Upcycling Wild Pigeon's Field in a post-hydrocarbon Brunei - An Exploration of Architecture Reacting to Social Changes Through Narratives

<p>The hydrocarbon industry has immensely influenced and moulded the societal structure of the inhabitants of modern day Brunei. Nonetheless, the dependency on this commodity will eventually cease, shifting the future social structure and leaving questions on plausible resolutions towards treatments on the existing sites, ‘non-buildings’ and infrastructures of the industry. Infrastructures and ‘non-buildings’ are typically subjected to the process of dismantling, removal, deep sea dumping and abandonment. It has been observed that in recent times, alternate methods are offered within the architectural profession. Through the application of adaptive reuse architecture, warehouses, factories and even ‘non-building’ are repurposed, where its industrial heritage and cultural value are highly recognised and considered necessary to retain. Focusing on specified onshore oilfields in Brunei, this thesis seeks an exploration into a methodology of regenerating a site and offering spaces that evoke a ‘sense of belonging’ or cultural identity. Through architectural discourse on memory and semiotics, local narratives are put forward and explored as an extension to cultural identity. This methodology is further explored through the application of John Hejduk’s concept of languages and masques. It proposes an imaginative practise into visual experiments for an exploration on the effect of reusing hydrocarbon infrastructure as architectural spaces. As Brunei shifts towards a new epoch, studies on current socioeconomic structure are critical to recognise where the structure is leaning towards to as it cannot simply change overnight.</p>

Seeing and Being Seen: The Theatre of Ernst Plischke

<p>Ernst Plischke is one of the most well documented and evaluated architects in the New Zealand architectural discourse. However, when we look at the work he is the most well-known for, such as residences, churches and public spaces there is something missing within the language and value we place on this work. Articulating this lack, this thesis will evaluate the oeuvre of Plischke’s work for a more theatrical interpretation which asks the question: what if Ernst Plischke was viewed as an interior architect? By consuming a five-course meal of design-led inquiry, this research samples Plischke’s body of work and finds an inherent theatricality within it. In exploring the people-centred aspect of this modernist’s oeuvre will look through the lenses of the total experience such as gesamtkunstwerk and mise-en-scène Pursuing these thematic motifs will produce a restaurant scenography, which will be interpreted at shifting scales to establish a theatrical design language.</p>

Seeing and Being Seen: The Theatre of Ernst Plischke

<p>Ernst Plischke is one of the most well documented and evaluated architects in the New Zealand architectural discourse. However, when we look at the work he is the most well-known for, such as residences, churches and public spaces there is something missing within the language and value we place on this work. Articulating this lack, this thesis will evaluate the oeuvre of Plischke’s work for a more theatrical interpretation which asks the question: what if Ernst Plischke was viewed as an interior architect? By consuming a five-course meal of design-led inquiry, this research samples Plischke’s body of work and finds an inherent theatricality within it. In exploring the people-centred aspect of this modernist’s oeuvre will look through the lenses of the total experience such as gesamtkunstwerk and mise-en-scène Pursuing these thematic motifs will produce a restaurant scenography, which will be interpreted at shifting scales to establish a theatrical design language.</p>

Upcycling Wild Pigeon's Field in a post-hydrocarbon Brunei - An Exploration of Architecture Reacting to Social Changes Through Narratives

<p>The hydrocarbon industry has immensely influenced and moulded the societal structure of the inhabitants of modern day Brunei. Nonetheless, the dependency on this commodity will eventually cease, shifting the future social structure and leaving questions on plausible resolutions towards treatments on the existing sites, ‘non-buildings’ and infrastructures of the industry. Infrastructures and ‘non-buildings’ are typically subjected to the process of dismantling, removal, deep sea dumping and abandonment. It has been observed that in recent times, alternate methods are offered within the architectural profession. Through the application of adaptive reuse architecture, warehouses, factories and even ‘non-building’ are repurposed, where its industrial heritage and cultural value are highly recognised and considered necessary to retain. Focusing on specified onshore oilfields in Brunei, this thesis seeks an exploration into a methodology of regenerating a site and offering spaces that evoke a ‘sense of belonging’ or cultural identity. Through architectural discourse on memory and semiotics, local narratives are put forward and explored as an extension to cultural identity. This methodology is further explored through the application of John Hejduk’s concept of languages and masques. It proposes an imaginative practise into visual experiments for an exploration on the effect of reusing hydrocarbon infrastructure as architectural spaces. As Brunei shifts towards a new epoch, studies on current socioeconomic structure are critical to recognise where the structure is leaning towards to as it cannot simply change overnight.</p>

The Bunker on the Shore

<p>This thesis seeks to investigate the role of architecture in distilling of ephemerality within a fixed geometry; using the variables of light, texture, context and atmospheric conditions as experimental catalysts. Consequently, this research explores the notion that a rigid architecture can play a central role in the creation of temporal atmosphere. It investigates this proposition by developing a method to represent ephemerality through architectural form and medium with an iterative design process as the overarching methodology. The design research begins with establishing the literary and physical context of projective geometries, abstraction of ‘place’ and atmospheric manipulation. This follows onto a three-part design-led exploration, with each test increasing in scale and architectural complexity. These include a site less installation, a gallery and a rehabilitation centre site on the rugged South Brighton coastline. This series explores the relationship between the temporary and the constant, with lessons learnt from each previous experiment translated into the later. These develop a range of architectural techniques for distilling ephemerality within fixed geometries with social response and programmatic factors being supplementary factors.The research recognises the already well established study into the ephemerality of spatial conditions within the architectural discourse and seeks to build on this through abstraction of place and site specific design responses.</p>

The Bunker on the Shore

<p>This thesis seeks to investigate the role of architecture in distilling of ephemerality within a fixed geometry; using the variables of light, texture, context and atmospheric conditions as experimental catalysts. Consequently, this research explores the notion that a rigid architecture can play a central role in the creation of temporal atmosphere. It investigates this proposition by developing a method to represent ephemerality through architectural form and medium with an iterative design process as the overarching methodology. The design research begins with establishing the literary and physical context of projective geometries, abstraction of ‘place’ and atmospheric manipulation. This follows onto a three-part design-led exploration, with each test increasing in scale and architectural complexity. These include a site less installation, a gallery and a rehabilitation centre site on the rugged South Brighton coastline. This series explores the relationship between the temporary and the constant, with lessons learnt from each previous experiment translated into the later. These develop a range of architectural techniques for distilling ephemerality within fixed geometries with social response and programmatic factors being supplementary factors.The research recognises the already well established study into the ephemerality of spatial conditions within the architectural discourse and seeks to build on this through abstraction of place and site specific design responses.</p>

Overview of past and present discourse on VAL

The paper is an introduction to my thesis entitled “Author’s Conceptions in the European Architecture of the 20th Century”. Specifically, the objective of my study is monographic research into VAL, a Slovak artistic-architectural group, which was active from the 1970s to the 1990s. The group consists of the artist Alex Mlynárčik, and architects Viera Mecková and Ľudovít Kupkovič, who gradually began to develop their visions together. During the years 1968 (1970) – 1994 they produced eight projects illustrating possibilities for our environment of tomorrow. The 1960s were accompanied by a discussion critically thematizing the main ideas of modernism. Visionary, utopian or dystopian trends, which presented various scenarios for the near future, were an integral part of this discussion. Their subject was the relationship between man and the environment, man and the society, architecture and landscape, or man and the cosmos. These visionaries have generated a whole series of architectural concepts, which even today are an inspiration for thinking about architecture and the environment. VAL was a valuable part of this global movement, and thus an important phenomenon from the point of view of local architectural discourse. This paper deals with the current state of research on the topic. It is a summary of formative moments and theories for the group’s work, a summary of the critical reflection and public presentations of their work throughout their active period up to the present day.

Sisyphus and Entropy; Adaptive Architecture in Flood Prone Nanjing

<p>This thesis attempts to rationalize two diverging practices in Architectural discourse, that of Western pedagogy and that of the ‘Other’. A disparity in approach to understanding architecture as a permanent object, can be noted in the dialogue between resilient architecture and temporary structure, this manifests itself in transient spaces and adaptive urban fabrics. The increased danger of flooding within China; with a particular emphasis on river infrastructure, posits an interesting position for new urban typologies and innovative floating solutions. Positioned on the expansive Yangtze River Delta, Nanjing encompasses a complex narrative of historical reverence and progressive tendencies, that encourage experimental approaches. The process and methodology within, seeks to provide an adaptable and affordable response to the recurring floodings, through in depth concise historical, cultural and philosophical analysis of the social, spiritual and architectural landscape within China as a whole as well as in specificity. These insights, juxtaposed with traditional western technique intends to produce an intricate and considered response to flood situations, with a particular focus on community generation and maintenance. Although Nanjing remains the central focus of the research, the concepts and practical results are intended to be abstracted and drawn into all cultures within Asia, primarily those with Buddhist and Taoist social structures. The proliferation of Feng Shui and the Metaphysical throughout the region provide a framework from which to expand. This network of social and cultural similarity allows for cross disciplinary and pan Asian approaches, noting the Japanese Metabolist Movement as a practical indication of socio-cultural influence on architectural theory.</p>

Sisyphus and Entropy; Adaptive Architecture in Flood Prone Nanjing

<p>This thesis attempts to rationalize two diverging practices in Architectural discourse, that of Western pedagogy and that of the ‘Other’. A disparity in approach to understanding architecture as a permanent object, can be noted in the dialogue between resilient architecture and temporary structure, this manifests itself in transient spaces and adaptive urban fabrics. The increased danger of flooding within China; with a particular emphasis on river infrastructure, posits an interesting position for new urban typologies and innovative floating solutions. Positioned on the expansive Yangtze River Delta, Nanjing encompasses a complex narrative of historical reverence and progressive tendencies, that encourage experimental approaches. The process and methodology within, seeks to provide an adaptable and affordable response to the recurring floodings, through in depth concise historical, cultural and philosophical analysis of the social, spiritual and architectural landscape within China as a whole as well as in specificity. These insights, juxtaposed with traditional western technique intends to produce an intricate and considered response to flood situations, with a particular focus on community generation and maintenance. Although Nanjing remains the central focus of the research, the concepts and practical results are intended to be abstracted and drawn into all cultures within Asia, primarily those with Buddhist and Taoist social structures. The proliferation of Feng Shui and the Metaphysical throughout the region provide a framework from which to expand. This network of social and cultural similarity allows for cross disciplinary and pan Asian approaches, noting the Japanese Metabolist Movement as a practical indication of socio-cultural influence on architectural theory.</p>

Digital Indigenous Craft: Expressing Māori Culture through Computational tools in Architecture

<p>Within present architectural discourse, there is universal concern that contemporary architectural processes efface the culture of indigenous communities, resulting in the homogenisation of architecture globally. The imminent question therefore is; how can the assimilation of digital tools and indigenous culture be a catalyst to empower culturally embodied architecture that responds to our indigenous Māori identity and spirit, without falling into architectural homogeneity? Working in direct conjunction with Ngai Tāmanuhi-ri Iwi (tribal group), on the poignant site, Te Kurī-a-Pāoa (Young Nicks Head), this thesis initiates dialogue to investigate the amalgamation of progressive digital fabrication techniques and the rich cultural identity and Mātauranga Māori (cultural knowledge) of Ngai Tāmanuhiri. Subsequently, a pavilion, incorporatinga locally inspired ‘whai’ (stingray) motif has been designed providing an architectural framework to facilitate design-led research. One-uku (clay), has been identified early as an indigenous material with enormous potential and led to the development of custom-built additive fabrication tools that can elevate this abundant local material for use within the architectural sphere. A secondary focus of this research is the development of computational (parametric) and analogue workflows to enable the production of architectural scale ceramic modules. Ultimately, this thesis argues that when computational design skills are ulilised alongside indigenous knowledge, digitally produced artefacts are capable of becoming meaningful for all.</p>