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Summarises a range of projects undertaken during the undergraduate architecture program at the University of Sydney
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PORTFOLIOBOYD MOCKRIDGE [email protected]
YEAR 3 SEMESTER 2 : THEATRE OF ANATOMY, PRAGUE
The Divine Body - Disease and Anality - Fragility and Decay
- the Industrial Body/Machine - the Bodysnatcher -
A Space, by the qualities of our confinement, influences our experience. This is particularly interesting when we consider our engagement with death and its manifestation; the corpse. This occasion is experienced differently in various spaces, which are territorialised for various purposes and agendas. The way in which we engage with the corpse in the hospital is different to the manner in which we engage with the corpse in the church, the lab, or the home. With this project I wanted to destabilise these subtle frameworks of interpretation, and engage what is perhaps the most fundamental human experience: a confrontation with death.
To approach this, I began investigating the fundamental geometries of St Anna’s church, those which define the space and allow us to engage with it in a particular way. I began to exert a process of de-territorialisation upon the church, using the concept of the abject as a kind of operation in order to twist these geometries against their original intentions. Such operations would begin to carve incisions and voids into the body of the church - that which were initially of the church, but are now inflected against it; creating new spatial relationships.
The architecture as program and form would hence approach this altered body in an abject fashion. The entrance hall and labs would begin to seep into one another; testing the physical and (imposed) mental boundaries of the spaces through the subtle voids created. The sensation created would be an initial flirtation with the abject, as one is taunted to gaze down upon the laboratories below. The theatre and the corpse/event, the most abject moment, would begin to occupy the navel of the church; the most powerful of its original geometries exiled beyond the body. The architecture here is within a moment (or series of moments) of shift and slippage. Almost a sense of vertigo is apparent as the corpse is raised; infecting the space, penetrating the floor.Once this moment has passed, the natural response is a grappling for control; a re-establishment of borders, of identity, to permit the ego to exist once again within the world in a state of sanity. The egress is the architecture’s desire for this; it struggles with the stricken buttress; once a significant support, now a significant weight. The intended result is an attempt to allow for one to form a rhythm - as a gradual decent is made, through shafts of natural light and the elements as snow and water run down these interior/exterior penetrations to the floor.
Urban Flesh - Church as a BodyI think the term ‘site context’ is perhaps dangerous for this project - it implies the possibility of an actual separation between St Ann’s and the city of Prague, when in reality this is a fallacy. A more apt term might be ‘contextual fabric’ - the acknowledgement that the city and the site form an inseparable flesh. Once this is understood, I feel that the most intense way to engage with the city is via the body of the church. It holds the wounds, scars and residues of the entire city; within its physical self. Hence to make surface references to the city context would be superficial when this body holds the history of Prague, and its shifting nature, within its stone. St Ann as a historical body has been territorialised and reterritorialsed by the social paradigms that have shaped Prague as a whole; and these processes have left imprints on its form. By engaging with this process of territorialisation, we can understand the fundamental thoughts that have carved this body/city, and engage with the contextual fabric in which it exists.
Corpse/Event
Abject(ion)
Machine/Objectdivine Body
10AM APRIL 10AM SUMMER 3PM WINTER 4PM APRIL 4PM SUMMER 10AM WINTER
ENTRANCE & LABS NAVEL & THEATRE
ABJECT OPERATIONS
PERSPECTIVE OF FRAGMENTS
THEATRE IN MOMENTS
Fig a;
Fig b;
Fig c;
The architectural response was to engage with the essences of loss, and explore the dynamics of absence; what affect it has on our psyche, and what actions and reactions it produces. The project revolves around the search for the absent, which simultaneously holds a powerful presence. A form of reasoned, logical madness was invoked to permit the
digging process: in the form of misplaced historical maps superimposed on the site.
YEAR 3 SEMESTER 1: LA PAROUSE GOLF COURSE
The La Parouse project asked for an additional golf clubhouse for the NSW course, on the headland site; however the project evolved into a more theoretical engagement with the most intense aspect of the site.
The project explores the ghosts which inhabit the forms in the land of the edge; not so much the forms themselves, but the residue of time left imprinted on the earth by the etching of air and water, creating sculpture that resonates with the intensity of time as a force of anti-mass.
CORE SAMPLES
The spaces left would begin to be colonised for various purposes, mainly in a temporary sense, while the digging continues. Circulation would be fulfilled by lift shafts that act as structural additions to scaffolding and to allow for further excavation. These mobile platforms can themselves be occupied by program that would benefit from the potential to move between levels; such as bars or temporary storage. The modular form of the scaffolding essentially allows for a temporary occupation; components fitted to the scaffolding can become living quarters and services. Water collection at the base becomes useful for bathing and recycling.
The brief required Co-housing for three distinct families – very different in their character and needs – along with shared spaces and public facilities. The response was to create three highly distinct homes that grew from the personalities of the characters. Only when the individuals felt comfortable in their personal space would they allow others inside – from here they could then overlap into shared spaces that could host a variety of communal activities; eating, play, rest, gardening, watching the children. Once these two levels of comfort were achieved, the characters could extend into the community and by the same token welcome them into their semi-public spaces, that were suited to a variety of purposes intrinsic to their personalities; such community vegetable gardens, art studios, and cooking classes.
YEAR 2 SEMESTER 2 : WOOLLOOMOOLOO HOUSING PROJECT
GROUND FLOOR PLAN FIRST FLOOR PLAN
ENVIRONMENTAL STRATEGIES
The wilderness entices our imaginations into fantasy, existing as a powerful force both within our own
minds and in reality. It engages our primal senses with an incredible intensity – undiluted by language
or whatever collection of knowledge we might possess. Our emotions, fears, curiosities and perceptions
are stormed by our senses as they are overloaded by their engagement with the unknown wild. This can
only leave us with the important but much forgotten fact that we are a part of the concrete –
“In wilderness is the preservation of the world” -Thoreau
Thousands of years ago, the majority of human life (with our hunter-gather lifestyle) knew only of the
wilderness - and were thus bound to it.
However we have rapidly changed; today we are distanced from this powerful force by our own
constructions. The human processes of science and ever more sophisticated technologies attempt
to quantify the unknown – flattening it into a conceivable, two dimensional form. This might aid us in
our scratching plight to understand the universe; however it fails to address our primal desire for the
untamed wild, that which demonstrates our most fundamental connection to this world.
CONCRETE GEOMETRIES; COMPETITION SUBMISSION
PHOTOGRAPHY EXHIBITION SUBMISSION
Basix Elements
FW - R1.30SR - R0.45 foil backed blanket 100mmWF standard aluminium, single clearFL - fixed lourveAP - adjustable Pergola
Materials and Finishes
DP - drainpipe 100mmWP - Prodema Prodex weatherboard panelSC - steel column (new)SF - sink fixtureHS - heritage stair adjustmentCB - cavity brickSG - structural glass floor panelBG - box gutter
DCP/LEP
BE - building envelope
HS
BE
SC
SG
WF
SR
NORTH-FACING SECTION DA#06 2/2
BE
WEST-FACING SECTION DA#06 1/2 PROJECTJello Biafra Residence
ADRESS60 Evans StRozelle
CLIENTJello Biafra
PROJECT# DP 436211/A
ARCHITECTURE PROFESSIONAL:Boyd Mockridge
DRAWINGSECTIONS
Scale: 1:100 at A3
DRAWING#DA06
PROJECTJello Biafra Residence
ADRESS60 Evans StRozelle
CLIENTJello Biafra
PROJECT# DP 436211/A
ARCHITECTURE PROFESSIONAL:Boyd Mockridge
DRAWINGFIRST FLOORPLAN
Scale: 1:100 at A3
DRAWING#DA04
Basix Elements
FW - R1.30SR - R0.45 foil backed blanket 100mmWF standard aluminium, single clearFL - fixed lourveAP - adjustable Pergola
Materials and Finishes
DP - drainpipe 100mmWP - Prodema Prodex weatherboard panelSC - steel column (new)SF - sink fixtureHS - heritage stair adjustmentCB - cavity brickSG - structural glass floor panelBG - box gutter
DCP/LEP
BE - building envelope
CB
SG
AP
FL
WF
WF
FW
SF
HS
SF
PROJECTJello Biafra Residence
ADRESS60 Evans StRozelle
CLIENTJello Biafra
PROJECT# DP 436211/A
ARCHITECTURE PROFESSIONAL:Boyd Mockridge
DRAWINGSITE ANALYSIS
Scale: 1:200 at A3
DRAWING#DA02
The brief for 60 Evans St, Rozelle involved an alteration and addition to an existing heritage item property, in the form of a studio and outdoor terrace. The focus of the project was to produce a potentially compliant set of DA drawings and appropriate reports, sampled in the surrounding images.
60 EVANS STREET: DA DRAWINGS
Improved streetscape
Potential to reclaim carparks for green routes
Facilities to be used after-hours for community programs
Underground carpark for school and business
School-only facilities
Urban Scheme 1:2000
YEAR 2 SEMESTER 1: ARTHUR PHILLIP HIGH SCHOOL, PARRAMATTA CBD
1
23
123
Focused Learning
Breakout/Study/Circulation
Mixed-use hub
School Hub Design Strategy
LEVEL 1: LIBRARY LEVEL 2: GREEN ROOF
Environmental Strategy: Ventilation
Environmental Strategy: Lighting and Solar Access
