project undertaken at Ashton Raggatt Mcdougall. copyright A-R-M.
Project Team:
Ray Marshall, Martine De-Flanders, Gab Olah, Peter Charles
Project Details
Acer interior wall, was developed the image of 2 conflicting “ideas” embedded into a material response. Delauney fabric simulation was cross-pollenated with Cellular Automata code, resulting in a cloud like skin or field.
Cast in Stone investigates the potential to introduce new prototypes for density next to the railway station within the existing fabric of Dandenong, whilst maintaining its strong eclectic urban character.
Project team:
Gab Olah, Nic Agius, Jessica In & Peter Charles
Project details:
The project was entered into the Tokyo Fashion Museum Competition.
This project brief for discrete galleries of each decade of japanese fashion from 1910’s to 2000.
We responded by means of a was conceived of as kaleidoscopic journey through each decade, each decade linked physically,the reflections of each decade filtering through literally and metaphorically , by the use of structural almost crystal refractive elements, linking each gallery.
The project was inherently internal, like a giant thunder-egg, cracked open strategically at ground plane to form a plaza, and its shell took cue from the decorative motif named “asa-no-ha” (morning star)
The project in turn gained the title “Cave of Collective Memory”.
Project undertook at Ashton Raggatt Mcdougall,
Copyright retained by A-R-M
Project Team
Design: Howard Raggatt & Peter Charles
CD: Amber Stewart, Natalie Lysenko , Michael McManus
CA : Steven Ashton, Ray Marshall, Meredith Dufour.
Consultants: Urbis, Rush-Wright Architects & Macleod Structural Engineers.
Project Details
The H-House, located in Port Melbourne, features a facade entirely comprised of off-the-shelf water tanks.
This is the client’s 3rd project. and as such forms a sort of triptage to the series, so it is not a twin, but the latest breed in an evolution,signals a new hopeful era of potentials for the aesthetics of sustainability.The clients brief was for a green oasis. It is a a hark-back to truly “urban” buildings of the city such as the italian palazzo’s.The interior planning, conforms to the modular grid, set down by the water tank facade. Sitting on a corner block, the building is positioned hard against both streets, providing a sense of enclosure, and passive surveillance to the street.
Team Members: Jack May, Ben Waters, Tom Morgan & Peter Charles
This project frames the harbour as both point of arrival – acknowledging increasing shifts in global mobility, while constructing new urban fabrics for local intensification. A site platform serves as armature and a new surface for pedestrian traffic and programme.
In places, the pathways submerge in the built form. Winter-gardens line the flank of the new terminal building – such spaces mimic the fabric of the city-proper; shops line their walls, entrances open up into studio spaces and new apartments. The terrain is as accessible in deepest winter as it is in high summer.
http://www.southharbour.fi/kilpailu
“Process” is a monthly forum for architectural discussion, run monthly by EMAGN, Victorian Young Architects Committee.
This month’s conversation will be on “Women In Architecture”.
An important issue, as the architecture industry is still imbalanced, at 80% men, 20% women, and wages are still not equal and although current university intake figures are reported to be 55% women/45% men, the question is, where do they go???
I think in this century, we are to see women as the dominant force in creating our environments, and hopefully a unique type of new architecture. This could be witnessed by architects like Kazuyo Seijima, who have indeed been influential in disseminating their personal world-view.
This shelf, inside the Shugakuin Imperial Villa in Kyoto was named the “Shelf of Mist”, was made under the direction of Princess Umenomiya. It dates to roughly 1665. It was a major departure from austere standards of a tea viewing platform & has had influence on numerous works since. The room is extremely feminine, and almost decorative. I think I heard the guide say that the princess later become a nun after the death of her father Emperor Go-Mizunoo, but it could have been her sister, and my mis-translation.
A simple abstract sihouette of mountains and trees is combined with the traditional farmhouse, extruded back as a sloped roof, strategically sited at the corner of the site, taking advantage of the existing sloped banks, in order to allow snow to be shed easily.
Within this shape, a white box gallery is placed, creating a “naka” internal gallery, the engawa gallery in the “cupola space between the box and the farmhouse like walls.
This wall maximises display space and allows for large and small works. A spiral circulation is created guiding guests on a hourney that meanders in and out of the central box. There is no strict division of the public and private realm, but sleeping quarters are on the mezzanine within the cupola, and services under the mezzanine.
Japan has always been forced to embrace change, the transcient and the ephemeral. The interior roof supporting structure is a cloud like particle storm, of traditional wooden roof construction. It embraces movement and apparent chaos as a new higher order, working as the sum of many parts, akin to a flock of birds which is also reminiscent of the broken but remade.
Located in the inland Sea, the Teshima Museum is quite the atmospheric experience. A new type of museum. Wont explain it, I’ll just recommend it.
I run past this building on morning jogs. I like it a lot…. like a belgian waffle or something…. its definately edible.
