As the culminating design studio for the degree, students are presented with the opportunity to express and represent their own theoretical positioning through the design of a sufficiently complex building. Working with a great deal of autonomy, students will be asked to rigorously demonstrate the technical and representational capacities that have developed across their work in the degree.
The studio consolidates the students' abilities in communicating and translating architecture using advanced techniques of graphic visualisation through 3D modelling software and digital fabrication techniques.
The project for Architecture Studio 3B is small gallery for architectural exhibitions. An environment conceived in relation to the city and its architectural history, this building might also suggest or represent its contained content. On the occasion of the Powerhouse being relocated to Parramatta, this speculative exercise will imagine a built ‘window,’ or gateway from the city to that museum’s new western home. We will situate a changing part of that remote collection in an urban location associated with its past.
In this scenario, the building behind the Mint on Hospital Road is replaced by a newly proposed gallery for temporary exhibitions focused on the display and framing of drawings, models, photographs and artefacts of architectural interest. Both digital and physical items will be exhibited.
Extending thematic aspects of Architecture Studio 3A, one might think of bridging between the Domain and Macquarie Street; linking this architectural gallery to the Art Gallery of NSW and its proposed SANAA extensions; and suggesting connections between the Powerhouse, aligned institutions and its local history. Potential relationships between the Sydney CBD and its wider Western demographic centre might be imagined. Metaphorical and/or physical bridges are possible.
Originally once part of the Mint and Hyde Park Barrack Museums, the Powerhouse holds a large number of items from the design of the Sydney Opera House, including Utzon’s sketch and design concept models.
A parallel studio investigation will study the Opera House for an understanding of its architectural priorities. Utzon’s methodological approach has connections to computational thought in a first principles sense. Exploring aspects of that internal coherence a series of abstract exercises doubly aim at precise analysis and speculative projections, also offering ways to start and develop new projects.
Between the digital and the physical, engaging with an aspect of recent architectural history, mindful and precise representation in relation to new technologies will help frame developed, intelligible architectural propositions.
I am a bachelor student keen to get some experience in exhibition design whilst taking a year off before completing my masters. During my studies I was a part of the 2016 Exhibition team, I also interned with an Architecture firm. I have completed multiple art and design electives that have pushed my hands on skills and art history knowledge.
'The line between art and life should be kept as fluid and perhaps indistinct as possible', a space that frames life as art allows performance to be erected in the simplest ways, through motion, slight changes in environments and framing of particular spaces. My project focuses on the simplicity of performance art. It is a layered space that allows you to view performances and audiences in different ways from different perspectives. Its physical build up speaks to the facade of the Art Gallery of New South Whales, creating tight 'uncomfortable' spaces that squeeze audiences through to an open performance space, this growth of emotion relates back to the revenue of performance art, not only through audience reaction but through the physical involvement between space, audience and performance.
In response to an analysis of the Sydney Opera House, and specifically the beams within the podium, a form of varying density was generated. Within the beams, the density of the concrete is directly dependent on the bending moments of the beams, and therefore their spanning length and loading. Similarly, the density of the form of the building is directly proportional to the desired privacy of spaces and therefore spatial occupation of the building. In this respect, the building opens up at moments of pause and inhabitation by larger groups in public spaces, contrasted to the denser column grid surrounding more private programs. The grid of columns provides a base upon which this fluctuation occurs, whilst simultaneously generating a layered perception of space. A sight line identified to be the visual connection between the access to the site from the Macquarie Street egress and access from the Domain determines the programmatic distribution within the building, with larger voids along this axis. As a result, the most public spaces, and subsequently smallest column extrusions also occur along this axis, enhancing the visual connection between the building and its context. The variable density of the built form generates a dynamic spatial perception.
As a graduating architecture student, I have developed an interest in architecture that connects people and celebrates the built environment. I enjoy the challenges of design and I see myself pursuing a career as an architect in the near future. My hobbies outside of architecture include going outdoors, fishing, leisurely driving, cooking and music. I also enjoy the occasional visit to museums and aquariums.
The basis of the design was to transform the quiet and concealed setting of the site to create a theatrical stage for fashion shows. Emphasising the existing circulation surrounding the Mint, the stage invites people from Macquarie Street to become part of the performance. The focus of the performance is in the ‘turn’ of the model – a highly dramatic display of attitude and beauty. With the focus set on this moment, the seating rises above Hospital Road, revealing a breathtaking moment for passing vehicles and pedestrians below.
Fields manifests the desire to design an architecture that produces an environment, a set of conditions. Rather than enforcing context, it allows context to emerge. It removes the idea of architecture as object. Fields proposes a topography. The distinction between inside and outside is ambiguous. Delineation is created through distance, levels, and turns. A continuous undulating structure forms a traversable landscape. Like a festival, various performances rotate and share a common space of staged ground. The spectacle of life occurs simultaneously. Angled rectilinear frames form windows of connection: performance is both combined and separated.
A space ever-changing
an audience combined
an audience separated
an audience performing
an audience spying
rotating to open
rotating to close
tight corridors or revealed stages
stages for artists
stages for people
I am an architecture and engineering student, currently in my fourth year of studies. I enjoy both the conceptual and analytical side of construction, and look forward to utilizing my knowledge of both fields in the workplace.
Challenging the traditional notion of a gallery, the site tucked between Macquarie Street and the Domain became a social hub where marginalized art could thrive. The exhibition and performance space dedicated to graffiti art took on a Tetris block composition, with panels shaped from the basic modules that make up all letters of the alphabet. In this way the design is constructed with lettering as its foundation, just as the most complex graffiti pieces can be deconstructed back into basic letters. A process of rotating and shifting these modules then creates a multitude of blank canvases for both professional artists and the public. The project utilizes harsh brutalist design principles in a dynamic form, to create a visually compelling design aimed at enticing artists to use the space and attract the attention of the public onto a site often lost in the urban landscape. Positioned opposing the Art Gallery of New South Wales, the project brings into question traditional views of art by showcasing an art-form usually rejected as vandalism, in the face of one of the very institutions that disregards it.
Hi, my name's Anson Li and I will be graduating at the conclusion of this year with a Bachelors of Design in Architecture. I have been interested in art and design ever since I was a child and always hoped to pursue a career in the creative field. The past three years have been incredible and challenging, but I hope that my passion for architecture shows in my final undergraduate project. Thank you for taking a few moments to have a look at my work.
The grounding idea of this project was to create the ultimate black box theatre that has the ability to accomodate for multiple types of exhibitions and performances. Through the use of louvre systems and strategically placed wall openings, the theatre space and its linked internal rooms allow for the relationship between inside and out to be easily altered. Like a performance where the audience are only shown what is being displayed, the process of moving through the building's spaces also echo this notion where views and the atmosphere within each space is specific and controlled.
Adrian Thai is a final year architecture student at the University of Sydney. Adrian’s field of interest takes upon a wide variety of inspirations, with a particular interest in architectural visualisation and communication through both analogue and digital methods. Presently Adrian is the coordinating editor and designer of the annual University of Sydney Architecture Graduate Exhibition publication, “Architectural Culture: New Perspectives”, after the success of coordinating the 2015 publication. He takes on an expanded role this year, overseeing the coordination and design of the exhibition graphics of CODA, the graduate exhibition of 2016. Adrian wishes to pursue the nexus between analogue and digital in architectural representation, through design fabrication. Adrian enjoys design, rendering, graphic design, hand modelling and digital fabrication.
Pen and paper record the memories and places of those who wander, pertaining to the fixation with the visual in our world. But when was the last time a place was remembered for its acoustic qualities? Our obsession with sight has led us to create alluring places for our eyes but seldom are these spaces enriching for our ears. The City Rings investigates architecture as an apparatus for establishing and documenting a unique and profound cinematic soundscape. Notes form layers upon layers on top of each other, the serene rustling of Moreton Bay fig trees becomes an eerie hypnotism, the blaring of ferry horns emerge as a tidal wave, the booming of a summer afternoon thunderstorm turns cataclysmic. The cacophonous performance of the city reminds us to keep our ears open, in a visually dominant world, where sound is all too easily forgotten.
21 year old Adam Vandepeer is greatly inspired by the language of antiquity and the classical tradition, believing a thorough understanding of these principles are of great importance in order to create harmonious architectural designs, exhibiting aesthetic beauty, proportion and rhythm. Adam desires to inject these classical ideologies in a contemporary context parallel to Mies van Der Rohe, utilising modern design thinking, material and construction techniques. Through studying abroad at the University of Miami (USA), Adam’s architectural thinking was truly enriched where he was exposed to international design methods and teachings. Adding to this, Adam was awarded a full scholarship and living stipend to study at the prestigious Institute of Classical Architecture & Art (ICAA) in New York City, NY. Here Adam trained in the traditional Beaux-Arts Design technique under internationally renowned architects. These global experiences truly complimented his architectural education before he returned to Sydney to complete his degree at the University of Sydney.
The Sydney Ballet Performance and Exhibition Centre Adopting a Constructivist approach, a unique elongated spatial typology is formed running along a central axis stretching from Macquarie St to the performance space in central Domain. This scattered composition of pure geometries, although appearing fragmented and disconnected, achieves an overall sense of balance, harmony and ‘Universal Proportionality’ as a result of its systematic arrangement and parametric rules, adapted from the canonical rules of classical principles. From this, a sensual journey of cognitive and sensory experience is created and echoes the rhythmic beauty and methodology of Ballet. Voids break the journey creating spaces of serenity and calmness ultimately leading to its climax of a grand central dome performance space.
The Domain is a site surrounded by native plant life, historical artefacts and fine artworks, yet the site itself is little more than a backyard to the civic foot print of Macquarie Street. Visitors gather on the periphery and watch those that move through. Architectural interventions in the open space are consistent reminders that we are always part of the space of performance, we are always watching or being watched, the Domain is already a space of performance and the spectacle of human behaviour is a rarely acknowledged theatre. The project is made up of a series of prefabricated concrete modules, place in a gridded network in contrast to the meandering sprawl of the Sydney CBD and beyond. The modules operate as way finders, display mechanisms, seating and viewfinders to consistently remind visitors of the Domain and the neighbouring buildings such as the Barracks and the Mint, that they are still part of the Domain environment and thus, part of this theatre. All the world’s a stage…
Architecture has always been an interest to me since Year 11, that’s when I decided to pursue it, previously graduated in the Diploma of Building design at Tafe in 2013 in which my drafting skills had been developed through the 2 year course of using Archicad, this was the gateway to the University of Sydney where I wanted to continue my journey in becoming an architect once I’ve finished Masters. I’m interest to see what innovation holds for architecture in the future and the developing technology in software and fabrication methods. The biggest ability I have is computer rendering and an eye for graphics, visualising a design is a step closer to reality.
Light represents the interaction between sunlight and the illusion of a light canopy. Designed for musical and artistic theatrical performances, the audience could enjoy these acts in an inviting semi indoor, outdoor space with the thrilling experience of the accessible transparent canopy where one can look down during a performance or looking out to the Domain. Below ground contains the office spaces and amenity that brings the connection of the urban context surroundings. The artistic expression of this architecture is shown through the undulating surfaces that are inspired by nature to compliment the Domain landscape.
Clare Dieckmann is a curious young architect who seeks to find creative potential in any condition. By listening and understanding people and the world around her she attempts to draw out challenging and interesting ideas later embedding them into material geometries. Using hand sketches and drawings, digital and hand model making techniques she diagrams her thoughts taking them from tiny seeds to ambitious buildings.
Cultured art admirers are slowly drawn out of the domain via a dramatic slope in the landscape towards a curious set of unusually shaped paths among looming stone buildings. Intrigued, the critic searches for an entry by following the curve of the land and are thus led towards a gaping mouth. The guest enters and is instantly thrown off balance as they are forced to step down at great speed. Its relentless movement forces them to trust their body’s ability to subconsciously react and adjust. Spiraling and transitioning downwards the body sways, twists and leans forwards responding to the geometry of each step. The traveler arrives at the very centre and pauses, looking back upon the facets of the journey past. Its beauty is captivating and so it must be viewed from every angle upon ramps, moving closer and further away. Fading light streams in revealing its full sculptural grandeur, its gradient changing as the sun goes down.
I am currently studying both Architecture and Law. Although these disciplines are very different, particularly in the law's strict factual logic compared to the creativity and fluidity of Architectural education, I believe that studying the degrees concurrently has greatly enriched my understanding of both. The logic and methodology of law has helped me to scrutinise each architectural strategy I employ in order to design more meaningful conceptually grounded work. I am particularly interested in the intersections of Architecture and the Humanities, and consequently my projects have largely been inspired by philosophy, ethics and literature. This is a thread I hope to continue to explore.
“Architecture is only a movie” – Anthony Vidler. This movie is composed of several scenes: multiple stages, performances, audiences; a nexus of narratives that flow into one another in the city of flux. It begins with scenes of the city, projected onto and reflected by building openings; the often ignored fluid façade that flattens and fractures movement between concrete and steel. This architecture, this movie, reflects the city’s own logic, assembling overlapping episodes as audience members traverse multiple platforms. The viewers gaze across at a performance, down to a gallery or up to the city-projection, piecing together transient stills to construct their own fragmented narrative – and they, too, become actors on the stage.
Graduated from North Sydney Boys High School in 2013 Studied in University of Sydney for three years in the course Design in Architecture. Passionate about drawings, model-making, and animation. Whilst I love most architectural types, my main passion is designing areas of living such as houses or apartments. My main inspiration in terms of drawing is Atelier Bow-Wow.
The project addresses the issue of a lack of proper entrance on the Southern half of the Domain, one which creates a transition from city into Domain and provides a view of the Domain. To do this, the building stretches out between various areas of major pedestrian circulation, thus attracting people over into the building. The building provides two transitions: on the city side, it blocks the view of the Domain from the Street, forcing people to journey through the building, until they reach the elevated viewpoint, moving upwards as they go along. On the Domain side, there is a transition from landscape, to man-made steps, to city. There are two journeys provided, one direct path, and one leading around the building. The one around the building is the exhibition path, where people experience exhibitions arrayed on the walls as they walk up. One can also journey up the exterior steps from the elevated viewpoint opening, thus experiencing the performances on the steps. These two journeys terminate in a cafe at the top, allowing for rest before going down to the Domain or the city. There are three parts to the building: administration, ramp, and habitable stepped performance roof.
About the Project: Normally outdoor performance is to build up a stage and after performance, the stage is going to be demolished. This project we should design a permanent space for temporary performance and what I considered most is what should it be when there is no performance. So I decided to design a flexible space (achieving by movable walls), so that when there is no performance, it can be a entertainment or relaxing place for citizens. e.g. Street artists can perform here, like a art market; people can have coffee here and it also can be a outdoor gallery… About Form: As our site is at the boundary of city and landscape, the differences of my personal feelings of these two spaces are becoming significant. In the city, the rigid arrangement brings high efficiency and makes our travel with strong purposes. It is easy to find out the shortest path from out start to destination. On the other hand, in the landscape part, random-growing trees seem like interruptions of our walking paths, but it provides us chance to choose and brings pleasure when it interrupt. Therefore, I decided to follow the rule of the nature to arrange my circles
Hi! I’m Danielle Chaumeil (think 'shaw-may' and you’ll be pretty close). The name is courtesy of my French husband, who has been patient enough to put up with the past three years of late nights, all-consuming projects and an apartment that constantly smells of zap-a-gap. Before that, he knew me as a less content (though more wealthy) actuary – a career that, despite its shortcomings, enabled me to work in Australia, the UK and France. It was during my time in Paris that I developed a passion for architecture, and became more attuned to the dynamics of the city. In 2015 I took the opportunity to return abroad to partake in a semester-long exchange in Strasbourg. Outside of my architectural aspirations, my current to-do-list includes finishing a novel and spending a year in Iceland.
Founded in the 1970s in New York City, contact improvisation is a form of dance based on the communication between two bodies in physical contact and their combined relationship to the laws governing motion. It is a somatic practice that highlights the relationship between mind, body and environment. The primary conceptual driver for the Centre for Contact Improvisation (CCI) is the proximity of the site to an ancient indigenous songline – an early form of improvisation in which country is manifested via song. Combined with a study of the interplay between trace and void, the result is a simultaneous reading and writing of space. By creating a spontaneous feedback loop between artist and architecture, the CCI provides a supportive setting in which to engage in dance. The audience does not perceive the performance visually, but experiences it both in real-time via a transformation from movement to music, and after the fact in the form of a physical remnant.
Envisaging the creation of a new theatrical space to accommodate Milk Crate Theatre, this performance space aims to denigrate social stigmas and societal attitudes towards homelessness and how it is perceived. Using the framework of Boal’s Theatre of the Oppressed, this venue materialises Image, Forum and Legislative Theatre as three acts of one continuous and didactic play. Beginning the journey from the Domain, one is led to the outdoor performance space that is designed to remove the distinction between actor and spectator. The participant is then consciously directed below, where a more formalised performance is conducted and reconducted, allowing the audience to reflect and directly alter the outcome of the play. This theatre is thoroughly democratic; a shallow, circular plan allows for a transparency of message, reflecting the blurred lines between the scripted actors and their very real experiences of homelessness. A reflection space continues this journey; participants are encouraged to write messages on fabric which when stitched together form a quilt of collectivised experiences. Then the participants are taken out to an exit point that directly looks back at the starting point, forcing them to reflect on how they have changed as a person as part of this journey.
I joined the Bachelor of Design in Architecture after completing a Bachelor of Interior and Spatial Design at UTS. This has allowed me to approach projects from a lateral perspective, focusing on how spaces can be built around user experience from an integrated set of elements. I am particularly interested in the intersections across interior, architectural and urban design, and the potential these hold for collaborative, community based projects.
The project is situated at the edge of the park and the city, acting as the interface between these contrasting scales and paces of inhabitation, both of which can read as constructed landscapes. It aims to return the visitor to the inherent natural processes of the space; time, weather and seasons, free from interruption or distraction by the urban context. The area most resplendent of this condition will be the performance space, which will in turn enable the visitor to experience the performance as the sum of its most essential qualities, a neutral space free from distraction and association.
Crease articulates a new landscape in a metropolitan environment by translating lines of significance on an urban site into a form with spatial intention. Reconciling fragility and strength, Crease brings together organic and man-made elements, blurring the boundaries between nature and building. By lifting and folding the ground plane, structure is given to an otherwise two dimensional surface, creating a civic landscape within and on which members of the public can express their creativity, be entertained or simply use as a device to connect simultaneously with the built form of the city and the nature of the Domain.
What first drew me to architecture were my experiences while travelling. I was lucky enough to travel to Beijing, China during my final year at art school. During my visit I worked closely with interior architects from Tsinghai University to create site-specific installations out of bamboo. For me, design is about balance: a strong design crosses over and connects philosophy and playfulness, reveals structures, considers health, sustainability and the environment. I am particularly interested in how architecture and design can contribute to finding solutions for humanitarian and environmental problems. Through my work this year, I have focussed closely on the Australian ‘refugee crisis’. In designing a border crossing, I commented on border control within Australia and around the world. At the same time, I have celebrated diversity and multiculturalism through my designs. On top of studying Design in Architecture, I have also completed a Bachelor of Fine Arts (COFA), majoring in sculpture, installation, and performance. During my years at art school I was also focussing on my athletic potential. It was at this point I worked towards making the Australian team for Rowing at the World Championships.
After researching the rich history of the Hospital Road site and demographics of its people, I came to the conclusion that a strong connection exists between the various peoples of Australia. They are all, arguably, populations who have been displaced at different points in history, either forced to exist within impermanent arrangements, or inclined - as the Aboriginal tribes were - to lead nomadic lifestyles. In an attempt to represent Australia’s new identity and move on from its Colonial past, my design will transform the site into a Multicultural Performance Centre. To represent ‘displacement’, I have created a lightweight angular structure based on folded origami as the main configuration of the form. The Tessellated angular surfaces of the buildings’ represent the unstable and fragmented history of Australia’s population. This both creates visible tension and draws attention the Australia’s fragmented past. Displacement also requires a high level of adaptability and flexibility. Therefore the structure itself acts like a module which has been adapted to fulfil different functions throughout the space - whether it be performance space, exhibition space or archive.
I have an interest in social architecture with an emphasis on inclusivity and fluidity. As a combined Architecture and Engineering student, I am also passionate about the synthesis between architecture, engineering and art.
Warp and weft: constructing a hybrid fabric that seamlessly connects the city and the Domain. The architecture is visualised through water imagery - the roof (waves), columns (droplets) and social circles (ripples), thus, capturing the fluidity of loads.
I have completed my first degree in Interior and Spatial Design with a sub-major in Performative Spaces at UTS and I am currently studying Architecture at the University of Sydney. I aspire to be a talented and knowledgeable architect as well as interior and spatial designer that can work on a range of projects across a various disciplines. I am also interested in designing my own furniture once I have had experience within the industry. I have worked with an interior design company in Surry Hills which gave me a great insight into the profession. Aside from architecture and design, I enjoy travelling and experiencing new cultures. In 2015, I was given the opportunity to study abroad for a short period of time in Hong Kong but I also enjoy travelling for leisure.
The project explores how an archaeology museum can be derived from the constraints and opportunities of a grid. Utzon’s Bagsvaerd Church in Copenhagan, Denmark provided significant inspiration for this project especially how the building was designed from a grid yet the interior ceiling broke the rigidity of the exterior form. The schema for this particular project was inspired by the Utzon study. Begin with an orthogonal form (a grid) and that my interior is something that has a relationship with the grid at particular moments. The grid defines the exterior form (rigid) however; the grid intersections are used as centre points for the interior (curved). Therefore, the grid is informing the exterior and interior in two different ways.
My main concept was to develop a connection between two distinctively different contexts. I have chosen my program for external acrobatic circus performance centre. It is because circus was in golden age for late 19th century. I wanted to bring those glorious moment to this historical sites to connect contexts and people.
I am a 47 year old who was lucky enough to go to uni and study what has interested me since I was a kid!
Performance space among the Domain Fig tree canopy. Design derived from 'woven' Islamic symbolic art, and representative of the 'weaver' bird nests found in the domain.
George is in his 4th and penultimate year of combined Architecture and Engineering. Over the last four years he has worked in the Sydney University Designer’s Association (SUDA) culminating, this year, in being elected President. He has won ‘Top Architecture Student NSW’ three years in a row, as voted by his mother. His love of Architecture started from binge-watching Grand Designs and the lure of an industry desperately in need of graduates to fill stable and well-paid positions. George’s interests include: spinning his Rhino model around aimlessly; the smell of laser-cutting; rubbing his eyes; and being moderately good at guessing the GSM of different papers.
The Barnacle forms a large concrete ‘shell,’ with impossibly thick walls that sink into the ground, and wide, protruding cantilevers that jut back and forth, from Domain to city. The structure is more monolith than building, a single material that leaves an ambiguous definition of program space – whether it’s performance, art, circulation or services – the blurring of exterior/interior creates a sturdy, habitable sculpture. The main theatre weighs to the harbour, whilst the vertical circulation draws the audience up to through the telescopic art galleries. Built to withstand time and the expression of art, The Barnacle is not a precious construction. The ‘shell’ is a manifestation of a basic geometric schema: the intersection of 60 and 90 degrees. These two angles are scaled, rotated, mirrored, copied and translated through the other to form hexagonal and rectangular prisms, that either puncture, wrap-around or support each other.
Hi, my name is Kevin Gyu Hyong Yi - architecture student from the University of Sydney. I was born in South Korea, and migrated to Australia. My architectural passions involve in trying to create an architecture that captures emotions and evoke sensations thats only capable through great architecture.
The proposed gallery behind the Mint on Hospital road transforms the area in a public cultural hub – A solid mass of concrete that has been activated with the hospital road serves a central plaza and meeting place for the public where they can enjoy live performances as well as the art on display. The vaulted spaces defined by the parabolas are interconnected in a way that the movement is absorbed into the shared edges formed by the parabolic vaults. These internal negative spaces explores the relationship between the parabolic shapes and how its connections can form a integrated space.
Aspiring creative thinker. Designer with particular interest in visual communication and beautiful, simple graphics.
Sydney has a distinct lack of designed space dedicated to spoken word and street performance. This project seeks to redress this with through a dedicated precinct. There are varied levels of performance in a precinct: and varied levels of increasing commitment required to engage with each. Consider the contrast between walking past a street musician and briefly appreciating the coincidental music to planning months in advance for a ticketed performance. This project maps these commitment stages and transforms the experiences in architectural instances in the creation of a performance precinct adjacent to the Domain.
Isobel Lord is an architecture graduate who believes in architecture which is minimal and pragmatic, yet provides a backdrop for memorable experiences. Isobel believes in architecture which enables social connection and critically coalesces interior and exterior space to improve the conditions of everyday living. Isobel believes in architecture which transcends boundaries, encouraging experimental, adaptive use of the urban landscape. Overall, Isobel understands good design as being invested in practical, creative solutions which are sustainable and improve the human condition.
The voices of Speakers’ Corner are ephemeral yet eternal. Since 1878 they have rung out across the Domain as an array of suspended moments disrupting perceptions of the past and interrogating conceptions of the future. ‘The Eternal Ephemeral’ is an expression of the conflict between the fleeting nature of an idea at a single moment in time and its eternal ambition, embodied in an architectural language which is a consonant refrain to the temporal shifts in everyday life. ‘The Eternal Ephemeral’ presents an informal, outdoor forum for the presentation, exhibition and discussion of performance art and time-based works. Overall, in ‘The Eternal Ephemeral’ conceptions of ‘now and then’ collapse leaving a traceless monument to the present moment.
THE PROPOSED PERFORMANCE SPACE SEEKS TO PROVIDE A PLATFORM FOR THE BANGARRA DANCE COMPANY AND A VARIETY OF INDIGENOUS ART AND SCULPTURE TO IMMERSE ITS AUDIENCE IN THE SONG LINES OF THE REGION SONG LINES REFER TO A HOLISTIC EXPRESION OF LAND, HISTORY, MYTHOLOGY, AND CULTURE. THIS BLURRING OF EVER ASPECT OF THE INDIGENOUS EXPERIENCE IS MANIFESTED IN THE ARCHITECTURE ITSELF, POSITIONED AND SHAPED BY THE LAND AND ITS VARIOUS HISTORIES. JUST AS THE ARCHITECTURE IS COMPOSED OF ITS EXISTING LANDSCAPE, SO TOO MAY THE AUDIENCE BE INCORPORATED INTO ITS SONG LINES
A pencil, ruler and rubber and perhaps a sharpener from time to time: those were the essential tools which followed me around as a child whilst I designed my perfect dream house. In addition, growing up with parents in the design field, it was inevitable that I would pursue a career in design. This only became clearer over the past three years during my studies in Design in Architecture. Studying architecture has allowed me to combine the strongest aspects of my personality: creation and problem solving. I believe that creation and problem solving are crucial in the architecture as it allows me to consistently produce innovative work to be able to excel in what I do. When not doing architecture, I like to immerse myself in music - in particular playing the violin and listening to classical music - to further develop my creative and problem solving skills with various forms of creativity.
The city is such a big and vast place and it is interesting to see how certain areas and landmarks are used in major art events such as Vivid and Art and About and through this it allows one to experience the event differently despite being in the same location. Through this, it has inspired me to design a performance and art gallery space in which materials and the positioning of the different areas of the performance space define how one experiences the space.
Design has always been one of my greatest passions and it is the diversity in design combined with the growing push for sustainability in the development of architectural solutions within the urban environment which continue to spark my interest. In completing my Bachelor of Design in Architecture I have striven to bring creativity and innovation to the various briefs I have been challenged by within my studies, constantly allowing a sense of authenticity to shine through my work. For me architecture is vital as a means of enriching the built environment and enduring beauty which does not pollute or exploit. These have become important aspects which I constantly endeavour to explore within my own work. Having experience with several firms in Sydney including Environa Studios and Urban Architects Sydney has allowed me to further extend my skills from a sketch design phase through to the detailing of a project.
'Extension of the Landscape' proposes a street performance and exhibition space which connect in a holistic manner to the surrounding environment, forming an active part of the city. Drawing from the current tension which exists between the built Sydney CBD and the landscaped Domain, ‘Extension of the Landscape’ seeks to further extend this relationship. A disconnection in accessibility between the office spaces and the landscape formed above is maintained, despite the physical dependency present between these elements. Extending the landscape vertically into the city allows a moment of harmonisation of the built and the landscaped, interrupting the standardised office buildings which feature throughout the city. 'Extension of the Landscape' begins to infuse green spaces into the city scape, providing a public performance and exhibition space which remain entirely open to the surrounding context. In revising the idea of a performance space, it invites public interaction through spaces which facilitate the seating of individuals to observe and respond to the surrounding city in a new light. Sydney CBD becomes the performance space, animated by its day to day hussle and bussle, with the proposed building offering a unique vantage point from which to observe and experience the city.
I'm a passionate, perceptive and observant student open to innovating challenges and opportunities in the fields of design and architecture with an outlook to address problems of the future. With a background in freelance corporate graphic design and event advertising, my interests range from architectural theory, politics, social science, multimedia visualisation, to computational fabrication. Upon graduation I wish to immerse myself in industry before continuing with my post-graduate education in Australia or abroad. I very much look forward to collaborating on projects that are meaningful, and ones that make a difference. For more information please see below links for my personal portfolio website and social profiles.
This is an ambitious investigation into rethinking the existing spatial typologies of performance spaces by computational means of culling, blurring, pixelation and extrusion. The project is interested in the blurring of program, structure, circulation, boundary and most of all - spatial conditions. The transitional threshold of the site set between the density of the CBD and the vast openness of The Domain is heightened by the ‘structural cloud’. The scheme proposes a found form capable of possessing paradoxical qualities of chaos and synchronicity; of randomness and chance; of mass and non-mass; of individual and the collective, static and dynamic. Much of these we find to be familiar connotations when considering the experience of public performances. By focusing on and critically engaging with the concept, the project is able to methodically deconstruct these qualities and re-contextualise them within the site to blur boundaries between performer and audience; between structure and space; most importantly, between design and discovery.
I am flying back to Kathmandu after I finish this drink.
Both labyrinth and theatre, a play on acting and viewing. I read Joan Didion and she wrote: “When Colombians spoke about the past I often had the sense of being in a place where history tended to sink, even as it happened, into the traceless solitude of autosuggestion. The princess was drinking pink champagne. High in the mountains the men were made of Gold. Spain sent its highest aristocracy to South America. They were all stories a child might invent.” And I invented this. Stories are yours.
I am 20 years old, was born in Australia and spent a great part of my life in New Zealand. Performing Arts which included singing, cello, piano and dance were a large part of my life until I decided to do my Bachelor of Design in Architecture. While many people expected me to study music I was inspired by the Architecture I saw from trips to Europe and New York and realized that that was the direction I would like to take. I have been surprised by how much the arts influences Architecture and have loved incorporating it into my work.
I have designed a city within a city for people to explore and celebrate dance in a way that blurs the lines between traditional private and contemporary public performances. Through light timber ribbing construction the public spaces are divided into pavilions for each function creating increased public circulation and a type of public foyer to the performance, including an exhibition space. The private section is constructed in heavy concrete with strategically framed glass views into the practice rooms as well as to the stage, as a visual link for the public into the private, for certain performances or times of the day. This allows the public to experience dance close up, from its initial rawness to the final polished performance.
Janelle is interested in architecture as the intersection of poetry, sustainability, humanism, and society. She believes that architecture is effective when it is considerate at all scales, from a sensitivity to site and context, to an understanding of use and phenomenological experience, to the way two materials meet. She is looking forward to exploring art and architecture in the public domain, creating beautiful built form, and sleeping for more than eight hours.
“Open City” is an exercise in architecture for the rehabilitation and reaffirmation of open, democratic, and freely expressive public space. The project is a formulated response, a joyfully-directed revolt, to the present decline in not only truly public space – or ‘open’ space, as defined by Kevin Lynch – but also in the richness and diversity of the sociocultural and artistic fabric of Sydney today. “Open City” is to be the collection point and amplifier for the incidental interactions of the city sidewalk; the busker, the speaker, the dancer. It is the open-ended microcosm of the city that is completed and constantly remade by the interventions and expressions of the people that inhabit it.
I believe that Architecture is for me, simply because nothing excites me more than staying up all night working on a building that I so enthusiastically and passionately designed. I love the thrill of solving and creating. It is an ability that I believe I possess which evolves from my originality and creativity. Through my designs, I endeavour to create a parallel between the surrounding environment and my imagination. Architecture is important to me as it opened my interests to different forms or art, photography and expression. I believe that there is not much that can’t be said through a well-thought-out design.
When designing a building, one tends to focus on the outer shell instead of the spatial aspect. Space is important when designing a performance area and to further emphasise this, I chose to focus on an interactive kind of performance such as the Promenade Theatre. The title, Fifth Facade, is aimed at furthering this realisation of a building beyond four walls. This design would be a way to encourage the communication between the urban area on the west end of the site to the environmental area on the east end. Through my Utzon studies, I discovered that movement in space is crucial. Spatial experience is dynamic. In my design, movement is promoted through sequence (following in a logical order), continuity (elements reappearing consecutively) and flow (continuous movement influenced by an external change).
Kira is a graduating student from the University of Sydney. Her three years of study have been complemented by a variety of professional experience, culminating in her work with Martin & Ollmann, a boutique firm specialising in contemporary architectural design practice. Over the course of her degree, Kira has refined her aesthetic, particularly enjoying experimentation with graphic architectural representation methods. A lover of nature and astronomy, she is a keen explorer; travelling to Asia, Europe and around Australia in her time off, exploring society, architecture and culture in her freelance photography work. Following the completion of her degree, Kira plans to continue her adventure in South America, with her camera by her side.
Of being a part of something, without feeling overwhelmed: such was the ethos that drove the design project. In generating a truly public performance space the intended performer is not the ballerina nor the actor, but nature itself. The design endeavours to mediate between both the urban and the natural, the land and the sky; with controlled views outwards and upwards defining the spaces through their astronomical and topographical relationships. To wonder and marvel at the sky is to be human, and to generate a space for this is at the core of the project: a space devoid of societal distinctions, united in the human condition- searching for our place amongst the stars.
Located at a unique junction of urbanity and greenery, the site sits on the cusp of Sydney’s Domain but is also central to several of the city’s political activist sites; namely NSW Parliament and Speaker’s Corner. In this proposal a new pedestrian pathway threads from both the thresholds of Sydney city and the Domain to circulate around and through a centralised sunken political performance space. The weaving path possesses a constant visual connectivity with the central performance space, and as such, the performance is viewed from an ever-changing and adapting angle. The path itself is self-navigating, the visitor seemingly never having to make an unforeseen decision about direction or way finding. The points of junction are defined by a spreading of the path to create smaller performance platforms, or moments of pause. At these points, observation intersects with interactions and the viewer becomes a component of the political piece. The act of observing becomes observed.
Attending Nepean Creative and Performing High School I represented my school in the 2013 Art Express Exhibition at the Art Gallery of New South Wales. I encountered a love of architecture through work experience with Allen Jack+Cottier Architects during my time at high school. Upon graduation the decision to explore the field of Visual Arts took me to Sydney College of the Arts , majoring in Printmaking for one year before transferring to Sydney University, Faculty of Architecture. In 2012 I was Awarded the Deans Award for Academic Excellence.
Situated on the threshold of the domain, this project seeks to connect and explore the layers of architecture, art, and nature prevalent within the site. The concept was initially investigated through Jorn Utzon's principles of the relationships between the platforms + roof and the grid + movement. The plan was explored through circulation paths and the occupation of movement in space. This was used to carve out a landscape possible of organising programs and functions within the context of the site. The design is set out as a large performance landscape developed towards housing informal performance art. All External performances are housed on the topography of the roof plane, designed for seating and walking. Voids connect the ground and roof plane, allowing natural light and conditions to permeate the structure. This connection situates the design back into the realm of the domain, allowing the building to mediate between architecture, art and nature. A small refuge mediating between the city and the park, it is a space of contemplation, meditation and exploration.
In materialising the invisible outlines of the terrain, a framework for the external performance space is established. The external performance space functions as a thoroughfare, weaving together the dense urban fabric of Sydney’s CBD and the vast openness of the Domain. A major and minor performance space is situated opposite one another and separated by Hospital Rd, subtly framing these contrasting site conditions as its backdrop.
Matthew Aylmer is currently studying Design in Architecture and Civil Engineering. His main influences in his work include Herzog & de Meuron and Tadao Ando.
The Domain Forum posits together a space for both traditional theatre and the immersive forum theatre, developed by Augusto Boal. The project explores notions of the in-between in the mediation between these two programs as participants move through the space and transition from audience to ‘spectactors’. This process begins with the excavated sandstone amphitheatre acting as an inverse podium and drawing participants away from the surrounding urban context. Inside, the steel towers articulate an abstraction of the city yet their framed structure suggests impermanence and transition. The space for forum theatre is a blank box, lit only by the sky, skewed from the gridlines of the rest of the building and detached completely from traditional architectural notions of the theatre.
This project aims to to question the process of creation and the way in which space is designed today. Where rooms are voids excavated in concrete along a path identifying a journey. This is influenced by the architecture of Jørn Utzon in particular his design approach and use of ‘left over’ space. This strategy removes itself of all constraints, providing an opportunity to design space not according to building regulations but in terms of spatial quality, livable space and intense experiences.
My name is Min Sang Heo. I am a student currently a 4th year student studying a Bachelor of Engineering (Civil)/Bachelor of Design in Architecture. Engineering and Architecture were both my desired paths in life which I have ultimately chosen this combined degree. Creativity, was a key aspect in wanting me to become an Architect. I wanted to express my creativity in terms of designing buildings. I have gained valuable experience throughout the three years of Design Studio and I hope to successfully complete this course upon next year maximising my contributions to my future endeavours and professional work.
The Architecture aims to utilise the acoustic properties of parabolic domes as an instrument that amplifies sound of musical performances towards the immediate surroundings of the context. Situated on the boundary of the urban context of Sydney’s CBD and the domain, the two distinct context is amalgamated by the nature of sound and hearing sensory. The reflection of sound that penetrates through Macquarie street-scape whispers into one’s ears that sparks the nature of curiosity and guides them to the external performance space. This also cultivates the existing walkway and the sound creates an architectural promenade that descends towards the core of the architecture. Additional acoustic mirrors are placed near St James Church and AGNSW to accentuate the awareness of the site and also performing as a sound transmitter towards the architecture. The design re-shapes the circulation of pedestrians along Macquarie Street proposing a whole new perspective of the design boundaries.
Minh is a passionate student, open to learning new prospects in the discipline of architecture. The fascination comes from the challenges and opportunities that are presented in design & program.
Pavilion by the Domain aims to encourage a waypoint between Macquarie Street & Hospital Road. The experience at the site differs between daytime & nighttime. The project ambition to activate the derelict space is through the proposal of a set of pavilions that disperses into the Domain. By proposing a set of pavilions instead of one major exhibition building, a majority of the site area is activated. The pavilion invites artists to develop illumination sculptures that influences the individuals' experience as they explore through the pavilions. The project aims to achieve a more activated connection between Macquarie Street and Hospital Road, eventually leading the user to the Domain.
I work at a primary school, focusing on children who are behind, who have difficulties or who do not have a normal home life. The role of empowerment in these children is vital, finding something that they enjoy and are good at is key to getting them on track or attempt other tasks. This empowerment can massively change the way a child thinks about learning and how they treat people around them. Finding a space for this can be hard especially if the child is reluctant to begin things after previously failing at other tasks and not having the self-belief to see the task through. This project looks into how a building and a performance space could be the answer to this empowerment, a place that eases children into learning and provides them a space to grow.
My name is Mohammad Kanbar and Im 24 years old. i have a passion for architecture, which i have greatly enjoyed during my degree at university of Sydney. during my free time, my favorite thing to do is singing and enjoying the time with family and friends.
Third year architecture student
THE CONCEPT OF A ‘THEATRE OF LIGHT’ THAT INSPIRED THIS PROJECT WAS FIRST CONCEIVED WHILE VIEWING THE WORKS OF JORN UTZON. SPECIFICALLY HIS MELLI BANK IN TEHRAN, IRAN. NOT ONLY DID UTZON STRIVE TO CREATE AMBIENT LIGHT CONDITIONS WITHIN THE BUILDING TO ENHANCE THE WORK ENVIRONMENT FOR THE INHABITANTS, BUT HE ALSO DESIGNED THE BANK TO CREATE A TRANSPORTATIVE SPACE THAT RECALLED THE ISFAHAN BAZAAR. CREATING A LIGHT CONDITION THAT WOULD TRANSPORT THOSE INSIDE TO ANOTHER PLACE, STEEPED IN CULTURE AND TRADITION. FROM THE ROUNDED CORNERS ON THE STAIRWELL TO THE PRECISELY ANGLED ‘LIGHT CHIMNEYS’ MORE THOUGHT HAS GONE INTO THE CONDITION WITHIN THIS RELATIVELY SMALL BUILDING THAN MOST MAJOR ARCHITECTURAL WORKS. “I have made a sculpture... you will never be finished with it - when you pass around it or see it against the sky... something new goes on all the time... together with the sun, the light and the clouds, it makes a living thing” Jorn Utzon.
A third year design in architecture student who is interested in ancient art and lost crafting skills.
The Shadow theatre seeks to create a not only a balance but also a connection between shadow and light. The space of accessable and unaccessable, visually creates dimension between each section of the structure as well as giving visitors a mixed experience while walking through the exhibition.
I am a multi-disciplinary designer and artist with a diverse range of professional and academic experiences, culminating with my avid interest to most recently study architecture, and look forward to applying what I have learnt with the opportunity to learn and grow in a forward thinking contemporary architectural practice. From originally working as a producer in online advertising I learnt a lot about deadlines, budgets and working under pressure. After completing my first degree in Design and Technology, I transitioned into exhibition + event design; working spatially with big brands to drive specific marketing initiatives, and understanding informed by my time in advertising. After completing a Master of Film and Digital Image at Sydney College of the Arts I was afforded the opportunity to share my knowledge teaching at many public and private institutions. As an emerging artist, I have been balanced my work as multi-disciplinary designer whilst exhibiting my art, and undertaking private commissions. I currently am an artist in residence at one+2 artist studies – Rozelle. My ongoing art practice feeds my creativity for my design work, and both art and design cross pollinate.
A contemporary linguistic interpretation of painting in “open air” sets up a design framework to explore architecturally how an outdoor performance space and series of associated exhibition spaces can interrelate within the context of a site that traverses the threshold between both the natural and built environment. Exhibition spaces are open at one or multiple sides, reinforcing the plein air ideology, connecting this notion further by exploring “what is performance?” Could the exhibition spaces and auditorium be plein air art studios? Is the act of making art outdoors a form of performance in itself?
Nick is a member of the Sydney University Design Association, participating in the mentoring program, and is engaged as a Student Designer at a Sydney architecture firm. Although he doesn’t pretend to understand the deep intricacies of Zap-A-Gap, he does know it’s great for swiftly marrying broken dreams, chunks of flesh and timber in equal measure. When he isn’t spending time in piles of sawdust, Nick’s idea of a perfect Sunday is engaging in tantric relations with Adobe Creative Suite and listening to breakbeat on vinyl.
Violence is inherent in architecture, just as architecture is inherent in violence. PERIPHERY seeks to challenge the rigid nature of the grid and reassess its stereotypical perception as a static organisational device. Mimicking Sydney’s piecemeal development, these structures are neither entirely governed by top-down organisation or local adjacencies, generating a flexible framework with the potential to adapt to the intersecting urban grids that carve out the Domain threshold site. Existing in flux between rectilinear and curvilinear, reception and projection, these conditions propose an architecture in which the act of building and rebuilding is a performance in and of itself, transcending neutral form alone.
I am originally from Wollongong and have a strong passion for Architecture and Design. I am fascinated by sustainable architectural technologies and using materials properly and with respect.
The design fixates attention around findings from Utzon’s architecture as a built representation of the workings of Nature. The principles of additive, efficient architecture as inspired by nature clearly define a juxtaposition between the solid, undulating, plain below, and the temporal and permeable canopy or structure above. Using a brick as a module it becomes the expedient by which complex geometric elements are formed, creating the plain as a series of variable elements. This allows each space to be experienced through one’s ability to meander and rhythmically react to the changing architecture above and below.
Praveena Sivalingam, an architecture student at University of Sydney has undergone three years of studies. With her persistence, ambition, and the support of her peers, the experiences she encountered have shaped her understanding and creativity in the field of architecture. As her creativity flourished within her course, her professional skills also developed under the guidance/teaching of Home Impact, a residential design and construction firm. She is also an eager traveller, having experienced the culture and the intricate fabrication of architecture in many countries within Asia and Europe. Her determination and enthusiastic approach will lead her to learn, explore and experience the many facets of architecture and she will continue to apply her experiences in her future work.
A desire to infiltrate the Domain with intimate performance spaces was balanced with the need to address the pre-existing conditions and uses of the public site. The meandering pathways that cut and weave through the domain and simultaneously connect and re-distribute the masses initiates this design. An undulating landscape forms the conditions that simulate spaces for congregating, wandering and resting. Modest hills and valleys contest the gridded landscape of the city that is represented by the delicate built forms that puncture the otherwise seamless transposition of space.
An aspiring architect soon to complete the architecture degree at USYD. Currently working at an architectural advertising firm but seeking to set foot in professional architecture design in the near future. Excited in the exploration of new methods and processes such as parametric and computational architecture with interests modern and futuristic architecture styles. If provided with the opportunity, would love to expand horizons in the field of architectural design.
Urban Visibility means that the building can be experienced from many viewpoints or areas around its context to offer a different meaning and view. This project aims to explore this concept by allowing several positions around site to become a viewing point into its functional spaces. In this way, the performance theatre building offers its exhibition spaces to the public who circulate around the site and creates a story based on what is seen. Being visible to its surroundings means that it will become a focal point. Thus, a highly visible waveform roof becomes the selling point of the project, to incorporate the functional spaces of the building and accommodate views from all directions coming in from the site to building. By initially draping a mesh onto several functional spaces, the roof structure forms by adapting to the needs of its interior spaces, like the skin forming over a body.
Ravyna Jassani is a Bachelor of Design in Architecture Student. What has always intrigued and drawn her to Architecture has been its potential to solve problems, make a difference, and its ability to engage with society and its surrounding environment on several levels, including on a psychological level. The ability to control and direct one's movement throughout a space as well as impact a person's state of mind through architecture has always been an exciting prospect. Photography is also a strong passion of hers. Her work ranges from shooting events, people, nature, to architecture, and motorcycles. She has worked as a freelance photographer for the past 3 years and is currently the Media Coordinator for the Sydney Uni Motorcycle Club.
Monolith is a unique performance space providing immersive experiences for its visitors. Each floor consists of a series of rooms that are made up of operable wall panels that can create paths, block paths, as well as form openings to the rooms itself. The rooms are transformed into scenes, and the specific pathways the audience members are allowed to take are controlled by the "Narrator" (Director). Audience members are allowed to roam around within the space and the order in which they visit the "scenes" provide a slightly different story for each audience member once they leave the space. The structure and overall experience is very self contained however, openings around the facade of the building frame certain scenes from the context in a very controlled, decontextualised manner that can be used for the scenes. While from the outside, entry to the space is not obvious, and polycarbonate windows from certain areas allow people to see movement from the outside.
This project investigates the relationship between positive and negative spaces. It explores the ratio of positive spaces to negative spaces and how decreasing or increasing the amount of either type would impact the overall experience of the design. A series of buildings (positive spaces) have been positioned on site to create a network of ramped alley ways (negative spaces) which progressively descend through which one would journey through to get to an end destination referred to as the big void. This sudden shift from a network of relatively narrow negative spaces to a disproportionately big void creates an overwhelming impact and experience for the user of the space.
Growing up in Hong Kong, I was intrigued from a young age to see the way teams could come together to realise innovative architectural projects. With this constant influence all around me, I became interested in the study of both architecture and civil engineering leading to my enrolment in the Bachelor of Engineering (Civil) / Bachelor of Design in Architecture at the University of Sydney.
With a site nestled between the towering high-rise of the city CBD and the open expanse of the Domain, the opportunity arose to create a space that brought together people occupying both areas. While those in offices would interact with the site from a greater distance and at a higher vantage point, visitors would be at ground level and right up close. The Shadow Theatre then became a performance space through which scales of projections could be utilised to blur the line between audience and performer. Simultaneously projecting a choreographed, dynamic performance to create multiple shadows allows anyone in the vicinity to interact with and participate in the performance at different scales.
My concept comes from sounds around the site. Sounds are clarified into two parts, one is humanistic and natural sounds such as church bells and birds flying, another is noisy sounds from vehicles. Actually Sounds have no shape but transmit to all directions, that's why I define these sounds as several spheres in different sizes. Therefore the site is divided into two parts, which are influenced by these sounds. The part affected by humanistic and natural sounds are potential to be an open performance space, the other part affected by noise is supposed to be enclosed space for interior exhibition. I utilized grasshopper to trace the outline of these sounds and reorganize them for different shapes, and chose a shape that meets the requirements above.
I am fascinated by historically derived design and contemporary art. Involvement with the 15th Venice Biennale of Architecture and Sydney galleries including Sullivan + Stumpf, Galerie Pompom and the MCA have immersed me in that world, but I am lucky enough to currently hold a student architect position in a Sydney based firm. While at uni I've loved turning many a sausage at sizzle and being Treasurer for the Designers' Association. I look forward to the bright future of all my peers and more architectural pilgrimages to far flung corners of this great Earth.
Neitzche’s 1872 essay The Birth of Tragedy from the Spirit of Music explores the conflict between Dionysian intoxication and Apollonian restraint. Oskar Schlemmer explored this notion in a three dimensional way in the Triadic Ballet which represents the most romantic notion in the most austere form. The circle and square, representing intoxication and restraint respectively are geometrically married through the project as a manifestation of the idea that universal truths become evident through the subordination of the human body to abstract geometry. In doing away with the proscenium arch the utopic space of the performance is blurred with the dystopic space of the audience - fusing the audience with the action on stage.
My name is Sabrina Zambetti and I am currently a final year Bachelor of Design in Architecture student at the University of Sydney. Architectural design is my passion. I come from an Italian background with a keen interest in art, art history and design. Architecture is more than just design, it’s a fusion of design and art. Art is often inspired by nature, as is design and being able to embody and take inspiration from the uniqueness and organic forms which nature provides allows forms to better harmonise with their surrounding environments. My hydroSkin Pod exemplifies this notion by using an organically inspired form to integrate and connect with its context. I enjoy travelling and experiencing different cultures and environments. In early 2016 I returned from a 6-month exchange program at the Politecnico di Milano, one of Italy’s premier Universities in the Faculty of Architecture. This stint of study in Italy broadened my understanding of the evolution of art and architectural history. Milan is a very progressive Italian city yet it still sticks to its historical roots. In the same way, it reinforced the importance of traditional concepts and methods, and indeed approach, when embarking on architectural design.
The location for the proposed External Performance Venue is on Hospital Rd behind the Mint facing the domain. The underlying architectural schema was inspired by the natural organic geometry and forms present in the existing context (Biomorphic Architecture). The building form resembles the shape of a Hoop Pine Pod Cross-Section as found in the Domain, metaphorically connecting it to its surrounding context. The geometry of the outer Pod has been functionally iterated and adopted as a responsive facade for the building through both shading devices and openings for ventilation and sunlight. The fixed modules have been orientated on the building’s facade in relation to the sun’s path: 80% open (Winter sun), 50% open (Summer sun) on the northern side and on the southern side, 20% open to allow for cross- ventilation. The organisation of the building has been planned in relation to the positioning of the responsive modules. The structure of the building was inspired by Utzon’s beam cross-sections derived from the Sydney Opera House. The series of Glue Laminated Timber arches have been manipulated in relation to the form and function of the building. My hydroSkin Pod brings a natural timeless form into a functional, contemporary design.
It's a very exciting time for Architecture. Your voices represent a bright new future for our great faculty full of tremendous opportunities for everyone, not just a select few. Together, we have created a movement that continues to gain tremendous momentum. Together, we are making history. Together, we are bringing back the Architectural Dream. The time is now. Together, we WILL Make Architecture Great Again! Let's build walls! Timothy - 2016
Against the intactness of the city, inhabitants live out existences they have been cast into. Its completeness reduces the awareness of its construct. The theatre, de-constructed, presents itself as an apparatus that demystifies the wholeness of performance space. Performance results from the differences of time, action and movement. Through the annunciation of difference by stillness, movement, subtraction, addition, circular and linear, the unsettling nature of the space between can start to allow audiences to be made aware of its constructs and allow them to ponder if they reside as a performer or as the performance.
The newly proposed cultural centre along Hospital Road behind the Mint forms a hub for culture, learning and exhibition. The roof form mimics the undulating terrain of the domain's landscape, creating multiple pedestrian paths over the structure, linking the two adjacent alleyways to Hospital Road. A performance space is situated at the southern end of the site, showcasing multiple events such as film festivals and musical performances. The internal spaces offer access to offices, studios and archives, where further research can continue. The central lobby flows into two gallery spaces, dictated by the structural roof supports which within, house the displayed artworks and sculptures.
successful minimalist is always beautiful to most eyes. Subjectivity does not deny the importance of aesthetics.
Being in between the city and Domain’s Greenland, the compact site sits in a district of historical buildings. The dynamic surroundings provided various interaction points for the proposed outdoor performance space. The Greek amphitheatre inspired performance space takes the existing domain view as the background of the stage. The café at the back of the seating area looks back to the city and interacts with the city and Hyde Park view. The pedestrian routes around the site is brought into the gallery space under the theatre to open up the building to draw the public in. The project looks at how a transitional space can be made to become a destination for the public from the surrounding areas to come in for activities allowing them to interact with the surroundings.
My name is Vivian and I’m an enthusiastic student who is particularly interested in the evocative representation of architecture. I also have an avid passion for art, culture and travelling, and aspire to have the opportunity to work abroad in the future.
Creating a social landscape bringing people together, this project seeks to provide easy public access to performance art with flexible, open amphitheatres across two different scales. Acting as an extension from The Domain, these versatile performance spaces will serve as a platform for plays, outdoor cinema and live music – both on a professional and casual level. The design utilises juxtaposing grids: a circular typology that naturally creates places of congregation and a rectilinear scheme that stitches the architecture back into its orthogonal context. To draw people between the city and the park, differing opacities of polycarbonate have been layered horizontally across the site. This generates a gradient of both literal and phenomenal transparency, resulting in a compelling public space for the community of Sydney.
2016 university of Bachelor of design in Architecture Graduate
The Domain, the building site and the city has a unique relationship through its visibility where they can each be seen as layers looking past one another. From this the performance space design is about the interplay of translucency, by creating multiple layers of vision. The Design aims to incorporate the participation of the audience as part of the performance itself, through the overlay of shadows. This not only emphasise the existence of the audience, but adds an interesting layer of texture on top of the existing performance, allowing the performance to be seen from all directions. The walls within the structure curve gently with a three dimensional slope, creating pathways within the structure and guiding the audience around and towards the stages.
21 years old and currently residing in Sydney. Amateur architectural photographer with keen interest in film and production design. Experienced in hand drawing using both traditional and digital medium.
The project aims to meld the discontinuity between the greenscape of the Domain and the urbanisation of the Sydney CBD through utilising aspects of Tai Chi. Tai Chi encourages the manifestation of inner energy of the performer, of which is powerful enough to overcome solid physical substances. The design is based on this principle where the "soft" encounters the "hard". In the building, the solid elements, including walls and floors are pushed away by the presence. These subtle gestures is applied to the existing building shape, opening up the original solid building to re-establish the connection between the Domain and the CBD.
The three-year-study of architectural design at the University of Sydney was a challenging but fantastic journey for me. I would like to continue the master of architecture for further study. As an international student from China, I had my high school studies in Melbourne. During the high school years of studying studios arts, visual communication design and physics, I found that architecture—combining aesthetics and technology, is the major that I would like to study. For bachelor study, I chose to move to Sydney to experience differences. Over my 21 years, the living experiences of mainland China, Macau, Melbourne and Sydney has helped me think in different ways and develop my architecture philosophy by blending the characteristics of eastern and western cultures.
The architecture is situated gently on the natural context to form a community center. It is wrapped in greenery and nature to strengthen its relation to the Domain. With the concept of expanding the performance and activities towards the exterior, the boundary between the architecture and green space, performance center and community are blurred. The entire form is developed from the continuous surfaces, eliminating the perception of roofs, walls, corners and floors. It aims to provide the continuous experience for visitors, not only from the continuity within the internal spaces and circulation, but also the continuity between the green space and city life.
Aiming at eliminating the strong distinction between the two sides of Hospital Road (buildings blocks on the west side and pure nature elements on the east side), this project provides a similar experience in a forest, rather than a logical space sequence in a modern building. Sphere, which is a geometry of natural elements, works as the basic space unit. The functional spheres float inside the shell and generate a free circulation. The spaces inside the building are both vertically and horizontally connected, showing a strong fluidity. The boundary between different spaces is blurred by the free sequence and the semi-transparent skin.
This project is creating an extension of the Domain, providing a stage for life itself, a playground where people sit, talk, walk their dog, celebrate holidays and have a moment of relaxation, which are the most genuine exhibition of culture. Hospital Road is altered into the space in order to create inevitable encounter and engagement with passers. Building form is reduced to the minimal. Circulations and view frames are defined implicitly with limited intervention to set up a platform for daily drama and unexpected confrontation. The playground is a hyper-reality, where everyone is audience and everyone is a performer.
Love to make strange, interesting, impracticable ideas come true.
My project starts from site analysis. The site sits between the city and the domain. The relatively huge height difference between skyscrapers of the city and the grassland of the domain makes the angle of people's observation sight changes as well (downward from skyscrapers, upward while sitting under the trees in domain). As a link between those two parts, the angle of observation sight is designed to gradually change in my building. Thus, the sight angle changes from downward to horizontal at the gallery part (the erection at the north). And at the stage area, audiences are able to pop up their head in an individual observation dome locates on the stage to enjoy the performance, (whose sight angle is upward). As a result, the usual viewer-performer situation is inverted. The same idea of 'inverting' applies to the gallery space as well. Different from visitors looking a exhibit through a box as usual, the visitors will be 'placed inside a box', while the exhibits are hanging in a unbound space. Which enables visitors to observe from muti-angles as the exhibits are all around.
The five types of stages; proscenium, thrust, end, arena and profile were combined to accomodate everyone; both formal and informal, at the same time or separately, blurring the line of what is performance space and what is audience. Themes of layering and transparency were used to shape the overall form focusing on points where collisions happened between stages.
Daisy is an architecture student who is particularly interested in people’s experience in space and the interaction between human and architecture. She is good at presenting via traditional media such as watercolour painting, sketches and hand modelling. Her experience of different cultures also enriches her understanding of architecture -- she has been to Sri Lanka travelling studio as well as exchange program under scholarship to UC Berkeley for one semester in 2015. Professionally she started working at Neeson Murcutt Architect since June 2016 and is desired to learn through practice during next few years before going back to school for master.
This project is a multifunctional performance centre located at the edge of the CBD facing the domain. It is specifically designed for a new type of performance — the immersive theatre. Completely different from traditional theatre, there is no fixed stage or seating at all—the performance unrolls with different scenes taking place simultaneously in different spaces, and actors will move around the whole space to contribute to the whole narrative. Audiences are not passive bystanders, they move around and discover, stop wherever and whenever they like, and even participate in the perforce. In a word, the audience unfolds the performance through movement and builds up their own understanding of the narrative. Based on the spatial need of immersive theatre, this project is created with the schema of overlapping volume and features in phenomenal transparency among different spaces. A variety of different spatial qualities is made to suit different spatial needs of the performance and create intriguing narratives.Through overlapping, the immersive theatre starts to blend in the whole building, which further demonstrates the concept of immersiveness by blurring the boundary between performance and real life.