+5 person design team competing in the G’dansk WWII Museum Competition, receiving a honourable mention. The juries official verdict stated “this somehow whimsical entry stood out for its richness and narrative of presenta-tion, bringing a personal approach to the challenge of representing the anguish of war”

entry to the museum

g’dansk competition 2010

+taking inspiration from the ever changing lines of the city walls of G’dansk, this competition entry took on the title ‘Lines No Fire Could Burn’ referencing the title of John Hejduk’s book of the same name. In using this title we hoped to encompass the cities urban transformations, constant shifting of rivers, city walls and its rebuilding post war as well as the consistency and strength that remained below these changing facades.

the rear of the museum viewed from the river

g’dansk competition

honoured entries exhibited on the streets of g’dansk

+working in a team of this size meant we were each able to explore the project in a variety of ways, giving the final presentation a depth that otherwise would not have been able to have been achieved. My contributions to the group consisted of working on the narrative of the journey through the building, creating all rendered images of the project, as well as a series of ‘postcards’ of the future site, and a series of books for the panel. I also took a strong consultative role in the final graphic layout of the board, creating the textures and patterns to fill the panels to give the project a consistency across all re-quired content

g’dansk competition

g’dansk competition

g’dansk competition

g’dansk competition

maitland house-lean productions 2010

The new extension will encompass “the austrian room” a family heirloom brought from australia post WWII as well as bunk rooms, guest quaters and entertaining decks as it leads to a tennis court, childrens retreat and outdoor cinema/tree house.

A country retreat on a 100 acre-property in the Hunter Valley, wine country 2 hours north of Sydney for a growing family and a lot of friends. Situated in a clearing at the crest of a hill facing north into a wooded valley filled with euca-lypts and wallabies, the original house was designed around a central deck, onto which the internal spaces of the house (and their activities) spill.

previous employment

maitland house-lean productions 2010

Bounded within this a series of generous living spaces sprawlling down the natural terrain of the undulating hillside containing built in benches, allowing the continually changing inhabitation of the spaces over the course of the day (and night), while durable materials and robust construction ensure that weekends at the house remain truly low maintenance and focused on the delights offered by the site and its surroundings.

previous employment

kirribilli house-lean productions 2010

The last remaining free standing house on kirribilli avenue, next to the prime ministers official residence, this derelict house has been owned by the one family for generations. Its pride of place and familiral importance giving it an exciting yet difficult series of criteria it must uphold as it presides over the harbour. Our intervention sug-gested garden apartments spilling down the hillside, using their roof tops as gardens and pools giving the mainhouse a prominant plinth to sit upon and landscaped privacy in its public positioning.

previous employment

In proposing the redevelopment of Frankfurt University as a culture campus, “Urban Palimpsest” investigated the city as the subject of architectural knowledge, bringing together architectural form, urban history and cultural identity in a narrative driven architecture. Throughout the investigation the theme of connectivity (cultural institutions, points of interest within history and the urban fabric) was explored for its potential in developing an architectural story in view of “narrative (being) a language of design that builds on people’s everyday experience.”

This project was concerned with what architecture might be beyond the analytical, taking as its starting point the personal, the qualitative and the corresponding emotional response. While modern architecture has been concerned with the use and design of “empty” space, ideally unrestricted by interpretation and inhabitation, this projects central aim was the interconnection of an emotional response, an art and architecture through the crafting of experiential solutions.

board and image examples

thesis semester

board and image examples view over the central courtyard

thesis semester

+the following images come from my final presentation for “the heart of the city” studio at DIA. this project was aimed at redeveloping an old hotel/department store complex in munich. the brief stated “the city will never be built and complete. one of the most exciting and challenging changes in european cities today is the attempt to conquer back former mono functional structures for a wide range of urban development within the city...”

the concept i presented looked at housing the pre determined program of offices, residential, hotels and department stores above ground in ‘floating’ triple glazed boxes. by having no direct connections between each box above the ‘ground’ level, i aimed to “push” the publics movements across the site and between programs below the boxes and through the interwoven gabion walls, in attempt to bring activity to the zone.

munich competition

+long section through the gabion walls along ground level and the glass boxes floating above providing space for the pre determined program. light shafts cut through the volumes provide air circulation, light and a secondary space to open onto for the internal floors

munich competition

+short elevation demonstrating how the boxes fit within the proportions of the surrounding buildings

munich competition

white bay silos-built emotion

+the built emotion studio at the university of technology sydney, focused around constructing architectural ideas through narrative. its aim was to provide an alter-native method for approaching architectural design by constructing a series of experiences, emotional connections and stories to a site and threading these together in the final design.

rethinking white bay silos worked around the idea of regenerating, adding & subtracting elements, program and structure to create a new vibrant space. we played heavily with the verticality of the site, mechanical history of the buildings and a softer hand made approach towards parasitic architecture.

finally, our presentation, due to the subjective story telling approach revolved around a series of comics, a 1:50 scale model as well as a montaged film of the current site and its surrounds, fly throughs of the model as well as textural over-lays.

white bay silos-built emotionsite diagrams/model photo

white bay silos-built emotioncinema/residential

+index exhibition 2011, officiated by Charles Renfro and Eva Franch

white bay silos-built emotionmodel photos

caitlin mills-sheehy

caityms@hotmail.com

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