THE FUTURE SET
2012 Interior Architecture Final Year Studio Never Stand Still
Faculty of Built Environment
1 This year has seen UNSW Built
research and the future generations of built environment graduates. We wish you every success in your chosen field of endeavor. Professor Alec Tzannes Dean UNSW Built Environment
LUMINOCITY 19th November 2012 Pier 2/3 Walsh Bay, Hickson Road, Sydney
projects from our final year students. It reflects the hard work and talents of all involved. On behalf of the faculty I congratulate all the students who have completed their degree program and now become our alumni. We wish you every success in your chosen field of endeavor. In many respects, our relationship is just beginning as we look forward to your ongoing participation in the life of our university through the many events and activities that we undertake to support research and the future generations of built environment graduates.
72 Jessica Halim 74 Cassandra Hallinan 76 Liam HigginBotham 78 Phoebe Evana Hogan 80 Jacqui Hurwitz 82 Vanessa Intan 84 Hye Ji Jeong 86 Angela Kohlhagen 88 Sophie La 90 Dennis Le 92 Simon Leung 94 Jessica Mason 96 Bradley Mitchell 98 Stephanie Panaretos 100 Samantha Raptis 102 Nivedita Rishi 104 Jodi Sabareza wish Shead you every success in your 106We Kiriah chosen field of 108 Gabrielle endeavor. Shulman In many respects, our relationship is just beginning as we look 110 Annie Sisourath forward to your ongoing participation in 112 Stephanie Alexandra Sobel the life of our university through the many 114 Anna Maria Stillone events and activities that we undertake 116 Carla Sulaiman to support research and the future 118 Kiki Yingqi Tan generations of built environment graduates. wish you every success in your 120We Dorothy Tom chosen field of endeavor. 122 Catherine VlahopolIn many respects, our is just beginning as we look 124relationship Pia Watson forward to your ongoing participation in the 126 Christopher Widjaja life of our university through the many events 128 Harriette Rose Young and activities that we undertake to support 130 Connie Tong Zhou
Message The Futurefrom Set the Dean
Environment continue to develop as a 12 Dirga Adnan leading sourceAhmadzada of knowledge focused 14 Ghezal on theCatherine design, management 16 Allington and construction of the 21st century city. 18 Tom Baldwin The aspiration of the faculty is to 20 Jamie Bastoli contribute, at the highest level of academic 22 DanielletoBennett achievement, the making of valued 24 Alyce Bowyer and sustainable built environments. 26 New Nicole Briggs research initiatives undertaken in 28 Danielle Capo build on the faculty’s the last twelve months strengths concentrating on themes that 30 Saem Cha include sustainable 32 Aniqa Chohandesign and development, and emergent 34 urban Petertypologies Choi digital technologies. Each 36 Olivia Chylinska degree program integrates 38 Gabrielle Clarke research outcomes to ensure our 40 students Courtney Covey are equipped with knowledge 42 Alyssa Jen Dandin skills to enable of relevance and intellectual 44 Henrietta successful futureDanubrata careers in a global 46 Kim De Haan context. Design, including understanding evidence based design processes, is 48 Amelia Dearn at theSmriti core ofDhungel many degree programs 50 at UNSW BE.Djuric Design is studied at every 52 Ivana scale Emma and in the context of achieving in the 54 Evans future, lower carbon industrial products, 56 Francesca Fabbro buildings and cities. Design of enduring 58 Catherine Rita Florio cultural value also matters and underpins 60 Amy Su Fu the intellectual rigor of the curriculum. 62 Matthew Fung involve interdisciplinary Student experiences 64 Amelia Gallencontemporary relevance projects to enhance and utilize the breadth 66 Elizabeth Garlanof discipline knowledge available at UNSW BE. 68 Lucy Garner catalogue 70 This Sally Gordonpresents selected
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Contents
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Message from the Dean
Message from Lend Lease
Course Statement
Interior Architecture 2012 Final Year Studio
Supporters
Message from the Program Director
Acknowledgements
Alumni Profile
3 This year has been busy at UNSW BE. We have continued the review and development of our curriculum including the introduction of two new interdisciplinary streams for first and third year bachelor degree programs and are introducing a new post professional degree program in urban policy and strategy. We have also added Design Research to our four funded research clusters (Emergent Digital Technologies, People and Places, Sustainable Design and Development and Urban Typologies). Finally, the CRC Low Carbon Living international research project led by our faculty commenced its work this year in collaboration with partners in industry and other universities. I wish every graduate a successful and satisfying career. In many respects, our relationship is just beginning. As you travel the world through your work you will meet many alumni and make special bonds of lasting value. We look forward to your ongoing participation in the life of our university and the mutual benefits this brings.
Professor Alec Tzannes Dean UNSW Built Environment
Message from the Dean
I congratulate all the students who have completed their degree program and now become our alumni. This catalogue conveys through selected study themes and projects from our final year studios something about the unique student experience offered at UNSW Built Environment along with the outstanding skills of our students and academic staff. UNSW Built Environment has a developing reputation as a knowledge leader in the design, delivery and management of the C21st city and its elements. Our research is directly relevant to the development of knowledge within built environment professions and underpins a process of continuous improvement to curriculum material. Embedded in the curriculum are core values centered on the thinking and practices required to deliver sustainable urban environments of deep cultural value. Design education in all of its many forms, including understanding evidence-based design processes is at the centre of all UNSW BE degree programs. This is complemented by the development of discipline knowledge with interdisciplinary design and research orientated projects aligned with advanced contemporary practices in industry.
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Supporters
Built Environment and its 2012 graduating students thank LuminoCITY’s supporters for their generous contributions.
Lead Supporter
Major Supporters
Supporters Built Environment Alumni
Event Partners
Interior Architecture Gold Supporters
Interior Architecture Silver Supporters
Interior Architecture Bronze Supporters
Donors Interior Architecture community fundraising donors Tonkin Zulaikha Greer
5 Throughout this event and graduating student exhibition, I encourage the thought leadership and vigorous debate that is required to deliver on the vision that LuminoCITY seeks to achieve. Knowledge knows no boundaries and it is our universities and their students that provide a mechanism to allow communities to grow and prosper through improved solutions, products and services. Continued knowledge investment in our universities is vital to equip society to creatively respond to challenges that are impacting all our lives at an ever increasing rate. Anticipating the thought provoking research and exhibitions of all the contributors, but in particular that of the graduating class, I would like to congratulate all participants who will undoubtedly assist in shaping the cities of tomorrow. Lend Lease looks forward to the continued relationship with UNSW Built Environment and LuminoCITY to create new ideas that deliver our vision in delivering the best places.
Murray Coleman OAM Managing Director, Australia Project Management and Construction Lend Lease
Message from Lend Lease
Lend Lease is proud to continue its longtime relationship with UNSW Faculty of Built Environment through the sponsorship of LuminoCITY. In creating an event like this, the Faculty delivers a forum to challenge the boundaries of the modern landscape and allows our leaders of the future to showcase how 21st century communities can live sustainably and meet the demands of the modern world. Lend Lease’s aspiration to be a sustainable organisation and an industry leader means we constantly search for ideas that will help us to deliver the improved social, environmental and economic performance of our businesses and of our industry more broadly. In sponsoring LuminoCITY, we are supporting the Faculty of the Built Environment to achieve their vision to create a forum to imagine, test and debate ideas about the 21st century city.
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Message from the Program Director
Welcome to The Future Set, a celebration of the work of the 2012 graduands in the Bachelor of Interior Architecture program. This graduation catalogue and exhibition represents the culmination of our students’ studies and offers a snapshot of the creative and technical abilities they have gained over the last four years. The Bachelor of Interior Architecture program provides a framework where the contemporary interior can be imagined, debated and tested. This is particularly true of the graduating year of the program where students are required to demonstrate an informed appreciation of the physical, cultural and historical contexts of interior architecture and design through the exploration of a research-led design project.
The interior is a dynamic and openended physical and conceptual space that considers the human scale and experiences inherent in the private and public spaces of our urban environments. Within this context, the graduating year of the program focuses specifically on the agency of civic interior spaces and their representational and transformational power. Civic spaces such as libraries, city halls and cultural facilities express collective social and cultural values and, at their best, function as urban catalysts, building and nurturing the commercial, social and cultural life of cities. Goat Island, the context for this year’s graduation program, is one of a small number of island sites located within Sydney Harbour National Park and is a place of national, state and local significance, a multi-layered place of many histories and inhabitations. The 2010 Sydney Harbour National Park Draft Plan of Management has identified Goat Island as one of the key projects that embodies the NSW National Parks and Wildlife Service’s aspirations for the integration and adaptive re-use of buildings as key cultural tourism destinations for Sydney. The Goat Island Cultural Facility Graduation Project is intended to build on this aspiration by adding to and extending the debate around the future of Goat Island as focus for cultural tourism in Sydney.
Dr Russell Rodrigo Program Director, Interior Architecture
7 On behalf of staff and students I would like to thank the NSW National Parks and Wildlife Service for their support and assistance over the course of the research and design phases of the graduation year. The projects demonstrate the spectrum of approaches in interior architecture and design and our student’s capacity to respond creatively and responsibly to the challenges of contemporary practice. The breadth of projects in the exhibition is extensive and includes proposals for indigenous cultural centres, digital media galleries, visual arts centres and performance venues.
The Bachelor of Interior Architecture program excels because of the dedication of the teaching staff that provide the intellectual and creative heart and soul of the program. I would like to take this opportunity to acknowledge the outstanding work of the Interior Architecture teaching staff – Dr Sing d’Arcy, Dr Judith O’Callaghan, Dr Marco Pompili, Bruce Watson and Lisa Zamberlan. Thanks are also due to the many dedicated sessional staff that support the program in a range of capacities. Congratulations to all our 2012 graduands. You have successfully completed a demanding four-year Bachelor of Interior Architecture degree. The quality, confidence and strength demonstrated in your graduation projects offers an indication of the emerging talent that will contribute to the design of our interior environments in the future.
“THE BACHELOR OF INTERIOR ARCHITECTURE PROGRAM PROVIDES A FRAMEWORK WHERE THE CONTEMPORARY INTERIOR CAN BE IMAGINED, DEBATED AND TESTED.”
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Course Statement
The capstone of the Bachelor of Interior Architecture degree is the final design studio – the Graduation Project. This represents the culmination of four years of design learning not only within the design studio, but also the streams of technologies, communications, history and theory. The project for the 2012 Bachelor of Interior Architecture Graduation Studio had as its site the iconic harbour location of Goat Island. Whilst the island and its built structures are highly visible from the harbour foreshores and waterways, its interior spaces have remained for the most part an unknown. Students were asked to propose a programmatic and spatial response in the form of a suite of cultural facilities. The client for this project was the NSW National Parks and Wildlife Services. Their vision for a revitalised Goat Island – integrated and accessible to the people of Sydney and its visitors – was a driving force in the shaping of the design propositions.
The site, both in terms of its particular landscape and location, as well as the high heritage significance of its structures, challenged students to locate their propositions in relation to the role of the interior as a catalyst for change within the contemporary city. Many of the projects chose to intervene radically within the extant spaces, challenging the conventional notions of history and heritage, others drew inspiration from the natural remnant forms of ‘Memel’. Irrespective of the strategy, style or stance of the respective projects, each of the schemes presented in this document evidence the imagination, creativity and vision of the ‘future set’ of the interior profession.
Dr Sing d’Arcy and Bruce Watson Final Year Studio 2012 Coordinators Bachelor of Interior Architecture
9 Program Team
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Rawiya Ali Rachel Baker Alanna Baudinet Michael Bogle Victoria Bolton Sharon Louise Campbell Ella Lee Cansdell Tina Konstantina Cerar Jonathan Derrin Samantha Ellinson Cushla McFadden Katherine Galettis Saul Garcia John Gounios Neille Hepworth Adeline Hooper Sanaz Hosseinabadi Liven Jansen Chantelle Kramer Chee Lam Jamie Lee Isabel Lester Yoshihito Kashiwagi Jesse O’Neill Kathryn Li Damien Madell Griffen Manan Tessa Melick Sue Melosu John Millington Natalie Minasian Narelle Naumcevski Tiffany Patten Robyn Pengelly Charles Peters Neil Christopher Pincock Mano Ponnambalam Colin James Rowan Igor Rumyantsev Sarah Roach Trent Schatzmann Olivia Shih Kirrily Sullivan Sophie Thorley Jaime Tsai Katarina Vrdoljak Wendy Yeung
Dr Sing d’Arcy Dr Judith O’Callaghan Dr Marco Pompili Dr Russell Rodrigo Bruce Watson Lisa Zamberlan
Exhibition Committee ----------
Catherine Allington Olivia Chylinska Courtney Covey Emma Evans Kim de Haan Phoebe Hogan Angela Kohlhagen Dennis Le Harriet Young
Acknowledgements
Sessional Staff
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Interior Architecture Message from the Dean 2012 Final Year Studio
This year has seen UNSW Built Environment continue to develop as a leading source of knowledge focused on the design, management and construction of the 21st century city. The aspiration of the faculty is to contribute, at the highest level of academic achievement, to the making of valued and sustainable built environments. New research initiatives undertaken in the last twelve months build on the faculty’s strengths concentrating on themes that include sustainable design and development, urban typologies and emergent digital technologies. Each degree program integrates research outcomes to ensure our students are equipped with knowledge of relevance and intellectual skills to enable successful future careers in a global context. Design, including understanding evidence based design processes, is at the core of many degree programs at UNSW BE. Design is studied at every scale and in the context of achieving in the future, lower carbon industrial products, buildings and cities. Design of enduring cultural value also matters and underpins the intellectual rigor of the curriculum. Student experiences involve interdisciplinary projects to enhance contemporary relevance and utilize the breadth of discipline knowledge available at UNSW BE. This catalogue presents selected projects from our final year students. It reflects the hard work and talents of all involved. On behalf of the faculty I congratulate all the students who have completed their degree program and now become our alumni. We wish you every success in your chosen field of endeavor. In many respects, our relationship is just beginning as we look forward to your ongoing participation in the life of our university through the many events and activities that we undertake to support research and the future generations of built environment graduates.
We wish you every success in your chosen field of endeavor. In many respects, our relationship is just beginning as we look forward to your ongoing participation in the life of our university through the many events and activities that we undertake to support research and the future generations of built environment graduates. We wish you every success in your chosen field of endeavor. In many respects, our relationship is just beginning as we look forward to your ongoing participation in the life of our university through the many events and activities that we undertake to support research and the future generations of built environment graduates. We wish you every success in your chosen field of endeavor. Professor Alec Tzannes Dean UNSW Built Environment
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Memel Discovery Museum (MDM)
Dirga Adnan
Goat Island is a place of rich history and memory. The proposed Memel Discovery Museum (MDM) brings the history of Sydney and Goat Island, it’s people and shared histories to life. Visitors will experience a journey of discovery, an adventure that brings a closure of the past and a better understanding of the untold story of Sydney. The design idea is to create a story telling journey of Sydney, Goat Island and art, relating interiors, buildings and landscape. Natural sunlight plays a major role within the interior spaces, where the time of day affects the mood of the spaces. The building forms and spaces create a subtle dialogue between the old and new.
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Proposed new museum faรงade, outdoor exhibition Sectional perspective Queens magazine faรงade, outdoor exhibition Queens magazine exhibition space Queens magazine exhibition space
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Gallery Down Under
Ghezal Ahmadzada
Gallery: Down Under is proposed as an installation art gallery acting as a central interactive cultural hub attracting tourists as well as local residents in Sydney Harbour and neighboring suburb. The structural composition and interior spatial program of the gallery is built on an understanding of installation art, which adopts abstract ideas from the natural forms and structures within the site to create works of art. In other words the work of art is sitespecific. This is reflected in the architecture of the gallery by allowing predominant green spaces that act as social gathering points on the exterior. Water is the key aesthetic element of the interior, while the entry point is a series of dynamic blocks connected in irregular manner to reflect the rocky shores of the island. The gallery aims to portray an interaction of natural elements that will create a sense of interactive space, providing a unique experience for the visitors.
Email ghezal.ahmadzada@gmail.com Phone 0432 215 828
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Site plan Concept model Concept in architectural form Form as an expression of an interior space Entry – approach to interior gallery
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Military Museum of Memory_MMoM
Catherine Allington
Architecture is perceived through our emotional sensibility; through sensation and a conscious awareness of our embodied processes. The artistic dimension of architecture therefore does not lie in the physical or structural form but rather exists in the consciousness of the occupants and their subjective and individual experiences. As such, architecture must transcend its physical condition to identify and engage with the mental dimension through atmospheric and experiential means to provoke memory, emotion, desire and volition. The Military Museum of Memory aims at personifying this notion through its spatial and detailed resolution, attempting to provide an environment that aids an engagement between emotive responses and the museum’s confronting and evocative military content. The dissolution of societal expectations and social constructs, an inevitable consequence of war, is represented through the angular, asymmetrical forms and the raw, simplistic and rudimentary material choice, while the one sequential progression throughout
the spaces via narrow pathways and bridges mimics the individual, internalised and ritualistic processes associated with grief and bereavement. These design elements are further enhanced by a series of visually connected spaces that provide historical context and symbolise historical connections between military events. The phenomenological response is heightened by the descent underground with its ominous connotations, constant fluctuations in spatial size and confronting heights, though is countered by interspersed commemorative spaces for quiet reflection and relief. The location of the major programmatic elements underground was also directed by a need to be strategic in relation to preserving existing structures, as the concentration of public spaces within the island fabric developed a scheme sensitive to the heritage structures on the site.
Email catherine.r.allington@gmail.com Phone 0423 337 305
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Concept model – Anguish and Grief Queen’s Magazine exhibition space Memorial to the Gundungurra and Dharawal People World War One Transport exhibition space - direction west World War One Transport exhibition space - direction east
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Live Theatre: Goat Island Multimedia Performance Facility.
Tom Baldwin
Civic life in Sydney is lacking in exciting, immersive, adjustable spaces that represent a past and inspire creative thought on how our future might play out. The new multimedia performance facility seeks to breathe new life in Sydney. Multimedia performance spaces provide artists and curators with the opportunity to constantly change the interior, giving it the ability to stay relevant years into the future. Traditional forms of performance can be interwoven with contemporary audiovisual techniques to further immerse the theatre guest into the performance. The relationship of Sydney’s CBD and the surrounding suburbs helps inform the organization of the spaces, with motion sensing technology giving the interior the ability to react and ‘perform’ for the visitor as they move through the long stretches inspired by the suburb, before arriving at the vertically organized destinations inspired by the city.
To truly localize the interior to the Island, the contours of the site that existed before excavation began in the times of colonial settlement have been re-inserted in the forms of a ceiling detail that runs through the entire interior, changing and weaving through the spaces, providing a way finding device, a lighting detail and a reminder of the alternation of the natural landscape that once existed. Recycled timber wharf beams meet hightech audiovisual on a site that represents the past whilst looking to the future.
Email Thomas_J_baldwin@hotmail.com Phone 0415 672 405
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Bioscape
Jamie Bastoli
Bioscape offers encounters into the science of our landscapes. Goat Island preserves a timeless scape in which the natural environment begins to challenge the historical placement of built environments. The centre involves the exploration between biological science and art, seeking to further blur the lines between the built environment and the natural environment through a displacement of hybrid typologies. The form is derived from the relationship between the satellite views of Goat Island’s soft forming landscape, merged with the microscopic textures found on the island. Visitors are submerged into an experience verging between gallery, laboratory, and greenhouse, in a historical and natural landscape.
Each scape overlays and intersects with one another, with the aim to submerge visitors into a sensory array of textures, to promote and educate visitors in the scientific nature of the site. The placement of art adjacent to scientific facilities seeks to expand thought processes and the understanding of interior environments and their relationship to the exterior world.
Email Jamie.bastoli@gmail.com Phone 0450 563 605 URL Jbastoli.tumblr.com
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A. Study of textures – Moreton Bay /Port Jackson fig B. Axonometric galleries, laboratories, and greenhouse landscape
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“Memel” Performative Arts Centre
Danielle Bennett
Within Sydney, monotonous structures and rules govern our lives. Beneath this shallow façade however, there exists a thriving realm of creativity and expression which encourages interaction between differing groups of people through the medium of performance. Goat Island creates the perfect conditions for a performative space through the juxtaposition of organic forms and meandering walkways which litter it’s landscape and the rigid form and structure of the buildings and uses the island has seen over its history. Everyday life often impedes our ability to fully engage with our city, our vibrant underworld and most of all ourselves. In order to regain this state of mind, a series of transitions including physical and psychological stages strips us of the irrelevant artefacts of modern life,
gradually readying us to enter the realm of chaos,where freedom of expression reigns. Each transitional stage will isolate and intensify the senses and create opportunities to engage with the facility, creating spaces which not only contain performance but become the display themselves. ‘Memel’ will be an escape from the real world into a mystical underworld allowing visitors to briefly relinquish their lives in order to broaden their minds and engage with the performance, Goat Island and others around them on a deeper and more profound level.
Email Danielle.c.bennett@live.com Phone 0405 019 108
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Seed Bank
Alyce Bowyer
The design aims to explore the balance between ideas of preservation and exposure. Observing the island in plan, a vertical and horizontal axis can be drawn connecting the significant historical buildings on Goat Island to the precinct of the Botanic Gardens Herbarium and Research Centre. These axes form the bases of a mathematical graph on which two parabolas can be used to create a connection between the two precincts. This parabola, in an interior space creates an intimate and private conversation between the two halves. By inverting these two haves the conversation is exposed, inviting the rest of Sydney Harbour to be part of the dialogue. The Seed Bank acts as a bridge to re-engage the public with the natural environment and concerns surrounding its preservation. The design exposes and explores the stages of seed transformation. The plan connects the public with the process of germination by inviting them on journey that replicates the natural growth. A relationship with the design and the individual is established by encouraging an intimate and interactive experience.
Email dalyceb@hotmail.com Phone 0401 951 703
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Dance the Isle
Nicole Briggs
Dance the Isle is a cultural facility intended for the creation and performance of experimental and contemporary dance. Goat Island provides a unique and inspirational setting for this dance academy, which is situated within the Magazine Precinct and makes use of the existing Ship Repair Workshop and Queen’s Magazine buildings. The design for this project was conceived from the rich history of Goat Island and the process of continual development that the site has under gone through over time. It considers the scientific nature of the elements of dance and performance such as rhythm, movement, light and sound. Through this, a unique geometry has been realised. This 3D conceptualisation can be traced back to the continual processes of light and sound waves and how they are diffracted, reflected and refracted in order
Email nicolebriggs@live.com.au Phone 0427 131 089
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to ensure ongoing movement, much like the way that dance moves are structured within a routine. Although the performance gives the appearance of being organic and improvised, it is constructed in a very specific way. Comprising dance halls, performance spaces, rehearsal studios and hospitality functions, this project ultimately comes to life with the carefully considered progression through spaces, and the unveiling of each interior as the user’s movement within the facility is dictated by their reaction to barriers obstructing the pathway to their final destination.
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Dance Studio perspective view Performance Hall perspective view Theatre short section Entry long section Site model
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Goat Island International Centre of Cultural Cuisine
Danielle Capo
Each dining space engages with water not only to address the geographic location of the venue, but also to reflect each nation’s unique connection with water. The architecture speaks a story of each nation’s cuisine culture. The Thai dining space is inspired by the style in which ingredients are prepared and dishes are served. Buddhist spiritual customs have also influenced the self-operated customer ordering process which mirrors the notions of ‘offering’ and ‘giving.’ Inspiration for the Japanese space was derived from the precision and delicacy of Japanese food, and, for the Italian space – the historical collapse of the Roman Empire leading to a national divide and consequential variation of Italian dishes.
The proposed International Centre of Cultural Cuisine is a venue that celebrates the multitude of nations which comprise Australia’s population and have enriched and influenced the flavour of today’s Australian cuisine. Visitors are completely immersed in an interactive multi-sensory dining experience where they may view the preparation of dishes, sample international cuisine specialties, take a cooking class, and experience consuming the food in an atmosphere designed to reflect the culture and physical environment unique to each nation represented. The culinary journey through the island begins inside the glowing entry tunnel to the Thai restaurant. Visitors continue along a chronological journey back through Australia’s immigration history, moving through to the Japanese restaurant, followed by Chinese, Italian and Spanish.
Email z3288685@student.unsw.edu.au
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Entry into the Thai dining space Japanese main dining space Section through Japanese dining bay Plan of Japanese dining bay Inside the Thai tunnel
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The View – Museum of Modern and Contemporary Art
Saem Cha
The interior is generated from the view of the city through the form of a contemporary interpretation of a telescope. This telescope works as a medium which separates and connects the object and the eyes. The NPWS’s main vision for Goat Island is to develop it as an easy accessible, spiritual and emotional escape from the city. This design acts as a medium for visitors to experience the city and learn about Sydney’s buildings, place, and attractions. Furthermore, the idea of a contemporary art museum is intended to attract visitors and provide them with a rich cultural experience.
Email saem_cha_88@hotmail.com Phone 0433 915 751 URL www.theloop.com.au/saemspring
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The main features of ‘The View’ are large three-dimensional trapezoids inspired from a series of telescopes bursting in numerous ways. Details of the main interior spaces will only be able to be seen from the outside; however the interior maximises views towards the the city. Interior spaces are shaped into a form that spreads out from the inner side of the building with flat conical shapes drawing views out towards the city from the building. The interior materials comprise dark epoxy painted floors, brushed aluminium walls, and soft lighting.
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Main Foyer / Library Observatory platform Interior view of Theatre Main stair
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The Gallery of Gluttony
Aniqa R Chohan
The project therefore became a platform for a dialogue between human urge - its savage desire to indulge yet control, and its resulting conflict with the unstoppable environment. From the union of deliverance and disturbance, three dominant spaces emerged: therapy, alchemy and syntropy. This epicentre of this ambition is the Harbour Master’s Residence; this cultural facility extends from this point both above and below ground.
The ambition for the Goat Island cultural facility is to create a chef’s gallery of gastronomy - a destination that seeks to reward visitors with an extravagant array of food prepared by Sydney’s finest chefs. It will behave as a nucleus to all other culinary institutions that currently reside in intermittent pockets throughout the City of Sydney. This intention stems from the notion that eating is a spiritual act, it nurtures our mind, body and soul, yet our control over its consumption weakens us. The harmony of earth, water, sunlight, heat and oxygen provide a haven for the nourishment of the human soul, and further for the production of food. This existing environmental context alludes to the liberation of man’s torturous historical grasp of the Island: gradually seeping into the grandest residence on the island and eerily consuming its body over decades.
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Section depicting: therapy alchemy and syntropy spaces Progress sketches portraying resin and fibreglass illumination Detail of Alchemist’s ice bench on salt water Model of ice bench depicting proposed natural illumination Detail of illumination throughout therapy space via resin prisms
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‘Memel’ Interactive Museum
Peter Choi
Memel’ the original indigenous name given to Goat Island refers to the act of ‘seeing’. The vision that resonates from this space is that which exceeds all barriers along the boundless reaches of the plane of water it is surrounded in. Furthermore the concept of the eye presents one that cannot be measured. Thus, the ‘eye’ of the harbour known as ‘Memel’ describes the infinite quality of Goat Island. Consequently, the intent will be to construct a conversation with the island and its existing structures. Transforming the rigidness of the existing landscape to a fluid movement, will enhance the interaction of the island with the existing buildings and the existing buildings with its interior. As a space, the intent will be to
Email peterchoidesign@gmail.com Phone 0404 776 534
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project the participant’s view outward, as the manifested shapes will become a mass to direct and navigate views and ideas. As a strategy, the intent will be shaped into a series of curved planes that ascend upward from large to small whilst another parallel series of planes will also ascend upward from a small plane to a larger plane. Ultimately the interactive art museum seeks to have its own relationship within the landscape it inhabits.
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IMPRINT: A Museum of Markings
Olivia Chylinska
Rigorous research analysed how a journey to a remote destination, identified connections and stages within its experience. In place there is an experience to be had of departure, journey, arrival and settlement. These themes ring similarly to those processes surrounding Australia’s unique immigration and vibrant multicultural background. My findings reveal the journey to Goat Island metaphorically embodies these themes. In arriving at any destination one leaves their mark through discovery and this is where the project addresses this marking process. With a lack of connection between the City of Sydney, Barangaroo and Goat Island,the notion of reuniting these in the form of a tunnel from land to island creates the Museum of Markings. In this instance, particular attention is drawn to arrival and journey where a tunnel reinstates original entry to the island.
Email ochylinska@hotmail.com Phone 0425 348 694 URL www.oliviaalicja.com A
The design intent informed my spatial approach which revolves around the themes and how they are interwoven to create one holistic narrative to the Western end of the island. Spaces are linked together providing a path for visitors in their experience around the facility. The design strategy utilises interior thresholds to assist in identifying the various themes of departure, journey, arrival and settlement. The material palette consists of textural materials such as optic fibres, bristles, sand, lead and carbon paper all of which bring value to this notion of marking. The cultural facility identifies the experience of a visitor and the process of which such an experience is had. The museum is a destination for Sydney, connecting the local communities of the city and surrounding shoreline neighbourhoods with an interactive island precinct.
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Lead & water: The Queens Magazine gallery Optic fibres: The Colonial Magazine 4-cuisine Restaurant The Magazine Precinct site plan Barangaroo to Goat Island: pedestrian tunnel Bristles: The Cooperage walkthrough
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The Institute of Fashion
Gabrielle Clarke
The Institute of Fashion will be Sydney’s premier destination for fashion, holding exclusive fashion events, exhibits and popup markets within the heart of Sydney’s Harbour, Goat Island. The site analysis revealed an unpredictable landscape as a result of the previous quarrying undertaken on the island. The notion of extracting, depositing and transforming the earth’s rocks and minerals into altered elements is akin to the idea of transforming fabric into different forms by manipulating its original characteristics resulting in an altered composition. The link between the two being transformation through a means of manipulation.
Email gabrielle.m.clarke@hotmail.com Phone 0423 749 629 URL www.gabriellemelita.wordpress.com
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As a result, the characteristics of fabric from the basic principles of the weave, to the end product of the material once altered through pleating and folding, have been examined. The weft and the warp components within the weave, along with architectural materials being pleated and folded, have been intertwined throughout the building’s original forms in a structural and artful manner.
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Cross-precinct section Runway space, Ship Repair Workshop Reception, Ship Repair Workshop Exhibition space, Queen’s Magazine Textiles Library, Barracks
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The Institute of Movement
Courtney Covey
The journey to Goat Island has a rhythm of progression. From embarking at the Sydney Opera House to passing the Sydney Dance Company and arriving at The Institute of Movement, this rhythm is created. This sequence of focal points continue once on the island. The precincts and even the buildings within them speak of a similar pattern. The accents created by the Shipyard tracks are a strong element that speaks of a distinct rhythm. Another quality made evident on the island is dynamics. The interplay between tension and release can be seen through the transition of precinct and landscape and then further through building and pathway. The density of the stonework combined with the close proximity of the buildings, brings a tension within the Magazine Precinct. This is balanced through the open spaces surrounding them, bringing a release.
Email courtneycovey@hotmail.com Phone 0403 886 537
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The intent for the Institute of Movement is to draw a link between architecture and the human body’s movement. The two have the inherent qualities of rhythm and dynamics which the architecture of this institute seeks to embrace. Through the exaggeration of these attributes, corporeal architecture can be achieved, creating a powerful relationship between body and building. Having this relationship allows the performance nature of the Institute of Movement to speak through all facets. From arrival, the insertion of a new structure begins to create movement throughout the island, guiding you through the experience, whether it be dining or viewing an intimate performance.
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Shipyard arrival point Queen’s Magazine – Intimate Theatre Progress sketch – section of the Queen’s Magazine Theatre Progress sketch – section of the Stores Building Stores Building – retail space
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Ecological Culture Exhibition Centre
Alyssa Jen Dandin
Embracing the quarried and fortified sandstone boundary that are the structural imprint of early European settlers of Sydney Harbour in Goat Island, the new Ecological Culture Exhibition Centre (ECEC) is a resonating interpretation of what once was. With the duality of erosion and reformation as a cycle, the ECEC eclipses the Magazine Precinct, where the act of human erosion quarrying and reformation took place. This cycle of eroding and reforming within nature is the catalyst for the ECEC, providing visitors with a cultural centre that educates, exhibits and promotes an ecological lifestyle. With the perspective of taking and giving, the ECEC balances its interior footprint with its green roof. In keeping with a holistic view of sustainability, the natural gradient of the roof creates a path whereby rainwater is accumulated at the bottom of
Email alyssa.dandin@gmail.com Phone 0422 560 960 A
the hill. Sandstone from the island is reused, scooped, pushed and pulled to create organic formations that mould the interior. A central path cuts through the hillside providing natural light within the spaces. The visitor’s journey from the harbour begins at the wharf leading towards a path up the hill, giving access to the interior of ECEC. This is bordered by the natural quarried sandstone face and fortified wall. The ramp ends at the cafe at the top of the hill, the highest point on Goat Island, where visitors have a view of the east and west side of Sydney Harbour.
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Ecological Culture Exhibition Centre (ECEC) entrance to island Ecological Fashion exhibition space Alternative use Intimate Eco-Fashion Show Concept clay models interpreting reformation Masterplan of ECEC
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The Australian Contemporary Aboriginal Art Gallery
Henrietta Danubrata
For aboriginal people of Australia, art was a manifestation of their ancestral past. Art provided them a link between the world inhabited by humans, plants and animals and the spiritual world. ACAAG displays traditional aboriginal art in a contemporary fashion. The ACAAG is designed to create a dialogue between visitors and the history of aboriginal people in the time of colonisation. The design of the space has evolved from the idea of displacement, and the pulling and pushing of two forms that collide. The ACAAG mimics the journey of the aboriginal people through colonisation. Moving through the island, visitors are confronted by organic forms that convey the natural landscape. As they progress, they find themselves in aboriginal shelter like structures that suddenly evolve into
Email henriettadanubrata@gmail.com Phone 04217 6 305 URL www.theloop.com.au/henriettadanubrata
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geometric forms. These forms create a feeling of uneasiness where visitors become disoriented. At the end of their journey, built forms become geometric and integrated into the natural landscape, where art becomes part of the landscape. The ACAAG’s design intent is to create architectural forms that become an art form in themselves, with visitors as an integral part of the art within it. Art is exhibited in an interactive manner that encourages visitors to interact with the interior form.
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Two entities colliding and spreading - nature of displacement Queens Magazine exhibition entrance Queens Magazine pods Viewing platform above underground gallery Underground gallery space
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Beanstalk - Artisan Precinct
Kim de Haan
Beanstalk is a facility that will initiate discussion about the role of design in creating a more sustainable consumer culture. The proposed precinct offers support for a community of artisans, designers, craftspeople and artists, and encourages the use of sustainable practice, process and materials in design. Its intention is also to generate understanding in the general community, and the facility provides a platform for public interaction with the artisans and their work.
Email kim.e.dehaan@gmail.com Phone 0407 594 760
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Beanstalk is seen as a series of elevated structures that carefully perch above Goat Island’s magazine precinct. Connected by mesh skywalks and raised on thin stilts, these ‘floating’ architectural artefacts reference the geometry and proportions of the site’s extant architecture, whilst having a limited impact on the island’s natural and built heritage. This new facility includes an information centre, public workshops, private residences and studios for two in-house artists, café and hanging garden, galleries and a dedicated retail space for work produced in association with the precinct.
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Concept development sketches Plans and circulation stem Hanging gardens Gallery interior CafĂŠ interior
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The Big Bang. Sydney Museum of Pyrotechnics
Amelia Dearn
The Sydney Museum of Pyrotechnics is inspired by the previous use of Goat Island, a safe hold for gunpowder and explosives. The intricate style of existing buildings on the island provided the foundation for a contemporary exploration of the physical and emotional manifestation of explosions. The design of the museum challenges the traditional display and storage of artefacts. Instead of just representing objects related to explosions, the audience is invited to experience the two juxtaposed perspectives from which an explosion may be viewed. On one hand, the destruction, fear and chaos they cause. On the other hand, the allure, beauty and sheer scale associated with a single moment in an explosion. A floating, ephemeral form represents the beauty in an explosion, whilst a buried and angular tomb - like space alludes to the destruction an explosion may cause.
Email amelia.dearn@gmail.com Phone 0421 563 772 URL www.behance.net/ameliadearn A
The architecture has been aligned in such a way that the visitor experiences the space in a choreographed manner. Entering from the water, the only visual sight is the ephemeral cloud. Upon arrival, the tunneled entrance to the museum leads into a tomb of chaos and destruction whereas above the final destination takes you physically into the ephemeral cloud, to experience the celebration and allure of explosions and fireworks alike.
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Ground Floor artillery exhibition space Arrival on the south west side of Goat Island Queens Magazine artillery exhibition walk Top floor visual exhibition space Top floor roof opened with firework displays
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MELMEL: Museum of Experiential & Experimental Art
Smriti Dhungel
An analytical study of Melmel has led to an appreciation of the existing experiential qualities embedded within the island’s physical context. Its high exposure to Sydney’s natural elements of water, air and earth are significantly heightened due to the island’s dynamic and situational presence. Furthermore, the clear delineation between the island’s natural and unaltered topography and the regimental, structured and linear forms of the magazine precinct have highlighted the duality within the island’s identity.
Email smriti.gd@gmail.com Phone 0409 292 909
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The spatial movement, configuration and situation of the Melmel Centre is focused on incorporating and emphasising the natural sensual experiences associated with the island. Occupants first encounter a seamlessly suspended structure, evoking a connection and appreciation of the dynamic relationship between the island and the natural current of air. The process and progression of the centre then leads occupants to descend within the island form, embedded in its natural state to become encased and surrounded, before opening and providing relief via a vista dominated by a visual connection to the surrounding waters.
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Site plan Entry zone Exterior as interior Queens Magazine
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Australian Multicultural Performance Centre
Ivana Djuric
Goat Island’s historical context emphasises Sydney’s societal and cultural evolution, specifically relating to indigenous tradition and western influence. As a result, the natural progression of the island and future infrastructure initiatives should represent Australia’s contemporary multicultural status and its inevitable role in future national development though remain respectful to the island’s vital history. The Multicultural Performance Centre will promote Australian’s cultural identities by housing a series of intersecting and interwoven spaces, each linked by a continual motif as an expression of the diversity and its interconnectedness, which is pivotal to contemporary Australia. The centres spatial progression, paired with the material palette, forms a seamless connection, creating a balance between the existing structures, the site and its natural surroundings.
Email i.djuric@unsw.edu.au Phone 0433 720 475
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MPC plans Entry zone Underground tunnel External theatre
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Museum of Power, Imprisonment and Isolation
Emma Evans
“The fabric of the early Goat Island largely remains as a haunting monument to all the unnamed men who built the magazine structures.” (Clark J. 2008) In uncovering the multidimensional and layered existence on Goat Island, the strategy is to impose the new insertion of the Museum of Power, Imprisonment and Isolation to pay tribute to the complex nature of the convicts. The cultural significance embedded within the Island and specifically in the Magazine Precinct, draws upon the power play of the Imperial and Colonial hierarchy, the guard and convict. It becomes evident that one could not exist without the other.
Email evans.emma.k@gmail.com Phone 0407 141 584 URL www.theloop.com.au/emmaevans A
This instantly creates an interconnected and dependent relationship between the “unity of opposites,” the guard and convict. At the core of this unity is the theme of power. The guard’s power over the convict through decision making and setting of rules, the power of choice of the convicts to accept to comply, acquiesce or to rebel and the power of the individual to transcend the power. The multidimensional qualities of the island add to this concept with layering not only occurring with the rich history of Goat Island but in the form of it. Through a sectional cut, the layering and dimension of the sandstone and insertions of manmade elements represent again, the theory of the “unity of opposites.” The ground floor acts as a quiet haunting place of reflection and contemplation and below, the museum will exist allowing for snippets of the upper level to be exposed through the excavation of the existing buildings floors.
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Ground floor entrance Museum space within Queen’s Magazine Courtyard space for contemplation Reception space Display unit for Library of Artefacts
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The Forgotten Australians
Francesca Fabbro
The proposed design for Goat Island is a museum, reflection gallery and cafĂŠ that remembers, informs and reflects on the migrant experience of the British home-children to Australia. Today they are known as the forgotten Australians. The proposed design is located in the Magazine Precinct, which lies on the western edge of the island and utilises three of the historic colonial buildings that stand here. Spaces are designed so that they flow and develop as one experiences and walks through them. Visitors begin their journey through the Queens Magazine Building. This gallery space introduces and informs through its interactive information walls. Five new walls extend through the existing building and house colourful information blocks that can be pulled out, read and examined, forming a key part in understanding this forgotten Australian experience.
Email frankee_fabbro@hotmail.com Phone 0403 899 957
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Next, visitors enter into the reflection gallery. This space simply houses a reflection pool. Cubed walls form a maze-like entry to the central reflection pool, obstructing the journey to the centre. The space echoes as the water drips into the pool. The pools edge is lined with stainless steel tiles, each engraved with the names of the 3000 forgotten Australians. The last building and final destination on this experience on Goat Island, is the Colonial Magazine Restaurant. This building has been designed to enable families, friends and strangers to come together. Six finned walls form alleys of tables and chairs, and a cooking bench stretches along the width of the building. Colourful walls bring life back into the visitor’s experience and the open façade allows light to stream in and for visitors to reflect upon their journey.
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Queens Magazine and interactive information wall Colonial Building - Restaurant entry Queens magazine - interactive wall close-up Reflection pool gallery Colonial building restaurant cooking bench and tables
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Performing Arts Centre of Goat Island
Catherine Florio
The Goat Island Performing Arts Centre will support and provide opportunities for young adults from schools around Australia. Initial research for the design of the dance and drama theatre was grounded in an examination of Hawkesbury sandstone, the underlying geology of the Island. Hawkesbury sandstone was formed 300 million years ago when Australia sat adjacent to Antarctica. Once a huge mountain range, it eroded leaving large quantities of sand to drift and settle along the south and east coast of Australia via a river system which later consolidated to form sandstone. Furthermore Hawkesbury sandstone is a Triassic sedimentary Quartzose sandstone. The main component is quartz, a silica mineral. The framework of this particular mineral is silicon-oxygen tetrahedron.
Email cflorio_07@yahoo.com.au A
Initial research for the design of the music theatre is based on the tree species that flourish and protect the Island from erosion. In researching the growth of trees came the discovery of tree rings, which reveals age. Over a season the cambium layer(centre) will multiply in cell production, but towards the end of the season the process slows down, allowing the nutrients to travel up. The design for the dance and drama theatre is based on the process sandstone formation. The underlying pattern and structure of this theatre evolved from the framework of the silica mineral and the hexagonal pattern of Ancient Roman theatres. The design for the music recital theatre is based on interconnecting tree rings, similar to the circular ripples water forms when a drop falls. This is translated spatially in the crest and trough of the water ripples, creating a pattern similar to the ancient Greek theatres.
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Front view of both theatres Western side and site plan of Goat Island Ground floor of the dance and drama theatre First floor of the dance and drama theatre Ground floor of the music theatre
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Museum of Australian Digital Art and Film
Amy Su Fu
The Museum of Australian Digital Art and Film explores the idea of projection and light, from the faรงade at the entrance and throughout the space that slowly descends underground. The exterior faรงade symbolises the pixels of a projection which is generated from the view from Goat Island towards the open ocean. The spaces inside the museum are also shaped as pixels undergoing the process of polarization throughout the projection process. The overlapped shapes allow light to penetrate through the underground spaces which not only lights up the spaces but forms its functions around theses shapes. The circulation of the museum also symbolises a projection that is drawn around the site to connect to the entrance faรงade of the existing shipyard to the underground spaces below the cliff around the Magazine Precinct.
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Exterior night view of entrance faรงade Exterior day view of entrance faรงade Entrance/ Foyer at night Entrance/ Foyer in day time Underground Photography Gallery
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Ar(t)chitecture –A Sound Walk
Matthew Fung
Sounds can be used to enliven our experiences and understanding of space. The ecology of urban environments is based on the relations of living organisms. No other medium presents the sensitivity of ecology than sound and yet sound is one of the most neglected signifiers of our informative environment. Burgeoning urbanisation also changes our soundscape experiences from hi-fi (separate elements clearly and distinguishably audible) to lo-fi which are sounds melted together into one, blurry, indistinguishable noise. The tangled experience of undistinguishable sounds causes us to lose consciousness of the ephemeral and temporal nature of our surroundings.
Email fung.matthew010@live.com.au Phone 0411 895 649 URL www.mf-interiorarch.com
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The departure from one’s domestic environment is the beginning of the journey from the unconscious to the conscious. It is a sequence of spaces and experiences like a musical score. By using the power of music, sound and noise to denote place and demarcate space we can make conscious the sonic ecology of Goat Island and its historical value and unique connection with the city. The aim of the project is to untangle the noise, map and make sense of our sonic environment by creating experimental and experiential spaces that focuses on human experiences and how the combination of sounds and space can encourage socialization, educate people and ultimately inspire people and convey the spiritual beauty of music in contemporary Australia. By distinguishing separate audible elements and mapping and making sense of our sonic surroundings, a ‘sound walk’ is created.
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Conceptual diagram Sectional perspective of Goat Island Perspective from stage space Sectional detail of experiemental and stage space Perspective walkway through island cut
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Grub House
Amelia Gallen
Grub House is an expression of Australia’s unique culinary culture. The facility exudes the casual sophistication, simplicity and quality that most accurately defines the diverse modern Australian culinary scene. Grub House provides both tourists and locals with an iconic destination that offers a unique insight into Australia’s diverse culinary culture. Grub House maintains the thin linear footprint of the original Port Emergency Services building, however due to the low historical significance of the building it is enlarged to better respond to the needs of the program. The three predominant structures mimic universally recognisable
Email ameliagallen@live.com.au Phone 0401 448 334 URL www.ameliagallen.com.au A
pitched roof houses. The exterior of the facility is clad in gold alloy, contrasting with the traditional structure of the facility. The linear space enables visitors to easily wander through each aspect of the facility and discover the market place, culinary school, restaurant and gallery spaces, while continually admiring the view of Sydney.
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Public entry wharf Gallery space Main stair Design process images
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Bennelong Drama Theatre
Elizabeth Garlan
The Bennelong Drama Theatre is a conceptual drama studio and performance space located in the heart of Sydney Harbour. The project is the result of a new phase in Goat Island’s history, whereby vacant industrial and residential buildings have been reimagined and reinterpreted to encourage tourism, local business and visitors to the island. As a culturally significant island, this new phase of design integrates drama and theatre through the exploration of the significance of costume and lighting in theatre. The initial ideas for the reinterpretation of the Ship Repair Building, internal courtyard and Queen’s Magazine began with the exploration of shapes created by the iconic ruff collar. The geometric shapes were twisted, warped, repeated and layered in order to find a material palette and motif.
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A theatrical kinetic light display welcomes patrons on arrival, arousing curiosity from nearby local parks such as Ballast Point, Birchgrove and Barangaroo. The Ship Repair Building has been transformed into a new theatre, retail space, information centre, bar and restaurant. A second, smaller studio is located in the Queen’s Magazine through the insertion of fabric membrane into the space, creating improved acoustics and comfort for patrons and actors. The courtyard is landscaped with the creation of a water and light display that provides an interactive historical account of the island for both local and international visitors.
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Ship Repair Building, exterior panoramic Ship Repair Building, jetty and kinetic light display Detail of light drop Main stair leading to Queen’s Magazine Building
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Strands Australia
Lucy Garner
The design is located in the historically rich ‘Magazine Precinct’ and explores a convergence of installation, conceptual art and environmental awareness and the important role art continues to play in questioning and articulating socio political events, situations and tendencies.
Email l.garner@student.unsw.edu.au Phone 0431 146 937
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A. Site Plan incorporating weave motif B. Concept view toward Goat Island from the North C. Idea process diagram
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Memel. A Place for Conversation.
Sally Gordon
Memel. A Place for Conversation draws upon the positive impact of nature on our emotional and physical wellbeing to provide a series of civic spaces that seek to heighten our need for reflection, conversation and silence. A sensitive conversation benefits from an equally sensitive environment within which it may take place and the end of this life is not a subject that is openly discussed in our society. However as the Egyptians believe, the heart must be as light as a feather when facing the end of this life. Conversation, and savoring the moments that will become cherished memories can go someway to achieving this lightness of heart.
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Utilising the extant buildings housed within the Magazine Precinct, a reflection pool and hortus conclusus - an enclosed garden, offer spaces within which to sit, contemplate and talk. The natural environment and access to sunlight is celebrated with the connection between earth and sky ever-present and the use of natural materials that will weather and age with time provide a warmth and familiarity. Moulded wooden cocoons in the Colonial Magazine gently swing in the breeze, offering an intimate enclosure within which to sit. Each of these spaces are housed within a precinct that is hugged on one side by the protective sandstone wall and embraced on the other by a walkway that mimics the rooflines of the existing sandstone buildings.
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Aerial view of overall precinct Hortus Conclusus Cocoons for Conversation Main entrance Walkway circulation
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Australian Fashion Design Centre
Jessica Halim
The Australian Fashion Design Centre will establish Australian identity through fashion culture, promoting Australia to be one of the top five leading countries in international fashion. The main purpose of this centre is to introduce Australian culture and history to the world, through art exhibitions of Australian fashion, design events and educational activities with the overlaying of the historical architecture of the island. The project comprises different types of exhibition spaces to house different types of event and temporary exhibitions. Other vital facilities such as a library, learning centre, tourist information centre, workshop areas, cafĂŠ, artist in residence and auditorium will also be included within this centre.
Email cjhalim@gmail.com Phone 0421 543 175 URL www.theloop.com.au/jessicahalim A
The design exaggerates the idea of weaving and at the same time celebrates colours. Glowing bodies of colourful weaved structures are visible from the point of arrival leading into the foyer and into the main exhibition. These weaved structures then later transform into massive interior crystallised cocoons made from colourful threads which display the fashion works. The wall treatment of the cocoons mimics the way knitted fabric stretches. When people pass through, the threaded walls will start to stretch, revealing the previously concealed displays. The planning of spaces allows people to weave through the building, moving up and down from one space to another, discovering new space and experiences.
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A. Sectional perspective of queen’s magazine B. Video projection room perspective showing Suspended crystallised cocoons C. Sketches D. Ramp perspective E. Cocoon perspective
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MOW: The Museum of Water
Cassandra Hallinan
The proposed Museum of Water is a cultural centre that will showcase the role water has played over time in human lives. From a natural resource to an industrial tool, water is a unique and vital source that has been a major driving force in human culture. This notion has been used to develop the planning, building program and overall concept of the Museum. Architectural elements have been guided by natural, historic and current water systems. Visitors will enter the Museum by an internal lock elevating them onto Goat Island. Water droplets will be created via a ‘bitfall’ system, allowing water to act as an architectural element, guiding visitors into the heart of the Museum where an oversized underground cavern has been designed to show case the sheer force and power water possesses with an internal waterfall system and an underfloor river.
Email cassiehallinan@gmail.com Phone 0422 412 449
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Wireframe site plan Centre Cavern space showing internal waterfalls Cavern walkway showing internal level changes Ship Repair Workshop interior Sectional perspective of the Ship Repair Workshop showing entry lock system
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Sydney Music Academy (SMA)
Liam Higginbotham
The vision is to revitalise Goat Island as an internationally renowned cultural and recreational facility. The universal language of music and theatre provides the platform to highlight the distinct heritage, man-made and natural island landscape of the island. Using the Sydney Music Academy, the strategy will enhance the experience of the island and its role in the current redevelopment of Sydney’s cultural domain. The landscape of the Sydney Harbour foreshore and the structure of the Goat Island Magazine Precinct create an important composition. The original plans from 1891 reveal the Magazine’s design was both rhythmic and structured, using principal physical and visual axes. As a result of later historical development, this configuration has been lost. To re-establish the significant relationships of the building complex with the surrounding environment, a dramatic architectural gesture is the primary response.
Email liam@higginbotham.com.au Phone 0400 400 952
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Much like a musical score, the Precinct boasts a multiplicity of spaces, all interconnected by a unique rhythmic measure. The weak points within this measure were split, opening up new views and creating a myriad of interior spaces for music studios, theatres and civic spaces. At a detail level the island patterns and visual identity are translated into the mechanics of the Music Academy, providing themes for designed elements, acoustic paneling, lighting and furniture.
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Axonometric of the Queen’s Theatre Lower stage in Queen’s Theatre A music studio lab in action Lounge seating in a Music Studio Outdoor theatre overlooking precinct
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The Precinct
Phoebe Evana Hogan
Goat Island has a multi-faceted identity. It is characterised on the one hand by colonial architecture, built of stone, with distinct European motifs but also by the industrial frameworks of truss-roofed sheds. The contrasting language of these buildings led me to question why we preserve buildings? What are we preserving? Is it the built fabric, or the intrinsic qualities of the space? These questions and musings formed the departure point for my subsequent design interventions. My initial reaction was to design spaces that played upon the idea of preservation often being read as a disruptive force, but that also highlighted the spatial and experiential qualities of the existing spaces, without altering too much of the existing built fabric.
Email pheevana@gmail.com Phone 0405 421 315 URL www.linkedin.com/pub/phoebe-hogan/33/177/485
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The Precinct proposes the idea that civic spaces/places need to be a constant but their architecture doesn’t need to be. Civic spaces should be the most responsive of spaces because societal shifts and changes in identity, our needs and the way we perceive ourselves collectively are changing more readily and rapidly now. For this reason The Precinct has been envisioned as a creative and cultural hub that provides both the local community and international audiences with flexible spaces that are truly civic places in that they can be used relatively autonomously by the public for social, spontaneous or planned activities. An overarching organisation will organise temporary happenings in different parts of the Precinct; exhibitions, markets, pop-up retail and hospitality concessions, talks, seminars, film viewings, workshops and festivals are all possibilities.
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Cut and Pavilions Queens Magazine, entry Colonial Magazine ground level entry Colonial Magazine, the Bays Colonial Magazine lower level entry
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The Museum of Native Flora
Jacqui Hurwitz
The Museum of Native Flora on Goat Island intends to create cultural spaces which directly reflect the native flora, location and history of this exceptional destination. The design is embedded within the northern precinct of the island and areas have been carved out of the ground and hillside to form large connecting spaces. These include the museum walkway, various gathering spaces, ticket and information centre, gift shop, cafe and a courtyard with harbour views. Arriving by boat, visitors are directed through the underground museum to learn about the island’s vegetation. This continues with a guided walk around the island identifying the plants in their natural environment. There is a constant struggle between the human made and natural elements on Goat Island. In some areas, humans have controlled the landscape with retaining walls, while the land counteracts by pushing tree roots growing through foot paths. This contradiction is reinterpreted in the design. The museum walk way is a structured and
guiding hallway which ramps upwards, symbolising the direction of seed growth and the gaining of knowledge. The rigid planning and limited views to the outside allow the viewer to experience individual parts of the native fauna in isolation. In contrast, gathering spaces are free flowing and allow the visitor to experience many systems working together as they occur in nature. Patterns found in many plants on the island (including the Banksia Integrifolia, Acacia Suaveolens, and Ficus Rubiginosa) have been reinterpreted to provide interior architectural elements.
Email jacquihur@gmail.com
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A. Entry perspective
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Indigenous Memorial Museum
Vanessa Intan Email vanessa.intan@gmail.com Phone 0432 365 980 URL www.theloop.com.au/vanessa.intan
With its isolation from the hustle and bustle of Sydney city and somewhat intact natural landscape, Goat Island is a perfect site to establish a museum celebrating the Indigenous culture in Australia and commemorate the impact of colonial settlement. The proposed museum is embedded underground to physically manifest the theme of digging history and to create a new direct route from the Magazine precinct which is imbued with heavy traces of Colonial era, to the Central precinct where natural landscape is most intact on the island. The concept is derived from indigenous dot painting. Each dot contributes to the painting of the artist’s imagination, created from positive element that appears on bark or canvas as well as negative element created by the infill of spaces around it. The first exhibition space accommodates object based exhibition (art and artefact) and is contained within the carved out negative space. This structure is formed by layer of translucency which characterises sacred indigenous caves and mountains. Its gaping hole represents the removed element that was stolen from indigenous people, ranging from ritual objects to families and identity.
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The second exhibition space aims to celebrate the oral culture of indigenous people. This intangible exhibition is housed in the interwoven pods that represent traditional indigenous shelter. This intangible exhibition defies the conventional impersonal learning of history by providing a connection with indigenous stories of Dreaming and personal accounts of those whose ancestors and tribes were affected by colonists. Stories of Dreaming are heard in the centre of the pods whilst whispers of tragic personal accounts muffle through the cracks. The Indigenous Memorial Museum provides an opportunity for nonindigenous society to gain an insight into indigenous histories and stories.
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Perspective arrival on Island Perspective underground Foyer Perspective Object Exhibition space Perspective Stories Exhibition space Conceptual diagram
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LMA Language Museum of Australia
Hye Ji Jeong
The LMA Language Museum of Australia provides visitors with a historical review of language in Australia from ancient times to the present day. It consists of three museum spaces called the Indigenous language museum, the British/ Australian English language museum and the International language museum. The idea behind the design of the Indigenous museum is ‘lost in language’, representing the loss of approximately 230 Aboriginal languages after the colonization by Europeans. There are 250 cones inserted into the existing roof structure, of which 230 are closed while the rest are opened. The closed cones symbolize dead languages while the opened ones represent the existing languages. Based on early Aboriginal people’s beliefs that the language comes from the environment, the interior is kept raw and unfinished.
Email z3284914@student.unsw.edu.au / jen_j226@yahoo.com.au Phone 0449 568 718 URL www.chagallover.blogspot.com.au
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Visitors walk through an underground tunnel where water is used to symbolise the washed away Aboriginal languages. Visitors can find traces of the history of the language loss during colonization. The building structures of both British and Australian English language museums are designed to be similar since Australian English derived from British English. Both museums are connected by steps in between, which signify the change in language uses during periods of British settlement. The Australian English language museum is treated as a fossilized version of the British English language museum through the creation of contrasting old and new interiors.
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Ariel view of the interior Indigenous language museum Model photo Diagram showing building transformation Sectional view
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A Gallery for Art, Place & the Senses
Angela Kohlhagen
Within the Magazine Precinct on Goat Island, a series of gallery spaces have been designed with the intention that the approaches to each gallery play on the different senses, to enhance and create a unique experience for viewing art. With the understanding that the essence of the art museum lies between the (visual) interaction of (art) object and observer, the intention is to create spaces that increase this awareness of the art by heightening individual senses. The project is intended as a space for an artist in residence to create artworks specifically for the site, drawing inspiration from themes such as the understanding of place, and the exploration of the senses.
Email akohlhagen@gmail.com Phone 0424 472 554 A
Approaching the galleries, new textures and forms are placed to complement and contrast with the present buildings and environment. The main pathway towards the galleries incorporate sound; the path is darkened in order to bring focus to the sounds of water, wind, and gravel underfoot. Water falls across the stone ceiling and walls under the Queen’s Magazine; its temperature fluctuates to alter the environment within the Magazine above. Perspectives and focus change throughout the Precinct, allowing for art to be created and viewed through different approaches and in unique spaces.
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Plan of site (part of) Section through site (part of) Pathway towards the gallery spaces Heated water sends mist to the interior above Gallery space: changing perspectives
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Musealisation of Memel
Sophie La
In understanding NPWS strategic aims, research has been focused on developing an experience which is unique to Memel and to its participants. The happenings of architectural installations were chosen after several studies of the Island’s location, proximity, co-ordinates and topography. These varying sites provided an opportunity to develop a series of immersive environments that could engage with the unique spatial and climatic qualities associated with Memel. Close readings of these areas produced a series of diagrams that carefully represented the climatic conditions and informed the design process, allowing issues regarding archeology, views and context to be dealt with sensitively. The psychology of perception and experience has been interrogated and through exploiting the extant archeology and views on the island, the meteorological variables will become the event in which is the Musealisation of Memel.
Email sophie.thanh.la@gmail.com Phone 0416 100 507 A
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Eroded subterranean tunnels Installation mechanics Sound + air pressure immersive environment Solar + vapour immersive environment
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Australian National Museum of Immigration (ANMI)
Dennis Le
Located in the detached north-eastern sector of Goat Island, the program of the ANMI is to promote public understanding of the Australian immigrant experience and to acknowledge the contributions of these immigrants to Australia’s history and society. The motley architecture and landscape of Goat Island reflects its varying functions over a dynamic maritime past. In a similar way, the history of immigration in Australia reveals how the policy for migrant intake has gradually adapted to respond to changing social contexts.
Email dennis_le@live.com Phone 0408 014 575 URL www.dennisle.carbonmade.com A
The ANMI is designed as a manifestation of the Australian immigrant experience; an overarching journey that intertwines the museum’s theme of immigration with Goat Island’s historic site. Visitors arrive at the south depot wharf and enter the Port Emergency Services Building, pervaded by an angular structure which represents the catalyst for a migrant to leave their home country. This structure extends along the sandstone walls of Barney’s Cut, and then connects the northern depot gear sheds to host exhibition spaces with spectacular views of North Sydney. As the spaces unfold, the materiality smooths and softens to represent an immigrant’s progressive integration into Australian society.
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Mass model of Port Emergency Services Building Mass model of Port Emergency Services Building Concept sketches Concept models
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SAPA (Sydney Academy of Performing Arts)
Simon Leung
SAPA (Sydney Academy of Performing Arts) is a performance space situated in the heart of Port Jackson, connecting the Sydney CBD, harbour and the surrounding islands. Acknowledging the island’s connection to its context, the design approach aims to challenge the traditional assumption that performance spaces are places that merely showcase an individual talent. With a strong relationship between the site, its visitors, and the cultural inspirations of Sydney, the design explores the idea of interconnectivity, the idea of the body of knowledge being passed down through the students of SAPA.
Email simon.cy.leung@gmail.com Phone 0430 114 197 URL www.simonleung.prosite.com A
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Main Foyer Auditorium Performance Stage Conceptual model
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Instillation and Video Art Gallery
Jessica Mason
The intention for this project is to create a continuous insertion to connect the island’s altering and varied landscape, surroundings and building types, both physically and visually. Referencing the excavation and landfill alterations to Goat Island’s topography, the original boundary of the Island has been reinstated, leaving the steel structure of a ship repair building emerging from the water. The buildings’ remains form the initial structure for the evolving timber gallery, creating an arrival point and threshold from the ferry ride to the island. The timber form extends towards the island in multiple paths, eventually intersecting additional buildings at different levels, and changing both in materiality and scale in each space.
Email mason.jessica.r@gmail.com Phone 0400 431 039 A
The project aims to create a unique personal experience, where a visitor’s choice of path directly impacts upon the vantage point that the artworks, the landscape and the buildings are seen and perceived. Each visit offers a new path for the visitor and therefore a new experience of the surroundings and artworks.
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Arrival, entry perspective Perspective Section Interior perspective
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Made In Goat Island
Bradley Mitchell
Goat Island has become irrelevant to today’s society and has remained isolated and dormant to the busy life of the city. Through neglect and aging, the island’s buildings are slowly being consumed by erosion, wind, rain and frost and the vegetation and earth are slowly taking back what it once owned. The environment is defying man’s creations, leaving its trace each day. Convict’s and soldier’s acts of defiance are inscribed in the walls, leaving memories to live on as messages from the past. Once the occupation of the island ceased, the island was left to evolve in isolation, far from the minds of the locals, however within the building’s walls remained the memories and traces of another time. From the seed of these memories, living structures have begun to occupy the spaces of the island. The structures seem to be constructed from the island’s earth, however their evolution
Email BradMitchell5@hotmail.com Phone 0431 643 331
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from acts of defiance have allowed them to become something more unfamiliar. The overgrown nature of the structures displays an evolution and growth without influence. Visitors venture from the chaos of the city into an unfamiliar world, isolated from the normalities of their way of life into a cultural centre that is based around an artist in residence program with the Museum of Contemporary Art. The featured artist elects their favourite musicians, dancers, directors, artists and chefs that inspire them to create an environment that visitors can immerse themselves in and experience the world of the featured artist in unfamiliar, almost living surrounding.
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Site plan 1:500 Site section 1:500 Development sketches 1:5 Colonial beam-pot and lighting detail Queen’s Theatre perspective
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Theatre for Film and Performing Arts
Stephanie Panaretos
The Theatre for Film and Performing Arts located on Goat Island, has spaces dedicated to live entertainment as well as spaces for screening films and cinema. The island and the performance experience are both an escape, the central idea explored in the design. Spaces holding performances and screenings cater to this need for an escape. These spaces intend to create an escape from reality and focus on the performances and films shown. The idea of open space verses dense and enclosed space is explored. Each theatre has been designed as the escape or dense space, with the interior arching over and encapsulating the space, leaving the visitor feeling soft and enclosed. This is to create the feeling of being lost within the space and enabling the performance or film to take the focus.
Email stephaniepanaretos@hotmail.com Phone 0415 832 649 A
The open spaces are the foyers, bars and restaurants that have been designed to invite people. The use of colour is a strong element in the design scheme to create fantasy and a magical environment. The idea of creating an imaginary world that is different from real life and the mainland of Sydney, emphasises the idea of an escape, an escape into a different realm and place where drama, theatre, performance, music, art and film are the focus. Flowing curves, strong colours, layers of different materials are all examples of elements used to create this fantasy environment.
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Ship Repair Theatre arrival Ship Repair Theatre interior Theatre Wall detail Underground foyer Underground cinema
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Revels by the Divide
Samantha Raptis
Revels by the Divide was conceived in honour of the binding and familial virtues of food and eating. There is a beauty that culinary gatherings possess, seen and felt in the manner they transcend generation, culture, language, and taste. The project is underpinned by an understanding of the history of Goat Island, its significance to the city and harbour and, most importantly, personal observations of the experiential qualities which exist today on the island. Key to the design is the symbolic and highly significant large-scale work still present on the island - Barney’s Cut. A five metre wide wet ditch which was proposed for the physical separation of the colonial and imperial operations that were once conducted on Goat Island.
Email samantha.raptis@gmail.com Phone 0407 400 171
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The Sydney Bazaar & Chef Atelier celebrates the culture of this time and place by use of the common ties of culinary delights. The master plan of the facility includes a marketplace-inspired trading area [the bazaar], combining retail with casual tasting houses; and a chef performance art space [the atelier] that converts from dining to workspaces for culinary master classes. The physical gesture, while originally drawn from the social and physical separation of a previous time, is an eyecatching landmark that comes to reflect togetherness in the ways of food culture.
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The plan of site The Sydney bazaar Plan of the bazaar Form exploration The invention of materials
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Goat Island Community Art Centre
Nivedita Rishi
The Goat Island Community Art Centre aims to create a new relationship between the viewer and the artwork. It allows the viewer to feel as if the direct experiences of the artwork imposing itself on the space of the viewer have intertwined with the voluntary experience of the viewer entering the artworks built space. It is like a conversation between voluntary and involuntary experience. It evokes a sense of space within a space, an identity within an identity. A new kind of experience is created, a twisted space that surrounds and circulates around the individual, allowing the body to feel like it has become a part of the artwork. This is conveyed by focusing on the ideas of time and movement, through the use of sight, boundaries and relation to the human body. It is captured through little glimpses of the existing interior and landscape that visitors catch while walking through the sculpture. This acts as a constant reminder of the transition between these spaces.
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Concept diagrams on Island connections Entry perspective on arrival to Goat Island Restaurant perspective – commercial use of art & landscape Exterior of Art Workshop building – model Interior of Art Workshop building – model
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The Goat Island Museum
Jodi Sabareza
The Goat Island Museum proposes to revive, relive and experience five different events that are highly significant of its historic timeline as well educating the public about Goat Island’s embedded history and cultural heritage and the NPWS’s vision to conserve the natural flora and fauna of the island. The five experiences includes the quarrying experience, the production of gunpowder in the Queen’s magazine, the caravan experience, which narrates the experiences of the convicts transported within small and tight timber caravans, the Anderson’s couch experience and the conservation of flora and fauna which promotes NPWS’s sustainable aspirations for the island.
The Proposed Building 2, accommodates the Charles Anderson’s Couch experience. It is an underground gallery space surrounded by running water originating from the central linking chain sculpture at the centre of the gallery. The walls are made of rough sandstone to depict Anderson’s couch and is both lit by natural and artificial lighting systems. The Scow Shed houses the caravan experience where it explores the journey of the convicts within a tight and small timber caravan. The Scow Shed’s walls are nine metres high, constructed in a waved form to depict the flow of their journey.
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Cuprum Nitor- Facility for the Performance of Acrobatics
Kiriah Shead
Goat Island’s dramatic history is the inspiration for the creation of a performance facility, emphasising this history and symbolically bringing it back to life. In performance, the positive space is where humans connect with the environment, consequently it is a more dynamic space, an idea that has underpinned the whole design. Cuprum Nitor facilitates an art form that has not been permanently catered for in Australia - a selection of circus arts- trapeze, tightrope and rope dancing. The facility plays with the notions of continuity and alteration in performance and movement.
Email ks_6@hotmail.com Phone 0403 724 100 A
Goat Island’s alternate name, “Memel” means ‘a place from which you can see far’. The new facility inverts this statement. A glowing copper element runs throughout the island making the island distinct and visible from afar, it glows within Sydney’s Harbour indicating a new life on Goat Island that is intriguing and beautiful. This ethereal tunnel pulsates, coming to life in reaction to human presence, transporting subjects from everyday life to a paranormal underworld experience. From a glance, it creates a desire to explore what is within. The performance spaces are not distinct from the whole structure, signifying that one’s experience on the island is a part of the performance from the moment you step on to the moment you step off.
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Goat Island In context Arrival point, progression into the ethereal Arrival point into transcendence Tunnel and movement Colonial Magazine- tightrope performance area Section
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Centre for the Moving Image
Gabrielle Shulman
Film and architecture are individual arts, distinct yet sharing common qualities. The intention is to create a cultural facility that honours the existing static nature of Goat Island and incorporates it into a dynamic entity of the moving image. The metamorphosis of the landscape over the years becomes the impetus for linking the notion of past memory with the perception of movement over time. By extruding the site out of the landscape, this new architectural gesture proposes a set of pathways that act as a lens to mirror the contours of the Island.
Email gabi.shulman@gmail.com Phone 0400 120 403 A
The notion of juxtaposing two unrelated images to produce a new meaning and thought in the visitor’s mind, is the underlying idea throughout this facility (the concept of “Tertium Quid�). The space is dramatic in its grandeur, but not imposing and proscriptive. The visitor is constantly exposed to contrasting views and or pathways that encourage varying options to stimulate individual sensitivity. As in film, the architecture encourages a suspensful atmosphere. It follows a sequential method that unravels and becomes clearer at various intervals. The moving art is vigorous in nature, enlivening the space through its light and colour, juxtaposed against a motionless frame that is embedded within the pattern of Goat Island.
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Main entrance at sunset Long section through facility Gallery space upon arrival – area of suspense Circulation within the space Café – area of relief
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Goat Island’s new cultural facility: The Museum of Migration and Cultural Art
Annie Sisourath
As ‘the Eye’ of the Harbour, Goat Island bore witness to an influx of migrants, ideas and cultural influences. Sandstone is a significant attribute of the Island, shaping its use on the site. Many early structures were constructed out of stone quarried on-site, marking a significant relationship between the landscape and human occupation. The distinctive deformation of sandstone banding, known as ‘cross bedding’, is caused by pressure in the earth’s crust which pushes and pulls against sediment layers. In a similar manner, external pressures ‘pushed’ and ‘pulled’ migrants from their homelands to seek a new life in places such as Australia. The scheme is inspired by the ‘pushing’ and ‘pulling’ of deformation to create spaces for the public to gather and share stories, insights into the creative arts, cultural heritage and identity. Migrants fled from ravages of war, religious persecution, hunger, or political repression towards newfound freedom in Australia.
Email annie.sisourath@gmail.com Phone 0450 534 128 URL www.linkedin.com/in/anniesisourath A
They arrived with objects representing precious reminders of their past and connected their place here to the rest of the world. Fundamentally, their occupation shaped the distinct art and culture we see today. At the Museum of Migration and Cultural Art, the public is reconnected to the international influences that ‘cross-bedded’ within Australian culture, where its program comprises exhibition, display, rest and performance areas. Visitors will undergo a journey of discovery, awareness and understanding through engagement with personal stories, intriguing objects, practical workshops, nostalgic images and poignant experiences to discover connections with others they never knew existed.
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Overall view of the migrant artefact exhibition View of the new facility upon arrival Exhibition plinth and lighting detail Wine bar seating joinery View of the new facility’s demonstration workshop
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Lingual Landscape: A Sculptural Story
Stephanie Alexandra Sobel
Goat Island is a museum. It is a landscape that showcases natural beauty, from the movement of the changing tides and waves, to the sculptural sandstone rock faces, to the historical buildings layered with Aboriginal and convict history, to the untouched organic landscape that covers a large percentage of the Island. I propose the development of a permanent sculpture garden in partnership with Sculpture By The Sea that celebrates and compliments the existing landscape. The Sculpture Garden will challenge the boundaries of what is natural and what is man-made, by attempting to mirror the existing landscape, both the natural and the built. The program begins through the slipways, introducing visitors to their first experience of sculpture. The water controls the visibility of the sculptures and the energy in the space depending on the waves and the tide, offering different experiences throughout the day. The journey through the natural landscape continues into the Magazine Precinct, a space that imbues the idea of earth and stone. The artificial materials have been stripped away to
Email sa.sobel@gmail.com Phone 0408 629 298 A
reveal the natural elements: the existing foundations, the sandstone walls and the shadows of the trees surrounding the space. A copper panelled roof with leaf-like cutouts has been constructed, to exaggerate the idea of shadow and light created by the trees. And finally, The Central precinct, with its overgrown grass, plants, trees and pathways and its exceptional view over Sydney Harbour and the Magazine Precinct, will act as a connection between water and earth. The Water Theatre is a dramatic space. It focuses solely on the natural beauty of rock and the unpredictable nature of the ocean. A dark walkway leads viewers into the theatre, finally revealing a breathe of fresh air as viewers enter the vertical space ten metres below ground. All that is visible is the sky, the ocean and the sculptural staircase that doubles as seating. With its continuously changing atmosphere, the space offers a unique experience for visitors.
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Long Section through water and over land Entry Reception Garden Ocean Theatre
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Cabinets of Natural Curiosities
Anna Maria Stillone
Taking inspiration from the many layers of history, the concept of “tier” or “tiering” from the French tire “order or sequence” has inspired the design. The concept has a relevance and connection to the past colonial and naval history and the natural order of nature present on the island. Drawing on the history of education and information shared in the teachings of natural history and evolution, my strategy has been to include a new architectural insertion connecting the magazine quarter and a new underground museum. Splitting through the existing landscape to establish a dominating axis leading from a new west wharf to the east wharfs a series of large oversized display “cabinets”. Inserted into the landscape and surrounded by the rammed earth of the site, light is captured in a
series of large copper skins that individually encase the areas and reflect the dappled light of a canopy of trees. Each dapple is an image of the surface of the sun. The body exists at one with nature through the connection constructed in the architectural insertion cut through the existing landscape, forming a relationship between the external and interior skins. The exhibition and museum experience is captured in the individual cabinets as displays hung in the central voids’ which are governed by the vertical and horizontal circulation.
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A. Cabinet of Natural Curiosities interior
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Goat Island Visual Performing Arts Centre
Carla Sulaiman
A diagrammatic mapping of the island within Sydney Harbour informs the overall design approach. Located in the Central and Shipyard precincts, the project explores the reversal of the conventional theatre typology of back and front-of-house. Typical back-of-house functions are experienced on a monumental scale rehearsal spaces that were typically hidden from the public now can be visible for the visitors as the front-of-house performance.
Email Z3259630@student.unsw.edu.au / Carla.novia@live.com Phone 0425 731 018
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Concept diagram Sectional perspective Detailed perspective of Medium Performance Theatre Large Performance Theatre
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Australian Visionary Art Museum (AVAM)
Kiki Yingqi Tan
The aboriginal word Memel originates from meanings that are associated with the eyes or vision, as well as being “a place from which you can see far”. This suggests the idea of perceiving the landscape of Sydney as a narrative for a journey to and from the island. As Memel Goat Island provides an abundance of spectacular views to the Sydney CBD, Harbour Bridge and Opera House, there is an urge to challenge this idea of of perceiving Sydney though new mediums. Therefore, the Australian Visionary Art Museum (AVAM) is aimed to evoke visitor’s sense of sight as well as their intellectual perceptions about Sydney’s landscape.
Email kikityq@hotmail.com Phone 0430 886 672 A
The main exhibition space of AVAM is a three-storey building, which sits on top of the natural landscape of Memel Goat Island. This new structure enhances the word “Memel” as being an attraction that is “a place from which you can see far”. The idea of perception is also expressed in the interior of both the existing Queen’s Magazine building and the proposed museum. This is achieved by inserting new forms into the existing building and landscape, along with manipulating angles of partitions and walls to challenge one’s expected perception.
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Australian Visionary Art Museum Queen’s Magazine Building – Foyer/Reception area Queen’s Magazine Building – Shop Film Hubs
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Beyond Disability Centre
Dorothy Tom
Beyond, Sydney’s new international disability centre is a retreat where the gifted are empowered to express themselves through fine arts. This retreat will exist to breakdown the stereotypical perception of what a disabled person’s limitations are. The mission for this disability centre is to encourage disabled individuals to dream big and celebrate the talents they already posses. Situated on Goat Island, the disability centre is hired for a period of time by charitable foundations to host fine art programs for their members (ten years old and over) who desire to stretch themselves creatively. Showcases are held at the end of the session to invite visitors to come onto the island to view and purchase the artworks produced.
Email dorothytom@live.com Phone 0412 555 666 A
The design of the disability centre revolves around the statement: “Look beyond the surface to find the beauty that lies within.” Since the site is full of history, most of the exterior facades of the existing buildings are preserved to conserve the historical features of the island. The building interiors are surprising and fun for the visitors to explore through. Using tubular forms of different materials repeated from the beginning and end of this exploration allows the individual to feel like they are transported into the creative mind broadening their initial views of people.
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A. Gallery 1 in Queen’s Magazine B. Workshop space in Scow Shed C. Underground walkway
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Glory Box
Catherine Vlahopol
‘Glory Box’ is a collection of buildings and spaces dedicated to the experiences of women arrivals to Australia. It is these women who brought with them the creative aspects of their culture such as embroidery, stitching and quilting. In the same way as bride brought a ‘glory box’ or ‘dowry’ to her new home containing fragments of her past, these migrant women brought the seeds of their future with them to their new country. Goat Island is a site that has had a predominantly male face with many occupants on the island being involved in male orientated jobs such as police, fire-fighting and dredging. Women played a secondary role in the home tending to children and household affairs. Migration too has been a predominantly male arena with the husband coming a year or two before the wife in order to set up his life in a new county. With all this under-representation, it was felt that this site should correct this position.
Email catherinevlahopol@gmail.com Phone 0405 095297
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The series of walkways and paths that weave under and through spaces was inspired the act of stitching and quilting; the connection of different fragments that seem unrelated at first, when placed together form a whole harmoniously. Even though their interiors are reminiscent of past memories, they are firmly embedded in the present and furnished in a contemporary sense. The buildings incorporate a gallery space, outdoor picnic areas, coffee shop and ‘follyies’ where visitors can sit and reflect with their friends and family.
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Mark making exercise View of site from water Folly 1 Folly 2 Interior of art gallery
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Wulumay Contemporary Art Space
Pia Watson
With a focus on recycled materials and the act of deskilling, this Contemporary Art Space seeks to both reveal and expose the often misunderstood ideas, meanings and processes involved in the production of contemporary art. The chance to participate in artist-led lectures and tours as well as interactive workshops, aims to educate its visitors through active participation. In the process of revealing contemporary art practice, the materiality of the spaces mimic those of large civic structures, however a closer examination would see their origins in fact tie back to the very shipyards and existing structures found on the island.
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Museum entrance Memel exhibition wing Canopy exhibition wing Lightwell detail Tree enclosure detail
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Facility of Botanical Education
Christopher Widjaja
Centred around the current issue of sustainability, the Facility of Botanical Education aims to reconnect the public with nature and its efficient processes which minimizes waste. With three insertions inserted into the voluminous shipyard workshop, the industrial structure is divided into three zones: a hydroponic plant farm, an energy hub and a seeds exhibition. The hydroponic plant farm educates the public with information on the plentiful herbs and vegetables and their specific qualities. In doing so, the public is encouraged to grow their own urban gardens and are able to use these raw materials as food, medicine and many other applications. The energy hub is made up of a photovoltaic roof - that collects energy from the sun, a wind turbine tunnel – that is positioned to face the highest wind frequency, and an underground area – that exhibits the systems of tidal energy collection.
Email qrisw@gmail.com Phone 0422 605 940 URL www.chriswidjaja.com A
The seeds exhibition will display a collection of Australian flora and fauna. This will pay homage to the wondrous and rich collection of Australian botany. Furthermore, the restaurant in the Queen’s Magazine will provide the opportunity for the public to be educated on the full cycle of food consumption. The raw ingredients are picked from the hydroponic plant farm in the shipyard repair workshop and the vegetable garden in the courtyard.
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Section of the Shipyard Workshop Hydroponic plant farm Hydroponic plant farm interactive information Seed exhibition Vegetable Garden in the courtyard of the Queen’s Magazine
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The Annex
Harriette Rose Young
The concept behind ‘The Annex’ came from a thorough investigation into Goat Island, its history and its current state. Goat Island holds cultural significance in Australian history, with its layered past, as an Aboriginal Place, Mel Mel, a nineteenth century gunpowder magazine, a major shipyard and a place for the management of the Port of Sydney. The use of ‘The Annex’ as a venue of contemporary art brings a conversation of interpretation into Goat Island’s landform and history. This history, its existing architecture, landscape and wider context in Sydney Harbour, will become the backdrop to exposing layers of contemporary art. The physical layers of the site have been interpreted into a language of shape making crafting ‘The Annex’s’ built form. Arrival is at The Ship Repair workshop, a functioning precinct on the island. A prominent link is made to the richer history seen in the ‘Queen’s Magazine’.
Email harriette.rose.young@gmail.com Phone 0401237795 URL www.linkedin.com/pub/harriette-young/53/6b5/244
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An underground tunnel between the two locations exposes the physical layers of the islands landscape, while connecting periods in the Islands history. The new paths represent the new addition, a new period added to the timeline. By using the site plan, and the precinct divisions, the volumetric extrusion creating ‘The Annex’s’ form, crafts an interior reflective of its site. The interior generates areas of intimacy, public exposure and thoroughfares. It functions as a museum for art installation, and temporary exhibition display is fueled from the vast Sydney art institutions. This distinctive interior is a common ground for interpretation and integration.
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Long section through ‘The Annex’, Goat Island Visual connection, Queen’s Magazine and Ship Repair Workshop Ship Repair Workshop, gallery space level two Ship Repair Workshop, gallery space level one Queen’s Magazine espresso bar and gallery
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Children Museum of Toys
Connie Tong Zhou
Children’s Museum of Toys is a cultural facility designed as a place for the collection of toys. Children and their families seek to entertain, learn, and enhance their relationships. The museum aims to highlight the new technologies found in toys. The facilities provide a series of museums, temporary and permanent exhibition spaces, workshops, a café and an office. The primary spatial response is the relationship between human scale and the ratio of geometry in connection with the whole museum. An underground space is created between the Ship Repair Workshop and the Queen’s Magazine, connected by a large walkthrough space. The museum is designed as a giant playground to create an environment that is not only displaying exhibits, but also allows visitors to “play” when they walk through the museum.
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Diagram Children Museum of Toys at night Foyer Museum Ramp
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Message from the Dean
This year has seen UNSW Built Environment continue to develop as a leading source of knowledge focused on the design, management and construction of the 21st century city. The aspiration of the faculty is to contribute, at the highest level of academic achievement, to the making of valued and sustainable built environments. New research initiatives undertaken in the last twelve months build on the faculty’s strengths concentrating on themes that include sustainable design and development, urban typologies and emergent digital technologies. Each degree program integrates research outcomes to ensure our students are equipped with knowledge of relevance and intellectual skills to enable successful future careers in a global context. Design, including understanding evidence based design processes, is at the core of many degree programs at UNSW BE. Design is studied at every scale and in the context of achieving in the future, lower carbon industrial products, buildings and cities. Design of enduring cultural value also matters and underpins the intellectual rigor of the curriculum. Student experiences involve interdisciplinary projects to enhance contemporary relevance and utilize the breadth of discipline knowledge available at UNSW BE. This catalogue presents selected projects from our final year students. It reflects the hard work and talents of all involved. On behalf of the faculty I congratulate all the students who have completed their degree program and now become our alumni. We wish you every success in your chosen field of endeavor. In many respects, our relationship is just beginning as we look forward to your ongoing participation in the life of our university through the many events and activities that we undertake to support research and the future generations of built environment graduates.
We wish you every success in your chosen field of endeavor. In many respects, our relationship is just beginning as we look forward to your ongoing participation in the life of our university through the many events and activities that we undertake to support research and the future generations of built environment graduates. We wish you every success in your chosen field of endeavor. In many respects, our relationship is just beginning as we look forward to your ongoing participation in the life of our university through the many events and activities that we undertake to support research and the future generations of built environment graduates. We wish you every success in your chosen field of endeavor. Professor Alec Tzannes Dean UNSW Built Environment
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Alumni Profile
“I choose UNSW BE because it offered a strong architectural approach to design. My impression of other courses on offer was that they were very interior design (completely internal, no demolition) / decorating based. The degree is very broad in its curriculum. It covers good ground with regard to construction, professional development, design thinking and theoretical thinking. Having a broad range of skills on offer really helped me in securing the amazing position I have at Genevieve Lilley. It is a very holistic and rigorous place to work. I have to work hard and learn fast, but the reward is the experience and the joy of working in a highly creative studio environment.
I was lucky enough to be offered the opportunity to tutor design studios at UNSW. I love being able to participate in a forum that is about generating, testing, evolving, and debating new ideas. My role is to learn and be a mediator, to nurture and to play the devil’s advocate with new and passionate talent, it’s a very exciting opportunity. My advice to anyone considering a career in Interior Architecture would be to make sure you love what you do. Design is something that requires patience and a curiosity for all spectrums and nooks of life.”
Chantelle Kramer BIA (2010) Interior Architect Genevieve Lilley Architects
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“I CHOOSE UNSW BE BECAUSE IT OFFERED A STRONG ARCHITECTURAL APPROACH TO DESIGN.”
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Message from the Dean
This year has seen UNSW Built Environment continue to develop as a leading source of knowledge focused on the design, management and construction of the 21st century city. The aspiration of the faculty is to contribute, at the highest level of academic achievement, to the making of valued and sustainable built environments. New research initiatives undertaken in the last twelve months build on the faculty’s strengths concentrating on themes that include sustainable design and development, urban typologies and emergent digital technologies. Each degree program integrates research outcomes to ensure our students are equipped with knowledge of relevance and intellectual skills to enable successful future careers in a global context. Design, including understanding evidence based design processes, is at the core of many degree programs at UNSW BE. Design is studied at every scale and in the context of achieving in the future, lower carbon industrial products, buildings and cities. Design of enduring cultural value also matters and underpins the intellectual rigor of the curriculum. Student experiences involve interdisciplinary projects to enhance contemporary relevance and utilize the breadth of discipline knowledge available at UNSW BE. This catalogue presents selected projects from our final year students. It reflects the hard work and talents of all involved. On behalf of the faculty I congratulate all the students who have completed their degree program and now become our alumni. We wish you every success in your chosen field of endeavor. In many respects, our relationship is just beginning as we look forward to your ongoing participation in the life of our university through the many events and activities that we undertake to support research and the future generations of built environment graduates.
We wish you every success in your chosen field of endeavor. In many respects, our relationship is just beginning as we look forward to your ongoing participation in the life of our university through the many events and activities that we undertake to support research and the future generations of built environment graduates. We wish you every success in your chosen field of endeavor. In many respects, our relationship is just beginning as we look forward to your ongoing participation in the life of our university through the many events and activities that we undertake to support research and the future generations of built environment graduates. We wish you every success in your chosen field of endeavor. Professor Alec Tzannes Dean UNSW Built Environment
Faculty of Built Environment The University of New South Wales Online be.unsw.edu.au Phone +61 2 9385 4799 Email fbe@unsw.edu.au