Architecture Portfolio_Lauren Sideris

73
BArchStudies UNSW 2009 MArchitecture UNSW 2012 Lauren Sideris Architecture Portfolio

description

Examples of works from my Bachelor of Architectural Studies and Master of Architecture at UNSW.

Transcript of Architecture Portfolio_Lauren Sideris

Page 1: Architecture Portfolio_Lauren Sideris

BArchStudies UNSW 2009 MArchitecture UNSW 2012

Lauren SiderisArchitecture Portfolio

Page 2: Architecture Portfolio_Lauren Sideris
Page 3: Architecture Portfolio_Lauren Sideris

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 - ongoing Hunter Street, Newcastle, NSW

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post graduate

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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.

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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

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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

Page 10: Architecture Portfolio_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

Page 11: Architecture Portfolio_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

Page 12: Architecture Portfolio_Lauren Sideris

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

Page 13: Architecture Portfolio_Lauren Sideris

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

Page 14: Architecture Portfolio_Lauren Sideris

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

Page 15: Architecture Portfolio_Lauren Sideris

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

Page 16: Architecture Portfolio_Lauren Sideris

A Courthouse for ChildrenHunter Street, Newcastle, NSW

Newcastle currently experiences a ‘lack of centre’. Hunter street experiences atopos and Umheimlichkeit. The courthouse as community centre presents the opportunity to relocal-ise Hunter Street by providing location 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 be-tween visual, kinaesthetic and multi-sensory experience and the mode of therapeutic/restorative justice. By interacting with simple, balanced but intentionally designed colour, materiality, plasticity 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, super-imposed) 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.

Page 17: Architecture Portfolio_Lauren Sideris

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”

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”

Page 18: Architecture Portfolio_Lauren Sideris

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”

site analysis and research

Page 19: Architecture Portfolio_Lauren Sideris

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

justice model research

Page 20: Architecture Portfolio_Lauren Sideris

radial structure

luminance

light exploration

passing of the day cognitive structureterritoriality layered complexity

newcastle youth justice and research centreprinciples

key moves

site edge exploration

chromatic wayfinding wall multi-leveled waitingsupervised play

skylights sequencing

RITUAL (LEVEL 3) FLOOR PLAN 1:500

street entrance

foyer

waiting space

accompanied circulation

arrival evaluation space

interview rooms

accompanied circulation

ritual waiting space

ritual space threshold

ritual space

GROUND FLOOR PLAN 1:500

research offices

break outjudges chamber

void

court room

court room

conferencing

multi-purpose

interview

clinic

researcher entrance foyer

cafe

creche creche entry

teaching/resources

mentor activity space

waiting

female maledis

mentor meeting room admin

reception

diffused

direct

seasonal

morning

midday

afternoon

morning

midday

afternoon

opportunities for light quality summer sun pocketswinter sun pockets

edge overlooking night activation levelday activation level

research

research

therapy

clinic entrance

interview roomsevaluation space

entrancefoyer

ritual ritual ritual ritualcourt roomjudges

chamber

carparking

crecheclinic

CONSTRUCTION OF SPACE

the relationship between objects or boundaries from planes which do not themselves have the character of objects but define limits

THE EXPERIENCE OF SPACE

The luminosity of colour depends on the spectral structure of light reflected by the pigment. Colour appropriateness can be defined by spectral quality of site.

THE PERCEPTION OF SPACE

diurnal tracking for chemical and physical process in the body. season-al and temporal connection.

PATTERN OF BEHAVIOUR

Herzberger: “Gradations of territorial claims with the attendant feeling of ac-cessibility. Take hold of the “accesibility conventions respected by all”

PATTERN OF BEHAVIOUR

establishing stability through regulat-ed space that lends to the kinaesthetic sense. Body as centre, musculature and space in constant state of flux.

morning night

active

overlooked

not overlooked

radial structure

luminance

light exploration

passing of the day cognitive structureterritoriality layered complexity

newcastle youth justice and research centreprinciples

key moves

site edge exploration

chromatic wayfinding wall multi-leveled waitingsupervised play

skylights sequencing

RITUAL (LEVEL 3) FLOOR PLAN 1:500

street entrance

foyer

waiting space

accompanied circulation

arrival evaluation space

interview rooms

accompanied circulation

ritual waiting space

ritual space threshold

ritual space

GROUND FLOOR PLAN 1:500

research offices

break outjudges chamber

void

court room

court room

conferencing

multi-purpose

interview

clinic

researcher entrance foyer

cafe

creche creche entry

teaching/resources

mentor activity space

waiting

female maledis

mentor meeting room admin

reception

diffused

direct

seasonal

morning

midday

afternoon

morning

midday

afternoon

opportunities for light quality summer sun pocketswinter sun pockets

edge overlooking night activation levelday activation level

research

research

therapy

clinic entrance

interview roomsevaluation space

entrancefoyer

ritual ritual ritual ritualcourt roomjudges

chamber

carparking

crecheclinic

CONSTRUCTION OF SPACE

the relationship between objects or boundaries from planes which do not themselves have the character of objects but define limits

THE EXPERIENCE OF SPACE

The luminosity of colour depends on the spectral structure of light reflected by the pigment. Colour appropriateness can be defined by spectral quality of site.

THE PERCEPTION OF SPACE

diurnal tracking for chemical and physical process in the body. season-al and temporal connection.

PATTERN OF BEHAVIOUR

Herzberger: “Gradations of territorial claims with the attendant feeling of ac-cessibility. Take hold of the “accesibility conventions respected by all”

PATTERN OF BEHAVIOUR

establishing stability through regulat-ed space that lends to the kinaesthetic sense. Body as centre, musculature and space in constant state of flux.

morning night

active

overlooked

not overlooked

radial structure

luminance

light exploration

passing of the day cognitive structureterritoriality layered complexity

newcastle youth justice and research centreprinciples

key moves

site edge exploration

chromatic wayfinding wall multi-leveled waitingsupervised play

skylights sequencing

RITUAL (LEVEL 3) FLOOR PLAN 1:500

street entrance

foyer

waiting space

accompanied circulation

arrival evaluation space

interview rooms

accompanied circulation

ritual waiting space

ritual space threshold

ritual space

GROUND FLOOR PLAN 1:500

research offices

break outjudges chamber

void

court room

court room

conferencing

multi-purpose

interview

clinic

researcher entrance foyer

cafe

creche creche entry

teaching/resources

mentor activity space

waiting

female maledis

mentor meeting room admin

reception

diffused

direct

seasonal

morning

midday

afternoon

morning

midday

afternoon

opportunities for light quality summer sun pocketswinter sun pockets

edge overlooking night activation levelday activation level

research

research

therapy

clinic entrance

interview roomsevaluation space

entrancefoyer

ritual ritual ritual ritualcourt roomjudges

chamber

carparking

crecheclinic

CONSTRUCTION OF SPACE

the relationship between objects or boundaries from planes which do not themselves have the character of objects but define limits

THE EXPERIENCE OF SPACE

The luminosity of colour depends on the spectral structure of light reflected by the pigment. Colour appropriateness can be defined by spectral quality of site.

THE PERCEPTION OF SPACE

diurnal tracking for chemical and physical process in the body. season-al and temporal connection.

PATTERN OF BEHAVIOUR

Herzberger: “Gradations of territorial claims with the attendant feeling of ac-cessibility. Take hold of the “accesibility conventions respected by all”

PATTERN OF BEHAVIOUR

establishing stability through regulat-ed space that lends to the kinaesthetic sense. Body as centre, musculature and space in constant state of flux.

morning night

active

overlooked

not overlooked

principles

key moves

light exploration

Page 21: Architecture Portfolio_Lauren Sideris

radial structure

luminance

light exploration

passing of the day cognitive structureterritoriality layered complexity

newcastle youth justice and research centreprinciples

key moves

site edge exploration

chromatic wayfinding wall multi-leveled waitingsupervised play

skylights sequencing

RITUAL (LEVEL 3) FLOOR PLAN 1:500

street entrance

foyer

waiting space

accompanied circulation

arrival evaluation space

interview rooms

accompanied circulation

ritual waiting space

ritual space threshold

ritual space

GROUND FLOOR PLAN 1:500

research offices

break outjudges chamber

void

court room

court room

conferencing

multi-purpose

interview

clinic

researcher entrance foyer

cafe

creche creche entry

teaching/resources

mentor activity space

waiting

female maledis

mentor meeting room admin

reception

diffused

direct

seasonal

morning

midday

afternoon

morning

midday

afternoon

opportunities for light quality summer sun pocketswinter sun pockets

edge overlooking night activation levelday activation level

research

research

therapy

clinic entrance

interview roomsevaluation space

entrancefoyer

ritual ritual ritual ritualcourt roomjudges

chamber

carparking

crecheclinic

CONSTRUCTION OF SPACE

the relationship between objects or boundaries from planes which do not themselves have the character of objects but define limits

THE EXPERIENCE OF SPACE

The luminosity of colour depends on the spectral structure of light reflected by the pigment. Colour appropriateness can be defined by spectral quality of site.

THE PERCEPTION OF SPACE

diurnal tracking for chemical and physical process in the body. season-al and temporal connection.

PATTERN OF BEHAVIOUR

Herzberger: “Gradations of territorial claims with the attendant feeling of ac-cessibility. Take hold of the “accesibility conventions respected by all”

PATTERN OF BEHAVIOUR

establishing stability through regulat-ed space that lends to the kinaesthetic sense. Body as centre, musculature and space in constant state of flux.

morning night

active

overlooked

not overlooked

radial structure

luminance

light exploration

passing of the day cognitive structureterritoriality layered complexity

newcastle youth justice and research centreprinciples

key moves

site edge exploration

chromatic wayfinding wall multi-leveled waitingsupervised play

skylights sequencing

RITUAL (LEVEL 3) FLOOR PLAN 1:500

street entrance

foyer

waiting space

accompanied circulation

arrival evaluation space

interview rooms

accompanied circulation

ritual waiting space

ritual space threshold

ritual space

GROUND FLOOR PLAN 1:500

research offices

break outjudges chamber

void

court room

court room

conferencing

multi-purpose

interview

clinic

researcher entrance foyer

cafe

creche creche entry

teaching/resources

mentor activity space

waiting

female maledis

mentor meeting room admin

reception

diffused

direct

seasonal

morning

midday

afternoon

morning

midday

afternoon

opportunities for light quality summer sun pocketswinter sun pockets

edge overlooking night activation levelday activation level

research

research

therapy

clinic entrance

interview roomsevaluation space

entrancefoyer

ritual ritual ritual ritualcourt roomjudges

chamber

carparking

crecheclinic

CONSTRUCTION OF SPACE

the relationship between objects or boundaries from planes which do not themselves have the character of objects but define limits

THE EXPERIENCE OF SPACE

The luminosity of colour depends on the spectral structure of light reflected by the pigment. Colour appropriateness can be defined by spectral quality of site.

THE PERCEPTION OF SPACE

diurnal tracking for chemical and physical process in the body. season-al and temporal connection.

PATTERN OF BEHAVIOUR

Herzberger: “Gradations of territorial claims with the attendant feeling of ac-cessibility. Take hold of the “accesibility conventions respected by all”

PATTERN OF BEHAVIOUR

establishing stability through regulat-ed space that lends to the kinaesthetic sense. Body as centre, musculature and space in constant state of flux.

morning night

active

overlooked

not overlooked

radial structure

luminance

light exploration

passing of the day cognitive structureterritoriality layered complexity

newcastle youth justice and research centreprinciples

key moves

site edge exploration

chromatic wayfinding wall multi-leveled waitingsupervised play

skylights sequencing

RITUAL (LEVEL 3) FLOOR PLAN 1:500

street entrance

foyer

waiting space

accompanied circulation

arrival evaluation space

interview rooms

accompanied circulation

ritual waiting space

ritual space threshold

ritual space

GROUND FLOOR PLAN 1:500

research offices

break outjudges chamber

void

court room

court room

conferencing

multi-purpose

interview

clinic

researcher entrance foyer

cafe

creche creche entry

teaching/resources

mentor activity space

waiting

female maledis

mentor meeting room admin

reception

diffused

direct

seasonal

morning

midday

afternoon

morning

midday

afternoon

opportunities for light quality summer sun pocketswinter sun pockets

edge overlooking night activation levelday activation level

research

research

therapy

clinic entrance

interview roomsevaluation space

entrancefoyer

ritual ritual ritual ritualcourt roomjudges

chamber

carparking

crecheclinic

CONSTRUCTION OF SPACE

the relationship between objects or boundaries from planes which do not themselves have the character of objects but define limits

THE EXPERIENCE OF SPACE

The luminosity of colour depends on the spectral structure of light reflected by the pigment. Colour appropriateness can be defined by spectral quality of site.

THE PERCEPTION OF SPACE

diurnal tracking for chemical and physical process in the body. season-al and temporal connection.

PATTERN OF BEHAVIOUR

Herzberger: “Gradations of territorial claims with the attendant feeling of ac-cessibility. Take hold of the “accesibility conventions respected by all”

PATTERN OF BEHAVIOUR

establishing stability through regulat-ed space that lends to the kinaesthetic sense. Body as centre, musculature and space in constant state of flux.

morning night

active

overlooked

not overlooked

Page 22: Architecture Portfolio_Lauren Sideris

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.

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Reciprocitythe site gives form to architecturearchitecture gives locale to site

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foreign studies

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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.

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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

Page 35: Architecture Portfolio_Lauren Sideris

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

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structural identity

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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.

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undergraduate

Page 46: Architecture Portfolio_Lauren Sideris

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.

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approach+vista landscape+human habitation existing+built

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approach+vista landscape+human habitation existing+built

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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

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sunny courtyard + filtered light

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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.

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Pattern Language Green light wells

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communal winter garden exploratory model

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art_graphics_illustrations_experiments_objects

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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.

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The Space Inbetween_Paradox + Dynamic Perspective + Texture and Materiality

Page 66: Architecture Portfolio_Lauren Sideris

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.

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VICTORIAN ASH

GREY IRONBARK

COMPOSITE VENEER

PANTONE RED

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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

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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

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