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EDUCATION
UNIVERSITY OF TECHNOLOGY SYDNEY
BACHELOR OF DESIGN - INTERIOR SPATIAL 2012 - 2015
UNIVERSITY OF TENNESSEE KNOXVILLE
STUDY ABROAD PROGRAM 2014
COMPLETED ELECTIVES IN THESCHOOL OF ARCHITECTURE AND SCHOOL OF BUSINESS
SYDNEY SECONDARY COLLEGE BLACKWATTLE BAY
HIGHER SCHOOL CERTIFICATE2010
SYDNEY SECONDARY COLLEGE LEICHHARDT
SCHOOL CERTIFICATE 2007
EXPERIENCE
UNIVERSITY OF TENNESSEE COLLEGE OF ARCHITECTURE AND DESIGN
TEACHERS ASSISTANT 1ST YEAR REPRESENTATION 2014
MARK WATSON DESIGN
ASSISTANT CABINET MAKER/JOINER
WORKED ON HOUSES 2011 AUSTRALIAN HOUSE OF THE YEAR (HOUSE IN COUNTRY NSW - VIRGINIA KERRIDGE)
NORTH NEWTOWN PUBLIC SCHOOL
EDUCATOR2013-2015
PLUNGE NO. 20
KITCHEN HAND/BARISTA 2012
PROGRAMS
ARCHICAD
8 MONTHS CONSISTENT USE
REVIT
7 MONTHS CONSISTENT USE
PHOTOSHOP, ILLUSTRATOR, INDESIGN
3 YEARS CONSISTENT USE
VECTORWORKS
1.5 YEARS INCONSISTENT USE
SKETCH-UP
2 YEARS CONSISTENT USE
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Samantha Donnelly [email protected] M: 0425 386 134 September 20, 2015
Re: Max Jefferys _ Reference
To whom it may concern
I have known Max since February 2015 and have had the pleasure of teaching him during the 2015 Experimentations Studio for Third Year students in Interior Spatial Design at the University of Technology Sydney.
Max’s work is of an extremely high standard – he was able to navigate a very demanding and creatively challenging course quite independently over the course of one semester, with outstanding results in all assessments.
The studio dealt with designing and modelling a proposed Women’s Refuge in an existing site on Oxford Street in Darlinghurst. There was rigorous site exploration, abstract volumetric modelling as well as a series of presentations with Refuge managers and Medical practitioners. The students designed spaces which addressed accommodation as well as medical and mental consultancy needs of the clients. Max tackled all aspects with confidence and perseverance and was able to construct convincing grounds for his proposal. One of the great strengths I perceived in his work was his understanding of humanity. He particularly focused on how the space would be used and would benefit its occupants.
His work shows meticulous attention to detail and creative energy. He has a positive and productive attitude, despite the difficulty of working in a confined and often chaotic environment. His ability to draw, both freehand and technically was exceptional. His major strength, however, was model making. With his experience of joinery and working on high quality timber work for building sites, he was able to translate his ideas of junctions with machine-like exactness into the spatial understanding of the project. The series of models, presented at the end of the semester, had moving parts and worked across a range of scales with different materials. His understanding and ability to translate three dimensional space into working models clearly shows his skill as a mature and meticulous designer.
He was not afraid to discuss issues which were confusing and made sure to understand what was expected and what was being requested specifically in studio exercises. He was always reliable and honest, and always present in studio with work to show. He is well coordinated and respectful in group projects. He works hard to achieve the high level of finish he expects of himself, and understands the iterative nature of design and construction.
I have taught third year Architectural Design studios for several years at the University of Sydney and believe that Max is on par with the third year students in Architecture in terms of his abilities. I would not hesitate to recommend Max for the Master of Architecture course at Sydney University as I fully believe that he would not only survive the transition from Interior Spatial Design to Architectural Design, but he would also thrive in this environment, particularly given the fantastic workshop facilities and staff at the University. Likewise, the university would be taking on a talented and creative individual who is destined for great things.
I am happy to discuss any further issues in person.
Yours sincerely,
Samantha Donnelly Sessional Staff Member _ USyd, UTS and UNSW Research Project Officer _ UTS
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DESIGN STUDIO
WOMEN’S REFUGE
61% OF ALL WOMEN WHO EXPERIENCED DOMESTIC VIOLENCE HAD CHILDREN IN THEIR CARE WHILE THE VIOLENCE OCCURRED
48% OF CHILDREN SAW THE VIOLENCE
YET MALE CHILDREN AGED OVER 14 COULD NOT BE ADMITTED TO A WOMEN’S REFUGE ON GROUNDS OF TRADITION
AIM - TO PROVIDE A SPACE FOR WOMEN AND ADOLESCENT CHILDREN TO SEEK REFUGE FROM DOMESTIC VIOLENCE
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VIEWED THROUGH THE LENS OF HETEROTOPIAS, WE CAN UNDERSTAND THAT WOMEN AND CHILDREN WHO FIND THEMSELVES IN THESE REFUGES BECOME AN “OTHER”, A DISPLACED PERSON. THE REFUGE BECOMES A PLACE OF REMOVAL FROM CRISIS (FOUCAULTS FIRST PRINCIPLE) THERE IS REMOVAL FROM THE FABRIC OF SOCIETY FOR THE DURATION THAT THE WOMEN NEEDS TO GATHER HERSELF AND TO DECIDE WHAT THE NEXT MOVE WILL BE. THE REFUGE IS A PLACE OF RE-ORIENTATION, A PLACE TO HIDE FROM CRISIS
THE REFUGE IS A PLACE OF RAPID CHANGE. IT ALLOWS FOR A TRANSITION BETWEEN VARIABLE NUMBERS OF CLIENTS AND SPECIFIC NEEDS. THE REFUGE PROVIDES A PLACE TO EXIST WITH A REDUCED THREAT OF CRISIS. THE NOTIONS OF SECURITY, SAFETY, VISIBILITY AND FLEXIBILITY WERE AT THE CORE OF THIS PROJECT.
POSITIONED ON OXFORD ST IN-BETWEEN BOURKE AND RILEY THE SITE OFFERED CLOSE ACCESS TO TRANSPORT, HOSPITALS AND SERVICES WHILST BEING REMOVED FROM EVERYDAY LIFE BELOW.
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Shared Kitchen2 Large kitchen areas dining areas can be separated or shared
DeckLooks over both courtyards
CourtyardsProvides spaces for children to play also provides natural light into the living level
Loft level roomsAccessed by a ladder, these areas of individual rooms are generally used for older children
BedroomsRooms open up and expand to accommodate larger families using sliding joinery units
Services levelContains children’s area along with medical and office spaces
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INTERSTICE
The basic shape is divided into two individual volumes. The line of division is on the long sides. The orthogonal sectioning line through the volume is continuous and must be different on each of the four planes. The contour of the interstice is defined by extending and modifying the sectioning line in the interior of the volume; the interstice itself is created by pulling the two volumes apart along the longitudinal axis of the basic shape.
EXTRACTED SPACES
At least 4 cuboids are extracted from the original volume by performing horizontal and vertical sections. The contours of the basic shape are redefined by horizontally shifting and rotating the individual volumes in the orthogonal axis system. The change in shape is directly related to the situation of the volume on the base plate and the specification of the possible cantilevers.
INTERSECTION
Two cuboid volumes spanning the total length of the basic shape are extracted from the original volume, one horizontally, one vertically. Both volumes are positioned so as to allow them to intersect at one point. The spatial quality and complexity of the resultant hollow bodies is enhanced by the creation of two additional openings. Choosing the location of these openings enables students to investigate their impact on light distribution in the interior of the volume.
SPATIAL CONTINUITY
A continuous walk-in space extending from the group level to the roof is cut into the basic shape. The circulation area consists of a combination of horizontal and sloping surfaces and includes at least two changes in direction. The access route penetrates parts of the exterior shell as well as the interior of the volume.
SPACE WITHIN SPACEThe final exercise of the series combines the constitutive elements of the preceding exercises and adds the concepts of [function] and [program].
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THE REFUGE NEEDED TO HOUSE FAMILIES OF DIFFERENT SIZES, AGES AND CULTURES. AFTER CONSULTATION WITH CURRENT REFUGE WORKERS IT WAS APPARENT THAT THERE NEEDED TO BE A RANGE OF SPACES TO PROVIDE DIFFERING LEVELS OF SEPARATION.
THESE SPACES MUST BE ABLE TO SHIFT TO PROVIDE FOR THE DIFFERING FAMILIES NEEDS, WHILE STILL FACILITATING THE NECESSARY TREATMENT AND CHANGE THAT A REFUGE NEEDS TO PROVIDE.
FAMILIES NEEDED TO BE SAFE AND AT THE HEART OF IT ALL STILL NEED TO FEEL LIKE A FAMILY, EVEN THOUGH THEY ARE DISPLACED AND IN A TIME OF CRISIS.
IT WAS IMPORTANT HAVE A DISCONNECT BETWEEN THE LIVING LEVEL AND THE TREATMENT LEVEL TO PROVIDE THE CHILDREN THE SMALLEST AMOUNT OF EXPOSURE TO THE REALITY THAT THEY ARE IN AND MAXIMISE THE OPPORTUNITY FOR THE MOTHER TO RECOVER AND PLAN A SAFE NEXT STEP.
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1 1
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1 Bedrooms2 Courtyard
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3 3
3 Bathrooms
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THIS MODEL WAS USED TO CONVEY MATERIALITY WHILE ALSO SHOWING THE POSSIBILITIES OF THE ROOMS OF THE REFUGE. ALL OF THE ROOMS HAVE A LOFTED TOP LEVEL, MAINLY USED FOR OLDER CHILDREN, GIVING THEM THEIR OWN PRIVACY WITHIN A SHARED ROOM.
A MAJOR ISSUE WITH CURRENT REFUGES WAS THE RIGIDITY OF THE BEDROOM SPACES, WITH LARGER FAMILIES NEEDING TO BE SEPARATED INTO DIFFERENT ROOMS.
TO REDUCE THE RISK OF THIS, ALL OF THE BEDROOMS WITHIN THE REFUGE WERE MADE TO BE INTERCONNECTED USING MOVABLE JOINERY UNITS.
THESE UNITS WOULD BE SET PRIOR TO A FAMILIES ARRIVAL, WITH THE MECHANISM HIDDEN, SIMILAR TO A HIDDEN DOOR TO LESSEN THE FEELING OF A HOTEL OR HOSPITAL AND KEEP THE FAMILY TOGETHER
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JOINERY UNIT OPEN
PROVIDES A WALKWAY BETWEEN ROOMS
JOINERY UNIT CLOSED
PROVIDES A WALKWAY BETWEEN ROOMS
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CONTEXT RENDERING & AUGMENTATION
THIS PROJECT FOCUSED ON USING DIFFERENT LIGHTING, CONDITIONS, CLIMATES AND TIMES OF DAY TO CONVEY DIFFERENT ATMOSPHERES.
THE BUILDING, BASED UPON 42 PAINTS LANE CHIPPENDALE, CURRENTLY A PRIVATE RESIDENCE WAS TO BE RETHOUGHT INTO A PROGRAM OF OUR OWN CHOICE. SITE STUDIES LED ME TO CHOOSE STUDENT HOUSING GIVEN THE SITES LOCATION AND SIZE.
THROUGHOUT THE SEMESTER THE PROGRAM WAS DEVELOPED THROUGH ITERATIONS TO HAVING UP TO 27 PRIVATE ROOMS. THE PROJECT ENHANCED BOTH MY PHYSICAL AND COMPUTER GENERATED MODELING SKILLS HUGELY, TEACHING MYSELF HOW TO USE REVIT AT THE SAME TIME.
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CORRIDOR SHOWING FULL HEIGHT LIGHT WELLS, STUDY AREA AND ENTRANCES TO APARTMENTS
SITE STUDY SHOWING BUSINESS TYPES, PUBLIC TRANSPORT, UNIVERSITIES, GREEN SPACE, SHOPPING, BARS, RESIDENTIAL DENSITY
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CONTEXT EXPLORATIONS A01
THE FIRST ASSIGNMENT IN A SERIES OF 3, WORKING IN GROUPS WE WERE TO MODEL THE EXISTING RECENTLY RENOVATED BUILDING AND CONSTRUCT A LASER CUT MODEL.
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2ND YEAR STUDIO
FOCUSING ON THE IDEA OF PROGRAM THIS STUDIO WAS FORMED OVER THE SERIES OF A SEMESTER LAYERING ALTERNATE PROGRAMS OVER THE TOP OF EACH OTHER. THE AIM OF THE SEMESTER WAS TO HAVE A BUILDING WHICH COULD BE CHANGED TO A FUNDAMENTALLY DIFFERENT PROGRAM OR TASK AT DIFFERENT TIMES ON DIFFERENT DAYS.
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EXHIBITION DESIGN
USING INTERACTIVE TRIANGULAR SHAPES DESIGNED TO STIMULATE SENSES THE INSTALLATION WAS A COLLECTION OF MANIPULATED SNAPSHOTS OF OUR SEMESTER. THE INSTALLATION SHOWED RENDERS AND OTHER PARTS OF OUR PROJECTS WITH LIGHTS, SMELLS AND SOUNDS TO SIMULATE THE SENSES THAT COULD BE FELT WITHIN THE SPACE
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1ST YEAR STUDIO INHABITATIONS
AS SYDNEY’S POPULATION IS INCREASING RAPIDLY WE WERE TO TAKE EXISTING BUILDINGS AND RE-IMAGINE THEM AND HOUSE DOUBLE THE OCCUPANTS IN THE SAME SPACE
USING RICKARD HOUSE IN COTTAGE POINT AS A PRECEDENT THE SCHEME WAS BASED UPON USING A SERIES OF PODS AROUND AN EXISTING COMMUNAL COURTYARD. THE SCHEME SPLIT THE HOUSE UP INTO 2 SEPARATE RESIDENCES ACCESSED BY THE SAME ENTRY. EACH RESIDENCE HAD THEIR OWN KITCHEN, BATHROOMS AND BEDROOMS. THE PODS ON THE EASTERN SIDE OF THE HOUSE HAD THEIR OWN ROOF GARDENS UTILISING OTHERWISE UNUSED SPACE.
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SELECTED MODELS
MY BACKGROUND IN JOINERY HAS INFLUENCED MY WORK THROUGHOUT MY UNDERGRADUATE COURSE. I ENJOY CREATING MODELS THAT FUNCTION AND COMMUNICATE THROUGH THEIR MOVING PARTS. THESE TECHNIQUES MEAN THAT I AM ABLE TO COMMUNICATE MY THOUGHT PROCESS NOT ONLY THROUGH IMAGES BUT WITH A TACTILE OBJECT THAT FUNCTIONS LIKE THE PROPOSED END PRODUCT.
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1st year contextEames House
1st year contextHouseholds
