Dominika Dome Portfolio

Commercial Office 01

STRATA; the delamination of layers or levels. This stratified demeanor evident in a work-place focuses on the varying levels of work required within any office. The National Her-barium of New South Wales located in the Royal Botanical Gardens, exhibits a strict and rational method of work caring for over 1.2 million specimens. The delicate nature of the specimens requires various levels of care. This is evident in the differing forms of pres-ervation techniques, consisting of either a plant press or pickling. When a specimen is pressed between layers of absorbent blotters, a sense of strata is created. This minute scale of detail is to be reverberated in the design of the overall workplace, demonstrating a high level of detail in junctions. On a larger scale, a sense of stratum is to be created with eccentric voids throughout the space.

“[The] … strata of character, are the only places in the world in which we catch real fact in the making, and directly perceive how events happen, and how work is actually done” (Costa and Maddi 1972, p. 152). This quote demonstrates the overriding theme of stratum, the fact that the eccentric nature of the voids within the office space determines and maximizes chance encounters as “some of the best decisions and insights come from hallway and cafeteria discussions” (Waber et al 2014). By maximizing efficiency in chance encounters, the competence of workers is increased, allowing the Herbarium to become a dynamic workspace. To finalize the sense of strata, the Herbarium is a unique space that acts as a stratified collection of knowledge, taxonomically classifying knowledge; organizing it to be of utmost efficiency.

The spatial strategy for the Herbarium is defined by the eccentric voids. The shape of these are varying rectangles, creating a cohesive depiction of a space that works with the brand experience. The brand of the Herbarium is a dynamic environment that delves into the taxonomy of plant life, dissecting the specimens to find the biological barcode. This is powerfully represented through the use of the screen, which surrounds the plant vault insertion. This insertion that houses the quarantined plant compactuses, is made from translucent glass, continuing the sense of lightness and airiness and the ability for light interaction. The screen, attached to the outer façade of the insertion, resembles a parallax, meaning the view changes as the individual moves. This subtle illusion further symbolizes the plant barcode, or plant identification, the essence of the Herbarium, and therefore creating a cohesive landscape of strata.

DOMINIKA DOME Z3461004

HERBARIUM

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AXONOMETRICS

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PERSPECTIVE

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PERSPECTIVE

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STAIR DETAIL1:20 AXONOMETRIC1:10 ELEVATION

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PERSPECTIVE07

Residential 02

Donald Judd as an artist challenged the conventions of originality by using in-dustrial processes and materials - steal, concrete, plywood - he created large, hollow minimalist sculptures, mostly in the form of boxes, which he arranged in repeated simple geometric forms. By acknowledging the processes of Judd, it became clear that the space within 350 George Street needs to be a coherent environment with three functions - living, studio and exhibition space, each well defined but flowing into the next. This would be achieved without altering the existing heritage building. To resolve this, I have designed three separate towers made of structural glass with a steel framing to allow the separation of the spac-es. Being a relatively comfortable person with himself, Donal Judd does not priorities privacy within his dwellings thus glass is utilized to clad each tower. Cir-culation through the apartment acts as a progressive journey from public space to private space. Judd emphasizes on the idea of permanent installations of his artwork, so there is an allowed freedom to do so within the spaces.

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F I R S T F L O O R P L A N 1 : 5 0

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G R O U N D F L O O RP L A N 1 : 5 0

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Furniture Design 1. Arm Chair2. Chair3. Dining Table4. Coffee Table5. Cross Bench6. Desk

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Paradise03

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Paradise is a very vast and subjective concept. By stemming my research from the romanticist poet, John Keats, I was able to enhance my personal grasp on paradise; an escape back to nature. This resulted in the idea of literally transcending nature to create an almost suspended reality. Terrariums then added another layer onto my research. They frame and encapsulate moss and minute plants in a jar or spherical vase, ultimately playing on scale as you can hold what appears to be a miniature rainforest in your hands. By returning to the concept of paradise and finding that the Greek ‘paradeisos’ is translated to a ‘royal (enclosed) park’, it allowed me to articulate these concepts into an architectural form. I experimented with the idea of attaching hollowed spheres to each other in a similar way to molecules, creating a structure that’s obviously manufactured but maintains an organic vibe and aesthetic to it. This then developed into material exploration for the construction of the spheres and an overall skin for the structure to conceal the exterior and add a layer of mystery and uniformity in regards to the overall form. Ultimately, the research and process resulted in an organic architectural form that captures the essence of a paradisiacal environment, or an enclosed park featuring the aspects of a rainforest. In reflection, the overall way in which I have captured my notion of paradise and represented it in an architectural form has been successful, especially in the process models and final model. The drawings, although introducing a whimsical aspect I was enthralled by during my research of Le Petit Prince (Antoine de Saint-Exupéry) and the artists Pip and Pop, were a learning curve and the most difficult complete. In summary, my design highlights that “the poetry of the earth is never dead”, for it eternalises the beauty and profound qualities of nature within a manmade structure, allowing the human spirit a place of nature in an urban context.

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D O M I N I K A D O M E

P E R S P E C T I V E

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D O M I N I K A D O M E

S E C T I O N A - A1:50

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S E C T I O N 1:50

Rose Seidler House04

B - B

The Rose Seidler was designed by the architect Harry Seidler and built in 1948-50. The house demon-strates a mid-century modernism that was revolutionary to Australia. It features open-plan living which allowed for spatial freedom. There is contrast between the use of colours, especially in the mural, and the minimalist interiors. Within my renders, I wanted to maintain the importance of colour and glass but in a minimalist form. This was achieved by using various mediums in the hand drawn drawings.

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Architectural Spatialisation05

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Midd le Head For t

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Sydney Hosp i ta l

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Cockatoo Is land

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Thank You