Samson Tiew

Final Year Design Thesis

Exhibited in Gradex 2011
Shortlisted for RAIA Batesmart Graaduate Prize 2012
Capithetical Design Competition- Top 20 Shortlisted Entries

Design Team: Beatrice Toh, Samson Tiew
The State of Mine is a critique of the current Australian capital city, Canberra. The project questions the essence of an Australian Capital and challenges the co-existence of capital/city; as well as parliament/public. We begin by asking ‘Will Canberra survive if Parliament and all its associative were to be plugged out of the urban fabric?’ More importantly ‘Will it even exist?’ Has the 20th century efforts to design a perfect city proven to be counter progressive? Building on the observations drawn from the growth of Canberra in the last 100 years, this thesis project aims to rethink the approaches in designing an Australian Capital city for the 21st century. The idea of a capital city is rich with political metaphors and morphological connotations, but also with uncertainties that prevent the growth of a new city and fail to attest to the reasons for starting anew.
Can a new city be expected to be a working capital or should it remain a symbolic capital? Is it possible to accommodate a 21st century democracy in the planning of the city? Beyond all that, could this new city change the current political agenda of Australia? It is our sincere hope that the rethinking of our capital will be extended politically to the leaders of the nation and progressively usher Australia into a new era.
As we dive into further study of Canberra, conclusions suggested that growing a new city while trying to establish a new capital city may be counterproductive. As of today, Canberra is still not self-sufficient as it relies on the importation of food and energy for its operations. the Lack of strategic planning has also led to motor vehicles being an utmost necessity for Canberrans. Perhaps as a capital city, Canberra should be leading a more exemplary lifestyle?
Therefore, if Parliament is the only thing that truly defines Canberra as the capital of city of Australia, could the city be designed purely to house the government and all its supporting functions? By filtering out only what is needed, the capital will be condensed but yet resilient to represent the nation. As such, it will not attempt to reach the size of a full scale city and in doing so achieve freedom from social, political and environmental issues.
In selecting a location for the footprint of Canberra in the 20th century, Walter Burley Griffin looked to natural topographies and site selection simply meant to inhabit landscapes. However we need to be mindful now that there is not much more natural land as concrete buildings and man-made interjections begin to take the place where the flora and fauna were once rooted. It is our stand that an approach of the 21st century must look instead at rehabilitating some of these destroyed landscapes.
Whilst Australian cities have emerged as top ranked cities in the world, our cities are somewhat far from being truly sustainable cities with excessive mining and consumption being a major contributor to the welfare of the country. As we continue to puncture and scar the earth for such minerals, could we also then imagine a better remedy to this damage?
Geographically, Australia’s new capital should support the nation’s efforts to establish itself as a global leader. in its current form, Australia’s main cities are situated towards the south eastern coast of the continent, geographically isolating the current capital, Canberra. Northern territory is the closest to our major international partners. Concurrently, Northern territory has a lot to offer from an economical point of view, having bountiful amounts of natural resources and tourist attractions.
Coincidentally, Australia’s infrastructure network converges in northern Territory. For its scarce urban fabric, this high concentration of national infrastructure is under-utilised in a highly strategic location. This high concentration of infrastructure fused with a geographically strategic location confirms the potential of a new capital city in Northern Territory.
The immense potential and abundance in Northern Territory is also coupled with controversy. The infamous Ranger Uranium mine is located in Northern Territory, sandwiched between Kakadu national park and Arnhem land: both sacred to the indigenous community. While Ranger is a major revenue generator, non of Uranium harvested are being consumed in Australia. The landscape is scarred for pure monetary gain.
Mining is Australia sustains its continuous growth. Federal lawmakers continue to approve increased mining activity despite its detriment to our social and environmental ecology. Whilst mining may be unavoidable for Australia’s long term advancement, the design and placement of the new capital city should be a reflection of Australia’s success story: mining.
The new Capital city, State of Mine, inhabits Ranger mine, rehabilitating a destroyed landscape into a self sufficient city. Conventionally, the mine would be filled with water, creating acid lakes that destroy neighbouring ecologies. Instead, the new capital will preserve the pristine landscapes of Kakadu national park and Arnhem land, respecting the physical co-existence of the new Australia and indigenous Australia.
Being a sole place of governance, it will house the Australian federal government and its supporting staff. The city measures 2km x 3km, and accommodates 60000 individuals. A closed loop rapid transport system coupled with comfortably sized city blocks eliminates the need for cars. Urban farming is scattered across the city for food security. Furthermore, the minicity is dense with a mixture of live, work and play functions , with parliament at the base of the mine. The planned city with its planned demographics will limit individualised growth to ensure resilience in representing the nation as a capital city.
Due to its location, the city operates as a symbolic administrative front but more importantly, as a mid-point between Australian metropolises and the world. A concurrent intention is to encourage growth in Northern Territory, allowing its regional towns to grow, warranting for population increase in the North. Hopefully, this will relieve congestion in Australia’s main cities.
Albeit progressive, State of mine is a portrayal of Australia’s current political situation. The metaphors are inconclusive and only invites speculative interpretation. Critique aside, State of Mine embraces the political future of Australia. It aims to be a facility that allows Australia to take its place in global leadership; its beginnings originating from a less-than-perfect present.

Final Year Design Thesis

Exhibited in Gradex 2011

Shortlisted for RAIA Batesmart Graaduate Prize 2012

Capithetical Design Competition- Top 20 Shortlisted Entries

Design Team: Beatrice Toh, Samson Tiew

The State of Mine is a critique of the current Australian capital city, Canberra. The project questions the essence of an Australian Capital and challenges the co-existence of capital/city; as well as parliament/public. We begin by asking ‘Will Canberra survive if Parliament and all its associative were to be plugged out of the urban fabric?’ More importantly ‘Will it even exist?’ Has the 20^th century efforts to design a perfect city proven to be counter progressive? Building on the observations drawn from the growth of Canberra in the last 100 years, this thesis project aims to rethink the approaches in designing an Australian Capital city for the 21^st century. The idea of a capital city is rich with political metaphors and morphological connotations, but also with uncertainties that prevent the growth of a new city and fail to attest to the reasons for starting anew.

Can a new city be expected to be a working capital or should it remain a symbolic capital? Is it possible to accommodate a 21^st century democracy in the planning of the city? Beyond all that, could this new city change the current political agenda of Australia? It is our sincere hope that the rethinking of our capital will be extended politically to the leaders of the nation and progressively usher Australia into a new era.

As we dive into further study of Canberra, conclusions suggested that growing a new city while trying to establish a new capital city may be counterproductive. As of today, Canberra is still not self-sufficient as it relies on the importation of food and energy for its operations. the Lack of strategic planning has also led to motor vehicles being an utmost necessity for Canberrans. Perhaps as a capital city, Canberra should be leading a more exemplary lifestyle?

Therefore, if Parliament is the only thing that truly defines Canberra as the capital of city of Australia, could the city be designed purely to house the government and all its supporting functions? By filtering out only what is needed, the capital will be condensed but yet resilient to represent the nation. As such, it will not attempt to reach the size of a full scale city and in doing so achieve freedom from social, political and environmental issues.

In selecting a location for the footprint of Canberra in the 20^th century, Walter Burley Griffin looked to natural topographies and site selection simply meant to inhabit landscapes. However we need to be mindful now that there is not much more natural land as concrete buildings and man-made interjections begin to take the place where the flora and fauna were once rooted. It is our stand that an approach of the 21^st century must look instead at rehabilitating some of these destroyed landscapes.

Whilst Australian cities have emerged as top ranked cities in the world, our cities are somewhat far from being truly sustainable cities with excessive mining and consumption being a major contributor to the welfare of the country. As we continue to puncture and scar the earth for such minerals, could we also then imagine a better remedy to this damage?

Geographically, Australia’s new capital should support the nation’s efforts to establish itself as a global leader. in its current form, Australia’s main cities are situated towards the south eastern coast of the continent, geographically isolating the current capital, Canberra. Northern territory is the closest to our major international partners. Concurrently, Northern territory has a lot to offer from an economical point of view, having bountiful amounts of natural resources and tourist attractions.

Coincidentally, Australia’s infrastructure network converges in northern Territory. For its scarce urban fabric, this high concentration of national infrastructure is under-utilised in a highly strategic location. This high concentration of infrastructure fused with a geographically strategic location confirms the potential of a new capital city in Northern Territory.

The immense potential and abundance in Northern Territory is also coupled with controversy. The infamous Ranger Uranium mine is located in Northern Territory, sandwiched between Kakadu national park and Arnhem land: both sacred to the indigenous community. While Ranger is a major revenue generator, non of Uranium harvested are being consumed in Australia. The landscape is scarred for pure monetary gain.

Mining is Australia sustains its continuous growth. Federal lawmakers continue to approve increased mining activity despite its detriment to our social and environmental ecology. Whilst mining may be unavoidable for Australia’s long term advancement, the design and placement of the new capital city should be a reflection of Australia’s success story: mining.

The new Capital city, State of Mine, inhabits Ranger mine, rehabilitating a destroyed landscape into a self sufficient city. Conventionally, the mine would be filled with water, creating acid lakes that destroy neighbouring ecologies. Instead, the new capital will preserve the pristine landscapes of Kakadu national park and Arnhem land, respecting the physical co-existence of the new Australia and indigenous Australia.

Being a sole place of governance, it will house the Australian federal government and its supporting staff. The city measures 2km x 3km, and accommodates 60000 individuals. A closed loop rapid transport system coupled with comfortably sized city blocks eliminates the need for cars. Urban farming is scattered across the city for food security. Furthermore, the minicity is dense with a mixture of live, work and play functions , with parliament at the base of the mine. The planned city with its planned demographics will limit individualised growth to ensure resilience in representing the nation as a capital city.

Due to its location, the city operates as a symbolic administrative front but more importantly, as a mid-point between Australian metropolises and the world. A concurrent intention is to encourage growth in Northern Territory, allowing its regional towns to grow, warranting for population increase in the North. Hopefully, this will relieve congestion in Australia’s main cities.

Albeit progressive, State of mine is a portrayal of Australia’s current political situation. The metaphors are inconclusive and only invites speculative interpretation. Critique aside, State of Mine embraces the political future of Australia. It aims to be a facility that allows Australia to take its place in global leadership; its beginnings originating from a less-than-perfect present.

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Miura SOHO, Chinatown Melbourne
Fifth Year Design Project
Exhibited in EYES 2010, The University of Melbourne
Miura tower explores the practical opportunities of Origami in architecture. A confined site with an intention for hyper density warranted for the multiplication of space and surface area.
Vigorous experimentation in origami concluded that the repetitive patterns resulting from Miura Folding proved to be opportunistic. the results were modular yet diverse in character. Further experimentation and analysis revealed that Miura origami could be employed to inform the facade of the building. Pushing this further, the Miura pattern could then provide a system for internal organisation.
Extracting a single Miura module for observation, the staggered modular organisation allows for the separation of space while the fold angles allow for diagonal circulation. In the form of a modular pod, each SOHO can be manufactured off site and assembled quickly for a more economical and efficient outcome. This approach also mitigates the tight site access in Melbourne’s Chinatown.
The overall form is molded to co-exist with the heritage shell of an existing building, defining more dynamic spaces as the tower’s footprint is rotated, just slightly. The folding on the facade enforces privacy between units and adjacent building and doubles up as sun shading device to ensure energy efficiency throughout the building.The facade also serves the function of an urban rock wall, adding an element of play to the building.
Finally, Miura tower delivers 32 SOHO units on a 200sqm site. Overall, it offers 78sqm of live-work-play functions, averaging 1/3 of a tennis court of space per person. In comparison to Melbourne’s current 2.5 tennis court of space per person, Miura displays a workable solution for hyper density living in the near future.

Miura SOHO, Chinatown Melbourne

Fifth Year Design Project

Exhibited in EYES 2010, The University of Melbourne

Miura tower explores the practical opportunities of Origami in architecture. A confined site with an intention for hyper density warranted for the multiplication of space and surface area.

Vigorous experimentation in origami concluded that the repetitive patterns resulting from Miura Folding proved to be opportunistic. the results were modular yet diverse in character. Further experimentation and analysis revealed that Miura origami could be employed to inform the facade of the building. Pushing this further, the Miura pattern could then provide a system for internal organisation.

Extracting a single Miura module for observation, the staggered modular organisation allows for the separation of space while the fold angles allow for diagonal circulation. In the form of a modular pod, each SOHO can be manufactured off site and assembled quickly for a more economical and efficient outcome. This approach also mitigates the tight site access in Melbourne’s Chinatown.

The overall form is molded to co-exist with the heritage shell of an existing building, defining more dynamic spaces as the tower’s footprint is rotated, just slightly. The folding on the facade enforces privacy between units and adjacent building and doubles up as sun shading device to ensure energy efficiency throughout the building.The facade also serves the function of an urban rock wall, adding an element of play to the building.

Finally, Miura tower delivers 32 SOHO units on a 200sqm site. Overall, it offers 78sqm of live-work-play functions, averaging 1/3 of a tennis court of space per person. In comparison to Melbourne’s current 2.5 tennis court of space per person, Miura displays a workable solution for hyper density living in the near future.

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Apollo Lamp
Self Commissioned
Copyright Labthreeofive 2011

Apollo Lamp

Self Commissioned

Copyright Labthreeofive 2011

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LABTHREEOFIVE
LABTHREEOFIVE IS THE STORY OF SEVEN UNIQUE INDIVIDUALS UNITED BY ACOLLECTIVE VISION OF A BETTER TOMORROW. WE SEEK TO ANSWER HUMANITY’S SILENT CRY WITH LIFE-INJECTING AGENTS. THEIR FORMS MAY BE VARIED BUT THEIR MISSION IS THE SAME: TO ATTACH ITSELF TO MEMBERS OF THE HUMAN SPECIES, WITH THE SOLE PURPOSE OF AWAKENING THE TRUE- SELF OF THE INDIVIDUAL
My involvement with Labthreeofive ranges from the on set of preliminary design work all through to the final stages of to manufacturing. Furthermore, other non design tasks such as administration taxation and strategic planning and client liason forms part of my responsibilities.
More images and informationavailable atwww.labthreeofive.com

LABTHREEOFIVE

LABTHREEOFIVE IS THE STORY OF SEVEN UNIQUE INDIVIDUALS UNITED BY A
COLLECTIVE VISION OF A BETTER TOMORROW. WE SEEK TO ANSWER HUMANITY’S SILENT CRY WITH LIFE-INJECTING AGENTS. THEIR FORMS MAY BE VARIED BUT THEIR MISSION IS THE SAME: TO ATTACH ITSELF TO MEMBERS OF THE HUMAN SPECIES, WITH THE SOLE PURPOSE OF AWAKENING THE TRUE- SELF OF THE INDIVIDUAL

My involvement with Labthreeofive ranges from the on set of preliminary design work all through to the final stages of to manufacturing. Furthermore, other non design tasks such as administration taxation and strategic planning and client liason forms part of my responsibilities.

More images and information
available at
www.labthreeofive.com

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Labthreeofive Design Made Trade 2011 Stall
Design - 7 days
Construction- 4 days
Design Team: Adelle Tan, Beatrice Toh, Christopher Loh, Matthew Tam, Rodelle Lee, Samuel Liew, Samson Tiew
Labthreeofive’s stall for Design Made Trade 2011 explores the transitional qualities of form and the delineation of hierarchy.
The overall form is composed of three different box sizes. Each preceding sized box fits into a larger box in fours, in a Russian doll formation.The need to have a quick erection time and efficient trasportation warranted for such an approach. All the components were made off-site and delivered on site to be erected in one a couple of hours.
The box sizes were derived from the requirements of labthreeofive’s product sizing. The smallest boxes housed Labthreeofive’s smallest products and subsequently the largest boxes displayed the largest items among Labthreeofive’s collection.
Copyright Labthreeofive

Labthreeofive Design Made Trade 2011 Stall

Design - 7 days

Construction- 4 days

Design Team: Adelle Tan, Beatrice Toh, Christopher Loh, Matthew Tam, Rodelle Lee, Samuel Liew, Samson Tiew

Labthreeofive’s stall for Design Made Trade 2011 explores the transitional qualities of form and the delineation of hierarchy.

The overall form is composed of three different box sizes. Each preceding sized box fits into a larger box in fours, in a Russian doll formation.The need to have a quick erection time and efficient trasportation warranted for such an approach. All the components were made off-site and delivered on site to be erected in one a couple of hours.

The box sizes were derived from the requirements of labthreeofive’s product sizing. The smallest boxes housed Labthreeofive’s smallest products and subsequently the largest boxes displayed the largest items among Labthreeofive’s collection.

Copyright Labthreeofive

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House of Courtyards
Design- 3 Months
Construction- 9 Months
House of Courtyards is an example of a friendly mansion. The typical quarter acre block redevelopment sees most 650SQM blocks built to the boundary with little consideration for passive environmental design and struggle to response to the immediate context. in this scheme, a north facing side boundaries opens up opportunity to activate the northen aspects by situating all the outdoor living spaces towards the northern sides of the house. In addition, courtyardsbreak down the mass of a 400sqm house, making it less linear and overwhelming. the planning is built upon a transition of spaces, linking inside and outside spaces via a series of courtyards.

House of Courtyards

Design- 3 Months

Construction- 9 Months

House of Courtyards is an example of a friendly mansion. The typical quarter acre block redevelopment sees most 650SQM blocks built to the boundary with little consideration for passive environmental design and struggle to response to the immediate context. in this scheme, a north facing side boundaries opens up opportunity to activate the northen aspects by situating all the outdoor living spaces towards the northern sides of the house. In addition, courtyards
break down the mass of a 400sqm house, making it less linear and overwhelming. the planning is built upon a transition of spaces, linking inside and outside spaces via a series of courtyards.

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SIX
An installation by Labthreeofive
Labthreeofive has recently completed an installation as part of its Re:Launch event. The event was held in conjunction with the debut of the gallery located next to our new studio.
The gallery measures approximately 4m x 4m. With a single entry and exit point; circulation and flow within the gallery were important factors in the overall configuration of the design. To create multiplicity in the experience of the installation, an elegant curve was derived. This curve gently divides the room, creating one space that is intimate and another that is more transitory.   The design was configured in a way that would guide the viewer around it on one side, while being drawn into it on the other; resulting in a C-shaped wall.
As one enters the space, they first catch a glimpse of the external face of the structure. While navigating around the wall, it gradually increases in height before diminishing as the viewer approaches the more enclosed viewing space. The enclosed space showcases labthreeofive’s product range housed in individual modules.
Exploration into modular structures led to the implementation of hexagons as an effective load-transferring geometry. The resultant module was composed of a hexagonal structure projecting from both ends of a central square shaft which each house removable 90x90 boxes for the display of brooches. The hexagons were then manipulated in size and shape to create a site-specific form. The duality of the two wall surfaces was celebrated with one being fortified in nature and the other being intimate and personal. A stop-motion documenting the construction process of the installation was projected and stretched onto the outer skin of the angular wall, engaging the viewer on the formation of the installation.
The final design consisted of 53 hexagonal modules, which were decomposed into 1376 laser-cut triangular faces held together by 3316 cable ties. The entire design and construction process took 6 days and 7 people to complete. Labthreeofive aims to venture into future projects exploring further methods in digital fabrication.
DESIGN: labthreeofive   ©2011 www.labthreeofive.com DESIGN TEAM: Adelle Tan, Beatrice Toh, Christopher Loh, Matthew Tam, Rodelle Lee, Samuel Liew, Samson Tiew
LASERCUTTING & FABRICATION: makethreeofive www.makethreeofive.com
Video and photography:
-        Mattski Striling, Em, Chloe
-          Weixiong Yap (twofrontteeth.net)
-          labthreeofive
Design Time:                                  3 days
Construction Time:                          3 days
Overall dimension:                          2.59m length, 1.83m width, 2.28m height
Components:
-          55 hexagonal modules
-          1060 triangular faces
-          212 square faces
-          3316 cable ties
-    450 300mm x 600mm plywood sheets

SIX

An installation by Labthreeofive

Labthreeofive has recently completed an installation as part of its Re:Launch event. The event was held in conjunction with the debut of the gallery located next to our new studio.

The gallery measures approximately 4m x 4m. With a single entry and exit point; circulation and flow within the gallery were important factors in the overall configuration of the design. To create multiplicity in the experience of the installation, an elegant curve was derived. This curve gently divides the room, creating one space that is intimate and another that is more transitory. The design was configured in a way that would guide the viewer around it on one side, while being drawn into it on the other; resulting in a C-shaped wall.

As one enters the space, they first catch a glimpse of the external face of the structure. While navigating around the wall, it gradually increases in height before diminishing as the viewer approaches the more enclosed viewing space. The enclosed space showcases labthreeofive’s product range housed in individual modules.

Exploration into modular structures led to the implementation of hexagons as an effective load-transferring geometry. The resultant module was composed of a hexagonal structure projecting from both ends of a central square shaft which each house removable 90x90 boxes for the display of brooches. The hexagons were then manipulated in size and shape to create a site-specific form. The duality of the two wall surfaces was celebrated with one being fortified in nature and the other being intimate and personal. A stop-motion documenting the construction process of the installation was projected and stretched onto the outer skin of the angular wall, engaging the viewer on the formation of the installation.

The final design consisted of 53 hexagonal modules, which were decomposed into 1376 laser-cut triangular faces held together by 3316 cable ties. The entire design and construction process took 6 days and 7 people to complete. Labthreeofive aims to venture into future projects exploring further methods in digital fabrication.

DESIGN: labthreeofive ©2011 www.labthreeofive.com
DESIGN TEAM: Adelle Tan, Beatrice Toh, Christopher Loh, Matthew Tam, Rodelle Lee, Samuel Liew, Samson Tiew

LASERCUTTING & FABRICATION: makethreeofive www.makethreeofive.com

Video and photography:

- Mattski Striling, Em, Chloe

- Weixiong Yap (twofrontteeth.net)

- labthreeofive

Design Time: 3 days

Construction Time: 3 days

Overall dimension: 2.59m length, 1.83m width, 2.28m height

Components:

- 55 hexagonal modules

- 1060 triangular faces

- 212 square faces

- 3316 cable ties

- 450 300mm x 600mm plywood sheets

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Passive Haus, MarienPlatz, Stuttgart
Fourth Year Design Project, University of Stuttgart
Exhibited in Stuttgart Design Workshop 2011, University of Melbourne
Urban Camp is an urban infill project inspired by outdoor adventure. The client is a young family with four children ranging from 2 to 10 years of age. They enjoy doing outdoor activities together and spending time as a family at home.The client‘s brief requires the infill development to incorporate a commercial space. Therefore, the narrow site requires for efficient usage of space, predominantly in the vertical direction. However, composition of vertical spaces need to be done tastefully to break down the verticality of the space. the clients also requested for a low energy house with the aim of becoming an example of sustainable urban living.In response, Camp 47 gives importance to the shared spaces by treating the sleeping spaces as small pods spreaded across a 3-dimensional volume. This way, the shared spaces will be used more than the private spaces with the aim to foster strong family bonds. Inspired by outdoor activities, the pods are derived from the typical campsite where the tents (or pods in this case) are purely for sleeping while all other activities are done outside the tents. These pods are shifted vertically and horizontally to break down the vertical and to create voids within the 3-dimensional volume, giving the perception of additional space.

Passive Haus, MarienPlatz, Stuttgart

Fourth Year Design Project, University of Stuttgart

Exhibited in Stuttgart Design Workshop 2011, University of Melbourne

Urban Camp is an urban infill project inspired by outdoor adventure. The client is a young family with four children ranging from 2 to 10 years of age. They enjoy doing outdoor activities together and spending time as a family at home.

The client‘s brief requires the infill development to incorporate a commercial space. Therefore, the narrow site requires for efficient usage of space, predominantly in the vertical direction. However, composition of vertical spaces need to be done tastefully to break down the verticality of the space. the clients also requested for a low energy house with the aim of becoming an example of sustainable urban living.

In response, Camp 47 gives importance to the shared spaces by treating the sleeping spaces as small pods spreaded across a 3-dimensional volume. This way, the shared spaces will be used more than the private spaces with the aim to foster strong family bonds. Inspired by outdoor activities, the pods are derived from the typical campsite where the tents (or pods in this case) are purely for sleeping while all other activities are done outside the tents. These pods are shifted vertically and horizontally to break down the vertical and to create voids within the 3-dimensional volume, giving the perception of additional space.

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Aboriginal Cultural Centre, Birrarung Marr
Fourth Year Design project
Work Exhibited in 2010 Aboriginal Symposium, Melbourne
A complex program, social context and physical context required facility that could solve all the imminent issues present in its immediate and wider context. To encourage circulation through the site, a series of pathways are introduced, taking the form of a raised landscape.The raised landscape enables program to be injected below the landscape in a manner that the landscapes co-exist with the building. Whilst the preferred environment to the aboriginal community is a natural landscape, the context, agenda and program of the site does not permit this. Hence a natural landscape is compared to the current build form of Melbourne. Landscapes are about natural curved surfaces while the built form are of rectilinear planes.
When the two extremes are fused, a planar landscape hybrid is formed, bridging the gap between landscape and building. This could then be applied to the fragmented Voronoi patterns, extruded ad different rates to create a planar landscape. When the path, buildings and landscape are combined, a multilayered landscape building project is then created. This enables multiple programs, suggests multiple agendas, and multiple layers of usage.Traditional cultural centres consist of exhibition halls accessed via internal circulation paths. For the purpose of this brief, the exhibition spaces are turned inside out, becoming outdoor exhibition courtyards. This is in line with the idea that the aboriginal community preferred outdoor spaces to indoor spaces. Within these spaces, conversations take place for cultural exchange.

Aboriginal Cultural Centre, Birrarung Marr

Fourth Year Design project

Work Exhibited in 2010 Aboriginal Symposium, Melbourne

A complex program, social context and physical context required facility that could solve all the imminent issues present in its immediate and wider context. To encourage circulation through the site, a series of pathways are introduced, taking the form of a raised landscape.The raised landscape enables program to be injected below the landscape in a manner that the landscapes co-exist with the building. Whilst the preferred environment to the aboriginal community is a natural landscape, the context, agenda and program of the site does not permit this. Hence a natural landscape is compared to the current build form of Melbourne. Landscapes are about natural curved surfaces while the built form are of rectilinear planes.

When the two extremes are fused, a planar landscape hybrid is formed, bridging the gap between landscape and building. This could then be applied to the fragmented Voronoi patterns, extruded ad different rates to create a planar landscape. When the path, buildings and landscape are combined, a multilayered landscape building project is then created. This enables multiple programs, suggests multiple agendas, and multiple layers of usage.Traditional cultural centres consist of exhibition halls accessed via internal circulation paths. For the purpose of this brief, the exhibition spaces are turned inside out, becoming outdoor exhibition courtyards. This is in line with the idea that the aboriginal community preferred outdoor spaces to indoor spaces. Within these spaces, conversations take place for cultural exchange.

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Excuse my French
Design- 3 Months
Construction- 12 Months
The client of this project envisaged the house to be one of Balwyn’s grandest French Provincial homes majestically located in an elevated tree-lined street. As the designer, I had to work within the constrainst of a tight budget alongside the desire for the house to have five-star finishes. It is therefore a small example of good design economy which is truly lacking in projects with extravagant budgets. the end product is a fine speciment efficiency and elegance with smart home systems and 5-star green star rating.

Excuse my French

Design- 3 Months

Construction- 12 Months

The client of this project envisaged the house to be one of Balwyn’s grandest French Provincial homes majestically located in an elevated tree-lined street. As the designer, I had to work within the constrainst of a tight budget alongside the desire for the house to have five-star finishes. It is therefore a small example of good design economy which is truly lacking in projects with extravagant budgets. the end product is a fine speciment efficiency and elegance with smart home systems and 5-star green star rating.

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