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P o r t f o l i oOliver Hess ian

A r c h i t e c t u r e - V i s u A l i s A t i o n - G r A P h i c s

My final project at the University of Sydney was largely self written brief. Our only restriction was that the chosen site had to in some way respond to an existing Brutalist building.

My chosen site was the Oxley Business Centre, Crows Nest, previously the CBC bank. My proposal suggests a development that would sit within the future density of Crows Nest as the business district densified along the Global Economic Corridor proposed in the Sydney 2050 plan.

Over 22 storeys this included a cinema complex, car parking, cafe, grocers, retail units, office space, restaurants, a bar and a large multi residential contingent including swimming pool, shared gardens and gym facilities.

P r o G r A mThese diagrams illustrate the organisation of the rough massing of volumes through the development, to help describe how the program is distributed as the project was multi-use and quite large.

G r A d u A t i o n - s y d n e yBrutal i s t Seed

Corner Balconies Street View

Courtyard Swimming Pool

My intention for the proposal was to take the timeless sculptural qualities of the original building as a template and using these influences grow the new development sections each with their own character.

I attempted to communicate the atmosphere of what i felt were the key areas of the proposal in the same way a built development might be marketed using photo realistic images. These also allowed me to express an aesthetic and quality of space I imagined for the interiors of the spaces.


Restaurant Cafe

P r e s e n t A t i o nI felt the project was treading a line be-tween the past and the future and wanted to express that in the way I presented the project as well as communicate the amount of thought I had put into the quality of space intenally.

Section A Section B

The Residential component of the develop-ment totals 153 Apartments consisting of:

• 56 x 1 Bedroom Apartments• 81 x 2 Bedroom Apartments• 14 x 3 Bedroom Apartments• 2 4 x Bedroom Apartments

This is achieved by repeating the layout from the Fifth Floor up to the Twelfth then repeat-ing this layout on the Thirteenth with Pent-house apartments filling the Fourteenth Floor.

The First Floor restaurant seats 106 with it’s own kitchen while the Second Floor restaurant seats 154 with 2 x function rooms that seat up to 10 each. The Bar seats 100 and has a capac-ity for roughly 250 additional standing in-cluding the balcony space.

The lettable office space totals 2529 sqm and the Cinema auditoria seat 400 each.


Ground Floor Plan

d e V e l o P m e n tA clear concept was required to give or-der to the large development and many iterations were considered through sketches, rhino and rough renders before the final proposal emerged.

Second Floor Plan Thirteenth Floor Plan

This project was run as a competition for Sydney Festival 2012, to design a venue in one of 3 locations in Sydney with the winner receiving funding for the design to be built.

We approached the project brief with the understanding that the realm of the architect should be in preparing the audience for the performance and leave the director as much freedom internally as possible. This manifested as a staged transition around and beneath the venue slowly removing the audience from their surroundings through the use of the cyl-inders and their eroded internally shift-ing lengths.

The studio’s focus was on Digital Archi-tecture as a result the whole proposal was developed parametrically in Grasshopper.

t rA n s i t i o n & t rA n s PA r e n cyThe proposal was a balance between these themes, by eroding the volume we were controlling the openings and transpar-ency to manipulate the atmosphere at different stages of the transition through to the seating area.

d i G i t A l s t u d i oEroded Theatre

Quandrangle View

Entrance Chandeliers Section

Bar

m A s s i n GThese diagrams illustrate the steps taken in forming the overiding form of the building. The photos show the physical model emphasiszing the concept of a solid skin giving way to a polished and transparent interior.

This development was proposed as part of a hypothetical masterplan for the Carlton Breweries site. As a tightly confined site with potential for views back towards the original brewery building and Victoria Park the design was driven by the site conditions with views, daylight and program eroding away at the original maximum volume.

The student accommodation contingent became the focus of the planning with 3 room types: Singles, Doubles and Twins. With the intention for the rooms to serve as a landing pad for arriving international students in the centre of a student oriented masterplan, encouraging a social environment.

u r b A n s t u d i oThe Hub

Street View Sectional Perspective

Street View Fifth Floor Plan: Doubles Terrace

Study

s e q u e n c i n GWe were required to develop a strong understanding of how construction sequencing would manifest on site as well as how site management would organise itself as the project progressed.

For my graduation project on my undergraduate course at the University of Bath I developed my own brief for a site of my own choosing.

My chosen brief was an Arts Centre proposed as a new location for an established Art Gallery in Bristol, the Arnolfini. This was to be located on a bend in the river running through Bath and would provide a key pedestrian link across the river from a largely residential area of Bath into the town centre.

The building’s plan was a response to the river’s bend as well as the orientation of the site providing a sheltered courtyard between the existing buildings and the new. The section was developed with natural lighting the galleries as the main driver, allowing north light to filter down through the galleries.

G r A d u A t i o n - b A t hArnolf ini Art Centre, Bath

A R N O L F I N I B A T H O L I V E R H E S S I A N : S T U D I O 4. 2 22

Terrace1.Cafe2.Bar3.Foyer4.Bridge5.Ramp6.Entrance7.Control room8.Auditorium9.Projection room10.Reception11.Book store12.Exhibition space13.

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Once I had established that I could use the fl oor as a diaphragm between shear walls as the overriding structural strategy and therefore a moment resisting frame was unnecessary, I discussed with the Structural Engineer the benefi ts of bringing the glulam columns onto site in one piece against fragmenting the lengths.

The conclusion was that the diffi culty of joining the columns on site outweighed the transportation issues to site.

* The columns would therefore need to be propped with scaffold while the 1st and second fl oor were poured until the diaphragm was completely spanning between shear walls before removing the support and fi lling in the holes in the fl oor plate.

C O N S T R U C T I O NP R O C E S S

1. D E M O L I T I O N

4. G L U L A M C O L U M N S *

7. R O O F P A N E L S + Z I N C F I N I S H

2. G R O U N D W O R K S

5. C O N C R E T E F L O O R S + S H E A R W A L L S

8. G L A Z I N G + C L A D D I N G

3. C O N C R E T E P L I N T H

6. S.I.P.S. P A N E L S + S H A D I N G C O L U M N S

9. R A M P + B R I D G E





























Podium Level Plan


To allow the critics to understand the setting and scale of the proposal I pre-sented this Site model at 1:500 with a simplifi ed massing model on the site.

S I T E M O D E LF I N A L C R I T


R E A D I N G A R E A


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Library 1:500 Model

Gallery

d e V e l o P m e n tThese images show some of the additional final renders as well as some of the de-velopmental work including card models and sketches.

As the most detailed project I have devel-oped during my studies, we were rewuired to produce full construction sections with 1:5 details. I also developed lighting strategies with drawings explaining how these might manifest in different parts of the building.

I developed this project through various mediums; from sketches to rough phuys-sical models, digital models in 3ds Max and rendered images.

G r A d u A t i o n - b A t hArnolf ini Arts Centre, Bath


Timber fl itch frame that sits on a •concrete plinth.

Using shear walls and concrete •fl oors as diaphragm to brace structure

SIPS panel system adds additional •bracing as well as wall and roof insulation

Zinc roof wraps structure with •skylights in between structural grid

Additional layer of insulation to •prevent any cold bridging across internal SIPS supports.

Vertical batons secure waterproof •membrane as well as the rain screen cladding.

Cantilevered ramp anchored to •internal walls in concrete plinth and supported on pad foundation.

Timber batons used for acoustic •suspended ceiling as well as recessing ambient lighting and spotlight stacking.

Spacing needs to be ample to •allow heat from occupants to reach exposed thermal mass above.

Ventilation distributed through •vertical vents in internal wall that represent the positioning of internal columns.

S T R U C T U R ED E T A I L


After visiting the De Young Museum I decided to adopt the same artifi cial lighting strategy in my building.

At this stage the Structure was steel framed with termodeck slabs, how-ever as the structural/environmental and acoustic strategy developed so did the lighting.

However i have decided to retain this strategy for the top fl oor on the slant-ed roof where hot air can be vented through the skylight.

L I G H T I N GG A L L E R Y + G E N E R A L

20mm polished scree•300m Omnideck concrete fl oor•100mm glass mineral wool insulation 1.Duct2.Glulam beam3.20mm plasterboard ceiling•Erco Track•Recessed Tube light•Erco Stella spotlight•

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My initial proposal was to follow the De Young precedent for the lighting across my building. However with the development of the environmental strategy I wanted to expose the concrete soffi t to allow the heat from occupants and lighting to be absorbed into the thermal mass.

The added benefi t of recessing the ambient lighting with the track is the additional acoustic surfaces that are provided. I continued to develop the lighting strategy with acoustic and environmental considerations until i settled on this suspended timber screen proposal.

L I G H T I N G + A C O U S T I CG A L L E R Y D E T A I L

20mm polished scree•300mm Omnideck concrete fl oor•450mm depth timber fl itch beam•

Suspended acoustic barrier •Erco track, •

Stella Spotlight &Tube light

Drop Rod•50x50mm nailing plate•

50x50 larch baton•15x50 larch louvers•


My initial proposal was to follow the De Young precedent for the lighting across my building. However with the development of the environmental strategy I wanted to expose the concrete soffi t to allow the heat from occupants and lighting to be absorbed into the thermal mass.

The added benefi t of recessing the ambient lighting with the track is the additional acoustic surfaces that are provided. I continued to develop the lighting strategy with acoustic and environmental considerations until i settled on this suspended timber screen proposal.

L I G H T I N G + A C O U S T I CG A L L E R Y D E T A I L

20mm polished scree•300mm Omnideck concrete fl oor•450mm depth timber fl itch beam•

Suspended acoustic barrier •Erco track, •

Stella Spotlight &Tube light

Drop Rod•50x50mm nailing plate•

50x50 larch baton•15x50 larch louvers•


N O R T H E L E V A T I O N


Given more time I would develop a design for the shared foyer in the existing buildings on Lower Bristol Road. I imagine this as a large foyer serving as an entrance from the Road that also projects some identity of the building use. This could act as a shared foyer for the Media Centre, Architecture Centre and Arnolfi ni. As the focal point for the radial plan it would be important for this space to have purpose and function as the centre of the three communities.

P O S T C R I TP R O P O S A L S


S O U T H C O U R T Y A R DLighting Details Exploded Construction Diagram

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H E S S I A

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2x (150x500) glulam column with 20mm 1.steel fl itch20mm plasterboard2.25mm structural ply, for supporting art 3.work50x200 stud4.SIPS panel: 25mm ply, vapour barrier, 5.150 rigid foam insulation, 25mm ply, tim-ber studs.50mm insulation6.Waterproof membrane7.Vertical batons8.Rain screen fi xing9.

Timber rain screen10.

D E T A I LE X T E R N A L W A L L S

Double glazing1.Timber louver with aluminium 2.supportOmnideck poured concrete 3.fl oor system with void formersAluminium facade rail4.Insulated translucent panel5.Plasterboard6.Recessed light and Track spot-7.lightTimber fl itch rail8.Mechanically opened window9.

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2x (150x500) glulam column with 20mm 1.steel fl itch20mm plasterboard2.25mm structural ply, for supporting art 3.work50x200 stud4.SIPS panel: 25mm ply, vapour barrier, 5.150 rigid foam insulation, 25mm ply, tim-ber studs.50mm insulation6.Waterproof membrane7.Vertical batons8.Rain screen fi xing9.

Timber rain screen10.

D E T A I LE X T E R N A L W A L L S

Double glazing1.Timber louver with aluminium 2.supportOmnideck poured concrete 3.fl oor system with void formersAluminium facade rail4.Insulated translucent panel5.Plasterboard6.Recessed light and Track spot-7.lightTimber fl itch rail8.Mechanically opened window9.

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While developing the North elevation I developed the detailing of the timber cladding to give the elevation some depth and texture.

*See elevation development.

C L A D D I N GD E T A I L

Omnideck poured 1.concrete fl oor system with void formers50mm polishable scree2.Trapezoidal profi le 3.glulam beamExtract duct4.Suspended Acoustic 5.layer and lighting tracks

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I began exploring the section more through modelling to try and enrich the relationship between the fl oors especially above and below the foyer.

By reorganising the lower ground level and opening the fl oor slab the public realm is reinforced and enlivened.

I also began considering the roof and north light options, as well as the potential change in order where the buildings use shifts from exhibition to social and more extravert.

I enjoyed exploring breaking down the repetitive order of the section over the bar area however I was unable to fi nd a suitable logic for changing the format in these studies.

M O D E LD E V E L O P M E N T


B R I D G E:

The relationship between and the curve of the facade is a diffi cult geometry to resolve however I feel my fi nal crit proposal is justifi ed in that it serves both routes round the building while still projecting towards Green Park.

I considered different options including taking the bridge through the building, however this would prove impractical. I also considered extending sections of the radius to cater for the movement. I think with more time i would develop this approach as it provides a series of viewing platforms the bridge punches through. The engineering of the cantilevers would provide a challenge however I’m sure this could be resolved.

N O R T H E L E V A T I O N:

Although the north elevation has undergone a large amount of development it is an area I would like to refi ne further. I still believe the gallery section is too monotonous to be as beautiful as it should be for the riverside elevation.

Something I explored the possibility of earlier in the project was running a balcony at First fl oor level across the elevation so visitors could exit the galleries to look over the river towards Bath’s centre.

I think the integration of this into the entrance is something that would benefi t the design a great deal.

P O S T C R I TP R O P O S A L S

E A R L Y S K E T C H O F B R I D G E T H R O U G H T H E B U I L D I N G

F I N A L C R I T P R O P O S A L P O S S I B L E R E V I S I O N

E A R L Y S T U D Y W I T H R A M P A N DB A L C O N Y

V I S U A L O F P R O P O S E D R E V I S I O N

B R I D G E S P L I T T I N G I N T O B U I L D I N G C O N C E P T


It was clear from an early stage that the north elevation facing the river was going to be an important elevation as it is the only elevation visible from public view.

Due to the arc plan it is also a large elevation. To tackle to problem of resolving the elevation I modelled and drew it projected on a straight line.

The nature of the gallery spaces organised to the East of the plan behind the elevation meant I didn’t want to sacrifi ce wall space for windows. This was the original motivation behind the offsetting of the walls for lateral views.

The early drawings demonstrate my desire to attempt to tier the building away from the entrance space. There was also a realisation that the views would be preferred from the West areas near the bar.

I wanted the building to feel wrapped by the surrounding ramp and also felt the building should be read as a horizontal band with a transparency gradient from east to west.

To accentuate this horizontal rather than break it with the shifts in the walls, I explored fraying the texture of the cladding to blur the edges of the shifts. For this I looked at the Tour san Fin by Renzo Piano where the structure weaves into the sky.

E L E V A T I O ND E V E L O P M E N T


It was clear from an early stage that the north elevation facing the river was going to be an important elevation as it is the only elevation visible from public view.

Due to the arc plan it is also a large elevation. To tackle to problem of resolving the elevation I modelled and drew it projected on a straight line.

The nature of the gallery spaces organised to the East of the plan behind the elevation meant I didn’t want to sacrifi ce wall space for windows. This was the original motivation behind the offsetting of the walls for lateral views.

The early drawings demonstrate my desire to attempt to tier the building away from the entrance space. There was also a realisation that the views would be preferred from the West areas near the bar.

I wanted the building to feel wrapped by the surrounding ramp and also felt the building should be read as a horizontal band with a transparency gradient from east to west.

To accentuate this horizontal rather than break it with the shifts in the walls, I explored fraying the texture of the cladding to blur the edges of the shifts. For this I looked at the Tour san Fin by Renzo Piano where the structure weaves into the sky.

E L E V A T I O ND E V E L O P M E N T

Detail Drawings Construction Section

c o m m u n i c A t i o nThis placement had a huge impact on my University studies, suddenly able to com-municate and test the ideas I had in my head clearly enabled me to work more ef-ficiently while providing seducing images for presentations!

As part of my third year at Bath I was lucky enough to work with Joseph Rob-son at AVR London. It was here that I was introduced to high end visualisation and schooled in the software and processes involved in this industry.

I was fortunate to work on some landmark projects in London, aiding in developing marketing images for The Shard, Bank-side 4, Fielden Clegg Bradley, Llewelyn Davis Yeang among others.

This working process was mainly within 3DS Max and Photoshop, however I have gone on to incorporate Rhino, Grasshop-per and Revit into possible workflows.

V i s u A l i s A t i o nAVR London

The Shard - Renzo Piano

Bankside 4 - Richard Rogers Battle of Britain Museum - Fielden Clegg Bradley

r e i n h A r d t- J u n G

Competition images for the Australia House competition 2011, commisioned by Reinhardt Jung Architects.

m o s A i c h o m e s l t d

Design, drafting and visualisation commission for a recently completed private residential project in Wimbledon, UK.

V i s u A l i s A t i o nFreelance

b i r n b e c k i s l A n d c o m P e t i t i o n

University competition to develop a proposal for a multi-purpose venue and ferry terminal on Brinbeck Island, Weston Super-Mare, UK.

V i s u A l i s A t i o nFreelance & Student

l i s A f A t h e l l A

Private residential project for marketing images designed by Lisa Fathella.

c h A n d e l i e r

Parametrically designed chandelier proposal designed as part of the Sydney Festival Venue proposal.

l o G o d e s i G n

Over the past 5 years I have worked on many graphic design projects ranging from full branding proposals to packaging design for varied clients, including Whiffaway Ltd, Wattbike, Optrix HD, Junglefowl and Freehand Music.

G r A P h i c d e s i G nFreelance

junglefowl

G r A P h i c d e s i G nFreelance

P A c k A G i n G

Packaging designs for Freehand Music, Quakesafe and Optrix HD.

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p h i c smy final project

floor planthis project