Wil l Harvey-JonesM . A R C H I T E C T U R EF I V E E X A M P L E S O F W O R K

02 03WILL HARVEY-JONES

1. Santorini, Greece 2008.

B O D Y O F W O R K Five architectural projects by Will Harvey-Jones.

1. 57 Spring Street - Brisbane

2. Emergency Architects Australia - Titiana | Solomon Islands

3. Emergency Architects Australia - East Awin Refugee Camp | Papua New Guinea

4. Casa de Frango - Lake Niassa | Mozambique

5. Sedimentary City - University of Queensland

1. Venice, Italy 2008.

CONTENTS0.

04 05WILL HARVEY-JONES57 SPRING ST

1. Diagram of camera movement during the film.

2.On location in West End, Brisbane. The cable at the top of the image is what the camera tracked along to create the long continuous pan. The pan was a cinematic interpretation of a traditional architectural drawn section during habitation

cable

camera

57 Spring Street was an entry into the Cinecity Architectural Film project with a group of recent architectural graduates and friends from university. The film won several awards and travelled to various architectural film festivals around the world.

This short film portrayed a cinematic section of a Queenslander. It found its inspiration in personal experiences and literary descriptions of domestic life and architecture. The continuous panning shot was taken through the central hallway of a Brisbane share house. The scenes demonstrated how modest rooms of timber and tin can become the settings for the super real theatre of everyday life. It explored the difference between a drawn section and a lived one, between memory and history, between the material and the immaterial, between reality and imagination, between an idea and a building.

The project was the result of a collaboration between architectural graduates Ben Sheehan, Katy Moir and Will Harvey-Jones. Collectively they have lived in share houses at various stages of dilapidation for over eighteen years. Fifty-Seven Spring street is the name of the house that made the film possible. Its age is not recorded but it thoughtfully aligned a tall silky oak tree with the axis of its central hallway.

All three people currently live in Brisbane. Fifty-Seven Spring Street resides in Hill End and with all its architectural quirks contains innumerable memories for all 3 of them - both real and imagined.

CINECITY ARCHITECTURAL FILM PROJECT 2013

Cinecity is an annual architectural film project that takes place in both cyber and physical space, connecting architectural filmmakers across the world. The participants make one minute films exploring architectural ideas. CINECITY has been co-ordinated collaboratively in Melbourne & Sydney, Australia by artists, architects and filmmakers. Curators: Louise Mackenzie & Sarah Breen Lovett

AWARDS

WinnerMELBOURNECineCity Architectural Film Project, Australia

Official SelectionLISBONArquiteturas Film Festival, Portugal

Official SelectionSANTIAGOArcfilm Fest, Chile

57 Spring Street

Winner

MELBOURNECineCity Architectural Film

Project, Australia

Official Selection

L I S B O NArchitectural Film Festival, Portugal

Official Selection

SANTIAGOArchi Film Fest, Chile

“Brilliant, successful and imaginative both in content and in filmic concepts.” Bernard Tschumi

A FILM BY RIDe

WILL HARVEY-JONES | BEN SHEEHAN | ANDREW BRETTI-WEN KUO | KATY MOIR

RIDeResearch In Design

1 .5 7 S P R I N G S T R E E T

1.

1. Film cover.

2. Will Harvey-Jones and Ben Sheehan presenting 57 Spring Street at Pecha Kucha Brisbane.

06 07WILL HARVEY-JONES

5.Image depicting typical Queenslander share-house. These spaces, people and domestic artefacts formed the inspiration for the film

6.John Brown, Andrew Carter, Sam Bowstead and Kali Marnane during a scene from 57 Spring Street.

1Make-up and special effects by Tess Martin.

2The frogpond, frog props and backyard.

3.Frog constructed from wheelbarrow, yogurt containers and red lipstick.

4.The crew and cast of 57 Spring Street directly after the shoot.

57 SPRING ST1.

08 09WILL HARVEY-JONES

This project consisted of the design and construction of 5 staff houses, with the hopes of training youth to build, and encouraging the community to return from their squatter camps after the 2007 Tsunami. The Gilbertese were one of the worst hit communities, and they are also a minority group in the Solomon Islands with significant social problems.

I took the role of Site Manager under the supervision of an experienced architect.. The project was community and education orientated. It taught me a lot about working cross-culturally and the importance of quickly learning cultural differences and values. Four experienced local carpenters were employed to pass on knowledge of local and Australian building technologies. Many of the principles for ventilation, orientation and spatial arrangements that were derived from the local housing were employed in the final houses.

The project taught me the basic principles of timber construction. Much of the work was undertaken slowly, without the aid of power tools; this helped give me a strong appreciation of the processes and principles of timber construction.

2 .E A A | S O L O M O N I S L A N D S

EMERGENCY ARCHITECTS AUSTRALIA | SOLOMON ISLANDS

COMMUNITYGilbertise Community on Ghizo Island.

LOCATIONGhizo Island, Western Provence, Solomon Islands.

ROLESite Manager- Managing logistics, consulting with the community, supervising the site, learning and maintaining local vernacular building traditions, project reporting and budgeting.

DATE2009-2010

EAA | SOLOMON ISLANDS

1. Damage caused to the school house by the tsunami.

2. Local children playing on the disintegrating unicef tents that were being used as temporary classrooms during the construction of the new school.

3. Titiana youth David locating the first stump.

4. Image of a completed staff house.

2.

1.Plan of the a staff house.

2. Perspective view a staff house.

3.Local student and the sash window

10 11WILL HARVEY-JONES

1.Local carpenter demonstrating how to construct the windows.

2.Simon, Dau and Neville, raising the roof trusses.

3.Finishing the trusses.

1.Local Rara and Pandanas woven panels fabricated by the local womens group and used for the window sashes.

2.Timber framing under construction.

3.The completed staff houses.

EAA | SOLOMON ISLANDS2.

12 13WILL HARVEY-JONES

1.The community lifting the lid of the concrete Spring box into location. The lid was extremely heavy and took twelve people to lift intoi location.

2.The community of Dome One posing behind one of the finished spring boxes.

This project consisted of the construction of two concrete water supply structures in Western Province, Papua New Guinea (2011-2012). These spring boxes were intended to provide access to clean drinking water for West Papuan refugees currently residing in the East Awin Refugee Camp.

I worked with an experienced architect and Engineer. We worked with local refugee village communities in Atkamba and Dome One from December 2011 to January 2012 to deliver a pilot project as the first phase of this initiative. These villages were selected as they are geographically and culturally central to the wider refugee settlement, and located in the area of greatest population concentration and thus greatest need.

Two SCBs were constructed with the help of local community members, who received training in important aspects of their design and construction. Due to their differing ground conditions, two different technical solutions were tested, which can now be adapted to water supplies for other villages in other locations. The local ground conditions for future SCB locations have been carefully recorded, along with detailed logistical information, to enable planning for stage two of the project, which will also include sanitation initiatives.

3 .E A A | E A S T A W I N R E F U G E E C A M P P N G

EMERGENCY ARCHITECTS AUSTRALIA | PAPUA NEW GUINEA

COMMUNITYWest Papuan Refugees in East Awin Refugee Camp.

LOCATIONEast Awin Refugee Camp, Western Provence, Papua New Guinea.

ROLEProject Assistant- Managing logistics, consulting with the community, supervising the site, considering local health issues, learning and maintaining local vernacular building tradtitions, project reporting and budgeting.

DATE2011-2012

1.Image of the excavation of the site and the formwork for the concrete Spring collection box which was poured the following day.

2.Community members constructing the spring box base from clay excavated from the site.

EAA | EAST AWIN REFUGEE CAMP3.3.

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1.Isometric drawing showing the vernacular technologies, sturctural sytems and integrated environmental systems.

This assignment involved the design and construction of a model adobe brick chicken house for an educational agricultural Project. The existing chicken house left the five chickens exposed to harassment by baboons. The rooster had recently been attacked by a cobra entering beneath the door. The house had no windows and lacked sufficient nesting boxes. As a result the chickens were not laying eggs.

The design provided the opportunity to document and then apply vernacular building technologies. The systems used in the chicken house were incorporated in the local housing. Amazingly all materials were sourced from the immediate area, including 600 hand-made adobe bricks, manufactured from earth on the site in 5 days.

The project was undertaken from briefing to construction in a four-week period, and had a negligible budget. The completed scheme included increased living space, improved natural ventilation, baboon/cobra proofing and roosting arrangements to accommodate 15 additional chickens. The chickens have since indicated contentedness in the form of regular egg-laying.

4 .C A S A D E F R A N G O | L A K E N I A S S A M O Z A M B I Q U E

MANDA WILDERNESS TRUST

The Manda Wilderness Community Trust was founded as a part of the Manda Wilderness Pro-ject, an innovative venture inspired in the wake of a brutal civil war. The Project combines responsi-ble tourism, grassroots practical help for isolated agrarian villages and a last chance to protect a pristine corner of real Africa. It aims to support conservation and community development.

COMMUNITYSixteen villages of the Nyanga community

LOCATIONLake Niassa, Northern Mozambique

ROLEDesign and Construction. Integrating vernacular building techniques and food production.

DATE2012

1.Image of the finished Chicken House.

2.James during the manufacturing of the 600 mud bricks that were used to construct the building. This site was located 200m from the location of the chicken house.

CASA DE FRANGO| LAKE NIASSA, MOZAMBIQUE4.

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1.Plan of the urban ecology centre.

2.Sectional perspective of typical dwelling.

Studying under Brit Andresen, this fourth year project set out to consider an alternative urban design strategy focused on environmental conservation and historical analysis. The approach commenced with a historical review of the site and its surroundings over a 200-year period, starting with European settlement of the area. This study – undertaken in groups – identified significant cultural places and landscapes built over during periods of post-war development. The brief called for the staged reinstatement of the original chain of ponds on the site to mitigate the effects of severe flooding and tidal surges. The next stage was a master plan - for the future 100 years - worked up individually. A more resolved scheme was designed on a derelict city block adjacent to Woolloongabba cricket ground.

The scheme proposed a protective walled edge, which allowed the flood plain to revegetate naturally over an extended 75 year period. The walls enclosed a dense multi-residential development and public buildings – a library, an urban ecology centre, public baths and an auditorium. Dwellings on the site were raised over slabs to mitigate the impacts of rising floodwaters and maximise the benefits associated with living in close proximity to the parkland.

The parkland edge was encouraged to finger into the development to ameliorate environmental quality, soak up overland flow, exhibit seasonal changes, demonstrate natural fluctuations and flows and maximise the internal experience of the tree-house like dwellings. The underlying intention was to create an environment in which residents became more aware of natural processes and their affect upon them. A legible ecology was proposed.

5 .S E D I M E N T A R Y C I T Y | U N I V E R S I T Y O F Q U E E N S L A N D

SEDIMENTARY CITYUniversity Design Project

COURSEMasters of ArchitectureUniversity of QueenslandSchool of Architecture

LOCATIONCorner of Stanley Street& Jurgen Street Wolloongabba, Brisbane

DATE2010

1.Site Model, upper floor.

2.Site Model, lower floor.

SEDIMENTARY CITY | UNIVERSITY OF QUEENSLAND5.

18 19WILL HARVEY-JONES

1.Axonometric of sunken garden and public baths.

SEDIMENTARY CITY | UNIVERSITY OF QUEENSLAND5.

1.Detail section of an ecological education Installation.

THE END