5 minute read
ARCT5101 Architecture Studio / ARCT5102 Architecture Studio 2
ARCT5101 Architecture Studio 2 Unit Coordinator: Andrea Quagliola Studio Coordinator: Kirill de Lancastre Jedenov ‘Freescapes’
BEAU ROBINSON
As COVID-19 wreaked havoc throughout the world, the Arts in its various forms provided much of the population enjoyment when most other forms of entertainment, such as sport, were shut down in the initial phases of the pandemic. This was despite the tenuous and casual nature of the “gig economy” rendering many of the main stimulus measures redundant for many participants in the arts. Emerging from the pandemic, society must invest in the social capital of ideas, creativity, and expression. With a significant proportion of Australians spending their time and money on arts before and throughout COVID-19, commercialisation at a grassroots level will help foster and develop a scene that emerges from the pandemic far stronger than it otherwise would have been. COVID-19 decimated the Australian Arts industry, and the pandemic has amplified the inequalities that exist in society.
Artists and creatives are aligned with Lebbeus Woods’ principles of ‘Freespaces’ in approaching their craft, pushing the frontiers to carve new niches and bending genres to form an artistic identity. The new landscape for the Perth Cultural Centre explores carving spaces to be used in unique ways, avoiding deterministic design, meant for those who actively intend to occupy them and depending on the type of performance intended for the space. The landscape amplifies the existing qualities of the cultural centre as an arts hub of Perth, making performance and artistic expression an intention of the area, not an intrusion in a landscape that is currently underutilised and disjointed. The former QR code system of the pandemic is recycled in combination with NFT’s as a way of allowing various artists to monetize their works, allowing local governments to better target their grassroots funding. The landscape provides a coherent language between the buildings, becoming a hub of contemporary creation and community driven activation.
Image: Immersive event space.
ARCT5101 Architecture Studio Unit Coordinator: Andrea Quagliola Studio Coordinator: Santiago Perez ‘[So]mod: Models, Sites + Territories: Architecture as an Agent for Social Regeneration Design for a Disaster Resilience Community Centre’
RIVA-JEAN LANDER
‘Looking Out for the Community’
In April 2020, the current Liberal state government released 356,000 hectares of high conservation value, carbon rich forests to the logging industry. Originally set aside for protection under the Tasmanian Forest Agreement, these forests, which support some of Australia’s most iconic species and secure lutruwita’s (Tasmania) water supplies, are now under threat.
This project intends to create a community hub in the rural area of Dorset, Tasmania. The program combines an educational area, co-working space, and a community workshop. The focus is to bring people together, to appreciate the remaining surrounding native forest and learn about how the future of the timber industry can look.
The building design is guided by the tension between interior and exterior space. This is reflected in the layout, circulation, and program. This culminates in the breathtaking educational experience of the tree top walk through the native rainforest and the plantation.
Image: Community centre and contour model.
ARCT5101 Architecture Studio Unit Coordinator: Andrea Quagliola Studio Coordinator: Dr Sally Farrah ‘Projections for a Data Centre in Bunbury’
SKYE NEWTON
Examining site without physical access leaves interpretation to rely on second hand data; aerial and street view photos, lived experiences relayed on publicly accessible domains – google reviews, social media posts, and word of mouth recounts of the space. This information is then filtered through personal readings of space resulting in a bulk of hyperfixations and informational holes. This proposal is a reading of Bunbury – what cried out to be a point of tension and where to apply a semblance of urban acupuncture. Bunbury is a coastal town yet its built form rejects privileging public access to the coast. The only infrastructure allowing for lingering interactions with the water are car parks dotted along the coast.
Affixing a public amenity to the tip of the coast aims to bridge people down to the waterside, critique the proprietorship of the ocean’s edge, the inevitable volume of the building that takes up the skyline of the shore a proclamation in itself.
Offered to the public is a place to frame the ocean’s view, connect with water year round regardless of temperature drops or wind gales via the heated pool. The car park is a place of repose for port side workers on their lunch break, families on a Sunday, people who need to sit and look at the tide go out, kids after school, surfers chasing brine, tourists watching the sun set.
The building is also designed under the acknowledgment of its expiry. Ocean side structures come with limited habitable time frames before they are swallowed by water, hence the gesture of a heavily grounded concrete structure topped and wrapped by sheer steel, vinyl curtain, and polycarbonate form. This project speculates on a new narrative – of how to reach the water’s edge.
Image: Proposal site plan.
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ARCT5101 Architecture Studio Unit Coordinator: Andrea Quagliola Studio Coordinator: Glenn Russell ‘Tidal Pavilion’
ALEXANDRA BOLLIG
‘Tidal Pavilion’
Depending on our perspective, our interaction with the water’s edge differs. From First Nations peoples standing on the edge mourning the passing of souls out to sea, to the settlers searching for new coastlines to land their ships, our combative, and at times, opposing histories find interaction on our shores. Change is inevitable and the water’s edge becomes a place for reflection on what was, what is and what could be.
The Tidal Pavilion captures the diurnal tidal motion with the gentle movement of a timber screen with changing levels of protection and visibility offered at distinct water levels. This change, in either protection or openness, creates greater interaction with the reflection pool or the greater ocean beyond, in turn, changing the nature of reflection from an internal to an external perspective.
Image: Interaction between First Nations Peoples’ significant sites and foreign settlers’ coastal shipwrecks.
