m 0435540336
e samsgshin@gmail.com
university of sydney
bachelor of design in architecture (honours) & master of architecture
STUDIO
YEAR
The project imagines a daunting and present reality that is the production of depleted natural resources and fixation for media consumption. The exorbitant prices of electricity deny society’s access to personal mobile devices and aggravate our appetite for media. As individuals see their connection to the infinitely large digital world slip away under their thumbs, they turn to the theatre.
7
The existing number of theatres across Sydney fair inconsequential to the performance spaces required to fulfill society’s search for entertainment. Therefore, the project tackles this problem on a macro scale, aimed to provide an abundance... a metropolis of drama houses. The site, positioned right below the mouth of Sydney Harbour, becomes a prime location for the project to be visible for those entering the harbour. Secondly, the site is in direct view from the heart of city, becoming a centre stage that spotlights the project.
The project is titled ‘revolution’ to symbolise the new reality that awaits amidst the depletion of resources and society’s disconnection from mobile devices. ‘Revolution’ points to the radical change to society that would not be able to afford electricity, pressured by dire environmental catastrophes. It simultaneously alludes to the design motifs and history of the architecture and machines of modernity, which revolutionised both how the urban fabric looked and functioned. Finally, in a very literal sense, the title indicates the design language of the project that fixates on circles. Circles inspire fluid and concentric movement. Such appeal embodies the celebration of function, efficiency and productivity, which were core values of the 20th century.
The 20th century context and modernity that underpins the conceptual framework of the project, draws inspiration from the various artists of its time. Most notably, the founder of the Bauhaus, Walter Gropius, and his rotating stage become crucial in fulfilling the conceptual aims of the project. The rotating stage was the epitome of function over form, where it allows dynamic use of the stage to produce new scenarios and performances within theatre. Its adaptability means the drama houses of the project can host the infinitely creative minds of directors and choreographers. Andreas Weininger’s Spherical Theatre was a theatre in which the auditorium space was able to revolve, similar to Gropius’ stage. Such dramatic ambitions combined with the machinic element of the pivot within the theatre depict the sense that the drawings are in motion. Speaking to the animate qualities of the Spherical Theatre, Boullée’s Opera is another unrealised project that opposes staticity. Attributed to its shear size and scale, the opera’s interior space embodies a unique and separate atmosphere of its own. It seemingly creates the effect that the theatre is housed in a world of its own. Such poetics converse directly with this project’s own ambitions of creating spaces that allow users to immerse in new realities.
Supplementary to the drama house, three programs are deivsed to fulfill the ambitions of the project. As the project envisions masses of individuals seeking live performance, the Creation House becomes a crucial supplement to the Drama House. The Creation House is the space for directors, performers and choreographers to create and manifest new realities for the consumeristic mass. These masses that are singularly motivated to consume media require programs that will facilitate their primal needs. The Consumption House is a space for sustenance, where there is a focus on promoting eating as a physical activity rather than social activity. The Dream House is the space that enables the masses to perpetually remain in their tower escaping to alternate realities. The space is named Dream House as dreaming is another medium for escapades into fictional realities. Hence, the Dream House and Drama House have shared functions in being a medium for escaping reality.
Ultimately, these programs work in unison to entertain and satisfy society’s propensity to consume media. The transition from digital to physical, future to past, the tower becomes a utopia for the displaced masses.
The power house situated below the auditorium space is the heart of the drama tower. It is the engine that produces the operational energy of the tower and fuels the society’s constant consumption.
Like that of a heartbeat, the rumbles and groan of the engine that creep above the auditorium floor remind the audience of the essence of their alternate realities. Without the power house, the towers would fail to operate ultimately denying the audience to perpetually consume media. The machinic and turbulent visuals of the drama house contrasts the uncomplicated and simplistic interior of the drama house. Such juxtaposition creates a distinct and separate atmosphere within the auditorium.
The idea of the power house was excited by Constant Nieuwenhuy’s self-sufficient engines that powered his captivating project, New Babylon. Constant envisioned that these selfsufficient machines would abolish work for society. Consequently, society only had to be preoccupied with play. Such radical vision inspired an idea for this own project whereby there is an underlying motive to trap the users. These trapped individuals would perpetually roam the towers, consuming and escaping into new realities. This concept directly dictates the supplementary programs of this project.
Stemming from the concept of modularity, each module can be configured to fulfill the pragmatic requirements of any program. The combined plan shows the ideal spatial configuration of each plan and how the homogenous spaces of each module can be adapted.
The spatial arrangment centralises efficient movement through spaces and lightweight consructions that would enable quick modifications. The arrangement also tailors to the scale of the masses by providing an abundance of individual units. The vertical configuration of the project was an important aspect in adjusting to the scale of the project's ambitions. The ideal configuration contains three drama houses so that users of the tower only have to move in the vertical plane to spectate various types of performances. The number of floors for each supplementary program is then adjusted to these 3 drama houses.
1 underpass
2 rehearsal space
3 office workspace
4 gendered bathrooms
5 collaboration space
6 large rehearsal space
7 dressing room
1 reception
2 consumption hall
3 connector module
4 gendered bathrooms
5 party consumption
6 storage
7 fridge + pantry
8 kitchen
as the masses perpetually seek to avoid the dismal reality of the present, the towers feed their hunger for media. the digital world no longer at our fingertips along with the unbearable cost of electricity, the theatre is the only medium for our escapades. like a prisoner to the machine, there is the dilemma of dependence and inaccessibility to that which is machinic.
YEAR
March - June 2021
PROJECT
Individual Work
A project contextualised by the nature of urban landscapes and societies, situated in Pirrama Park, Pyrmont. Exploration into separable connection between communities and the rich contexts of the site.
Beginning with gadigal people, the indigenous community relied on the site for sustenance and livelihood - hunting and celebrating their distinct way of life. The colonisation of sydney and the consequent industrialisation saw the rise and fall of many quarries, factories and mills. Today the community seeks the site as means to exercise, recreate and relax.
The programs constituting the project are distinctly aimed to promote both individual and social experience at pirrama park. Specifically, the project places a large emphasis on the experience of water. Users are presented with a diverse range of experiences of water which include the main pool, therapy pools, the harbour (through the esplanade) and the rain gardens within the landscaped areas of the site.
The three main programs of the project are the circular pool, the cafe and restaurant combined with upstairs library as well as the combined hot and cold pools. The rationalisation of the form and geometry poetically express the manifesto aims.
The pool’s irregular shape represents the literal contention against the linearity and division imposed by lap pools. The unique seating edge of the pool can become individualised hubs but the circular geometry also promotes social bonding and cultural activity.
The cafe by day and restaurant by night promotes the experience of eating with a view. Arrangement is focused on individual dining, yet modularised to accommodate group seating. This is a key program in increasing the livelihood of the site at night.
The therapy pools are concentrated on the experience of relaxation and meditation. The circular geometry creates a sense of intimacy and privacy within the small enclosed pool spaces.
The unattended library where books cannot be borrowed, users are invited to donate books and add to the permanent collection. The lower ceiling height promotes the experience immersing in fictional realities and the selfinventing through reading.
Finally, the plaza is the program that harmonises these seeming disjointed programs together. A threshold and interstitial space for individuals with different purposes at the site to interact, meet; a cultural space, covered and sheltered from the elements.
A VISION OF FREEDOM A VISION OF CREATIVITY A VISION OF COMMUNITY
cobblestone rammed earth hard dirt
main pool
+ 25x25 swimming pool
+ gendered changerooms & bathrooms
+ first aid room
+ disabled toilets
+ service lift to underground plant room
+ foyer & reception
+ staff kitchen & lounge
+ staff bathrooms + lobby & reception + bar & dining hall
cafe & restaurant
+ storage cabinet + kitchen
unisex bathrooms + reception
+ storage & staffroom
+ gendered changerooms & bathrooms
+ gendered sauna
+ hot pool + cold pool
plant room
therapy pools library plaza
geodesic aluminium roof panel
800x300 baubuche GL75 beam
pvc ceiling panels in white
pvc wall panels in white
1000x300 baubuche GL75 post
colour bond exterior panel
double glazed glass
geodesic aluminium roof panel
500x300 baubuche GL75 beam
pvc ceiling panels in white
baubuche GL75 post & reinforced concrete wall
500x300 baubuche GL75 post
galvanised steel cable bracing
double glazed glass
200x100 baubuche S purlins
500x200 baubuche S top beam
200x100 baubuche S purlins
reinforced, pre-cast concrete wall
galvanised steel cable bracing
“...it has to do with interval; it is what you open to give place to things, or when you open something for things to take place.”
- Jacques Derrida, Chora L Works
STUDIO
YEAR
August - November 2020 PROJECT Individual Work
The aims of the project was to create a socially, culturally and technically sensible housing for three clients, that speak to the values of the Vanuatu community. The final design was the outcome of carefully considered design principles that drive and shape the project to align with the needs of the three clients.
The studio is the continuation on the Freswind Community School Project in Port Vila. Port Vila is the capital city of Vanuatu, 80 tropical islands in the region of Oceania. An important part of the studio will be to develop scenarios of ‘typical’ families, of staged construction and appropriate materiality and methods. The Freswind Project will relocate 90 households to the newly subdivided land in the suburb of Ohlen, Port Vila. The Ministry of Lands and Natural Resources have purchased, subdivided and serviced the area with water and electricity, in preparation for the relocation.
Life in Vanuatu is very different to Western Societies, thus the approach to design, materiality and construction should reflect the living practices of the Freswind Community. The way of life differs in all aspects of culture and beliefs which is evident through their diverse ceremonies, cuisine and rituals that take place in a tropical context. It is vital to understand the communal living style, large extended households and traditions of the Vanuatu people before approaching the project. Existing typologies serve not only as inspiration of design as well as materiality, but it defines and shapes how the micro-programs within each block should be arranged, and the overall coherent aesthetics of the community. Vegetation is a key consideration, especially in the context of a tropical island as tall trees and bushes serve as wonderful creators of shade. Trees are abundant around the relocation site, and thus it would be most sensible factor of design.
The clients of the project are Joseph, Nixon and Humility, each with differing needs and wants for their homes. Their specifications of design is the second most important consideration of the project, after the broader context of Vanuatu and immediate site surroundings. Joseph lives with his wife Rose, and three children, and the needs for his site are enough space and bedrooms to accommodate the family of 5 as well as two elderly parents. Through staging, their ambitions for a clinic and 1-2 rent rooms can be considered in spatial organisation of their site. Nixon, who lives with his two aged parents, brother and sister require a workshop to maintain his trucks and boats, rooms to rent out for his workmates. Through staging, the sister’s ambition for a stall and Nixon’s ambition for an exclusive shed to store his tools can be fulfilled. Finally, Humility, who requires living space for 5 other family members is the most ambitious and socially proactive client. As a result, the programs and spaces will be greatly public and communal, and staging will become a requirement for the ambitions of a kindergarten and ‘kava’ bar (nakamal) to be fulfilled.
“So when we have a site, we’re always looking at the wider context and trying to work out if there is a potential for us to thread a little route through this project and make a little public space.”
Peter Barber, Architect
The 12 principles are like a rule book to guide the design approach. The principles are not derived from the architectural language evident in the final design, but rather, the architectural language reflect the application of these principles. Thus, the architectural language must reflect the principles in the choice of materiality, layout and construction. The wonders of these principles come alive when one architectural move reflects more than one principle.
The forty degree slant orientation creates negative, interstitial space between the complexes, which become the various semiprivate zones for the family, parents and tenants to use separately.
Communal and social activity is dedicated to flourish in the central zone of the block between the complexes. Shaded verandas become great elements that activate life and interaction between the various users of the space. Simultaneous with the need of many programs and rooms, it is important to ensure modest sizing of the spaces.
Nixon whom is away for long periods of time, only a require a bed for temporary stay. However, for his siblings and aged parents, they require permanent living spaces that include living and lounge areas. Thus, the main living complex is occupied by his siblings and aged parents. Nixon’s place of stay resides in the complex combining the stall and communal kitchen along with the tenants whom will be his workmates.
The workshop and stall both require the street frontage where trucks require ease of access to be maintained, and the stall facing the street to meet the patrons of the stall.
The porous and publicly driven spatial layout speaks to her role in the community. With such great ambitions, cost is a particular constraint, thus it is important to combine many programs and living spaces into single complexes and allow the spaces to be creatively re-purposed in the future. The kindergarten must be modest in size catering to the small footprint of children, but also in recognition of the value of the outdoors.
The nakamal complex dedicates its interior spaces to few seating areas and where the ‘kava’ is grounded and served. The gathering spaces for the customers will thrive on the shaded porch of the nakamal.
The kinder and nakamal can combine to host large ceremonies such as the ‘Unity Day’ in November to celebrate the traditions and heritage of the Vanuatu culture.
the symbiosis of growth, mutation and destruction
STUDIO
BDES3026 Studio 3A
YEAR
March - June 2020
PROJECT Individual Work
“My heart was fashioned to be susceptible of love and sympathy, and when wrenched by misery to vice and hatred, it did not endure the violence of the change without toture such as cannot even imagine.”
Mary Shelley, Frankenstein
Through the ages, society has been on the constant drive for bettering machines, animals and humanity itself. Humanity has been on this drive for perfection since the beginning of time where the changes and alterations directed towards betterment have led to undesirable environmental and social dilemmas. The project deliberates a refuge to the dilemmas of climate change that is a direct consequence from betterment of society. Through the provision of four programs - an immunogenetics lab, cosmetic surgery clinic, visual reality centre and theatre, the project provides an opportunity for meaningful change to occur in both micro and macro realities.
layout of the entrance, where users are met by the vertically daunting pillars and columns of concrete at the entry. These pillars take a shapely form, however, as a unity, the pillars creates a scene of a rocky mountainscape. The confrontation creates an atmosphere of almost discouragement, especially to those who have no business or interest to the building. An open space that is not welcoming to the public prevents loitering within the space. Curved walls prevent users from overwhelm of rigid and tight spaces at the entry to each clinical program, preparing the users for a comfortable and smooth transition.
Within an urban context, 142 Clarence Street is the chosen location for the project directed in addressing the problems and issues outlined. The location in which small and meaningful changes are facilitated by providing refuge. In the centre of the business district the site is surrounded by high rise buildings, the grumbles of the metro buses and the hustle of office workers. Lively during the weekdays and on the weekends a drastic change occurs to the environment. The weekends exhibits streets laid barren by the empty office buildings and dues put on hold until the next business day. Thus the project and its programs accommodates to the fluctuating environment.
The consistent architectural language through the buildings walls, roofs, structures and interiors such as furniture. Curvilinear and shapely furniture as well as walls in some floors are symbolic of the progressive change that is facilitated, as well serving other roles. However, an inconsistency is seen at the
The programs are the immunogenetics lab, cosmetic surgery clinic, visual reality centre and a theatre. These programs are enveloped and interlocked within a unity. A unity that separates and reveals the clear distinction from the outside world. Regardless of changes that occur on the exterior whether rapid or slow, these programs will independently facilitate meaningful, gradual change. The immunogenetics lab is where development in immunobiology takes place, as it aims to create new cures, treatments and vaccines. The facility through transparent and ethical research will bring forth meaningful change and provide shelter to those affected by the grief and pain associated with diseases. Hope. Hope stemming from knowledge a facility is on the constant drive to develop a treatment/cure for those burdened by incurable diseases. They may not be wholly sheltered, but even the smallest relief and comfort is a meaningful change to their previous realities. The cosmetic surgery clinic provides shelter from society’s unreasonable expectations, portrayals and norms. A private, discrete service is provided for those afraid and discomforted to face society. Whether it is the desire for a new appearance or a new identity, the clinic in junction with the VR research centre facilitates a change that provides an opportunity for individuals to face society with confidence. The augmented reality element helps users through the arduous and difficult decisionmaking process by creating projections and visualisations of the user’s new appearance. The VR centre is a distinct program driven by a separate function beyond assisting the cosmetic clinic. Simulating highly personalised temporary realities in the virtual world for users to escape their current realities and submerge themselves into a new and perhaps desirable reality. An augmented reality that can replicate one;s dreams, memories or erase the pain and suffering of their reality. This space creates a temporary change to reality which shelter’s users from their discomforts or pain from their own realities. The theatre is the program that morphs these distinct programs into a harmonious coexistence. Like the VR centre the theatre provides a fleeting reality through performances and acts occurring on the stage. Audiences relate to and immerse themselves into the reality of the performance, providing a momentary escape from the routines, dues and fatigue from reality. More importantly, the theatre is a platform that ensures any of the development and change by the immunogenetics lab and clinic are meaningful, ethical and transparent. The stage serves as an educational platform for scientists and researchers to present and inform the wider public of their findings and progress. The theatre forges a sensitive symbiotic relationship between the four programs.
“I know not why, but all the noblest arts hold in perfection but for a very little moment. They soon reach a height from which they begin to decline”
Samuel Butler, Erewhon
cosmetic surgery clinic
A sterile and private space. Individuals seeking change of appearance and identity or healing of their scars, the clinic facilitates this change. Working cohesively with augmented visualisation and projection, users are comforted and reassured through the decision-making process of cosmetic surgery. Curvilinear walls overcome the overwhelm, providing a refuge from social dilemmas by a change of identity and liberty from scars.
theatre
Sterile, transparent and specialised. The lab is the front of advancing research and development in the transgenic field through a revised approach of transparency. A clear barrier between public and staff circulation, and traditional orientation of the ghost corridor combined with ceiling high glass panels presents a space driven by function over form.
As users enter the VR sensory room their perception of spatial elements such as the floor, walls and ceilings are distorted. Presented with a unified mass of polished reflective interior simultaneous with curved extrusions and bumps throughout the ceiling and walls, users are deprived from sensory overwhelm and prepared for absolute focus on rest or visualisation. VR enables the manifestation and visualisation of a new realities.
parallelo // Hobart Smarter Bus Stop competition
honours intensive studio
2020
arkonos residence // Professional Practice
undergraduate subject 2021
daytime view of modular bus stop
software: twinmotion + photoshop
exterior perspective of new additions to existing dwelling
software: twinmotion + photoshop
illustrated by: jason gunawan + samuel shin
no.
interior
software:
visualisations of new addition to existing dwelling
cinema4d
33° 52’ 45.88’’ S -- 151° 7’ 35.36’’ E
vorstellung garten // Studio 1B
undergraduate studio 2019
harbour deck // Architectural Technologies 1
undergraduate subject 2019
imperfections of perfection // Studio 2A
undergraduate studio 2020
freswind housing project // Studio 2B
undergraduate studio 2020
bdes1027
undergraduate studio 2019
bdes1023
undergraduate subject 2019
balsa wood, plywood, screenboard, nails
opposing geometry wooden skewers, plastic, screenboard, cardboard
bdes2026
entrance to building 2nd iteration screenboard, cardboard, balsa
4 laser-cut birchwood, plywood, steel mesh, dried rosemary, cardboard
samuel shin
selected works 2019-2021
