M. S. CARKICPORTFOLIO 2010 - 2013

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© copyright 2012 M. S. Carkic

All rights reserved. No part of this booklet may be reproduced in any form without the written permission of the author.

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UNIVERSITY PROJECTS

04 TOWN HALL SQUARE 2010

06 ACT CONTEMPORARY ARTS PRECINCT 2011

08 RESIDENCE OF THE PRIME MINISTER OF AUSTRALIA 2011

PROJECTS AND COMPETITIONS

10 MILK CRATE BAR 2012

12 REFUGE BEACON (EVOLO) 2012

14 MILKYWAY (SYDNEY VIVID FESTVAL) 2013

WORK

16 HOUSE IN CRACE (CLASSIC CONSTRUCTIONS) 2010

18 VINEYARD DWELLING 2011

20 TAIWO HOUSE (YG PARTNERS) 2011

INDEX 3

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site location plan

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TOWN HALL SQUARE 2010

Location: 543 George Street Sydney CBD

This was a University of Canberra excercise which consited in demolishing and reinterpreting the Woolworths building site and its relationship to the city

There is an axis established between the Town Hall steps and the front of the base volumes of the tower. The steps are a significant meeting place. The steps also act as un-intentional seating area where pedestrians can watch the movement of the city. To emphasize this litteral connection back to the building, the front of our building indents on one side. This indentation behaves in a similar way to the the elaborate frame around the entrances to cathedrals, or the canopy of a round structure (such as an igloo).

The pilotis free the ground floor completely from any walls, and create an aditional square for the public. The use of pilotis maintains the principle of a collonade, which behaves as a permeable perimiter.

north elevation

1 gallery 2 community centre3 office4 open air cafes5 roof garden6 underground plaza7 plaza8 apparment

Point of emphasis. A large hole is bored out of the form to bring the sky into the square and the undeground. A sence of arrival is climaxed when pedestrians climb up the ramp from the undgroud courtyard.

Town Hall Steps. This is an important meeting spot. And there is a direct view into the courtyard accross the road, as well as each roof garden space.

Tiered Public Space This multilayering of public space multiplies density and provides a multiplicity of activity. Montreal’s extensive enderground is an example of the sucess of multiplying density in its CBD.

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escalator tubeThese provide quck access into the upper plate.

green roofAn inwardly angled grassy slope, can provide seating when the fly tower is being used as a projector screen for outdoor film or visual art instalations.

workshop and studiosThe upper floor plate provides space to all kinds of important workshops and studios for various arts.

actor’s support Directly behind the stage are the dressing rooms, rehersal rooms, green rooms and musicians’ rooms.

workshop Also directly behind the stage is located the workshop and sets storage divided by a movable soud wall.

theatre storageTheatres always complain at the lack of storage space. Beneath the stage space is an extensive stor-age floor.

stage supportThe stage director’s office and other stage support are located directly adjacent to the stage.

fly towerThis is the highest element of the building and will be visible when approaching City Hill from Northbourne Avenue.

stageThere is extensive stage floor space for larger productions, which cannot be accomodated in the current Canberra Theatre.

a b c d

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orchestra pit The orchestra pit provides a varied role as a storage lift, extra stage space or seating space.

auditoriumThe auditorium has a maximum capaacity of 2000 seats. Each seat is no more than 20 meters away from the stage giving every patron an optimal view and listening experience.

auditorium servicesIn the autitorium’s outer shell is where all the sound engineers and lighting specialits can remotely operate from. This space also houses all of the amenities for the auditorium.

theatre foyerThe threatre foyer is spread on three floors to disperse crowds during intermissions and evacuations. There is a bar located on each floor.

basement carparkThere is direct access from the underground carpark into the foyer space via escalators.

ACT CONTEMPORARY ARTS PRECINCT

2011

Location: Canberra CBD, Australia

Excerpts from a University of Canberra project investigation into optimising the City Hill precinct in the ACT, in order to create a contemporary performing arts centre.

(below left)

a. The proposed site is located adjacent to the existing canberra theatre site, and in the heart of Canberra’s CBD.

b. In Walter Burley Griffin’s original masterplan for Canberra the hezagonal block was supposed to represent the Civic hub of the city, however over time this space has been exclusively use for carparks. There is a current aprehension about what to do about this zone of the city. Our project proposes that this area eventuatlly turn into a zone exclusively for cultural, artistic and cummunity facilities. In order to reinvigorate the city as well as give it its important sense of arrival and identity.

c. Northbourne Avenue is the main road into Canberra and it intersects through the heart of the city. It leads directly towards Parliament house. d. Social Hub. The proposed site is located directly adjacent to the main social hub of the city.

d

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section east

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elevation west residence building

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growing mediumfilter membranedrainagesupportthermalaluminium cappingdrain pipecomposite

thermal control

300 structural steelplasterboardmain channelceiling tiefurring channel

mechanical rail

operable louvre

light

section detail louvre

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elevation west residence building

1 staff building2 residential building

3 VIP guest house4 small hall5 great hall

6 people’s hall7 pedestrian strip

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RESIDENCE OF THE PRIME MINISTER OF AUSTRALIA 2011

Location: Attunga Point, Lake Burley Griffin, Canberra

Due to the unsuitable state of the current residence of the Prime Minister of Australia, a new residence has been required for some time. This University of Canberra project aimed to propose a new residence that would be more adequate to the role of the Prime Minister in the current age.

(above centre)A schedule of spaces and their corresponding sizes were based on the provided brief. These pieces were drawn up into scaled square shapes which were then used to explore various relationships. Creating divisions between public and private, and service and serviced spaces seemed to be appropriate to the role of the Prime Minister, who needed to be able to manage his/her prive and public life.

(above) Divided into two parts along: service spaces and serviced spaces (unhighlighted). In section, the serviced spaces protrude above ground into an expressed built form, and the service spaces are hidden below ground.

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MILK CRATE BAR

2012

Location: Dickson, Canberra

Collaboration: Milos Carkic, Tynan Freeman, Jason Lu, Michael Mckeon and Mark Webster

Milk crates are modern day items we tend to forget in our everyday lives, yet in the western world they have been servicing us for decades. They are a part of our culture as much as the auto mobile or the iPhone, but somehow they have become insignificant to our conciousness, consistent with most things humans lack interaction in.

An investigation into milk crates suggests that humans have a great ability to follow orders and instructions. We enjoy being told what to do, instructions are placed in every item we buy. An iPhone cover is meant for the iPhone. Any teenager will tell you that having a blackberry in an iPhone cover is “tech-blasphemy. So society tells us that milk crates are strictly for milk, But equally to our passion for order and mandate we have an undying ability to reject the nuances of society and an indistinguishable flame within us called curiosity.

Ever since the inauguration of the Milk crate we have found ways to manipulate and re-define it’s purpose with great success. Dairy companies have been forced to alter the size of milk crates because people in the past have taken them for use to store records. Milk crates have also been an expression of art, thought and experimentations in design.

As a graduate architect the lure of design possibilities the back alley milk crate had to offer was too compelling to neglect.

Me and a few Architecture graduates got together one day and started to conceive on how we can be a bunch of nuisances yet create something practical. We started brainstorming and concluded our possibilities into two categories, either the milk crate structure was to be of

1. Symbolic (sculpture, message)2. Pragmatic (purposeful, functional)

We researched previous experiments on milk crate designs and came across a variety of interesting and outlandish ideas people have implemented in past.

Ultimately Mark mentioned a party he was to hold at his house the idea of a milk crate bar became the all round winner, runner up was a giant question mark, and as the old saying goes the rest is history.

The structure serves as a functional temporal bar which was installed and successfully used by the attendees of Marks party, we took into consideration on storage of items and convenience of not just service but also comfort.

The design is pretty straightforward, having the bar-top 2 milk crate wide and the height of from ground to bar top being 3 milk crate tall. The storage was fused with the walls of the structure in a chequered pattern, since milk crates are naturally designed for storage it was perfect for our purpose. We implemented seating around the bar with structure itself because separating seating and bar would’ve meant less interaction. The cold weather of Canberra actually worked in favour for us, since it was about -2degrees that night hence we stored all the alcohol in the crates and there was no need for ice or a fridge, our environmentally concious bar … (although what it takes to make the plastic crates is up for debate)

As a result we came up with an interesting take on the conventional milk crate and a self mad bar built for under $30.

Please note, all milk crates where returned to their rightful locations.

Jason Lu

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In a primarily symbolic act, refugees are assured to have enountered camps during their journeys and may have obtained UNHCR tarps. One tarp is often required to house a family of six, an inadequate solution for an emergency situation. These tarps are of little to no use once leaving a camp and suggest they left for re-use as balloon skins.

Research centre situated on the second deck will be the primary position in where scientist and meterologists conduct their experiments.

The electrolysis of sea water involves passing an electric current through the aqueous sodium chloride solution to seperate it into the following ions: Na+ (sodium), H+ hydrogen), Cl- (chlorine), and OH- (hydroxyl). The NaCl (sodium chloride) in sea water as a conductor for the electric current.

Recycled scaffolding to be used as support structure and guides to shipping container arrangement

The selection of shipping containers for shelter and storage is an obvious one given the location of the project. Furthermore the plethora of designed solutions utilizing shipping containers is a database for expermimentation. Most of which are never realized and many of which tackle wimilar issues to this project. So rather than suggest any certain assemblage ourselves, the platform becomes a testing ground for designers to appliy the best solution, perhaps even in competition format.

symbiotic relations on the platform ensure that scientific researchers such as meterologists and marine biologists can have the oppertunity to conduct studies offshore, this will help maintain the financial costs for the platform.

To provide power to the platform, a series of photovoltaic panels will be attached to the cables stringing off the ballons. These cables will be supported by a series of ring structures which will help them balance themselves. The photovoltaic panels will only be placed on the lower segment of the structure.

13REFUGE BEACON

2012

Location: Timor Sea / Indian Ocean

Project: EVOLO Skyscraper Competition 2012

A collaborative effort with: Milos Carkic, Tynan Freeman, Jason Lu and Thomas Martin.

This project aims to outline the issues facing boat people who try to reach the coast of Australia in order to seek asylum. This project proposes a scheme which will highlight and bring awareness to the plight of refugees. A reinterpretation of the nature of the tower is presented through the structure of suspended balloons from an anchored floating platform in the ocean.

The plight of refugees who take to the seas to reach the Australian continent has unfortunately become sharply politicized in Australia over the last few decades. The Australian public today are generally distanced and desensitized to the issue of boat people. People are actually not generally aware of how many refugees arrive by boat and how many actually eventually succeed in reaching Australia. What can we do as a global community to address and communicate appropriately the problems of the refugees?

For most refugees who successfully reach the Australian coast by boat, their journey does not yet come to an end. Australia has one of the poorest statistics when it comes to detaining and processing asylum claims. Refugees detained in Australia have the highest detention period anywhere in the world.

The problem of refugees is inexhaustibly complex and redesigning detention facilities is out of the question. Going to the root of the problem is a start. Why refugees become refugees is what determines this project. Refugees are forced to leave their environment and must then embark on a journey. The journey is the most important thing to this project. Since reaching the desired

destination is not necessarily a solution to the problem. Space has become exponentially more divided, categorized, multiplied, redefined and controlled. Undoubtedly the notion of ‘space’ is very relevant to the life of a refugee; being restricted access to space and always imagining the kind of space where one would rather be are all determined by the papers which one has. The notion of ‘other space’ defines this sort of utopia of hope that exists for a refugee. This ‘other space’ indiscernibly exists during the ‘journey’. Is this a state of mind? Does this notion of ‘other space’ cease to exist when a refugee reaches their intended destination? Could this notion of ‘other space’ actually exist as a space? If it can, what could it be?

In Michelle Foucault’s essay Of Other Space he makes a point about the evolution in attitudes towards cemeteries. Modern society has arrived at a point where death is treated as an illness, and in many modern cities the cemeteries have been moved from their traditional place in the centre of a city, to the perimeter. The issue of refugees can almost be seen in similar light where the public has been distanced from the issue through the saturation of media and political jargon.

Intercepting the ‘journey’ of the refugee and bringing awareness to the public are what constitute the proposed structure for this project. Multiple proposed ‘beacons’ and pit stops will be placed along paths which asylum seekers take in the Indian Ocean and the Timor Sea, between ‘Transit Countries’ like Malaysia and Indonesia in South-East Asia, and Australia. The presence of these ‘pit stops’ will bring attention to them through their pronounced form on the horizon. Large balloons attached to floating platforms by steel cabling, comprised of shipping containers containing basic sleeping quarters, amenities for 200 refugees, and a permanent research centre. The balloon structure serves the main purpose of suspending equipment for measuring weather and generating electricity to power the platform. The vertical form of the balloons is a reinterpretation of the tower, and serves a secondary purpose of behaving as a beacon and a visual reminder of the plight of asylum seekers.

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MILKY WAY 2013

Location: Kendal Lane, The Rocks, Sydney

Project: Sydney Vivid Festival 2013

Collaboration: Jason Lu, Joseph Rowe, Simon Palmer, Rhys Leitch, Victoria Guillemin, Milos Carkic, Brian Britton, Thomas Stevens, Katherin Fox, Simon Palmer, and Thomas Martin.

Recycling, and finding alternate uses for the humble milk crate is an ecological project that calls for an architectural sensibility. The interlocking boxes present the opportunity for infinite configurations to redefine their purpose, thereby al-lowing the location and function to justify form.In his design, Joe Rowe let the site, Kendall Lane dictate his design; a narrow laneway surrounded by heritage buildings. The Milky Way project draws the public to the laneway and into a Sci-Fi universe to observe the black hole of the Vivid festival, and guide them through the narrow, and otherwise overlooked path with their own curiosity.

The milk crates are simplified into a series of 3 dimensional blocks, suspended in a freestanding structure. The design is mindful of the site’s heritage constraints and yet illuminates the breadth of the space it exists in.Pockets of empty spaces allow the void of the night sky to interact with the enlightenment from the light shelf, creating an interface between darkness and light.

Designing the final steps took on an algorithmic explosion. The light shelf extends infinitely into space, and floats above the atmosphere like a futuristic ladder to another galaxy.Suspended in its parabolic form, the light shelf invokes a portal that encloses space, and approaches design inti-mately. The configuration also channels the flow of people through the space.The installation shows how everyday objects can be reused, and repurposed with advanced lighting technology. When the public engages with the structure, they’re not just expe-riencing the installation, but perhaps believing in the infinite possibilities that exist in our universe.

Joseph Rowe

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section east

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plan gournd

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elevation west

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plan first

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plan second

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section north

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VINEYARD DWELLING 2011Location: Prnjavor, Mačva, Serbia

Client: private

The brief set down for this project was to restore and extend an existing structure of an original three story weekend dwelling located in an eastern sloping vineyeard south of the town of Prnjavor, while maintaining as much of the original character of the building and considering the local architectural heritage.

Due to financial constraints to the budget, a descision was made to construct the building extension in three stages, comprising of three parts: restoring the original structure C, building the stairwell B, and adding the extension C. The extension ncludes a storage cellar on the ground floor, a living space on the first floor, and a study on the second floor. Large two-storey bi-fold doors can be opened during the summer months on the south and the north, opening these spaces to the outdoor setting.

plan reflected ceiling

1 cellar2 carport3 living 4 kitchen5 sttudy6 bedroom

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HOUSE IN CRACE

2011Location: Crace, Canberra

Client: Classic Constructions

The brief for this project was to construct a home with: three bedrooms, a guest flat, a kitchen, a verandah, a living room, a billiard room, a seperate laundry room, and a double garrage, all on a very narrow corner block, whose two street facing façades had to adhere to a strict suburb design patternbook.

(opposing page) These images represent the evolution of the design as the client changed their preferrences for the layout of the home.

(current page) The final design which was approved for development. Unfortunately at this stage the client did not commit to the build, because of financial reasons.

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TAIWO HOUSE

2013Location: Perth

Project: yg studio

A client from Perth was looking for a BIMX model as her home was being built in order for her to visualise the plans.