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e d u c a t i o n Billy Blue College of Design, 2019-2020 | Graduate Certificate in UX Design & Web Development University of Toronto, Ontario CA, 2018 | John H. Daniels School of Architecture, 2018 Winter Exchange (6 months) University of Sydney, 2016 to 2019 | Bachelor of Design in Architecture Smith's Hill High School, 2010 to 2015 | Graduation with ATAR of 98.4
e x p e r i e n c e 2019 | Bjarke Ingels Group, London Design Assistant, November 2019 to present 2018 | Welsh + Major Architects, Sydney Architectural Assistant, December 2018 to November 2019 (1 year) 2017 | Tactile Theory Inc., Freelance Freelance graphic designer, July to December 2017 (6mths) 2017 | Grimshaw Architects, Sydney Work experience student, February to April (3mths) 2016 | Australian Institute of Architects, Student Organised Network of Architects (SONA) First year representative (1 year) 2013 | Joy Global Inc., Wollongong Project management work experience student, July (one week intensive program) a w a r d s
+
a c h i e v e m e n t s
2019 | Billy Blue College of Design Ambassador Scholarship $10,000AUD tution subsidy based on academic & professional merit.
2018 | Dean’s List of Excellence in Academic Performance 2017 | International Outbound Exchange Scholarship by sophie peterson
CURR
I
U
E
-
Since, I have spent the past year working with Welsh + Major Architects, have worked as a freelance graphic designer for educational start up Tactile Theory Inc. and have been fortunate to work with Grimshaw Architects as a work experience student in their Sydney office.
LU
LU
M VI T A
E
U
2016 | Dean's Merit List Scholarship (top 5 entrants into the Bachelor of Design in Architecture based on ATAR)
2015 | High School Certificate (HSC) achieved with a 98.4 ATAR + 1st in HSC Biology + 1st in HSC Society & Culture + 2nd in HSC Advanced English
C
M VIT A
Born and raised on the south coast of New South Wales, I moved to Sydney in 2016 to pursue my Bachelor's degree in Design in Architecture at Australia's top architecture school, the University of Sydney. My degree also took me to The University of Toronto’s John H. Daniels Faculty of Architecture, where I learnt from some of the top professors from around the world.
2017 | Dean's List of Excellence in Academic Performance
Now more than ever, a desire to pursue sustainable and deeply meaningful work in a collaborative environment drives me forward. This is a glimpse into how I perceive the world.
2011 - 2015 | Various volunteering & fundraising roles for; the RSCPA | Fair Trade Week 2015 | the National Breast Cancer Foundation | the Ovarian Cancer Foundation | the Cancer Council | Scouts Australia
bysophiepeterson.com +61
0402134721
sophie.peterson@hotmail.com
2013 | Bronze Duke of Edinburgh received + 3 months volunteering, learning a new skill, engaging in team sport and team hikes.
U - C RRIC
e d u c a t i o n Billy Blue College of Design, 2019-2020 | Graduate Certificate in UX Design & Web Development University of Toronto, Ontario CA, 2018 | John H. Daniels School of Architecture, 2018 Winter Exchange (6 months) University of Sydney, 2016 to 2019 | Bachelor of Design in Architecture Smith's Hill High School, 2010 to 2015 | Graduation with ATAR of 98.4
e x p e r i e n c e 2019 | Bjarke Ingels Group, London Design Assistant, November 2019 to present 2018 | Welsh + Major Architects, Sydney Architectural Assistant, December 2018 to November 2019 (1 year) 2017 | Tactile Theory Inc., Freelance Freelance graphic designer, July to December 2017 (6mths) 2017 | Grimshaw Architects, Sydney Work experience student, February to April (3mths) 2016 | Australian Institute of Architects, Student Organised Network of Architects (SONA) First year representative (1 year) 2013 | Joy Global Inc., Wollongong Project management work experience student, July (one week intensive program) a w a r d s
+
a c h i e v e m e n t s
2019 | Billy Blue College of Design Ambassador Scholarship $10,000AUD tution subsidy based on academic & professional merit.
2018 | Dean’s List of Excellence in Academic Performance 2017 | International Outbound Exchange Scholarship by sophie peterson
CURR
I
U
E
-
Since, I have spent the past year working with Welsh + Major Architects, have worked as a freelance graphic designer for educational start up Tactile Theory Inc. and have been fortunate to work with Grimshaw Architects as a work experience student in their Sydney office.
LU
LU
M VI T A
E
U
2016 | Dean's Merit List Scholarship (top 5 entrants into the Bachelor of Design in Architecture based on ATAR)
2015 | High School Certificate (HSC) achieved with a 98.4 ATAR + 1st in HSC Biology + 1st in HSC Society & Culture + 2nd in HSC Advanced English
C
M VIT A
Born and raised on the south coast of New South Wales, I moved to Sydney in 2016 to pursue my Bachelor's degree in Design in Architecture at Australia's top architecture school, the University of Sydney. My degree also took me to The University of Toronto’s John H. Daniels Faculty of Architecture, where I learnt from some of the top professors from around the world.
2017 | Dean's List of Excellence in Academic Performance
Now more than ever, a desire to pursue sustainable and deeply meaningful work in a collaborative environment drives me forward. This is a glimpse into how I perceive the world.
2011 - 2015 | Various volunteering & fundraising roles for; the RSCPA | Fair Trade Week 2015 | the National Breast Cancer Foundation | the Ovarian Cancer Foundation | the Cancer Council | Scouts Australia
bysophiepeterson.com +61
0402134721
sophie.peterson@hotmail.com
2013 | Bronze Duke of Edinburgh received + 3 months volunteering, learning a new skill, engaging in team sport and team hikes.
U - C RRIC
Flux Fields maps a dense city network
the building.
into a tension & release dyanmic and can
Further, the material duality of Hawkesbury
emulate this shift of energy. Within music
sandstone and the water surrounding the
and the arts, tension is produced through
building compliment the locality of the
repetition, dynamism, changes in pitch and
site and the properties of the material
deliberate shifts between consonance and
itself, which feed back into the idea of
dissonance, in turn creating a distinctive
change over time due to erosional kinetic
rhythm.
movement.Thus, another layer of tension
proposes
that
void
and
space
and release is geologically embedded in Through a mathematical analysis
the structure.
of rhythmic qualities in Jørn Utzon’s
U -
D
S
FIELDS
-FLUX
X
F
LDS - FL IE
Bagsvaerd Church lofted roof structure, a
These multifaceted rhythms are realised
language to describe the tension-release
through the programmatic and formal
equilibrium became the basis for Flux. In a
approach to the performing arts centre,
curve, points of zero gradient - or change
whereby the melodic curves are arranged
- are known as turning points, whilst
within the stark orthogonal walls in such a
inflexion points lie somewhere between
way as to internalise this moment of release
and indicate a maximum rate of change.
or catharsis. The idea of needing to know
Using this language, fields of high and low
what is inside guides the inhabitant.The
kinetic energy were thus extracted from
forced circulation begins from the exterior,
Sydney’s CBD and cross analysed with
as a reflective pool surrounds the grander
an inquiry into anti-axiality at a smaller
of the walls, revealing only snippets of the
scale on the site. By rejecting the natural
sculptural form within. Users are forced to
axis of flow on the site to create a forced
enter from behind and are guided through
circulation, further tension could grow to
the foyer whereby the bar activates the
emphasise and prolong the anticipation of
walkway within the chasm.The guest takes
their time to truly experience and fully descend into the space wherein a final moment of release can be experienced upon being seated; the triple height sculptural void above and the stage front and centre where the performance too will go through its own unique notions of tension and release. During the day, the cafe and exhibition space act as a more open invitation to the public to experience the building for themselves.
u n i v e r s i t y
o f
s y d n e y 2 0 1 8
FL
UX FI E
L
Flux Fields maps a dense city network
the building.
into a tension & release dyanmic and can
Further, the material duality of Hawkesbury
emulate this shift of energy. Within music
sandstone and the water surrounding the
and the arts, tension is produced through
building compliment the locality of the
repetition, dynamism, changes in pitch and
site and the properties of the material
deliberate shifts between consonance and
itself, which feed back into the idea of
dissonance, in turn creating a distinctive
change over time due to erosional kinetic
rhythm.
movement.Thus, another layer of tension
proposes
that
void
and
space
and release is geologically embedded in Through a mathematical analysis
the structure.
of rhythmic qualities in Jørn Utzon’s
U -
D
S
FIELDS
-FLUX
X
F
LDS - FL IE
Bagsvaerd Church lofted roof structure, a
These multifaceted rhythms are realised
language to describe the tension-release
through the programmatic and formal
equilibrium became the basis for Flux. In a
approach to the performing arts centre,
curve, points of zero gradient - or change
whereby the melodic curves are arranged
- are known as turning points, whilst
within the stark orthogonal walls in such a
inflexion points lie somewhere between
way as to internalise this moment of release
and indicate a maximum rate of change.
or catharsis. The idea of needing to know
Using this language, fields of high and low
what is inside guides the inhabitant.The
kinetic energy were thus extracted from
forced circulation begins from the exterior,
Sydney’s CBD and cross analysed with
as a reflective pool surrounds the grander
an inquiry into anti-axiality at a smaller
of the walls, revealing only snippets of the
scale on the site. By rejecting the natural
sculptural form within. Users are forced to
axis of flow on the site to create a forced
enter from behind and are guided through
circulation, further tension could grow to
the foyer whereby the bar activates the
emphasise and prolong the anticipation of
walkway within the chasm.The guest takes
their time to truly experience and fully descend into the space wherein a final moment of release can be experienced upon being seated; the triple height sculptural void above and the stage front and centre where the performance too will go through its own unique notions of tension and release. During the day, the cafe and exhibition space act as a more open invitation to the public to experience the building for themselves.
u n i v e r s i t y
o f
s y d n e y 2 0 1 8
FL
UX FI E
L
ELDS FI
-
F
L
-
U FIEL D
X
FL U
X
DS
S
L E
-
FLUX
FI
ELDS FI
-
F
L
-
U FIEL D
X
FL U
X
DS
S
L E
-
FLUX
FI
Double Helix House explores
above and below the natural terrain
This fluid form has been
the connections between the binary
manipulating the circulation flows
derived from the obscure property
relationship
and
through the building, as opposed
lines of the site, which are offset on
emergence. Inspired by Adalberto
to isolated planning or materials.
the easterly portion of the site. In
Curzio’s
of Casa
submergence Malaparte,
two
order to offer the occupants further A deliberately hidden entrance
privacy, the form is warped around
a
gives guests of the house two options
this unique shape to reduce view
moment of transcendence through
upon arrival; to walk over the top of
lines from the adjacent eight story
their eventual connection. As a house
the building which flows along the
terraced apartments looking down
for two inhabitants which thrive from
natural gradient of the slope, or to
onto the site. Internal planning is
a spectrum of isolation to explore
walk down into a prolonged set of
further informed by the path of the
their passions as a chef and an artist,
stairs sub- merged into the ground
sun,
to the sharing of their creations in a
whereby the guest walks between
shared spaces and a rooftop garden
more public space, the house moves
the stepped breakpoint of the house
thrive
from a space of compression to
-
expansion through its submergence
emergence. Both paths meet at a
and
moment
isolated, yet inherently connected fluid
circulation
paths
creates
EL
HOU
S
E H
E
DOUBL
IX HO
E
H
US
IX EL
submergence
abundant
courtyards, winter
sun.
becomes
reaching the rooftop terrrace which
emergence binary, guests of the house
finally reveals a panoramic view
are able to experience the house in
The main aim on this east-facing block
of High Park to the east. The two
a manner in which invokes a feeling
was to differentiate each functional
paths become an infinite helix loop
of reflection or ‘coming up for air.’
zone by adjusting the emergence
which gives fluidity to the design.
from
transcendence
By exaggerating this point of connection within the submergence-
emergence
of
in
winter
upon
eventual
the sloped gradient of the site.
-
where
whereby
john
h.
daniels
school
university
of of
architecture toronto2018
-DO
UBL
E
Double Helix House explores
above and below the natural terrain
This fluid form has been
the connections between the binary
manipulating the circulation flows
derived from the obscure property
relationship
and
through the building, as opposed
lines of the site, which are offset on
emergence. Inspired by Adalberto
to isolated planning or materials.
the easterly portion of the site. In
Curzio’s
of Casa
submergence Malaparte,
two
order to offer the occupants further A deliberately hidden entrance
privacy, the form is warped around
a
gives guests of the house two options
this unique shape to reduce view
moment of transcendence through
upon arrival; to walk over the top of
lines from the adjacent eight story
their eventual connection. As a house
the building which flows along the
terraced apartments looking down
for two inhabitants which thrive from
natural gradient of the slope, or to
onto the site. Internal planning is
a spectrum of isolation to explore
walk down into a prolonged set of
further informed by the path of the
their passions as a chef and an artist,
stairs sub- merged into the ground
sun,
to the sharing of their creations in a
whereby the guest walks between
shared spaces and a rooftop garden
more public space, the house moves
the stepped breakpoint of the house
thrive
from a space of compression to
-
expansion through its submergence
emergence. Both paths meet at a
and
moment
isolated, yet inherently connected fluid
circulation
paths
creates
EL
HOU
S
E H
E
DOUBL
IX HO
E
H
US
IX EL
submergence
abundant
courtyards, winter
sun.
becomes
reaching the rooftop terrrace which
emergence binary, guests of the house
finally reveals a panoramic view
are able to experience the house in
The main aim on this east-facing block
of High Park to the east. The two
a manner in which invokes a feeling
was to differentiate each functional
paths become an infinite helix loop
of reflection or ‘coming up for air.’
zone by adjusting the emergence
which gives fluidity to the design.
from
transcendence
By exaggerating this point of connection within the submergence-
emergence
of
in
winter
upon
eventual
the sloped gradient of the site.
-
where
whereby
john
h.
daniels
school
university
of of
architecture toronto2018
-DO
UBL
E
h - y 3
d r o 4
e
1
-
6
k i n
2
s i s 5
outdoor cafe indoor cafe kitchen bathrooms boat launch practise area
In its most primitive form, sailing and the use of boats focuses on how energy moves from the body, through the paddle to create momentum.
below ground
connected with of water through body movements.
1 2 3 4 5 6
[hy-dro-kin-e -sis]; or using the power the perception of
Hydrokinesis focuses on this flow of energy through its fluid form by mapping the points of equilibrium between the body and the paddle which are reiterated, just as the movement of rowing is repeated innumerably. The terraced form brings this idea of repetition and momentum to life, whilst also complimenting the existing parklands with its seamless planted roofs and hidden boat launch to preserve the existing flow of pedestrian traffic along the harbour.
plans
7
13
14
In doing so, the sailing school becomes a testament to the interaction between people, the sailing of boats and the forces of nature which was once lost to the written and remembered history of Mort Bay’s buried dry dock.
10
12
SI
OKINE
G
H
Y
DR
mezzanine
2017
rooftop terrace mezzanine gallery open learning area
IN
sydney
16 17 18
TBUILD
of
16
OA university
17
18
IN
8
9
11
15
lobby lockers viewing skybridge 9 viewing skybridge boat storage boat launch building area wood workshop material storage metal workshop
ground
7 8 9 10 11 12 13 14 15
BALMA
B
S
-
SC
HOOL
-
h - y 3
d r o 4
e
1
-
6
k i n
2
s i s 5
outdoor cafe indoor cafe kitchen bathrooms boat launch practise area
In its most primitive form, sailing and the use of boats focuses on how energy moves from the body, through the paddle to create momentum.
below ground
connected with of water through body movements.
1 2 3 4 5 6
[hy-dro-kin-e -sis]; or using the power the perception of
Hydrokinesis focuses on this flow of energy through its fluid form by mapping the points of equilibrium between the body and the paddle which are reiterated, just as the movement of rowing is repeated innumerably. The terraced form brings this idea of repetition and momentum to life, whilst also complimenting the existing parklands with its seamless planted roofs and hidden boat launch to preserve the existing flow of pedestrian traffic along the harbour.
plans
7
13
14
In doing so, the sailing school becomes a testament to the interaction between people, the sailing of boats and the forces of nature which was once lost to the written and remembered history of Mort Bay’s buried dry dock.
10
12
SI
OKINE
G
H
Y
DR
mezzanine
2017
rooftop terrace mezzanine gallery open learning area
IN
sydney
16 17 18
TBUILD
of
16
OA university
17
18
IN
8
9
11
15
lobby lockers viewing skybridge 9 viewing skybridge boat storage boat launch building area wood workshop material storage metal workshop
ground
7 8 9 10 11 12 13 14 15
BALMA
B
S
-
SC
HOOL
-
R
E
N
D
E
R
render
Darlington House is a compact, indoor-outdoor space which prioritises seamless connection with the outdoors and a minimal impact on its environment. A plethora of adaptable openings and the way in which an individual is guided through the house around it’s courtyard core underlines the fact that it is what is not seen that defines the space.
For justice to be achieved humanity must be both flexible and
transparent.
These
concepts
have
been
instilled
throughout Darlington House in its permeability through louvres and windows and adaptability to differing uses.
The prioritisation of compact design and outdoor space has informed every decision, from planning to final execution. Through the accumulation of small details and thoughts throughout the design process, the space becomes not
N
E
T
ON
N HOUS
HOUS
TO
E
G
-
DARLI
a series of walls and floors, but a place which grows and changes with the seasons, the clients and passage of time.
university
of
sydney 2017
-
DARLIN
G
R
E
N
D
E
R
render
Darlington House is a compact, indoor-outdoor space which prioritises seamless connection with the outdoors and a minimal impact on its environment. A plethora of adaptable openings and the way in which an individual is guided through the house around it’s courtyard core underlines the fact that it is what is not seen that defines the space.
For justice to be achieved humanity must be both flexible and
transparent.
These
concepts
have
been
instilled
throughout Darlington House in its permeability through louvres and windows and adaptability to differing uses.
The prioritisation of compact design and outdoor space has informed every decision, from planning to final execution. Through the accumulation of small details and thoughts throughout the design process, the space becomes not
N
E
T
ON
N HOUS
HOUS
TO
E
G
-
DARLI
a series of walls and floors, but a place which grows and changes with the seasons, the clients and passage of time.
university
of
sydney 2017
-
DARLIN
G
A
US
RA HOU
O
S
TATHR
H
E
-
A
welsh
+
major
Architects 2018.2019
TH
TH
E - TA
18 Beach Street, Tathra NSW 2550
southern
elevation
northern
elevation
Western
elevation
Tathra Beach House is a response to the tragic bushfires of 2018 and the desire to restore memories of tranquility and calm to the sleepy coastal town six hours south of Sydney. The proposed design is a narrative of material reuse and renewal with the existing chimney standing proudly at the entrance as a journey from old to new as the house opens up towards Tathra Beach. Estimated completion 2020/21. Project Team: Chris Major + David Welsh, Directors Camille Dauty Dennis, Lead Architect Sophie Peterson, Architectural Assistant
Model
R
A
HOUSE
-T
A
US
RA HOU
O
S
TATHR
H
E
-
A
welsh
+
major
Architects 2018.2019
TH
TH
E - TA
18 Beach Street, Tathra NSW 2550
southern
elevation
northern
elevation
Western
elevation
Tathra Beach House is a response to the tragic bushfires of 2018 and the desire to restore memories of tranquility and calm to the sleepy coastal town six hours south of Sydney. The proposed design is a narrative of material reuse and renewal with the existing chimney standing proudly at the entrance as a journey from old to new as the house opens up towards Tathra Beach. Estimated completion 2020/21. Project Team: Chris Major + David Welsh, Directors Camille Dauty Dennis, Lead Architect Sophie Peterson, Architectural Assistant
Model
R
A
HOUSE
-T
1907
A L - I
Stairs
Stairs
Laundry
Pantry
Bedroom
Bedroom
s o n
Bedroom Living/ Dining
Pavilion
Hall
r d
1907
Ensuite Porch Bathroom
Bedroom
Ensuite
Powder Room
Roof Garden
Kitchen
Bedroom
Hall
- C o o g e e
V5 01.02.2019
V5 01.02.2019 LOWER GROUND FLOOR PLAN
Alison Road House gives new life to a sleepy
GROUND FLOOR PLAN
S K E T C H
D E S I G N
seaside house. The proposed design tries not to imitate the past, but propose a new way of living within the existing dynamic and flow of the house. By opening up the rear of the house to sharply frame certain views towards Coogee Beach and shield from overlooking neighbours, there is an immense sense of seclusion whilst still respecting the density of the area. Expected completion 2021. Project Team: David Welsh, Director Chelsea Harper, Lead Architect Sophie Peterson, Architectural Assistant
A
+
DEVELOPED
DESIGN
LISON - A R D O A
D
- ALISON O
A
329 Alison Road, Coogee 2032 NSW
Welsh
+
major
Architects 2018-2019
R
D
-AL
ISON
RO
DA
INTERIORS
+
JOINERY
A
D
-ALISON R O
1907
A L - I
Stairs
Stairs
Laundry
Pantry
Bedroom
Bedroom
s o n
Bedroom Living/ Dining
Pavilion
Hall
r d
1907
Ensuite Porch Bathroom
Bedroom
Ensuite
Powder Room
Roof Garden
Kitchen
Bedroom
Hall
- C o o g e e
V5 01.02.2019
V5 01.02.2019 LOWER GROUND FLOOR PLAN
Alison Road House gives new life to a sleepy
GROUND FLOOR PLAN
S K E T C H
D E S I G N
seaside house. The proposed design tries not to imitate the past, but propose a new way of living within the existing dynamic and flow of the house. By opening up the rear of the house to sharply frame certain views towards Coogee Beach and shield from overlooking neighbours, there is an immense sense of seclusion whilst still respecting the density of the area. Expected completion 2021. Project Team: David Welsh, Director Chelsea Harper, Lead Architect Sophie Peterson, Architectural Assistant
A
+
DEVELOPED
DESIGN
LISON - A R D O A
D
- ALISON O
A
329 Alison Road, Coogee 2032 NSW
Welsh
+
major
Architects 2018-2019
R
D
-AL
ISON
RO
DA
INTERIORS
+
JOINERY
A
D
-ALISON R O
PR SS -- P RO O CC E SS CC E
Kirribilli Garden Terrace is an ongoing project which a product of client, director and assistant to combine architectural, heritage and landscaping considerations to create a thoughtful open space for celebration and reflection.
EE SS SS -- PP RROO
The Goals
SS C EE SS SS OC RO PR --- P
EE
RO -- PP R O CC EE SS
O CC O RR PP
SS SS
To take full advantage of Sydney harbourside living by: 1. Creating more usable and layered open space. 2. Protecting from the elements. 3. Softly framing bridge views.
sketch
design
developed design
development
authority
application
negotiations
- Client meetings
- 3D modelling + renders
- Existing + proposed
- Amendments + revision
- Presentation drawings
- Site visits + measure ups
drawings
issuing
- Hand sketches
- Site analysis
- In-house SEE + HIS
- Ongoing client meetings
E
-
LL
I
Project Team:
C
G
A
AR
DEN
DEN TERR
TER
AR
RA
G
C
statements
KIRRIBI
Chris Major, Director Sophie Peterson, Architectural Assistant
88/108 Kirribilli Avenue, Kirribilli 2061 NSW
welsh
+
major
architects 2018-2019
E
IRRIBIL - K L
I
PR SS -- P RO O CC E SS CC E
Kirribilli Garden Terrace is an ongoing project which a product of client, director and assistant to combine architectural, heritage and landscaping considerations to create a thoughtful open space for celebration and reflection.
EE SS SS -- PP RROO
The Goals
SS C EE SS SS OC RO PR --- P
EE
RO -- PP R O CC EE SS
O CC O RR PP
SS SS
To take full advantage of Sydney harbourside living by: 1. Creating more usable and layered open space. 2. Protecting from the elements. 3. Softly framing bridge views.
sketch
design
developed design
development
authority
application
negotiations
- Client meetings
- 3D modelling + renders
- Existing + proposed
- Amendments + revision
- Presentation drawings
- Site visits + measure ups
drawings
issuing
- Hand sketches
- Site analysis
- In-house SEE + HIS
- Ongoing client meetings
E
-
LL
I
Project Team:
C
G
A
AR
DEN
DEN TERR
TER
AR
RA
G
C
statements
KIRRIBI
Chris Major, Director Sophie Peterson, Architectural Assistant
88/108 Kirribilli Avenue, Kirribilli 2061 NSW
welsh
+
major
architects 2018-2019
E
IRRIBIL - K L
I
d r a wi n
Living/ Dining
Ensuite
t ns
er
De
en
st
l
o
de
d
l
m
ak
g
in
g
an
n
g
en
ra
in
e ev
d
lo
d
d pe
i es
g
n
TAYLOR STREET
ua
co o
t
n
s
as
ib
g
il
l
it
y
+
t
un
m
l ci an
co al
n
o tr
i ys
pl
an
l
n
in
g
st
s ha
n
e sk
ud
ie
s
d
tc
co
h
es
n
ce
pt
l ua
d
i es
g
rs
ERSKINEVILLE ROAD
- renders
n
-r
pr
en
m
ti
ee
g
s
pt
pm
g
i cl
fe
lo
n
s
pl
m
em
i lv
di agr
-
al
HICKSON PARK AMENITIES
ders
di
ag
r
o
ie
ce
g
am
HICKSON PARK AMENITIES
ren
n
ve
ud
n
n
e
-
m
de
bl
so t
ri
it
da
g
e
ed
de
g
a st
di a
ec
lo ti ca gs li of p in l nt ap w ta a e m en dr e m at ne ts st ro ec i f v f en ef
n
pr
co
i ak
g
s
-
si
ie
s
de
ud
m
te
ra
ti
ve
st
on
ve
s
n
w
t en
di
re
i
pr
x
o
a
te
it
si
ad
ARGYLE PLACE
mode l
akinge
pm
on
s vi
sh
ALISON ROAD
s -rend
ti
ARGYLE PLACE
r de
na
n
co
r
st
io
T
r
m
i rd
si
o
s
t uc
+
n
de
d
o
u
a lt
nt
a
m il
P
en
ta
ba
m
ta
l
ia
es
gr a ms a i
ns
co
de
de
r te
tt
GROUND FLOOR PLAN
ders -ren
s
co
y
e al
V5 01.02.2019
es
en
w
in
ag
akinge
a Dr
t
n io
ge ct h ts pa m i en m e at st
g
in
a nt
ck
n
o ti
e ce co um an t c s si do As
i er
g
c ru
pa
m
i Ex
n
s
n
jo
i st
r
rs
-
c
le
o
o
m s ra
se
o ti
le
ri
g
f
re
do
te
model
n ur
u it
du
+
Roof Garden
Hall
-
m
pl
he
w
Ensuite
Porch
h a n
Sa
es
do
in
-
pr
u od
Sc
+
ct
in
Kitchen
s
w
Powder Room
d r a w in
Pantry Bedroom
d
Stairs
Bedroom
g
-h a n
s
g
1907
i
l
-
a
C
C
E
ES
architects 2018-2019
udies st
major
l
+
Palette
materia
welsh
Skill
-
- BITS + P I
Professional
studies
ES
C
mater
TS + - BI PI S E E
C
-BITS + P IE
BATHURST ANIMAL SHELTER
ELIZABETH BAY HOUSE
DARLINGTON HOUSE
ES
-BITS + P I
E
d r a wi n
Living/ Dining
Ensuite
t ns
er
De
en
st
l
o
de
d
l
m
ak
g
in
g
an
n
g
en
ra
in
e ev
d
lo
d
d pe
i es
g
n
TAYLOR STREET
ua
co o
t
n
s
as
ib
g
il
l
it
y
+
t
un
m
l ci an
co al
n
o tr
i ys
pl
an
l
n
in
g
st
s ha
n
e sk
ud
ie
s
d
tc
co
h
es
n
ce
pt
l ua
d
i es
g
rs
ERSKINEVILLE ROAD
- renders
n
-r
pr
en
m
ti
ee
g
s
pt
pm
g
i cl
fe
lo
n
s
pl
m
em
i lv
di agr
-
al
HICKSON PARK AMENITIES
ders
di
ag
r
o
ie
ce
g
am
HICKSON PARK AMENITIES
ren
n
ve
ud
n
n
e
-
m
de
bl
so t
ri
it
da
g
e
ed
de
g
a st
di a
ec
lo ti ca gs li of p in l nt ap w ta a e m en dr e m at ne ts st ro ec i f v f en ef
n
pr
co
i ak
g
s
-
si
ie
s
de
ud
m
te
ra
ti
ve
st
on
ve
s
n
w
t en
di
re
i
pr
x
o
a
te
it
si
ad
ARGYLE PLACE
mode l
akinge
pm
on
s vi
sh
ALISON ROAD
s -rend
ti
ARGYLE PLACE
r de
na
n
co
r
st
io
T
r
m
i rd
si
o
s
t uc
+
n
de
d
o
u
a lt
nt
a
m il
P
en
ta
ba
m
ta
l
ia
es
gr a ms a i
ns
co
de
de
r te
tt
GROUND FLOOR PLAN
ders -ren
s
co
y
e al
V5 01.02.2019
es
en
w
in
ag
akinge
a Dr
t
n io
ge ct h ts pa m i en m e at st
g
in
a nt
ck
n
o ti
e ce co um an t c s si do As
i er
g
c ru
pa
m
i Ex
n
s
n
jo
i st
r
rs
-
c
le
o
o
m s ra
se
o ti
le
ri
g
f
re
do
te
model
n ur
u it
du
+
Roof Garden
Hall
-
m
pl
he
w
Ensuite
Porch
h a n
Sa
es
do
in
-
pr
u od
Sc
+
ct
in
Kitchen
s
w
Powder Room
d r a w in
Pantry Bedroom
d
Stairs
Bedroom
g
-h a n
s
g
1907
i
l
-
a
C
C
E
ES
architects 2018-2019
udies st
major
l
+
Palette
materia
welsh
Skill
-
- BITS + P I
Professional
studies
ES
C
mater
TS + - BI PI S E E
C
-BITS + P IE
BATHURST ANIMAL SHELTER
ELIZABETH BAY HOUSE
DARLINGTON HOUSE
ES
-BITS + P I
E
g
r
a
p
h
ic + w
e
b d
e
s
ig
n
g
r
a
p
h
ic + w
e
b d
e
s
ig
n
RESPONSIVE
’ KK’ RR
O NN N AA TT II O SS N AA
for yourself - what would you do?
A
EC R
R P L AN E T
Imagine you are given three seconds to make a case
O F
YCLING W E
UU XX DD EESS I -I GG NN KK E E
LL
That’s how long a business has to captivate you with their online presence. Toptal reports that 53% of mobile visits are abandoned if a page takes more than three seconds to load (2019).
As an initial introduction to the world of UX design and web development, the first trimester at Billy Blue College of Design asked for
HTML
students to choose an upcoming event for a non-for-profit organisation
REELA - F N
APHIC DE SI
RESPONSIVE
GR APHIC DE G
E
SI
GR
CSS
CODING
to redesign to improve user experience and engagement.
C E
G
N
+
billy
blue
college
of
trimester
DESIGN
design 1,
2019.
USER
CENTRED
RESEARCH
DESIGN
N
REELA - F N
C
RESPONSIVE
’ KK’ RR
O NN N AA TT II O SS N AA
for yourself - what would you do?
A
EC R
R P L AN E T
Imagine you are given three seconds to make a case
O F
YCLING W E
UU XX DD EESS I -I GG NN KK E E
LL
That’s how long a business has to captivate you with their online presence. Toptal reports that 53% of mobile visits are abandoned if a page takes more than three seconds to load (2019).
As an initial introduction to the world of UX design and web development, the first trimester at Billy Blue College of Design asked for
HTML
students to choose an upcoming event for a non-for-profit organisation
REELA - F N
APHIC DE SI
RESPONSIVE
GR APHIC DE G
E
SI
GR
CSS
CODING
to redesign to improve user experience and engagement.
C E
G
N
+
billy
blue
college
of
trimester
DESIGN
design 1,
2019.
USER
CENTRED
RESEARCH
DESIGN
N
REELA - F N
C
How much say do you really have in your choice of consumption?
Terephthalic acid Oligomers Benzoic acid Oil Ethyleneglycol Acetic aldehyde Others Gases
51.00% 20.00% 1.00% 6.30% 0.75% 5.10% 5.45% 18.00%
Peanuts Sugar Soybean Oil Molasses Salt
85% 10% 3.75% 1.25% 0.5%
Transparent Peanut Butter encourages its viewer to redefine the concept of object in relation to process and really question what an object is, where it came from and how it was made.
The work takes the household item of peanut butter and breaks it down into the materials the packaging it composed of (print one), a question of how we think of the object (print two) and the ingredients which constitute the food item (print three).
Whilst ultimately playful in nature, the first and third prints breakdown the percentage composition of each material into a two dimensional representation, almost like a pie chart, in order to ask the viewer; what am I really looking at?
TE
R
A - TR NSPA
typography and abstraction of form, this question underlies
RE N
T PEA
T
TE
NT
PEA
NUT B U
NUT B UT
Through the choice of a contrasting colour palette, use of
the meaning of the work in order to reveal all the forgotten processes
which
go
into
the
creation
university
of
of
an
object.
sydney 2018
R
A - TR NSPA
RE
How much say do you really have in your choice of consumption?
Terephthalic acid Oligomers Benzoic acid Oil Ethyleneglycol Acetic aldehyde Others Gases
51.00% 20.00% 1.00% 6.30% 0.75% 5.10% 5.45% 18.00%
Peanuts Sugar Soybean Oil Molasses Salt
85% 10% 3.75% 1.25% 0.5%
Transparent Peanut Butter encourages its viewer to redefine the concept of object in relation to process and really question what an object is, where it came from and how it was made.
The work takes the household item of peanut butter and breaks it down into the materials the packaging it composed of (print one), a question of how we think of the object (print two) and the ingredients which constitute the food item (print three).
Whilst ultimately playful in nature, the first and third prints breakdown the percentage composition of each material into a two dimensional representation, almost like a pie chart, in order to ask the viewer; what am I really looking at?
TE
R
A - TR NSPA
typography and abstraction of form, this question underlies
RE N
T PEA
T
TE
NT
PEA
NUT B U
NUT B UT
Through the choice of a contrasting colour palette, use of
the meaning of the work in order to reveal all the forgotten processes
which
go
into
the
creation
university
of
of
an
object.
sydney 2018
R
A - TR NSPA
RE
L L
L E T TE PA
-
+ Notepads
I
creation of:
KI S
Working as a freelance graphic designer for Tactile Theory to aid in the
TTE - SK
L L P AL E T
LE
- SKILL P E A T
+Envelopes +25-50 page on screen presentations + Large & small scale posters + Facebook graphics such as cover photo banners +Artworks for posters + Clean photographic vectors for presentations
REELA - F N
+ Hand out sheets
C GR
APHIC DE SI
E
G
N
+ Information booklets
G
E
SI
GR
APHIC DE
tactile july
to
theory
december
inc. 2017.
N
REELA - F N
C
L L
L E T TE PA
-
+ Notepads
I
creation of:
KI S
Working as a freelance graphic designer for Tactile Theory to aid in the
TTE - SK
L L P AL E T
LE
- SKILL P E A T
+Envelopes +25-50 page on screen presentations + Large & small scale posters + Facebook graphics such as cover photo banners +Artworks for posters + Clean photographic vectors for presentations
REELA - F N
+ Hand out sheets
C GR
APHIC DE SI
E
G
N
+ Information booklets
G
E
SI
GR
APHIC DE
tactile july
to
theory
december
inc. 2017.
N
REELA - F N
C
S
E/IM PL - R
To what extent do we stop to reconsider the plethora of different production methods behind the objects of our every day life? The
I
C AT
I
S
C
AT
ION SER
ION SER IE
i m p l i c a t i o n
E
E/IMP - R L
I
R E
Re-Implication Series does just this in a bid to test the boundaries of laser cutting and digital fabrication. The following series tests three methods of production and construction to explore new aesthetic and functional properties of the common pendant lamp. university
of
sydney 2017
S
E/IM PL - R
To what extent do we stop to reconsider the plethora of different production methods behind the objects of our every day life? The
I
C AT
I
S
C
AT
ION SER
ION SER IE
i m p l i c a t i o n
E
E/IMP - R L
I
R E
Re-Implication Series does just this in a bid to test the boundaries of laser cutting and digital fabrication. The following series tests three methods of production and construction to explore new aesthetic and functional properties of the common pendant lamp. university
of
sydney 2017
p h o t
o g r a p h y
p h o t
o g r a p h y
ALIA
-
A
TR
TRAL I US
S
A
EN T R - C A
L
AMERICA
L
A
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AMERIC
AUST
A
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-N
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-
NORT H
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TR
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A
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AMERICA
L
A
R
AMERIC
AUST
A
A - AU
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CENTR
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A
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-A SIA
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-N
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MERICA A
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-
NORT H
ET ER PH
B
SO
Y
SO
SON - BY
PHIE PETE RS
P
O
Y SOPH - B IE N
IE
PETERSON
-
sophie lee peterson bysophiepeterson.com +61 0402 134 721 sophie.peterson@hotmail.com
a l l w o r k i s m y o w n s u b j e c t t o c o p y r i g h t l aw s .