TERSIUS MAASS

STA employee;

Scale: APP 450 sqm

Stages: All stages 

Tools Skills: Project director, Revit, Photoshop, Indesign, Sketching 

Time: 2013 – 2017

Contractor: JBS Building and Development

Photography: Christopher Frederick Jones

Located overlooking the Brisbane River, the Ramirez Whyte House is situated on an east sloping wedge shaped small lot site. Planning restrictions which included flood and height limitations together with a substantial brief requirement for a robust and maintenance free and a restricted budget significantly influenced the design.

This house required an essentially cost effective idea to bring the disparate elements together with limited budget available. A simple trapezoidal plan form in response to the shape of the site, with a conventional block veneer construction provides the envelope to accommodate the client’s requirements in an extremely economical, yet expressive manner.

Capitalising on the river views and allowing for street access, the house follows the natural slope of the site and increases in height towards the river by means of a two to three storey split level section which is bound by a central lightweight stair.

All the private and ancillary spaces are contained between two site anchoring and datum setting masonry walls. These walls are articulated by horizontally aligned expressed split face patterning and protruding window hoods. Further expression is given by horizontally raked mortar joints with flush vertical joints.

Multi volumetric spatial interplay through a series of open plan living spaces at the upper level capitalises on river views via a terrace to the North East and opens up to a protected garden via a family rumpus terrace to the West. This East-West open ended axis also allows for natural breezes to flow through the living spaces virtually eliminating the need for mechanical ventilation. The two terraces also provide 2 very different modes of covered shelter – Morning and afternoon, Winter and Summer, exposed and sheltered.

A lightweight Corten box slots in between the masonry walls and caps the house by folding up and over the living spaces. Patterning of the box is created by strategically located cut outs capturing specific views, and a concealed garage door.

This house respectfully responds to its context in a strong but raw and maintenance free manner reflecting the colours and textures presented by the Brisbane River and its vegetation. Sunhoods controls sun penetration whilst and solar panels harnesses natural energy. Water runoff from the roof is collected and stored in an underground tank, whilst the landscaping makes use of native landscaping, some of which bears eatable fruit.

The Ramirez Whyte House is unapologetic in how it claims the corner on which it is located, and presents itself with elegant and thoughtfully considered resolution of humble building materials. It contributes to the Brisbane Built Environment as a strong example architecture that is contemporary yet cost effective.

(Cultural Stoppage Literati Garden, Ciqikou, China)

Resisting Flow:

In a world very much driven by socio-economical forces of ‘Flow’, Wénhuà Tínggōng Literati Garden located in Ciqikou[i], advocates for an architecture of 'Stoppages'[ii]. An architecture of authenticity that acts critically and politically in re-introducing and facilitating the primary human condition of dwelling, thus embodying at an innate level the definition of sustainable (public) space making .

Time:

Referencing Traditional Chinese Gardens, this proposal celebrates time as a dynamic force, whilst simultaneously and deliberately slowing it down. Spatial experience via paths, views, symbolic representations (creating urban and social memory), and internal and external spatial manipulation plays with the notions of past, present and future, whilst season themed gardens connects the proposal to a larger natural context, a reference to one place in the much larger universe. In doing so time is slowed down with unsubscribed spaces allowing one to explore and connect with oneself, others and place - experiencing what it means to dwell[iii]. 

Memory:

“...[Chinese Gardens are]...one of the most valuable tangible and cultural heritages of the Chinese people...” Prof Hu Jei (Associate Professor of School of Architecture at Tsinghua University)

Past memories are celebrated through its framework and programme, while its very cultural artefactual and tangible existence both brings into life and ensures the survival of ancient Chinese traditions and heritage.

“…The tradition [of making and artefact] is being kept alive. If it is put in the museum, it means it has died.” Wang Shu on Ningbu Museum:

Program:

Informed by 1) architectural theory exploring metaphysics and philosophy, 2)interviews with students and locals on site, 3) the very rich history which China as a whole has to offer, and 4) various forms of precedents, critical research led the development of this project down the path of referencing traditional Chinese Gardens and Chinese Spatial Traditions, interpreting it into a contextually appropriate program of a Cultural Stoppage Literati[iv] Garden.

Structured around four season-themed gardens and anchored by both an axis to an existing 1500 year Buddhist Pagoda, and a water axis linking the site to the Jailing River, the garden constitutes various programs, including open exhibition, focused auditorium learning and expressive workshop spaces, resident artists etc, all of which allows various formats in which culture is educated, expressed and most importantly lived.  

Landscape strategies informed by traditional Chinese Garden techniques, demotes the architectures as facilitators to the immediate and broader landscape, which become the primary spatial driver.

Public participation in the exploration and living of past heritages through a framework which activates awareness of context allows this project to truly explore the primary human condition of dwelling in its quest to make space (both architecture and landscape) which is inherently sustainable.

Meaningful future of Stoppages:

Wénhuà Tínggōng Literati Garden is thus as much a reference to the past, as it is an act of resistance to the current forces of ‘flow’. A force of Stoppages which enables a sustainable and meaningful way of dwelling and memory making for the future.

Personal Stoppages Found:

The academic year of 2018 has truly been a critical stoppage in my professional career, and this project a joyful stoppage in my M.Arch degree.

I can wholeheartedly say that my outlook on architecture, landscape and country has been both challenged and enriched.

The impact of this project is reflected in the physical manifestation of the final presentation, how it connects to the subject matter of the design, and the process and format in which my thinking has progressed. What’s more, I have through this project explored and responded to personal stoppages - getting to know a bit more about myself, others and place.  Success!

My sincere thanks to the QUT team for the facilitation and guidance, I got exactly what I was looking for in the 2018 academic year, and so much more.

[i] Ciqikou is an ancient village, established in the Song Dynasty. It is located in Chongqing, one of 4 municipality cities in China. Whilst the urban fabric of Ciqikou still exists by and large very much as it was historically, tourism and capitalism has diminished the celebration and living existence of authentic Chinese heritage and traditions.

[ii] The term 'Stoppages' originates from a recent essay, 'Perceptions of Stoppages', and refers to the satisfying of primary human conditions through the act of living life critically and politically. Through the lens of architecture we satisfy the primary human condition of dwelling, which is defined as the purpose of architecture through the identity of self, others and place.

[iii] Through researching the work of Christian Norburg Schultz and Kevin O'Brien, 'Perceptions of Stoppages' defines dwelling as "…the purpose of architecture through the identity of 1) self, 2) others and 3) place".

[iv] Literati Gardens were most prolific in the Song Dynasty, and were typically small in scale, but large on social and technical complexity. They were typically operated by a Civil Officer or Scholar, and thus is the most suited in referenced typology for the program of this project.

(2018 QUT Design Festival People's Choice Award, Noel Robinson Architects Prize - highest achievement in Architecture Design, Best Project for China Studio)

BVN employee;

Scale: 18,580 m²

Stages: SD - DD 

Tools / Skills: Façade Coordination, Revit, Photoshop, Indesign, Sketching 

Time: 2018

Construction Cost: $115,000,000.00                   

BSSSC is located in Dutton Park, South Brisbane and built on a sloping site with a northern aspect. Making most of the available land and allowing for future flexibility, the school spreads itself horizontally in a campus style with clearly identifiable blocks for learning, administration, and sport.

Various buildings are organised around external circulation routes with main points of entries to the school defined as large outdoor rooms for gathering and learning, all of which creates a learning environment for both formal and serendipitous learning and teaching. Contextual view line connections to physical landmarks are expressed to ground students in their local surroundings and foster a sense of place.

The façade of the school whilst highly efficient and economical, references both environmental and cultural contexts. Past indigenous activities are referenced in contrasting manners through “additive” screening devices referencing weaving and “subtractive” precast concrete wall construction referencing carving.

This project was undertaken as a BVN employee and procured as a D&C. to which BVN remained technical advisors to the Department of Education past delivering DD documentation.

Construction Cost: $115,000,000.00

GFA Area: 18,580 m²

The Brisbane “Ekka” is an institution in Queensland life. The Royal National Associations (RNA) annual show has a major focus on the grazing and agricultural industries and includes one of the world’s largest cattle shows, where beef and dairy cattle of many breeds are exhibited and this event is seen as the major industry showcase drawing visitors from around the world.

The historic RNA showgrounds in the inner city are currently being redeveloped in of the country’s largest Urban Renewal programmes. The redevelopment will retain and enhance a significant stock of existing heritage buildings and places, whilst integrating a range of new retail, commercial, multi-residential, new multi-purpose convention, exhibition, and car-parking facilities. The new Large Animal Pavilion is designed not only to accommodate the annual Cattle and other large animals exhibition (housing up to1800 head of cattle), but also to provide for other major exhibitions each calendar year, and further car-parking to meet the demands of the Convention and Exhibition attendees and the nearby Royal Brisbane Hospital.

The multiple modes of operation demanded a unique design with no recognisable international precedents. We developed a strong working relationship with the client and key stakeholders, undertook significant research, attended the annual show and observed and recorded the facility demands and complex logistics, including the peak periods of loading and unloading of cattle to ensure a robust and flexible facility that could easily and readily adapt to both the known and unknown variations in the buildings operations.

A truly mind blowing experience which leaves goose bumps whenever I think back at the total experience...

As far as being tested in critical thinking of contextually appropriate space making goes, one will struggle to better these 2 weeks. Glenn Murcutt, Richard Leplastrier, Peter Stuchbury and Professor Britt Andressen are four architects, masters, with closely aligned core architectural values, but with completely different approaches in their discovery and making of space. One is truly allowed to once again like when you were a student think freely, poetically and passionately...no bars hold! 

The leafy suburb of Indooroopilly, located in Brisbane’s west, enjoys a gently rolling terrain with and large swathes of remnant bushland. Its proximity to the burgeoning University of Queensland and connected by rail to the city saw the suburb become very popular in the immediate post war period with generous housing blocks affording an ideal garden suburb lifestyle, and it attracted many of the city’s younger professionals and academics at the time. Many of the houses were designed by architects and notwithstanding the post war constraints on house sizes, ceiling heights and materials, many of these houses illustrated an inventiveness and quality of design which distinguishes the character of the suburb. An existing architect designed, weatherboard and terracotta tiled roof house, relatively modest in size, but well considered in it’s siting, planning and quality of construction, had served previous generations of the young family who now inhabited the house. Set on an a large half acre block, the house and garden that had evolved, apart from its size offered many of the best attributes for an ideal contemporary sub-tropical lifestyle. However modern living demanded more space, not only to better accommodate cars and storage, but also separate study, play, guest and entertainment spaces along with the need to generally upgrade the interiors and their connection to more generous outdoor living areas and provide new kitchen, bathroom and laundry areas.

The existing house was set well back from and elevated above the road to the south, generally all on one level at the top of a slight rise with a lush mature garden hiding the house from the street, and a more open lawn to the north with perimeter planting affording secluded and private living in the house and garden. The garden to the south in particular included a number of very mature native trees and featured a mature bottle tree (Brachychiton Rupestris) planted by the current owner’s grandfather.

The design is the result of a rigorous analysis of a number of alternative options from significant retention of the existing structure to options for a demolition and a new house. The preferred approach as constructed retains much of the original fabric now repurposed for enhanced bedrooms, study, laundry and bathrooms, and a significant new addition accommodating the larger living spaces and car accommodation with higher ceilings, not able to be accommodated in the older house. These 2 principal elements merge into a T shaped plan with a new east/west wing carefully stitched into the existing north/south wing. An overarching concern to make the old and the new clearly legible from each other has influenced all work. Existing fabric wherever possible has been retained in situ and repurposed, such as the former indoor brick fireplace which now serves as an outdoor fireplace to a new north facing terrace, or existing materials and have been reused, for example the roof to the new wing re-uses terracotta roof tiles from part of the old house. There is a clear composed distinction between the parts, but nonetheless also to create a cohesive whole. Bagged and painted brickwork, in common use at the time of the original house is employed to the new wing and is complimentary to the painted weatherboards of the existing house. Timber framed doors and windows are used to the new, but stained rather than painted as on the old. A matching roof pitch to the old hipped roof, but on a gable roof to the new. This symbiotic relationship between the two is further emphasised in the interiors, where the old is largely more enclosed and hermetic, the new, comprised mainly of living spaces, is more open and permeable and embraces the garden spaces, older ceilings are low to the more hermetic spaces, whereas the new and more generous living spaces are characterised by higher raking ceilings.

The resultant larger and more open house appears and is experienced as an integrated whole, where there is a similar concern for; quality construction detail; an eschewing of any fashionable design tropes, and; a complimentary approach between old and new fabric and private and family spaces. Whilst the house has almost doubled in size and is more discernible from the street, the original modest and understated design character has been embraced and developed with a contemporary sensibility for a larger growing family and a modern sub-tropical lifestyle.

The direct link between mind and paper, sketching for me is a way of loosing myself in a creative medium where one gives free reign to the interpretation of observation.

RMA employee;​​

Scale: ​82.4sqm footprint - 178.3sqm Gross Internal Floor Area

Stage: CD - TD

Tools / Skills: ​AutoCAD, SketchUP, Indesign, Sketching

Time:​ 2009-2010

House for Richard Murphy himself described as “25% Scarpa, 25% Soan, 25% green and 25% Wallis and Grommit”.  This project encapsulates my understanding of Richard’s architectural language and steps back in time with its size and intensity reminiscent of RMA’s early projects which his practice is best known for.

The proposal stitches up a planning miss-hap, by filling up a left over garden space, covering an unsightly gable-end and bookends a strip of new town facade. A compact footprint of only 82.4sqm is arranged over 4 vertically interlocking sections.

​​More information on RMA website here

​HASSELL EMPLOYEE:

Scale: ​GOLD COAST CITY

Stage: CD

Tools / Skills: ​AutoCAD, SketchUP, Indesign, Sketching, 3d Studio Max (limited)

Time:​ 2011

​​At city making scale, the multi awarded and highly referenced Gold Coast Rapid Transit Project investigated the future growth of the Gold Coast, as was primarily informed by future infrastructure projects, primary point in case being the Light Rail Rapid Transport System. 

The research associated with this project gave a very good understanding of city making, place making and the role of architecture beyond its immediate role of sheltering content.

Frameworks and master plans for future development at various scales from private individual resident and collective city making scale were developed against existing conditions. Regular workshops with various stakeholders ensured substantiation and validation.

The potential growth paths and nodes of the city were modeled to inform a collective vision for the future of the Gold Coast. From this master plan thinking various demonstration projects, typically around active urban nodes, were developed as hypothetical explorations of how to grow in a feasible, sustainable and contextually appropriate manner.

Development summary:

459 apartments - mix of 1,2,3 bedrooms and dual key

290m2 of retail

25 level north tower / 34 level south tower

basement and podium car parks = 479 car parks

ground floor retail and

ground floor major public plaza space and facilities

continuous subtropical - exemplar architecture

significant landscape proposal 

Northshore Hamilton Priority Development Area (PDA) compliance:

 Complies with Vision and Structure Plan requirements

Complies with Mixed Use Centre Zone, Precinct 3 and Sub-precinct 3(c) intents

Achieves housing choice and exceeds housing affordability requirements

Delivers on the dominant built form at corners requirement

Responds to new road connection KSD to Hercules Street

Design outcomes satisfy PDA-wide Development Criteria

Appropriate vehicular and pedestrian access location and design

Compliance with interim car parking rates

Sufficient capacity within infrastructure networks and transport network 

EDQ Superior Design Outcomes:

 Architectural Design – Distinctive, exemplar architectural design in podium and tower

Landscape Design – Corner feature sub-tropical landscape tree, and landscape facade

Public Realm Benefit – Public plaza at corner, with interface to public park

Community Benefit – Community facility and meeting space

Affordable Housing – More than 30% of units provided as affordable housing

ESD Outcomes – Targeting EarthCheck certification

Public Art Provision – Landscape-oriented public art to be provided

Adaptable, Interim Public Car Park – To alleviate current pressure

"Living by example", and living in contrast. In a tin and reed shack, with no electricity, cooking outside on the open fire.  All of these things give new and true meaning to life as you experience it in a contrasting way. In a tin shack in the middle of a rock desert light and space take on a meaning of their own. You build economically with what you have, which often on their own aren't beautiful or necessarily typical house building materials, but you start to explore possibilities outside your understanding if materiality and the application there off.  More importantly, the rhythm of life changes.  No electricity means the sun and the birds become announcers of morning and night. Cooking outside means that food preparation and fire sustenance becomes a collective effort between all hands on deck.  Water is sourced from a nearby canal on every Tuesday.  Tuesdays became Mondays, the "business start" of the week,  in Vioolsdrift.  A petrol pump is loaded onto a wheelbarrow at 4 in the morning and wheeled across the fields down to the canal, where the priming and connecting to piping takes a good hour of sweating and swearing. Its a whole day's work filling water tanks, watering garden beds around the house, filling water tanks for the live stock. And its good - because you have been payed, your tanks are full and you have secured life for another week in what is climatically a very hostile environment.

Setting out with painting as a medium to experiment with colour, my attention was immediately drawn to modern art, being particularly intrigued by the paintings of Jullian Opie.

My first completed painting works for over 20 years, "Aye and Kay" are 2 little portraits of fellow design colleagues and great friends. Playful elementary colours are applied in 2 different techniques portraying their being as I have come to know them.

 Aye the quiet and almost unpredictable thinker with thick and loose "splots", and Kay the organiser and operator with more specific and linear strokes.

Colours mach facial/portrait feature, with the hair - their facial features which in real life probably describe them best, applied in the warmest colour. Skin is painted blue to create a strong contrast and there for further amplify their strongest facial features.

Finely, as with everything in life it's not all straight-down-the-line with these two, as they are both collaborators in design and partners in life. Brush strokes now and again find themselves flipping between the two faces to depict this share they have in each other.