Displace by University of Tasmania

2019 MASTER OF ARCHITECTURE GRADUATE EXHIBITION ARCHITECTURE AND DESIGN UNIVERSITY OF TASMANIA

DISPLACE | 2019 MASTER OF ARCHITECTURE GRADUATE EXHIBITION This catalogue assembles selected work by graduating students of the University of Tasmania Master of Architecture program produced in their capstone studio project (KDA772 Professional Project 2). Its publication coincides with the accompanying exhibition, “Displace”, held from 22 November–15 December 2019 in ‘The Lantern’, the newly converted Lobby of the Architecture and Design Building at the University of Tasmania Inveresk campus, Launceston. The top six students become nominees for the Barry McNeill Student Prize and the Board of Architects Prize for Professional Studies, issued in cooperation with the Australian Institute of Architects. A parallel exhibition of work by the nominees is held at the AIA Offices in Hobart from 29 November–13 December 2019.

www.utas.edu.au/architecture-design

2019 MASTER OF ARCHITECTURE GRADUATE EXHIBITION

DISPLACE 1/ To remove or shift from its place; to put out of the proper or usual place. 2/ To remove from a position, dignity, or office. 3/ To oust (something) from its place and occupy it instead. Oxford English Dictionary

SPONSORS

CONTENTS

FOREWORD

THE ART OF DISPLACEMENT

NOT AN ANCHOR BUT A MAST...

PROFESSOR GREG NOLAN

PROFESSOR JULIAN WORRALL

DR RANDALL LINDSTROM DR KYRA WOOD

PROJECTS

15 17 21 27 33 37 41 45 49 53 57 61 65 71 75 79 81 87 91 97 101 107 111 115 119

2019 GRADUATES

122

DISCIPLINE PRIZES

123

ADAM WESLEY AW LIANGJUN IMRAN BASIR FRANK GUANGWEN CHEN STEPHANIE SHIZE YING CHIN EDWARD MINH BAO DAO GEORGINA EAST ASHLEY GOH JINGWEN HUO ARTHUR HUI CI LAU JAMIE SHU MIN LOOI JIE JUN LOW HAO OUYANG JARED ZHI XUN PAN KA YIN PECK SARAH JU LEEM QUAH DYLAN ROWBOTTOM JULIAN CHIN LIANG SEE DOREEN WAN PING TAY HOLLY ALEXANDRA THURSTON-DOYLE KATHRINE REGITZE VIIRENFELDT VAND JONATHAN YEN CHEE YAP JACOB YIE LIN YEO TOMMY ZHAOHAO YEO ERIC YIH YEONG YONG

FOREWORD Professor Greg Nolan Head of Discipline, Architecture and Design This catalogue presents work from the capstone studio for final year Master of Architecture students from the University of Tasmaniaâ&#x20AC;&#x2122;s Discipline of Architecture and Design. For these students, this work represents the culmination of their education journey, and the stepping-off point for their careers in architectural and design practice, whether in Tasmania, throughout Australia or around the world. For them, now is the time to apply what they have learned, earn a living through it, and contribute their skills to the profession and to society at large. This document is also tangible evidence of the changes being introducing to reinforce the Disciplineâ&#x20AC;&#x2122;s connection with the building design professions. These changes are, among other things, helping to ease the transition from academic life to the world of professional practice. Parallel graduate exhibitions in Launceston (the main graduate show), and in Hobart (the Barry McNeill Student Prize Exhibition, held in cooperation with the Australian Institute of Architects) helps reinforce links between the students, the discipline and the profession. This year we have also introduced Work Integrated Learning into the degree program, enabling students to be placed with firms and shadow practitioners in their day-to-day activities, further cementing the connection. These placements will soon expand beyond Tasmania to practices around Australia and internationally. This has been a challenging but highly rewarding year of renewal in the Discipline. In 2019, we introduced new course structures to the Architecture degree program and launched a new course in association with the School of Creative Arts and Media: the Bachelor of Design. These changes are significant. For the first time in almost two decades, Architecture and Design is again delivering face-to-face units in Hobart, creating a transition for students from the south of the state to joining our Inveresk campus. A similar model is being developed for students from the Northwest. Over the past year we have also welcomed four new staff members, Professor Julian Worrall (who has curated the Graduate Exhibition and edited this catalogue), Associate Professor David Beynon, Dr Georgia Lindsay and Dr Mark Sawyer. Each has brought significant and unique skills to the academic team and real commitment to architectural and design education in the state. The next few years will continue to be exciting for us here at UTas Architecture and Design. The roll-out of our new degree and course structures will 4

continue and the change they represent consolidated at Inveresk but also in Hobart. A new and much larger router arrives in the workshop in 2020 to replace our current aging machine. Significant new opportunities in research and teaching are enabled by these investments and commitments. More broadly, momentum is building in the University’s Northern Transformation Program. Revitalised education and research agendas are being developed for a larger and more active Inveresk campus. A tangible sign of progress is transformation of the Lobby within our own Architecture and Design building into “The Lantern”, a flexible professional gallery space, to be managed jointly with the Powerhouse Gallery collective. As these are realised, academic and community activity around Inveresk will intensify and opportunities for our students increase. Taken together, these developments demonstrate the ongoing vigour of architectural education at the University of Tasmania, and represent a worthy marker of the 70th anniversary of the establishment of degree programs in architecture in this state. We will be celebrating this milestone over the coming year with a range of initiatives, branded by our anniversary moniker “Inhabit”. It is a great time to be associated with Architecture and Design at the University of Tasmania. Finally, I would like to warmly congratulate the students whose work is presented here and wish them well in their future careers.

THE ART OF DISPLACEMENT Professor Julian Worrall Coordinator M.Arch Professional Project 2 Curator and Editor, ‘Displace’ Graduate Exhibition 2019 There is, in Tasmania, an abiding belief in the power of place. Whether sourced in the indigenous attachment to country; or the haunted recesses of its colonial history; or the beguiling landscapes of its uplands and coastlines; or in simply being an island separated from a mainland, a distinctive sense of place underpins the idea of a special Tasmanian identity. For students of architecture at the University of Tasmania, this orientation towards a ‘topophilic’ sensibility is reinforced by both the institution and the discipline. Unlike more fleetfooted artforms or mass-produced products, architecture is still largely made by hand and bound to site and situation, framing and shaping the place it occupies. In this, it bears a resistant quality to the various ‘liquefactions’ of modernity – trade, travel, commodification, electronic communications. These are all modalities of displacement, ways of evading or overcoming the bounded and rooted nature of place. There is a paradox lurking here. For the vast majority of the graduating cohort of the Masters of Architecture are not from this place called Tasmania. While in their studies they may have honed their sensitivity to site and atmosphere to master the art of architecture, in their lives these students – whether hailing from Malaysia, China, Vietnam, or Denmark – are already masters of the art of displacement. They are already ‘out of place’, already displaced. As such, they bear knowledge we can learn from. As we are all now displaced, to an ever-increasing degree. It is in their responses to this contemporary condition of displacement that we can find the potential of these young architects to advance the discipline and contribute to society at large. Whether it is through articulating a new sublime via confrontation with our environmental impact; or through the recuperation of the languages of artistic tradition in modern forms; or juxtaposing the worlds of children and the elderly through life-affirming playfulness, the best of these projects show how techniques of displacement - of bringing together that which has been separated - can yield resonant new places. In these projects, in this exhibition, and in the pages of this catalogue, I detect the outlines of an invigorated future for the architectural discipline in Tasmania, an outline that I hope to flesh out over the coming years. I offer my sincere gratitude to those who contributed to the studio, and warm congratulations to all this year’s graduates on their achievements. 6

NOT AN ANCHOR BUT A MAST... Dr Randall Lindstrom Dr Kyra Wood Studio Leaders Often, the works that comprise this sort of exhibition are referred to, metaphorically, as the “capstones” of an architectural education or as a “milestone” in an unfolding architectural career, but they would be most accurately referred to as “place markers.” Each marks the placedness—importantly, not just the placement—of project and designer; a placedness already changed by the very emergence of the project. Indeed, each project is a response not merely to a place but to the fundamental concept of place—to all that is part of some situation that place holds, and thereby also affecting those situated people who would propose architectural responses. Thus, the designers of these projects have, themselves, been changed by their propositions of change. Such is likely to be a career-long experience. With each project, these now-graduate architects will grow. That is why architecture is a profession even for the “old”—perhaps especially so, says one who is growing older! From this member of the class of 1977 to those in the class of 2019, I offer some simple advice. Keep listening to place. Unlike the manifestos of architecture—those often ending in “ism”—place will not direct you to particular notions of design, but it does “speak,” and profoundly so. Listening attentively to place is far more difficult, but much more reliable, than yielding to personal whimsy. Be prepared, however, for place to sometimes call for the whimsical (or, yes, sometimes even the risky or grandiose). Thank you for the privilege of teaching you and for the opportunity to learn so much by doing just that. - Dr Randall Lindstrom I had the great privilege this year of working with eight students towards the completion of their Masters degrees: congratulations to the whole class, but in particular to Stephanie, Eric, Kat, Holly, Julian, Arthur, Jared, and Edward. Each week I was heartened and inspired by their collaborative, ethical and courageous design work, commitment to the studio, and to their own individual learning processes. Our time together has now passed, and I am deeply curious about what lies ahead for these outstanding women and men as they venture in new directions. Regardless of what trajectories their lives take now, I have no doubt that each of them will be sustained by what they have learned, the strong relationships they have built with their peers, and hopefully a deeply instilled, ever-present love for architecture and design. - Dr Kyra Wood 7

â&#x20AC;&#x153;This year we have introduced Work Integrated Learning into the degree program, enabling students to be placed with firms and shadow practitioners in their dayto-day activitiesâ&#x20AC;? 9

â&#x20AC;&#x153;Over the past year we have also welcomed four new staff members. Each has brought significant and unique skills to the academic team and real commitment to architectural and design education in the state.â&#x20AC;?

“A tangible sign of progress is the transformation of the Lobby within our own Architecture and Design building into “The Lantern”, a flexible professional gallery space, to be managed jointly with the Powerhouse Gallery collective.” 12

KDA772 Professional Project 2 is the UTas version of the â&#x20AC;&#x2DC;thesisâ&#x20AC;&#x2122; studio - traditionally the culmination of architectural education. The focus of the unit is on individually defining and developing in depth a project of substantial ambition and significance. The project provides the peak demonstration of professional skill and competence for an aspiring architect, and constitutes the principal articulation of their position, orientation, and future aspiration within the field at the conclusion of their formal education. 14

PROJECTS

A Music Academy that Embodies Multicultural Singapore through Fusion

In the 1990s, Singapore set a goal to transform herself into a Global City of the Arts – a creative hotspot in Southeast Asia capable of attracting international artists to her shores. Achieving this goal involved a dialectical process of ‘going-global’ while ‘staying-local’. Singapore had to construct world renowned music facilities and performance venues while nurturing her own homegrown talents to be able to step up to the world stage, otherwise Singapore would just be an artistic hollow shell for international artists who come and go. Today, Singapore has achieved just that. Music venues such as the Esplanade Theatres by the Bay are familiar names to artists worldwide. Music institutes now award recognized Bachelors and Masters degrees in music. While these have transformed Singapore into an artistic haven, there is however still a distinct lack of support and awareness of local music. A survey in 2017 showed that a majority of the general public in Singapore are not knowledgeable about Singaporean musicians. Even if they are, there is an impression that local music is not good enough. While music institutes in Singapore have improved greatly over the decades, their courses are revolve around western music and ideologies; these are also considered to be ‘high fashion’ or aesthetic. This is the polar opposite of the multicultural identity of Singapore which Singaporeans pride themselves on. While there are many elements of the quotidian Singaporean life which are rooted in multiculturalism, such as the Singlish dialect and hawker stalls, music in Singapore is void of such local flavour.

ADAM WESLEY AW LIANGJUN

The Singaporean Motif

Apart from attracting and informing the public about the potential of local music, the music academy will also be a place of collaboration. This involves working closely with existing formal music institutes and existing arts festivals, with its location optimised for both agendas.

STUDIO WORRALL

This music academy, situated in the heart of the city, will create an informal setting for music education that can attract the public and help Singapore discover her musical identity, or motif. Musical concepts such as motif and rhythm, and the idea of fusion as a representation of multiculturalism, drive the design of this music academy. Two key spaces, the Flexible Performance Space and the Recital Hall, represent informal and formal nodes respectively, with the other academic and public spaces fusing and linking them together.

CONCEPT

GF PLAN 18

This music academy, situated in the heart of the city, will create an informal setting for music education that can attract the public and help Singapore discover her musical identity, or motif.

Demountable FIFA World Cup Stadium, Mexico City

Throughout the world lie oversized, under-utilised stadiums left in the wake of sporting mega-events they once hosted. Domestic sports events rarely attract crowds of adequate volume to viably maintain such structures, providing little benefit to the community while burning holes in the ownersâ&#x20AC;&#x2122; pockets. How can the design of sports mega-event architecture be re-thought to create a more sustainable yet tangible memory of the events while also addressing the specific needs of its host city? Following key concepts of demountability and modularity, this project develops a design that addresses the temporality of mega events by exploring the possibilities of using one problem to solve another, minimising waste and liabilities through maximising utility.

IMRAN BASIR

Modulos de Mexico

Mexico City won the bid to co-host the 2026 edition of the FIFA World Cup, and currently faces a myriad of urban problems, such as poor water supply and drainage infrastructure. Using Mexico City as an example, this project proposes the design of a stadium worthy of hosting the World Cup, while also able to improve urban support systems through the transformation of its demountable components into various possible support infrastructures, such as water storage facilities and public gathering spaces following the event, leaving behind a stadium suitable for domestic scale sporting needs.

STUDIO WORRALL

This project seeks to give place to temporary global scale events, and in doing so, increase the potential associated economic and social benefits. Should this concept prove viable, it will widen the loop of benefits enjoyed from such mega-events to include a greater portion of the city, including otherwise marginalised communities. The same principles can be applied to stadiums for any sport in any city throughout the world, each responding to their respective host cityâ&#x20AC;&#x2122;s urban problems, thereby creating unique design outcomes. Fans are the lifeblood of sports, making this a golden opportunity for the multi-billion-dollar industry to give back to the people.

â&#x20AC;&#x153;This project seeks to give place to temporary global scale events, and in doing so, increase the potential associated economic and social benefits. â&#x20AC;&#x153;

CONSTRUCTION

CONCEPT

Research suggests that rates of stress are increasing. In particular, stress is more prevalent among young people 18-24 years old due to multiple factors, including dimensions of school, family and social life. As stress becomes ubiquitous, so too does the notion of ‘well-being’ play an increasingly prominent role in our lives. After researching various accounts of well-being, the importance of natural, intellectual and spiritual aspects are found to recur across many different theories. They are recognised as fundamental dimensions of how people manage and mitigate stress. ‘Nature’ here broadly refers to “greenery”, a kind of environment rather distinct from the heavily built-up surroundings that characterise urban environments. Although in such environments we are inevitably still enmeshed in nature, this is not the nature that may be regarded as a primary or originary nature. The important elements in this wilder nature include greenery, sunlight, water and other sensory simulations.

FRANK GUANGWEN CHEN

Forest Undefined

The intellectual dimension of well-being can be understood as the contribution that thinking and knowledge makes to supporting human well-being. Following Descartes, thought is almost equivalent to life itself, and our survival is predicated on thinking, both individually and collectively. Knowledge helps us think better, live better and be better.

According to Sternberg, a window provides a portal which allows one to escape from a present painful situation by facilitating imagination. Architectural elements always guide and lead human behaviours, create diverse experiences. A variety of spaces, with their various experiences, are found in this library, including a gallery, café, individual learning, group learning, object-based learning, reading, napping and meeting spaces. Fostering the feeling of being in a forest and increasing the diversity of spatial and experiential options nourishes thinking, and hence well-being.

STUDIO WORRALL

The library is an architectural typology whose very reason for being is thought and knowledge. With its main focus being environments supporting human well-being, this project consequently takes this typology as its starting point. Louis Kahn said that the schools began with a man under a tree who did not know he was a teacher, sharing his realisation with a few others who did not know they were students. The concept of knowledge shared under the tree links the architectural typology of the library to the ecological typology of the forest. This provides the guiding metaphor of the design.

CONCEPT

â&#x20AC;&#x153;Fostering the feeling of being in a forest and increasing the diversity of spatial and experiential options nourishes thinking, and hence well-being.â&#x20AC;?

ELEMENTS

SYSTEM

An Urban Self-Repositioning Centre in Sabah, Malaysia

In Malaysia, mental illness is a common affliction for people who both live and work in the city. City dwellers are often caught up with their daily routine and have no time for themselves to be away from the city to de-stress and rejuvenate. This situation calls for a place where city-dwellers can effectively unwind in the urban setting; a place that provides a ‘getaway’ for people to slow down and wind down in the bustling city; a building that allows people to reconnect with and refocus on themselves, through experiencing a space with all their bodily senses. Therefore, a self-repositioning centre is proposed in Kota Kinabalu, Sabah. The project draws on the fundamental elements, water, earth, air and fire as the basic foundation of the design approach, to help stimulate all of the bodily senses. This project researched and explored the possibility of architecture to offer a spiritual escape that supports people to reflect and meditate to achieve a greater sense of wholeness. The building aims to inspire quiet, inwardness and stillness to help the city-dwellers redirect and regain balance in their lives and in the busy urban setting. Simple, everyday self-guided rituals can be performed in the building, for example, through book reading, meditation, walking or contemplation. The proposed design includes three different characteristic spaces that allow users to perform these everyday rituals: The Lobby, the Odyssey, and the Experiential Framework.

STEPHANIE SHIZE YING CHIN

Unwind to Tranquility

STUDIO WOOD

In conclusion, the building is intended as an escape, a ‘black hole’ in the city, drawing people into the building and providing an alternate realm where visitors may achieve inner stillness through performing rituals and engaging their bodily senses. The building’s purpose is to slow down the pace of the city, allowing visitors to pay attention to their emotions and thoughts; to sit still and empty themselves.

earth water air fire emptiness

CONCEPT

â&#x20AC;&#x153;The building aims to inspire quiet, inwardness and stillness to help the city-dwellers redirect and regain balance in their lives and in the busy urban setting.â&#x20AC;?

Soft Skill Centre

This is a design proposal for a soft skill center in Ho Chi Minh City, Vietnam, which aims to support recently graduated university students to develop the interpersonal and communication skills they need. The proposed building is located at the current Youth Culture House in the center of Ho Chi Minh city, surrounded by a variety of office buildings and universities. The underlying concept for this design proposal derives from an architectural interpretation of non-verbal, interpersonal communication skills; one of the most important soft skills. This non-verbal communication includes three main elements: body language, rhythm and touch. The focal points of this design proposal include a Sloped Labyrinth which aims to normalize the studentsâ&#x20AC;&#x2122; experiences of everyday work stress using the designed space to challenge psychological tolerance, by gradually pushing people out of their comfort zone. Another focal point is the Free-floating Market which metaphorically represents a traditional Vietnamese floating market, where students can practise trade and negotiation skills. Although the Free-floating Market his has no water or boats the traditional spatial arrangement of people trading on the water is kept thanks to two curved ramps inferred from water flow. Other programs include a team building area, problem-solving rooms, fashion shop, technology shop, and self-serve cafe which aim to help shape the studentsâ&#x20AC;&#x2122; habits and build knowledge they may not have learned through theoretical university lessons.

EDWARD MINH BAO DAO

Communis

STUDIO WOOD

It is hoped that the proposed design will help to address the issue of a mismatch between soft skill supply and demand in the Vietnamese labour market, and also create a space where soft skill specialists can test and apply their research into boosting peopleâ&#x20AC;&#x2122;s performance in the workplace.

vehicle entrance escape rooms car park conference room

main entrance

pond

â&#x20AC;&#x153;It is hoped that the proposed design will help to address the issue of a mismatch between soft skill supply and demand in the Vietnamese labour market,â&#x20AC;?

admin lobby dia dao cu chi foyer

plant room

male toilet changing room

female toilet

pla a

female toilet

lua moi area

selfserve cafe

fashion shop technology shop

lecture hall

male toilet

cho noi

cho dem occasional

CONCEPT

gesture

rhythm stead of immune system. ,

touch

Education, Personal well-being, Professional help, Inclusive spaces.

An epicentre is the point where something starts, and where it is felt most strongly. Launceston currently has limited access to a centralised well-being centre that can cater to variety of needs and help to improve overall well-being and mental health. With one in five Australians aged 16-85 experience a mental illness or mental health related issue in their lifetime and it has been shown that having access to treatment and support services has a notable effect to 75% of people.

GEORGINA EAST

The E.P.P.I. Centre

The E.P.P.I. Centre is a desire to create an environment that is healing, efficient, safe and less institutional than conventional approaches historically utilised. A centre aimed to be free of prejudice, where diversity can be celebrated, and anyone is welcome. The E.P.P.I. Centre provides the community with a hub where individuals can holistically achieve wellness to improve personal health and reach their goals. The centre introduces vocational training, alternative therapies and support in a non-clinical environment, with an aim to provide independence, healing and regeneration for the whole community while informing and promoting the benefits of understanding one’s mental health and well-being. To achieve its goals the E.P.P.I. centre has been looked at through the lens of a “bridge”. Both literally and metaphorically. It is a: • A bridge to well-being • A bridge from past (Existing) to present (New) • A bridge from the river to the city • A bridge from individual to community • A bridge from private to public, and public to private

Education, Personal well-being, Professional help, Inclusive spaces. A mental health and well-being community centre that offers a “non-clinical clinical” environment for regeneration, support and growth.

STUDIO LINDSTROM

• A bridge to understanding

SITE ANALYSIS

ACTIVE EDGE

FLOOD ZONE

GREEN SPACE

“The E.P.P.I. Centre provides the community with a hub where individuals can holistically achieve wellness to improve personal health and reach their goals.”

FF PLAN

Wayang Kulit Kelantan (or Kelantanese Shadow Play) is a traditional theatre that can be found in the state of Kelantan (northeast of Peninsular Malaysia). It is performed by projecting light onto flat leather puppets, creating shadows on a white screen separating the backstage and the audience. Although this Shadow Play is one of the oldest cultural forms in Malaysia, society has lost connection with these practises due to political and religious restrictions decades ago. Today there is a renewed desire to revive these traditions. However, conservation that removes tradition from its context and people will not sustain a tradition in the long run. The best way to keep a culture alive is to make sure it remains relevant to modern society and be regularly practised and learnt by the communities and different generations.

BARRY MCNEILL STUDENT PRIZE NOMINEE

Living Museum of Traditional Kelantanese Shadow Play

ASHLEY GOH

The Tension of Light and Shadow

STUDIO LINDSTROM

This situation presents an opportunity for re-enacting the continuity of these vanishing cultural heritage with the establishment of a museum, theatre, learning and research centre to rekindle these traditional practises. This project, therefore, proposes such facilities in Kampung Laut, Kelantan, a village where the remaining Shadow Play puppeters can still be found. The design intent is to emblematise the art by portraying the tension of light and shadow through architecture. The design is inspired by the traditional belief that the shadow play stage is of the sacred world, separated from us by the theatre screen. The proposed building is composed of solid and void spaces bounded by translucent faรงade that resembles the theatre screen. During the day, the exterior appears to be a solid cube. During the night, the building transforms into the theatre screen and reveals the figure-ground of light and shadow of the interior spaces. If realised, such a project not only will memorialise and revive Kelantanese Shadow Play, but also advance the art through modern materials and architecture.

“The design intent is to emblematise the art by portraying the tension of light and shadow through architecture.”

SITE

CONCEPT

There exists, in contemporary China, a situation in which many Han Chinese sadly find themselves culturally incompetent as they do not fully recognise or understand Hanfu - the traditional clothing of the Han Chinese people. Worse yet some are unaware of its existence at all. This epidemic is a paramount issue that threatens the identity of Chinese culture and must be rectified. This eminent concern is a calling for a demographic reinvigoration of Hanfu and allow it to be re-introduced to Han Chinese people, a key for improving both cultural confidence and competence. A demographic reinvigoration will also give the rest of the world a perspective on Hanfu and will aid it in further understanding Chinese culture.

BARRY MCNEILL STUDENT PRIZE NOMINEE

A Cultural Center Showcasing the Traditional Costumes of Han Chinese

JINGWEN HUO

The House of Hanfu

The House of Hanfu tells the story of Hanfu culture, starting from the original conceptual pattern of the most primitive Hanfu designs and then progressively guiding the visitor to experience the current situation of unearthing the Hanfu culture. The arrangement of the narrative presents a kind of evolutionary journey showing how Hanfu has flourished from its inclusiveness and a continual dynamic development as a result of its acceptance and integration of elements from different national costumes. Subsequent sections encourage people to explore the cultural values and beliefs underpinning Hanfu in the process of reflecting on its history, inspiring hope for the prosperity of Hanfu culture in the future. The design relies on the delicate relationship between human skin, clothing and architecture to reinterpret special fragments of Hanfu design, such as its unique shapes, overlapping fabrics, and soft and light textures through architectural language to transform and enhance the human experience of Hanfu. The House of Hanfu is not only a further exploration of the architectural design of exhibition spaces, but also a new attempt to demonstrate and revitalise traditional culture through the architecture itself.

STUDIO WORRALL

This project proposes a new Hanfu Cultural Center in the cradle of Hanfu - the city of Xiâ&#x20AC;&#x2122;an. The aim is to showcase the charm of Hanfu in its own right rather than just supplying a box for Hanfu collection. The project explores and develops contemporary cultural centre designs, including facilities for exhibition, education, research and performance. This program supports and unearths Hanfu culture to encourage a revival of Hanfu traditions, with the architecture itself becoming an exhibition of Hanfu qualities, showcasing the embodiment of traditional cultural values and principles of Han nationality.

CONCEPT ra

ent of

anfu

or of the roof fabric ceilin han in

acade desi n - y shape collar ti ber screen i ht side is covered on the left side

he he t tirlin irlins irt s irt - -hoho s s the the state state of the of the fabric fabric is flutterin is flutterin hen hen spinnin spinnin

ront vie

utside vie

nside vie

ell a series of the story durin the up ard ourney

â&#x20AC;&#x153;This program supports and unearths Hanfu culture to encourage a revival of Hanfu traditions, with the architecture itself becoming an exhibition of Hanfu qualities.â&#x20AC;? C

of the unearth ourrin the ourney - the of the anfu culture

ntinue to connect the research area rovide the possibilfor the visitors to plore further

C C

i e-base or ani in

r in four prossively elevated hibition spaces for porary rovin hibitions

le ents fro different ethic have influenced hanfu desi n

ROOF SERVICES

28. Building Services Room ( AHU Central Unit, Lift Motor Room ) 29. Roof Services Platform 30. Customised Roof Glazing ( Sky Lighting ) 31. Customised Angled Flat Room ( Fall to Gutter ) ( Roof Edge Iron Plate Facade Connect Finish )

30 28

29 30

25 26

RESEARCH & DEVELOPMENT

27 28

16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28.

24 17 16 23 22

Lift Lobby Amenities Research & Development Experiment Pool Hatchery Room Hatchery Store Room Freezer Room Broodstock Room Research Laboratory Culture Room Hatchery Culture Room Nursery Micro Laboratory Nursery Room Quarantine Room

21 18

20 19

14 16

EXPLORE & DISCOVER

8. 9. 10. 11. 12. 13. 14. 15. 16.

Lift Lobby Amenities Broodstock Workshop Room Freezer Room Hatchery Processing Area Quarantine Room Loboratory Workshop Micro Laboratory Nursery Processing Area

13 11

GATHERING , LEARN & PRODUCTION

4 6

0. 1. 2. 3. 4. 5. 6. 7.

3 2 1

Outdoor Park & Plaza Foyer , Product Retails, Information Counter Lift Lobby Amenities Aquaponic System Area Hatchery & Nursery Area Farming & Breeding Area Restaurant, Bar & Public Kitchen

Land-based Aquaculture Discovery Center

Globally, there has been a degradation of both the quantity and quality of marine life due to the gradual destruction of coastal ecosystems, and marine aquaculture is one of the significant contributors to that destruction. This situation calls for landbased alternatives to nearshore or offshore aquaculture facilities that pose fewer risks to the marine environment. Embedded in that call is an opportunity for the design of an experiential, learning-based facility that is conceptually composed of two key elements; production and educational spaces. This project proposes a complete rethink of the aquaculture typology by creating a hybrid facility that combines industrial production, progression, and research with an educational experience, instead of a typical industrial complex or aquarium where the processes and production is hidden from view.

ARTHUR HUI CI LAU

Resurfacing the Lesson of Atlantis

STUDIO WOOD

This type of facility will offer a new platform for the local community to be involved in, to experience, and to understand how aquaculture contributes to the deterioration of marine life and the environment, and the impact of this on humanity in relation to food security. It is hoped that if realised, such a project could increase the city dwellersâ&#x20AC;&#x2122; environmental awareness and help in the conservation of the marine environment.

CIRCULATION

This project proposes a complete rethink of the aquaculture typology by creating a hybrid facility that combines industrial production, progression, and research with an educational experience.

Project Immerse is a tower that aims to elevate the awareness and understanding of cosmological knowledge through arts and science. This project responds to the neglect of Australian’s southernmost planetarium which was built a half-century ago, as well as the gradual decline of cosmological knowledge in society in general. The project is proposed to be located at Stony Creek, Dunalley due to the proximity between the two most visited places of Tasmania, Hobart and Port Arthur. Apart from taking in consideration the expansion of future tourism movements between these locations, the minimal light pollution of the town due to the low population growth has been the vital factor of the development of this project.

JAMIE SHU MIN LOOI

Project Immerse

The shape of the surrounding landscape is derived from the pattern of the astronomical clock, seating on the zodiac plate. Meanwhile, embedded in the tower itself are three distinct spatial experiences. They are categorised as (1)‘Reality’, (2)‘Representation’ and (3) ‘Interpretation’. Each occurs at different heights in the tower. ‘Reality’ is located at the top of the tower, where the genuine scene of the universe is exposed directly to the visitor. ‘Representation’ is depicted as a symbolic manifestation of the universe through the ‘Great Orrery’, which is a stage through which the universe is projected in mechanical form. ‘Interpretation’ is located at the lower level, a dimension where the universe is depicted in the form of various artistic installations. These arrangements are made to show the transition of the study of universe from the past to future. ‘Reality’ as the past, ‘Representation’ as present and ‘Interpretation’ as the future.

In conclusion, Project Immerse is an avant-garde approach in the architectural field as an exemplar where the universe can be interpreted through the merging of art and science. In doing all of this, the sense of our existence within the universe will be heightened.

STUDIO WORRALL

In spatial and formal terms, the project makes conscious reference to precedents in which science inspired architectural invention, including Etienne Louis-Boulleé’s Cenotaph for Sir Isaac Newton, and the Shukhov Tower in Moscow from the Russian Constructivist period.

CONCEPT

â&#x20AC;&#x153;Project Immerse is an avant-garde approach in the architectural field as an exemplar where the universe can be interpreted through the merging of art and science.â&#x20AC;?

The Laboratory of Malaysian Food is a museum to conserve and advocate the local food culture of Malaysia and to revitalise local tourism with fresh and vital attraction. The site of the project is located in the city centre of Johor Bahru (Johor, Malaysia) opposite the Zahara Botanical Garden. The propose of the project will also help rejuvenate the site by demolishing the abandoned shopping complex that has marred the local cityscape for the past eighteen years.

JIE JUN LOW

Laboratory of Malaysian Food

The key aim of the project is to celebrate and advance the traditional local food culture of Malaysia as the inheritance of much of the traditional food preparation techniques has failed to be handed down to the next generations due to contemporary lifestyles. The design of the project is inspired by the grid pattern of the traditional fish farm (kelong) and paddy field in Malaysia. The project also explores the built pattern of the near-extinct traditional fish farm that can be found around the Malaysia coastal areas since early times. The grid element not only act as a stencil for the planning of the museum, it also inspired the design of the built fabric of the museum.

STUDIO LINDSTROM

The project includes five parts: (1) the research centre; (2) the cooking centre; (3) the exhibit centre, (4) the restaurant, and (5) the fish farm/planting floating module. The project aims to create a giant food playground that offers a different level of food-related experiences for visitors of all ages and nationalities to interact with local food and local food culture through exhibits, cooking, eating and other interactive activities. The visitor also gets to experience the growing and harvesting of food through traditional agriculture and aquaculture activity on the proposed floating module. Moreover, the project not only serves as a museum for the general visitor to experience the journey of food but also offer a place to meet and exchange knowledge for researchers and those who wish to contribute to the local food culture. This will help the advancement and inheritance of Malaysian local food culture.

CIRCULATION

â&#x20AC;&#x153;The key aim of the project is to celebrate and advance the traditional local food culture of Malaysia as the inheritance of much of the traditional food making techniques has failed to be handed down to the next generations due to contemporary lifestyles.â&#x20AC;?

CONCEPT

Griding

r ding

ing

This is a futuristic project about big data and humanity. In the future, data will accompany humans through life. We complete data, data completes us. What we are leaving at the end of our life, is not only found in the columbarium but also in our digital legacy. Were the digital materials to disappear that would truly be death. Human beings are living in a simulated world and we are increasingly overwhelmed by the data we have generated everyday, with humans relinquishing authority to the algorithms because we can no longer deal with impossible amounts of data. As a result, we see data as dehumanisation and eventually we might dissolve within the data torrent like a ripple in a gushing river. However, technology is a double-edged sword, bringing with it both advantages and disadvantages. We could use the power of big data to do something good and find a way to rehumanise the data, to immortalise the digital legacy of human beings and share to the future generations through a new way of constructing memory with digital language.

BARRY MCNEILL STUDENT PRIZE NOMINEE

A Data Cemetery

HAO OUYANG

Bits of Being

STUDIO LINDSTROM

This project aims to design a new kind of data cemetery at the Museum of Old and New Art (MONA) site near Hobart to celebrate, memorialise and experience the data of human beings in various resolutions based on the data format (text, audio, image, video and digital human) and through a new approach to its construction method. This is based on a computational understanding of the discrete architectural parts (pieces that are as scalable, accessible and versatile as digital data) and is achieved by using a grasshopper script (voxelization). This data cemetery stands to redress data as dehumanisation rather than helping humans to be more humanised. Moreover, it reforms the cemetery typology from passive to active, from symbolic to informative. The data cemetery blurs the boundary between life and death, creating new forms of expression and communication with the deceased in order to reshape human experience at the cemetery in an innovative way.

GENESIS

â&#x20AC;&#x153;The data cemetery blurs the boundary between life and death, creating new forms of expression and communication with the deceased in order to reshape human experience at the cemetery in an innovative way.â&#x20AC;?

CONCEPT

Off the coast of the city of Kota Kinabalu, Sabah, in Malaysia, is the tropical island of Pulau Gaya. The island is home to a plethora of flora and fauna, from birds and monkeys on land to the marine life that swims below the waves. With such rich natural resources, it is no surprise that this area has become one of the prime tourist locations for Kota Kinabalu and is gradually attracting more tourists annually. However, contrastingly around the other coast of the island is a slum that consists of a population of refugee-turned-immigrants from the nearby Philippine islands. They have widely populated the coast of this island because the local government has sidelined them away from the city.

JARED ZHI XUN PAN

Reuse-Recycle-Retreat

STUDIO WOOD

This project proposes that architecture can play a role in mediating these two contrasting elements of the wealthy and the impoverished in Pulau Gaya. My proposal is for a sustainability-focussed tourist retreat that can be built by relatively unskilled workers from the migrant community, reusing discarded and sustainable materials within its construction. Thus, an underlying design driver for this proposal is low-key, simple, modular construction systems using human scaled and easily manageable components. Given its coastal location, and preference for natural and organic materials, there is also a temporal aspect to the design, as many elements will require ongoing maintenance and replacement. In this way, the project aims to offer an ongoing employment opportunity for the migrant community, to help elevate them out of poverty and hopefully develop valuable construction and carpentry skillsets, whilst also providing a viable revenue outlet, and further boosting the local tourism sector by introducing a unique retreat experience.

CONCEPT

â&#x20AC;&#x153;My proposal is for a sustainability-focussed tourist retreat that can be built by relatively unskilled workers from the migrant community, reusing discarded and sustainable materials within its construction.â&#x20AC;?

ELEMENTS

SYSTEM

There are many heritage buildings left abandoned in Malaysia. The Pillar of Sabah is one of them. It was a colonial office building where the British colonial administration used to manage the land titles in the vicinity of Kota Kinabalu (then known as â&#x20AC;&#x153;Jesseltonâ&#x20AC;?). Mysteriously, the building burned down in a fire 35 years after the formation of Malaysia, with only the columns of the main space as well as the storage room remaining, and now left forgotten in the process of decay.

KA YIN PECK

Place for Grieving

This proposal is intended to reactivate the site and raise awareness of the importance of historical ruins. It should not only respect the site but also present its historical character in an innovative manner. The collective memory that the design articulates is intended to reinforce peopleâ&#x20AC;&#x2122;s memory regarding the history of the country. The keywords for this project are excavating, reviving and reflecting. Firstly, excavation is used as a way to rediscover the past. By excavating another two levels into the site to accommodate an archive space, the proposal not only provides more space for this function, it also reveals the foundations of the ruin for viewing and study. Secondly, reviving the place through reimagining the present. The residual columnar space, currently covered with graffiti, should be well protected to prevent further vandalisation while retaining the current sense of an open space. To fulfil these requirements, a toughened glass structure with additional columns to support the upper floor is proposed. The floor level of the columnar zone is further excavated, brutally exposing the edge of the original floor, so that when people walk in the change between the original and new floor levels is made obvious.

This proposed building will be a memorable and lively place, educating people about the history of the place and encouraging reflection on the contemporary situation.

STUDIO WORRALL

Thirdly, it is a place for reflection or grieving. The upper floor is a specimen museum of endangered flora and fauna, which strongly contrasts with the decaying and abandoned heritage ruins. Currently in forests are being deforested to give way for urbanisation, causing some species extinctions, while ironically some buildings are also left abandoned and decayed. The project encourages consciousness and reflection on this issue.

DESIGN PROCESS

“The collective memory that the design articulates is intended to reinforce people’s memory regarding the history of the country.” CONCEPT

BATHURST ST

FOOD

CONCEPT

SPIRITUALITY

ARTS

KNOWLEDGE LIVERPOOL ST

Food, Arts, Knowledge and Spirituality

In Australia, there is a burgeoning population of culturally diverse individuals often finding themselves without a common ground. In Hobart, the situation becomes even more focused, as the University of Tasmania consolidates its Southern campus to the inner-city with a significant need to focus on cultural diversity, particularly to mediate the ambiguity and anxiety that arises from the proliferation of cultures. One such way to accomplish that might be to establish a focal point where individuals of native and non-native origins can converge and engage in cultural exchange. This project therefore proposes the Cultural Currencies Exchange – where cultural ‘currencies’—more specifically, food, arts, knowledge and spirituality, from various cultures— can be exchanged within Hobart’s Central Business District, which is now destined to also be the university campus.

SARAH JU LEEM QUAH

Cultural Currencies Exchange

Located on a quadrangle lot between existing buildings, the project site also has a gradual fall of 4 metres. Louis Kahn once said, “the street is a room by agreement, a community room with walls of which belong to the donors.” The proposed design addresses the relationship of the building with the site by treating the length of the site as a street. The four currencies occupy each of the quad-facing corners of the site, while an outdoor amphitheatre is integrated with the sloping street which acts as the axis where the functions of the four currencies would coalesce and interact with the urban fabric of the city. This design further emphasises the duality of the street as the main connector between the rooms and the surroundings, while also being an interface of social, commercial and civic expression. If realised, such a facility will become an urban interface for the fundamental human expression of culture, identity and community for Hobart and the University. It would potentially raise economic and social interest from businesses and socio-cultural organisations which would contribute to the activity of the Exchange. Ultimately, it will be a place where people of diverse backgrounds can share their cultural sensibilities with one another and with the wider community.

MINE

SHAFT

hEADfRAME

TUNNEL

INTERNAL hEADfRAME

MAIN DECLINE

HAULAGE LINE

PUNCH IN

In architecture, contemporary conceptualisations for the idea of environment is presented either through the positivist overtones of management, efficiency and performance or through apocalyptic narratives of catastrophe and conservation. At this juncture, rather than seeing the environment as something merely systemic, and therefore needing to be managed and maintained, or as purely natural, needing to be preserved and protected, can we instead talk about an alternative opportunity in architecture that projects the environment as aesthetic and monumental, and thus offer a renewed and more nuanced dialogue between man and nature? Lyell’s Lament is an intervention in an abandoned copper mine on the outskirts of Queenstown in the western ranges of Tasmania. The site is a monument to the dilemmas attending modernity’s relationship to nature, and reflects the larger economic, political, and social constructs of Tasmania. The abandoned network of exhausted subterranean mines and infrastructure finds itself today without purpose. However, through the weird contrasts and fierce polarities of its context, the area has ironically become a place of terrible beauty.

BARRY MCNEILL STUDENT PRIZE NOMINEE

Architecture at the End of Optimism

DYLAN ROWBOTTOM

Lyell’s Lament

The intervention is imagined as a path rather than a destination, one that humans momentarily navigate, exploring the thorny relationship between environment and development for an emotionally complex experience. Such an experience disturbs conceptions of the ‘pure’ Tasmanian landscape, and renders visible the ecological impact of and our hopeless dependence on the extraction of resources. This is not an endeavour that strives for ecological redemption nor does it assume a position of historical critique or even offer answers. It instead objectively explores the complexity of the relation between humans and nature to offer an position of conscious and intelligent humility towards our place in nature.

STUDIO WORRALL

This proposal directly confronts these polarities of devastation and beauty, value and uselessness. The intervention consists of four subterranean volumes, corresponding to the natural elements that have been altered on site - Earth, Water, Air and Metal, arranged along an existing tunnel. The project’s organisation makes use of existing infrastructure to inform movement and uses mining processes and techniques as spatial generators. Its externally visible form is fashioned from the displacement of rock resulting from excavating the volumes, presenting a direct and tangible expression of the imbrication between extraction and construction. The scale of the scheme responds to both the enormity of the context and the complexity of the question at hand, producing a sense of the contemporary sublime.

CONCEPT

AIR

EARTH

METAL

WATER

DISPLACEMENT

BORE

OPEN CUT

ROOM // PILLAR

ADIT // STOPE

MINING TECHNIQUE

SITE MAP

â&#x20AC;&#x153;The intervention is imagined as a path rather than a destination, one that humans momentarily navigate, exploring the thorny relationship between environment and development for an emotionally complex experience.â&#x20AC;? 1:1000 0

200M

Taipei, Taiwan

One Palace Two Museums. The National Palace Museum in Taipei, Taiwan is a 1965 re-establishment of the original Palace Museum of Beijing, from mainland China, founded in 1925. The administration of the original museum and some of its finest artefacts were evacuated to Taiwan in the late 1940’s during the civil war as the Nationalist party of China ceded power to the communist revolution in mainland China. As a result, there are now two Palace Museums in the Chinese-speaking world: the Palace Museum in Beijing; and the National Palace Museum in Taipei. Both museums have inherited the former royal collection of artefacts from Beijing’s Forbidden City (former Imperial Palace). Break from Rigidity. The buildings housing the re-established National Palace Museum in Taipei are characterised by hierarchy, axial planning, and rigidity, as are many traditional Chinese public buildings, and the design language is blatantly derived from Beijing’s Forbidden City. This design language prioritises the Chinese Nationalist legitimacy, authority and identity of the museum, serving as political propaganda by the displaced regime to proclaim itself as the legitimate ruler of China over the Communists.

JULIAN CHIN LIANG SEE

New National Palace Museum

The democratisation of Taiwan since the late 1980s provides a chance to overhaul this rigid, politically driven design language. Moreover, the existing facilities are ageing, and spatial constraints mean that many beautiful artefacts are never on display. A premise of this design proposal is that an opportunity exists for the design of a new National Palace Museum that breaks away from the axial rigidity and historical political agendas that were imposed on the museum in 1965. There is an opportunity for a new architectural expression and spatial experience driven instead by the rich contents of the displaced imperial collection.

The proposed design draws, quite literally, on the imagery within these beautiful paintings as a primary strategy for organising the new museum, to reveal a garden courtyard-oriented design language that includes the free flow of circulation, non-axial and immersive spatial experiences. It is proposed that this could be the Taiwan National Museum’s interpretation of its place within Chinese culture, celebrating the true sensation of the Chinese artefacts with a hint of displaced romanticism.

STUDIO WOOD

Proposed Scheme. This design proposal explores the possibility of generating architectural expression by drawing inspiration from artefacts within the museum’s collection. In particular, it adopts the idea of the traditional Chinese garden as a primary design language, based on some of the museum’s most significant artefacts; that is, a series of mountain-water paintings from the 10th-13th centuries.

“This design proposal explores the possibility of generating architectural expression by drawing inspiration from artefacts within the museum’s collection.”

CONCEPT: COURTYARDS IN A GARDEN

Typically, day care centres cater only to a single generation – either elderly people or preschool children. This is a common stereotype that results in age-based segregation. The premise of this project is to reverse such stereotypes and introduce intergenerational connections, an approach that has been advanced in Japan and Canada but not yet in Malaysia, where this mode of relationship is uncommon. The aim here is to respond to the call for a place that allows old and young generations to engage in shared play experiences and yield more spontaneous and organic interactions and relations. Play is a form of negotiation and interaction between parties. It can act as a catalyst to connect the two age groups and offers opportunities for them to foster mutual communication and build intimate relationships.

BARRY MCNEILL STUDENT PRIZE NOMINEE

An Intergenerational ‘Play’ Centre

DOREEN WAN PING TAY

Playscaper

In response, this project proposes an intergenerational ‘play’ centre – a complex for play and caring that brings two contrasting cohorts together, baby boomers and preschool children in Malaysia. The notion of “play” drawn on here is that developed by Walter Benjamin, which involves three dimensions of play: play as ‘transgression’; play as ‘mimesis’; and play as ‘collection’. These are translated into the design of propose-built facilities, using formal, programmatic and spatial opportunities to encourage playful or ludic behaviours. The project is proposed to be located in an urban area in Johor Bahru, Johor, Malaysia. It sits aside one of the major highways in Johor Bahru, passing throughout CBD to the North. Adults can conveniently drop their child and parents to the centre and pick them up after work.

In short, this centre aims to revitalise the site as an urban playground for both the old and the young.

STUDIO WORRALL

The design elements within the building are informed by the notion of play, including a roof playspace with flat walkway ranged around a hilly lawn; cone-shaped rooms and light wells; a circular ramp surrounding climbing ropes reaching to the roof; a movable curtain to form a mini stage; and playable and movable lightweight furniture to customise the space.

CONCEPT

â&#x20AC;&#x153;The aim here is to respond to the call for a place that allows old and young generations to engage in shared play experiences and yield more spontaneous and organic interactions and relations.â&#x20AC;?

FURNITURE COMPONENTS

The project both theoretically and physically evokes a connection between the urban waterfront of Hobart and Mt Wellington / Kunanyi, exploring narratives of the past and present, addressing the apparent disconnection and loss of nature and fostering reconnection through architectural exploration of landscape. The three Pavilions at Hobart Wharf connect with three mountain Huts at the Springs site, through materiality and landscape, providing an experiential understanding of the human relationship to nature. Through this juxtaposition of the natural and urban landscapes, human connection to nature can be questioned, challenged and evoked. This project aims to address the ways in which architecture can begin to reconnect humans with nature, rather than cultivate disconnection and alienation. The project aims to be both an environmentally and socially responsible design proposal, that emphasises the cultural conservation, heritage and identity which is embedded within the mountain landscape. The project aims to embrace the inherent human connectedness to nature and enhance the experience and essence of the mountain and city landscapes.

HOLLY ALEXANDRA THURSTON-DOYLE

The Tasmanian city of Hobart sits nestled between a mountain and a river. This quaint, small scale city is the capital of an island that is treasured for its unique and abundant nature. The people of Hobart identify with Kunanyi, the mountain which dominates the city skyline. This project, A Sacred Mountain, is based at both the urban waterfront of Hobart and an area on the mountain known as The Springs. The emphasis of both the urban and natural sites explores human loss and disconnection to nature, through the notion of architecture that encourages reconnection. The project narrates a journey that explores the layers of landscapes, from the mountain, city and river. The concept for this project focuses on three experiences of nature; the decay of the urban, the lightness of nature and the solidarity of darkness.

STUDIO WOOD

A Sacred Mountain

WHARF SITE

CONCEPT SKETCHES

SPRINGS SITE

SITE DIAGRAMS

â&#x20AC;&#x153;The project aims to embrace the inherent human connectedness to nature and enhance the experience and essence of the mountain and city landscapes.â&#x20AC;?

first lunch, then experience!

buy a penguin - like those on Macquarie Island?

i’m worried for the sea level rise..

ice is melting! are you prepared?

only one’s missing for the staff

i’m concerned if I’ll ever get out of here

damn, i’m late for the staff meating.. i’m curious what’s down there.

need more blue paint for all that water..

a huge kaleidoscope? Exciting!

visibility of concrete is equivalent w. sea level rise

it’s great to collaborate with you!

wanna go for a swim cobba?

let’s hang out here I think he’s lost down there!

Aurora Australs + IMAS - convenient!

100

In the past, the first Antarctic explorers used Hobart as the place from which to prepare and start their adventures. They recorded their experiences of travelling to Antarctica in books, diaries and photographs. Through this documentation, it is possible to build an impression of the emotions related to facing the risks of the unknown that these first explorers experienced, which is an important and under-represented part of the Antarctic cultural heritage. In 2017 the Tasmanian government announced the ‘Antarctic Gateway Strategy’, an investment to strengthen Hobart’s status as a gateway city to Antarctica. The government’s present-day strategy involves a focus on building facilities for research that, among other things, aims to understand the relationship between Antarctica and climate change – and perhaps more importantly tries to understand what effects it might have for the future of Hobart and Tasmania. The full effect of climate change is unknown, but scientists are trying to unfold the risks we might face in the future. A premise for this design proposal is that the emotions experienced by past explorers such as fear, abandonment, curiosity, excitement and feeling lost are somewhat similar to the ones we experience today in relation to future climate change. Another premise for this design is that these three relations, between past, present and future, can all be represented with architecture. This design proposal aims to represent the rare cultural heritage relationship between Tasmania and Antarctica with an interpretation centre placed on the wharf, adjacent to where the Aurora Australis docks, in Hobart. The architectural design aims to offer visitors an opportunity to experience emotions similar to those of past explorers, which is a new way of preserving cultural heritage – via lived personal experience. In response to the Government’s gateway strategy, this proposal also includes accommodation and workshop facilities for artists, scientists and historians to encourage to collaboration and development of innovative ways to communicate the most recent research about climate change. Finally, the building itself is an example of climate adaptive architecture with a prepared strategy for the future, placed on a site which will likely face the full brunt of climate change.

BARRY MCNEILL STUDENT PRIZE NOMINEE

Tasmania has a rich cultural heritage connection with Antarctica, which many Tasmanians are not particularly aware of, and which is minimally represented around the city of Hobart.

STUDIO WOOD

Between Tasmania and Antarctica

KATHRINE REGITZE VIIRENFELDT VAND

A Rare Relation

101

“The architectural design aims to offer visitors an opportunity to experience emotions similar to those of past explorers, which is a new way of preserving cultural heritage – via lived personal experience.”

TASMANIA/ ANTARTICA

RELATIONS PAST

PRESENT

FUTURE

N’S OCEA THE ING RIS E WE R A O S AND STRALIS AURORA AU

RELATIONS REPRESENTED W/ ARCHITECTURE PAST

PRESENT

FUTURE

y. 2070: 1 m!

artist

102

scientist

CLIMATE ADAPTIVE STRATEGIES

DEMOLITION

ADDITION

NEW CLIMATE WALL

BUILDING DESIGN STRATEGIES

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mo is

sb sm

be TR be sk

ce WD

vr dr

a CR

ki tr

VC so

dw fs fs

FACADE DESIGN STRATEGIES

mz fs

wo so

c (physical model) fs

EX mz

fs mz

TE EX tc

EX mz

fs fs

AU mp

am tc

wo sr ll fs

fs so

me fs

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103

104

105

106

An Anzac & Malaysian WWII Memorial Center

In a small town on the eastern part of Sabah, Malaysia, there is a World War II Anzac Memorial Park. Located in Sandakan, Its main purpose is to memorialise the POW Anzac soldiers lost during WWII under the reign of Japanese imperialism over this land. This has led to a situation where the memorial site finds itself both disconnected from Malaysian people’s history as well as alienated from the Anzac nations due to its long distance away from them. This offers a creative opportunity for an intervention on the site using the common ground of grief and suffering that both local people and POW Anzac soldiers experienced during the war. A new Anzac and Malaysian WWII Memorial Center is proposed on the site. The proposed center will mainly function as a memorial monument for both Anzac and Malaysian people in remembrance to those lost in WWII. At the same time, memorial exhibitions and remembrance spaces are included, showing the perspective of Anzac and Malaysian struggles in the war in Sandakan. The design process draws on both the people’s memories of the war and the site’s history as a Japanese POW camp site as the main design inspirations.

JONATHAN YEN CHEE YAP

Scarred but Sacred Memories

Through the understanding of how the war has deeply affected the people of Anzac and Malaysia and has also scarred the history of the land, a ‘scar’ concept is derived and applied to the design process of the memorial center. While this concept mainly signifies the feeling regarding those lost in the war and a reminder of scarred memories, a scar is also the symbol of a healing process for both countries from the aftermath of WWII. An in-depth study on the concept is explored both in built form and on site itself before arriving in the final design.

STUDIO LINDSTROM

In the end, this project aims to be the testament of a healing process and a mutual understanding of both Malaysian and Anzac people since the war. It offers a memorial architecture that is unique to both nations and to the place, while still giving proper respect to the those whose lives were lost on Sabah soil in WWII.

107

CONCEPT

108

â&#x20AC;&#x153;This project aims to be the testament of a healing process and a mutual understanding of both Malaysian and Anzac people since the war.â&#x20AC;?

109

110

An Arts and Crafts Cultural Village at Kota Kinabalu

In Kota Kinabalu, Sabah, Malaysia a situation exists in which the traditional arts and crafts, one of the primary characteristics of the city are being lost. Lately, the local government has planned to improve the cityâ&#x20AC;&#x2122;s tourism industry by promoting the local traditional arts and crafts scene of the city. However, the plan of the local government is not achievable without providing the necessary infrastructure for the local arts and crafts artists as they currently lack a place for them to practice and promote their works in the city. It is clear that this situation is calling for a new building for the traditional arts and crafts artists where they will be able to practice and promote their crafts. The new building will also need to be in proximity with some of the existing tourist hotspots within the city in order to draw more tourists

JACOB YIE LIN YEO

Revitalising Traditions

Embedded in that call is an opportunity to revitalize the traditions of not only the traditional arts and crafts, but traditional architecture too as one of the traditional crafts to be revitalised. In order for a tradition to be truly revitalised in the city, it is crucial for the traditions to keep up with the advancement of the city to stay relevant and updated in the hearts of people. This project therefore takes on this challenge and attempts to bring the traditional architecture of Kota Kinabalu, a design form built in rural areas, into the heart of the city and doing it with an urban sensibility, proving that traditional architecture still can have a place in a modern city.

STUDIO LINDSTROM

This project therefore proposes a new Arts and Craft Cultural Centre, built in timber, located at a disused site at the city of Kota Kinabalu. Moreover, the chosen site is also in proximity to some of the famous tourist attractions such as the market street at Jalan Gaya, the Atkinson Clock Tower, and others. If realised, such a project stands to be a concrete case study of a modernised traditional building in an urban setting. Other than that, the new building will hopefully be able to improve the financial situation of the city by drawing in tourists, and most importantly, revitalising the traditional arts and crafts culture in the city of Kota Kinabalu, Sabah.

111

CONCEPT SKETCHES

112

â&#x20AC;&#x153;The new building will hopefully be able to improve the financial situation of the city by drawing in tourists, and most importantly, revitalising the traditional arts and crafts culture in the city of Kota Kinabalu, Sabah.â&#x20AC;?

113

114

A Modern-day Pilgrimage

In his book “Place & Experience”, philosopher Jeff Malpas contents that the notion of ‘place’ has been overlooked, ignored or even resisted, and Tasmania, no less than another places, is also confined within this spectrum. Malpas’ work spans philosophy and architectural ideas which have long been explored within the philosophical and theoretical realm. I’ve sought out Professor Malpas’s advice on the production of this project, which seeks to make manifest the concept of ‘place’ and explore it through architecture physically. There exists a situation which is calling for the re-embracement of places of Tasmania, one that provides the capacity to showcase the essential identity which contributes to the true definition of Tasmania. Embedded in that call are opportunities for architecture to take on the role of a messenger, one that translates the message of the places of Tasmania which has long existed beyond the bounds of Tasmania, and in doing so, access and interpret its history with the materiality of architecture rather than through words.

TOMMY ZHAOHAO YEO

Museum of Place

Four sites which are of significance to the land of Tasmania have been chosen, in which each is defined by distinctive topologies, including (1) open field; (2) river; (3) cliff; and (4) meeting ground between mountain and river. Each intervention is derived from elements that share a distinctive connection to each strategic location, in return framing the museum that already exists, namely the museum of place that is called “Tasmania.” This is achieved through intense consideration of ‘place’ to elaborate the essential identity of Tasmania. The goal of this architectural intervention is to open up places so we understand and fully experience place beyond the fact of mere location.

STUDIO LINDSTROM

It is important to elevate the thinking of ‘place’ as it is one that should be concretized in the architectural field as a whole. This further suggests an opportunity to explore the role of architecture in heightening attentiveness towards the notion of ‘place’. This project, therefore, proposes a museum curated through the exhibition of ‘places’ in Tasmania, which are constituted through a series of state-wide architectural interventions in places distinctive to Tasmania. This would require the initiation of a modern pilgrimage in order to experience this state-wide exhibition.

115

CAPE HUAY

JORDAN RIVER

116

HOBART

NATIVE POINT

117

Lightwell

1 Kitchen

4th & 5th Floor Co-living

Laundry

Lift

6 3rd Floor Co-working

Play Room

Toilet

2nd Floor Co-working

Telephone booth

Lift Lobby

Working pod

Outdoor space for co-working

Lift Lobby

Ground Floor Public Arcade

Void

Pub Cafe

7 Plaza+ Beer garden

9 8

Basement Co-working

Co-working space open for public use

Toilets

Meeting Room

C A

M IE

A U

Isometric View Scale 1:125

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E R

5 m

Adaptive Reuse of Former Commonwealth Bank, Hobart

In Hobart, the capital of Tasmania, the rise in population has resulted in property becoming more expensive than ever before. The Federal government has welcomed migrants to the state, however, this seems to have caused a housing crisis in Hobart, as well as employment difficulties for locals, migrants and recent university graduates. At the same time as there is a major housing crisis, there are also many under-utilised buildings in the city. This situation provides an opportunity for a creative design response. This project proposes the design of a new coworking space for start-ups and particularly migrants, that also houses those people in need. The design proposes to transform the former Commonwealth Bank building in Hobart into a co-working and co-living building which provides affordable and approachable workspaces for people to meet, work and live, in a delightful and collaborative environment. The design aims to incorporate adaptive re-use and expansion of the former Commonwealth Bank building, simultaneously drawing upon tradition and innovation to properly connect heritage infrastructure with a contemporary lifestyle.

ERIC YIH YEONG YONG

The Co-Building

STUDIO WOOD

Entitled â&#x20AC;&#x2DC;The Co-Buildingâ&#x20AC;&#x2122;, the design is derived from the common interests of making the building a collaborative working and living space, as well as the buildingâ&#x20AC;&#x2122;s history as a bank. If realised, such a project may help to re-energise the working lifestyle in Hobart, to expand the understanding of historic buildings and their potential for new use, to regift architecture with one of its artefacts, and, in doing so, to conserve and renew invaluable aspects of local culture.

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CONCEPT

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â&#x20AC;&#x153;This project proposes the design of a new coworking space for start-ups and particularly migrants, that also houses those people in need.â&#x20AC;?

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2019 GRADUATES ARCHITECTURE

The 2019 graduates of the Master of Architecture course are: Adam Wesley Aw Liangjun Imran Basir Frank Guangwen Chen Stephanie Shize Ying Chin Edward Minh Bao Dao Georgina East Ashley Goh Jingwen Huo Arthur Hui Ci Lau Jamie Shu Min Looi Jie Jun Low Hao Ouyang Jared Zhi Xun Pan Ka Yin Peck Sarah Ju Leem Quah Dylan Rowbottom Julian Chin Liang See Doreen Wan Ping Tay Holly Alexandra Thurston-Doyle Kathrine Regitze Viirenfeldt Vand Jonathan Yen Chee Yap Jacob Yie Lin Yeo Tommy Zhaohao Yeo Eric Yih Yeong Yong

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DISCIPLINE PRIZES ARCHITECTURE

The prizes awarded by the Discipline of Architecture and Design across the undergraduate and graduate architecture programs for 2019 are as follows: BACHELOR OF ARCHITECTURE AND BUILT ENVIRONMENT First year prize: Kelly Austin Second year prize: Stephanie Papastavrou Third year prize: Madison (Maddie) Price History Theory stream prize: Mia Kealy Building Technology stream prize: Kylie Harvey MASTER OF ARCHITECTURE Fourth year prize: Georgia Woodward Best capstone studio project: Dylan Rowbottom Top M.Arch graduate: Kathrine Vand

Note: The Barry McNeill Student Prize and the annual Board of Architects Prize for Professional Studies are not included here as they are determined in consultation with the AIA and external judges. They are announced on 29 November 2019.

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The University of Tasmania Architecture and Design School of Technology, Environments, and Design t +61 3 6324 4488 www.utas.edu.au/architecture-design 124

DISPLACE | 2019 MASTER OF ARCHITECTURE GRADUATE EXHIBITION Curator/Editor/Coordinator Julian Worrall Studio Leaders Randall Lindstrom Kyra Wood Julian Worrall External Critics Megan Baynes Harriet Edquist Mathew Hinds David Travalia Exhibition Team Sarah Ju Leem Quah Daryl Quek Kathrine Vand Jonathan Yap Yi Yun Hi ...and the ever-present Nicole Dobber! Social Media Instagram: @utasarchitecturedesign Hashtag: #displace2019 www.utas.edu.au/architecture-design In addition to those contributing directly to the work presented in this catalogue, the graduating cohort also wish to express their gratitude to the following teachers for their inspirational contribution to their architectural education: Marty Bignell; Mark Dewsbury Luke Dineen; Mike Hornblow; Greg Nolan; Helen Norrie; Ceridwen Owen; Jacqueline Power; Robin Green; Mark Sawyer; Andrew Steen; Louise Wallis. As a reflection of this institutionâ&#x20AC;&#x2122;s recognition of the deep history and culture of this island, the University of Tasmania wishes to acknowledge the Palawa people, the traditional owners of the land upon which the work in this catalogue was created and exhibited; and pay respect to elders past, present and emerging.

Publication Details Printed by Foot and Playsted, Launceston First Edition. 100 copies. 22 November 2019 ÂŠ University of Tasmania