Lachlan Blackmore

Bachelor of Design (Architecture)

Hi there, thanks for visiting!

Having finished my undergraduate in Architecture I thoroughly look forward to continuing my studies and improving my skills. If I had to narrow down what I loved most about Architecture, it would simply be the day-by-day ways we use and interact with buildings e.g. Pathways, lighting and gatherings. Having come this far in the degree I now realise I must always be learning and thankfully that is a deep passion of mine.

Don't hesitate to check out my socials or even reach out!

NeeMu Museum.

The Newport Engagement Museum created by Louis Untu & Myself is our answer to our final Studio 5 run by Dr. Pantea Alambeigi. This museum is based on a strong design vision that shapes the building to Newport's existing foot traffic, contextual needs and historic character.

The Gift - Lighting Project.

A lighting project inspired by the myth of Prometheus. While represented with graphics here, this design was a scripted project within Grasshopper that could adaptively change based on user needs.

Radial Sun Pavilion.

The Radial Sun Pavilion is a moving project that changes and adapts to users needs to block wind and sun to create a comforting environment.

8 x 8 Home Project.

This project was my answer to the Robin Boyd competition. I was driven to create a building on the block that would more effectively use the space, giving the most to the users in a time where rentals and housing are at their most difficult.

Protolab Extension.

The Protolab extension was a collaborative building between Joshua Muldeary, Louis Untu and Myself. The building was a radical and geometric take on swinburnes exisitng Lab and was an excellent learning tool for tectonics.

Acknowledgement of Country

The School of Design and Architecture respectfully acknowledges the Wurundjeri peoples of the Kulin Nation as the Traditional Owners and knowledge-keepers of the lands, waters and sky that surround us, where we work, learn, create, communicate and make place. We recognise that sovereignty has never been ceded and this always was and will always be Wurundjeri Country. We pay our respects to Elders past, present and to all Aboriginal and Torres Strait Islander people who continue to make a better world through design.

We extend our acknowledgement to the Aboriginal and Torres Strait Islander staff, students, alumni, real-life clients, and knowledge keepers, who have contributed to our own education diversity and growth. We will continue to ensure that staff and students respectfully honour ancestral connection to Country and Place in everything that they do.

We are dedicated to the notion of design to make a better world and we acknowledge that making tools, shaping place, sharing stories, making meaning, wayfinding and collaborating have long been and continue to be both central and integral to First Peoples' cultures. We recognize that Aboriginal and Torres Strait Islander Peoples’ cultural contributions have continued relevance to design practice and commit to: reconciling ancestries of design and contemporary practice as well as pursuing culturally and professionally appropriate ways to engage with a diverse population of colleagues, industries and clients. In a time of treaty-making and voice we understand that there are overlaps between caring for Country and the sustainable production of goods, services, experiences, products and buildings.

Guided by the principles of respect, reconciliation, and reciprocity we undertake to indigenising and decolonising design practice by dismantling colonial structures and challenging biases that have marginalised Indigenous voices and design.

As students of SoDA you will be given opportunities to both engage with and educate yourself in Indigenous creative practices and cultural protocols through a lens of inclusivity, diversity, respect, mutual understanding, inter-cultural dialogue in all aspects of design practice. Indigenous people have been telling stories, making tools, and connecting to Country through visual media, placemaking and place marking for more than 60,000 years and these practices are part of an ongoing, evolving and live tradition.