Body of Work
Mike Parlapiano
Simone Koch - Sup er visor
Acknowle dgement s Simone Ko ch (Sup er visor) Kaixiang Xu Katie Stuar t Ruby L ang S e m e s t e r 02 , 2021. 19 J u l y - 0 4 N ov
C ontent s
Guiding Wor ds
...01
The Samples
...03
Ref le ctive Tex t
...05
Abstract/Proje ct D escription
...07
Case Study 01
...09
Case Study 02
...11
Case Study 03
...13
Pr oje ct 1
...15
Pr oje ct 2
...41
Pr oje ct 3
...51
Panel/E xhibition
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Guiding Words Reform
C ogit ate
(Verb)
Make changes in something (especially an institution or practice) in order to improve it.
(Verb)
(Noun)
The action or process of reforming an institution or practice.
Home (Noun)
Identit y (Noun)
The fact of being who or what a person or thing is.
(Noun)
The prevailing character or atmosphere of a place.
(Architecture)
The protective spirit of a place.
The place where one lives with a family or household.
House (Noun)
G enius Lo ci
Think deeply about something; meditate and reflect.
A building for human habitation
Vernacular (Noun/Adjective)
[of architecture] Architeture concerned with domestic and functional rather than public or monumental buildings.
The O ther (Architecture)
Referring to those who are not in direct contact with the architect (eg: the public) Those affected by the architecture for whom it is not directly intended for.
Imme diacy (Noun)
The quality of bringing one into direct and instant involvement with something.
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The immediate presence of an object of knowledge to the mind without any distortions, inferences or interpretations.
Robin Boyd
The Australian Ugliness
(2012)
The Text Publishing Company
Dominic Bradbury
The Secret Life of the Modern House
(2012)
The Text Publishing Company
Rone
RONE
(2012)
Thames & Hudson
Karen McCartney
Iconic Modern Australian Houses
(2012)
Murdoch Books
Kelly Reichardt
First Cow
(2012)
A24
Joe Talbot
The Last Black Man in San Francisco
(2012)
A24
Quentin Tarantino
Once Upon a Time...in Hollywood
(2019)
Columbia Pictures
Adam Curtis
Can’t Get You Out Of My Head
(2021)
BBC
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Carlo Scarpa
Selected Works
Ludwig Wittgenstein
Selected Works
Baracco + Wright
Selected Works
Martin Heidegger
Selected Works
Witold Rybczynski
Selected Works
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The Samples
Ref le ctive Tex t v1.1 -
The reflective text begins as a catalytic task for Major Project but branches into being a major contributor for the Major Project and its accompanying statement. The text is a reflection on the past as an influence for my thinking and direction as it sits now and beyond Major Project into the industry. It is a reflection of the discipline and my position within in it. It also contains my objective of Major Project and what I would like to extract out and carrying into the industry career. There reflective text sat as an abstract where it was continously revised throughout the 15 weeks to align the thesis, define the body and the work that followed. Upon reflection of the work and reflective text, there are many parallels between this first iteration and the finishing point of the body of work and its accompanying text.
19/07/21
As I sit looking out at the gum trees writing this, I can’t comprehend that there are only a few pages left in this chapter before it ends, yet I am already thinking about what may ensue in the chapter to follow. Over the past year I have entered into a state of deep reflection - constantly looking back on the works that have come before this chapter (works by myself and others across all disciplines). At the start of this journey, I definitively knew the ‘architect’ I wanted be. I knew which studios I wanted to take. I knew what ideas and architecture I wanted to explore. In fact, I didn’t know anything, I never stepped a foot into that room. I feel a sense of gratitude for being awoken to challenges, adventures and an exploration of raw references across all disciplines (precedents, materials, knowledge, styles etc.). The scale has gradually increased over time - a result of wanting to establish a purpose engaging with the life of the project [including the life of the place]. The ergonomics of the door handle. The experience of an opening. The purpose of a window. The feedback of a space and the craft of a cabinet. These require thought. It creation of the project has remained inside-out. The outside is a gift to place; a direct response to it but also informative of the inside for the others. I’ve learnt to embrace the imperfections - these are the moments to be cherished. They give clarity. They show the process. The outputs don’t need to be polished but they must be able to speak to you. When is the project finished? Is it ever finished? Does the project go beyond the architecture? Does it go beyond our client? Does it go beyond the architect, beyond what we originally envisioned? Over time, I have accepted that anything I create is not new – I have embraced it as a rebirth of the past into a new variant. How does this occur? What are samples? Sharing the raw and curated processes, samples and learnings will allow for further collaboration of others, place, materials and knowledge.
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I can sense there is an issue, potentially a false ideology embedded into the discipline. I can’t visualize it yet – maybe its more about communicating the problem rather than solving it.
Abstract/Proje ct Description
Although not new, this concept is reappropriated into our current context, conditions and dialogues faced in our discipline today. As architects, we are privileged to create spaces for people to occupy. In some respects, we are paid to explore desires, interests and ideas, learning from each project as they pass. There are open opportunities within our interdisciplinary loop, for us to answer to the other clients who are not formally acknowledged through a traditional framework. These may not be ones calling for or funding the project but they are the ones who will be future inhabitants of the building or whom may occupy it from a distance without inhabiting it, call it, a silent inhabitant. Although these additional clients may not partake in a traditional sense that the discipline allows for, it is therefore
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our duty to represent their voice and consider the life beyond just the client. This process can be integrated into existing ones or may be positioned alongside others as a means of preserving the opportunity for place and memories over time. As more attention is brought toward the other occupiers in the discipline, we can openly enquire into the life of the building, its cycles of ownership and how we could respond to such events, embedding the same language across scale. Although a building may not necessarily provide the solution in some instances, however, it is instead required to allow for these smaller interventions to occur over a larger scale, relying on the relationships with those that occupy it – it is an attention to the parts that make the whole. These allow for such moments of intimacy and occupancy to occur adjacently. The notion can be facilitated alongside or adjacent to existing frameworks, as means of demonstrating that one’s ability to form a sense of place over time, irrespective of its type and scale, can commence an improvement in the accessibility to an architecture, decentralising the ownership of it and redistributing it amongst the place and to those who exist now, or those that will arrive in the future.
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The project as a whole body of work, is concerned with acknowledging that people can form a sense of place and ownership of an architecture through attributing memories and interactions to the place, in the many forms they take. An inquiry was made into the relationships between the architect and those who can occupy it over its life, with the intention, to use it as a vessel between the occupants and place. This framework can allow for a shifting in its value and redistributing this amongst its occupants, who exist now, or those that will arrive in the future.
Case Study 01 This short study explores some of my fragmented memories that are pieced together to from this scene. Some from experience and others from samples with their identities
ALL TE X T I S R E F LE CTIVE*
THE OUTLOOK POST
THE ROOM
THE LIFE OF THE HOUSE
The f ir s t c as e s tu dy i s a s ke t c h t hat e x p l o r e s l o s t ar c hi t e c tu r e fr o m m e m o r ie s , p l ac e s o f f amil i ar i t y and s amp le s o f t he p as t .
missing. How do you capture the life of a project? The exposed beams and columns allow for a connection between the past to the present. Theres no fancy cupboards, no kicthen island bench or clean, brandnew polished floorboards. ‘The Room’ (top) really doesn’t have any meaning. It has no identity, not defined purpose. It could be anything. I think the room in isolation speaks more than the other photographs.
THE KITCHEN
THE CHARACTER (STRUCTURE) THE PLASTER
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THE OPENING
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THE CHILDHOOD HOME - AS IT WAS (OCCUPANT 0)
THE CHILDHOOD HOME - AS IT WILL BECOME (OCCUPANT 2)
THE CHILDHOOD HOME - AS IT IS NOW (OCCUPANT 1)
THE CHILDHOOD HOME - AS IT WILL BECOME (OCCUPANT 3)
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Case Study 02
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The Aspirational
The At t ainable
THE PROJECT HOME OF TODAY - WHAT THE CONSUMER WANTS
THE PROJECT HOME OF YESTERDAY - WHAT THE CONSUMER WANTED
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Case Study 03
project 1 Location - anywhere and everywhere Scale - fine, tactile, tangible
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Type - object
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The Mouldings
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The Handles
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The Scupp ers
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The Op enings
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project 2 Location - Lynwood Reserve Scale - Medium
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Type - Community Facilities
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project 2
Location - Smith St, Richmond Scale - Small Type - Residential Dwellings
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BEDROOM STUDY DINING LIVING BATHROOM KITCHEN LAUNDRY STORAGE WORKSHOP YARD
not to scale
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1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
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Project Title a place in time… Student Name Mike Parlapiano Supervisor Simone Koch Abstract/Project Description The project as a whole body of work, is concerned with acknowledging that a sense of place and ownership of an architecture can be attributed through memories and interactions to the place, in the many forms these take. An inquiry was made into the relationships between the architecture and those who occupy it over its life, with the intention, to use it as a vessel between the occupants and place. Although not new, this concept is reappropriated into our current context, conditions and dialogues faced in our discipline today. There are open opportunities within our interdisciplinary loop, for us to answer to the other clients who are not formally acknowledged through a traditional framework. These are the ones who will be future inhabitants of the building or whom may silently occupy it, therefore, it is our duty to represent their voice and consider the life beyond just the client.
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Sitting alongside or within existing frameworks, this notion exists as means of demonstrating that ones ability to form a sense of place over time, irrespective of its type and scale, can commence an improvement in the accessibility to an architecture, decentralising the ownership of it and redistributing it amongst the place and to those who exist now, or those that will arrive in the future.
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