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Atrium THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE, BUILDING & PLANNING THE FUTURE OF THE DESIGN STUDIO 32 | 2017
PAGE 2 | 3 ATRIUM 32 | 2017 CONTENTS Dean’s message 2 National architecture prize to Peter Elliott 4 Exuberance and vitality: Teaching from practice in Unliveable Berlin 5 Designing through making 8 Maximising our built environment education through the design studio 11 Unlocking Pholiota 12 Is there a place for traditional construction techniques in post industrial Amedabad? 14 Decibel (Architecture))) and the Alumni Survey Series 16 Transdisciplinary dreaming in the design studio 18 Terra Oddities: The painted desert mobile studio project 20 Our supporters 22 Been and seen 24 Inside the Faculty 26
The University
of Melbourne
ARCHITECTURE BUILDING AND PLANNING
FROM
THE DEAN
JULIE WILLIS
HARD TO BELIEVE THAT THE END OF SEMESTER IS FAST APPROACHING
ALREADY, BUT THE SIGNS ARE AS SURE AS THE COOLING WEATHER.
WITH DESIGN CRITS AND ASSIGNMENTS ABOUNDING, THERE IS
A GENERAL SENSE OF INTENSITY IN THE AIR.
A warm hello to you, our valued alumni. ABP’s Faculty Executive recently gathered
As I make my way through my first semester to look at both the immediate challenges
as Dean of the Faculty of Architecture, and opportunities we have, and to consider
Building and Planning, I look forward to where we should be going in the longer
meeting many of you in a variety of forums. term. It is the first of many conversations
I’m deeply privileged to lead a dynamic that will take place over the next six months,
and vibrant Faculty, in which there is always as the Faculty works towards articulating
something interesting going on, whether a new five-year strategic plan.
it be public lectures, exhibitions, student-led
events or research seminars. Our alumni are I would also like to take the opportunity
an integral part of who we are as a Faculty, to welcome our new Faculty Executive
and we welcome the opportunity to connect Director, Rebecca Bond. Rebecca brings We are one of the few schools globally
with you in multiple ways. enormous knowledge and experience to offer studio teaching across the range
to the role. Please do introduce yourself of built environment disciplines – beyond
I would like to thank Professor Daryl Le to Rebecca when the opportunity arises. the design-dominated. Our travelling
Grew for his generosity in acting as Interim studios which take our students to Asia,
Dean across 2015 and 2016; he has made One of my first tasks as Dean of Faculty
India, Europe, South America and remote
a lasting impression on who we are and has been to accept, with great pleasure,
Australia make for exceptional student
what we do. His guidance, building on a gift of $1 million from Creative Futures.
experience and learning.
the strong foundation of what Tom Kvan This very generous gift supports the Robert
achieved before him, has put the Faculty Garland Treseder Fellowship to bring Studios make for fabulous learning
in a very strong position. I pay tribute to outstanding design innovators to the experiences, where insight and investigation
his collegiality and his leadership in guiding Faculty as visitors. The gift was facilitated into a specified problem or task in a holistic
the introduction of the Bachelor of Design. by Professor Daryl Le Grew and Dr Robert way, reaps understanding and ways of
Again, thank you Daryl. Treseder, both alumni of the Faculty, with doing that few other teaching methods
strong support from the Creative Futures can realise. Studios foster creative, lateral
We have started this year strongly, with board. Such gifts offer so much more than thinking, building skills that result in
good interest in the Bachelor of Design support for events and/or people, for the innovative solutions. There is no better
translating into very healthy enrolment connections, networks and enhancements preparation for tackling the complex
rates and clearly-in ATAR score. It is an they bring foster lasting and tangible benefit problems of the future.
excellent start for a new degree. Students to the Faculty and its students.
across campus have been following the Professor Julie Willis
progress of our undergraduate students This edition of Atrium asks the question, Dean
with some envy – the Bachelor of Design what is the future of the design studio?
is fast developing a standout reputation As a school of the built environment
for offering a challenging, hands-on we invest significant thought, time and
and innovative curriculum. dedication into our studio teaching program. Images: Paul Philipson and Erieta Attali
PAGE 4 | 5
ATRIUM 32 | 2017
NATIONAL
ARCHITECTURE
PRIZE AIA GOLD
MEDAL GOES TO
PETER ELLIOTT
Sara Brocklesby
PETER ELLIOTT AM LFRAIA, BARCH(HONS) (MELB) 1976 HON DARCH (MELB) 2015, HAS BEEN AWARDED
THE AUSTRALIAN INSTITUTE OF ARCHITECTS’ HIGHEST HONOUR, THE AIA GOLD MEDAL.
Dean of Faculty, Professor Julie Willis He acts like an urban surgeon: stitching and earned him the highest respect
says of the win, “Peter Elliott is a highly and knitting the city back together, grafting within government and the community.
talented architect who has behind him new onto old, removing and revealing, but The breadth and depth of his interpretation
some extraordinarily gorgeous work. always leaving the body better than before.” of the human experience of the city provides
His contribution to our University is an exemplary model for architectural
physically evident in his network of small practice. Peter Elliott is a most worthy
and beautiful interventions which sensitively recipient of the Australian Institute of
integrates our Parkville campus. His Architects Gold Medal by his exceptional
thoughtful, patient approach to his teaching contribution through design, to architectural
and academic work here, as well as his “...PETER ELLIOT IS A MOST education, leadership within the profession,
personal integrity, remains influential in WORTHY RECIPIENT OF THE and promotion of architecture within
our school’s culture. We are all delighted the community.”
that he has been awarded the AIA Gold AUSTRALIAN INSTITUTE
Medal and it is wonderful to see him and OF ARCHITECTS GOLD The Gold Medal recognises distinguished
his talent so appropriately recognised.” MEDAL BY HIS EXCEPTIONAL service by architects who have designed
or executed buildings of high merit,
Elliott began teaching at the University of CONTRIBUTION THROUGH produced work of great distinction resulting
Melbourne in the mid-1970s at the same DESIGN, TO ARCHITECTURAL in the advancement of architecture or
time as starting his architectural practice EDUCATION, LEADERSHIP endowed the profession of architecture
and founding the Fitzroy Housing Repair WITHIN THE PROFESSION, AND in a distinguished manner. The jury noted,
Advisory Service, among other inner-city “Remarkably, Peter Elliott has excelled
public housing and community projects. PROMOTION OF ARCHITECTURE in all these areas through his consistent
He also served on our Architecture WITHIN THE COMMUNITY.” practice of architecture in the public
Advisory Board (1985 to 1988). interest over many years.”
Philip Goad, Chair of Architecture and The Faculty of Architecture, Building and
Redmond Barry Distinguished Professor, Planning offers our warmest congratulations.
has paid tribute to Elliott’s work in
Architecture Australia1, explaining, “He
deftly combines architecture and urban The jury, in recognising Elliott’s
design with modesty and unassuming ease. achievements across design, education, 1. Goad, Philip. “Urban surgeon: education and
The results seem utterly natural and right. infrastructure as city making’. Architecture
public policy and social housing, also Australia. May/June (2017). 106.
At the same time, they conceal an extremely spoke of the role Elliott’s generosity in
sophisticated and expert knowledge of the his work and influence.
city and its multiple scales and a meticulous
attention as to how one experiences space “Peter’s intelligence, humanity and humility Image: Peter Elliott by Hosna Saleem.
and a place. has endeared him to many in the profession,
The University
of Melbourne
ARCHITECTURE BUILDING AND PLANNING
“BEING ABLE TO
COMMUNICATE AND PRESENT
IDEAS, LISTEN AND RESPOND
QUICKLY, YOU HAVE TO
DEVELOP THOSE SKILLS
IN STUDIO. STUDENTS TAKE
THESE SKILLS TO PRACTICE.”
01
EXUBERANCE AND VITALITY:
TEACHING FROM PRACTICE
IN UNLIVEABLE BERLIN Sara Brocklesby
ABOUT CATHERINE DUGGAN Catherine Duggan (Peter Elliott We’ve transitioned that studio into
>
Architecture + Urban Design) and Unliveable Berlin. Developing one theme
Catherine Duggan BEnvDes (UTas) Michael Roper (Architecture Architecture) across several studios has allowed us
BArch (Hons) (Melb) is Senior teach the Unliveable Berlin studio, to build an archive of work to draw on,
Associate at Peter Elliott Architecture which takes masters students to the this adds a richness to the studio that
+ Urban Design. ANCB Metropolitan Laboratory for wouldn’t otherwise be possible. We are
three weeks of intensive design work, running Unliveable Berlin again this year,
the culmination of seven weeks of in Semester 2.
ABOUT MICHAEL ROPER
>
research and design esquisse. Their
Michael Roper BPD (Melb), BArch (Hons) work is exhibited at the Melbourne MR: Unliveable City concerned itself with
is Director at Architecture Architecture. School of Design’s end of semester the ways in which cities can be exclusionary,
Michael was awarded the AIA Emerging show, MSDx. asking students to consider who their city
Architect Prize in 2016. caters for and who it overlooks, the ideas
We asked Catherine and Michael about a cities embodies and the ideologies a
the experience of teaching as practitioners. city rejects. Berlin provides rich territory to
How does practice inform studio teaching, explore these concerns. A century of war,
and vice versa? division, demolition, reunification, aborted
reconstruction, and temporary occupation
CD: I have been teaching here since is written into the city’s urban fabric. Hence
2008 in the masters program. the development of our latest studio
Unliveable Berlin.
MR: Catherine has done much more
teaching here than I have, but my first CD: Berlin provides a real point of
class was way back in 2005. difference with Melbourne, because
the social agendas and urban character
CD: When we started teaching together differ so greatly. Developers are more
we started with a studio based in opportunistic here, and as a society we
Melbourne called The Unliveable City. are less opportunistic than Berliners.
Continued overleaf
PAGE 6 | 7
ATRIUM 32 | 2017
MR: Taking students out of their familiar MR: It’s good to be reminded of the benefits
environment helps them to see the world of naïve thinking in a design process.
afresh. It’s that old idea of trying to get The stripping away of well-worn references.
a fish to see the water they’re swimming First year projects – I’m not sure what they
in. Students are so energised by being in look like these days – can be quite wild.
a foreign city, which is an exciting starting Buildings bursting out in all sorts of unlikely
point for a design investigation. directions. They have an exuberance
and a total, impractical vitality which is “BERLIN PROVIDES A REAL
CD: Studio provides an opportunity really excellent. POINT OF DIFFERENCE WITH
to develop ideas you’re interested in.
Ideas that you are unable to pursue CD: To have a single problem, and to have MELBOURNE, BECAUSE THE
in formal practice, for various reasons, fifteen people in a studio all approaching SOCIAL AGENDAS AND URBAN
can be tested through the studio. Studio that problem in entirely different ways is CHARACTER DIFFER SO
teaching provides an avenue for installation brilliant to see. You witness an amazing
GREATLY. DEVELOPERS ARE
work for example. The studio, in terms of capacity to think laterally. You never get
benefit to practice is around honing skills. that exact situation in an office because you MORE OPPORTUNISTIC HERE,
tend to be working toward a single agenda. AND AS A SOCIETY WE ARE
The studio environment is quite abstracted.
LESS OPPORTUNISTIC THAN
It’s a heightened version of what happens MR: Catherine and I often have very
in practice. Being able to communicate and different positions on students’ work. I think BERLINERS.”
present ideas, listen and respond quickly, we see that as a strength of our teaching.
you have to develop those skills in studio.
Students take these skills to practice. CD: Students have the benefit of both our
For me, teaching means I am more perspectives on a weekly basis. They will
Image:
precise about my work. receive different feedback from Michael and
I, which pushes them to really strengthen Amelyn Ng, Master of Architecture project
The Hotel Project. An Apparatus for Opportunism.
MR: The urban regeneration and renewal their position.
work you’re doing at Peter Elliott’s –
small interventions to activate the urban MR: Having to negotiate both sets of
environment – these tie in fairly neatly feedback and work out what’s important
with our studio. to them is great training. Sometimes
there’s a risk that students think their
CD: Yes, that’s a good example of tutors somehow hold the ‘correct’ answer.
something that we’re interested in that we We dispel that myth by offering them
bring into studio. I think you do that anyway, two divergent perspectives.
you bring in your body of work and the
things that are already on your mind. What CD: We also have our own rigorous
you bring to the studio and what you take discussions in the planning of each
back into practice are different things. The studio about its agenda. Differences
creative thinking that happens in studios, of opinion mean we tease out exactly
is really exciting, the energy and the crazy what our focus is.
ideas that bounce around in studio,
may never be played out in reality. MR: Catherine wins.
CD: …not always.
The University
of Melbourne
ARCHITECTURE BUILDING AND PLANNING
01
DESIGNING
THROUGH MAKING:
MACHINING
OUR FUTURE
Paul Loh and Xuyou Yang
MACHINING AESTHETICS
STUDIO IS LED BY PAUL LOH,
LECTURER IN DIGITAL
ARCHITECTURE AND
DAVID LEGGETT OF POWER
TO MAKE/ LLDS.
The work of the studio was exhibited by Craft
Victoria in 2013, titled Machining Aesthetics
9+1. The Articulated Ground Pavilion
designed and fabricated by the studio
received a commendation prize in the
2015 Timber Vision Award, Public Space
categories. Three research papers based
on the studio work were published between
2015 and 2017, including one student
receiving the Young CAADRIA award in 2017.
We talked to studio leader Paul Loh and
student Xuyou Yang to understand how
“THE WAY WE MAKE THINGS Machining Aesthetics is reimagining design
teaching and learning.
CHANGES THE WAY WE
DESIGN AND BUILD.” Continued overleaf
PAGE 8 | 9
ATRIUM 32 | 2017
“WE WANT OUR STUDENTS
TO LITERALLY CRAFT AND
MACHINE THEIR AESTHETICS.”
Paul Loh: The Machining Aesthetics studio to literally craft and machine their aesthetics. or responsive systems. This way, the
questions the nature of architectural design This is not some abstract appreciation of fabrication process becomes the starting
practice. When we first started formulating material quality; it can be quite literal, like point of the design. It sets the aesthetics,
the agenda of the studio, now in its markings on a piece of timber or a visual scale, geometric potential, constraints
eighth iteration, we wanted to challenge distortion when one vacuum-forms a sheet and the fabrication sequence of the
our students to design from a deeper of plastic. As designers, we often ignore interventions. This bottom-up design
understanding of materials and technology these material effects. Most of our students method allows students to develop
instead of responding to the traditional initially rejected this approach as separate spatial and material thinking that is
design brief. Fundamentally, we are from their design thinking – the conceptual not preconceived or assumed.
interested in how understandings of idea already developed in their mind often
new technologies and materials can act does not seem to match the material The studio sees emerging technology and
as drivers for design methodology; and outcome. When students let go of their numerically-controlled machinery as tools
therefore, allow a different mode of practice. pre-conceived formal expression, they that have their own unique method of
start to appreciate the material and production and inherent logic. We work
The inspiration for the studio emerged from its manufacturing process as an operative with these logics and seek to expand the
our architectural practice, Power to Make / driver in their design. In this way, we argued capacity of the tools to operate as design
LLDS. We are one of the few architectural that the language of architecture is inherent drivers. This method of thinking is not
offices in Melbourne that has its own making in the material and fabrication processes. dissimilar to how a craft person considers
workshop equipped with Computer their toolset: the ability to deploy a chain
Numerically Controlled (CNC) machines. This design knowledge is critical because of tools in a fluid and lateral manner to
Our material investigations through the design process enters into immediate make unique artefacts. Through this lens,
technology provide different methods of dialogue with materiality instead of as an we incorporate emerging technology into
engaging with design: sometimes through afterthought. The way we make things the studio, encouraging students to move
abstraction of material quality, other times changes the way we design and build. laterally across media and technologies.
through the fabrication process. More A major part of the studio teaching is
recently, we started to make our own formulated around the development of Machining Aesthetics represents a specific
CNC devices to advance our digital tacit knowledge; that is, knowledge that studio teaching methodology. It’s lineage
manufacturing techniques and evolve could only be gained through making or in 1:1 scale making in an educational
our design repertoire. This design doing something. We see this as a fertile environment is indebted to mine and
research methodology carried into ground for material research, which David’s unique education at the University
our studio teaching. contributes to contemporary discourse of East London and later at the Architectural
in digital design and fabrication. The Association, School of Architecture in
The studio formulates design around studio has published three research London. Architecture as a discipline is
the articulation of architectural language. papers to date. intricately tied with its material outcome
Architectural language of elemental parts and requires a material response. One
(of columns, wall, floor, roof and stairs) In recent iterations of the studio, we cannot learn how to make a building
exists beyond stylistic gesture and should have incorporated electronics prototyping without knowing how to make: a direct
be driven by the physical materiality of what platforms into the studio project in order engagement with fabrication processes
makes architecture. We want our students to design and make fabrication machines is part of our business in architecture.
The University
of Melbourne
ARCHITECTURE BUILDING AND PLANNING
03
04 05
02
Xuyou Yang: Machining Aesthetics is a Later, with the combined support of the
very demanding studio across architectural studio leaders and the Robotics Lab
design, digital modelling, fabrication and staff, we came up with a robotic variable “THE FABRICATION PROCESS
representation techniques. I chose this fabric formwork to cast hyperbolic paraboloid BECOMES THE STARTING
studio for its emphasis on using innovative panels using plaster, which is a less complex POINT OF THE DESIGN.”
technologies in architectural applications and wasteful procedure than conventional
which, to me, suggests a strong catalyst methods of casting doubly curved geometry
for interesting project outcomes. Moreover, in construction. With the assistance of the
Machining Aesthetics V4.0 offered us the studio leaders, we published our innovation Images:
opportunity to work with the Faculty’s new in a research paper. 01. Pneumatic prototype exploring electronic
robotic arms, a rare opportunity in a studio prototyping platforms as part of the design process,
environment. Consequently, our project Machining Aesthetics is the toughest by Ryan Huang, Daniel Parker and Suyi Zha.
was the first masters-level project in the studio I have ever undertaken, but it has 02. Articulated Timber Ground project awarded
Melbourne School of Design to make also greatly advanced my architectural commendation in the 2015 Timber Vision Award
use of the robotic arm. thinking. I learned advanced digital
03. Envisaging new ways of construction through
fabrication techniques, how to design use of technology.
At the start of the studio, we were given digital workflows (especially robotic
04. Machining Aesthetics 9 + 1 exhibition at
a digital skills workshop which allowed fabrication) and automation in construction.
Craft Victoria, 2016.
us to engage with robotics very quickly. It also provided me with the opportunity
My project explored methods for casting to write an academic peer reviewed 05. Tool making as part of future designing.
doubly-curved geometries with the robotic paper. These skills will be indispensable
arm. Machining Aesthetics creates an in my future career. Several months after
extremely fast-paced study environment, Machining Aesthetics V4.0, our paper,
and requires a high level of productions. Robotic Variable Fabric Formwork was
During the making process, we were accepted by the International Conference
pushed to design, fabricate and test on Computer-Aided Architecture Design
a new iteration of formwork almost every Research in Asia (CAADRIA). I was
week. The experimentation was part of supported by the Michael Kaufman
the learning process, especially when we Scholarship Fund to present the paper
were exposed to new technical content. at the Conference to an international
We endured many failures while exploring audience in Suzhou, China, where I was
the variable formwork and robotics awarded the Young CAADRIA Award.
programming. Failures are part of the I’m now employed as a robotics technician
learning outcome which eventually led in the MSD Robotics Lab.
to successfully working prototypes.
At an early stage of the design, my project
partner and I consulted with Arup engineers
about the structural potential of the system.
PAGE 10 | 11
ATRIUM 32 | 2017
MAXIMISING OUR BUILT
ENVIRONMENT EDUCATION
THROUGH THE DESIGN STUDIO Donald Bates
STUDIO FUTURES: CHANGING TRAJECTORIES IN ARCHITECTURAL EDUCATION (1) IS A RECENT
ATTEMPT TO PROVIDE A SPECULATION ON THE RELEVANCE OF THE DESIGN STUDIO AS A
DEFINING FEATURE OF ARCHITECTURAL EDUCATION.
The book provides evidence of the and ‘proof’ by making and doing. At based on conventional project types:
diverse modes by which architecture its best, studio learning accumulates housing, schools, library, museum, etc)
is currently taught across Australia capabilities by the speculative act of and still have another 15 or 20 more
(and internationally), while also doing, as opposed to the re-presentation exploratory studios, based around
questioning whether this pedagogic of facts and agreed responses as a broad themes of ‘the city’, ‘technology’,
formation is being deployed and confirmation of the already known. Ideas ‘living’, ‘the civic domain’, ‘senses’
appreciated to its full potential. and concepts are tested by a dynamic and ‘process’. These thematics are
process of producing options and interpreted and elaborated on by a
At the heart of this debate is the alternatives that undergo a comparative range of studio leaders, both from
proposition that design teaching – as assessment to make possible new within the Faculty and through sessional
exemplified by the ‘studio’ – is a unique directions and further pathways for engagements. Studio leaders range
form of knowledge formation. Although elaboration and assessment. from esteemed statespersons of the
most studio programs are directed architectural profession to talented
to a ‘project’ as the basis of student Within the Master of Architecture recent graduates. Many operate
development and the procurement of program at the MSD, we work with the within large corporate firms, or as
architectural competencies, this is not largest cohort of architecture students in single practitioners, or as decidedly
to say that the development of a design Australia. Managing over 450 students academic researchers and theorists.
is the same as solving a problem. In each semester within the design studios
studio teaching there is no ‘answer’; is logistically complex and pedagogically This array of teaching options
there are only potential resolutions to demanding. But there are, in fact, major constitutes an emergent ecology of
the theme, the site, the brief, the context, advantages that accrues from the size architectural pedagogy, where new
the aspirations of a client. Such a of the cohort – variety and diversity. strands of architectural thinking start
process of working may seem self- to germinate, and other well-formed
evident as part of a design education, In Semester 1 2017, we have 30 domains consolidate and then split off
but it is in marked distinction to other forms distinct studios operating for the C, D, into expanded realms. There are many
of teaching and knowledge formation. E students (i.e. the first three semesters over-laps and adjacent lines of enquiry.
of a four-semester M.Arch degree). With This allows for studios to share resources
Studio teaching, and by extension, this considerable number of studios, and debate directions, and then for new
studio learning, is a non-linear, non- we are able to program five or ten or networks to materialise, with cross-
formulaic process of investigations more ‘normal’ design studios (studios fertilisation an ever-present benefit.The University
of Melbourne
ARCHITECTURE BUILDING AND PLANNING
Discussion of the nature of the Along with the partnership projects “THE STRUCTURE OF THE
design studio often returns to a and the attendant outcomes, several
MSD EXPOSES STUDENTS TO
question regarding how in parallel studios each semester operate
or in opposition studio teaching is in from the offices of some of the more DISPARATE, OFTEN OPPOSITIONAL
comparison to office practice – should established firms of Melbourne. Here MODES OF TEACHING AND
the studio replicate the nature of an the pedagogic consequence is not PROJECT EXPLORATION”
architectural office? Real projects or about replicating office practice, so
‘make-believe’ projects. Real clients much as it is about how architectural
or invented clients. Generally, I consider production is increasingly team based,
this line of questioning to be irrelevant built around multiple inputs, research
to architectural education. Rather and technique sharing, and internal
Bates, D. Mitsogianni, V. & Ramirez-Lovering, D.
than try to claim or support one side critique and assessment. Studio Futures: Changing trajectories in architectural
of a false opposition over another, I education. (URO Publications 2015).
would prefer to detail how the M.Arch With students participating in at
program at MSD uses our large cohort least four design studios in the course
to test and work with numerous of their degree, the structure of the
variations of the engaged versus MSD exposes students to disparate, Image: Aik Meng Heng, Master of Architecture Thesis
often oppositional modes of teaching project. Winner of the Victorian Graduate Prize 2017
independent argument. awarded by the Australian Institute of Architects.
and project exploration. This is
Each semester, a percentage of the intentional. Students gain experiences
project undertaken by the studios that challenge them to consider
will be projects that are developed the architectural and professional
in conjunction with external partners. consequences of alternative positions,
These projects range from work alternative techniques and alternative
with the Mt Macedon CFA to retro-fit logics in the establishment of an
and reimagine a local fire station, understanding of architecture. The
to assisting a commercial developer ‘studio’ provides that active ground
such as Cedar Woods Properties for these types of knowledge formation,
to investigate dense suburban where understanding is generated
developments with new forms through making and doing.
of habitation for multi-generational
living (with architecture and property Professor Donald Bates, is Chair of Architectural
Design, the University of Melbourne and
students working together), to a Director of LAB Architecture Studio.
studio focused on aged housing
and developing prototypes with
the Assisi Centre in Rosanna.PAGE 12 | 13
ATRIUM 32 | 2017
01
UNLOCKING
PHOLIOTA Philip Goad
IN OCTOBER 2016, THE estate to the Yarra River. Each student Eric M. Nicholls), which employed pre-cast
was allocated a different set of eight concrete pipe columns, and the Vaughan
EXHIBITION PHOLIOTA
blocks on the estate and asked to, Griffin House in Heidelberg (1924), built
UNLOCKED TOOK PLACE in addition to siting their new Pholiota, using the Knitlock system and now owned
IN THE MSD’S DULUX GALLERY. double the density as a possible answer by Professor Graham Sewell (Faculty of
IT WAS OUR CONTRIBUTION to Melbourne’s need to consolidate its Business and Economics at the University).
building stock and accommodate At the same time, the students were
TO CULTURAL COLLISIONS, THE increased population density. designing their new Pholiotas and revised
ARTISTIC PROGRAM CURATED BY subdivisions plans for the Glenard Estate.
VICE-CHANCELLOR’S FELLOW, Adding to the challenge was a required In the twelve weeks of a semester, they
detailed investigation of Knitlock – to had begun to unlock Pholiota.
SIR JONATHAN MILLS, AND THE study the Griffins’ special system, to
UNIVERSITY OF MELBOURNE’S make some of the tiles at various scales Our next step was to bring all of this
CONTRIBUTION TO LAST YEAR’S in the MSD fabrication workshops and material together to make an exhibition.
MELBOURNE FESTIVAL. work out ways of making the tiles afresh, Key to this second stage (July–September
and then in some cases, inventing 2016) was the involvement of MArch
a new Knitlock tile or system. student Manjit Patil, who along with
industrial designer and sculptor, Alex
In pedagogical terms, this meant that a Goad, devised a way to fabricate the
rich vein of learning techniques could be entire suite of Knitlock tiles. Together
The exhibition celebrated the work exploited. Dr Jeffrey Turnbull presented on we produced the more than 2300
of American architects and husband the Griffins and Knitlock; and Professor tiles required to build Pholiota. Student
and wife team, Walter Burley Griffin Paolo Tombesi on the prefabricated Mengyan Wang, worked with Travis
and Marion Mahony. It also showcased concrete systems design for the SARAH Cox from Microsoft SocialNUI at the
student designs and the state-of-the-art Network of Rehabilitation Hospitals in University of Melbourne, supplying him
digital fabrication and workshop Brazil. Design critics during semester with her Pholiota design so that it could
facilities of the MSD Building. included Sir Jonathan Mills, Dr Jeff be transformed into a virtual reality
Turnbull, Dr Alex Selenitsch, Marika experience. Professor Sewell generously
The exhibition focus was Knitlock, the
Neustupny (NMBW Architecture Studio), lent us original Knitlock blocks and roof
concrete block system patented by Walter
Tobias Horrocks (Fold Theory) and Chris tiles for the exhibition and Peter Navaretti
Burley Griffin in 1917 and its centrepiece
Haddad (Archier). helped compile a complete list of
was a full-scale, 1:1 reconstruction of
Pholiota (1920–1), the Griffins’ house Knitlock structures (built and unbuilt)
Students undertook historical and archival in Australia. Student Ali Eslamzadeh
at Eaglemont. Complementing the research on the Griffins. They digitally
reconstruction were designs undertaken supplied 3D animation of his new
re-drew and constructed the original designs for Pholiota and all the students
by thirteen final year MArch students plans of Pholiota according to the
for a contemporary version of Pholiota. reformatted their work for exhibition.
Knitlock construction system. Using Faculty multimedia coordinator James
digital fabrication techniques they Rafferty set up time-lapse photography
The students examined the Glenard Estate
experimented with various materials in the Dulux Gallery to record the
in Eaglemont, which Griffin had laid out
to perfect the moulding system using whole construction process. All
as a 120 lot suburban subdivision in 1916.
silicon and MDF, and made the blocks through this, Italian filmmaker Giulio
A distinctive feature of the estate was the
themselves, using 3D printing, plaster Tami was recording everything on film.
inclusion of curving streets aligned with the
and also, of course, concrete.
site’s contours, two communal parklands
located at the rear of the allotments, and Remarkably, construction of all of the
We visited the Eaglemont site, the former walls, chimney and fireplace of Pholiota
a series of footpaths that led through the Herborn House in East Hawthorn (1929, took just two days – partly due to theThe University
of Melbourne
ARCHITECTURE BUILDING AND PLANNING
02
ingenuity of Griffin’s system and partly
due to the students’ developed expertise
in understanding the logic and intricacies
of the system. They had become experts
and confident in their ability to manage
and manipulate the elements. At its
completion and during construction, the
replica Pholiota was a revelation: elegant
in its simplicity, and the plaster blocks,
while not concrete, and even with their
minor imperfections in laying and low
sheen, took on the quality of marble. 03 04
We had created a little domestic temple!
Philip Goad is Chair of Architecture, Redmond
Barry Distinguished Professor Melbourne School
of Design, University of Melbourne.
OUR DULUX GALLERY
The Dulux Gallery is named in
recognition of the sponsorship
and support by Dulux Australia
of the MSD. The University is
pleased to be in a partnership with
this leading supplier to the industry.
A manufacturer and supplier of
paints and finishes widely used in
our industry, Dulux Australia has long
supported the ongoing development
of the professions, notably through
05
their annual program, the Dulux
Study Tour, as well as the many
other professional programs around
the country. Extending these, Images:
the sponsorship of the Melbourne 01. The compactly aligned Knitlock 04. Studio Leader Professor Philip Goad works
School of Design contributes to bricks are delivered prior to construction. with students on the West wall mid-construction.
the education and development 02. Master of Architecture students make 05. Pholiota: Unlocked opens to the public,
of our professions broadly. rapid progress constructing a replica of complete with a full-scale replica of the Griffins’
the Griffins’ home, Pholiota. Eaglemont home, and new designs re-imagining
the space for the present day.
dulux.com.au 03. Expanded view of the moulding process
students used to re-created the Griffins’ innovative
Knitlock brick system (drawing: Manjit Patil).PAGE 14 | 15
ATRIUM 32 | 2017
IS THERE A PLACE FOR TRADITIONAL
CONSTRUCTION TECHNIQUES IN
POST INDUSTRIAL AHMEDABAD?
Phillip Culpan and Carey Landwehr
Touching down in Ahmedabad, any The property is a typical 1970s masonry The rural population is moving in droves
preconceived notions of the city we have middle class, low rise urban house. to cities like Ahmedabad in search of
researched for the Ahmedabad Travelling Could it be used as a mechanism to employment opportunities. Many end
Studio dissipate in the dusty evening air. explore new ways of designing and up in the local construction industry, with
There is a recurring cliché that India and constructing in order to maximise local little formal construction experience, and
the subcontinent cannot truly be explained knowledge and accommodate largely find themselves building contemporary
without visiting in person and, if our uneducated workers’ skills? Could learning Ahmedabad. In the rush to modernise and
incredibly expeditious two-week travelling new ways to design and construct empower? construct quickly, traditional methods deriving
studio will teach us anything, it is that the from the local landscapes have taken a back
cliché is mostly true. Equipped with the In a bygone era, Ahmedabad prospered seat. Unskilled labourers follow developers’
task of investigating the post-industrial from its thriving textile industry, orders with little opportunity to upskill,
fabric of Ahmedabad’s built environment, commandeered by local Mill owners. It or draw on craft traditions which can be
we set out through the city and wider was these Mill owners who commissioned perceived as outdated for modern buildings.
Gujarat in the search for answers. international architects like Louis Kahn
and Le Corbusier to build local, now iconic, Local architect and newly appointed Dean
We are immediately swept up in the chaotic buildings. Today, the profound impact of of Architecture at CEPT University, Surya
motion of the city as we rattle along in a the mid 20th century modernist tendencies Kakani, explains his own beliefs on the
convoy of auto-rickshaws through tightly are reflected in the work of local architects appropriateness of an architecture derived
packed streets teaming with vendor activity. and yet their contributions remain withdrawn from its people, processes and place.
The sun streams through the openings and guarded from the complexity of the He guides us through his practice and
between the city’s low-rise, densely packed surrounding urban context. Our first clues projects, describing how many of the
concrete and masonry buildings. The in understanding the climatic context are complex built environment problems facing
glare temporarily blinds us to the informal revealed in these buildings, most aptly modern India can have well considered
communities dotted along the street’s through the works of Indian modernist yet simple responses if architects only
edge. Our gaze shifts across the colours of architects Charles Correa and Balkrishna choose to address the problems head
reappropriated modern materials sheathing Doshi. Deep voids, gigantic guttering on with local solutions, exemplified in his
seemingly temporary structures. Honking systems, louvered breezeways, planted practice’s oeuvre. Kakani aims to minimise
our horns, we glide between narrow courtyards and shallow water bodies environmental impact by using industrial
openings onto vastly exposed sun scorched speak volumes to the extreme heat waste products such as fly ash masonry
intersections to reach the multitude of and torrential downpours experienced construction in his projects. He combines
destinations within our loaded itinerary. throughout the year. A tradition of climatic this with the utilisation of traditional artisan
appropriateness embodied under a veil craftsmanship expertise in the articulation
During our time in Ahmedabad we work of internationalist forms. of architectural details. His highly effective
closely with international educators and spatial planning pays deep attention
students from the local CEPT University, our As we depart Ahmedabad’s architectural to the sited context of each project and
studio leaders, local architects, communities outposts, we watch the sun engulf the its environs, thus using a process that
and construction workers to understand the city, piercing shallow voids and storing seamlessly weaves people and place.
evolution of Gujurat’s construction industry. its energy across a vast thermal mass
At the forefront of our minds is the question, heat sink. We are reminded of how the With Surya’s remarks in mind, we
how can we design a building to empower disregard for tradition in lieu of the speed temporarily escape the city. Arriving in
local, mainly unskilled, workers through skill of globalisation has left a legacy of poor Kutch we are greeted by what could only
building drawing on a history of traditional building stock across the city. be described as the epicentre of traditional
construction craft and knowledge? building practice. Bamboo structures, mud
Over the last few decades the region’s brick and render, shallow masonry domes
Our design brief to create a centre for textile industry has rapidly diminished and woven fabric partitions; a tapestry of
research is applied to the Ahmedabad and the agricultural industry is no longer construction possibilities derived explicitly
property of late University of Melbourne as large as it once was, resulting in from local materials and methods.
Professor Bharat Dave as a case study. significant job losses.The University
of Melbourne
ARCHITECTURE BUILDING AND PLANNING
Here, we uncover the processes for
01 02
training, the relevance of these traditional
skills to the climatic and environmental
context of Gujarat and the importance of
retaining these practices in Ahmedabad’s
mechanising and rapidly growing
construction industry.
We are reminded of a message given to
us by Ahmedabad architect Nimish Patel
during the last few moments of our visit to
his office; “It does not matter how fast you
are going, if you are heading in the wrong
direction.” For Patel, and a handful of local 03
architects, it is a vital mission to integrate
and bring back into the main fold of
architecture the deployment of the
indigenous construction techniques
and artisan craftsmanship that sustained
India for hundreds of years prior to
industrialisation.
Phillip and Carey are Master of Architecture students
who participated in the Ahmedabad Travelling Studio.
04
In honour and memory of
Professor Bharat Dave.
Images:
01. Learning from Hunnarshala founder
Sandeep Virmani at Hunnarshala, Bhuj.
Photograph: Hannah Robertson.
02. A stone inlay craftsman at Jayantilal
Stone. Photograph: James Oberin.
03. Repairs to brickwork at Louis Kahn’s modernist
IIM campus. Photograph: James Oberin.
04: The studio group in Jaai and Surya Kakani’s
garden. Back row (from left to right): Mitchell Stewart,
James Oberin, Andy Clements, Morgan Doty, Blair
Gardiner, Erin Donovan, Phillip Culpan, Tom Jones.
Front row (from left to right): Amelia Warhurst, Surya
Kakani, Hannah Robertson, Jaai Kakani, Carey
Landwehr and Andy Nicholson. Photograph:
Mitch Stewart.PAGE 16 | 17
ATRIUM 32 | 2017
LET’S GO ON
AN ADVENTURE:
DECIBEL(ARCHITECTURE)))
AND THE ALUMNI SURVEY SERIES
Sara Brocklesby
01
THIS YEAR THE ALUMNI SURVEY SERIES RETURNS AS ONE OF
THE FACULTY OF ARCHITECTURE BUILDING AND PLANNING’S
FLAGSHIP ANNUAL EXHIBITIONS. IT SHOWCASES THE WORK
AND IDEAS OF OUR EXCEPTIONAL GRADUATES, BOTH ESTABLISHED
AND EMERGING.
Dylan Brady, Conductor at on the Exhibition Centre and the Museum.
deciBel(Architecture))) is already It was John Denton who told me to go
looking ahead to the story his practice back to school and do a masters, I’d been
may tell this October. out working for him after my first degree.
I came out of the masters directly into
“I took my crew up to the recent Terragni the Federation Square project, which
exhibition [A Modernity Different from was a formative experience for me.
all Others: Giuseppe Terragni in Rome]
to see the Dulux space and how we “From that project I developed a desire
could potentially use it for our exhibition to always wander out into the unknown,
later this year.” to seek new ways of doing things all the
Two exhibitions will open in the time. Experience often dulls your expertise.
Dulux Gallery this September: “The last time I exhibited it was a stage Repetition of approach leads to getting
deciBel(Architecture))) will exhibit set for the Archi Revue in 92 in the old trapped in a rut.”
concurrently with Koning Eizenberg Architecture building. It was fantastic: an
Architecture. operable sculpture that was three stories Brady’s adventurous qualities are
high that folded down and became a innate, but they were also encouraged.
The Series, first held in 2009 with ceiling. We created a cathedral-like space “My parents met at the University of
Peter Elliott Architecture + Urban and the action took place within and Melbourne studying architecture. They
Design, is not strictly a retrospective. around this space. So I’m looking forward were very clever, revolutionary people.
Each practice is encouraged to curate to working with a little bit more than I’ve always known I was interested
their exhibition in whatever way they just the panels in the Dulux Gallery.” in creativity, sculpture, art. I read a lot
choose, to reflect their unique of science fiction growing up. I was
architectural vision and projects. Brady’s irrepressible energy has driven a fascinated reading about coherent futures
remarkable career. “deciBel(Architecture))) with very, very different drivers in them
The ABP Alumni Survey Series provides is only fifteen months old. I had studio505 to our own.
alumni with a space to experiment for about ten, fifteen years before that.
with ideas and approaches that might Before that I was with LAB on Federation “Immersing myself in, and thinking about,
otherwise not have an arena. Square and before that I was with DCM the future, technology, materials andThe University
of Melbourne
ARCHITECTURE BUILDING AND PLANNING
02 03
culture of science fiction was a brilliant For Brady, establishing deciBel(Architecture))) idea going in deciBel(Architecture))) and
place to come from walking into my has enabled continued experimentation are doing some pretty great work.
first architecture course. Architecture is not only in design, but in approaches to
a very challenging profession to work in, working. “We like to remind our clients “Ultimately it’s an opportunity to legitimise a
but I believe it’s the best education you of their agency and the larger context of moment of taking stock: to pause and ask,
can receive. It is the ultimate generalist the built environment beyond their own brief. what does it all mean? What do we want
education. You can study history, art, We often find, in working on our projects, to say about ourselves? It’s an interesting
graphics, maths, science, construction.” that what clients think of as a set of prospect because we really have to set our
problems, are actually a mix of problems own ceiling with where we go with this.
and their own solutions. Problem B may Do we exhibit lots of work or one large
actually be the solution to Problem A. piece? What do we explore digitally?
Use your waste issues to solve your We’ve been exploring augmented reality,
energy issues. We really see our role taking people inside buildings using that
“WE OFTEN FIND, IN WORKING technology. That could be really fun. But
as bringing fresh perspective.
ON OUR PROJECTS, THAT WHAT what will we tell them while they’re there?
CLIENTS THINK OF AS A SET OF “For us this process involves a lot of Getting creative around storytelling is the
listening, jokes, free thinking. I try to make main aim with our exhibition, and it’s an
PROBLEMS, ARE ACTUALLY A MIX
everyone relaxed enough at the table that exciting challenge.”
OF PROBLEMS AND THEIR OWN no one is afraid to put forward that crazy
SOLUTIONS. PROBLEM B MAY idea that might lead to something exciting.
ACTUALLY BE THE SOLUTION We use humour, play and experimentation.” Images:
TO PROBLEM A. USE YOUR WASTE The ABP Alumni Survey Series has come at
01. Hanoi Lotus, Hanoi, Vietnam. Designed by
deciBel(Architecture))). Image: Durek Visualistion
ISSUES TO SOLVE YOUR ENERGY an interesting time for deciBel(Architecture))). and deciBel(Architecture))).
ISSUES. WE REALLY SEE OUR “It’s a great opportunity to really try and 02. Nanyang Primary School, Singapore. Designed
clarify and represent our practice and where by studio505, Dylan Brady & Dirk Zimmermann.
ROLE AS BRINGING FRESH we want to go. We can announce, after Image: Rory Daniel.
PERSPECTIVE.” fifteen months, that we’re here to the 03. Bouverie Street Apartments, Melbourne,
industry and to students and publicise Australia. Designed by studio505, Dylan Brady
& Dirk Zimmermann. Image: John Gollings.
the fact that we have a pretty crackingPAGE 18 | 19
ATRIUM 32 | 2017
01
TRANSDISCIPLINARY
DREAMING IN THE DESIGN STUDIO:
ARCHITECTURAL EDUCATION MEETS THE AFFORDANCES
OF A MODERN UNIVERSITY CAMPUS
Rebecca McLaughlan and Alan Pert
MARKAUSKAITE AND GOODYEAR HAVE ISSUED THE CHALLENGE THAT GRADUATES MUST BE ARMED
WITH THE SKILLS TO CREATE NEW KNOWLEDGE AND THE AGILITY TO ADAPT TO THE CHANGING
DEMANDS OF PROFESSIONAL PRACTICE; EXERCISING THE HABITS OF PROFESSIONAL COMPETENCY
IS NO LONGER ENOUGH.
The design professionals we educate to adopt and incorporate the skills, experience as an undergraduate at the
today, and indeed their colleagues in law, vocabularies, techniques and routines University of Auckland (New Zealand, 2000). In
medicine, engineering and business, of other professions, to experiment with a prison design studio, architect Mike Barns
will face challenges that neither we new service models and critically evaluate made Chomsky and Foucault mandatory
as educators, nor the industries into the successes of these experiments. reading; he invited prison guards, former
which they will graduate, can predict. inmates and government ministers to lead
So where do we start? Why not right here, discussions and review crits. Within the [un]
We are already seeing evidence of this. on campus. The University of Melbourne prescribed hospital studio students got to
Pressing global health issues provide just has 47,000 students, 10 faculties, 270 attend lectures, workshops and crits with
one example of the ways that professional graduate courses and more than 100 architects experienced in hospital design,
practice will be required to collaborate in research centres and institutes. So clinician researchers, practising clinicians,
new ways, to produce new forms of we’re wandering the halls with our eyes environmental psychologists, waste-managers
knowledge in order to solve problems open, asking the question, what are the and researchers in cancer experiences,
across disciplinary boundaries. For affordances of a modern university campus dementia and healthcare environments
example, increasing rates of dementia, for the design studio – how do we turbo design. We will do the same again next
obesity, diabetes and depression have charge this learning space? We dream semester.
prompted researchers and policy makers in transdisciplinarity.
to look to the built environment in the We care very much about hospitals but
hopes it can provide strategies to Let’s rewind to the beginning. In May 2015 we’re also out to prove that “Where Great
support global and population health. Pert asked a question that was impossible Minds Collide” is more than just a marketing
to ignore: how do we challenge the status campaign. We’re in conversations to run
If architects are to contribute to quo if our research methods require us two further transdisciplinary, research-based
meaningful advances in respect of to look only at what has already been studios: one with the Faculty of Arts (with
these challenges, we will not achieve built; how do we project forward? This Rachel Marsden, Exhibitions Management;
it by working within the existing conversation began around the subject Stephanie Liddicoat to tutor) and another
collaboration structures that have of hospitals and materialised as the [un] with the Victorian College of the Arts (VCA)
traditionally characterised our practice. prescribed hospital studio, delivered (with musician David Shea; MSD tutor to be
The longstanding associations we have in partnership with Lyons the following confirmed). These will explore exhibition
had with artists, landscape designers, semester. Iterations two and three will design and biomimicry as a design
traffic, structural, geotechnical and roll out next semester with the Rethinking generator, respectively. Like the hospital
environmental engineers must be Palliative Care studio, delivered in studios, both will focus on finding common
expanded to include neuroscientists, partnership with the Centre for Palliative ground between the disciplines of HASS
psychologists, epidemiologists, Care (with Jennifer Philip and Mark and STEM (arts and sciences, once you lose
anthropologists … this list goes on. Boughey; taught by us), and Speculative the fancy acronyms).
Dreaming within our Biomedical Precinct,
These new collaborative relationships delivered in partnership with the Department Within these studios we will be seeking
will demand different knowledge of Health and Human Services (with Stefano opportunities to share lecture programmes
resources. As Mirko Noordegraaf Scalzo; MSD tutors to be confirmed). and workshops between architecture and
predicts, graduates will require VCA students and those from the Exhibition
enhanced skills in collaboration These studios build on the model we adopted Management course. In the exhibition
and cooperation including a capacity for the pilot studio that utilised McLaughlan’s design studio for example, we proposeThe University
of Melbourne
ARCHITECTURE BUILDING AND PLANNING
02 03
THE BENEFITS OF TRANSDISCIPLINARY DREAMING
The speculative designs produced within »» Imogen Siberry and Ding Yu reimagined the
the context of the design studio provide contemporary paediatric hospital. Siberry
a vehicle for imagining new directions for applied children’s stories as a framework
the role of the hospital in society, for new for experiencing the hospital and Yu
models of health care delivery and the ways questioned whether the practice of building
that the built environment might challenge a hospital and inserting distractions should
inviting VCA students to act as clients for an expectations of contemporary health care. be reversed; could we insert a hospital into
object based design task, and researchers Highlights from our pilot studio included: a theme park [see images]. Now we admit
from the sciences to act as clients to inspire that hanging a two tonne CT-Scanner
the semester’s major design project. We’ll »» Yien Hsui Niu’s research uncovered upside down from a roller coaster stretches
invite arts students to use these final design disparities between the recycling practices the bounds of plausibility. However, if
projects as a basis for their own major of hospitals and how architects are briefed you’ve seen the price tag that accompanies
assessment, a proposal that costs and to design these – a communication practice Philips’ Kitten-scanners (a miniature MRI
pitches an exhibition. that can exacerbate hospital waste. machine for toy animals – not uncommon
»» Sarah Lam Po Tang speculated on the in contemporary children’s hospitals),
Bringing together these various skillsets will integration of a palliative care facility with the the idea that someone might prototype
deliver a highly authentic learning experience VCA’s artist studios. This work responded a Ferris wheel consultation room is not
that has the potential to result in obtaining to the recognised benefits to wellbeing inconceivable. Perhaps more importantly,
funding to stage an exhibition; a fitting of music and art therapy programmes both projects suggested a more engaging
opportunity given the universities plans to and inspired our upcoming studio. model for arriving at, and traversing
build a Science Gallery, for the new gallery the hospital, while challenging what
at the VCA, and the eventual extension »» Work by Rovi Lau and Laura Ng
challenged the exclusion of people living the process of waiting might entail.
planned for the Potter.
with dementia from our city centre; Lau
One studio, four innovative ideas for
These are just a small handful of the by expanding the concept of universal
healthcare. We’re currently working on
affordances of our location, within a thriving, design to include dementia and applying
getting this work out to the world through
multi-disciplinary research campus to this lens to Swanston Street, Ng by doing
conferences and research journals – not
enhance the studio experience. The the same with Flinders Street Station.
as research about teaching but as research
design studio remains the cornerstone in its own right.
of an architectural education but many have
argued this has not changed significantly
from its roots in the Beaux Arts method. Acknowledgements Institute), Jonathan Daly (Studio Huss), Catherine
The studio is overdue for an update; we The [un]prescribed hospital pilot studio was delivered O’Shea and Forbes McGain (Western Health), Tanya
suggest trandisciplinarity is the way forward. in collaboration with Lyons, and with generous time Petrovich (Alzheimer’s Australia), Michael Annear
contributions from: Corbett Lyon and Codey Lyon (Wicking Dementia and Research Institute, University
Dr Rebecca McLaughlan is an architect, research (Lyons), Stefano Scalzo (DHHS, formerly of Lyons), of Tasmania), Sarah Blaske (Peter Mac Cancer
fellow and studio leader, the University of Melbourne. Julie Bernhardt, Colin Masters and Quao-Xin Li (Florey Centre), Allen Kong (Allen Kong Architects), Pippa
Soccio, Stephanie Liddicoat & Ahmed Sadek (MSD).
Professor Alan Pert is Director of the Melbourne
School of Design, the University of Melbourne
and Director of Nord.
References Images:
Markauskaite, L. & Goodyear, P. Epistemic Master of Architecture Thesis, Ding Yu:
Fluency and Professional Education: Innovation, Paediatric Hospital as Neverland.
If you are interested in being involved Knowledgeable Action and Actionable Knowledge 01. Space Force.
with any of these studios, please (Springer 2016). 02. Ferris Wheel.
contact Rebecca McLaughlan or 03. Tunnel World.
Mirko Noordegraaf. “Risky business: How
Alan Pert. professionals and professional fields (must)
deal with organizational issues.” Organization
Studies 32 (2011): 1349–1371.You can also read
