Bio Based Materials Design Lab 2019 - 2021 Spectacle Publication by UWA School of Design

SPECTACLE 2019 - 2021

MISSION

The mission of the lab is to create better living environments for people and regenerate the planet through design.

VISION

BBMLab is an interdisciplinary research design and innovation hub to advance sustainable design and materials application and dissemination through open source solutions to support the transition to a biocircular economy. At the BBMLab

We RESEARCH

To produce ground-breaking solutions for social impact

We DESIGN

To collaborate with industry and solve real-world problems

We INNOVATE

To create solutions that drive national competitiveness

We EDUCATE

To promote excellence in graduates that will change the world through kindness and knowledge

SPECTACLE, 2019-2021 In 2019, the Bio-Based Materials Design Lab was co-founded by Drs Rosangela Tenorio and Jairo da Costa, an architect [BR] and a product designer. The BBMLab aims to address the complexities of designing with bio-materials, using traditional materials, skills and state of the art technologies, suited for the social and contextual environmental conditions of each place. Of particular importance marking the formation of the lab, was the workshop - China Bamboo Design and making, conducted at the University of Nottingham China campus, and led by Traditional Bamboo Master Qian Yuankang, Drs Hiroyuki Shinohara [now based at the CUHK], Jairo da Costa and Rosangela Tenorio. The discussions that took place during that particular workshop, the favourable environment and inspirational experiences have enabled the lab to be formed. A number of activities have been developed since 2019, including industry related projects in Australia and overseas, educational and research projects. In 2020, the first Unit of the Lab was launched, the ARCT5885 – Bio-Based Materials in Global Settings, at the School of Design, UWA. Spectacle showcases the best projects of the Bio-Based Materials Design Lab [students and staff] from 2019 to 2021. This publication is the first of a bi-annual series launched early in 2022. The publication is divided into three sections: Research-led teaching [Part 1] with studio and unit projects conducted in Perth and overseas with a variety of themes and contexts. [Part 2] Design Development and Innovation is a combination of applied research projects conducted in partnership with industry stakeholders and graduate projects targeting one international competition and one graduate research project. The last part of Spectacle [Part 3] offers a window into ongoing research and design activities by our staff and international collaborators, upcoming activities in the Research-led teaching area, and projects that have been completed by the Lab during the last years. The lab is a collective and as such, we would like to acknowledge the many collaborators that have been working with us to make the lab a reality, and this publication possible. Our first featured project for this edition could not be any other than the China Bamboo Design and making, a project that marked the beginning of the BBMLab Jairo da Costa and Rosangela Tenorio Bio-Based Materials Design Lab Co-Founders

Bio-based Materials Design Lab Co-Founders: Jairo da Costa Rosangela Tenorio Editors: Rosangela Tenorio Jairo da Costa Graphic Design: David Morgan Exhibition set up: Debaprana Sarkar Saleh Esfahani Grace Hernandez David Morgan Rosangela Tenorio Instagram: Grace Hernandez Website: Jairo da Costa Published: 2022 University of Western Australia Bio-Based Materials Design Lab All rights reserved by international copyrights

Contents Research-Led Teaching

Design, Development & Innovation

182

International Research Collaboration & Social Innovation

258

RESEARCH-LED TEACHING

Featured Projects China Bamboo Design & Making, 2019 • • • • • •

Time Shelter 14 Fanboo 18 Aisle of Growth 22 Shui Li 26 Site Visits 30 Practical Workshops 40

Bio-Based Materials in Global Settings, 2020 • • • •

Re-Imagining Play Competition: Toolkit of Self-Resilience Circular Chair Design Joinery Pavilion Practical Workshops

Bio-Based Materials in Global Settings, 2021 • • • • •

Stool Pavilion - Pavilion Stool Grounded - Coffee Stool Antidote Pavilion Chair to Grow Practical Workshops

Kimberley Studio, 2021 • • • • •

Julia Keymer Parthiban Subhashini Christopher James Amy Tamati Cassandra Simpson

46 50 52 54

60 66 68 70 72

78 82 86 90 94

Studio Timor 1, 2019 • • • • • •

Heng Zhang Julia Catalano Allen Eng Katarina Schnell Tsyon Feleke Jiaying Fu

Studio Timor 2, 2022 • • • • • • • • •

Ji Chenzi Jiawei Fan Michaela Savage Andrew Tiet Matthias Widjaja Darian Astone Alyssa Continibali Anndrea D’Angelo Ned Kirwan-Ward

Awards - BBMLab [2019-2021] • • • • •

BBM Design Lab Award 2019 BBM Design Lab Award 2020 BBM Design Lab Award 2021 BBM Design Lab Merit Award [2019 - 2021] BBM Design Lab Graduate of the Year Award [2019 - 2021]

100 102 106 110 114 116

122 128 134 140 146 152 156 160 164

170 172 174 176 178

CHINA BAMBOO DESIGN AND MAKING, 2019 From 4th – 23rd July 2019, a group of 25 students (Architecture and Product Design) from UWA and University of Nottingham Ningbo China (UNNC) got together in Ningbo to design and construct small structures in Bamboo. The workshop was led by a team of three architects and product designers - Dr Rosangela Tenorio from UWA, Dr Hiroyuki Shinohara from UNNC, and Dr Jairo da Costa from TU Delft. Biological materials like bamboo are hard to calculate due to their complex material properties. Therefore, designing and fabricating furniture and small construction in bamboo still relies on the knowledge and wisdom of traditional artisans to a great deal. This workshop aimed to use traditional knowledge and digital tools (e.g. additive manufacturing and finite element analysis/3D printing) to gain a better understanding of traditional knowledge of bamboo fabrication to create contemporary opportunities in design with bamboo.

Featured Students:

Austin Nichols, Qiuyan Wang, Qiushi Wang, David Morgan, Grace Hernandez, Yuntian Shi, Georgia Hunt, Alex Yin, Yuan Xu, Junqiao Liu, Alex Rayfield, Zhengyou Chen, Maohang Lin, Thanh Thao Pham, Sonia Westera, Feiyu Wu, Linyuan Dong, Alvin Pranata, Angelica Campello, Kaining Zhang, Tuuli Savolainen, Shuhao Ge, Yuhang Tao, Yuting Hu

Time Shelter

Grace Hernandez, David Morgan, Austin Nichols, Yuntian Shi (Lane), Qiushi Wang (Icy), Qiuyan Wang

PRECEDENT

a quick oncept

nto the ns and ntually aces to ound.

gan to tured a nclosed lly we porting

d some arrived folding

Blue Globe Rotation to create a shelter device

Four sails that represent time transition

Set up of rings with a series of angles

A shelter device to contemplate time

Yves Klein and the Blue Globe — 1957

CONCEPT TO PROCESS

—TIM 1— 1— 111 TIME 1 TI

single rotating post support, a semi enclosed decided on two circular base rings supporting dome, and ribbed supports. we Most shell-like iterations of the design Eventually featured some three surfaces. decided on two circular basethe rings supporting form of interactivity. When group arrived three surfaces. Most iterations of the featured some at theshell-like shell concept wedesign decided on a folding form offor interactivity. When the group arrived design added functionality. Most iterations of the design featured some at the shell concept we decided on a folding form of interactivity. When the group arrived design for added functionality. at the shell concept we decided on a folding design for added functionality.

Set up of rings with a series of angles

A shelter device to contemplate time

Yves Klein and the Blue Globe — 1957

Set up of rings with a series of angles

A shelter device to contemplate time

Yves Klein and the Blue Globe — 1957

Set up of rings with a series of angles

A shelter device to contemplate time

Yves Klein and the Blue Globe — 1957 CONCEPT TO PROCESS CONCEPT TO PROCESS CONCEPT TO PROCESS

ISOMETRIC PROCESS ISOMETRIC PROCESS ISOMETRIC PROCESS

3D PRINTING — MODEL 3D PRINTING — MODEL 3D PRINTING — MODEL

TEAM MEMBERS: Austin Nichols

Qiuyan Wang

David Morgan

Qiushi Wang — Icy

Grace Austin Nichols TEAMHernandez MEMBERS:

Yuntian Shi — Lane Qiuyan Wang

David Morgan Austin Nichols Grace Hernandez David Morgan

Qiushi Wang — Icy Qiuyan Wang Yuntian Shi — Lane Qiushi Wang — Icy

Grace Hernandez

Yuntian Shi — Lane

TEAM MEMBERS:

fan. ural rom this ugh we that d its new and ding ged cess g on ding lete the

Fanboo

Zhengyou Chen, Georgia Hunt, Junqiao Liu, Alex Rayfield, Yuan Xu, Alex Yin,

PRECEDENT

Chinese Fan (sketch)

Sitting with umbrellas (sketch)

Penumbra, Mo Kelman (2008)

Pulse Pavilion, Kristof Crolla and Dannes Kok (Macau, 2013)

Shelter (unknown designer, sketch)

CONCEPT TO PROCESS

1— 1— 2 1— 2FANB 2FAN FA

themoving periphery, obscuration when standing of fromto exposure when standing on to experience the transformational process among the structures, to a sense of complete the periphery, toexposure obscuration when standing of moving from when standing on enclosure sitting lyingofinside the among the when structures, to aorsense the periphery, to obscuration when complete standing fanboo structure. enclosure when sitting or lying inside the among the structures, to a sense of complete fanboo structure. enclosure when sitting or lying inside the fanboo structure.

Penumbra, Mo Kelman (2008)

Pulse Pavilion, Kristof Crolla and Dannes Kok (Macau, 2013) Pulse Pavilion, Kristof Crolla and Dannes Kok (Macau, 2013) Pulse Pavilion, Kristof Crolla and Dannes Kok (Macau, 2013)

Penumbra, Mo Kelman (2008) Penumbra, Mo Kelman (2008)

Shelter (unknown designer, sketch) Shelter (unknown designer, sketch) Shelter (unknown designer, sketch)

CONCEPT TO PROCESS CONCEPT TO PROCESS CONCEPT TO PROCESS

ISOMETRIC PROCESS ISOMETRIC PROCESS ISOMETRIC PROCESS

Structure

Structure + Ribs

Structure + Ribs + Fabric & Weave

Structure

Structure + Ribs

Structure + Ribs + Fabric & Weave

Structure

Structure + Ribs

Structure + Ribs + Fabric & Weave

CHEN CHEN CHEN

Mr Jairo da Costa Junior

ALEX ALEX ALEX

Mr Jairo da Costa Junior

PHIA PHIA PHIA

Dr Hiroyuki Shinohara Dr Rosangela Tenorio Mr Jairo da Costa Junior Dr Hiroyuki Shinohara Dr Rosangela Tenorio Mr Jairo da Costa Junior Dr Hiroyuki Shinohara

YUAN YUAN YUAN

Dr Rosangela Tenorio

Dr Hiroyuki Shinohara TEAM MEMBERS: Dr Rosangela Tenorio Mr Jairo da Costa Junior Dr Hiroyuki Shinohara Dr Rosangela Tenorio Mr Jairo da Costa Junior Dr Hiroyuki Shinohara

ALEX ALEX ALEX

TEAM MEMBERS: Dr Rosangela Tenorio

GEORGIA GEORGIA GEORGIA

TEAM MEMBERS:

3D PRINTING — MODEL 3D PRINTING — MODEL 3D PRINTING — MODEL

The Aisle of Growth

Linyuan Dong, Maohang Lin, Thanh Thao Pham, Sonia Westera, Feiyu Wu,

PRECEDENT

cept form ough way tical the e of This h of ium ious onal urnt ates rting e of ctual ghts ewer hang main

Nanchang Nanchang Bamboo Installation Kengo Kuma

Bamboo Rose Arbor Gateway

Forest Pavillion- nArchitects - Taiwan

Bamboo Biennale Baoxi Village

CONCEPT TO PROCESS

Scanned with CamScanner

THE THE TAI

weaving patterns celebrates the traditional nature of theThe design gives it ofa pre-burnt sense of curved bamboo andcombination woven segments creates craftmanship. and movement alluding to ancreates actual alightness free-standing structure. The self-supporting curved bamboo and woven segments bamboo forest. The use gives ofThe bright lights nature of the structure. design it aLED sense of a free-standing self-supporting along frame assist ingives guiding lightness alluding an viewer actual naturethe ofand themovement design it to athe sense of through Kengo Kuma's Nanchang bamboo forest. The use of bright lights lightnessthe andarchway. movement alluding toLED an actual Nanchang bamboo installation was a main along the frame assist in guiding the viewer bamboo forest. The use of bright LED lights precedent in the design. through the archway. Kengo Kuma'sthe Nanchang along the frame assist in guiding viewer Nanchang was a main through thebamboo archway.installation Kengo Kuma's Nanchang precedent in the design. Nanchang bamboo installation was a main precedent in the design.

Forest Pavillion- nArchitects - Taiwan

Bamboo Biennale Baoxi Village

Forest Pavillion- nArchitects - Taiwan

Bamboo Biennale Baoxi Village

Forest Pavillion- nArchitects - Taiwan

Bamboo Biennale Baoxi Village

Scanned with CamScanner Scanned with Scanned CamScanner with CamScanner

Scanned with CamScanner

Bamboo Biennale Baoxi Village

CONCEPT TO PROCESS CONCEPT TO PROCESS CONCEPT TO PROCESS

Scanned with CamScanner

Scanned with CamScanner Scanned with CamScanner

Scanned with CamScanner

Scanned with CamScanner Scanned with CamScanner Scanned with CamScanner

Scanned with CamScanner

Scanned with CamScan

Scanned with CamScanner

Scanned with CamScan

Scanned Scanned with CamScanner with Scanned CamScanner with CamScanner

Scanned with CamScanner

ner

Scanned with CamScanner

ner

Scanned with CamScan

ner

Scanned with CamScanner

ISOMETRIC PROCESS ISOMETRIC PROCESS ISOMETRIC PROCESS Scanned with CamScanner

Scanned with CamScanner

3D PRINTING— MODEL 3D PRINTING— MODEL 3D PRINTING— MODEL

Scanned with CamScanner

3D printed model - computer generated support system intact

3D printed model - the removal of the computer generated support system

3D printed model - cleaned and refined

3D printed model - computer generated support system intact 3D printed model - computer generated support system intact TEAM MEMBERS:

3D printed model - the removal of the computer generated support system 3D printed model - the removal of the computer generated support system

3D printed model - cleaned and refined

Maohang Lin

Marijke Vlot

Thanh Thao Pham

Feiyu Wu

TEAM MEMBERS: Sonia Westera Maohang Lin

LinyuanVlot Dong Marijke

Thanh Thao Pham Maohang Lin Sonia Westera Thanh Thao Pham

Feiyu Wu Marijke Vlot Linyuan Dong Feiyu Wu

TEAM MEMBERS:

Linyuan Dong

Shui Li

Angelica Campello, Shuhao Ge, Yuting Hu, Alvin Pranata, Tuuli Savolainen, Yuhang Tao, Kaining Zhang

PRECEDENT

uffer o the oves from owns ue is ess is

o the y) in brant local gners eco-

ocial f life lores uidity, ntire

nArchitects | Taiwan | 2011

Glennon Brothers | Norway | 2010

Pouya Khazaeli Parsa | Iran | 2009

CONCEPT TO PROCESS

1—2 1—2 SH SH

tourism by several global companies. The The water water acted acted as as aa catalyst catalyst for for social social change, change, being being the the fundamental fundamental source source of of life life for most living creatures. Our design explores for most living creatures. Our design explores the the meaning meaning of of water, water, its its importance, importance, fluidity, fluidity, as as well well as as its its ability ability to to transform transform entire entire communities. communities.

nArchitects nArchitects || Taiwan Taiwan || 2011 2011

Glennon Glennon Brothers Brothers || Norway Norway || 2010 2010

Pouya Pouya Khazaeli Khazaeli Parsa Parsa || Iran Iran || 2009 2009

CONCEPT TO PROCESS

fluidity fluidity

ability ability to to tranform tranform

polluted polluted vs vs clear clear water water

water water as as lifeline lifeline

ISOMETRIC PROCESS

1. 1. First First we we made made structural structural circles circles with with different different diameters diameters standing standing linearly, linearly, which which created created the the feeling feeling of of openness openness towards towards the the lake. lake. The The straight straight shape shape however however does does not not emphasise the the experience, experience, of of transformation transformation as as the the visitors visitors emphasise can see the view of the lake at the beginning of the can see the view of the lake at the beginning of the journey. journey.

2. 2. To To gain gain aa better better experience experience through through the the shelter, shelter, we we rotated rotated the the entrance entrance part part and and reduced reduced the the density density at at the the end end to to create create aa feeling feeling of of openness. openness. To To make make the the structure structure easier to to construct, construct, we we designed designed all all the the structural structural circles circles to to easier be be the the same same size. size.

3. 3. We We increased increased the the density density of of the the envelope envelope at at the the entrance entrance to to contrast contrast with with the the less less dense dense end end of of the the shelter. shelter. This This reflects reflects the the clearing clearing of of the the water. water.

4. 4. In In the the last last option, option, we we made made an an organic organic hole hole in in the the end end and and placed placed different different size size pieces pieces to to show show the the movement movement of of water, water, which which will will enhance enhance the the feeling feeling of of openness openness at at the the end. end.

3D PRINTING— MODEL

TEAM TEAM MEMBERS: MEMBERS: Alvin Alvin Pranata Pranata Angelica Angelica Campello Campello

Kaining Kaining Zhang Zhang

Tuuli Tuuli Savolainen Savolainen Shuhao Shuhao Ge Ge Yuhang Yuhang Tao Tao Yuting Yuting Hu Hu

Site Visits Shanghai 上海

Site Visits

Ningbo Museum 宁波

Site Visits Hangzhou 杭州

Site Visits

Baoxi Village 宝溪

Site Visits

Baoguo Temple 保国 & Tianyi Library 天一阁

Practical Workshops

BIO-BASED MATERIALS IN GLOBAL SETTINGS, 2020 Contemporary Architecture is significantly reducing whole building life cycle energy demand through improvements within buildings and structures. This unit studies bio-based materials that have been used in the construction of our buildings throughout history, from an environmental and socio-economic perspective. The use of bio-based materials, such as strawbale, bamboo, timber or hemp in construction offers a renewable resource that has the potential of negative embodied carbon as energy efficiency increases with stricter codes and regulations. Site visits and practical workshops are set for students to engage with BBM production and construction requirements within the context of an international and Australian design industry scenario. For the final assessment of this unit, students were given the option to develop one of three different design projects: 1. Entry for ‘Re-Imagining Play’ competition in Bangladesh 2. Architecture Pavilion 3. Product Design

Featured Projects:

Toolkit of Self-Resilience by Nurul Azman, Lyana Ibrahim, Hafizah Mohammad, and Calvin Thoo Circular Chair by Natasha Nicole and Debaprana Sakar Joinery Pavilion by Ashton Brown Guest lecturers: Deepti Wetjen, Christian Wetjen, Alexandra Meek, Jairo da Costa

Nurul Azman, Lyana Ibrahim, Hafizah Mohammad, Calvin Thoo Toolkit of Self-Resilience - Re-imagining Play Competition

Additional Components

Bio-Based Components

Circular Economy

Natasha Nicole, Debaprana Sakar Circular Chair Design

Ashton Brown Joinery Pavilion

Practical Workshops

BIO-BASED MATERIALS IN GLOBAL SETTINGS, 2021 Building from the previous year, this unit explores Bio-Based Materials design, its socioeconomic challenges and benefits, BBM construction processes in light of its historical uses in traditional and contemporary settings, and the potential social, cultural, environmental, and ethical benefits and setbacks of Bio-Based design. Students were introduced to Bio-Based Materials design through practical workshops and site visits focusing on strawbale construction, bamboo, CNC product making, and mycelium. The final assessment for this unit placed students in groups to design an innovative bio-based product or pavilion design.

Featured Projects:

Stool Pavilion - Pavilion Stool by Julia Catalano, Sophia Do, Paul Jung and Matthias Widjaja Grounded - Coffee Stool by Lyndsay O’Neill and Emily Price Antidote Pavilion by Grace Hernandez, Mina Markovic, and Dang Huy Nguyen Chair to Grow by Amira Benterrak and Adrian Kinny Guest lecturers: Deepti Wetjen, Christian Wetjen, Hiroyuki Shinohara, Paul Dowling, Jairo da Costa Tutors: David Morgan, Debaprana Sarkar

Julia Catalano, Sophia Do, Paul Jung, Matthias Widjaja Stool Pavilion - Pavilion Stool

Project photography by Mason Roberts

Lyndsay O’Neill, Emily Price Grounded - Coffee Stool

Grace Hernandez, Mina Markovic, Dang Huy Nguyen Antidote Pavilion

Amira Benterrak, Adrian Kinny Chair to Grow

Practical Workshops

STUDIO KIMBERLEY, 2021 This studio contributes to a larger research project based in Fitzroy valley [Kimberley Social and Cultural Innovation Project] carried out by the Bio-Based Materials Design Lab, School of Design – UWA. The project involves three main stakeholders: the Department of Local Government, Sport and Cultural Industries [DLGSC] Marra Worra Worra Aboriginal Corporation [MWW] and 5 remote Aboriginal communities [Bayulu, Junjuwa, Wagnkatjunka, Yakanarra and Noonkanbah]. This studio is a first of a series of studios that are planned to work with these communities on a collaborative co-design plan for empowerment through the development of social and cultural infrastructure in the next years. The community of Bayulu was chosen as a pilot initiative and it is the topic of this studio. Design proposals are thought to develop a masterplan for the entire community and the design development of particular buildings within the community, which are meant to have a particular impact on the empowerment of the youth. UWA students had choices on what typologies and focus areas they wished to work with, according to their understanding and evaluation of the challenges and issues brought up by their research and stakeholders consultation. Refurbishment and relocation were considered part of the redesign of areas and complete redevelopment with the proposal of new structures. The studio has at its core values the use of environmentally friendly materials, processes and methods of construction. Students were supported in the development of their design choices, and encouraged to search for design alternatives that are culturally appropriate and socially impactful for communities.

Featured Students:

Julia Keymer - Build with Country | Build Community Parthiban Subashini - Learn | Interact | Create Christopher James Amy Tamati Cassandra Simpson - Building community. For the community. By the community. Brick by brick. Guest lecturers: Krissie Dickman, Nicole Barthomeuf, Greice Portal Guest Critics: Rodrigo Salvati & Rainer Hirth

Julia Keymer

Bayulu: Build with Country | Build Community

Parthiban Subashini

Bayulu Community: Learn | Interact | Create

Christopher James

Amy Tamati

entrance into community (sealed & bituminised) local traffic (sealed & kerbed) internal ring road (sealed) unplanned connections (dirt) great northern hwy (asphalt) future roads

1. 2. 3. 4. 5. 6.

lamey ave jilliyardie st karraluwen ln kakata ct galar pl jones st

7. 8. 9. 10. 11. 12.

brown ct guy st lil st second st tipr rd first st

13. gillarong st 14. cemetery rd

improve streetscape experience

improve public upgrade and transport implement shared connectivity to paths for bicycles & fitzroy crossing & pedestrians gogo station

entrance into community (sealed & bituminised) local traffic (sealed & kerbed) internal ring road (sealed) unplanned connections (dirt) great northern hwy (asphalt) future roads

1. 2. 3. 4. 5. 6.

lamey ave jilliyardie st karraluwen ln kakata ct galar pl jones st

7. 8. 9. 10. 11. 12.

brown ct guy st lil st second st tipr rd first st

13. gillarong st 14. cemetery rd

improve streetscape experience

improve public upgrade and transport implement shared connectivity to paths for bicycles & fitzroy crossing & pedestrians gogo station

residential commercial community green open space green pockets

1. basketball courts 2. community hall 3. womens hall 4. health clinic 5. mens shed

6. office 7. store 8. church 9. oval

high risk zone - no WIFI low risk zone - WIFI nature/open space link low connection to amenity/divide improve tree canopy

improve communi- opportunity to cations connectivity focus on nature (provide high link/corridor amenity)

opportunity to improve tree canopy

bridge divide between north & south

MASTERPLAN RATIONALE.

the bayulu masterplan recognises the significance of first australian’s reciprocal and interdependent relationship between nature and culture, implementing urban interventions that strengthens cultural bonds, creates empowerment, and builds capacity and confidence within the bayulu community.

CULTURE PRESERVATION

HEALING

VERNACULAR IN NATURE

urban interventions that preserve and deliver tangible links between Gooniyandi and Walmajarri country, language, lore, and culture

heal intergenerational trauma and help ‘close the gap’ through emancipatory and participatory design (design for social innovation and justice)

facilitate a robust relationship with land to establish a critical design discourse around indigenous spatial practices and traditional ecological knowledge

ACCESSIBILITY

CONNECTIVITY

AMENITY

address disconnection between existing roads/pathways and carve way for a safe and accessible community core

bridge the disconnection between the north and south of the community with high amenity internal community core

opportunity to improve and provide high quality amenity revitalise programme with existing and new infrastructure

community core disconnection divide cut

improved pathways cul-de-sac

indicative community building yarning circle locations

SUSTAINABILITY

LINKAGE establish nature link/corridor - integrate native foilage and conservation practices (bush tucker/medicine)

sustainable streetscapes tree-lined and shaded, promoting walkability & enhancing experience improved tree canopy/green cover

green open space nature link

SUSTAINABILITY

LINKAGE

sustainable streetscapes tree-lined and shaded, promoting walkability & enhancing experience

establish nature link/corridor - integrate native foilage and conservation practices (bush tucker/medicine)

improved tree canopy/green cover

green open space nature link

1 2 3 4. 5. 6. 7

community hall (core space) youth hub basketball courts yarning circle - outdoor cooking, fire use, storey telling & education mothers hub/womens hub & childcare facility clinic or health center office, art makerspace, workshops, rangers/environment hub

8 9 10 11 12 13 14

community garden/bush food nursery - bush tucker/medicine church seasonal markets shop mens shed storage shed or future bio processing/manufacturing plant outdoor structure for oval - storage/spectator stand

Cassandra Simpson

Yarrangi: Building community. For the community. By the community. Brick by brick.

Brick production area and community learning centre to press and cure bricks, develop additional local construction methods using the bricks and to train community members how to producee bricks and use them in construction. Opportunity to explore the addition of ecologicical materials, such as spinifex (or spinifex fibres) as a stabiliser in lieu of industrial stabilisers or other, non-local ecological stabilisers.

SKILLS ACQUISITION AREA NATIVE PLANTING / CARBON SEQUESTRATION PHASE 2 PLANT + MACHINERY STORAGE SHEDS

Each roof acts as a water collector.

Water tanks to be painted by community with stories from ngarranggarni or other culturally significant artwork or cultural learnings. This encourages passsing down of culture and also will discourage vandalism. For example, in Leonora, Dreaming stories painted on public buildings have reduced vandalism; in [Nykina] country, water tanks are painted with the cnaghing of the seasons and old car wrecks are left in situ and converted into artworks.

NATIVE PLANTING / CARBON SEQUESTRATION PHASE 1

Energy for lighting, fans, water pumps will be provided by photovoltaic panels.

HEALTH CLINIC

STORE

WOMEN’S + CHILDREN’S CENTRE

The ranger’s office and public interface is the official entry point to the town and where, potentially, visitors and tourist can register.

COMMUNITY HUB RELOCATED FUTURE RESIDENTIAL ZONING

RELOCATED FOOTBALL FIELD YOUTH HUB

The office can be used as a commercial space for the sale of any locally produced art or other products, including traditional medicines or bush tucker, and as a display space for the community’s brick making and construction techniques.

VISITORS / TEMPORARY CAMPING AREA RANGERS OFFICE

PUBLIC INTERFACE

NATIVE PLANTING / CARBON SEQUESTRATION PHASE 3

MASTERPLAN 1:2500

Sight lines (avoidance + passive surveillance) Views to country

94 SHADED SEATED AREA

making and construction techniques.

YOUTH HUB

VISITORS / TEMPORARY CAMPING AREA RANGERS OFFICE

PUBLIC INTERFACE

NATIVE PLANTING / CARBON SEQUESTRATION PHASE 3

MASTERPLAN 1:2500

Sight lines (avoidance + passive surveillance) Views to country

SHADED SEATED AREA

PERMACULTURE AREA EXISTING STORE

SEASONAL / COMMUNITY MARKET SPACE

WOMEN’S + CHILDREN’S CENTRE

HEALTH CLINIC

SHADED SEATED AREA

COMMUNITY CENTRE

YARNING CIRCLE

MASTERPLAN 1:500

The labyrinth utilises thermal mass to passively moderate tem from thte afteernoon sun so it feels cool andaround shady. The new buildings are structured provideconditioning. shade in summer. buildingsinternal withoutcourtyards relying onwhich mechanical Outsid EARTH BRICK around internal courtyards which provide shade in summer. It islittle intended that generated the buildings need very artificially energy, relyinge series of below-grade, bricktympana passageways that store thermal Freestanding vault without or walls. buildings need very little artificially generated energy, relying on natural light, natural CLIMATE ventilation and thermal mass. swings inCONSIDERATIONS temperature during the day. in the brick. It is versatile. ventilation and thermal mass. Vaulted roof adapted to modern setting, with more permanent materials. g, with more permanent materials. The design the forbeen more thermally efficient buildi High-mass construction used due to the diurnal ran Cool nightreflects breezes andneed airhas currents can pass over the thermal Vaulted domes shelters were used as by aAboriginal across northern Ausaster, usedand structurally and decoratively, solid massgroups orconstruction High-mass has been used duereduce to theenergy diurnalcosts rangeand being over 10°C.difficulties.. maintenance energy tralia. Bricks (adapted Design, on country, CLIMATE CONSIDERATIONS tterns. canfrom be the bonesbuilding or the skin. They canMemmott) be Brick has a high thermal mass and a long thermal lag times Brick has a high thermal mass and a long A thermal lag times soconcept it will absorb and release simple ventilation in combination with the heat slowly. The buildings are appropriately shaded to protect thethermal mass fr The design reflects the need for more thermally efficient build NTILATION AND DAYLIGHTING heat slowly. brick walls provides a comfortable indoor climate. surrounding landscape is harsh and dry, but the new buildings reduce energy costs and maintenance difficulties.. e sun and rain out and lets the air move laterally across and Masonry offer good heat insulation andshady. the inside th from thtewalls afteernoon sun so it feels cool and Theof new structural technique helps avoid large embodied energywalls and high convenMasonry offercosts goodof heat insulation and the inside of the built forms isand cool and The labyrinth utilises thermal mass to passively moderate tem shady with controlled sunlight generous natural cross-ve around internal courtyards which provide shade in the summer. odied energy and high costs of convenAnatural simple ventilation concept in combination with thermaI al solutions. It minimises building waste and decreases thecontrolled dependence on expensive shady with sunlight and generous cross-ventilation untilising buildings without relying mechanical conditioning. Outside breezes emanating fromon the desertgenerated inthe the east.energy, Very little arto buildings need very little artificially relying dorted decreases the dependence on expensive brickVery walls provides abrick comfortable indoor climate. walls and roof, when coupled with the colour of the bricks materials. breezes emanating from the desert in the east. little artificially generated cooling orstore thermal en series of below-grade, passageways that heating is used. ventilation and thermal mass. soil) subtly integrates the built form into the heating surrounding is used. swings in temperature during the day. Vaulted roof adapted to modern setting, with more permanent materials. The labyrinth utilises thermal mass to passively moderate tem THE VAULTconstruction IS ENERGY EFFICIENT High-mass has used due to the diurnal ran buildings withoutand relying on been mechanical conditioning. Outsid akes use of local resources , is climatically efficient and promotes the EFFICIENT use of earth as a Cool THE VAULT IS ENERGY night breezes air currents can pass over the thermal m Vaultedand andpromotes domes shelters were usedasbya Aboriginal groups across northern Ausfficient the use of earth series of below-grade, brick passageways that store thermal e tainable andcarbon, durable building material.costs (less mortar + energy ength, low lower construction Due to the shape and exposure to direct sunlight, vaults gene tralia. (adapted from Design, building on country, Memmott) Brick hasinatemperature high thermalduring mass the andday. a long thermal lag times swings Due to the shape and exposure to direct sunlight, vaults generally havealesser heat shape gains factor (ratio of s ent sites. thanslowly. flat roofs. They have minimum heat sonry wallsAND and thin tile vaulted roofs are versatile beaapplied thantechniques flat roofs. that Theycan have minimum shape factor (ratio of surface to volume) the TILATION DAYLIGHTING The buildings appropriately shaded to protect mass area of their are surfaces (where the heat losses and the gains takefro p rsatile thatsites, can be Cool night andisisair currents canbut pass over the therma oss the techniques site, and other in aapplied variety ofthe applications. area of in their surfaces the Ausheat losses andvolume gains breezes take place) small inthe relation tothe Vaulted domes shelters were used by Aboriginal groups across(where northern surrounding landscape harsh and dry, new buildings hplications. bricks areand made on site using soil from site, cast the created. This makes vaults more energy efficie Masonry walls offer good heat insulation and the inside of the energy theenergy volume created. This of makes the vaultsfrom more energy efficient thansoother geometrical tralia. Design, building on country, Memmott) structural technique avoid largeThis embodied and high costs conventhte afteernoon it feels and shady. new b sses, and(adapted joined byfrom anhelps earth mortar. reduces transshapes shady with controlledsun sunlight and cool generous naturalThe cross-ve shapes al solutions. It minimises building waste and decreases the dependence on expensive around internal courtyards which provide shade in summer. It . It is proposed that they be stabilised with 8 - 10% indusbreezes emanating from the desert in the Very little arti The buildings are appropriately toeast. protect mass Discrete areas withinbuildings buildings and very areas which allow shaded congregation withthe visual orted materials. need little artificially generated energy, relying of ainable solution, spinifex nanofibres (although note that heating is used. surrounding landscape is harsh and dry, but the new building and aural connection. ventilation and thermal mass. d in this regard). The latter option would enable a return to from thte afteernoon sun so it feels cool and shady. The new dregradable. Vaulted roof adapted to modern setting, with more permanent materials. THE VAULT IS ENERGY EFFICIENT around internal courtyards whichused provide summer. akes use of local resources , is climatically efficient and promotes the use of earth as a High-mass construction has been due shade to the in diurnal rang buildings need very little artificially generated energy, relying ainable and durable building material. he most thermally efficient. Optimal state of thermal Due to the shape and exposure to direct sunlight, vaults gene ventilation andthermal thermal mass.and Brick has aroofs. high mass a long thermal lag(ratio timesofso than flat They have a minimum shape factor s generatrix roof adapted to modern setting, withtechniques more permanent materials. onry Vaulted walls and thin tile vaulted roofs are versatile that can be applied heat slowly. area of their surfaces (where the heat losses and gains take pl generatrix ILATION AND High-mass construction has been used due to the diurnal ran ss the site, andDAYLIGHTING other sites, in a variety of applications. the volume created. This makes the vaults more energy efficie Masonry walls offer good heat insulation and the inside of the shapes tructural technique helps avoid large embodied energy and high costs of convenBrickwith has acontrolled high thermal massand andgenerous a long thermal times shady sunlight naturallag cross-ven l solutions. It minimises building waste and decreases the dependence on expensive heat slowly. breezes emanating from the desert in the east. Very little artifi catenary directrix NTILATION AND DAYLIGHTING materials. yrted directrix heating used. Hotisair within thegood building gathers in the spaceofcrea Masonry walls offer heatcomfortable insulation anddome the inside th Hot air within the building gathers in the dome space creating a more structural technique helps avoid large embodied energy and high costs of convenfeeling at floor level. Relationship between inside and outside and use of inbetween areas. shady with controlled sunlight and generous natural cross-ve feelingthe at dependence floor level. on expensive THE VAULT IS ENERGY EFFICIENT al solutions. It minimises waste and decreases kes use of local resources building , is climatically efficient and promotes the use of earth as a breezes emanating from the desert in the east. Very little art orted materials. Vaulteed roofs increase the speed of the air flowing over t inable and durable building material. heating used. Vaulteed roofs increase the speed of theDue air to flowing over and their curved surfaces, theisshape exposure toeffective direct sunlight, vaults making cooling winds more at reducing thegenera temp generatrix making cooling winds more effective atthan reducing the temperature of the roof’s flat roofs. They have a minimum shape factor (ratio of su surface. nry walls and thin tile vaulted roofs are versatile techniques that can be applied THEofVAULT IS ENERGY EFFICIENT surface. area their surfaces (where the heat losses and gains take pla local resources climatically efficient and promotes the use of earth as a sakes the use site,of and other sites, in, ais variety of applications. the volume created. This makes the vaults more energy efficien tainable and durable building material. Part of the roofand is always shaded, except at noon when th Due to the shape direct sunlight, vaults gene Part of the roof is always shaded, except at noon when the sunexposure is directlytooverhead. shapes than flat roofs. They have a minimum shape factor (ratio of s such as bench andvaulted seatingroofs under trees in sonry walls andseats thin tile are versatile techniques that can be applied catenary directrix area of their surfaces (where the heat losses and gains take p ed internally for other built inFreestanding seating. oss the site, and sites, in a variety of without applications. air within theThis building gathers in themore dome spaceefficie crea vault tympana or walls. theHot volume created. makes the vaults energy thout tympana or walls. feeling at floor level. shapes USE OF COURTYARDS USE OF COURTYARDS Vaulteed roofs increase the speed of the air flowing over th making cooling winds more effective at reducing the temp wo basic materials - a combination of stabilised com96 surface. generatrix he community and perforated steel.

WOMEN’S + CHILDREN’S CENTRE SOUTH ELEVATION 1:100 CENTRE WOMEN’S + CHILDREN’S SOUTH ELEVATION 1:100

WOMEN’S + CHILDREN’S CENTRE SOUTH ELEVATION 1:100

WOMEN’S + CHILDREN’S CENTRE LONGITUDINAL SECTION CENTRE 1:100 WOMEN’S + CHILDREN’S LONGITUDINAL SECTION 1:100

WOMEN’S + CHILDREN’S CENTRE LONGITUDINAL SECTION 1:100

WOMEN’S + CHILDREN’S CENTRE EAST ELEVATION 1:100 CENTRE WOMEN’S + CHILDREN’S EAST ELEVATION 1:100

WOMEN’S + CHILDREN’S CENTRE EAST ELEVATION 1:100

COOLING LABYRINTH COOLING LABYRINTH

COOLING LABYRINTH

WOMEN’S + CHILDREN’S CENTRE CROSS SECTION 1:100 WOMEN’S + CHILDREN’S CENTRE CROSS SECTION 1:100

COOLING LABYRINTH

WOMEN’S + CHILDREN’S CENTRE CROSS SECTION 1:100

STUDIO TIMOR 1, 2019 This studio seeks to ask questions about identity & environment in Dili using a variety of historical and contemporary lenses. Students engaged on architectural design propositions for a Library/Museum for Language - a space dedicated to “Memory - Knowledge - Culture” at the core of the city - the waterfront [From Largo Lecidere till Hotel Timor]. Texts were discussed as confronting the concept of knowledge, language, letters and symbols in a contemporary society with ‘overwhelming access to information’. Students engaged with local and international guests that have lived, studied and been part of the intense trajectory of Timor-Leste to become a nation. The studio is part of a broader research project into Traditional / Environmental Design in Timor Leste, partially funded by the German Government/UWA and is supported by Fundacao Oriente (Timor-Leste/Portugal) and the Brazilian Embassy-Timor Leste. Students were assigned the task of designing a Library & Museum of Language at the waterfront of Dili, the capital of Timor-Leste. The building would be used to host traditional and contemporary collections that represent the many languages and cultural diversity of this young independent nation. The most successful projects effectively applied four fundamental pillars of research and design: immediate context; identity; environmental response; and programme.

Featured Students:

Heng Zhang Julia Catalano - The Fabric of an Interwoven Allen Eng - Gestures Katarina Schnell - Ribbon Tsyon Feleke Jiaying Fu - Soil and Beyond Guest Lecturers: Rainer Hirth, Raquel Scartezini

Heng Zhang

Concrete slab

Timber slab

Concrete wall

Glass curtain wall

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Metal support

Timber colum

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Heng Zhan 22522852

tions

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Julia Catalano

The Fabric of an Interwoven

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PRODUCED BY AN AUTODESK STUDENT VERSION

STRUCTURAL SPAN DIAGRAM

PRODUCED BY AN AUTODESK STUDENT VERSION

CIRCULATION DIAGRAM

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION LOUVERS BLOCKING EASTERN SUN

drawings axonometric

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North Elevation

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Allen Eng Gestures

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GESTURE SPACIAL EXPLORATION

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Along with the conceptual narrative in this design scheme, there needed to have some essential functional architectural aspects. The café is located on the ground floor for a closer connection with the public ground space as this program contain elements of food & beverage hospitality hence fitting better where there’s more foot traffic. The ground floor location also allows these programs to function independently of the upper floor areas, so should the library/museum close for the day the café can continue to function as usual.

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The toilets for the upper floor museum are located in line with the ground floor for better construction practice. Toilets for the upper floor library don’t have any ground floor toilets to align with hence in order to account for the services, two (700mm SQ) columns underneath the toilets have a cavity to accommodate service pipes and still maintain its purpose as a structural member.

GROUND FLOOR

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B A

LO SE OU W A TD ER TI N O E G O D A R RE A

SOLID HANDRAIL

UP RS R AI A ST O B T

CALM WATER BODY COVERED EXHIBIT AREA

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COVERED OUTDOOR SEATING AREA

COURTYARD

LM CA

B TER WA Y OD

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RED R WE LO DOO EA R T OU G A TIN SEA

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SECRET SEATING AREA OUTDOOR CLEARING

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UP IRS STA SUEM MU TO

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ION EPT REC

UP IRS STA RARY LIB TO

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AXONOMETRIC DRAWING ONE M U S E U M OF L A N G U A G E

Tsyon Feleke

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Jiaying Fu Soil and Beyond

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PHASE II. CONCEPT AND FORM NORTH ELEVATION 1:200

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UNDER THE CANOPY

TEH COURTYARD

EXHIBITION

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LIBRARY

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PLAZA EXHIBITION

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5.CREATE NEGATIVE SPACES

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STUDIO TIMOR 2, 2022 This studio is the second of a series of research studios that seeks to ask questions about identity, collective and environment in Timor-Leste. Students engaged on architectural design propositions for the Brazilian Embassy in Dili, which has never been completed and is currently in ruins. To date, Brazil has been a ‘background’ contributor to the physical reconstruction of TimorLeste, despite its highly developed technical expertise, knowledge transfer capacity and resources within the built environment in Brazil and abroad. The geographical distance along with internal political changes influencing international policies for Timor-Leste have contributed to such diminished presence. There are a number of exchange programmes established after Independence, in particular for strengthening training and education [scholarships, exchange programmes mostly funded by Brazil], that have benefited significantly the people of Timor-Leste. The studio has at its core values methods of construction, and heritage conservation.. Students were supported on the development of their design choices and were encouraged to search for design alternatives that are culturally appropriate, circular by design and socially impactful for communities.

Featured Students:

Ji Chenzi - Double Skin System Jiawei Fan - A glimpse into the light: Rejuvenating Michaela Savage Matthias Widjaja - Designing Resilience Darian Astone - Koroa Jardin Alyssa Continibali Anndrea D’Angelo Ned Kirwan-Ward Guest lecturers: Ingrid Van Bremen, Greice Portal, Saleh Esfahani, Raquel Scartezini Guest Critics: Mauricio Medeiros de Assis, Nathan Laird, Edward Tran, Rainer Hirth

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Double Skin System

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Jiawei Fan

A glimpse into the light: Rejuvenating

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Double-layer same construc�on method

Three layers same construc�on method

Eleva�on lateral displacement

Add cement to bond

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Brick

Double-layer same construc�on method

Solar panel

Irregular bamboo wall

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Three layers same construc�on method

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Ver�cal support bamboo Bamboo wall

b Brick wall

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Irregular bamboo wall

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Lateral Support Bamboo

Ground ﬂoor

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Structure

EMBASSY & CULTURAL CENTRE STRUCTURE

ARCT5301 Studio Timor 2 • Dr Rosangela Tenorio Jiawei Fan 22695598

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‘Capoeira’ was developed in the escapee mountain communities known as the ‘Quilombos’ as a way of resisting oppression and the prohibition of cultural customs. When members of the Quilombos were recaptured and placed on plantations, they introduced Capoeira to RESILIENCEowners mistook it as other enslaved persons. Accompanied by music and singing, plantation DESIRE FOR and skill. a simple dance but the expressive movements disguised strength Michaela Savage FREEDOM TIMOR Today a cultural symbol of Brazil, the Capoeira representsREBUILDING a beautiful strength and lack BRAZIL LESTE NEW of surrender in the face of overwhelming odds, a survival tool not only of self-defence, NATIONAL IDENTITY but of cultural identity. It is an enduring tradition which speaks to the fighting spirit of the Brazilian people, something the people of East Timor can particularly resonate with. UNITY Also seen practiced around Dili, it is a significant point of connection for these two places, TIMOR-LESTE BRAZIL for the architecture to symbolically ‘dance’ or take its the embassy posing an opportunity queues from each of these two ‘players’. BRAZILIAN CURVE

Just as Brazilian modernists like Oscar Niemeyer included soft curves in their rational, international style, grid-based designs, here we combine the Brazilian affinity for the sculptural/curvy and the movement of the Capoeira within the grid geometry of the existing colonial building. These expressive curves embed in the colonial architecture a message of local resistance. Just as the Capoeira was a form of expression within the constraints of colonial order, so too will our intervention be an expression of Brazilian and Timorese cultural identity and independence, using the constraints of the colonial heritage to our advantage. GRID Colonial Order

Colonial OrderBRAZIL TIMOR-LESTE

BRAZILIA BRAZILIA

Just as Brazilian modernists like Oscar Just as Brazilian modernists like Oscar rational, international style, grid-based rational, international style, grid-based affinity for the sculptural/curvy and theVSm affinity forof thethe sculptural/curvy and the m geometry existing colonial buildin geometry of the existing colonial buildin colonial architecture a message of local r colonial architecture message of local of expression within athe constraints of cr of expression within the constraints of c be an expression of Brazilian and Timo be an expression of Brazilian and Timo CONC using the constraints of the col using the constraints of the col Layered customs, sy GRID GRIDOrder Colonial Colonial Order 1.

V V

CON CONs Layered customs, Layered customs, s

CURVE Desire for Freedom

RESILIENCE

DESIRE FOR FREEDOM TIMOR LESTE VS.

REBUILDING NEW NATIONAL IDENTITY

1. 1.

BRAZIL

UNITY TIMOR-LESTE

BRAZIL

CONCEPT BRAZILIAN CURVE Layered customs, symbols and history Just as Brazilian modernists like Oscar Niemeyer included soft curves in their rational, international style, grid-based designs, here we combine the Brazilian affinity for the sculptural/curvy and the movement of the Capoeira within the grid 1. geometry of the existing colonial building. These expressive curves embed in the colonial architecture a message of local resistance. Just as the Capoeira was a form of expression within the constraints of colonial order, so too will our intervention 2. be an expression of Brazilian and Timorese cultural identity and independence, using the constraints of the colonial heritage to our advantage.

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GRID Colonial Order

CURVE Desire for Freedom

1. Timorese - Construction

Desire for Freedom

AN CURVE AN CURVE

Colonial Order

Desire for Freedom

GRID Colonial Order

CURVE Desire for Freedom

r Niemeyer included soft curves in their r designs, Niemeyerhere included soft curves in their we combine the Brazilian S. designs, here we combine the Brazilian movement of the Capoeira within the grid movement of the Capoeira ng. These expressive curveswithin embedthe in grid the ng. These expressive curves embed the resistance. Just as the Capoeira was ainform resistance. Just as the Capoeira was a form colonial order, so too will our intervention colonial order, identity so too will intervention orese cultural andour independence, orese cultural identity and independence, CEPT lonial heritage to our advantage. lonial heritage to our advantage. ymbols and history

VS. VS.

CURVE DesireCURVE for Freedom Desire for Freedom

VS. VS. VS.

CONCEPT Layered customs, symbols and history CONCEPT

Layered customs, symbols and history CONCEPT Layered customs, symbols and history

1. 2.

2. 2.

NCEPT NCEPT 1. Timorese - Construction symbols and history symbols and history 2. Brazilian - Capoeira 3. Portuguese - Colonial History

3. 3. 3.

1. Timorese - Construction 2. Brazilian - Capoeira 1. Timorese - Construction 3. Portuguese - Colonial History 2. Brazilian - Capoeira 1. Timorese - Construction 3. Portuguese - Colonial History 2. Brazilian - Capoeira 3. Portuguese - Colonial History

2. 2.

3. 3.

1. Timorese - Construction 1. Timorese - Construction 2. Brazilian - Capoeira 2. Brazilian - Capoeira 3. Portuguese - Colonial History 3. Portuguese - Colonial History

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ARCT5301 Studio Timor 2 • Dr Rosangela Tenorio

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Andrew Tiet

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148 nnades create a strong street obato Avenue, Hotel Timor cial occasions

Zoning

Public-Embassy The Embassy is zoned within the exist presence. Furthermore, North of the si and May 5th gardens- creating oppor Semi-Public - Office Space Strategically lifted above ground level the event of floods- This also allows for Private- Ambassadors Residen Located to the South of the site to max

Zoning

Active Ground plane

Public-Embassy The Embassy is zoned within the existing architecture- The rhythm of the colonnades create a strong street presence. Furthermore, North of the site will be directly in line with Nicolau Lobato Avenue, Hotel Timor and May 5th gardens- creating opportunities to draw the public in during special occasions Semi-Public - Office Space Strategically lifted above ground level, all office spaces are located on first floor to protect the Embassy in the event of floods- This also allows for security screening zones to be better managed than ground floor Private- Ambassadors Residence Located to the South of the site to maximise privacy and security systems

As mentioned, lifting the ground plane protects whilst also creating opportunities to host a vari to the public.

Zoning

Active Ground plane

Framing Key Views

As mentioned, lifting the ground plane protects the embassy in the event of floods whilst also creating opportunities to host a variety of events when the embassy is open to the public.

The Upper floor is pulled back along the Nort the waterfront. Towards the South, the site is the existing mature trees and frame the moun within the tree canopies.

EMBASSY & CULTURAL CENTRE ARCT5301 Studio Timor 2 • Dr Rosangela Tenorio

Active Ground plane

Framing Key Views

As mentioned, lifting the ground plane protects the embassy in the event of floods whilst also creating opportunities to host a variety of events when the embassy is open to the public.

The Upper floor is pulled back along the North to open up the embassy to views of the waterfront. Towards the South, the site is carved to frame and allow room for the existing mature trees and frame the mountains- creating a work environment within the tree canopies.

Resilient landscaping Matthias Widjaja 21711067

Opening up the ground plane allows for opport tandem with the architecture- Inspired by the w landscape celebrates movement and creates a va performances, to more intimate areas in the gar strategy to aid water collection and drainage.

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Darian Astone Koroa Jardin

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DOWN

UP DOWN UP

DOWN

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KEY

Pedestrian Entries Reception Informal Outdoor Auditorium seating Ambassador Entry Diplomatic Office Promenade Trees for privacy Meeting Room Space for Cultural Events / Gallery Native Flora Garden

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Alyssa Continibali

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Anndrea D’Angelo

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the city of Dili, and indeed the embassy. This project is a response to the questions, how do we integrate a past significant building with a contemporary interpretation of classical form, materiality and culture? What are the requirements of a working embassy and how can we integrate them into this new form? This project explores the concepts of repression, resilience, and identity, ideas that are the

core of the Brazilian and Timorese people. The expression of local materiality and vegetation Ned Kirwan-Ward becomes a representation of a country taking hold of its legacy and forging a new identity.

CHOOSE ONE OF THE FOLLOWING: _CONCEPT IMAGE _NARRATIVE CROSS-CULTURAL SERIES EXERCISE IMAGE _LAYOUT OPTION FOR PORTRAIT IMAGE

“I am not what happened to me, I am what I choose to become” - Charles Gustav Jung

Repression

Resilience

Through the cracks of the past can we see new life begin to emerge. It slowly embeds itself, never giving up, and then takes over its history to become something new altogether

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ARCT5301 Studio Timor 2 • Dr Rosangela Tenorio Ned Kirwan-Ward 22176733

Identity

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AWARDS – BBMLAB [2019 - 2021] Bio-Based Materials Design Lab have selected projects and students that have shown exceptional performance and quality of design work along with outstanding commitment to the circular economy principles in design. The students and their projects are showcased here. We congratulate all awardees for their achievements and their contribution to the Lab.

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BBM Design Lab Award 2019 Time Shelter

Project Team:

Grace Hernandez, David Morgan, Austin Nichols, Yuntian Shi (Lane), Qiushi Wang (Icy), Qiuyan Wang Early sketches provided to the group a quick resolution that resulted on a shelter concept based on Yves Klein’s ‘globe’ model. The group wanted to incorporate sunlight into the design, discussing patterns and images based on sun angles and eventually settling on multiple woven bamboo surfaces to project scattered shadows across the ground. With the concept set the group began to consider the structure. Initial ideas featured a single rotating post support, a semi enclosed dome, and ribbed supports. Eventually the group decided on two circular base rings supporting three shell-like surfaces. Most iterations of the design featured some form of interactivity. When the group arrived at the shell concept they decided to include a folding design for added functionality. Despite the time constraints of the project, the functionality of the design remained more or less in line with the original intent. The group worked together tirelessly in hand-weaving the three different surfaces over three days, closely matching their initial renders of the design.

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BBMLab Award 2020

Toolkit for Self-resilience [Top 10 finalist at XYZ Internataional Design Competition: Reimagining Play]

Project Team:

Nurul Azman, Lyana Ibrahim, Hafizah Mohammad, Calvin Thoo [Supervision: Christian Wetjen] The toolkit’s primary objective is to encourage the children to be self-resilient through the building process of the play area as well as their interaction with the components. Providing them with a toolkit of their own would also instil a sense of ownership and responsibility while replacing the sense of loss, helping them to rebuild their confidence and trust. The ability for them to come together and expand the play modules with each toolkit would foster stronger bonds between friends and neighbouring families. Through the concept of Self-Resilience, the process of re-imagining play has created a set of design principles which are explored through a series of modular typologies that are geared towards addressing the socio-cultural issues in the Kutupalong Refugee Camp. This camp along with other refugee camps, requires the temporariness of any structure or material. Additionally, proposed design principles include the understanding of psychological aspects of the user group, in which they are children that have experienced displacement from their home, trauma and violence. The ‘tool kit’ consists of several components and elements - primary structures, joineries and independent components which forms the base module. The base module is centred around integrating a design response within a circular economy through which components can be assembled, disassembled, up-cycled or re-used, repurposed and re-assembled. Both primary and secondary components within a module are designed to be resilient and long-lasting in value. The primary components act as structural elements that qualify as temporary but are designed to be sturdy, essential for the safety of the refugee children. Modules could be expanded and adapted into different cognitive variations depending on the children’s imagination and creativity.

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BBMLab Award 2021 Stool Pavilion

Project Team:

Julia Catalano, Sophia Do, Paul Jung, Matthias Widjaja As the climate crisis emerges, the role of the designer changes — more now than ever sustainable practices within design need to be championed; moving forward good design and sustainability need to be synonymous to each other. Sustainable design is achieved by focusing on 3 main circular principles. 1. Design out waste and pollution 2. Keep Products and materials in use 3. Regenerate natural systems The Pavilion Stool – Stool Pavilion is a simultaneous response to architectural design and furniture design with sustainability and circular practices at the forefront. By incorporating circular design strategies (such as refurbishment, recycling, reusing, and redistributing), the overall product life of a singular Pavilion Stool can be lengthened – resulting in less waste production and a smaller carbon footprint. Able to be assembled and disassembled at any site, and then flat packed – the Pavilion Stool is designed to be re-used and re-distributed. With the intention of sharing the design onto Open Desk (an online open platform for furniture design), we hope that individuals around the world will create as many stools as they need, when they need, to avoid excessive mass production. The stackability of the Pavilion Stool was an important factor during the design phase. Not only was it essential for storage purposes, but the idea that a community of Pavilion Stools could transform into something more was paramount. The Stool Pavilion is created by stacking multiple Pavilion Stools together to create a larger system. Sustainable design is a collective responsibility and encompasses all stages of the design process – from material extraction, design, manufacture, transportation, use and design strategy. The Pavilion Stool – Stool Pavilion is the encapsulation of circular concepts and the manifestation of the hope of a more sustainable future in design. Change begins with an individual, but transformation happens with a community.

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Project photography by Mason Roberts

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BBMLab Merit Award [2019-2021]

Re-connect [Runner up International Design Competition – XYZ]

Project Team:

Nurul Azman, Lyana Ibrahim, David Morgan, Thao Thanh Pham Perth, Western Australia, hosts an interesting mix of people and locations with a population who largely enjoys and frequently uses all the pockets of open public spaces and parkland. The design for ‘Ribbons of Growth’ provides a new way of public seating to maintain social interaction at safe distances. The design is adaptable to most spaces and, by using circular design principles, is able to be maintained and expanded to suit the ebbs and flows of public use. In Australia, bushfires are a common occurrence and an important aspect of the cycle of re-growth for our natural flora. We chose to use charred timber as a reflection of this cycle and for its durability. Recycled timber is sourced, charred, then treated with natural oils - a process that enhances the wood’s protection against the elements and improves its longevity. The design also focuses on circular principles, allowing individual components to be rented, replaced, and recycled depending on the requirements for each bench arrangement. A modular system of seven main components and seven joinery components makes the design suitable in any scenario. ‘Habitable’ and ‘Non-Habitable’ components are placed in alternating fashion along a hexagonal grid with options for most public activities to ensure socially distanced seating without wasting the space in between. The design includes seating for individuals, paired parent + child seats, wheelchair accessible tables, solar phone charging stations, a washing fountain, bike rack, and planter boxes. The system follows three standardised heights ensuring that, when combined with the correct joining component, any main component can be joined to another keeping the flow of the ribbon-like design. We chose these heights based on factors of usability, such as 40cm elevation for main seating, 60cm for low/accessible tables, and 100cm becomes tall enough to be a barrier. There are also additional heights, such as the 30cm seat to accommodate children. Each main component is precisely 133cm in length which, when placed alternately with non-habitable components on the hexagonal grid, creates a 2m distance between seating. The design is flexible enough to reasonably be placed in any public space, from narrow streets to large parks and plazas.

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BBMLab Graduate of the Year Award [2019-2021] David Morgan

The prize is proudly awarded to the student who, in the opinion of the selection committee and collaborators of the lab, has contributed the most to advance the core mission of the lab and its vision through excellence in academic performance, design practice, service [research and education] and engagement [communities]. David demonstrated outstanding design quality through excellent professional work, independence and initiative, and commitment to circular values and principles diligently applied to product design and architecture projects. This award recognizes the exceptional diversity and standards held by David as a designer, demonstrated through the work he collaborated and produced at the BBMLab over the course of 2 ½ years. We congratulate David on this exceptional achievement, and we wish him all the best in his future design career. Jairo da Costa and Rosangela Tenorio

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DESIGN DEVELOPMENT & INNOVATION

Featured Projects

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BIT Pavilion Café Uma Uma Chair Kadeira Homan Kuda Chair Making with Mycelium Circular Housing in Perth Ribbons of Growth Kimberley Basketball Courts

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BIT PAVILION A partnership between the Bio-Based Materials Design Lab (BBMLab), The University of Western Australia and the Bamboo Institute Tibar have developed the design of a demonstration pavilion to be built at the Institute. The Pavilion would fulfil the needs of the Institute to become an iconic symbol of bamboo construction, using traditional joinery techniques and representing the potential of modern bamboo construction in TimorLeste. It is meant to serve as a demonstration building for bamboo construction, and to display Bamboo Products (e.g., furniture) for those visiting the Institute. Afford-ability of resources, sustainable use, and flexibility of uses were essential parts of the brief. The design and construction were set in two phases: Phase 1 – Pavilion and Phase 2: Café Uma

Project Team:

Rosangela Tenorio, Allen Eng and David Morgan

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CAFE UMA The fieldwork observations showed that the building construction industry in TimorLeste is dominated by imported low-quality building materials, coming mainly from Indonesia or China. Cheap roof metal sheeting is used in housing across villages and cities in combination with concrete blocks and cement for walls. Such building practices in housing are perceived as ‘modern’, ‘permanent’, ‘convenient’ and of higher status for household owners across rural and urban areas despite reported low levels of thermal and acoustic comfort (Shastry et al., 2016; Tenorio & De Paula, 2017) and high costs (e.g., transport, materials and energy). Local building materials such as timber, bamboo and earth are perceived as deficient, non-sustainable, inconvenient as it requires considerable maintenance throughout their lifetime (Jackson and Tenorio, 2010). “Café Uma”, used a combination of lightweight and heavyweight materials, giving the possibility of on-site materials sourcing and construction, and or off-site materials preparation. The design used pre-fabricated bamboo trusses, earth stabilized brick walls on a concrete foundation and bamboo roofing sheets, specifically developed and manufactured at the Bamboo Institute Tibar. The Café was designed to collect rainwater, with composting toilets, powered by BIPV (Building Integrated Photovoltaics) and SHWS (Solar Hot Water System). The modulated structure has been designed for testing and monitoring at the Institute, but to be also later adapted and redesigned to serve as housing typologies for different regions of Timor-Leste, according to climatic and social needs. An open-source manual, visually illustrated specifically for illiterate individuals is to be made available along with literature (books and flyers) over the internet. Householders would have instructions on how to harvest their materials, prepare, preserve, source machinery when necessary, buy specific parts of the modular construction unit (e.g., roof trusses, foundation kits, window frames) and also have options on how to adapt spaces and structures on a modular basis.

Project Team:

Rosangela Tenorio, Allen Eng and Debaprana Sarkar

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SOUTH ELEVATION 1:50

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UMA CHAIR Uma = Home. The Home Chair. The Bamboo Institute (BIT) has been successful in producing basic furniture for the local market. However, the furniture production is made out of heavy laminated boards. These have brought some additional problems into the design and manufacturing process. Despite being built out of bamboo, the amount of material used in the production of each chair is considerably high due to the techniques used and the lack of cascading circularity principles, producing much waste on its entirely manual manufacturing process. Material recovery is difficult given the way it is layered, the use of glues, nails and bamboo pins on the joinery. The BIT has lost contracts for exporting its products due to the heavyweight and volume of its chairs, increasing shipping costs considerably. The BBMLab has developed the Uma Chair, a flat-pack product that is much lighter than the available products and is designed for easy assembly and disassembly. Portuguese and Tetun are official languages in Timor-Leste. ‘Uma’ in Portuguese means ‘First’, and ‘Uma’ in ‘Tetun’, means Home. Home is where everything derives and is where everyone returns. Uma Lulik is a sacred home, the home of all Timorese; it represents their family, their ancestors, their history.

Project Team:

Jairo da Costa, Rosangela Tenorio, David Morgan

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KADEIRA HOMAN Kadeira = Chair, Homan = Weaving. Weaving Chair Some of the handicrafts produced at the Bamboo Institute use traditional weaving but in a fairly small scale. The BBMLab, in collaboration with the Bamboo Institute and local craftsman, have developed a conceptual design for the Weaving Chair or Kadeira Homan, based on the design of the original Uma chair. Kadeira Homan introduces weaving and disassembly as part of the final product. The new design intends to reduce even more the relative weight of the chair and introduces a redesign for disassembly and reuse, with more complex joinery that could allow less waste of materials. One of the main outcomes of the development of this product is to allow for the production of furniture for export, which needs to be lightweight and easy to assemble and package, consuming less space for transport and also allowing for less waste during the manufacturing process. The possibility of including traditional techniques, such as weaving in the industrialized process, adds value and contributes towards inclusive income generation within the communities. Weaving in Timor has been passed from male and female masters to the youth, and it is produced using a range of materials, such as bamboo and leaves from palm trees. The patterns and variety of designs are diverse, and the richness of its use can become an asset to contemporary furniture design.

Project Team:

David Morgan, Jairo da Costa, Rosangela Tenorio Kadeira Homan is currently at design concept stage.

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KUDA CHAIR Kuda = Plant. Plant Chair One of the major challenges for the bamboo sector in Timor-Leste is the degradation of its bamboo resources, through poor management. Despite being abundant in bamboo resources, it is challenging to establish the supply of high-quality poles throughout the year in Timor-Leste, which is exacerbated by the poor conditions of roads (in particular, during the rainy season). In some areas, the accessibility is difficult due to mountainous regions, lack of proximity from roads, and also due to land tenure issues. Plantations are small and scattered across the country, with low productivity. Moreover, the ability of farmers to invest in bamboo seedlings and plantation in lands that might be at the center of the customary conflict is a real issue across the nation. Without large scale bamboo plantation and the resolution of land tenure in Timor-Leste, it is almost impossible to develop a commercially viable sector in the country, with incentives to farmers and communities to plant bamboo. Such initiatives would allow not only for income generation for farmers but also protection from soil erosion, particularly in hilly areas, which is a significant problem across the country. The Kuda Chair was developed using mycelium from Reishi [Ganoderma Linzhi], Turkey Tail [Trametes Versicolor], and plywood or bamboo plywood, either in cast form or laser cut and heat pressed. Agricultural waste products such as rice husks, bamboo and many others can be used in the production of substracts for mycelium, allowing for more rotation of crops and diversity of production. Kuda chair complements the Uma and the Homan chairs, providing opportunities for income generation through diversification of crops, growing of new industries and development of circular supply chains of production.

Project Team:

Jairo da Costa, Rosangela Tenorio, David Morgan Kuda chair is at design concept stage, and is a variation from the Uma Chair design, led by Jairo da Costa

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MAKING WITH MYCELIUM Mycellium-based materials have had an exponential growth in the last years as a low energy and abundant agricultural by-product waste user, due to its simplicity of manufacturing and environmental sustainability. The wide range of experimental approaches on its applicability has been moderately unexplored in the construction industry. The applicability and practicality of mycelium based materials are currently non-standardised and existing data on the composition and processes variables are scarce. The scalability, biofabrication methods for mycelium composites, material properties of construction components are being tested at the Bio-Based Materials Design Lab.

Project Team:

Project Lead: Rosangela Tenorio Research Assistant: Debaprana Sarkar

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CIRCULAR HOUSING IN PERTH Coree Ln

The building industry in Australia contributes to the landfill with building waste of approximately 6.25 million tonnes each year. Today, most products — including building materials — are designed through a traditional approach based on a rlinear Co ee Laeconomy nhouses e which involves a take-make-dispose system. Single-detached housing of separate t n makes up the largest dwelling type in Australia. Within Perth itself, 80 to 85% are separate e c s re Brixton C houses. Considering most of Australia’s building typologies are made up of singledetached dwellings, there is potential for future construction to shift from designs of a linear economy to a circular one.

|LOCATION PLAN

SCALE 1:2000

Three sites within Perth (Western Australia), of varying distances to the city center, are selected to demonstrate how a circular design house can accommodate users of varying demographics as well as different environmental or planning contexts: Midland, West Leederville and Ellenbrook.

Site area: 503 m2 The first phase of the design scheme is the exploration of DfD [Design for Disassembly] R-code: R25 This involves Proposedsystems. design Floor area: 152m2 exploring components and the possible joinery methods compliant

to the principles of a DfD method. This involves thinking of non-adhesive solutions click-in to ensure materials will not be contaminated by toxic adhesives. Outdoor and area plot ratio: systems 78% Therefore, products and materials can either be recycled or returned to the biosphere, thus Deep soil plot ratio: 91% creating a closed-loop system.

Materials selected for a circular design should be ethically sourced to ensure it fits into the closed-loop system. This involves the use of circular and bio-materials. The thinking process for material sourcing directed the research to the flexibility of systems to incorporate a variety of circular materials. Consideration of a heavy or light construction method should be factored into design strategies for a circular economy. This will allow components available on the Opensource platform to be accessible to a broader range of consumer groups — people purchasing housing components — and additionally allow those components to be able to adapt to varying landscapes or topographies. The last stage of the design scheme explores housing typologies in Australia and how it can be improved with the proposed component designs. By connecting all components, clashes can be identified, and variations of B each component can be developed. Some rixton housing attributes that are considered when designing forrethe single-detached dwellings C sceasn double-storey spaces. are extra front yard space, patio spaces, terrace spaces, as well t

Research:

Final Masters of Architecture Project: Lyana Ibrahim Supervision: Rosangela Tenorio 230

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Analysis

OPENSOURCE PLATFORM [Left] Opendesk: Opensource platform for workspace furniture. Image source: Opendesk (https://www.opendesk.cc/)

[Top] Opensource website illustration

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Design Scheme

What if you could deliver housing in a flat-pack transport system?

A DfD method for housing allows for multiple advantages in terms of labour and financial cost, as well as energy that goes into manufacturing, packaging and transportation of the architectural elements of a house. Planning the design to fit into a flat-pack system will allow for:

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Significant reduction in labour input -through the modularisation of components -results in a compact and modularised packaging -ability to load more components per transportation trip

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Most importantly, factors above will allow for construction and ownership of a separate house to be more ‘affordable’ for anyone.

|Modularisation allows for compartmentalisation.

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The Proposal

Construction sequence

Step 2: Lay #1.1.A

Step 3: Slot together #1.2.A

Step 3: Lay any variations of #2.1.A/B/C

Step 4: Insert #1.3.A

Step 5: Add another 4x of # 1.1.A

Step 6: Insert any variations of #2.2.A-F

Step 7: Insert #2.3.A

Step 8: Insert insulation #2.3.B

Step 1: Excavate spots for #1.0.A

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The Proposal

Step 8: Fit #2.3.B into cavity of #2.3.A

Step 9: Slot vertical channel #3.1.A into holes of #1.1.A

Step 10: Screw in horiztontal channel #3.2.A on the vertical #3.1.A

Step 11: Screw in facade of choice & attach all flashings

Step 12: Fix windows and doors* *only utilise ones certified on Open-Source Platform to ensure materials are C2C certified and works well with other proposed components in maintaining acceptable waterproofing and thermal-barrier of interior spaces.

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RIBBONS OF GROWTH

Runner up: International Design Competition XYZ – Reconnect https://uni.xyz/competitions/re-connect/entries Western Australia experiences a unique climate in which bushfires are a common occurrence and an accepted part of the cycle of re-growth for the natural flora. The concept for this design proposal derives from this idea; the continuity illustrated by the idea of a continuous ribbon, and interpretation of re-growth through the material selection and principles of circular design. To meet physical distancing measures, the design incorporates components which are categorised as ‘Habitable’ and ‘Non-Habitable’. The two component types are designed to be arranged in an alternating order within a hexagonal grid. The size of this grid allows the incorporation of the components and for it to be arranged 2m apart, as per physical distancing guidelines. Each component is designed ergonomically for the use of a single person, a person on a wheelchair or an adult and a child. Non-habitable components such as the bike rack and washing station would have the users occupying the space for a short period of time. This provides facilities and services to the users while physical distancing. Each component is made up of 8 30x60 mm timber slats which are built of strong hardwood. The ‘Habitable’ and ‘Non-Habitable’ components are reinforced with steel brackets placed perpendicularly along the ends of each curve to further strengthen the module at its weakest points. They are then connected to joinery components, which serve as the core structure supporting the weight of the other components, using steel connection plates. The overall bench is then anchored to the ground using parabolts at each joinery and nonhabitable component to prevent it from shifting or tipping over. The use of charred timber would further strengthen the overall structural integrity and durability of the bench. Charring wood is a traditional technique for wood finish which creates an additional protection layer from the weather or insects. Recycled hardwoods (Spotted Gum, Ironbark, Blackbutt) are locally sourced and charred during the manufacturing process. Charring the timber improves the wood’s longevity and resistance to weathering from sun, wind, water, and pests. Once a layer of char is formed, the excess particles are brushed away, leaving a clean surface which is then treated with natural oils. In order to maintain the integrity and colour of the char finishing, a coat of oil may need to be re-applied between the span of 5 to 10 years, depending on the bench condition. The assembled charred timber bench modules can be cleaned with regular disinfectant or washed with water and soap. Particularly abrasive cleaning techniques such as scrubbing or power-washing should be avoided as they could remove the protective oil layer.

Project Team:

Nurul Azman, Lyana Ibrahim, David Morgan, Thanh Thao Pham 236

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KIMBERLEY BASKETBALL COURTS Basketball courts have occupied a central space in the history of most communities in the Kimberley region - WA, given its diverse uses (i.e. used for funerals, carnivals, major events, markets, sports, etc.) as well as from its prominent physical central position within the communities. It was a constant in all communities visited to talk about the different moments of joy and memories that those basketball courts have offered to communities. Today, most of these courts are in a poor state of conservation, in need of repair or complete reconstruction. Signs of vandalism are evident (i.e. fire, rocks, graffiti, cracked concrete, broken backboards, the absence of hoops, lack of line markings, no lighting or poor lighting, damaged switchboards, broken seating, large amounts of rubbish, etc.). Most importantly, however is the complete absence of roof coverings or any shade, in a climate where torrential rain is common from November to March along with excessive heat and high temperatures. The team at the BBMLab have developed a conceptual design that can be replicated within the 5 different communities [Bayulu, Yakanarra, Wangkatjunka, Junjuwa and Yungngora, given the necessary adjustments and consultation with communities. This is a flexible and adaptable design that offers individuality and opportunities for social gatherings and sports recreation and developmental activities.

Project Team:

Lead Designers: Lyana Ibrahim, Calvin Thoo and Nurul Azman Research and Design Support: David Morgan, Julia Catalano Consulting Architects: Christian Wetjen and Deepti Wetjen Project Lead: Rosangela Tenorio

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Artistic site interpretation by Calvin Thoo

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Lineof roof overhead

Lineof roof overhead P02

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Movable steelfirepit

Western Court

Eastern Court

Movab steelf

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Eastern Court P01 top of mound

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Seating Mound

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Site Address: Drawing Title: Drawing no.: Drawing no.: PLAN SK 1002 St Kimberley George Ranges Innovation Kimberley Project SK 1002 St George RangesLANDSCAPING Kimberley WA 6728 Australia WA 6728 Australia Client: Client: Scale: 1:200 @ A3 Scale: 1:200 @ A3 OL OF DESIGN artwork on SCHOOL OFstructure DESIGN artwork on court structure ommunity Community court Marra Worra Worra & Marra Worra Worra & of Design • Bio-Based Materials Design Lab [BBM UWA Design School Lab]of Design • Bio-Based Materials Design Lab [BBM Design Lab] - and Cultural IndustriesIssue Rev Date: No.:11/08/2021 Department Department and Cultural of Local Industrie Government, Sport s Rev No.: 5 Perth WA 6001 Australia M433, LB 5005 Perth WA 6001 Australiaof Local Government, Sport • rosangela.tenorio@uwa.edu.au

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GSEducationalVersion Tel +61864882779

• rosangela.tenorio@uwa.edu.au

Name: SiteProject Address:

N Notes Drawing Title: LANDSCAPING PLAN

Issue Date: 11/08/2021

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Kimberley Innovation Project Art Wall on container

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rt Wall on container

sion 2779

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Disclaimer All drawings are prepared design and should no construction. This drawi and is not to be retained without the authorisation of Design and BBM Design

LECTURE

PROJECTOR SCREEN

PERFORMANCE SPACE

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Section AA - Storage

Section BB - Flexi Space

North Elevation - Projector Screen

North Elevation - Lecture

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Section AA - Kiosk

North Elevation - Performance space

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INTERNATIONAL RESEARCH COLLABORATION & SOCIAL INNOVATION PROJECTS

Featured Projects • • • • • •

Bio-Materials Research Personal Fabrication for Circular and Distributed Economies A North–South Approach to Knowledge Transfer of Traditional Bamboo Technology in Design Education, Chinese University of Hong Kong [CUHK] Bamboo Design and Making: Architecture for Climate resilience and Social Impact Design – BAMBOO -U Indonesia Kimberley Social and Cultural Innovation Project Homan Futuru: Traditional Housing of Timor-Leste

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BIO-MATERIALS RESEARCH The bio-materials industry is expanding fast into the 21st century construction and design industry in particular. Products such as mycelium, spinifex, guayule, seaweed, strawbale, bamboo amongst other bio-materials, have large potential for commercial application. The design element of integrating solutions is fundamental for the development of this industry. Nowadays, there is an extensive need for the development of new bio-resins, that can replace petroleum-based compounds, plastics and composites with substitutes that are non-toxic products. Currently, many industries would benefit from such developments, particularly the furniture making and construction industry, for timber coating and termite protection (to name a few). Such industries allow for personal and self-sufficient small businesses to flourish, with particular appeal for remote and isolated communities. A number of partners have been working with the BBMLab [e.g. Timor-Leste rural areas, Kimberley Western Australia] in areas that require materials and resources to be flown into, as industries are not located in the region. Scarcity of materials and shortage of specialized labour makes construction in such regions extremely expensive. Research into local materials that can be locally grown, sourced, are technically advanced, can promote local employment, industry development, environmental resilience and culturally appropriate solutions in the region is a need. This is a challenge and an opportunity for a growing industry of biomaterials to flourish, with local people who understand their context, and designers who understand the value of such resources and how to translate it into desirable artifacts for a local and international market. The Bio-Based Materials Design Lab has been advancing its research in bio-materials, in particular hybrid use of mycelium and bamboo, to develop products out of bricks and boards that can be flexible in its applications, durable [e.g. water, fire and termite resistance] and have good compressive and tensile strength. The aim is to apply these products into design contexts [scale of product and architectural design] that can be locally produced and have scalability and sustainability of manufacturing. The hybrid use of substracts for increasing strength, lightness and affordability [e.g. bamboo gridshell structure, hemp/ bamboo substracts, rice husks] are under testing. The BBMLab has also been researching the potential to design parametrically moulds that can be fabricated using 3D printing, laser cutting and CNC milling for modularity, pre-fabrication and more complex formwork. Researchers and design consultants are partnering with the BBMLab to provide the technical support, design development and standardisation/tests necessary for the development and training of products that can be developed commercially in the near future.

Design Lead:

Rosangela Tenorio PhD rosangela.tenorio@uwa.edu.au 262

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PERSONAL FABRICATION FOR CIRCULAR AND DISTRIBUTED ECONOMIES In the existing economic model, as the economy grows, we consume more raw materials and energy to produce goods to fulfil our needs. As a result, we create large amounts of waste. Notably, the conventional and centralized mass production model we use to create solutions for our everyday life carries negative implications for sustainability. In contrast, alternative economic models such as Circular and Distributed economies can accelerate the transition to more sustainable production and consumption systems by minimizing energy, resources, waste and emissions. At the same time, the emergence of manufacturing at a personal level has been supported by the declining cost of desktop digital fabrication technologies, the increase of distributed production through collaborative making spaces and the dissemination of the Maker Culture on the internet. This paradigm shift in production is called personal fabrication and provides people with access to new production practices, increased capability and cutting-edge technologies. Although promising, fostering distributed production through personal fabrication is not intrinsically sustainable as these alternative practices can increase material consumption, artefacts production and waste disposal. As civil society plays a more critical role in material production, designers and researchers need to develop systematic approaches [e.g. guidelines for sustainable personal fabrication], methods and enabling tools [e.g. online manufacturing platforms, 3D product configurators, augmented reality] for designing and implementing future personal fabrication practices, capable of preventing negative environmental impacts, facilitating closed-loop production processes and promoting social innovation through disruptive design. This research aims to contribute to the ongoing discussion centred on peer production by investigating how personal fabrication can function as a new alternative model of production and consumption, driving new sustainable practices and assisting lay citizens in creating more sustainable built environments.

Design Lead:

Jairo da Costa, PhD Postdoctoral Research, 2021-2022 Federal University of Parana (UFPR), Curitiba, Brazil Department of Design, Design & Sustainability Research Center Supervisor: Prof. Aguinaldo dos Santos jairo.costa.junior@gmail.com

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A NORTH–SOUTH APPROACH TO KNOWLEDGE TRANSFER OF TRADITIONAL BAMBOO TECHNOLOGY IN DESIGN EDUCATION, CHINESE UNIVERSITY OF HONG KONG [CUHK] Since 2019, the BBMLab had close collaboration with Dr Hiroyuki Shinohara. We have currently developed a platform for further explorations into bamboo design and making. The purpose of this project is to explore bamboo’s carbon negative potential, strength and versatility, knowledge exchange between traditional craftsmanship and digital fabrication technologies as we started at the China bamboo Design and making. We understand that such processes can unleash added value to creative industry fields in bamboo. There is a significant gap in capacity building on applying traditional knowledge techniques in modern bamboo manufacturing and construction industry, particularly in design education. This project will support Young Australian/Chinese designers on developing, manufacturing and exhibiting digital and traditional designed bamboo products. Although bamboo has been used over the years in the context of arts and crafts, its application in modern industry is still minimal considering all the potential economic, social and environmental benefits. One of the possible reasons is that the knowledge acquired during conventional design education does not equip future professionals like architects and product design students to adopt bamboo as a renewable material in their projects. There is still a significant knowledge gap in how to transfer traditional knowledge to modern industrial applications due to a lack of knowledge and interest in formal education and professional practice. Traditional bamboo weaving techniques are an example of traditional craftsmanship knowledge. The capacity building process for traditional knowledge commonly takes place through an apprenticeship system by a master artist or craftsman to a student or apprentice. This process is characterised by a labour intensive and lengthy period of on-the-job training. The researcher suggests that capacity building for traditional bamboo technology can be implemented in design education by improving the process of project validation/review, introducing algorithmic, parametric and generative modelling tools (AAD/CAD), introducing alternative rapid prototyping tools (CAM), and finally, introducing evaluation tools that contribute to translate traditional techniques from design to prototyping and to bridge educational backgrounds as these become a design language of reference.

Project Participants:

Dr Jairo da Costa [UWA BBMLab] Dr Hiroyuki Shinohara [CUHK] Dr Rosangela Tenorio [UWA, BBMLab] 270

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BAMBOO DESIGN AND MAKING: ARCHITECTURE FOR CLIMATE RESILIENCE AND SOCIAL IMPACT DESIGN – BAMBOO -U INDONESIA Starting from July 2022, close to 30 Architecture students from UWA Australia will design and construct small structures in Bamboo in Indonesia. The practical workshops will be led by a team of designers from UWA and Bamboo-U [Host Institution]. Bamboo is a fast growing plant, with high compressive strength and low weight, versatile with multi-purpose usage. As a renewable resource, abundant in areas of tropical regions in particular, it has been associated however with low income housing and poverty. This is changing rapidly. Bamboo is experiencing an unprecedented interest by a number of industries, and this is particularly true within the building industry. Bio- based materials like bamboo are hard to calculate due to its complex material properties, therefore, designing and fabricating furniture and small construction in bamboo still relies on the knowledge and wisdom of traditional artisans to a great deal. Students will be exposed to expert artisans, designers and makers at Bamboo-U, a state of the art facility that has built a reputation for excellence and innovation in the field of bamboo. Students will experience Indonesian culture through language and cultural immersion, work with traditional techniques and crafters, engage in field work and site visits at Green School campus [award winning bamboo buildings], Green Village [IBUKU design] and Bamboo-U. This programme is targeted for 2nd and 3rd year architecture students, but there will be availability for a small group of Advanced Placement students [Masters of Architecture students and Alumni – up to 1 year of graduation by 15th July 2022]. A combination of conceptual design development will take place alongside skills building in bamboo [digital and physical making].. This programme aims to build institutional and people-to- people relationships with Bamboo-U and partners involved. Through realcontexts, applied research, involving businesses that are at the frontline of contemporary bamboo research in Indonesia, it will allow students to connect with leaders in bamboo, government and civil society in Indonesia while deepening Australian standing in the region and capabilities to further problem solving on environmental and social contexts. This programme is funded by DFAT [Department of Foreign Affairs and Trade – Australia].

Project Participants:

UWA School of Design, Perth Bamboo U, Bali

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KIMBERLEY SOCIAL AND CULTURAL INNOVATION PROJECT Department of Local Government, Sport and Cultural Industries, Kimberley An invitation to come to Fitzroy Valley to undertake an initial assessment of the physical infrastructure of public areas at 5 remote aboriginal communities was provided by the Department of Local Government, Sports and Cultural Industries (DLGSC) to the BBMLab team, UWA School of Design in February 2021. The team came on board and the different stakeholders met in Fitzroy for two weeks in June 2021. The objective of this invitation was to provide an initial assessment and strategies for the future design of social and cultural infrastructure within five remote communities in the region (Bayulu, Junjuwa, Wangkatjunka, Yakanarra and Yungngora). The Kimberley Culture and Social Innovation Project aims to primarily enhance youth employment, initially focusing on recreational sports, in order to increase social inclusion and mobility and promote environmental and cultural values. The project puts culture and environment at the centre of design and adopts a capability and emancipatory approach to community development. An additional outcome of this visit was to meet with stakeholders (Marra Worra Worra Aborigial Corporation), local service providers and members of the five communities to provide design conceptual advice on the approved grant (CSRFF) for the construction and refurbishment of 5 basketball courts and to assess the potential participation of UWA School of Design on this already ongoing initiative.

Project Participants:

Project lead: Dr Rosangela Tenorio Architectural Graduate: David Morgan Master of Architecture student: Julia Catalano Industry partners: Department of Local Government, Sport and Cultural Industries Krissie Dickman, General Manager Kimberley Marra Worra Worra Shaun Fowler, CEO MWW Aboriginal Corporation

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HOMAN FUTURU: TRADITIONAL HOUSING OF TIMOR-LESTE University of Applied Arts and Sciences, Coburg- Germany HOMAN FUTURU: Traditional Architecture in Timor-Leste after 70 years of Ruy Cinatti’s expeditions This study is based on fieldwork conducted in 4 regions in Timor Leste in March 2019 and from January - March 2020, [Viqueque, Maubisse, Lautem and Baucau]. The analysis is informed by extensive archival research undertaken variously by the authors in private and public libraries in Dili - TL, as well as at the National Library of Australia [Canberra - AUS] and at the online archives of Biblioteca Universitaria Joao Paulo II [Lisbon - PT]. Architectural space, construction, and types were recorded with emphasis on measured drawings, interviews and photographing. Local residents were informally interviewed in order to have a deeper understanding of their living contexts, families, religions, etc. Drawings were produced as elevations, plans and sections. This catalogue documents 4 traditional typologies in 3 locations. The team revisited iconic types in more depth and detail through measured drawings, and found its way into tendencies and contemporary adaptation of traditional and existing typologies. The catalogue is paired with the exhibition HOMAN FUTURU: Traditional Architecture in Timor leste. This work is a result of an international collaboration between the University of Western Australia [Perth, Australia, BBMLab] and the University of Applied Sciences and Arts [Coburg, Germany].

Project Participants:

Research Team: Associate Professor Dr Rosangela Tenorio, Professor Dr Rainer Hirth Research Assistants: David Morgan [University of Western Australia], Anika Jeger & Ann-Kathrin Müller [University of Applied Sciences and Arts Coburg]

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ACKNOWLEDGEMENTS The Bio-Based Materials Design Lab would like to thank the following people for their support and collaboration in Teaching and Research:

Guest lecturers, Critics, Collaborators: Nicole Barthomeuf Wu Deng Krissie Dickman Paul Dowling Saleh Esfahani Rainer Hirth Nathan Laird Yat Ming Loo Alexandra Meek Greice Portal Master Qian Yuankang Rodrigo Salvati Hiroyuki Shinohara Edward Tran Ingrid Van Bremen Christian Wetjen Deepti Wetjen Jing Xie

School of Design: Workshop, Curatorial and Marketing Staff: Guy Eddington David Marie Andrew Christie Sarah Douglas Lara Pinho Andy Quilty Administration and Student Office: Jane Bischops Voula Kaplanis Glen Stuart Alicia Brown Dee Jun Ong Jade Gibbs Dean and Head of School: Dr Kate Hislop

Bio Based Materials Design Lab 2019 - 2021 Spectacle Publication

Articles inside

BBM Design Lab Merit Award [2019 - 2021

BBM Design Lab Award 2021

BBM Design Lab Award 2020

BBM Design Lab Award 2019

Practical Workshops

Practical Workshops

Practical Workshops