rohanna

fullarton

anna

phan

jiaao

yu

lucia

aimes

maddison

keaveny

si ti

zainurin

Jonathan

kopinski

I-wen

kuo

megan

halliday

ben

hooper

russon

john

jiamin

lu

olivia

bancroft

shijie

liu

simon

cook

andrew

costa

jack

freemantle

samuel

michel

prithwi

chakaborty

samuel

stair

jay

stooker

gyu

seoklee

christopher

mcmillan

phillip

chung

chong

kim

seon

ohsong

isabel

narvaez

lewis

wilson

r e i d

u a l

o p e r a

t i o n s

s

i n t e r ts

r u c t u r e

a r c h i et

c t u r e sa

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P r e f a c e Focused on the relationship between architecture and the broader forces that contextualise it, Re-sidual Operations has introduced students to the idea of context in an etymological sense: that is, the weaving together of different conditions, fac-tors or elements that may have social, economic or political influence. If we think of the city as a context, it is the interweaving of these non-phys-ical factors that shapes the city as a physical condition. In an Albertian sense, if the city can be read as architecture and architecture as the city, then these conditions must also directly influence the building of architecture as a physical form.

Operating on a super system of interlinked network infrastructures, cities are now shaped more by the flow of goods, services, information and resources - together with the containment capital - than by any idealised notion of architec-tural design. Largely determined by the econo-mist, logistician, planner and civil engineer, such systems have developed either in separation to, and often in conflict with, the historical forms of the city, or have seen the city’s replacement as a historical form entirely. Either way, the city and its surrounds have become a landscape without bounds or limits: infinitely complex and ever-more sprawling from its centre.

It is within this context that we, as architects, are increasingly faced with only two modes of operation: to simply see architecture as the indif-ferent byproduct of these influences or instead as a practice that can respond to, critique and subvert the contextual conditions from which the profession stems.

As such, the studio centered on the initial staging of a hypothetical cross-river expansion of the University of Queensland’s St Lucia Campus into neighboring southern suburbs, comprising of a recreational gymnasium, waste water recycling

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facility and chilled water thermal energy storage plant. The work investigated how such infrastruc-tures could both allow for future densification and also subvert it by preserving existing public space and parkland.

This included:

The Territorial:

Terrain Vague - The design of residual territories operating outside of the productive structures of the network city.

The Formal:

Interstructural Artifact - The transformation of infrastructural systems into autonomous and civic architectural forms.

The Functional:

Programmatic Composition - Conditioning spatial tension via the co-location of distinct and diverse programmatic typologies.

Twenty-six projects have emerged testing how architecture can be used as a formal tool to reestablish a dialogue between infrastructure, program, landscape, and the city and its context. More importantly, the projects also acknowledge the broadened scope that architecture must engage with to ensure its relevance as a critical practice.

We are very grateful to Douglas Neale and Pedro Guedes for inviting and supporting us in our direc-tion the studio. Thanks also to our invited guest critics: Jaydn Bowe, Amelia Hine, Paul Hotston, Amy Learmonth, Reece Neumann, Yohei Omura, Tahj Rosmarin, Callum Senjov, Nicholas Skepper and Zuzana Kovar for their time and input.

Above all we thank our students: Lucia Aimes, Olivia Bancroft, Prithwi Chakraborty, Phillip

Chung, Simon Cook, Andrew Costa, Jack Freemantle, Rohana Fullarton, Megan Halliday, Ben Hooper, Russon John, Maddison Keaveny, Chong Kim, Gyu Seok Lee, Shijie Liu, Jiamin Lu, Christopher McMillan, Samuel Michel, Isabel Narvaez, Anna Van Phan, Seon Oh Song, Samuel Stair, Jay Stocker, Lewis Wilson, Jiaao Yu and Siti Nadiah Zainurin, who have debated, defended and critically developed this theoretical position over the course of the semester.

Jonathan Kopinski runs the small collaborative studio Fehlberg Park, operating across a number of project and research-based practices within the field of architecture.

www.fehlbergpark.com

I-Wen Kuo is a member of RIDe (Research in Design), a collective of graduate students spread across the globe and engaged in a variety of fields including academic research, architectural practice, urban planning, cartography, university teaching and film making.

www.ridereseachindesign.tumblr.com

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A f t e r w o r d To end, we must acknowledge our studio’s theoretical beginnings: the Renaissance painting ‘Le Tempesta’ by the master painter Giorgione. Dated 1505-1508, it is widely regarded as the first landscape work in the Western cannon.

The work depicts two curious figures meeting in what might be described as a residual terrain at the edge of the city, where the presence of ruins indicates a productive landscape long since abandoned. Despite this shift of the city and its productive program to the background of the image, the remaining urban void is nonetheless imbued with unusual occasion in the meeting of the two figures.

The space in which they meet is connected to yet also autonomous from the conditioning political, economic and social influences of the city.

It is a unique spatial archetype, derived from the tensions that stem from the act of separation and subtraction. It offers a means towards true oc-cupation of space outside of production, outside of labor, outside of capital and thus outside of influence.

How is this to be designed?

Jonathan Kopinski

j onathon

i-wen

kopinski

kuo

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G u e s t C r i t i c s

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phillip

chung

russon

john

lucia

aimes

samuel

michel

samuel

stair

isabel

narvaez

residualoperations.tumblr.com