Dr Simon Weir

PhD, The University of Sydney; Bachelor of Design Architecture, Honours (First Class), The University of Sydney.

G04 - Wilkinson Building
The University of Sydney

Telephone 9351 4506

Biographical details

Dr Simon Weir is a designer and Lecturer in architectural design, communications, and history and theory at the University of Sydney. His research focuses on the problems of producing great public architecture. This research has both theoretical and technical arms.

The theoretical arm connects Salvador Dalí’s Surrealist theories of art and Classical theories of the ethics of public architecture. His research on the Classical Greek and Roman architectural custom of “xenia” has been published in RIBA’s Journal of Architecture, and Interstices. His Surrealist research has been published in the Bauhaus-University at Weimar’s journal Horizonte, the journal of the Interior Design Interior Architecture Educator’s Association, and Routledge’s forthcoming Interior Architecture Theory Reader. His forthcoming book on Dalí’s lifelong struggle against Le Corbusier, Masochistic Ensemble, will be published in 2018. New research projects include an analysis of the philosophical and social problems produced by the psychological trait of creativity in different political climates, and an analysis of Friedrich Nietzsche’s proposal for an architecture for the contemplation of degeneration.

The technical arm is focused on the construction of stone architecture, new methods of cutting stone, and improving sandstone building maintenance processes using remotely piloted aircraft (drones). His research on innovative stone architecture can be found in the world leading publications, RobArch, CAADRIA, CAADFutures, and the forthcoming Stereotomy 2.0. New research projects include the construction of stone vaults and domes without formwork, and the robotic fabrication of large-scale, ultra-long-life “xenophilia” buildings in collaboration with Gosford Quarries.

Research interests

  • Connections between Art and Architecture, particularly Classicism, Surrealism, the Avante-Garde and their different conceptions of polis
  • Art and Architecture as enactments of theatre.

Teaching and supervision

BDES1026 | Architecture Studio 1A
BDES1027 | Architecture Studio 1B
BDES2026 | Architecture Studio 2A
BDES3026 | Architecture Studio 3A
ARCH9109 DESA3009 | Advanced Fabrication
MARC4102 | Modern Architecture Theory
MARC5001 | Graduation Studio

Current research students

Project title Research student
The Machine and the Arch: A Stereotomic Exploration in Robotic Craft Shayani FERNANDO

Selected publications & creative works

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Book Chapters

  • Weir, S., Reinhardt, D., Fernando, S. (2017). Scripting Stereotomy. In Guiseppe Fallarcara (Eds.), Stereotomy 2.0. Turin: Kim Williams Books.
  • Weir, S., Moult, D., Fernando, S. (2016). Stereotomy of Wave Jointed Blocks: Toward a Wave-Jointed Stone Construction Using Wire Cutter Toolpath Generation. In Dagmar Reinhardt, Rob Saunders, Jane Burry (Eds.), Robotic Fabrication in Architecture, Art and Design 2016, (pp. 285-293). Cham: Springer.
  • Weir, S. (2012). On the Edibility of Theatres. In Dagmar Reinhardt (Eds.), Youtopia. A Passion for the Dark: Architecture at the Intersection of Digital Processes and Theatrical Performance, (pp. 35-42). Melbourne, Australia: Freerange Press.

Journals

  • Weir, S. (2017). On the origin of the architect: Architects and xenia in the ancient Greek theatre. Interstices: Journal of Architecture & Related Arts, 17: Return to Origin, 9-15.
  • Weir, S. (2015). Xenia in Vitruvius’ Greek house: andron, ξείνία and xenia from Homer to Augustus. The Journal of Architecture, 20(5), 868-883. [More Information]
  • Weir, S. (2012). Paranoiac Critical Interiorisations | Odysseus in Mies van der Rohe's Seagram Building and Buckminster Fuller's domes. IDEA Journal, 2012, 60-71.

Conferences

  • Fernando, S., Reinhardt, D., Weir, S. (2017). Waterjet and Wire-Cutting Workflows in Stereotomic Practice. Protocols, Flows and Glitches: Proceedings of the 22nd International Conference on Computer-Aided Architectural Design Research in Asia (CAADRIA 2017), Hong-Kong: Association for Computer-Aided Architectural Design Research in Asia (CAADRIA).
  • Fernando, S., Saunders, R., Weir, S. (2015). Digital stereotomy - The rejuvenation of stone masonry. 16th International Conference, CAAD Futures 2015: The Next City: New technologies and the future of the build environment, Sao Paulo, Brazil: Ficha Catalografica Elaborara Pela Biblioteca Da Area De Engenharia e Arquitetura - Bae - Unicamp.
  • Fernando, S., Saunders, R., Weir, S. (2015). Surveying stereotomy: Investigations in arches, vaults and digital stone masonry. Future of Architectural Research: ARCC 2015 Conference, Chicago: Perkins+Will.
  • Weir, S. (2013). On the Ability to Disable - Provocations Advocating the Necessity of Philosophy in Design Studios. 7th International Conference of the Association of Architecture Schools of Australasia, Melbourne, Australia: National Library of Australia.
  • Weir, S. (2012). Dali�, Le Corbusier and the Presence of Technology. 38th Annual ICOHTEC Conference, Warsaw, Poland: International Commitee for the History of Technology.
  • Weir, S. (2009). Being Preseen: Marion, Academicism and Architecture. Architecture and Phenomenology, Japan: Kyoto Seika University.
  • Weir, S. (2009). The Nearness of Texture: Apparent Depth in the Oil Paintings of Velazaquez & Raphael. AIC 2009 11th Congress of the International Colour Association, Sydney, Australia: The Colour Society of Australia, Inc.
  • Weir, S. (2007). "To Look is to Invent": Speculations on the Influence of Salvador Dalí in the Work of Rem Koolhaas. 24th International Conference of the Society of Architectural Historians, Australia and New Zealand (SAHANZ 2007), Adelaide: Society of Architectural Historians, Australia and New Zealand.

Visual Art

  • Anderson, R., Liu, K., Weir, S. (2013). A Room An Eye. In: Expanded Architecture At The Rocks. Sydney Architecture Festival. 136-138 Cumberland Street The Rocks, Sydney, Australia.
  • Weir, S. (2011). Untitled 1-5. In: After Images. Sydney Architecture Festival 2011. Boutwell Draper Gallery, Sydney, Australia.
  • Weir, S. (2005). 1 (degrees) C Spring - Hartz Mountains National Park. In: Glover Prize. The John Glover Society. Falls Park Pavilion, Evandale, Tasmania, Australia.
  • Weir, S. (2004). 1. Body 2. Summer Horizons 3. Everytime i close my eyes. In: Body and Soul. Global Gallery, Sydney, Australia.
  • Weir, S. (2004). 1. Michelangelo & Muse. In: Body & Soul. Global Gallery, Paddington, NSW, Australia.
  • Weir, S. (2004). Untitled 1-10. In: Summer Horizons: new works by Simon Weir. Global Gallery. Global Gallery, 5 Comber St, Paddington, 2021, Sydney, Australia.
  • Weir, S. (2003). 1. Everytime I Close My Eyes 1 2. Everytime I Close My Eyes 2 3. Apparition of Lovers 4. Myth Free 1 5. Myth Free 2 5. Nude 6. Walking Meditation 7. Wishing Well 8. Untitled Landscape 1 9. Untitled Landscape 2 10. Untitled Landscape 3 11. The Bard 1 12. The Bard 2 13. The Bard 3 14. Otis with the Fishing Hook 15. Leon by the Road. In: Everytime I close My Eyes. Global Gallery, Paddington, NSW, Australia.

Textual Creative Works

  • Weir, S. (2012). Delirious Catalysis. Horizonte | Zeitschrift fur Architekturdiskurs (Journal of Architectural Discourse), Ausgabe 05 Fruhjahr 2012, (pp. 123 - 128). Weimar, Germany: Bauhaus-Universitat Weimar.

Design or Architectural Works

  • Heneghan, T., Weir, S., Dzonlagic, H., Seyama, S. (2008). Elevation. Phillip Cox Australian Pavilion S. Marco, 1364/ A 30124 Venezia, Italy: Australian Institute of Architects. Public international exhibition. Unrealized.

2017

  • Weir, S. (2017). On the origin of the architect: Architects and xenia in the ancient Greek theatre. Interstices: Journal of Architecture & Related Arts, 17: Return to Origin, 9-15.
  • Weir, S., Reinhardt, D., Fernando, S. (2017). Scripting Stereotomy. In Guiseppe Fallarcara (Eds.), Stereotomy 2.0. Turin: Kim Williams Books.
  • Fernando, S., Reinhardt, D., Weir, S. (2017). Waterjet and Wire-Cutting Workflows in Stereotomic Practice. Protocols, Flows and Glitches: Proceedings of the 22nd International Conference on Computer-Aided Architectural Design Research in Asia (CAADRIA 2017), Hong-Kong: Association for Computer-Aided Architectural Design Research in Asia (CAADRIA).

2016

  • Weir, S., Moult, D., Fernando, S. (2016). Stereotomy of Wave Jointed Blocks: Toward a Wave-Jointed Stone Construction Using Wire Cutter Toolpath Generation. In Dagmar Reinhardt, Rob Saunders, Jane Burry (Eds.), Robotic Fabrication in Architecture, Art and Design 2016, (pp. 285-293). Cham: Springer.

2015

  • Fernando, S., Saunders, R., Weir, S. (2015). Digital stereotomy - The rejuvenation of stone masonry. 16th International Conference, CAAD Futures 2015: The Next City: New technologies and the future of the build environment, Sao Paulo, Brazil: Ficha Catalografica Elaborara Pela Biblioteca Da Area De Engenharia e Arquitetura - Bae - Unicamp.
  • Fernando, S., Saunders, R., Weir, S. (2015). Surveying stereotomy: Investigations in arches, vaults and digital stone masonry. Future of Architectural Research: ARCC 2015 Conference, Chicago: Perkins+Will.
  • Weir, S. (2015). Xenia in Vitruvius’ Greek house: andron, ξείνία and xenia from Homer to Augustus. The Journal of Architecture, 20(5), 868-883. [More Information]

2013

  • Anderson, R., Liu, K., Weir, S. (2013). A Room An Eye. In: Expanded Architecture At The Rocks. Sydney Architecture Festival. 136-138 Cumberland Street The Rocks, Sydney, Australia.
  • Weir, S. (2013). On the Ability to Disable - Provocations Advocating the Necessity of Philosophy in Design Studios. 7th International Conference of the Association of Architecture Schools of Australasia, Melbourne, Australia: National Library of Australia.

2012

  • Weir, S. (2012). Dali�, Le Corbusier and the Presence of Technology. 38th Annual ICOHTEC Conference, Warsaw, Poland: International Commitee for the History of Technology.
  • Weir, S. (2012). Delirious Catalysis. Horizonte | Zeitschrift fur Architekturdiskurs (Journal of Architectural Discourse), Ausgabe 05 Fruhjahr 2012, (pp. 123 - 128). Weimar, Germany: Bauhaus-Universitat Weimar.
  • Weir, S. (2012). On the Edibility of Theatres. In Dagmar Reinhardt (Eds.), Youtopia. A Passion for the Dark: Architecture at the Intersection of Digital Processes and Theatrical Performance, (pp. 35-42). Melbourne, Australia: Freerange Press.
  • Weir, S. (2012). Paranoiac Critical Interiorisations | Odysseus in Mies van der Rohe's Seagram Building and Buckminster Fuller's domes. IDEA Journal, 2012, 60-71.

2011

  • Weir, S. (2011). Untitled 1-5. In: After Images. Sydney Architecture Festival 2011. Boutwell Draper Gallery, Sydney, Australia.

2009

  • Weir, S. (2009). Being Preseen: Marion, Academicism and Architecture. Architecture and Phenomenology, Japan: Kyoto Seika University.
  • Weir, S. (2009). The Nearness of Texture: Apparent Depth in the Oil Paintings of Velazaquez & Raphael. AIC 2009 11th Congress of the International Colour Association, Sydney, Australia: The Colour Society of Australia, Inc.

2008

  • Heneghan, T., Weir, S., Dzonlagic, H., Seyama, S. (2008). Elevation. Phillip Cox Australian Pavilion S. Marco, 1364/ A 30124 Venezia, Italy: Australian Institute of Architects. Public international exhibition. Unrealized.

2007

  • Weir, S. (2007). "To Look is to Invent": Speculations on the Influence of Salvador Dalí in the Work of Rem Koolhaas. 24th International Conference of the Society of Architectural Historians, Australia and New Zealand (SAHANZ 2007), Adelaide: Society of Architectural Historians, Australia and New Zealand.

2005

  • Weir, S. (2005). 1 (degrees) C Spring - Hartz Mountains National Park. In: Glover Prize. The John Glover Society. Falls Park Pavilion, Evandale, Tasmania, Australia.

2004

  • Weir, S. (2004). 1. Body 2. Summer Horizons 3. Everytime i close my eyes. In: Body and Soul. Global Gallery, Sydney, Australia.
  • Weir, S. (2004). 1. Michelangelo & Muse. In: Body & Soul. Global Gallery, Paddington, NSW, Australia.
  • Weir, S. (2004). Untitled 1-10. In: Summer Horizons: new works by Simon Weir. Global Gallery. Global Gallery, 5 Comber St, Paddington, 2021, Sydney, Australia.

2003

  • Weir, S. (2003). 1. Everytime I Close My Eyes 1 2. Everytime I Close My Eyes 2 3. Apparition of Lovers 4. Myth Free 1 5. Myth Free 2 5. Nude 6. Walking Meditation 7. Wishing Well 8. Untitled Landscape 1 9. Untitled Landscape 2 10. Untitled Landscape 3 11. The Bard 1 12. The Bard 2 13. The Bard 3 14. Otis with the Fishing Hook 15. Leon by the Road. In: Everytime I close My Eyes. Global Gallery, Paddington, NSW, Australia.

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