lauren sideris graduate of architecture
DESCRIPTION
Portfolio of work from my Master of Architecture and Bachelor of Architecture at UNSW.TRANSCRIPT
BArchStudies UNSW 2009 MArchitecture UNSW 2012
Lauren SiderisArchitecture Portfolio
art_graphics_illustrations_experiments_objects
2007_2 Texture and Materiality The Space Inbetween_Power + Perspective
2011_2 Japan Timber Connection portable drafting desk
2009_S2 Artist-in-Residence Kosciuszko Highway, Berridale, NSW
foreign studies
2010_S1 Casa Habitacion, Los Olivos, Guadalajara, Mexico2010_S1 The Node, Conservation-Restoration-Connection Malmo Museet, Malmo, Sweden
2009_S1 Live+Work+Play Multi Purpose Sustainable Development Beach Street, Coogee
undergraduate architecture
2008_S1 Emerging Artists Centre King Street, Newtown
postgraduate
2011_S1 Organic Architecture and Nature Centennial Park, Sydney, NSW
2011_S2 Circular Quay Masterplan and Overseas Passenger Terminal Circular Quay, Sydney
2012_S1+2 A Courthouse for Children Hunter Street, Newcastle, NSW
post graduate
A Courthouse for Children - Graduation StudioHunter Street, Newcastle, NSW
‘Cross over’ kids represent 60% of teens in the juvenile justice system and oscillate between the care and criminal jurisdictions. They often have a history of maltreatment which mani-fests ‘a cycle of violence’ where the children react against abuse with delinquent behaviour.
The Hunter Street Youth Justice Center is conceptualized as an auxiliary ‘filter’ building to the Newcastle Children’s Court at Broadmeadow. It sets up a justice model where youth are the center of the justice and administrative process so accountability is clear at all times. Pro-grammatic decisions were made to ensure that no child is left behind and that every child is engaged in a restorative spatial experience while still understanding the consequence of their actions. The University of Newcastle has been included as an additional stakeholder to allow constant revitalisation of the youth justice process through active research. The university students act as youth mentors for children attending the Youth Justice Centre.
Hierarchical circulation and spatial volumes are punctuated by a transition space that sym-bolizes the significant move from justice conferencing to formal court room procedures. Rich sensory queues in the form of colour, light and materiality aid youth to develop cogni-tive memory and a sense of ownership to soften the unfamiliar and intimidating nature of the courthouse.
clinic
research
training
comm
unitycentre
restorative justice
clinic
emotion
change understanding
colourlight
senses
people
newcastle
quality of life
plasticityem
otional perception
shadowtexture
material
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships
and harmonious conceptualisati
on of the courthouse
comm
unitycentre
restorative justice
clinic
replicate direct sunlight focus + distraction
passing of the day
colour schema
materiality
light to volume ratio
mass + plasticity
view of familiar elements
monochromatic “contrast of hue”
complementary“contrast of warm + cool”
analogous relationship“similarity of adjacents”
“complex and rough” balanced “simple rough and smooth”
“smooth, soft and warm”
medium mass/high tactility medium mass/high plasticity heavy massmedium plasticity
6pm -10 pm 10 - 12 noon 9am - 3pmlong term memory best in dark
morning most focused period
balanced all day cortisol levels reduced stress
mental anguish/illness
informative/learning caring/nurturive
avoid contrasting shadows
COMMUNITY COLOUR + LIGHT EMOTIONCHROMASCAPE
clinic
research
training
communitycentre
restorative justice
clinic
emotionchange
understanding
colourlight
senses
people
newcastlequality of life
plasticityemotional perception
shadowtexturematerial
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships and harmonious conceptualisation of the courthouse
communitycentre
restorative justice
clinic
clinic
research
training
comm
unitycentre
restorative justice
clinic
emotion
change understanding
colourlight
senses
people
newcastle
quality of life
plasticityem
otional perception
shadowtexture
material
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships
and harmonious conceptualisati
on of the courthouse
comm
unitycentre
restorative justice
clinic
NEWCASTLE ROAD/HIGHWAY INDUSTRIAL AREA
STOCKTON WHARF STOCKTON
DARBY STREET WESTFIELD KOTARA
NEWCASTLE HISTORIC CENTRE
SITE - HUNTER STREET
Newcastle currently experiences a ‘lack of centre’. Hunter street experiences atopos and Umheimlichkeit. The courthouse as community centre presents the opportunity to relocalise Hunter Street by providing lo-cation for recreation, linking socio-economic groups and providing amenity and facility in a reachable place.
Based on a phenomenological analysis of site, the brief aims to create a connection between vis-ual, kinaesthetic and multi-sensory experience and the mode of therapeutic/restorative jus-tice. By interacting with simple, balanced but intentionally designed colour, materiality, plas-ticity and light a child is provided opportunity to learn, change, be educated or be catalysed.
On a basic level the ‘chromascape’ could be surface colours (syntactic, volumetric, superimposed) or iconic colours (volumetric, natural, like that of gems, woods, glass, stone). In a more complex context, the ‘chromascape’ would be an interplay of light, shadow, colour, emotion, the senses and the inhabitant.
courthouse outdoor relationships versus community centre outdoor relationships
mental anguish/mental illness- less perception/lessened moral grounds- easily agrravated- sometimes violent-includes typical “criminal” proceedings
cultural/informative-information not understandable/ less information needed-misplaced, unfamiliar
caring/nurturive- anxious - lessened ability to take in knowledge- “hopeless”, “homeless”“comfort”, “protection”
clinic
research
training
comm
unitycentre
restorative justice
clinic
emotion
change understanding
colourlight
senses
people
newcastle
quality of life
plasticityem
otional perception
shadowtexture
material
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships
and harmonious conceptualisati
on of the courthouse
comm
unitycentre
restorative justice
clinic
replicate direct sunlight focus + distraction
passing of the day
colour schema
materiality
light to volume ratio
mass + plasticity
view of familiar elements
monochromatic “contrast of hue”
complementary“contrast of warm + cool”
analogous relationship“similarity of adjacents”
“complex and rough” balanced “simple rough and smooth”
“smooth, soft and warm”
medium mass/high tactility medium mass/high plasticity heavy massmedium plasticity
6pm -10 pm 10 - 12 noon 9am - 3pmlong term memory best in dark
morning most focused period
balanced all day cortisol levels reduced stress
mental anguish/illness
informative/learning caring/nurturive
avoid contrasting shadows
COMMUNITY COLOUR + LIGHT EMOTIONCHROMASCAPE
clinic
research
training
communitycentre
restorative justice
clinic
emotionchange
understanding
colourlight
senses
people
newcastlequality of life
plasticityemotional perception
shadowtexturematerial
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships and harmonious conceptualisation of the courthouse
communitycentre
restorative justice
clinic
clinic
research
training
comm
unitycentre
restorative justice
clinic
emotion
change understanding
colourlight
senses
people
newcastle
quality of life
plasticityem
otional perception
shadowtexture
material
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships
and harmonious conceptualisati
on of the courthouse
comm
unitycentre
restorative justice
clinicNEWCASTLE ROAD/HIGHWAY INDUSTRIAL AREA
STOCKTON WHARF STOCKTON
DARBY STREET WESTFIELD KOTARA
NEWCASTLE HISTORIC CENTRE
SITE - HUNTER STREET
Newcastle currently experiences a ‘lack of centre’. Hunter street experiences atopos and Umheimlichkeit. The courthouse as community centre presents the opportunity to relocalise Hunter Street by providing lo-cation for recreation, linking socio-economic groups and providing amenity and facility in a reachable place.
Based on a phenomenological analysis of site, the brief aims to create a connection between vis-ual, kinaesthetic and multi-sensory experience and the mode of therapeutic/restorative jus-tice. By interacting with simple, balanced but intentionally designed colour, materiality, plas-ticity and light a child is provided opportunity to learn, change, be educated or be catalysed.
On a basic level the ‘chromascape’ could be surface colours (syntactic, volumetric, superimposed) or iconic colours (volumetric, natural, like that of gems, woods, glass, stone). In a more complex context, the ‘chromascape’ would be an interplay of light, shadow, colour, emotion, the senses and the inhabitant.
courthouse outdoor relationships versus community centre outdoor relationships
mental anguish/mental illness- less perception/lessened moral grounds- easily agrravated- sometimes violent-includes typical “criminal” proceedings
cultural/informative-information not understandable/ less information needed-misplaced, unfamiliar
caring/nurturive- anxious - lessened ability to take in knowledge- “hopeless”, “homeless”“comfort”, “protection”
site analysis and research design principles
THE PERCEPTION OF SPACE
Diurnal tracking for chemical and physical process in the body. Facilitates a seasonal and temporal connection which affects memory, understanding and engagement in rituals and/or discussion.
passing of the day
PATTERN OF BEHAVIOUR
Herzberger: “Gradations of territorial claims with the attendant feeling of acces-sibility. Take hold of the “accessibility con-ventions respected by all”
territoriality
PATTERN OF BEHAVIOUR
Establishes stability through a regulated space that lends to the kinaesthetic sense. The body is the centre of space and mus-culature should be kept in a constant state of flux.
cognitive structure
THE EXPERIENCE OF SPACE
The luminosity of colour depends on the spectral structure of light reflected by the pigment of surface or material. Colour ap-propriateness can be defined by spectral quality of site (daylight factor) making space tailored to place.
luminance
CONSTRUCTION OF SPACE
The relationship between objects or boundaries from planes which do not themselves have the character of objects but define limits
layered complexity
program
second floor
first floor
ground floor
justice health
victims servicesshine for kids
UNLC psych
case workersagency admin
legal aid youth advocacy
ritual space
meeting room
clinic
evaluation
agency
mentor
research
teaching
circulation
waiting
outdoor waiting
community center
public ground floor and community centreprogram
a day in the life program matrix
precedents site phenomena justice model the brief
site phenomena
student populationhigh/medium socio economic populationlow socio economic population
colour and light
replicate direct sunlight focus + distraction
passing of the day
colour schema
materiality
light to volume ratio
mass + plasticity
view of familiar elements
monochromatic “contrast of hue”
complementary“contrast of warm + cool”
analogous relationship“similarity of adjacents”
“complex and rough” balanced “simple rough and smooth”
“smooth, soft and warm”
medium mass/high tactility medium mass/high plasticity heavy massmedium plasticity
6pm -10 pm 10 - 12 noon 9am - 3pmlong term memory best in dark
morning most focused period
balanced all day cortisol levels reduced stress
mental anguish/illness
informative/learning caring/nurturive
avoid contrasting shadows
mental anguish/mental illness- less perception/lessened moral grounds- easily agrravated- sometimes violent-includes typical “criminal” proceedings
cultural/informative-information not understandable/ less information needed-misplaced, unfamiliar
caring/nurturing- anxious - lessened ability to take in knowledge- “hopeless”, “homeless”“comfort”, “protection”
courthouse outdoor relationships community centre outdoor relationships
ing
NEWCASTLE ROAD/HIGHWAY INDUSTRIAL AREA
STOCKTON WHARF STOCKTON
DARBY STREET WESTFIELD KOTARA
NEWCASTLE HISTORIC CENTRE
SITE - HUNTER STREET
NEWCASTLE ROAD/HIGHWAY INDUSTRIAL AREA
STOCKTON WHARF STOCKTON
DARBY STREET WESTFIELD KOTARA
NEWCASTLE HISTORIC CENTRE
SITE - HUNTER STREET
phenomenological site analysis approaching the site using the senses
darby street
hunter street
1Addressing the Needs of Multi-System Youth: Strengthening the Connection between Child Welfare and Juvenile Justice
Addressing the Needs of Multi-System Youth: Strengthening the Connection between Child Welfare and Juvenile JusticeDenise Herz, Professor, California State University—Los AngelesPhilip Lee, President, Results Leadership Group, LLCLorrie Lutz, President, L3P Associates, LLCMacon Stewart, Program Manager, Center for Juvenile Justice Reform, Georgetown UniversityJohn Tuell, Co-Director, MacArthur Foundation Models for Change: Systems Reform in Juvenile Justice Initiative, Robert F. Kennedy Children’s Action CorpsJanet Wiig, Co-Director, MacArthur Foundation Models for Change: Systems Reform in Juvenile Justice Initiative, Robert F. Kennedy Children’s Action Corps
Foreword by:Shay Bilchik, Director, Center for Juvenile Justice Reform, Georgetown University Edward Kelley, President and CEO, Robert F. Kennedy Children’s Action Corps
care criminal
THE CROSS OVER KID
Source: Addressing the needs of multi System Youth, (1).
Source: 2009 Young People in Custody Health Survey
diagnosable psychological disorder
87%73% (2 or more)
female history of child abuse
61%physical
61%sexual
79%
Source: Role of Interagency Collaboration in facilitating receipt of health services for dual involved youth
history of child abuse(81% female,57% male)
61%
substance abuse % in care
NEW ACCOUNTABLE AGENT
+
precedent: Reina Sofia Alzheimers Centre Madridsource: R.Savaya, F.Gardner, D.Stange, “Stressful encounters with Social Work Clients”, Social Work Journal, 2011
JOINT ACCOUNTABILITY
“CELLS IN A UNIT”
THE WORKERS ENVIRONMENT
GREATER “POWER TO AFFECT PRACTICE AND OUTCOMES”
GREATER COMMUNICATION BETWEEN SOCIAL WORKERS ANDADMINISTRATORS
EASIER SHARED WORKLOAD
DECREASED STRESS, EMOTIONAL DISTRESS, ANXIETY, EXHAUSTION AND ‘BURNOUT’S
ASSESMENT OF NEEDS
“FIRST PORT OF CALL”TRIAGE NURSE / HEALTH MODEL
+
INTENSIVE SUPERVISED PROGRAM - MULTI SYSTEMIC THERAPY
REHABILITATION
ISP YJC
10 WEEK TREATMENT GOAL ONGOING SUPPORT
Source: NSW BOCSAR
demographic - ‘cross-over kid’
research
the justice journey
HERMAN HERZBERGER: THE INTERACTIVE SCHOOL MONTESSORI
habitable zones between public and private realms at the en-trance to the classroom, mediating with the hall, and at the en-trance to the school, mediating with the outside community
BVN: USYD BRAIN AND MIND INSTITUTE
reconciles polarities of laboratory/research culture with the sur-rounding urban environment. an ‘intersection between build-ing craft and intellectual curiosity’. Experiential process moving through the building, the structure is defined, palpable giving the building a ‘well-defined physicality’.
TADAO ANDO: CHILDRENS MUSEUM HYOGO
Ando is “known for mate ri al ity, junc tion and spa tial nar ra tive through the pared aes theti cs of inter na tional modernism”. Ando creates a spatial experience for the user by creating a journey through the building, that traverses sky, air, water, land and light. Enclosure and open-ness is played with, providing opportunity for play, interaction and therefore learning about the environ-ment around.
LE CORBUSIER: CHAPELLE NOTRE DAME DU HAUT (RON-CHAMP)
balance between void, mass, light and colour, shadow and mate-riality. It is a built understanding of Le Corbusier’s explorations in geometry - an interplay between the right angle and the curve - ‘pursuit of the edgeless form’.
HENRI CIRIANI: PALAIS DU JUSTICE, PONTOISE
spatial complexity, mass and void, light, weightlessness, sensory space. An example where colour is used as abstract representa-tion as well as way of locating self once entering the building.
FEDDERSEN ARKITEKTEN: BERLIN ZEHLENDORF WORK-SHOP
Anthroposophic material selection: that an intellectually com-prehensible world is accessible through inner development. colours are layered surface to create depth. diffused light gives greater complexity to the haptic nature of the entrance room.
NARRATIVE
TRANSITIONS
LAYERS
LABYRINTH
REFERENCING THE START
LANDMARKS VS INTERMEDIATE
materiality mapping
blue stonecobble stoneconcretebitumenwasteland/overgrownbrickrendered/painted brick
rendered/painted concretebare concretehybrid
green spacesteeltileglasssandstoneweatherboard
materiality mappingphenomenological site analysis “Sensory Slider” Reference: Diagrams of Phenomenological Perception
site proxmity to agency and children’s amenities
precedents site phenomena justice model the brief
site phenomena
student populationhigh/medium socio economic populationlow socio economic population
colour and light
replicate direct sunlight focus + distraction
passing of the day
colour schema
materiality
light to volume ratio
mass + plasticity
view of familiar elements
monochromatic “contrast of hue”
complementary“contrast of warm + cool”
analogous relationship“similarity of adjacents”
“complex and rough” balanced “simple rough and smooth”
“smooth, soft and warm”
medium mass/high tactility medium mass/high plasticity heavy massmedium plasticity
6pm -10 pm 10 - 12 noon 9am - 3pmlong term memory best in dark
morning most focused period
balanced all day cortisol levels reduced stress
mental anguish/illness
informative/learning caring/nurturive
avoid contrasting shadows
mental anguish/mental illness- less perception/lessened moral grounds- easily agrravated- sometimes violent-includes typical “criminal” proceedings
cultural/informative-information not understandable/ less information needed-misplaced, unfamiliar
caring/nurturing- anxious - lessened ability to take in knowledge- “hopeless”, “homeless”“comfort”, “protection”
courthouse outdoor relationships community centre outdoor relationships
ing
NEWCASTLE ROAD/HIGHWAY INDUSTRIAL AREA
STOCKTON WHARF STOCKTON
DARBY STREET WESTFIELD KOTARA
NEWCASTLE HISTORIC CENTRE
SITE - HUNTER STREET
NEWCASTLE ROAD/HIGHWAY INDUSTRIAL AREA
STOCKTON WHARF STOCKTON
DARBY STREET WESTFIELD KOTARA
NEWCASTLE HISTORIC CENTRE
SITE - HUNTER STREET
phenomenological site analysis approaching the site using the senses
darby street
hunter street
1Addressing the Needs of Multi-System Youth: Strengthening the Connection between Child Welfare and Juvenile Justice
Addressing the Needs of Multi-System Youth: Strengthening the Connection between Child Welfare and Juvenile JusticeDenise Herz, Professor, California State University—Los AngelesPhilip Lee, President, Results Leadership Group, LLCLorrie Lutz, President, L3P Associates, LLCMacon Stewart, Program Manager, Center for Juvenile Justice Reform, Georgetown UniversityJohn Tuell, Co-Director, MacArthur Foundation Models for Change: Systems Reform in Juvenile Justice Initiative, Robert F. Kennedy Children’s Action CorpsJanet Wiig, Co-Director, MacArthur Foundation Models for Change: Systems Reform in Juvenile Justice Initiative, Robert F. Kennedy Children’s Action Corps
Foreword by:Shay Bilchik, Director, Center for Juvenile Justice Reform, Georgetown University Edward Kelley, President and CEO, Robert F. Kennedy Children’s Action Corps
care criminal
THE CROSS OVER KID
Source: Addressing the needs of multi System Youth, (1).
Source: 2009 Young People in Custody Health Survey
diagnosable psychological disorder
87%73% (2 or more)
female history of child abuse
61%physical
61%sexual
79%
Source: Role of Interagency Collaboration in facilitating receipt of health services for dual involved youth
history of child abuse(81% female,57% male)
61%
substance abuse % in care
NEW ACCOUNTABLE AGENT
+
precedent: Reina Sofia Alzheimers Centre Madridsource: R.Savaya, F.Gardner, D.Stange, “Stressful encounters with Social Work Clients”, Social Work Journal, 2011
JOINT ACCOUNTABILITY
“CELLS IN A UNIT”
THE WORKERS ENVIRONMENT
GREATER “POWER TO AFFECT PRACTICE AND OUTCOMES”
GREATER COMMUNICATION BETWEEN SOCIAL WORKERS ANDADMINISTRATORS
EASIER SHARED WORKLOAD
DECREASED STRESS, EMOTIONAL DISTRESS, ANXIETY, EXHAUSTION AND ‘BURNOUT’S
ASSESMENT OF NEEDS
“FIRST PORT OF CALL”TRIAGE NURSE / HEALTH MODEL
+
INTENSIVE SUPERVISED PROGRAM - MULTI SYSTEMIC THERAPY
REHABILITATION
ISP YJC
10 WEEK TREATMENT GOAL ONGOING SUPPORT
Source: NSW BOCSAR
demographic - ‘cross-over kid’
research
the justice journey
HERMAN HERZBERGER: THE INTERACTIVE SCHOOL MONTESSORI
habitable zones between public and private realms at the en-trance to the classroom, mediating with the hall, and at the en-trance to the school, mediating with the outside community
BVN: USYD BRAIN AND MIND INSTITUTE
reconciles polarities of laboratory/research culture with the sur-rounding urban environment. an ‘intersection between build-ing craft and intellectual curiosity’. Experiential process moving through the building, the structure is defined, palpable giving the building a ‘well-defined physicality’.
TADAO ANDO: CHILDRENS MUSEUM HYOGO
Ando is “known for mate ri al ity, junc tion and spa tial nar ra tive through the pared aes theti cs of inter na tional modernism”. Ando creates a spatial experience for the user by creating a journey through the building, that traverses sky, air, water, land and light. Enclosure and open-ness is played with, providing opportunity for play, interaction and therefore learning about the environ-ment around.
LE CORBUSIER: CHAPELLE NOTRE DAME DU HAUT (RON-CHAMP)
balance between void, mass, light and colour, shadow and mate-riality. It is a built understanding of Le Corbusier’s explorations in geometry - an interplay between the right angle and the curve - ‘pursuit of the edgeless form’.
HENRI CIRIANI: PALAIS DU JUSTICE, PONTOISE
spatial complexity, mass and void, light, weightlessness, sensory space. An example where colour is used as abstract representa-tion as well as way of locating self once entering the building.
FEDDERSEN ARKITEKTEN: BERLIN ZEHLENDORF WORK-SHOP
Anthroposophic material selection: that an intellectually com-prehensible world is accessible through inner development. colours are layered surface to create depth. diffused light gives greater complexity to the haptic nature of the entrance room.
NARRATIVE
TRANSITIONS
LAYERS
LABYRINTH
REFERENCING THE START
LANDMARKS VS INTERMEDIATE
materiality mapping
blue stonecobble stoneconcretebitumenwasteland/overgrownbrickrendered/painted brick
rendered/painted concretebare concretehybrid
green spacesteeltileglasssandstoneweatherboard
materiality mappingphenomenological site analysis “Sensory Slider” Reference: Diagrams of Phenomenological Perception
site proxmity to agency and children’s amenities
civic/private floors justice model research
the cross-over threshold cross section - through conference rooms, waiting and admin
first visit - meeting the youth mentor second visit
long section - through entrance, outdoor waiting areas
final visit - court room conferencing rooms
final presentation model
street activation using the facade negotiating shade and sun at entrancessunlight interacting with vertical surfaces
clinic
research
training
comm
unitycentre
restorative justice
clinic
emotion
change understanding
colourlight
senses
people
newcastle
quality of life
plasticityem
otional perception
shadowtexture
material
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships
and harmonious conceptualisati
on of the courthouse
comm
unitycentre
restorative justice
clinic
replicate direct sunlight focus + distraction
passing of the day
colour schema
materiality
light to volume ratio
mass + plasticity
view of familiar elements
monochromatic “contrast of hue”
complementary“contrast of warm + cool”
analogous relationship“similarity of adjacents”
“complex and rough” balanced “simple rough and smooth”
“smooth, soft and warm”
medium mass/high tactility medium mass/high plasticity heavy massmedium plasticity
6pm -10 pm 10 - 12 noon 9am - 3pmlong term memory best in dark
morning most focused period
balanced all day cortisol levels reduced stress
mental anguish/illness
informative/learning caring/nurturive
avoid contrasting shadows
COMMUNITY COLOUR + LIGHT EMOTIONCHROMASCAPE
clinic
research
training
communitycentre
restorative justice
clinic
emotionchange
understanding
colourlight
senses
people
newcastlequality of life
plasticityemotional perception
shadowtexturematerial
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships and harmonious conceptualisation of the courthouse
communitycentre
restorative justice
clinic
clinic
research
training
comm
unitycentre
restorative justice
clinic
emotion
change understanding
colourlight
senses
people
newcastle
quality of life
plasticityem
otional perception
shadowtexture
material
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships
and harmonious conceptualisati
on of the courthouse
comm
unitycentre
restorative justice
clinic
NEWCASTLE ROAD/HIGHWAY INDUSTRIAL AREA
STOCKTON WHARF STOCKTON
DARBY STREET WESTFIELD KOTARA
NEWCASTLE HISTORIC CENTRE
SITE - HUNTER STREET
Newcastle currently experiences a ‘lack of centre’. Hunter street experiences atopos and Umheimlichkeit. The courthouse as community centre presents the opportunity to relocalise Hunter Street by providing lo-cation for recreation, linking socio-economic groups and providing amenity and facility in a reachable place.
Based on a phenomenological analysis of site, the brief aims to create a connection between vis-ual, kinaesthetic and multi-sensory experience and the mode of therapeutic/restorative jus-tice. By interacting with simple, balanced but intentionally designed colour, materiality, plas-ticity and light a child is provided opportunity to learn, change, be educated or be catalysed.
On a basic level the ‘chromascape’ could be surface colours (syntactic, volumetric, superimposed) or iconic colours (volumetric, natural, like that of gems, woods, glass, stone). In a more complex context, the ‘chromascape’ would be an interplay of light, shadow, colour, emotion, the senses and the inhabitant.
courthouse outdoor relationships versus community centre outdoor relationships
mental anguish/mental illness- less perception/lessened moral grounds- easily agrravated- sometimes violent-includes typical “criminal” proceedings
cultural/informative-information not understandable/ less information needed-misplaced, unfamiliar
caring/nurturive- anxious - lessened ability to take in knowledge- “hopeless”, “homeless”“comfort”, “protection”
clinic
research
training
comm
unitycentre
restorative justice
clinic
emotion
change understanding
colourlight
senses
people
newcastle
quality of life
plasticityem
otional perception
shadowtexture
material
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships
and harmonious conceptualisati
on of the courthouse
comm
unitycentre
restorative justice
clinic
replicate direct sunlight focus + distraction
passing of the day
colour schema
materiality
light to volume ratio
mass + plasticity
view of familiar elements
monochromatic “contrast of hue”
complementary“contrast of warm + cool”
analogous relationship“similarity of adjacents”
“complex and rough” balanced “simple rough and smooth”
“smooth, soft and warm”
medium mass/high tactility medium mass/high plasticity heavy massmedium plasticity
6pm -10 pm 10 - 12 noon 9am - 3pmlong term memory best in dark
morning most focused period
balanced all day cortisol levels reduced stress
mental anguish/illness
informative/learning caring/nurturive
avoid contrasting shadows
COMMUNITY COLOUR + LIGHT EMOTIONCHROMASCAPE
clinic
research
training
communitycentre
restorative justice
clinic
emotionchange
understanding
colourlight
senses
people
newcastlequality of life
plasticityemotional perception
shadowtexturematerial
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships and harmonious conceptualisation of the courthouse
communitycentre
restorative justice
clinic
clinic
research
training
comm
unitycentre
restorative justice
clinic
emotion
change understanding
colourlight
senses
people
newcastle
quality of life
plasticityem
otional perception
shadowtexture
material
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships
and harmonious conceptualisati
on of the courthouse
comm
unitycentre
restorative justice
clinic
NEWCASTLE ROAD/HIGHWAY INDUSTRIAL AREA
STOCKTON WHARF STOCKTON
DARBY STREET WESTFIELD KOTARA
NEWCASTLE HISTORIC CENTRE
SITE - HUNTER STREET
Newcastle currently experiences a ‘lack of centre’. Hunter street experiences atopos and Umheimlichkeit. The courthouse as community centre presents the opportunity to relocalise Hunter Street by providing lo-cation for recreation, linking socio-economic groups and providing amenity and facility in a reachable place.
Based on a phenomenological analysis of site, the brief aims to create a connection between vis-ual, kinaesthetic and multi-sensory experience and the mode of therapeutic/restorative jus-tice. By interacting with simple, balanced but intentionally designed colour, materiality, plas-ticity and light a child is provided opportunity to learn, change, be educated or be catalysed.
On a basic level the ‘chromascape’ could be surface colours (syntactic, volumetric, superimposed) or iconic colours (volumetric, natural, like that of gems, woods, glass, stone). In a more complex context, the ‘chromascape’ would be an interplay of light, shadow, colour, emotion, the senses and the inhabitant.
courthouse outdoor relationships versus community centre outdoor relationships
mental anguish/mental illness- less perception/lessened moral grounds- easily agrravated- sometimes violent-includes typical “criminal” proceedings
cultural/informative-information not understandable/ less information needed-misplaced, unfamiliar
caring/nurturive- anxious - lessened ability to take in knowledge- “hopeless”, “homeless”“comfort”, “protection”
clinic
research
training
comm
unitycentre
restorative justice
clinic
emotion
change understanding
colourlight
senses
people
newcastle
quality of life
plasticityem
otional perception
shadowtexture
material
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships
and harmonious conceptualisati
on of the courthouse
comm
unitycentre
restorative justice
clinic
replicate direct sunlight focus + distraction
passing of the day
colour schema
materiality
light to volume ratio
mass + plasticity
view of familiar elements
monochromatic “contrast of hue”
complementary“contrast of warm + cool”
analogous relationship“similarity of adjacents”
“complex and rough” balanced “simple rough and smooth”
“smooth, soft and warm”
medium mass/high tactility medium mass/high plasticity heavy massmedium plasticity
6pm -10 pm 10 - 12 noon 9am - 3pmlong term memory best in dark
morning most focused period
balanced all day cortisol levels reduced stress
mental anguish/illness
informative/learning caring/nurturive
avoid contrasting shadows
COMMUNITY COLOUR + LIGHT EMOTIONCHROMASCAPE
clinic
research
training
communitycentre
restorative justice
clinic
emotionchange
understanding
colourlight
senses
people
newcastlequality of life
plasticityemotional perception
shadowtexturematerial
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships and harmonious conceptualisation of the courthouse
communitycentre
restorative justice
clinic
clinic
research
training
comm
unitycentre
restorative justice
clinic
emotion
change understanding
colourlight
senses
people
newcastle
quality of life
plasticityem
otional perception
shadowtexture
material
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships
and harmonious conceptualisati
on of the courthouse
comm
unitycentre
restorative justice
clinic
NEWCASTLE ROAD/HIGHWAY INDUSTRIAL AREA
STOCKTON WHARF STOCKTON
DARBY STREET WESTFIELD KOTARA
NEWCASTLE HISTORIC CENTRE
SITE - HUNTER STREET
Newcastle currently experiences a ‘lack of centre’. Hunter street experiences atopos and Umheimlichkeit. The courthouse as community centre presents the opportunity to relocalise Hunter Street by providing lo-cation for recreation, linking socio-economic groups and providing amenity and facility in a reachable place.
Based on a phenomenological analysis of site, the brief aims to create a connection between vis-ual, kinaesthetic and multi-sensory experience and the mode of therapeutic/restorative jus-tice. By interacting with simple, balanced but intentionally designed colour, materiality, plas-ticity and light a child is provided opportunity to learn, change, be educated or be catalysed.
On a basic level the ‘chromascape’ could be surface colours (syntactic, volumetric, superimposed) or iconic colours (volumetric, natural, like that of gems, woods, glass, stone). In a more complex context, the ‘chromascape’ would be an interplay of light, shadow, colour, emotion, the senses and the inhabitant.
courthouse outdoor relationships versus community centre outdoor relationships
mental anguish/mental illness- less perception/lessened moral grounds- easily agrravated- sometimes violent-includes typical “criminal” proceedings
cultural/informative-information not understandable/ less information needed-misplaced, unfamiliar
caring/nurturive- anxious - lessened ability to take in knowledge- “hopeless”, “homeless”“comfort”, “protection”
early research principles
sequencing of colour‘chromascape’
plasticity light wells
clinic
research
training
comm
unitycentre
restorative justice
clinic
emotion
change understanding
colourlight
senses
people
newcastle
quality of life
plasticityem
otional perception
shadowtexture
material
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships
and harmonious conceptualisati
on of the courthouse
comm
unitycentre
restorative justice
clinic
replicate direct sunlight focus + distraction
passing of the day
colour schema
materiality
light to volume ratio
mass + plasticity
view of familiar elements
monochromatic “contrast of hue”
complementary“contrast of warm + cool”
analogous relationship“similarity of adjacents”
“complex and rough” balanced “simple rough and smooth”
“smooth, soft and warm”
medium mass/high tactility medium mass/high plasticity heavy massmedium plasticity
6pm -10 pm 10 - 12 noon 9am - 3pmlong term memory best in dark
morning most focused period
balanced all day cortisol levels reduced stress
mental anguish/illness
informative/learning caring/nurturive
avoid contrasting shadows
COMMUNITY COLOUR + LIGHT EMOTIONCHROMASCAPE
clinic
research
training
communitycentre
restorative justice
clinic
emotionchange
understanding
colourlight
senses
people
newcastlequality of life
plasticityemotional perception
shadowtexturematerial
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships and harmonious conceptualisation of the courthouse
communitycentre
restorative justice
clinic
clinic
research
training
comm
unitycentre
restorative justice
clinic
emotion
change understanding
colourlight
senses
people
newcastle
quality of life
plasticityem
otional perception
shadowtexture
material
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships
and harmonious conceptualisati
on of the courthouse
comm
unitycentre
restorative justice
clinic
NEWCASTLE ROAD/HIGHWAY INDUSTRIAL AREA
STOCKTON WHARF STOCKTON
DARBY STREET WESTFIELD KOTARA
NEWCASTLE HISTORIC CENTRE
SITE - HUNTER STREET
Newcastle currently experiences a ‘lack of centre’. Hunter street experiences atopos and Umheimlichkeit. The courthouse as community centre presents the opportunity to relocalise Hunter Street by providing lo-cation for recreation, linking socio-economic groups and providing amenity and facility in a reachable place.
Based on a phenomenological analysis of site, the brief aims to create a connection between vis-ual, kinaesthetic and multi-sensory experience and the mode of therapeutic/restorative jus-tice. By interacting with simple, balanced but intentionally designed colour, materiality, plas-ticity and light a child is provided opportunity to learn, change, be educated or be catalysed.
On a basic level the ‘chromascape’ could be surface colours (syntactic, volumetric, superimposed) or iconic colours (volumetric, natural, like that of gems, woods, glass, stone). In a more complex context, the ‘chromascape’ would be an interplay of light, shadow, colour, emotion, the senses and the inhabitant.
courthouse outdoor relationships versus community centre outdoor relationships
mental anguish/mental illness- less perception/lessened moral grounds- easily agrravated- sometimes violent-includes typical “criminal” proceedings
cultural/informative-information not understandable/ less information needed-misplaced, unfamiliar
caring/nurturive- anxious - lessened ability to take in knowledge- “hopeless”, “homeless”“comfort”, “protection”
clinic
research
training
comm
unitycentre
restorative justice
clinic
emotion
change understanding
colourlight
senses
people
newcastle
quality of life
plasticityem
otional perception
shadowtexture
material
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships
and harmonious conceptualisati
on of the courthouse
comm
unitycentre
restorative justice
clinic
replicate direct sunlight focus + distraction
passing of the day
colour schema
materiality
light to volume ratio
mass + plasticity
view of familiar elements
monochromatic “contrast of hue”
complementary“contrast of warm + cool”
analogous relationship“similarity of adjacents”
“complex and rough” balanced “simple rough and smooth”
“smooth, soft and warm”
medium mass/high tactility medium mass/high plasticity heavy massmedium plasticity
6pm -10 pm 10 - 12 noon 9am - 3pmlong term memory best in dark
morning most focused period
balanced all day cortisol levels reduced stress
mental anguish/illness
informative/learning caring/nurturive
avoid contrasting shadows
COMMUNITY COLOUR + LIGHT EMOTIONCHROMASCAPE
clinic
research
training
communitycentre
restorative justice
clinic
emotionchange
understanding
colourlight
senses
people
newcastlequality of life
plasticityemotional perception
shadowtexturematerial
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships and harmonious conceptualisation of the courthouse
communitycentre
restorative justice
clinic
clinic
research
training
comm
unitycentre
restorative justice
clinic
emotion
change understanding
colourlight
senses
people
newcastle
quality of life
plasticityem
otional perception
shadowtexture
material
age
behaviour
cognitive perception
tactility
light colour and the senses as a vehicle for balanced relationships
and harmonious conceptualisati
on of the courthouse
comm
unitycentre
restorative justice
clinic
NEWCASTLE ROAD/HIGHWAY INDUSTRIAL AREA
STOCKTON WHARF STOCKTON
DARBY STREET WESTFIELD KOTARA
NEWCASTLE HISTORIC CENTRE
SITE - HUNTER STREET
Newcastle currently experiences a ‘lack of centre’. Hunter street experiences atopos and Umheimlichkeit. The courthouse as community centre presents the opportunity to relocalise Hunter Street by providing lo-cation for recreation, linking socio-economic groups and providing amenity and facility in a reachable place.
Based on a phenomenological analysis of site, the brief aims to create a connection between vis-ual, kinaesthetic and multi-sensory experience and the mode of therapeutic/restorative jus-tice. By interacting with simple, balanced but intentionally designed colour, materiality, plas-ticity and light a child is provided opportunity to learn, change, be educated or be catalysed.
On a basic level the ‘chromascape’ could be surface colours (syntactic, volumetric, superimposed) or iconic colours (volumetric, natural, like that of gems, woods, glass, stone). In a more complex context, the ‘chromascape’ would be an interplay of light, shadow, colour, emotion, the senses and the inhabitant.
courthouse outdoor relationships versus community centre outdoor relationships
mental anguish/mental illness- less perception/lessened moral grounds- easily agrravated- sometimes violent-includes typical “criminal” proceedings
cultural/informative-information not understandable/ less information needed-misplaced, unfamiliar
caring/nurturive- anxious - lessened ability to take in knowledge- “hopeless”, “homeless”“comfort”, “protection”
arranging rooms according to light and emotional need relationship between indoor/outdoor
early design explorations
architecture sculpted from site overshadowing and light conditions
early sectional relief model exploring colour, volume, circulation and openings
Circular Quay Masterplan and Overseas Passenger TerminalCircular Quay, Sydney, NSW
The first stages of the studio involved designing a conceptual masterplan, based on re-search into landscape, transport, public usage and urban design principles: “Patchwork: an interwoven fabric of urban patches, stitched together by continuous threads”. The result was a topography designed to enhance the quality of urban rooms, designed for multiple usage and to take advantage of ‘refuge’ and ‘prospect’.
The second stages of the studio involved developping one part of the masterplan: Our group chose the Overseas Passenger terminal and seized the opportunity to create an artificial landscape that ‘gave back’ to the public realm.
Pre
Settl
emen
t
Settl
emen
t17
88
Urban Environment
Fauna
Flora
LANDSCAPE HISTORYCIRCULAR QUAY
Aboriginal Population 5,000 - 8,000 Living in harmony with the land
well established and integrated habitats
diverse native species population
european crops introduced
Aboriginal Pop. decrease: introduced disease
european cattle and introduced vermin
european arrival
semi rural occupation1,000 people
1850
1900
1800
circular quay first modified
colony produces own supplies industry and exportation increase
collecting nativebotanical samples
semi rural occupation1,000 people
aboriginals integrated into European Society
clearing of land to cultivate
last full blooded aboriginal dies. No land occupied by traditional owners
1810-1820 Grand Municipal buildings built
cultivating of crops moves to growing rural areas
introduced botanical species
last remaining native forest harvested
various parkland established
1820 whale/seal hunting
introduced birds
agriculture moves to growing rural areas
domestic pets introduced
koala, wallaby and mammal species extinct in area
harbour used for international transport
Lauren Sideris Lauren Sideris
2050
2020
2030
2040
FUTURE IMPROVEMENTS
propogate native species
urban density grows
harbour used for international transport
1950
2000 Pres
ent
human population diversifies with wartime immigration
skyscraper typology
soil regeneration
fast growth trees become established
slow growth trees become established
parkland area stays constant and flora establishes itself
manangement of wildintroduced species
slight move back to native species for ‘street trees’
complete move back to native species only
removal of established introduced trees
removal of smaller intro-duced species
introduced species continue to thrive
increased manangement of wild introduced species
introduced species regenerate through interaction with hu-man/ urban environment
adaptable native species continue to use segregated park-land areas, migrating from other coastal forest areas
algae blooms, pollution consistently present from urban area drainage
Imm
edia
te
actio
n
cleaning stormwater before returning to ocean
reduce dangerous intro-duced animals
encourage urban solutions integrated with ecological thinking
encourage cross habitat thinking
create nursery habitat for native species
adaptable species thrive
greater ocean health promotes integration between different water habitats
stable hardy native wildlife cre-ates environment for some rare/less hardy to be reintroduced
Lauren Sideris Lauren Sideris
Design O
bjectivesFor the patches, create urban spaces and room
s that:
•are of different scales and shapes,
•have different functions,
•are adaptable, capable of catering for different groups
•are opportunities for refuge and prospect,
•reflectthecharacterandacknow
ledgethehistoryofthe place
•arehighquality,publicgatheringspaces
Forthreads,createlinkagesthat:
•enhance the pedestrian experience,
•createlegibleconnectionsandeasyw
ay-finding•
traverseavarietyoflandscapesandreflectthevarious activities and urban texture of adjacent land
Natural assets and green netw
ork
Maxim
ise on Circular Quay’s prom
inent waterfront position
and large expanses of open green space. Create opportunities for people to sit and relax beside these natural features and im
prove the green network betw
een these spaces. Create a high quality and exciting foreshore w
alk which traverses
a number of landscapes and topographies and provides a
continuous connection along Sydney’s magnificent foreshore
and headland parks.
2.Inform
ative, interactive and easy way
finding
Circular Quay is a place visited by 1000’s of visitors each
year. Provide for easy-way finding through effective signage
and interactive vertical marker installations. The pedestrian
experience will not just be a passive encounter but an active
and interactive experience. The vertical markers w
ill provide various pieces of inform
ation to help people better understand and
navigate through
the space.
For exam
ple, they
can provide inform
ation about train and ferry timetables, upcom
ing perform
ances at the Opera H
ouse or upcoming art exhibitions
at the MCA
. They can provide information about the history
of the place, or more specific inform
ation about the rise and fall of the tides. They can also be a site specific sm
art phone app. O
r they can just be a fun, interactive art installation w
hich changes colours at different intensities depending on the am
ount of people walking past.
3.M
ulti-use precincts for everyone
Circular Quay is visited not only by tourists, but is also used by
many of the locals such as people w
orking in the city. Create urban room
s and spaces that cater for the different groups and ages of people. Ensure these spaces are adaptive to cater for the rapid changes in num
bers of people, and for different uses. Providing play areas for children is also very im
portant due to the lack of play areas in the city CBD
.
A vibrant, active and cultural destination
Maxim
ise on Circular Quay’s position as the cultural precinct
of Sydney. It is surrounded by a number of cultural venues
such as museum
s and theatres, most notable the Sydney
Opera
House.
Circular Q
uay is
also a
popular venue
for large events such as the N
ew Years Eve celebrations and a
range of festivals such as the Vivid light festival. Contribute to the vibrancy and culture of place through colour and art installations, interesting pavem
ent and street furniture, as well
as through high quality lighting. High quality, vibrant bars,
restaurants and cafes will also help to activate the spaces.
Maxim
ising views and connections to the prom
inent cultural venues w
ithin the Quay is also im
portant.
5.Im
portant arrival and exit point to the City
Maintain and im
prove Circular Quay’s function as a m
ajor transport interchange. Separate ferry pedestrian traffi
c from
the main foreshore to help ease the static verse dynam
ic pedestrian
congestion. Rem
ove buses
from
Alfred
Street and relocate to Bridge Street and relocate the train station underground to im
prove the quality of the pedestrian space along the foreshore. Integrate green m
odes of transport into the interchange (ie light rail stops, and a bike hub). The im
proved quality of the interchange w
ill mark an im
portant gateway to
the city with legible connections and easy m
ode split.
6.Acknow
ledge history and original shoreline
Celebrate the rich history of the place with the reinstatem
ent of m
uch of the old shoreline and incorporate this into a high quality foreshore w
alk. Frame and unblock im
portant historical facades to highlight the historical face of Sydney. Acknow
ledge the historical and continued im
portance of shipping and boat activity in the Q
uay.
Encourage flora and fauna habitation
Reinstate and encourage natural ecology to re-inhabit Circular Q
uay. Improve the quality of parks and green links across the
Quay and to the w
ater’s edge to encourage the movem
ent and
habitation of
flora and
fauna. Introduce
aquatic vegetation such as reeds in positions of the old w
harves to help acknow
ledge the history of the ecology.
8.Connected to other places
Being a major gatew
ay to the city, improved connections
to different parts of the city is important (for exam
ple, to Barangaroo, the Rocks, city CBD
, and the Botanical Gardens)
Ensure connections
are high
quality, pedestrian-friendly
networks
where
the pedestrian
and cyclist
are prioritised
over the motor vehicle, and look for opportunities to link
views through the connections. Ensure the Q
uay is also well
connected by public transport.
9.A
n opportunity for refuge from the hustle
and bustle
Provide opportunities to escape the pressures and intensity of city life. Relaxing by the w
ater, or in a park has a certain calm
ness about it. Enhance the quality of seating and relaxation areas beside the natural features w
hich take advantage of the m
icro-climatic conditions such as im
proved shade or a nice sea breeze.
1.4.7.
Design Principles
PATC
HW
ORK
An interw
oven fabric of urban patches, stitched together by continuous threads
Jemm
a Basso
Am
y Beech-A
llenLauren S
iderisD
aniel Wight-W
ick
3366879322047531882893220583
circular quay master plan
Design O
bjectivesFor the patches, create urban spaces and room
s that:
•are of different scales and shapes,
•have different functions,
•are adaptable, capable of catering for different groups
•are opportunities for refuge and prospect,
•reflectthecharacterandacknow
ledgethehistoryofthe place
•arehighquality,publicgatheringspaces
Forthreads,createlinkagesthat:
•enhance the pedestrian experience,
•createlegibleconnectionsandeasyw
ay-finding•
traverseavarietyoflandscapesandreflectthevarious activities and urban texture of adjacent land
Natural assets and green netw
ork
Maxim
ise on Circular Quay’s prom
inent waterfront position
and large expanses of open green space. Create opportunities for people to sit and relax beside these natural features and im
prove the green network betw
een these spaces. Create a high quality and exciting foreshore w
alk which traverses
a number of landscapes and topographies and provides a
continuous connection along Sydney’s magnificent foreshore
and headland parks.
2.Inform
ative, interactive and easy way
finding
Circular Quay is a place visited by 1000’s of visitors each
year. Provide for easy-way finding through effective signage
and interactive vertical marker installations. The pedestrian
experience will not just be a passive encounter but an active
and interactive experience. The vertical markers w
ill provide various pieces of inform
ation to help people better understand and
navigate through
the space.
For exam
ple, they
can provide inform
ation about train and ferry timetables, upcom
ing perform
ances at the Opera H
ouse or upcoming art exhibitions
at the MCA
. They can provide information about the history
of the place, or more specific inform
ation about the rise and fall of the tides. They can also be a site specific sm
art phone app. O
r they can just be a fun, interactive art installation w
hich changes colours at different intensities depending on the am
ount of people walking past.
3.M
ulti-use precincts for everyone
Circular Quay is visited not only by tourists, but is also used by
many of the locals such as people w
orking in the city. Create urban room
s and spaces that cater for the different groups and ages of people. Ensure these spaces are adaptive to cater for the rapid changes in num
bers of people, and for different uses. Providing play areas for children is also very im
portant due to the lack of play areas in the city CBD
.
A vibrant, active and cultural destination
Maxim
ise on Circular Quay’s position as the cultural precinct
of Sydney. It is surrounded by a number of cultural venues
such as museum
s and theatres, most notable the Sydney
Opera
House.
Circular Q
uay is
also a
popular venue
for large events such as the N
ew Years Eve celebrations and a
range of festivals such as the Vivid light festival. Contribute to the vibrancy and culture of place through colour and art installations, interesting pavem
ent and street furniture, as well
as through high quality lighting. High quality, vibrant bars,
restaurants and cafes will also help to activate the spaces.
Maxim
ising views and connections to the prom
inent cultural venues w
ithin the Quay is also im
portant.
5.Im
portant arrival and exit point to the City
Maintain and im
prove Circular Quay’s function as a m
ajor transport interchange. Separate ferry pedestrian traffi
c from
the main foreshore to help ease the static verse dynam
ic pedestrian
congestion. Rem
ove buses
from
Alfred
Street and relocate to Bridge Street and relocate the train station underground to im
prove the quality of the pedestrian space along the foreshore. Integrate green m
odes of transport into the interchange (ie light rail stops, and a bike hub). The im
proved quality of the interchange w
ill mark an im
portant gateway to
the city with legible connections and easy m
ode split.
6.Acknow
ledge history and original shoreline
Celebrate the rich history of the place with the reinstatem
ent of m
uch of the old shoreline and incorporate this into a high quality foreshore w
alk. Frame and unblock im
portant historical facades to highlight the historical face of Sydney. Acknow
ledge the historical and continued im
portance of shipping and boat activity in the Q
uay.
Encourage flora and fauna habitation
Reinstate and encourage natural ecology to re-inhabit Circular Q
uay. Improve the quality of parks and green links across the
Quay and to the w
ater’s edge to encourage the movem
ent and
habitation of
flora and
fauna. Introduce
aquatic vegetation such as reeds in positions of the old w
harves to help acknow
ledge the history of the ecology.
8.Connected to other places
Being a major gatew
ay to the city, improved connections
to different parts of the city is important (for exam
ple, to Barangaroo, the Rocks, city CBD
, and the Botanical Gardens)
Ensure connections
are high
quality, pedestrian-friendly
networks
where
the pedestrian
and cyclist
are prioritised
over the motor vehicle, and look for opportunities to link
views through the connections. Ensure the Q
uay is also well
connected by public transport.
9.A
n opportunity for refuge from the hustle
and bustle
Provide opportunities to escape the pressures and intensity of city life. Relaxing by the w
ater, or in a park has a certain calm
ness about it. Enhance the quality of seating and relaxation areas beside the natural features w
hich take advantage of the m
icro-climatic conditions such as im
proved shade or a nice sea breeze.
1.4.7.
Design Principles
PATC
HW
ORK
An interw
oven fabric of urban patches, stitched together by continuous threads
Jemm
a Basso
Am
y Beech-A
llenLauren S
iderisD
aniel Wight-W
ick
3366879322047531882893220583
circular quay master plan
Design O
bjectivesFor the patches, create urban spaces and room
s that:
•are of different scales and shapes,
•have different functions,
•are adaptable, capable of catering for different groups
•are opportunities for refuge and prospect,
•reflectthecharacterandacknow
ledgethehistoryofthe place
•arehighquality,publicgatheringspaces
Forthreads,createlinkagesthat:
•enhance the pedestrian experience,
•createlegibleconnectionsandeasyw
ay-finding•
traverseavarietyoflandscapesandreflectthevarious activities and urban texture of adjacent land
Natural assets and green netw
ork
Maxim
ise on Circular Quay’s prom
inent waterfront position
and large expanses of open green space. Create opportunities for people to sit and relax beside these natural features and im
prove the green network betw
een these spaces. Create a high quality and exciting foreshore w
alk which traverses
a number of landscapes and topographies and provides a
continuous connection along Sydney’s magnificent foreshore
and headland parks.
2.Inform
ative, interactive and easy way
finding
Circular Quay is a place visited by 1000’s of visitors each
year. Provide for easy-way finding through effective signage
and interactive vertical marker installations. The pedestrian
experience will not just be a passive encounter but an active
and interactive experience. The vertical markers w
ill provide various pieces of inform
ation to help people better understand and
navigate through
the space.
For exam
ple, they
can provide inform
ation about train and ferry timetables, upcom
ing perform
ances at the Opera H
ouse or upcoming art exhibitions
at the MCA
. They can provide information about the history
of the place, or more specific inform
ation about the rise and fall of the tides. They can also be a site specific sm
art phone app. O
r they can just be a fun, interactive art installation w
hich changes colours at different intensities depending on the am
ount of people walking past.
3.M
ulti-use precincts for everyone
Circular Quay is visited not only by tourists, but is also used by
many of the locals such as people w
orking in the city. Create urban room
s and spaces that cater for the different groups and ages of people. Ensure these spaces are adaptive to cater for the rapid changes in num
bers of people, and for different uses. Providing play areas for children is also very im
portant due to the lack of play areas in the city CBD
.
A vibrant, active and cultural destination
Maxim
ise on Circular Quay’s position as the cultural precinct
of Sydney. It is surrounded by a number of cultural venues
such as museum
s and theatres, most notable the Sydney
Opera
House.
Circular Q
uay is
also a
popular venue
for large events such as the N
ew Years Eve celebrations and a
range of festivals such as the Vivid light festival. Contribute to the vibrancy and culture of place through colour and art installations, interesting pavem
ent and street furniture, as well
as through high quality lighting. High quality, vibrant bars,
restaurants and cafes will also help to activate the spaces.
Maxim
ising views and connections to the prom
inent cultural venues w
ithin the Quay is also im
portant.
5.Im
portant arrival and exit point to the City
Maintain and im
prove Circular Quay’s function as a m
ajor transport interchange. Separate ferry pedestrian traffi
c from
the main foreshore to help ease the static verse dynam
ic pedestrian
congestion. Rem
ove buses
from
Alfred
Street and relocate to Bridge Street and relocate the train station underground to im
prove the quality of the pedestrian space along the foreshore. Integrate green m
odes of transport into the interchange (ie light rail stops, and a bike hub). The im
proved quality of the interchange w
ill mark an im
portant gateway to
the city with legible connections and easy m
ode split.
6.Acknow
ledge history and original shoreline
Celebrate the rich history of the place with the reinstatem
ent of m
uch of the old shoreline and incorporate this into a high quality foreshore w
alk. Frame and unblock im
portant historical facades to highlight the historical face of Sydney. Acknow
ledge the historical and continued im
portance of shipping and boat activity in the Q
uay.
Encourage flora and fauna habitation
Reinstate and encourage natural ecology to re-inhabit Circular Q
uay. Improve the quality of parks and green links across the
Quay and to the w
ater’s edge to encourage the movem
ent and
habitation of
flora and
fauna. Introduce
aquatic vegetation such as reeds in positions of the old w
harves to help acknow
ledge the history of the ecology.
8.Connected to other places
Being a major gatew
ay to the city, improved connections
to different parts of the city is important (for exam
ple, to Barangaroo, the Rocks, city CBD
, and the Botanical Gardens)
Ensure connections
are high
quality, pedestrian-friendly
networks
where
the pedestrian
and cyclist
are prioritised
over the motor vehicle, and look for opportunities to link
views through the connections. Ensure the Q
uay is also well
connected by public transport.
9.A
n opportunity for refuge from the hustle
and bustle
Provide opportunities to escape the pressures and intensity of city life. Relaxing by the w
ater, or in a park has a certain calm
ness about it. Enhance the quality of seating and relaxation areas beside the natural features w
hich take advantage of the m
icro-climatic conditions such as im
proved shade or a nice sea breeze.
1.4.7.
Design Principles
PATC
HW
ORK
An interw
oven fabric of urban patches, stitched together by continuous threads
Jemm
a Basso
Am
y Beech-A
llenLauren S
iderisD
aniel Wight-W
ick
3366879322047531882893220583
circular quay master plan
Design O
bjectivesFor the patches, create urban spaces and room
s that:
•are of different scales and shapes,
•have different functions,
•are adaptable, capable of catering for different groups
•are opportunities for refuge and prospect,
•reflectthecharacterandacknow
ledgethehistoryofthe place
•arehighquality,publicgatheringspaces
Forthreads,createlinkagesthat:
•enhance the pedestrian experience,
•createlegibleconnectionsandeasyw
ay-finding•
traverseavarietyoflandscapesandreflectthevarious activities and urban texture of adjacent land
Natural assets and green netw
ork
Maxim
ise on Circular Quay’s prom
inent waterfront position
and large expanses of open green space. Create opportunities for people to sit and relax beside these natural features and im
prove the green network betw
een these spaces. Create a high quality and exciting foreshore w
alk which traverses
a number of landscapes and topographies and provides a
continuous connection along Sydney’s magnificent foreshore
and headland parks.
2.Inform
ative, interactive and easy way
finding
Circular Quay is a place visited by 1000’s of visitors each
year. Provide for easy-way finding through effective signage
and interactive vertical marker installations. The pedestrian
experience will not just be a passive encounter but an active
and interactive experience. The vertical markers w
ill provide various pieces of inform
ation to help people better understand and
navigate through
the space.
For exam
ple, they
can provide inform
ation about train and ferry timetables, upcom
ing perform
ances at the Opera H
ouse or upcoming art exhibitions
at the MCA
. They can provide information about the history
of the place, or more specific inform
ation about the rise and fall of the tides. They can also be a site specific sm
art phone app. O
r they can just be a fun, interactive art installation w
hich changes colours at different intensities depending on the am
ount of people walking past.
3.M
ulti-use precincts for everyone
Circular Quay is visited not only by tourists, but is also used by
many of the locals such as people w
orking in the city. Create urban room
s and spaces that cater for the different groups and ages of people. Ensure these spaces are adaptive to cater for the rapid changes in num
bers of people, and for different uses. Providing play areas for children is also very im
portant due to the lack of play areas in the city CBD
.
A vibrant, active and cultural destination
Maxim
ise on Circular Quay’s position as the cultural precinct
of Sydney. It is surrounded by a number of cultural venues
such as museum
s and theatres, most notable the Sydney
Opera
House.
Circular Q
uay is
also a
popular venue
for large events such as the N
ew Years Eve celebrations and a
range of festivals such as the Vivid light festival. Contribute to the vibrancy and culture of place through colour and art installations, interesting pavem
ent and street furniture, as well
as through high quality lighting. High quality, vibrant bars,
restaurants and cafes will also help to activate the spaces.
Maxim
ising views and connections to the prom
inent cultural venues w
ithin the Quay is also im
portant.
5.Im
portant arrival and exit point to the City
Maintain and im
prove Circular Quay’s function as a m
ajor transport interchange. Separate ferry pedestrian traffi
c from
the main foreshore to help ease the static verse dynam
ic pedestrian
congestion. Rem
ove buses
from
Alfred
Street and relocate to Bridge Street and relocate the train station underground to im
prove the quality of the pedestrian space along the foreshore. Integrate green m
odes of transport into the interchange (ie light rail stops, and a bike hub). The im
proved quality of the interchange w
ill mark an im
portant gateway to
the city with legible connections and easy m
ode split.
6.Acknow
ledge history and original shoreline
Celebrate the rich history of the place with the reinstatem
ent of m
uch of the old shoreline and incorporate this into a high quality foreshore w
alk. Frame and unblock im
portant historical facades to highlight the historical face of Sydney. Acknow
ledge the historical and continued im
portance of shipping and boat activity in the Q
uay.
Encourage flora and fauna habitation
Reinstate and encourage natural ecology to re-inhabit Circular Q
uay. Improve the quality of parks and green links across the
Quay and to the w
ater’s edge to encourage the movem
ent and
habitation of
flora and
fauna. Introduce
aquatic vegetation such as reeds in positions of the old w
harves to help acknow
ledge the history of the ecology.
8.Connected to other places
Being a major gatew
ay to the city, improved connections
to different parts of the city is important (for exam
ple, to Barangaroo, the Rocks, city CBD
, and the Botanical Gardens)
Ensure connections
are high
quality, pedestrian-friendly
networks
where
the pedestrian
and cyclist
are prioritised
over the motor vehicle, and look for opportunities to link
views through the connections. Ensure the Q
uay is also well
connected by public transport.
9.A
n opportunity for refuge from the hustle
and bustle
Provide opportunities to escape the pressures and intensity of city life. Relaxing by the w
ater, or in a park has a certain calm
ness about it. Enhance the quality of seating and relaxation areas beside the natural features w
hich take advantage of the m
icro-climatic conditions such as im
proved shade or a nice sea breeze.
1.4.7.
Design Principles
PATC
HW
ORK
An interw
oven fabric of urban patches, stitched together by continuous threads
Jemm
a Basso
Am
y Beech-A
llenLauren S
iderisD
aniel Wight-W
ick
3366879322047531882893220583
circular quay master plan
Masterplan design principles
1. Natural Assets and Green Network
2. Informative, interactive and easy way finding
3, Multi-use precincts for everyone
4. A vibrant, active cultural destination
5. Important Exit and Arrival point to the city
6. Acknowledge the history and the original shoreline
7. Encourage Flora and Fauna
8. Connected to other places
9. An opportunity for hustle and bustle
Design O
bjectivesFor the patches, create urban spaces and room
s that:
•are of different scales and shapes,
•have different functions,
•are adaptable, capable of catering for different groups
•are opportunities for refuge and prospect,
•reflectthecharacterandacknow
ledgethehistoryofthe place
•arehighquality,publicgatheringspaces
Forthreads,createlinkagesthat:
•enhance the pedestrian experience,
•createlegibleconnectionsandeasyw
ay-finding•
traverseavarietyoflandscapesandreflectthevarious activities and urban texture of adjacent land
Natural assets and green netw
ork
Maxim
ise on Circular Quay’s prom
inent waterfront position
and large expanses of open green space. Create opportunities for people to sit and relax beside these natural features and im
prove the green network betw
een these spaces. Create a high quality and exciting foreshore w
alk which traverses
a number of landscapes and topographies and provides a
continuous connection along Sydney’s magnificent foreshore
and headland parks.
2.Inform
ative, interactive and easy way
finding
Circular Quay is a place visited by 1000’s of visitors each
year. Provide for easy-way finding through effective signage
and interactive vertical marker installations. The pedestrian
experience will not just be a passive encounter but an active
and interactive experience. The vertical markers w
ill provide various pieces of inform
ation to help people better understand and
navigate through
the space.
For exam
ple, they
can provide inform
ation about train and ferry timetables, upcom
ing perform
ances at the Opera H
ouse or upcoming art exhibitions
at the MCA
. They can provide information about the history
of the place, or more specific inform
ation about the rise and fall of the tides. They can also be a site specific sm
art phone app. O
r they can just be a fun, interactive art installation w
hich changes colours at different intensities depending on the am
ount of people walking past.
3.M
ulti-use precincts for everyone
Circular Quay is visited not only by tourists, but is also used by
many of the locals such as people w
orking in the city. Create urban room
s and spaces that cater for the different groups and ages of people. Ensure these spaces are adaptive to cater for the rapid changes in num
bers of people, and for different uses. Providing play areas for children is also very im
portant due to the lack of play areas in the city CBD
.
A vibrant, active and cultural destination
Maxim
ise on Circular Quay’s position as the cultural precinct
of Sydney. It is surrounded by a number of cultural venues
such as museum
s and theatres, most notable the Sydney
Opera
House.
Circular Q
uay is
also a
popular venue
for large events such as the N
ew Years Eve celebrations and a
range of festivals such as the Vivid light festival. Contribute to the vibrancy and culture of place through colour and art installations, interesting pavem
ent and street furniture, as well
as through high quality lighting. High quality, vibrant bars,
restaurants and cafes will also help to activate the spaces.
Maxim
ising views and connections to the prom
inent cultural venues w
ithin the Quay is also im
portant.
5.Im
portant arrival and exit point to the City
Maintain and im
prove Circular Quay’s function as a m
ajor transport interchange. Separate ferry pedestrian traffi
c from
the main foreshore to help ease the static verse dynam
ic pedestrian
congestion. Rem
ove buses
from
Alfred
Street and relocate to Bridge Street and relocate the train station underground to im
prove the quality of the pedestrian space along the foreshore. Integrate green m
odes of transport into the interchange (ie light rail stops, and a bike hub). The im
proved quality of the interchange w
ill mark an im
portant gateway to
the city with legible connections and easy m
ode split.
6.Acknow
ledge history and original shoreline
Celebrate the rich history of the place with the reinstatem
ent of m
uch of the old shoreline and incorporate this into a high quality foreshore w
alk. Frame and unblock im
portant historical facades to highlight the historical face of Sydney. Acknow
ledge the historical and continued im
portance of shipping and boat activity in the Q
uay.
Encourage flora and fauna habitation
Reinstate and encourage natural ecology to re-inhabit Circular Q
uay. Improve the quality of parks and green links across the
Quay and to the w
ater’s edge to encourage the movem
ent and
habitation of
flora and
fauna. Introduce
aquatic vegetation such as reeds in positions of the old w
harves to help acknow
ledge the history of the ecology.
8.Connected to other places
Being a major gatew
ay to the city, improved connections
to different parts of the city is important (for exam
ple, to Barangaroo, the Rocks, city CBD
, and the Botanical Gardens)
Ensure connections
are high
quality, pedestrian-friendly
networks
where
the pedestrian
and cyclist
are prioritised
over the motor vehicle, and look for opportunities to link
views through the connections. Ensure the Q
uay is also well
connected by public transport.
9.A
n opportunity for refuge from the hustle
and bustle
Provide opportunities to escape the pressures and intensity of city life. Relaxing by the w
ater, or in a park has a certain calm
ness about it. Enhance the quality of seating and relaxation areas beside the natural features w
hich take advantage of the m
icro-climatic conditions such as im
proved shade or a nice sea breeze.
1.4.7.
Design Principles
PATC
HW
ORK
An interw
oven fabric of urban patches, stitched together by continuous threads
Jemm
a Basso
Am
y Beech-A
llenLauren S
iderisD
aniel Wight-W
ick
3366879322047531882893220583
circular quay master plan
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON ROAD
0m 5m 50m
IntertidalCoastal Forest / Cultivated Parkland Botanical Coastal Forest
BotanicalSensory
BotanicalEdible
Cultivated Parkland Headland IntertidalAridFreshwaterUrban Environment
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
LEVEL 1 PLAN
scale 1:500
LEVEL 2 PLAN
scale 1:500
overseas passenger terminal
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
GROUND LEVEL (George St) TOPOGRAPHY ROOF PLAN
scale 1:500
PERSPECTIVE LOOKING NORTH PERSPECTIVE LOOKING SOUTH
SECTION A-A SECTION B-B SECTION E-E
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
LEVEL 1 PLAN
scale 1:500
LEVEL 2 PLAN
scale 1:500
overseas passenger terminal
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
GROUND LEVEL (George St) TOPOGRAPHY ROOF PLAN
scale 1:500
PERSPECTIVE LOOKING NORTH PERSPECTIVE LOOKING SOUTH
SECTION A-A SECTION B-B SECTION E-E
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
LEVEL 1 PLAN
scale 1:500
LEVEL 2 PLAN
scale 1:500
overseas passenger terminal
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
GROUND LEVEL (George St) TOPOGRAPHY ROOF PLAN
scale 1:500
PERSPECTIVE LOOKING NORTH PERSPECTIVE LOOKING SOUTH
SECTION A-A SECTION B-B SECTION E-E
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
LOWER LEVEL 1 PLAN
scale 1:500
Section CC
scale 1:500
overseas passenger terminal
rest. 2kitchen
rest. 1kitchen
rest. 1amenity
main bagdrop
check-in rest. 2amenity
lowerarrival
OPT admin
taxis set-down / pick-upbus set-down / pick-up
HICKSON
ROAD
CIRCULATION LOOP
scale 1:500
CONSTRUCTION DETAIL
scale 1:20
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON ROAD
0m 5m 50m
IntertidalCoastal Forest / Cultivated Parkland Botanical Coastal Forest
BotanicalSensory
BotanicalEdible
Cultivated Parkland Headland IntertidalAridFreshwaterUrban Environment
storage loading
female wcbar
kitchen
arrival hall / baggage collection
+function space
cultural / information centre
performance /seating area
retail
cafe
bus waiting bay
taxis + busessupply vehicles
male wc
functionstoragestorage
functionoffice/admin
main bag storage
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
LOWER LEVEL 2 (WATER LEVEL) PLAN
scale 1:500
overseas passenger terminal
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
0m 5m 50m
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
LOWER LEVEL 2 PLAN
scale 1:500
LOWER LEVEL 1 PLAN
scale 1:500
LIGHTING PLAN
scale 1:500
storage loading
female wcbar
kitchen
arrival hall / baggage collection
+function space
cultural / information centre
performance /seating area
retail
cafe
bus waiting bay
taxis + busessupply vehicles
male wc
functionstoragestorage
functionoffice/admin
main bag storage
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
LOWER LEVEL 2 (WATER LEVEL) PLAN
scale 1:500
overseas passenger terminal
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
0m 5m 50m
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
LOWER LEVEL 2 PLAN
scale 1:500
LOWER LEVEL 1 PLAN
scale 1:500
LIGHTING PLAN
scale 1:500
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
LOWER LEVEL 1 PLAN
scale 1:500
Section CC
scale 1:500
overseas passenger terminal
rest. 2kitchen
rest. 1kitchen
rest. 1amenity
main bagdrop
check-in rest. 2amenity
lowerarrival
OPT admin
taxis set-down / pick-upbus set-down / pick-up
HICKSON
ROAD
CIRCULATION LOOP
scale 1:500
CONSTRUCTION DETAIL
scale 1:20
storage loading
female wcbar
kitchen
arrival hall / baggage collection
+function space
cultural / information centre
performance /seating area
retail
cafe
bus waiting bay
taxis + busessupply vehicles
male wc
functionstoragestorage
functionoffice/admin
main bag storage
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
LOWER LEVEL 2 (WATER LEVEL) PLAN
scale 1:500
overseas passenger terminal
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
0m 5m 50m
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
LOWER LEVEL 2 PLAN
scale 1:500
LOWER LEVEL 1 PLAN
scale 1:500
LIGHTING PLAN
scale 1:500
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
LEVEL 1 PLAN
scale 1:500
LEVEL 2 PLAN
scale 1:500
overseas passenger terminal
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
GROUND LEVEL (George St) TOPOGRAPHY ROOF PLAN
scale 1:500
PERSPECTIVE LOOKING NORTH PERSPECTIVE LOOKING SOUTH
SECTION A-A SECTION B-B SECTION E-E
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
LEVEL 1 PLAN
scale 1:500
LEVEL 2 PLAN
scale 1:500
overseas passenger terminal
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
GROUND LEVEL (George St) TOPOGRAPHY ROOF PLAN
scale 1:500
PERSPECTIVE LOOKING NORTH PERSPECTIVE LOOKING SOUTH
SECTION A-A SECTION B-B SECTION E-E
view from cahill express-way
facing circular quay
storage loading
female wcbar
kitchen
arrival hall / baggage collection
+function space
cultural / information centre
performance /seating area
retail
cafe
bus waiting bay
taxis + busessupply vehicles
male wc
functionstoragestorage
functionoffice/admin
main bag storage
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
LOWER LEVEL 2 (WATER LEVEL) PLAN
scale 1:500
overseas passenger terminal
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
0m 5m 50m
cultural / information centre
rest. 1
bag drop/ check-in
comm.entry
rest. 2
main hall
void(above)
HICKSON
ROAD
cafe set into topography
GEORG
E ST
REET
vehicu
lar dro
p-off /
pick-up
existingcafe
waiting hallwaiting hall
security
void
void
security
bridge
commercial 1
comm. lobby
commercial 2
A
A
B
B
C
C
D
D
0m 5m 50m
LOWER LEVEL 2 PLAN
scale 1:500
LOWER LEVEL 1 PLAN
scale 1:500
LIGHTING PLAN
scale 1:500
Organic ArchitectureCentennial Park, Sydney, NSW
Organic architecture requires embodied thinking to conceptualise a form from the architect’s ‘true-self’. The site acts upon the building which completes the already omniprescent and interdependant cycle of nature. The geometry stems from visica pisces repeating on them-selves, rotating out from a cluster of trees that already suggested a dynamic form.
Reciprocitythe site gives form to architecturearchitecture gives locale to site
foreign studies
The Node - Conservation and ConnectionMalmo Museum, Sweden
An existing dead end circulation needed to change for the museum to function as a whole. In the North-Eastern corner lay an empty space, devoid of historical content that would act as a point of connection for a new museum. The new building’s shape is formed by respecting existing historical layers, heights and textures but also by the need for a functionally cultural meeting place. Gained exhibition space allows now for the castle to have a new ‘gate’, where an exhibition to document Malmo modern progress will take place.
cultural connectionhistorical connection
CURRENTSITUATION
MALMÖHUS - NEW PROPOSITION
Louvre’s entrance, Paris
Bibliothèque François Mitterrand’s central garden, Paris
Paddington Reservoir, Sydney
Di� erent propositions for the entrance
CURRENTSITUATION
MALMÖHUS - NEW PROPOSITION
Louvre’s entrance, Paris
Bibliothèque François Mitterrand’s central garden, Paris
Paddington Reservoir, Sydney
Di� erent propositions for the entrance
CURRENTSITUATION
MALMÖHUS - NEW PROPOSITION
Louvre’s entrance, Paris
Bibliothèque François Mitterrand’s central garden, Paris
Paddington Reservoir, Sydney
Di� erent propositions for the entrance
past+future=present
physical connection
attic accessible
royal main circulation level
prison main circulation level
basement connected
basement link
connection everybody
tower accessible
admin transition levels
visual connection
structural identity
Casa HabitacionLos Olivos, Guadalajara, Mexico
A house for the young but large family of a football star. The planning needed a large garden for physical activities, be able to expand and close as the family grew plus be flexible to allow for carne asadas, games and familiar constant familar interaction. Being in a closed community meant the front yard could be utilised more.
undergraduate
Artist-in-Residence Koscuisko Highway, Berridale, NSW
tough environmental conditions act on the site, shown in the weath-ered, dry contrasts of the lunar-like landscape. By respecting the volumptuous forms and taking inspiration from their fractured nature, a relationship was formed that connects each curator-gallery-artist seemlessly and with respect to privacy.
approach+vista landscape+human habitation existing+built approach+vista landscape+human habitation existing+built
approach+vista landscape+human habitation existing+built approach+vista landscape+human habitation existing+built
Known for being residence to an alternate art scene, we were to choose an architect’s style (Daniel Libeskind) that would integrate the avante-garde culture with the ever-changing facade frontage of newtown’s busiest street. Inspiration was taken from the Melbourne’s Laneway exhibition’s, MTV art gallery and make-shift market style stalls along the street to create a space useable day and night. Light was crucial as the space needed perform for gallery, parties and cafe.
Emerging Artists CentreKing Street, Newtown
sunny courtyard + filtered light
Live+Work+Play:Sustainable Multipurpose Beach Street, Coogee, NSW
we were asked to press the boundaries of SEPP and DCP regula-tions in Coogee and achieve GreenStar recognition for our design. Small atriums, watered by rainwater grow vegetables and herbs for apartment clusters to share. A green roof ensures the heritage building behind is not comprimised in view and steps were used to negotiate the steep site.
Pattern Language Green light wells
communal winter garden exploratory model
art_graphics_illustrations_experiments_objects
Space-in_BetweenUnreal Editor Digital Design
Using gaming software to understand in three dimensions, we designed conceptual spaces above+below, infront+behind, around+inside section lines or ‘thresholds’. Hand drawn textures create a sense of humanity for unknown clients. Motivating words, or personality types dictated the volumnes we created.
The Space Inbetween_Paradox + Dynamic Perspective + Texture and Materiality
Japan Timber ConnectionPortable architectural drafting desk
The design stems from exploration into the quintessential form of the architectural drawing desk, which is now almost redundant in the ar-chitectural office. I wanted to design something which had memories of the office staple, but was useful for travel, outdoor sketching and storage. It is made from 100% australian eco-cert timber veneers.
The locking system for the handles is inspired by the japanese timber brain teasers, which use interlocking dowels to create forms.
VICTORIAN ASH
GREY IRONBARK
COMPOSITE VENEER
PANTONE RED
1
3
4
5
2
HANDLE ROUTED USING REVERSE
SEMI CIRCLE BIT AFTER
LAMINATION
GLUED BUTT JOINT
6MM LAMINATED
VICTORIAN ASH AND
GREY IRONBARK
1MM GAP
14
14
32
32
SCALE 1:20 AT A3
PORTABLE DRAWING TABLE
LAUREN SIDERIS 3188289
SECTION BB
SIDE ELEVATION
SECTION AA
Sheet 3/4
SCALE 1:20 AT A3
PORTABLE DRAWING TABLE
LAUREN SIDERIS 3188289
PLAN
AA 3
AA 3
BB 3
BB 3
CC
2
CC
2
Sheet 1/4
544
465
57
57
153 152 157
77 76 7577 77 82
6MM LAMINATED VICTORIAN ASH
AND GREYIRONBARK
3MM PLYWOOD MATT VARNISH F INISH
3MM PLYWOOD
LAMINATED LID MEETS
FLUSH WITH 3MM PLY
WITH 1MM GAP
SCALE 1:20 AT A3
PORTABLE DRAWING TABLE
LAUREN SIDERIS 3188289
REAR ELEVATION
FRONT ELEVATION
Sheet 4/4
