Gemma Cookson . Portfolio . 2015

Occupying the EdgeMasters Thesis2013

Thesis Development2012

Christchurch Summer SchoolEastern Link2012

Urban Planning UFRGS ‘Planagamento 2 - Gargim’2011

sistemas e percepções

captura e armazenam

ento de energia

pro

duçã

o su

stentá

vel

auto

-contro

le

reutilização de recusros

sem desperdício

pensando em padrões

integra

ção d

e siste

mas

pense

pequeno, não g

rande

div

ers

idade

desi

gn d

e lim

ites

mudança

cuidado co

m a comunidade

contro

le d

e p

opula

ção e

consu

mo

cuidado com a terra

design ecológico

sistema ético

conheci

mento

da n

atu

reza

todas as funções devem conter uma variedade de elementos, então quando um elemento não funciona, outros podem ocupar seu lugar

respeitar o funcionamento do ecossistema, evitando ao máximo a contaminação do ambiente

usar recursos naturais e sustentáveis como forma de energia e alimentação, como o tratamento de águas cinzas e a conservação do ecossistema

evitar o uso de produtos que gerem desperdício, e reutilizá-lo quando possível, como na criação de composteiras

o desenho de permacultura deve seguir padrões existentes na natureza ou na sociedade, como nas teorias de Cristopher Alexander

pensar soluções que se adaptem as características do local, pensando sempre em uma escala reduzida e evitando gastos no deslocamento

considerar um espaço livre para que plantas e animais se desenvolvam naturalmente, como o telhado verde em que plantas crescem sem planejamento

pensar nas intersecções entre dois ecossistemas, considerando as relações entre as atividades pre-existentes, evitando a criação de barreiras entre eles

o design de permacultura deve responder às mudanças climáticas, sociais e de ecossistemas futuros

observar estruturas e comportamentos encontrados na natureza, afim de entender suas relações com o local

capturar e armazenar energia natural para o ambiente e prédio, como energia solar, eólica e design passivo

projetar sistemas eficientes e bem dimensionados para suprir as necessidades de seus usuários, como paisagismo produtivo

Projecto 7 - UFRGS Sustainable School 2011

3-4CORTE TRANSVERSAL B-B

ESCALA @ 1:200

CORTE STRUTURAL LONGITUDINAL A-A

ESCALA @ 1:500

CORTE TRANSVERSAL A-A

ESCALA @ 1:

DETAIL

ESCALA @ 1:

DETAIL

ESCALA @ 1:

DETAIL

ESCALA @ 1:

Football Museum UFRGS Exchange 4th Year 2011

CORTE LONGITUDINALL A-A

ESCALA @ 1:200

CORTE LONGITUDINALL A-A

ESCALA @ 1:200

CORTE LONGITUDINALL A-A

ESCALA @ 1:200

CORTE TRANSVERSAL B-B

ESCALA @ 1:200

DETAIL DE FAIXHADA DE VIDERO

ESCALA @ 1:

DETAIL DE ABERTURAS PARA SOL NATURAL

ESCALA @ 1: 20

3

1 PAVIMENTO

ESCALA @ 1:200

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PROGRAMA

LOCAÇÃO

LEGENDA

SERVICOES

AREAS VERDES

ESTACIONAMENTO

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CALCADAS

IMPLANTAÇÃO

ESCALA @ 1:500

O tema do exercício de projeto será o Museu do Futebol em Porto Alegre. O empreendimento conjugará equipamentos de cultura, serviço e turismo.

Sua localização será na Praça JúlioMesquita, entre a av. João Goulart e a rua General Salustiano, no centro da cidade. O local é próximo das atrações do centro histórico e da usina do Gasô-metro, além de estar ligado ao trajeto do bonde turístico. Sua função será abrigar a memória relacionada ao futebol na cidade de Porto Alegre, com especial ênfase na Copa do Mundo de 2014 e no papel da capital gaúcha como uma das sedes do evento.

ESPACO PAGO

ESPACO PAGO

IMPLANTAÇÃOIMPLANTAÇÃOIMPLANTAÇÃOIMPLANTAÇÃO

ESCALA @ 1:ESCALA @ 1:ESCALA @ 1:ESCALA @ 1:505050500000 NNNN

5

Photography UFRGS ‘Caixas do Porto’2011

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Memorial CompetitionArchitecture for Humanity 2012

Sustainable Studio 3rd Year 2010

GROUND FLOOR

N1:100100 51

PLAN

SECTION

GARAGE

SECOND FLOOR & ROOF

N

1:100100 51

2nd Year Studio ‘Familly Quarters’2009

ELEVATIONS

NORTH

EAST

1:100100 51

SOUTH

WEST

SOUTH

SOUTH

WEST

SOUTH

2nd Year Studio ‘Memorial’2009

PLAN DETAILS OF CROSSES scale @ 1:5 BUILDING 1, UNITECNEW ZEALAND AUCKLAND MT ALBERT

This is a memorial proposal for the individuals and families affected by mental illness and those subjected to the New Zealand mental asylums and psychiatric hospitals from 1860 until 1990’s when the major mental institutions were decommissioned.

institution STUDIO 2b/2009MEMORIAL PROJECTGEMMA COOKSON1351997

LEVEL 1 LEVEL 2

NEW MEMORIAL LOCATIONS WITHIN THE EXISTING BUILDING

EXISTING BUILDING

X

X

XX

XX

X

X NEW MEMORIAL LOCATIONS WITHIN THE BUILDING

SECTIONAL DETAILS OF CROSSES

This memorial is communicated through the iconography on the grounds left by the patients and words from the renowned New Zealand author Janet Frame. Who spent eight years in psychiatric hospitals all over New Zealand after being misdiagnosed with schizophrenia in 1945.

The memorial is located within and around UNITEC’s building 1, previously known as Carrington psychiatric Hospital, constructed in the 1860’s.

The aim is to create a discreet tapestry of small mementos to the loss of individual identity through being in a mental instuition. The proposed memorial aims to per-sonalise the experience through the scale of the crosses, the smallest being 150 x150mm, allowing only one or two people to experience or fi nd the crosses one at a time.

institution STUDIO 2b/2009MEMORIAL PROJECTGEMMA COOKSON1351997

LEVEL 1 LEVEL 2

NEW MEMORIAL LOCATIONS WITHIN THE EXISTING BUILDING

EXISTING BUILDING

X

X

XX

XX

X

X NEW MEMORIAL LOCATIONS WITHIN THE BUILDING

SECTIONAL DETAILS OF CROSSES

This memorial is communicated through the iconography on the grounds left by the patients and words from the renowned New Zealand author Janet Frame. Who spent eight years in psychiatric hospitals all over New Zealand after being misdiagnosed with schizophrenia in 1945.

The memorial is located within and around UNITEC’s building 1, previously known as Carrington psychiatric Hospital, constructed in the 1860’s.

The aim is to create a discreet tapestry of small mementos to the loss of individual identity through being in a mental instuition. The proposed memorial aims to per-sonalise the experience through the scale of the crosses, the smallest being 150 x150mm, allowing only one or two people to experience or fi nd the crosses one at a time.

institution STUDIO 2b/2009MEMORIAL PROJECTGEMMA COOKSON1351997

LEVEL 1 LEVEL 2

NEW MEMORIAL LOCATIONS WITHIN THE EXISTING BUILDING

EXISTING BUILDING

X

X

XX

XX

X

X NEW MEMORIAL LOCATIONS WITHIN THE BUILDING

SECTIONAL DETAILS OF CROSSES

This memorial is communicated through the iconography on the grounds left by the patients and words from the renowned New Zealand author Janet Frame. Who spent eight years in psychiatric hospitals all over New Zealand after being misdiagnosed with schizophrenia in 1945.

The memorial is located within and around UNITEC’s building 1, previously known as Carrington psychiatric Hospital, constructed in the 1860’s.

The aim is to create a discreet tapestry of small mementos to the loss of individual identity through being in a mental instuition. The proposed memorial aims to per-sonalise the experience through the scale of the crosses, the smallest being 150 x150mm, allowing only one or two people to experience or fi nd the crosses one at a time.

Cotense:

Introductioninterviews with Peeter Johnson, Russell Garbutt, and supplimentary interviews with Don Knewstubb, Ray Bretherton, and Grahem Burrow.

Images and suppli-mentary information is sourced from the Otago Settlers Museaum, the ODT, suppliment on DNTV-2 the fi rat day of transmision.

Television is Here!:An Oral Historyon Dunedin Television

By G. CooksonTelevision is H

ere :An O

ral History on D

unedin Television by G. C

ookson

To anybody with an interest in history, this is an account of what you will not fi nd in you aver-age history book- Oral History. Oral history is of fundamental importance, since it acknowledges the everyday worker who is bypassed in traditional history. Th ey have a face, name and a past, all of which contributed in some way to the making, recording and present-ing of local and national television history.

Th ey present the view of the individual on the undocumented day to day running of television, how their work contributed on the whole, their view on the entire complexity of the system and how it aff ected the community.

Brief overview:

Television is Here

:An Oral History on

Dunedin Television

By G. Cookson

DNTV-2

1960-1970

Gemma Cookson is a 20 year old undergraduate design student at Otago Univer-sity NZ. She Compleeted this book as part of an Oral History Design Project in her fi nal year. She wrote this book in Brazil while she was on a study exchange in 2007 after compiling all her research in Dunedin that same year.

She hopes you enjoy this book and understand more about the signifi cance of Oral History because of it.

Stories, yarns and memories make history.

Th is is an oral history about the fi rst ten years of television in Dunedin. Specifi cally focusing on stories from the technicians who were involved with DNTV-2 (Dunedin Television, Channel two) from 1960-1970.

Th is book refl ects not only on the technological changes but also work dynamics and the stories about day to day life in the 1960’s that have risen from these fi rst hand accounts. Th is book principally includes text from interviews with the technicians, Peter Johnson, Rus-sell Garbutt, Don Knewstubb, Ray Bretherton, Dave Howell and Graeme Burrow.

3nd Year Studio - Otago ‘DNTV-2 Oral History Project’2007