534 resultados para ARCHITECTURAL DESIGN SHOWROOMS


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This exhibition and catalogue provides a visual record of student work exhibited at the Australian Institute of Architects offices in Brisbane from November 15 to 29, 2010. The exhibition features the final design outcomes of the inaugural Bushfire Sustainability unit conducted at QUT in semester two, 2010. The core objective of this unit was to develop our studentsâ skills in collaborative practice in design, research and presentation. The theme of â˜bushfire sustainabilityâ was chosen because living sustainably in bushfire prone landscapes presents a number of problems, the nature of which might only be resolved via multidisciplinary collaboration among the design disciplines. The students involved represent the disciplines of Interior Design, Landscape Architecture, Industrial Design, Architecture and Sustainability â all from within the School of Design at QUT. 55 students, mostly in their third year of study, worked in teams of five (one from each discipline) to design one of a number of homes in highly bushfire prone sites in either Western Australia or SE Queensland. This year level and the interdisciplinary mix are perhaps the best placed to resolve these problems: being unrestrained from the burdens of professional practice and technical overload they retain the potential for innovative, lateral thinking across the range of spatial scales and philosophical perspectives associated with inhabitation of bushfire prone landscapes. It is envisaged that, through the â˜vehicleâ of this design research, that the studentsâ work will contribute to understandings of how creative design disciplines might respond to this significant national problem, which hitherto has been attended to primarily by engineering and the sciences.

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This article describes research higher degree supervisorsâ experiences of supervision as a teaching and learning practice. While research education is considered central to the HDR experience, comparatively little is known to date of the pedagogical lenses adopted by supervisors as they go about their supervision. We worked with 35 supervisors engaged in discipline-specific and interdisciplinary research across architectural design, science, engineering, computer science, information systems and librarianship. Several of these supervisors conducted projects which interfaced with the social sciences and humanities. The pedagogies, constructed through the discussions and phenomenographic analysis, offer a picture of supervisorsâ collective awareness of supervision as a teaching and learning practice. Supervision as a teaching and learning practice was experienced as: Promoting the supervisorâs development, Imparting academic expertise, Upholding academic standards, Promoting learning to research, Drawing upon student expertise, Enabling student development, Venturing into unexplored territory, Forming productive communities, and Contributing to society.

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In Australia as far back as 1993, researchers such as Baladin and Chapmen reported that "18% of the total Australian population and 51% of the population over 60 years of age were identified as having a disability" (2001; p38.2). Statistics such as these are not by any means astonishing, even to members of the general public, and it is widely understood that these are only to increase significantly in our near future. What is particularly surprising however is, in the face of such statistics, the lack of new and creative responses to this demographic shift, particularly by the architecture and construction industries. The common response from a range of sectors seems to be the repetition of a series of models which offer limited, and often undesirable, housing options. It is this against this backdrop, characterized by a lack of original options from mainstream practitioners and relevant government bodies, that the need has arisen to develop alternative models at grass-roots level. This paper reports primarily on the work of one group comprising a not-for-profit organization, a pro-bono design practice group and a local university working together to design a more holistic, emotionally sustainable independent living model of housing for families where a member of the family has a disability. This approach recognizes the limitations of universal design in that it often does not " ... meet all the housing needs that arise for people with moderate to severe disabilities" (Scotts, Margie et al, 2007; p.17). It is hoped that by examining the work of such a collective which is not driven by profit or policy, but rather born with the aim to address first and foremost individual and community need, that better insight can be gained into the real requirements of individuals and families as well as open up a view to new ways of fulfilling them.

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This study investigates the influence of the built environment upon residents' sense of familiarity, concept of self and thus, their facilitation of place through the theory of "The Bondage of Imposed Visual Discourse". Simone de Beauvoir's theory "The Bondage of Feminine Elegance" provides the conceptual understanding of the visual discourse between the physicality of clothing and the wearer's personal identity. This fashion theory is transposed to explore the influence of the built environment's physicality upon aged care residents' personal identity. This paper presents findings from a study of professionals' opinions in reference to the built environment of permanent residential aged care for the 'oldest-old' of Australia. The researcher conducted qualitative interviews with four participants: an architect, occupational therapist, nursing home facility manager and an aged care lobbyist in the South-East Queensland. This study is structured towards proposing "place-focused" qualitative design principles to encourage residents' sense of place through the built environment. These proposed principles are addressed with reference to existing Standards and Principles outlined by the Australian Government.

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The ability to play freely in our cities is essential for sustainable wellbeing. When integrated successfully into our cities, Urban Play performs an important role; physically, socially and culturally contributing to the image of the city. While Urban Play is essential, it also finds itself in conflict with the city. Under modernist urban approaches play activities have become progressively segregated from the urban context through a tripartite of design, procurement and management practices. Despite these restrictions, emergent underground play forms overcome the isolation of play within urban space. One of these activities (parkour) is used as an evocative case study to reveal the hidden urban terrains of desire and fear as it re-interprets the fabric of the city, eliciting practice based discussions about procurement, design and management practice along its route.

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This paper presents an explanation of why the reuse of building components after demolition or deconstruction is critical to the future of the construction industry. An examination of the historical cause and response to climate change sets the scene as to why governance is becoming increasingly focused on the built environment as a mechanism to controlling waste generation associated with the process of demolition, construction and operation. Through an annotated description to the evolving design and construction methodology of a range of timber dwellings (typically 'Queenslanders' during the eras of 1880-1900, 1900-1920 & 1920-1940) the paper offers an evaluation to the variety of materials, which can be used advantageously by those wishing to 'regenerate' a Queenslander. This analysis of 'regeneration' details the constraints when considering relocation and/ or reuse by adaption including deconstruction of building components against the legislative framework requirements of the Queensland Building Act 1975 and the Queensland Sustainable Planning Act 2009, with a specific examination to those of the Building Codes of Australia. The paper concludes with a discussion of these constraints, their impacts on 'regeneration' and the need for further research to seek greater understanding of the practicalities and drivers of relocation, adaptive and building components suitability for reuse after deconstruction.

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This project is a 40m2 timber framed extension to an existing timber house, on a small lot in an inner city suburb. The project was the result of non-traditional collaboration between client, building and architect. The collaboration took the form of explorations in the documentation of timber framed domestic construction, such that aspects of the project might be designed and constructed by any of the three participating parties. Documentation was deliberately vague and un-finalised, in order for all parties to participate in the design resolution of the project as it progresed. Construction was completed in 2004.

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This paper presents a series of ongoing experiments to facilitate serendipity in the design studio through a diversity of delivery modes. These experiments are conducted in a second year architectural design studio, and include physical, dramatic and musical performance. The act of designing is always exploratory, always seeking an unknown resolution, and the ability to see and capture the value in the unexpected is a critical aspect of such creative design practice. Engaging with the unexpected is however a difficult ability to develop in students. Just how can a student be schooled in such abilities when the challenge and the context are unforeseeable? How can students be offered meaningful feedback about an issue that cannot be predicted, when feedback comes in the form of extrinsic assessment from a tutor? This project establishes a number of student activities that seek to provide intrinsic feedback from the activity itself. Further to this, the project seeks to heighten student engagement with the project through physical expression and performance: utilising more of the studentsâ senses than just vision and hearing. Diana Laurillardâs theories of conversational frameworks (2002) are used to interrogate the act of dramatic performance as an act of learning, with particular reference to the serendipitous activities of design. Such interrogation highlights the feedback mechanisms that facilitate intrinsic feedback and fast, if not instantaneous, cycles of learning. The physical act of performance itself provides a learning experience that is not replicable in other modes of delivery. Student feedback data and independent assessment of project outcomes are used to assess the success of this studio model.

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This paper presents background of our research and result of our pilot study to find methods for convincing building users to become active building participants. We speculate this is possible by allowing and motivating users to customise and manage their own built environments. The ultimate aim of this research is to develop open, flexible and adaptive systems that bring awareness to building users to the extent they recognise spaces are for them to change rather than accept spaces are fixed and they are the ones to adapt. We argue this is possible if the architectural hardware is designed to adapt to begin with and more importantly if there are appropriate user interfaces that are designed to work with the hardware. A series of simple prototypes were made to study possibilities through making, installing and experiencing them. Ideas discussed during making and experiencing of prototypes were evaluated to generate further ideas. This method was very useful to speculate unexplored and unknown issues with respect to developing user interfaces for active buildings.

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A design Charrette was the starting point for understanding the different scales within the design process of this architectural intervention. The week-long, intense design activity promoted group interaction amongst students while examining local issues of the Fortitude Valley context. The process was an opportunity for the fourth year architectural design students to collaborate on a complex design problem. Students were asked to identify a unique condition of their site beyond the physical built environment. They were asked to consider the political and social context and respond to these by designing a temporary art gallery for underdeveloped areas within Fortitude Valley. The exhibition shows how architecture can invigorate a space by providing new use and new life.

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The design for the Gladstone Sustainable Home was an invited commission which contributed to the Queenland Governments Smart and Sustainable Homes Program, a legacy borne out of the 2004 Year of the Built Environment. The Sustainable Homes Program involved the partnering of the Queensland Government and Design/Building industry to promote and engage with sustainable housing. The Gladstone Sustainable Home incorporated 3 principles of sustainability - social, economic and environmental, and is listed within the Government Sustainable Homes website.

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The reinvention of existing housing stock to suit current and future needs within the suburban beachside context was the contextual background for this project. Adaptation, consolidation, understanding and reinterpretation of existing and potential architectural possibilities were demonstrated in this work to enhance the discussion and perceptions of value through enhancement of the existing suburban fabric.

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A more considered approach to existing housing stock on highly desirable lots is the more sustainable option of adaptation as opposed to demolition particularly if the designed outcome demonstrates flexible, liveable and affordable space that capitalizes on the infrastructure and location.

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In John Frazer's seminal book An Evolutionary Architecture (1995), from which this essay is extracted, a fundamental approach is established for have natural systems can unfold mechanisms for negotiating the complex design space inherent in architectural systems. In this essay, which forms a critical part of the book, Frazer draws both correlations and distinctions from natural processes as emulated in design processes and form as active manifestations within natural systems. Form is seen as an evolving agent generated via the rules of descriptive genetic coding, functioning as a part of a metabolic environment. Frazer's process-model establishes the realm in which computation must manoeuvre to produce a valid solution space, including the operations of self-organisation, complexity and emergent behaviour. Addressing design as an authored practice, he extends the transference of 'creativity' from the explicit impression into form, to the investment of though, organisation and strategy in the computational processes which produce form. Frazer's text concentrates astutely on the practising of the evolutionary paradigm, the output of which postulates an architecture born of the relationships to dynamic environmental and socio-economic contexts, and realised through morphogenetic materialisation.

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Bio-diverse-city was a group exhibition curated by Barry Fitzpatrick, showcasing different approaches to designing for resilient and sustainable futures. Elastic urbanism was exhibited within the framework of artworks exploring the different solutions to designing for the future. A design proposition for new models of sustainable and ecological urban growth structured around natural water and infrastructure. The project integrates four different modelling techniques and is developing an alternative system for predicting the impact of urban growth in the future. The design proposition and exhibition is part of an ongoing research project.