finn warnockGRADUATE DESIGN PORTFOLIO

About

Architectural responses to the complexities that compose everyday our existence. Most recently that interest has lead me towards parametric design techniques that provide an effective means to process the huge amounts of information that architecture must consider. The same workfl ow allows physical manifestations of these architectures to be rapidly fabricated at full

scale.

Above all else I want in every way possible to engage with the contemporary discourse by continually interpreting the cultural, historical, political, economic and technical developments

that shape architectural practise.

Contents

Per[form] in Place

Past City Future

Structure of the

FORM

[less] City

Foot

scra

y Id

eas S

tore

One Station CigarsHarmony Fields Pavilion

Films/Filters

Rhino

1-6

7-1011-14

15-

19-22

29-32

33-34

35-36

Teaching

Photography

Stud

ent W

ork

23-28

Per[form] in PlaceDesign Th esis

2011Supervisor: Stanislav Roudavski

University of Melbourne

Argument: Geometrically complex architecture can be produce locally, without excessive resources if an opportunistic or ‘optioneering’ approach is implemented. The potential to produce such architecture in Melbourne is accessed by testing the capacity of the local construction industry. A hypothetical project is used to provoke critical response from with a wide array of specialist involved in design, fabrication and construction and by this establish what constraints and opportunities exist. By understanding the various skills and technologies that are locally available, an architect is able to explore the benefi ts that parametric design offers and move towards the production of performative architectural solutions. The hypothetical project (Ripple) tested the potential of the articulated ribbon to respond sensitively to

contextual stimuli and produce engaging, program oriented affects.

Th is thesis is an investigation into the real world production of context specifi c, performative architecture.

Culteral Overlay

Tuneable System

Articulation Through Internal Program and Defl ection

Planes formed corresponding to fl oor heights.

Aligned to stairs Anchor points are set. Defl ection is simulated. Additional fi xing points are set.

Ribbons panels are interpolated.

Attractor Point

[Grasshopper, Kangaroo]

[Grasshopper, Attractor Points]

[Organic ornamentation]

Scale1:2000

1st Floor 2nd Floor 3rd Floor 4th Floor

5th Floor 6th Floor 7th Floor 8th Floor

North Elevation West Elevation South Elevation East Elevation

+31 600mmRoof Top Bar

+27 800mmExhibition Space

+24 800mmTheatre

+20 100mmNight Club

+15 300mmBar

+11 600mmRestaurant

+8 400mmNetwork Space

+4 700mmSushi Bar

+0mmRetail

North/South SectionScale1:2000

Ground Plan Scale1:200

Structural optimization through bunching of vertical members, dependent upon ribbon angle.

Ribbon under tension, stretched between structural frame.

Segmentation of facade into panels for modular prefabrication.

Natural curvature produced by fl exibility of polypropylene.

Highly adjustable by altering angle of ribbons.

Framing and infi lling ribbon types.

Little Collins Street

Presgrave Place

How

ey L

ane

Structural beamTensile ribbons

Frame

Infi ll

Ver

tical

Rod

s Ribbons

Anchor Point

Load

Natural Curve

Concrete core

Polypropylene frame ribbons400 x 6mm

Polypropylene infi ll ribbons250 x 6mm

Structural frameRHS 125 x 75 x 5mm

Existing building

Glass curtain wall

Primary vertical access

Morphing

Spira

lling

Linear

Cur

ving

Stat

ic

Expa

ndin

g

Ribbon Articulation Affects[Catalogue]

Swan

ston

Stre

etGround Floor Plan

Major Axis

Non-commercial Public Space

Public Toilets

Homeless Services

Site Analysis

Entertainment Districts

Swanston St

Little Collions St

Offi cePublicEntertainmentRetailResidentialSurrounding Land Use

CH2

Melbourne Town Hall

Century BuildingCapital Theatre

David Jones

Presgrave Building267 Little Collins

Scale

1:20 000

Little Collions Street

Swanston Straeet

Howey Place

Swanston Street

Presgrave Building

Union Lane

Capital Theatre

Manchester Unit

Counsel House Two

Melbourne Town Hall

Little Collins Street

Site model

Site model

Study model four

Study model one

Study model two

Study model three

Past City FutureFift h Year Studio

2011Argument: When speculating on how the next century will unfold stoicism and escapism can be considered the extreme stand points for the business-as-usual vs planned resilience paths. This project illustrates how these divergent futures could potentially play out in two adjacent buildings. Initially it considers how key historical events have delivered the buildings in their present state then shows how the site might change at six different times over the next 100 years given events such as the end of oil, climatic and political instability, a third world war and the loss of the internet. The building fabric records

the physical response of the changing needs of its inhabitants.

Buildings can help us understand our pasts; could they possibly allows us to predict the future?

Supervisor: Ian WoodcockUniversity of Melbourne

EAST-WEST SECTION

RESIDENTIAL & SMALL BUSINESS

EXPOSEDCROPS

SHELTERED CROPS

ARTEFACT

REPOSITORY

COMMERCIAL

OPEN DECK

DORMITORY

EAST-WEST SECTION

THE WELL

APARTMENT

RENDEZVOUS ROMANTIC

BOOKS

ADMINISTRATION

MEDIA SCHOOL

RETAIL

STORAGE

EAST-WEST SECTION

HERITAGE

SPACE

THE WELL

COMMERCIAL

Bookshop

Reading room

Lab

Maze

Machines

STORAGE

EAST-WEST SECTION

SMALL BUSINESS

RESIDENTIAL SHELTERED CROPS

THE WELL

COMMERCIAL

OPEN DECK

BAKERY

FOOD

CROPS

Stack ventilation

Solar access

Materials

Water tank

Solar collectors

STORAGE

2028“The morning breeze used to bring us the smell of baking bread from below”

Building materials are diffi cult to obtain

Roads are removed, space is used for food

Peter adds six levels of mixed

use space above 357

Oil begins to run out

STOIC RESILIENCE2022

“The Well is a success. For some, a detachment is bliss... addictive. For others, diffi cult reality fuels a lust for life”.

THE WELL

The well is continously over booked

‘Stay in’ services are introduced

Stage two of the well is built

Carly and many others

become addicted

New machines are added2015 Carly takes over Rendezous Romantic Books

Construction of the Well begins

Fuel prices reach $8 per litre

Melbourne receives winter snow

Food prices double

BUILDING ESCAPISM

“I sold escapism and constructed detachment; alternative reality was my business”

EAST-WEST SECTION

RESIDENTIAL & SMALL BUSINESS

EXPOSED

CROPS

SHELTERED CROPS

ARTEFACT

REPOSITORY

COMMERCIAL

OPEN DECK

DORMITORY

RESIDENTIAL & SMALL BUSINESS

EXPOSED

CROPS

SHELTERED CROPS

VACANT

COMMERCIAL

EAST-WEST SECTION

OPEN DECK

DORMITORY

RESIDENTIAL & SMALL BUSINESS

EXPOSED

CROPS

SHELTERED CROPS

THE WELL

COMMERCIAL

OPEN DECK

Cabbages

Mushrooms

Crop rotation

Lettuce

Apples

Soy beans

EAST-WEST SECTION

MUSHROOM

CROPS

2072The Well is opened to the outside

Carly’s grandson is born,

Peter Michael the second.

A single child policy

is introduced RE-REMEMBERING

“I welcomed everyone to display their mementoes, to show where they came from. The Well became a repository for identity, gradually rebuilding our collective memories”.

2055POST-DIGITAL

“Who is someone with no memory, no historical reference by which to understand themselves?”

World War 3 begins

The internet crashes

‘The wellers’ are cast back into reality

Social, political and economic systems fail

2039MAKING SPACE

“The need for space forced us to innovate”

Structures are built on the outer walls to

provide more space for food production

Timber becomes the most commonly

used building material

A 5 level section is built above 269

Structure of the FORM[less] CityFourth Year Studio

2010Supervisor: Ooi Wei Yap + Rutger Pasman

University of Melbourne

Argument: Boundaries are not experienced as exact delineations between adjacent domains as a map makers stark lines would suggest, rather they are as uneven gradients of intensity that provide places with an understandable structure. These gradients of intensity or presence are establish by the gestalt characteristics of certain objects in the landscape. FORM[less] addressed the undefi ned, spilling North West edge of Melbourne CBD, exploring the potential of an adaptable, dynamic icon at the cities periphery to strengthen the sense

of entry into the city beyond.

Particular objects structure our understand of the city through their unique presence.

STRU

CTUR

E of

the FO

RM[le

ss] CIT

Y

2050

2020

of th

eSociety since the inception of the renaissance, society has experienced a rapidly accelerating rate of development and change. New technologies perpetuate this growing complexity. As a result cities are becoming more fl uid; constantly in a state of dynamic growth they seep through historical boundaries, growing in presence. Social insecurities, political power struggles and above all the omnipotent economy devour the ‘old’ medium of a the city at a every greater rate; a builds expected life drops to below 10 years. The drive for constant renewal necessitates a new architectural paradigm, iconic, complex and shifting.

202000000000555500005

2020202220000

2010

Etihad OBELISK

Train TracksOPEN SPACE

EdgeUNDEFINED

DocksSUBURBAN

FringeENTRY

Second BlockCITY PROPERENTRYY

1:1000SITE PLAN

0 5 10 20 40m

1:500NORTH

1:500WEST

1:500SOUTH

1:500EAST

Density Increase2010 2030 2050

ElementsVEIL UNITS COMMUNITY SERVICE CORES STRUCTURE

Void Scale Form Silhouette Facade Publicaity Surprise

Gateway to the city

1:200GROUND PLAN

G 01 02 03 04 05

1:200GROUND PLAN

1 2

3

4

5

6

6

7

A

A

Entry

Tram stop

+20m

+40m

+50m

Gloss paint

Concrete

Aluminium

Polycarbonate

Fall net

EntrEntrEntrEntrEntryyyyy

+20m

+40m

+50m

Gloss paint

Concrete

Aluminium

Polycarbonate

Fall net

1:50SECTION ATYPICAL LEVEL

1:200

0 1 2 4 8m

Footscray Ideas StoreFourth Year Studio

2010Argument: The use of irregular formal massing can provide a variety of heterogeneous internal and external spaces that satisfy the unique requirements of the functions in a mixed use development more effectively than orthogonal massing. When considering solar access, overlooking, edge condition, pedestrian access and the need for multiple apartment typologies more faceted, non linear arrangements yielded a greater range of characteristics, reduced the perceived grain size, maximised effective density and provided a more diverse array of spaces. Through this a human scale was maintained, idiosyncratic characteristics allowed a greater user connection to place and a unique

identity is created.

In complex, demanding situations impure responses and discontinuous reactions thrive.

Supervisor: William Orr + Serge BiguzasUniversity of Melbourne

Ground Floor PlanScale 1:1000

DNUP

DNUP

DN

DN

DN

UP

UP

UP

DN UP

DN

DN

EAST/WEST FACADE SECTION

1_250mm insulated conc. wall.2_100x40mm timber outrigger.3_120mm wide timber louvre fi xed inside vertcal support.4_Recessed timber frame window.5_Operable glass louver.6_150mm conc. slab.7_Peer insulated suspended ceiling.8_2300mm high glazed curtain wall.9_90x40mm timber top plate.10_100x40mm timbre vertical louver.11_50mm furring channel.12_Plywood external cladding.13_Steel T section

6

13

10

SOUTH/EAST/WEST LOUVER DETAIL

Second Floor PlanScale 1:1000

First Floor PlanScale 1:1000

South ElevationScale 1:1000

East ElevationScale 1:1000

Binningup Master PlanTh ird Year Studio

2008Argument: Patterns offer an effective means for dealing with complex arrangements and are particularly useful as organisational tools at a large scale. This master planning exercise for a small, coastal town tests how a single formula can simultaneously respond to existing landscape topography as well are the varying needs of tenant for variation in lot size, proximity to town centre, street, neighbourhood and community size. The radiating green belts defi ne neighbourhoods and provide direct pedestrian/cycle access to the town centre. Where possible they run across the tops of the coast dunes, keeping the crests free from housing developments in order to maintain a vegetated skyline. The size of the lattice

refl ects the increase in housing density as the belts converge at the central point.

Patterns can be applied as a type of rule that allow us to eff ectively cope with complexity.

Supervisor: Carly BarrettUniversity of Western Australia

MASTER PLAN

SCALE 1:10 000

RETAINED LAND

EXISTING TOWN

PUBLIC FACILITIES

LAKES

COMMUNITY PARKS

GOLF GREENS

PROPOSED RESIDENTIALGREEN RAYS

TOWN CENTRE IS WITHIN 250m OF BEACH

CENTRAL TO NEW DEVELOPMENT

BUILT ON FLAT LAND

RESIDENTIAL DENSITY RADIATES FROM TOWN CENTRE

HIGH DENSITY - 350m2 (537)MEDIUM DENSITY - 600m2 (360)LOW DENSITY - 950m2 (311)

TOTAL - 1208 LOTS

RELOCATION OF GOLF COURSE TO REMOVE BOTTLE-NECK BETWEEN OLD AND NEW TOWN

GREEN RAYS INCORPORATE 95% OF TUART AREAS AND 100% OF COASTAL RESERVE

ROAD NETWORK

RED - TWO WAY, OBSCURED IN GREEN RAYS

CUL DE SACS USED FOR PRIVACY

RENEWABLE ENERGY

FOUR WIND TURBINES IN SW CORNER

FOUR SOLAR PANEL FIELDS ON NORTHERN SLOPES WITHIN GREEN RAYS

PUBLIC FACILITIES: -PUB -PRIMARY SCHOOL -CONFERENCE CENTRE -SPORTING OVAL

OPEN SPACE

COMMUNITY OPEN SPACE DISTRIBUTED EVENLY

TWO WAY ROADSSINGLE LANE ROADS

SOLAR FIELDSWIND TURBINES

RETAIL/PUBLIC FACILITIES COMMUNITY OPEN SPACEMODELS EXAMINE

CONFIGURATION OF

GREEN RAYS

FEATURES

SCALE 1:1000

HIGH DENSITY

MEDIUM DENSITY

LOW DENSITY

DOUBLE LANE ROAD

SINGLE LANE ROAD

SEALED TRACK

VERGE

FOOT PATH

SETBACKFOOT PATH

VERGE

LOTS

LOT SETBACK

SETBACKLOT

LOTLOT

TOWN CENTRE ROAD HIGH DENSITY RESIDENTIAL GREEN RAY OVER DUNE CRESTMEDIUM DENSITY RESIDENTIAL LOW DENSITY RESIDENTIAL

EXAMINATION OF SPATIAL QUALITIES WITH RESIDENTIAL ZONES

GREEN RAYS ACROSS CRESTS OF DUNESMAIN ROADS RUN THROUGH GREEN RAYSDECREASING RESIDENTIAL DENSITY TOWARDS PERIPHERY

SCALE 1:10 000

One Station CigarsTh ird Year Documentation Studio

2008Argument: Careful meditation between internal and external environments is vital to ensure that both internal functions are invigorated by street life and that the public urban space is activated by the private functions that surround it. 101 Station Street seeks to explore this relationship and in doing so invigorate at previously underutilized street corner. To achieve this, a series of folded lourved screens are used to sensitively control different level of visual and acoustic permeability as required by the projects

different functions.

Internal/external overlap provided by various types of fi lters.

Supervisor: Kate HeslopUniversity of Western Australia

Harmony Fields PavilionTh ird Year Studio

2007Argument: In a vast site that is devoid of personality, cultural mimetics can inform a radical architectural statement to compose a project that is referential of its historical context, its physical surround and in doing so solidify a distinct local identity. The aim is not to reproduce the material or rhetorical characteristics but rather to reinterpret both in a contemporary manor. Formal references to the aboriginal rainbow serpent are fused with material references to the cracked suburban sidewalks by the pavers used to clad the main pavilion. Rippling retaining walls defi ne a series of interconnected open air encampments and provide a surface for memorial plaques that commemorate the elders and

leaders of the area.

Architecture through mimetic, narrative and nuanced understanding of place.

Supervisor: Amanda DavisUniversity of Western Australia

Films/FlitersPhotographic Exhibition

2012Argument: Our everyday lives are oversaturated by digitally enhanced photography. We are suspicious of every image - and rightly so - photographic honesty is rare, if it exists at all. Through photography the author physically and/or digitally describes a reality of their own making. Films/Filters challenges the perceived dominance of digital techniques in subject positioning by using mechanical/analogue

devices to achieve the same results.

Digital vs analogue subject positioning.

Visual CommunicationsTutoring at Melbourne University

2011Argument: Digital modelling tools are often criticized as merely providing the means for formal enquiry response without engaging with the human experience of space. In this class students were asked to choose a word that could describe a special experience, then use digital tools to illustrate that special sensation. The formal outcomes were a product of the each student’s individual interpretation of a

spatial experience.

Conscious, experience informed digital design processes - emotive spaces.

Supervisor: Lindy JouberUniversity of Melbourne

Anastasia Sklavakis

Emily Flint

Matthew Harkin

James Woolway