David Lindaya

design portfolio.

B.Arch St + honours year 2011, UNSW

address: 54 Timbarra Road, St Ives, NSW, 2075
phone: (h) 99831014, (m) 0405413083
email: david.lindaya@student.unsw.edu.au
 5 FOOD THEATRE & GARDEN APARTMENTS
north bondi - 2010

15 ROCK FACE PAVILION

cockatoo island - 2009

23 COMMUNITY LIBRARY
matraville - 2009

29 NEW TRIAL BAY GAOL

south west rocks - 2010

35 CASE STUDIES, PRECEDENTS & MODELS

41 PRESS, PUBLICATIONS & AWARDS

ACKNOWLEDGEMENT

I acknowledge that all the work which is presented in this

por olio has been produced by David Lindaya.

The University of New South Wales is the owner and crea!ve

mind behind each of the project and assessment tasks.

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 Bondi Food Theatre
& Garden Apartments

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PROJECT

A mixed used building of apartments and a restaurant. The

client was an admirer of Le Corbusier and wished for the
project to adopt said architect’s principles.

SITE

North Bondi, Sydney

PROFESSOR

Associate Professor Harry Margalit

COURSE

Architectural Design Studio 5, Session 1, 2010

TIME FRAME

12 Weeks

DESIGN RESOLUTION

The overriding concept of the scheme started with look- LIFE OF BONDI: the building curves with the rhythm of Campbell Parade and links post-war commercial
ing at the idea of performance and exhibi on within the buildings to an apartment development.
restaurant. Connec!ons to Bondi Beach recognize the act of
gathering within the public realm and shedding one’s clothes
for all to see – the beach, in itself has exhibi onist quali es,
and people essen!ally put themselves ‘on show’.

With this premise in mind, the subversion of a ‘performer’ is

placed on the chefs. The chefs prepare, coordinate, and cook
in the eyes of all to see, smell, and taste. The restaurant
takes on amphitheatre-like quali!es within an undercro"
area of the apartments above. food theatre to conclude a corner site structural columns to support above mass linking commercial & residen!al

The design of both the apartments and restaurants were

envisioned to adopt Le Corbusian principles - that is, to
acknowledge – rising the building on columns to free the
ground plane, the free plan, the free façade, compensa!on of
built ßoor areas with terraces, and connec!ons to the land-
scape through unencumbered openings.
ver!cal circula!on contrast punctured gardens for all counterpoint of landscape coming in
vs. living spaces pushing out

FIGURE-GROUND DIAGRAMS: simpliÞed par! drawings to illustrate the concept and main ideas behind the project

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 RESTAURANT
GROUND FLOOR

STREET ELEVATION: the building is read as a clean horizontal

massing with punctured voids through its facade

SECTION B-B: light sha"s run down the building as a coun- LEVEL 1
terpoint to see up before seeing the view to the beach out. APARTMENTS

TERRACE: sliding louvred screens help shade outdoor spaces.

LEVEL 2
APARTMENTS

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TOP: chefs prepare as the spa!al focus like actors on stage. diners sit on !ered pla orms to see the ‘stage’. PHYSICAL MODEL @ 1:100

BOTTOM: alcoves form a wai!ng area for people about to eat, while columns run down the whole building to mark the
rhythm of the busy road.

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 DETAIL @ 1:20

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 Cockatoo Island
Rock Face Pavilion

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PROJECT

A pavilion for the Biennale of Sydney. The building was to

showcase 2 Australian Ar!sts – sculptures of the late Robert
Klippel and video installa!ons of Mike Parr.

SITE

Cockatoo Island, Sydney

PROFESSOR

Paola Favaro

COURSE

Architectural Design Studio Elec!ve, Summer Session, 2009

TIME FRAME

2 Weeks

DESIGN RESOLUTION

Cockatoo Island’s rich industrial history has seen signiÞcant

changes to the island’s topography and the removal of much
of its original vegeta!on. Heavy excava!on for warehouses,
workshops and watchtowers has le" a rocky cli# face to age CLIFF FACE: the pavilion is a series of staggered pla orms, draped in !mber members to screen its interiors.
over !me. Now, it is engulfed in wild vegeta!on – the design
of the pavilion explores this no!on.

The Cockatoo Island Pavilion is an explora!on of the inter-

es!ng clash between man and nature. The design draws
inspira!on from the ver!cal growth of roots on the cli# and
the history etched onto the weathered sandstone.

Pla orms follow the proÞle of the cli# ’s drop at various

levels, shi"ing and tapering as the pavilion gets higher. The
programme is simple – each level houses a func!on of art
and display, one for sculpture, videos, and contempla!on.

Timber screens drape and enclose a steel, mari!me struc-

ture, leaving the rocky cli# behind exposed for people to feel
and touch.

CONCEPT SKETCH ROOF PLAN: the building’s posi!on on the cli#, an organic a$achment.

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 CONSTRUCTION PERSPECTIVE: proposed was a steel PHYSICAL MODEL: the pavilion encloses exis!ng rock pla orms where art is to be displayed.
framed system and !mber decking (much like mari!me
wharves) that was to be draped in slender recycled !mber.

CONCEPT SKETCHES: played an integral part as a remind- ELEVATION SECTION

er of what was trying to be achieved.

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 HISTORICAL COMPARISON: imagery showing a historical
photograph of the cli# during excava!on, and a present day
photo of it engulfed in wild vegeta!on.

VISUALISATIONS: the pavilions interior environment with

sculpture and video display

CONTEXT: aerial map of the pavilion’s chosen site on Cockatoo Island.

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 Matraville
Community Library

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PROJECT

A library for Matraville. The building lies between a com-

mercial strip and a wider suburbia deÞned by low houses and
hints of industrial fabric.

SITE

Matraville, Sydney

PROFESSOR

Dijana Alic

COURSE

Architectural Design Studio 4, Session 2, 2009

TIME FRAME

12 Weeks

DESIGN RESOLUTION

The concept design of a new Matraville Library took on

the idea of a community at large gathering and diverging
FOCUS: the new library brings together the community under a central atrium from diverging volumes.
towards a central core. Matraville itself is a mel ng pot, of
sorts.

The building is kinked, turned and rotated in di#erent angles

to come together at a central atrium – where a communal
space if deÞned in the light. The form of the library is irregu-
lar, dynamic and shi!ed to reßect the ever-changing cultural
demographic of the region. Outdoor decks form part of the
building’s footprint, with undercro" spaces providing areas
of shade and reprieve for those outside.

The site lies between a threshold of suburbia and post

industrial building fabrics, so the aim was to reßect this. The
building’s base is of a heavy precast concrete that clads a
steel structure (much like the ones seen in factories), while a
reverse brick veneer lightens it’s upper story.

3D RENDERING FIGURE-GROUND
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 STREET FRONTAGE ELEVATION: between houses and shops. SHORT SECTION: through atrium showing spiral staircase, book stacks and materials.

GROUND PLAN: the building’s plan is radially kinked from a

core, with outdoor decks and undercro" spaces as part of the
building’s footprint. a communal gathering space marks the
centre of the building deÞned by informal sea!ng and a spiral
stair up.

ELEVATION LONGITUDINAL DETAIL @ 1:20

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 New
Trial Bay Gaol

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PROJECT

An adap!ve reuse project of an abandoned jail on the north

coast of NSW. The jail was to become a theatre, gallery and
ar!st’s residence.

SITE

South West Rocks, NSW

PROFESSOR

Glenn Murcu$

COURSE

Architectural Design Studio 6, Session 2, 2010

TIME FRAME

12 Weeks

DESIGN RESOLUTION
OUTDOOR THEATRE: an informal place for performance, the theatre is a heavy !mber structure vaulted with steel !es.
The project orders and formalises the strong central axis
from East to West that contrasts against reinstated na!ve
vegeta!on that screens a series of interjec ons against the
southern wall. The central axis follows the natural ridge line
that leads people through heroic arches and between the
gaol wings into a naturally protected courtyard. New civic
RARE VIEW: facing west, trial bay gaol is sited on a headland ABANDONED: before taken over by arakoon conserva!on,
structures were designed along this axis, integrated with that looks towards a sweeping bay. the ruinous gaol was taken over by wild coastal vegeta!on.
the exis!ng buildings. The exis!ng assembly hall was to be the aim of my design project was to reinstate local vegeta!on
designed as a gallery for people to pause, experience art and as part of my design.
the ruins, then proceed to a performance. The western wall
was opened to reveal the bay. Ar!st’s workshops, facili!es
and residencies cut through southern gaol wall with concrete
blades that emerge from untamed earth.

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 DETAIL @ 1:20: ar!st’s accommoda!on is a structure with a light, ßoa!ng roof enclosed by concrete blades.
The building is screened o# by sliding louvred panels.

GROUND PLAN

SECTION THROUGH AXIS DIAGRAM: simpliÞed par! drawing to illustrate the concepts and main ideas behind the project

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 Case Studies
Precedents & Models

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PROJECT

The study of key 20th century architecture through physical

and digital models and drawings.

MODELS

Villa Müller, Adolf Loos

Casa Ugalde, José Antonio Coderch

PROFESSORS

Xing Ruan
Harry Margalit

COURSES

Architectural Design Studio 3, Session 1, 2009

Architectural History and Theory 3, Session 2, 2009

DESCRIPTION

Through making models and drawings of key buildings, I have

been able to understand and grasp the ideas and theories of
the world’s most prominent architects. Inves!ga!ng Jose An-
tonio Coderch’s Casa Ugalde through historical research and
analysis allowed me to understand the building’s programme,
materials, form and site. Casa Ugalde has become one of my
favourite projects for its regionalist solu!on in modernist
PHYSICAL MODEL @ 1:100
design – it sits perfectly within its sites contours.

Studying Adolf Loos’ Villa Muller through physical models

and drawings gave me an understanding of Loos’ design phi-
losophies of the Raumplan - a free interconnected series of
spaces that break tradi!onal conven!ons of plan and sec!on.
Loos’ wri!ngs on Ornament and Crime have been inßuen!al
to my design prac!ce.

POCHE: sec!on render showing interior spa!al and light quali!es

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 SITTING IN THE CONTOURS: the 3D model of Casa Ugalde sits in sculpted terrain to recreate its site in Barcelona, Spain.

ANALYSIS: heavily grounded in research, part of the EXTRACTED SECTION: once the 3D model was constructed, plans, sec!ons and eleva!ons were able to be taken at any point.
modelling process involved studying the house’s circula!on,
views, and programme.

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 Press,
Publications & Awards

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SPECIFIER MAGAZINE ISSUE 93 TITLE: Iden!fying University of New South Wales connec!ons to the Sydney Opera House during the period 1955 to 2009

Feature Writer: CO-AUTHORS: Paul Hogben & Ann Quinlan

• Taastrup Theater by COBE Architects (front cover)
PUBLICISED AND PRESENTED: 2nd Interna!onal Conference on Design Educa!on (ConnectEd)
• The Interna!onal Highrise Award 2010

Reviews: ABSTRACT
• Broulee Shack by Nathan Gibson Judd
• Ark by Rice Daubney The Sydney Opera House, designed by Danish architect Jørn Utzon, is a UNESCO World Heritage-listed building, a masterpiece
• Stonehawke House by Base Architecture of symbolic and iconic value for both Sydney and Australia. It has been studied according to the architect’s life, vision and design
philosophy, poli!cal inßuences and the social and industrial context of its construc!on. However, it is yet to be considered in its
rela!on to the academy and the connec!ons that exist between Australian universi!es, their sta# and students, and this great
building.

SPECIFIER MAGAZINE ISSUE 92
Feature Writer:
• Khan Shatyr Entertainment Centre by Foster + Partners
(front cover)
Reviews:
• The Essington School Computer Centre by MODE DESIGN
• Hill End Ecohouse by Riddel Architecture
• Blacktown Olympic Park AFL & Cricket Facili!es by DesignInc
The University of New South Wales has a rich associa!on with the Sydney Opera House ranging from the involvement of Profes-
sor Harry Ashworth, the second Dean of the Faculty of the Architecture (1964-1972) and Chairman of the Opera House Assess-
ment Commi$ee, to the sta# and students of the University who championed Utzon during the period of his dismissal. Recent
connec!ons include the refurbishment work undertaken by Faculty of the Built Environment Professor Richard Johnson and his
prac!ce Johnson Pilton and Walker (JPW). Each stage within the Opera House’s realisa!on presents new discoveries linked to the
University of New South Wales.
The aim of this poster is to reveal, through documented imagery, the connec!ons between the University of New South Wales
and the Sydney Opera House. In grouping these connec!ons in di#erent historical phases, the poster provides evidence that the
university has been an important source of intellectual and crea!ve input into the processes surrounding the produc!on and
ongoing maintenance of the Sydney Opera House as well as its cultural legacy. This research enables an expanded inves!ga!on
into the intellectual and social milieu of the university and an ac!ve professional, technical, crea!ve and cri!cal rela!onship with
the built environment of the city of Sydney.

SPECIFIER MAGAZINE ISSUE 91

Reviews:
• Point Perry Beach House by Owen and Vokes

SPECIFIER MAGAZINE ISSUE 90

Product Editorials:
• Writer on feature architectural products and companies
including JWI Louvres and Hansa.

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TITLE: The aesthe!cs of the skyscraper: The evolving expression of modernity in Sydney’s tall buildings

COURSE: Architecture In Sydney

AWARD: The Morton Herman Memorial Prize

INTRODUCTION

Tall buildings are synonymous with the twen!eth century, remarkable architectural phenomenon that landmark an age of mo-
dernity in various styles. The program and aesthe!cs of Sydney’s tall buildings are reßected with the no!on of ‘style’ as a crea!ve
shi" in response to cultural change, one that can be inves!gated in associa!on and contrast to the American inßuence of its
ci!es and skyscrapers. The prominence of Art Deco tall buildings from the 1930s such as the City Mutual Life Building illustrate
how Sydney was enhanced by a veneer of modernity with aesthe!cs and symbolism being drawn from American precedence.
Sydney’s tall buildings evolved from pre-war, heavily clad, load bearing structures towards the steel and glass towers of post-war
America. The urban context of Sydney immensely shi"ed in this regard, with the advent of the AMP building at Circular Quay
in 1962 essen!ally breaking through The Height of Buildings Act of 1912 as Australia saw itself increasingly moving towards an
interna!onal outlook and a corporate, modern America. It was ul!mately Australia Square tower that marked a new beginning
for Sydney, a ‘coming of age’ as a modern city, which epitomised the beauty of the ra!onal and func!onal in an expression of
civic modernity.

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