement in the plaza as an entry into the train station. I envisioned the space to be multidirectional as it was not only an access way into the station but also a link to a major road with shops and cafes. The circular form of the feature represents the streets's European heritage as many old Victorian buildings still stand looking upon the space. The circular discs jutting out of the main oval frame is reflective of the traditional cobblestone plazas but with an abstract take on it's composition and symmetry.
A COBBLE MESS
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Photo of finished pavement Hand drawings of initial concepts
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Photo of finished pavement
PT_Professional selected works 2011 A COBBLE MESS
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LANDSCAPE ARCHITECTURE
2011
PT_Professional selected works
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WINDSOR MID-BLOCK URBAN DESIGN
City of Stonnington, 2016 Consultants: Hansen Partnership, BigFish, TRJ Engineering Project team: Urban Design, Infrastructure
A COBBLE MESS
The project included installation of bespoke furniture, new paving and planted rain gardens to the existing kerb outstands on Chapel Street - a major pause point and a busy shopping and cafe district in the suburb of Windsor.
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The kerb outstand was redesigned to reduce the clutter of public furniture and included fabricated steel public seating with internal lighting. The form is derived from inorganic pedestrian movement and provision of intimate enclaves in public space. The Bohemian character of Windsor influenced the use of eclectic and vibrant colours of the seat akin to the local culture of street clothing, funky coffee
shops, famous foodie restaurants and the vibrant nightlife. I was involved in management of this project which included concept design generation, detail design with Hansen Partnership (Landscape Architecture consultants) and fabricators (TRJ Engineering) , communication and consultation with stakeholders, and construction.
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Photo of fabrication workshop of the seat Photo of fabrication workshop of the seat Photo of installed sturcture on site
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Concept plan Detail design of seat Street view photo of seat 3
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A COBBLE MESS
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2016
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LANDSCAPE ARCHITECTURE
Older version of document from 2012 Latest document from 2016
PUBLIC REALM STYLES & GUIDELINES
URBAN DESIGN
City of Stonnington, 2016 Project team: Urban Design Consultant: Aspect Studios
URBAN PLANNING
This guideline and strategy highlights the standard urban design treatments in major commercial streets and Activity Centres within Stonnington City. The pupose of the document is to ensure that future design changes made to the commercial streets by various parties including the Council, residents, traders and developers are consistent and in line with the ideals and intentions outlined in this document. The documents provides • Referral Items: photo or graphic presentation of various street furniture and pavement treatments • Material Layout Plans treatments for every town centre • Detailed referral items to be designed by Urban design team in the Council • Redundant Items; pavements and furniture that are no longer in use I was involved in management of this project and the key communicator between the consultants and the internal departments. The council urges that the document is revised and re-issued every 3-5 years to check for consistences and changes in the aesthetics of the streetscape.
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PT_Professional selected works 2011 LANDSCAPE ARCHITECTURE
STANDARD DETAIL & SPECIFCATIONS City of Stonnington, 2016 Project team: Urban Design, Infrastructure These set of documents set the necessary design standards for small to large scale projects for the Council's Urban and Infrastructure Projects department and include • • •
Standard detail drawings Standard specifications Schedule of rates and items
The intention of this package is to enable easy and consistant design documentation and project procurement process within the Urban Design and Landscape team. I am involved in leading the documentation of this package along with the guidance from senior architects and engineers.
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2011
PT_OTHER WORKS
MAPPING WATER
LANDSCAPE ARCHITECTURE
The painting on the right is a replica of 'Mathur and De Cunha's" study of flooding of the Mississippi River. They are well known for their investigative studies in the field of changing landscapes and providing provocative visual representations of the fluid nature of water and their overall thinking.
ART
"“Mississippi Floods” investigates how representations of the Mississippi River—maps, surveys, photographs, engineering reports—have been used to construct a meaning for the landscape, and, ultimately, to frame design and management policies." (Horwitz, Bressi, 2002)
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My study of their works through painting done as part of 'Portfolio' subject at University using watercolours, enabled me to develop new techniques for representing my thinking. I used this as a precedent and an inspiration for re-imaging many of my other previous studio works. These are shown on this page.
PT_OTHER WORKS 2011
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ART
ILLUSTRATIONS
INDEPENDENT ILLUSTRATIONS
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ART
ILLUSTRATIONS
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