Tuesday, August 11, 2015

New registration legislation




The "Complex Architectural Project" referred to in the "Minimum Standard for Registration as a Registered Architect" set out in Rule 7 of the Registered Architects Rules 2006 is defined as follows:
Complex Architectural Project:
A complex architectural project may involve single or multi-level construction and require highly specialised knowledge and skills. It may be demanding in its ordering and organisation of multiple occupancy and/or special purpose user requirements in terms of people and vehicular circulation; complicated in its spatial articulation; difficult in the planning and co-ordination of sophisticated construction systems, larger spans requiring specialised or innovative structural solutions, materials, building services and fittings; and challenging in site configuration and existing features.

It will involve an understanding of the impact of the building on the natural and built environment and require an informed response to the urban or rural context and the physical, topographical and climatic context.

A small building can be complex in the organisation of its components and functional requirements, for example, a residence. Alternatively, a building can be large in area but simple in its makeup and performance needs, eg an airplane hangar.

The realisation of a complex architectural project generally requires specialist input for the resolution of structural and technical design components and special purpose provisions, and the collaboration of an experienced professional team for the preparation of project documentation and contract administration. The procurement of the project is dependent on an appropriate practice structure and adequate professional and financial resources for its achievement.

Source: The National Competency Standards in Architecture

Tuesday, July 28, 2015

The Eames’ – An Eames Anthology

Useful creative thought emerged from a process-based method of problem-solving

Success measure by an object’s ability to do its jobs

While weary of design’s historical tendency toward “creative expression” their work exhibited none of the abject sterility threatened by a devotion to extreme functionalism

They found that delight was itself utilitarian and an object’s capacity to produce pleasure for its user allowed for the consideration of aesthetics as one metric of serviceability

In preparation for a 1949 lecture at the University of California, Los Angeles on “Advice for Students,” Charles made the following notes on inspiration, methodology, and career strategy. They are excerpted here from An Eames Anthology:

Make a list of books
Develop a curiosity
Look at things as though for the first time
Think of things in relation to each other
Always think of the next larger thing
Avoid the “pat” answer—the formula
Avoid the preconceived idea
Study well objects made past recent and ancient but never without the technological and social conditions responsible
Prepare yourself to search out the true need—physical, psychological
Prepare yourself to intelligently fill that need

The art is not something you apply to your work
The art is the way you do your work, a result of your attitude toward it

Design is a full time job
It is the way you look at politics, funny papers, listen to music, raise children
Art is not a thing in a vacuum—
No personal signature
Economy of material
Avoid the contrived

Apprentice system and why it is impractical for them
No office wants to add another prima donna to its staff
No office is looking for a great creative genius

No office—or at least very few—can train employees from scratch
There is always a need for anyone that can do a simple job thoroughly

There are things you can do to prepare yourself—to be desirable
orderly work habits
ability to bring any job to a conclusion
drawing feasibility
a presentation that “reads” well
willingness to do outside work and study on a problem . . .

Primitive spear is not the work of an individual nor is a good tool or utensil.
To be a good designer you must be a good engineer in every sense: curious, inquisitive.
I am interested in course because I have great faith in the engineer, but to those who are serious
(avoid putting on art hat) Boulder Dam all’s great not due engineer
By the nature of his problems the engineer has high percentage of known factors relatively little left to intuition
(the chemical engineer asking if he should call in Sulphur)


The Eames House (also known as Case Study House No. 8), Los Angeles, 1949 designed by Charles and Ray Eames to serve as their home and studio.

Monday, March 2, 2015

Lifemark certification

Lifemark is a new certification promoting smart and intelligent design that meets the needs of people of different ages and abilities; thus aiming for universal design principles such as the below:

Thursday, February 19, 2015

Two cabins accompany an existing home as an art studio, yoga space and garden

Designed by Feldman Architecture, these two additional cabins successfully inhabit the luscious green site.

One to be used as an art studio, the other a yoga space and private guest cabin.

The roof of the lower cabin includes a rooftop garden for the upper cabin looking down on it.

Naturally weathered vertical timber cladding merges in with the surrounding tree trunks and branches.

Inside spaces include exposed curving timber beams and bright white walls - a canvas to the activities occurring within.

(via) (architect)

West End Cottage by Owen and Vokes and Peters Architects

The brief was to renovate and extend this wee timber worker's cottage in Brisbane - provide more space and a connection to outdoor living.

Here is the project from concept to completion....




(via) (architect)