SHOW: All Publications Projects Events

Sites of Souvenir Production
Venice, Italy

Through engaging with the souvenir as both a mnemonic and architectural device, the project proposes alternative tourist experiences in Venice within a suite of workshop spaces at the ends of popular cultural itineraries, framed by themes of production and consumption in the city.

Category
Speculative, Cultural, Commercial

In Venice, a suite of three proposed tourist workshops framed by themes of consumption and production cap the ends of popular itineraries (Pictured: Site map with interventions in brown, tourist destinations in blue and waste collection points in pink)

As a popular tourist destination for centuries, Venice has long been a site of production for commercialised viewpoints, itineraries and souvenirs (Pictured: Assorted postcards)

The Campo San Giacomo dell’Orio concludes the itinerary of the food tourist, and is an ideal site for the collection and conversion of residents’ organic waste into produce for a communal cooking school (Pictured: Tourist itinerary map and collage)

An urban frame is set in deliberate contrast to the rather oddly-shaped, leftover space bounded by existing buildings and the church at the campo’s centre (Pictured: Site plan)

In the act of redefining the square, the walled Italian Medieval kitchen garden – a typology typical of Venice – is inverted (Pictured: Floor plan)

Rather than close-off precious green space, the garden is made accessible by elevating the frame above head-height (Pictured: Section)

Made from repurposed Venetian terracotta roof tiles, the perforated facade filters daylight and invites further urban greening (Pictured: Perspective and detail section)

Behind Piazza San Marco’s Ala Napoleonica lies a string of shops leading tourists to the Ponte dell’Accademia and Dorsoduro district (Pictured: Tourist itinerary)

The Calle del Ridotto runs perpendicular to the city’s major shopping street, while also providing a necessary connection to the waterfront for waste collection (Pictured: Site plan)

Drawing upon a tradition of marbled paper production in Venice, a recycled paper workshop invites tourists to mill, press and pattern their own paper (Pictured: Floor plan)

The proposal reconfigures spaces from front to back and also from side to side, placing the passerby within the production process (Pictured: Elevation)

Sections of repurposed timber mouldings are attached to the walls and suspended from the ceiling, creating shelves to display paper merchandise and conceal feature lighting (Pictured: Perspective and detail section)

Along the itinerary of the architecture enthusiast, Carlo Scarpa’s Monumento alla Partigiana is sited at the intersection of the canal and lagoon basin (Pictured: Tourist itinerary

The siting of a new tourist intervention bridges the canal and waterfront along an axis that connects Scarpa’s monument (Pictured: Site plan)

Being a repository for post-consumer plastic debris, the waterfront site is an ideal location for a proposed recycled plastic workshop, where waste is washed, stored, shredded and converted into art, homewares, sculptures and jewellery by the Biennale tourist (Pictured: Floor plan)

Stairs to the canal serve as the tidal markers of the cyclical acqua alta, while stepped skylights highlight thresholds within the building’s interior (Pictured: Section)

As in Scarpa’s monument, concrete steps relate the building to the water and the garden behind (Pictured: Perspective)

Leonard’s Hill
Victoria, Australia
(Lovell Burton Architecture)

A lightweight adaptation of a rural brick bungalow within a bushfire zone with Lovell Burton Architecture, the new extension hangs between two anchoring masonry walls. The building’s simplified gable roof form slides across the top of the masonry, projecting outward into the landscape as if a kind of telescopic lens. A homogenous band of hardwood timber wraps the rectangular form. On the northern facade, the opaque envelope morphs into operable, battened screens that provide protection to large, glazed openings. Within the extension, a series of suspended blades give distinction to separate programs, while the ground plane retains the fluidity of an open plan arrangement.

Category
Built, Residential

Gold Coast Great Walk
Queensland/New South Wales, Australia

Set in the ancient Gondwanan rainforest of the Gold Coast hinterland, the project proposes an eco-pilgrimage for the hiker-researcher/citizen-scientist looking to gain better appreciation of the region. Four stations are positioned along the multi-day Great Walk trail, inviting hikers to explore, measure and record the landscape through elemental experiences with air, earth, water and fire.

Category
Speculative, Public, Education

The Gold Coast is an icon of Australian tourism, but its hinterland counterpart is relatively little known to the masses (Pictured: Tourist guide)

Instead, this region draws hikers and scientists, drawn to the decade-old Great Walk trail as it meanders through the ancient natural wonders of the Gondwanan rainforest and Tweed Volcano caldera (Pictured: Research drawings, collages and postcards)

The walk is three days in full — beginning at Green Mountain high up on the Lamington Plateau, traversing Binna Burra, down into the Numinbah Valley and Woonoongoora, and ending in Springbrook (Pictured: Site locality map, site section, isometric and sketches)

Poised on the edge of the volcano caldera, the first of the stations is exposed to the hinterland’s vital hydrological systems (Pictured: Working model)

Here, a meterological station harnesses the effects of extreme weather through visual and haptic sensation, with a gently sloping platform immersing the hiker within the spectacular vantage, and a single walkway inviting the hiker to fly a detachable kite at the lookout point, weather conditions permitting (Pictured: working drawings)

The wind vane and cup anemometer provide a scientific reading of wind velocity, while spinning kites and tensile cords translate the wind into effects which both obscure and reveal the view (Pictured: Floor plan, section, detail and sketches)

Binna Burra — which translates to “where the Beech trees grow” — is at the heart of the second station’s location at Tullawallal, the local summit, where a pocket of Antarctic Beech (Nothofagus moorei ) trees survives from the Gondwanan era (Pictured: Research postcard)

The station transposes the crown-like formation of the trees into an elevated, narrow, ringed walkway for observation, affording hikers the opportunity to discard their packs and engage with the mycology of this region (Pictured: Working collage)

Vertical hoop pine and red cedar logs that support the path serve as reminder of the relatively recent clearing of the local valley, as in the dry season they remain bare; yet, in the wet season, they harbour unique species of fungi—from the Beech Orange to polypores and corals (Pictured: Floor plan, section, detail and sketches)

Seddon House
Victoria, Australia
(Olaver Architecture)

Working with a pre-existing but gloomy warehouse conversion, the new renovation reconfigures the building’s internal layout to maximise functionality and access to light. The site was laden with environmental challenges, meaning that adding extra footprint was financially prohibitive. Instead, the intervention transforms the townhouse by relocating the two-storey stair to the rear of the site, creating a large northern void. This light well is matched by new, four-metre high glazed sliding doors that open to the central courtyard on the other side of the floorplate. Inspired by the palette of the original 2000s renovation, the interior scheme reinvigorates the existing fabric through curation of colour, texture and detail, employing reflective stainless steel and perforated metal to bounce light throughout.

Category
Built, Residential

Church of the Abbey of Misericordia
Venice, Italy

A proposed reconstruction of an existing façade at the Church of the Abbey of Misericordia in Venice.

Category
Speculative, Cultural, Heritage

Lucia Amies

Lucia
Amies