Portfolio

27/10/2015 12:34 PM
Oscar
EVISON

EVISON
CURRARONG BEACH HOUSE
PINE STREET
FOURTH DIMENSION
CREATIVE CONCEPT LOUNGES
8 1 6, 3 5 7, 4 9 2

Interior and Spatial Designer
Studied Interior and Spatial Design at University of Technology, Sydney.
Spatial design crosses boundaries of traditional design disciplines such as architecture, interior design,
landscape design and public art within the public realm. Spatial design essentially focuses on the flow space
between interior and exterior design, in both public and private realms. Interior and Spatial Design at
UTS, focused mainly on the architectural design but also touched on installation design, landscape design,
interior design.
My design interests are Architecture, Interior Design, Installation Design, Industrial Design and Photography.
I design conceptually by exploring many materials and conceptualises these to create modern designs that are
functional. I enjoy designing commercial, residential, and public spaces that encourage relationships
between people and space.
Mediums I generally use in practise are Physical Model Making, Computer Modelling, Laser Cutting,
and Photography. These mediums generally allow for best presentation as well as visual understandings for
clients.
I am well practiced in Vectorworks, ArchiCAD, Rhino, Lightroom, Artlantis, SketchUp, Photoshop, Illustrator
and Indesign.
Awarded for:
DesignTech - Board of Studies, New South Wales - 2010

CURRARONG BEACH HOUSE
Currarong's oldest School House was redeveloped
from its original structure into a beautiful open plan
house, as a result of collaboration with builders,
interior designers and the property manager.
The key elements of the restoration were to
reinforce the historical ambiance and original focus o
the Old School House building while bringing it into
line with modern standards. The development
involved changing the entire original interior into an
open plan living area, as well as additional
restorations of the historic building. Parts of the
building were redesigned to best incorporate and
facilitate modern life.
The original structure was built in the 1940′s as a
local school, and redeveloped in 2013-2014 into this
charming modern beach house.

PINE STREET
Sounds Bar is located in the heart of
Chippendale, only a short walk from Sydney’s
city centre. Located at 44-45 Pine Street,
Chippendale, this was previously an old
factory space that had been waiting to be
redesigned into a public/community space for
years. The space had been identified by
council as one that should be enjoyed by all
of Chippendale’s community. The site is only
a short walk from the “Australian Institute of
Music”, a well-known music college that uses
public spaces to host their live shows.

Design
Through my design, I was able to create a space that allowed for community
and performer to come together and work with a natural flow. My design
transforms three levels of factory space into a community space that could
become well known. The first level would allow for Musicians to record and
perform. The second level was a bar space that looks down into the musician’s
recording rooms and also out into the surrounding suburbs. The third level was a
partially outdoor space that also looked over the lower levels and into the
recording space. One of the rooms on the first level was linked into the second
level, allowing live music to be heard at the bar while people were recording.
Environment to person
The Sounds Bar design set out to create a relationship to the person and
space. There is a relationship between an environment and the behaviour of its
inhabitants. Sounds Bar is created with links between the space below and the
space above. These spaces are clearly all linked together, meaning that
individuals are never alone in the public space – there is always entertainment
or movement. The Sounds Bar environment is changeable and will always be
changing based on the performer or musician recording below.

FOURTH DIMENSION
The Fourth Dimensional Space aims through architecture and
art, to bring people to a site that explore the body through and
artistic representation of movement and flow through a city.
Central Stations is not only a transition space but also a
destination that lacks to invite and explore its own beauty.
The building coincides with the existing heritage façade and
emerging technologies brings the dead street of Eddy Avenue to
the concourse and creates a connection that beings Eddy
Avenue alive.
The Fourth Dimensional space brings the City of Sydney through
the existing historical façade onto a modern staircase and onto
the famous Central Con-course.
The Fourth Dimensional Space reflects the mapping of centrals
movement by creating geometric shapes that reflect the
humans transition through space. The geometries are then used
as their own façade using and representing new and emerging
architectural materials and features.

Central station is the largest railway station and transport
interchange in the NSW and is significant in Sydney for its
historical features, aesthetically astonishing facades, and it’s
growing potential architecturally, archaeologically, and publicly.
Central Station has represented over 150 years of railways
operations and continues to welcome more than 310,089,122
trips a year. But due to emerging technologies Central station
has been affected directly and parts of central have become
obsolete.
As the city is a growing city and the population experts
forecast that Sydney city is going to grow from 192,469 in
2004 to 280,964 by 2036. Central station is situated in the
small area of CBD South and this area alone is expected to
grow from 17,906 in 2014 to 25,223 in 2036. Parts of central
need to look at circulation in order to take these obsolete
spaces and create better public space. With population growth
Central needs to be well equipped for the growing influx of
people throughout the station by 2036.

When understanding the urban environment, one must develop a realization
of relationship between city and people. Urban Code develops a vast
understanding of the language of the city and how to consider an abstract
perspective. By understanding the city Mikoliet discusses the city from a
pedestrians level, dealing with the perception of how the human body
relates to the city through different senses. Each point justifies a different
senses in relation to city “58) Snack stands smell of food” “87) People who
walk have a destination in mind”.
“The Fourth Dimensional Space” has been designed to create moments of
pause, it works on stages that reflect the fourth dimension. These moments
start from the individual stage (beginning) to fragmentation stage (end).
First moments of pause is made when the new circulation was created by
“The Fourth Dimensional Staircase”. The staircase attracts people to use
Eddy Avenue walk way attracting many people in and out of the new shops
located along Eddy Avenue walk way. The second moments of encounter
occurs when ascending the staircase. The person will ascend the staircase
and go through stages of the fourth dimension without realising These
stages are “Individual, amalgamation, unification, and fragmentation”. As the
human comes to the unification stage they will have moments of encounter
with other people ascending or descending the staircase. And the final
stage of pause is at the fragmenting stage where the cafe sits and looks
over the stages of the fourth dimension”

CREATIVE CONCEPT LOUNGES
The purpose of this design is to produce a concept
lounge that responds to trends in design that promotes
environmental sustainability and appeal to Baby Boomer
nostalgia and younger generations interest in the 1940s
Pop Culture. The inspiration came when the rusted-out
front proportion of a 1940’s International Truck was found
on a farm after many years of obvious neglect. The theme
used for the decoupage on the bonnet, magazine shelving
and table tops, are cartoons from the same era found
brightly coloured 1940’s Dick Tracy cartoons. The use of
stunning black vinyl stretched over the existing car body
contrasts with the colorful decoupage, flashing chrome
front grill and white seats with black trimming which
provides an unique appearance.

The concept lounge that uses mostly recycled materials. This
product can be used in both commercial and domestic
environments such as theme cafes, restaurants, as advertising
in a motor vehicle dealership showroom or in domestic situation
as a concept lounge or art-piece.
The piece can be left closed, as an art piece reflecting the
Bygone Era but when the bonnet is open and the fenders fold
out the piece becomes a lounge with incorporated three seats,
magazine shelf’s and coffee table. The engine bay space is
transformed into a semi-circular lounge area with table tray
made to fit into the top of the grill. There are main seats against
the cowl section and additional two seats on the fenders

8 1 6, 3 5 7, 4 9 2
8 1 6, 3 5 7, 4 9 2 (The Riddle) explores the delicate balance
of historical preservation with conceptual design.
The site is situated on the Northern end of Dixon Street;
“The Riddle” project provides community with an installation
that provokes celebration and interaction with the modern
design. Through the use of these materials and structural
design creates a space that enforces the idea of floating.
It is than linking back to traditional Chinese celebration the
model is laid out through the riddle, “8 1 6, 3 5 7, 4 9 5”
which links back to the number 15, the leaving / end of the
Chinese New YearHistorical importance of the Chinese New
Year Celebration and modern instillation “The Riddle” explore
the importance of leaving and connection to community.

Connection to Chinese Culture
The Lantern Festival is celebrated annually on the 15th day
of the Lunar New Year. The Celebration dates back to 200
years ago in China. The favour of worshiping god or
goddess while the other was a political matter. Nationwide,
people take this opportunity to come together and create
unity through the notion of releasing lanterns into the sky
usually with riddles written on the side.
Connection to Structure
The Tensegrity Structure is a relatively modern principle,
dating only back to 50 years. The structure uses
compression and tension to isolate components with a net
of tension. The compressed members do not touch each
other and the pre- stressed members that are under
tension delineating the system spatially this creates an
optical illusion of floating beams. The structures optical
illusion reinforces the idea of floating and reflects the
Lantern Festival hand made Light’s that float into the sky.

CONTACT
07961012644
Oscar.evison@gmail.com
ONLINE PORTFOLIO
Oscarevison.wix.com/evisondesigns
Theloop.com.au/oscarevison