Gabriel S Gray

A series of diagrams of Alvaro Siza’s work 01, 02 Quinta Da Malagueira 03, 04 Leça Swimming Pools 05 Boa Nova Tea House S1 2025

LifeWork S2 2025 An apartment for the Passing Artist [I imagine an uninspired David Lynch, the artist experiencing creative block, and speculate what he or someone similar might require to remedy the rut they find themselves stuck in. Or perhaps an artist who simply asks for a change in scenery to facilitate a change in perspective. The apartments facilitate a monastic life with imposed communal interactions. The temporary nature of living here allows for the artist to live with less in relative ease. Because there is a level of impermanence, forgoing ‘wants’ and even reassessing ones ‘needs’ is possible. It is about removing oneself from their current circumstance without dragging along what is associated. As quoted by Lynch “Be regular and ordinary in your life, so that you may be violent and original in your work”. The proximity between ordinary life and creativity is felt. There is no clear delineation between the two, only materiality and subtle shifts in level. Daylight dictates the mood within the apartment - light can be altered, but not removed. There is removal of external distraction. The apartment is relatively foreign intentionally. Current housing doesn’t consider the duration of one’s stay, nor does it accommodate a specific phase of one’s life. It’s a one size fits all approach, but it’s a very loose fit. The apartments cater to the creative block that all artists and creatives face at some point in their life. This block may occur once, for some it’s recurring. The apartments provide an environment to reset and reconnect surrounded by other artists experiencing the same struggles.] Nominee - Kirill Kosloff Award for Design Excellence

There S1 2025 [As humans we often ignore life’s mortal truth. Historically our ignorance of death was kept in check by the presence of death around us – this is no longer the case. Society has become death-phobic, those that remind us of its presence are ignored - the sick confined to hospitals, and the elderly sent to care. Death’s presence needs to be re-introduced into the collective conscious. If we speculate a future without perpetuity, how can the role of the cemetery adapt to represent an idea, not an individual, that as a society we need to look beyond our current understanding of death and of grief. It is not something to be suppressed, ignored or avoided. It is as much a part as any other aspect of life, whether it be growing old, or going to the markets of a weekend. Through association, our perception can be shifted. A weekly market held at the monument dedicated to deaths presence. By looking closely to precedents, Le Corbusier’s St Pierre Church which challenges existing beliefs and typologies, and to John Andrews’ Gund Hall and how it fosters a senses of collective equality, the formal language of this new civic space can be understood. Sited at the Royal College of Surgeons overlooking both Parliament House and St Vincents Hospital, this civic gesture is a reminder, an acknowledgement and an acceptance of death.] Nominatee - Kirill Kosloff Award for Design Excellence

Comms 2 S2 2025 A cabin stealing the design language of both Yakov Chernikhov and Peter Eisenman + windows inspired by Hani Rashid

Aus History S2 2025 Imagining Parliament House’s dome if designed by Frederick Romberg Model + Photomontage