I am an Architecture graduate working between Art, Design and Architecture. This is a collection my work since 2007
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This structure is made from 870 recuperated polyethylene checkout bags which have been fused together. The embodied energy in 8.7 bags could propel a car for one kilometer. So this installation is equivalent to 100km. Change is as good as a holiday.
This piece was inspired by an interest in the idea of turning ‘disposable’ objects into a building material. The structure is lightweight and easily transportable, and can be fully inflated with a very basic domestic fan. Looking at how this volume interacts with its surroundings, creating an interior space which reflects the exterior constraints through the geometric interplay of soft/solid, rectilinear/curvilinear and through the translucency of the material.
Building a prototype also helps to uncover unexpected construction issues and develop new ways of creating these non-standard geometries. The lightweight structure can be packed down and fitted into a single plastic bag for transport and storage. Fully inflated in five minutes, and can fit up to thirty people inside. This project was selected to appear on the cover of the winter 2013 edition of AV, which focuses on ephemeral architecture.
3D image from within the inflated structure
The 100km installation is featured on the cover of Architect Victoria (Winter edition 2013)
Labour of love
perched on top of an ancient volcano in the Cevennes national Park in the South of France, Esparon is home to four yearlong residents.
I have been coming here very year since 1993 with my family.
For the last twelve years, we have been building a house in Esparon, reconstructing a stone ruin which dates back to the 16th century, and complementing it with concrete from the 20th century and fibre-reinforced resin components from the 21st century.
This project is born out of the constraints of the site: difficult access makes the material choices critical. All the rubble from the original ruin has found its way into the new house, in form of stone arches, dry stone walls as well as in the concrete. As bringing steel up the steep path to the house is problematic, we have used a system of fibre-reinforced beams, decking and roof to provide a lightweight counterpoint to the stone and concrete.
This design process is about exploring and feeling materials. It seeks to speculate about a different way of designing: how to develop a project through doing, not imagining. The opportunity afforded by the recuperation of a large quantity of sarking material provided a chance to work in a much more hands-on manner. The theme of this project, is the idea of letting go of the design: allowing the material some autonomy. Through relinquishing authority to the material, one is allowing for error within a certain framework. Losing control over the process is not fatal to the project: it opens up new possibilities. Architecture students have limited exposure to working directly with materials, this projects seeks to challenge this trend. The construction yielded some unexpected results, from a scheme directed by a controlled geometry, the prototype demonstrated that the behaviour of inflated columns was all but regular. Static images couldn’t do the structure justice, it became a dynamic, reactive and uncontrollable. From the exploration of the phenomenological qualities of inflatables, a series of representations were produced. The real thing confounds the imagined design, and is suggestive of a whole series of potential pathways to explore from here.
navigating through the anemone
this physical collage collapses twelve moments of navigation through a space into a single, composite image
Competition entry for the Lisbon Triennale,
a cylinder of thermo-bonded polythene bags floats above the gardens, offering a collective gathering space in the heart of the city.
Using the design of a high density mixed use building as a starting point for an investigation of geometric grid systems, which inform it’s tectonic composition, structural system and the design of prefabricated elements.
The study of precedents led to a reflection on the culture of Brutalism, in particular the work of Lina Bo Bardi and Charles Murphy. In parallel, there was a strong desire to pay homage to the graphics of magazines from that period, with reworked halftones and photomontage.
Lost in Morocco
In May 2015, I accompanied photographer Hakim Benchekroun around Morocco for a month, exploring the heritage of modernist architecture through forgotten cities and ghost towns.
We tracked the work of Jean-François Zevaco (who designed the round pool at Sidi Hrazem) and Hans Jörg Voth's City of Orion, in the Sahara.
An atlas of the maps and photographs will be published in early 2017.
This design for a chemical crematorium is informed by the emotional process of relinquishment of the body, contrasted with the objective, scientific treatment of the corpse. The challenge was to work with the opposing forces of rationality and affect. The crematorium building integrates a watercourse which carries the body out of the ceremonial space, floating towards the resomation facility in which it is dissolved in lye. Family and loved ones congregate and meander through a series of subterranean galleries until they are reunited with the deceased’s remains an hour later, and they are invited to walk up into the Cartlon Gardens, a section of which has been dedicated as a cemetery.
Rather than burying the remains in a tomb, the proposal is to have the families plant the ashes in the ground with a sapling. The tree will grow and become a place of congregation and celebration of life, where the family can sit under the shade of their ancestors and enjoy the park whilst remembering past generations. Through an interest in the development of an architectural project through narrative, this design explores the relationship between graphic storytelling and procession. How can one extrapolate architectural qualities from these atmospheres in order to begin an design process?
Architectural Design Coordination for the Rising inflection project, a proposal for the Creative Director position, Australian Pavilion, Venice Biennale 2012.
Spill, a Paris based creative agency, was in charge of the graphic design
The agenda was pushing the view of not presenting Australians to the world but of Australians in the world and in an attempt to open up the discussion of identity.
A flipbook was produced, retracing a virtual tour of the curated show, in and around the Australian Pavilion.
Rising Inflection Flipbook
My first job as a graduate architect was in BVN Donovan Hill's Melbourne office, working on a cemetery project for Bunurong Memorial Park in Dandenong. My role was to model all external aspects of the Administration building, the function rooms, café, florist and the funerary services compound. In addition, I worked on Revit coordination with the mechanical and structural engineers, organised and led meetings with suppliers. We worked closely with the team of landscape architects from Aspect Studios. I was lucky enough to be involved in meetings with the clients, and learn more about the "front of house" nature of the job.
project description: The Bunurong Memorial Park development will transform a traditional cemetery into a contemporary memorial park with the construction of three highly architectural chapels, administration & function centre, funeral services centre, café, florist, multi-faith rooms, gatehouse, bridge, and undertake road works and extensive landscaping.
More than 80,000 native trees and shrubs will be planted at Bunurong before first stage completion in 2016. Site landscape design will promote a distinctive Australian theme, with the regenerated indigenous natural environment providing a suitable habitat for local fauna.
The project will be undertaken with 2 separable portions with Stage 1 (New Buildings) and Stage 2 (Demolition & Final Landscaping) , all mostly complete by the end of 2015.
each man kills the thing he loves
This project was a concieved by Markus Hansen and put together in 2011 in Paris. Each Man Kills The Thing He loves (Chambre Miroir) is an expression of our dependency on seeing limited versions of ourselves refl ected in someone else’s eyes – and of course our own. The “chamber” (room) is housed in its own modest white labyrinth. Constructed of plywood, a single, doorless entrance leads you and then leaves you with the choice of turning left or right, although neither direction seems to portend any advantage or disadvantage. It is an architectural palindrome with rippling internal palindromes: Eve damned Eden, mad Eve. Playing softly but consistently is the vaguely annoying song sung by Ingrid Caven from The Ballad of Reading Gaol (after Oscar Wilde). One follows a short corridor cushioned throughout with a common, office-style grey carpet, and we are suddenly in a room with a view: A hi-fi with a pair of speakers, and a spinning turntable; several wires flare out of the back of the turn table and a mirror behind the unit reflects the back of the turntable and high-fi with its inputs and wires. Or does it? You stand in front and examine the machine and then, of course, your reflection (my reflection). The mirror is the sort you see in dressing rooms: Long and inexpensive, edged with metal and often fastened to a wall with clear plastic clamps or hooks. The refl ection has a slightly greyish tint to it. One problem: When I stand in front it, I’m nowhere to be found.
Competition entry for the design of an emergency shelter in humanitarian crisis situations. This design was a collaborative project with French architect Iris Giese. The competition was unfortunately cancelled.
This installation, built for Markus Hansen, is a wooden hut assembled without nails, screws or glue as every piece slots together to facilitate mobility. Its exterior is covered with black feathers to protect against the rain. The structure is made out of plywood and has a system of shelves on the inside that slot in and hold it together. The four thousand books on the inside provide insulation and reading material.
This project involved developing construction systems, working out details, measuring, drawing and cutting sheets of timber, as well as helping to install the piece, first in the Chateau d’Aulteribe, near Clermont-Ferrand, in Central France, and then at the Conciergerie, in Paris.
Jason Stoneking reads in the Crisis Cabin
CrisisCabin in construction
Three membranes are stacked, the top one is made up of concentric circles alternating between black and clear PVC, the middle one is the inverted pattern of the first, and the lowest one is clear. This creates two cushions, operated by a single fan: when the lower cushion is inflated, the central membrane is pushed upwards, closing the gap between the black circles, and thus occluding the light. Conversely, when pressure is increased in the upper air cushion, the space between dark bands is increased, and light filters through the transparent layers into the space below. This simple system allows for dynamic control of an internal atmosphere. The transitions are smooth, and lighting can adapt to filter the external environment into the space.
Experiments in coding, seeking to further understand the designer's relationship with technology, and contextualise an approach to programming. Questioning the role of standardised digital tools, investigating the potential of developing new ones.
Having explored some of the properties of this system, it seemed that in order to fully exploit the relationship of these forms with the body, the balloon mattress needed to be expanded. Would the system react in a similar way if a cubic envelope was packed with balloons? How would the weight and movement of a body impact the structure?
The structure could be formed freely before being vacuum sealed, thus it was possible to push the balloons into a cubic unit, which then serves as a reference for the imprint of the body. When it is sat on, the cube reacts to the force of the body, expanding on the sides and sinking on top: the balloons negotiate in order to withstand. Form is not final, it is not fixed, it is only an external condition of the envelope as induced by the contents.
sitting on the balloon cube
Criticism is born from a diversity of experience and opinions and a willingness to tackle these with others. Constructive criticism requires this confrontation to take place in order to bring about a conversation that is dynamic, fertile and importantly, positive. The by-product of this is the raw material which we seek to develop, by providing a platform for finding, refining or reinforcing a variety of differing perspectives .
Our focus is on facilitating these conversations, bringing them away from corridors and onto an open stage.
DIS-cour.se is an independent arena for the exchange of architectural ideas, enabling the renewal of a critical culture, established as a not-for profit organisation it is an experimental forum for coordinating encounters with design thinkers willing to proclaim their positions and have them tested in public, a place for sounding out new ideas by challenging preconceptions and encouraging initiative and forward thinking.
Founded by in partnership with Australian architect James Carter in 2012, DIS-cour.se now comprises a number of collaborators from diverse fields, which affords us the flexibility to engage in a variety of cultural projects.
visit www.dis-cour.se for more info
still from Angel Borrego Cubero's THE COMPETITION
sketch by Barrie Marshall for the Australian Pavilion in Venice