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@j.w_arch Jacob White’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

‘Nengi Yhar’ (Ngunnawal language for ‘to see running water’) aimed to embody the symbiotic relationship First Australians have with land and water country, and more particularly, the resources that are created and provided by natural water systems. The mapping revealed pre-colonial native biomes, waterways, points and intensity of elevation, and traditional paths of peoples living in this area. This revealed that areas most occupied were the overlap of biome types, and/or where water would flow – i.e., locations of the most diverse natural resources.
The walk-ups consist of two elements: a heavy weight base, and lightweight upper storeys. The base, constructed with rammed earth sourced on site, is understood as an extension of the land, while the timber clad upper floors connect to flora and fauna which emerge from the land.
‘Nengi Yhar’ is an attempt to understand what it means to design with rather than on Country, and to foreground architecture’s ongoing relationship between people, place, and Country. This project, which suggests a land carved by water asks us to not only walk on the land, but walk with it.

@architecture_uc @uc_artsdesign
#mastersstudio #architecturestudio #canberraarchitecture #australianarchitecture #missingmiddlehosing #missingmiddle #sixpackhousing #threestoreywalkups #housing #housingdesign #workingonCountry #workingwithCountry #NgunnawalCountry

@j.w_arch Jacob White’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

‘Nengi Yhar’ (Ngunnawal language for ‘to see running water’) aimed to embody the symbiotic relationship First Australians have with land and water country, and more particularly, the resources that are created and provided by natural water systems. The mapping revealed pre-colonial native biomes, waterways, points and intensity of elevation, and traditional paths of peoples living in this area. This revealed that areas most occupied were the overlap of biome types, and/or where water would flow – i.e., locations of the most diverse natural resources.
The walk-ups consist of two elements: a heavy weight base, and lightweight upper storeys. The base, constructed with rammed earth sourced on site, is understood as an extension of the land, while the timber clad upper floors connect to flora and fauna which emerge from the land.
‘Nengi Yhar’ is an attempt to understand what it means to design with rather than on Country, and to foreground architecture’s ongoing relationship between people, place, and Country. This project, which suggests a land carved by water asks us to not only walk on the land, but walk with it.

@architecture_uc @uc_artsdesign
#mastersstudio #architecturestudio #canberraarchitecture #australianarchitecture #missingmiddlehosing #missingmiddle #sixpackhousing #threestoreywalkups #housing #housingdesign #workingonCountry #workingwithCountry #NgunnawalCountry

@j.w_arch Jacob White’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

‘Nengi Yhar’ (Ngunnawal language for ‘to see running water’) aimed to embody the symbiotic relationship First Australians have with land and water country, and more particularly, the resources that are created and provided by natural water systems. The mapping revealed pre-colonial native biomes, waterways, points and intensity of elevation, and traditional paths of peoples living in this area. This revealed that areas most occupied were the overlap of biome types, and/or where water would flow – i.e., locations of the most diverse natural resources.
The walk-ups consist of two elements: a heavy weight base, and lightweight upper storeys. The base, constructed with rammed earth sourced on site, is understood as an extension of the land, while the timber clad upper floors connect to flora and fauna which emerge from the land.
‘Nengi Yhar’ is an attempt to understand what it means to design with rather than on Country, and to foreground architecture’s ongoing relationship between people, place, and Country. This project, which suggests a land carved by water asks us to not only walk on the land, but walk with it.

@architecture_uc @uc_artsdesign
#mastersstudio #architecturestudio #canberraarchitecture #australianarchitecture #missingmiddlehosing #missingmiddle #sixpackhousing #threestoreywalkups #housing #housingdesign #workingonCountry #workingwithCountry #NgunnawalCountry

@j.w_arch Jacob White’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

‘Nengi Yhar’ (Ngunnawal language for ‘to see running water’) aimed to embody the symbiotic relationship First Australians have with land and water country, and more particularly, the resources that are created and provided by natural water systems. The mapping revealed pre-colonial native biomes, waterways, points and intensity of elevation, and traditional paths of peoples living in this area. This revealed that areas most occupied were the overlap of biome types, and/or where water would flow – i.e., locations of the most diverse natural resources.
The walk-ups consist of two elements: a heavy weight base, and lightweight upper storeys. The base, constructed with rammed earth sourced on site, is understood as an extension of the land, while the timber clad upper floors connect to flora and fauna which emerge from the land.
‘Nengi Yhar’ is an attempt to understand what it means to design with rather than on Country, and to foreground architecture’s ongoing relationship between people, place, and Country. This project, which suggests a land carved by water asks us to not only walk on the land, but walk with it.

@architecture_uc @uc_artsdesign
#mastersstudio #architecturestudio #canberraarchitecture #australianarchitecture #missingmiddlehosing #missingmiddle #sixpackhousing #threestoreywalkups #housing #housingdesign #workingonCountry #workingwithCountry #NgunnawalCountry

@j.w_arch Jacob White’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

‘Nengi Yhar’ (Ngunnawal language for ‘to see running water’) aimed to embody the symbiotic relationship First Australians have with land and water country, and more particularly, the resources that are created and provided by natural water systems. The mapping revealed pre-colonial native biomes, waterways, points and intensity of elevation, and traditional paths of peoples living in this area. This revealed that areas most occupied were the overlap of biome types, and/or where water would flow – i.e., locations of the most diverse natural resources.
The walk-ups consist of two elements: a heavy weight base, and lightweight upper storeys. The base, constructed with rammed earth sourced on site, is understood as an extension of the land, while the timber clad upper floors connect to flora and fauna which emerge from the land.
‘Nengi Yhar’ is an attempt to understand what it means to design with rather than on Country, and to foreground architecture’s ongoing relationship between people, place, and Country. This project, which suggests a land carved by water asks us to not only walk on the land, but walk with it.

@architecture_uc @uc_artsdesign
#mastersstudio #architecturestudio #canberraarchitecture #australianarchitecture #missingmiddlehosing #missingmiddle #sixpackhousing #threestoreywalkups #housing #housingdesign #workingonCountry #workingwithCountry #NgunnawalCountry

@j.w_arch Jacob White’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

‘Nengi Yhar’ (Ngunnawal language for ‘to see running water’) aimed to embody the symbiotic relationship First Australians have with land and water country, and more particularly, the resources that are created and provided by natural water systems. The mapping revealed pre-colonial native biomes, waterways, points and intensity of elevation, and traditional paths of peoples living in this area. This revealed that areas most occupied were the overlap of biome types, and/or where water would flow – i.e., locations of the most diverse natural resources.
The walk-ups consist of two elements: a heavy weight base, and lightweight upper storeys. The base, constructed with rammed earth sourced on site, is understood as an extension of the land, while the timber clad upper floors connect to flora and fauna which emerge from the land.
‘Nengi Yhar’ is an attempt to understand what it means to design with rather than on Country, and to foreground architecture’s ongoing relationship between people, place, and Country. This project, which suggests a land carved by water asks us to not only walk on the land, but walk with it.

@architecture_uc @uc_artsdesign
#mastersstudio #architecturestudio #canberraarchitecture #australianarchitecture #missingmiddlehosing #missingmiddle #sixpackhousing #threestoreywalkups #housing #housingdesign #workingonCountry #workingwithCountry #NgunnawalCountry

@j.w_arch Jacob White’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

‘Nengi Yhar’ (Ngunnawal language for ‘to see running water’) aimed to embody the symbiotic relationship First Australians have with land and water country, and more particularly, the resources that are created and provided by natural water systems. The mapping revealed pre-colonial native biomes, waterways, points and intensity of elevation, and traditional paths of peoples living in this area. This revealed that areas most occupied were the overlap of biome types, and/or where water would flow – i.e., locations of the most diverse natural resources.
The walk-ups consist of two elements: a heavy weight base, and lightweight upper storeys. The base, constructed with rammed earth sourced on site, is understood as an extension of the land, while the timber clad upper floors connect to flora and fauna which emerge from the land.
‘Nengi Yhar’ is an attempt to understand what it means to design with rather than on Country, and to foreground architecture’s ongoing relationship between people, place, and Country. This project, which suggests a land carved by water asks us to not only walk on the land, but walk with it.

@architecture_uc @uc_artsdesign
#mastersstudio #architecturestudio #canberraarchitecture #australianarchitecture #missingmiddlehosing #missingmiddle #sixpackhousing #threestoreywalkups #housing #housingdesign #workingonCountry #workingwithCountry #NgunnawalCountry

@j.w_arch Jacob White’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

‘Nengi Yhar’ (Ngunnawal language for ‘to see running water’) aimed to embody the symbiotic relationship First Australians have with land and water country, and more particularly, the resources that are created and provided by natural water systems. The mapping revealed pre-colonial native biomes, waterways, points and intensity of elevation, and traditional paths of peoples living in this area. This revealed that areas most occupied were the overlap of biome types, and/or where water would flow – i.e., locations of the most diverse natural resources.
The walk-ups consist of two elements: a heavy weight base, and lightweight upper storeys. The base, constructed with rammed earth sourced on site, is understood as an extension of the land, while the timber clad upper floors connect to flora and fauna which emerge from the land.
‘Nengi Yhar’ is an attempt to understand what it means to design with rather than on Country, and to foreground architecture’s ongoing relationship between people, place, and Country. This project, which suggests a land carved by water asks us to not only walk on the land, but walk with it.

@architecture_uc @uc_artsdesign
#mastersstudio #architecturestudio #canberraarchitecture #australianarchitecture #missingmiddlehosing #missingmiddle #sixpackhousing #threestoreywalkups #housing #housingdesign #workingonCountry #workingwithCountry #NgunnawalCountry

@j.w_arch Jacob White’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

‘Nengi Yhar’ (Ngunnawal language for ‘to see running water’) aimed to embody the symbiotic relationship First Australians have with land and water country, and more particularly, the resources that are created and provided by natural water systems. The mapping revealed pre-colonial native biomes, waterways, points and intensity of elevation, and traditional paths of peoples living in this area. This revealed that areas most occupied were the overlap of biome types, and/or where water would flow – i.e., locations of the most diverse natural resources.
The walk-ups consist of two elements: a heavy weight base, and lightweight upper storeys. The base, constructed with rammed earth sourced on site, is understood as an extension of the land, while the timber clad upper floors connect to flora and fauna which emerge from the land.
‘Nengi Yhar’ is an attempt to understand what it means to design with rather than on Country, and to foreground architecture’s ongoing relationship between people, place, and Country. This project, which suggests a land carved by water asks us to not only walk on the land, but walk with it.

@architecture_uc @uc_artsdesign
#mastersstudio #architecturestudio #canberraarchitecture #australianarchitecture #missingmiddlehosing #missingmiddle #sixpackhousing #threestoreywalkups #housing #housingdesign #workingonCountry #workingwithCountry #NgunnawalCountry

@j.w_arch Jacob White’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

‘Nengi Yhar’ (Ngunnawal language for ‘to see running water’) aimed to embody the symbiotic relationship First Australians have with land and water country, and more particularly, the resources that are created and provided by natural water systems. The mapping revealed pre-colonial native biomes, waterways, points and intensity of elevation, and traditional paths of peoples living in this area. This revealed that areas most occupied were the overlap of biome types, and/or where water would flow – i.e., locations of the most diverse natural resources.
The walk-ups consist of two elements: a heavy weight base, and lightweight upper storeys. The base, constructed with rammed earth sourced on site, is understood as an extension of the land, while the timber clad upper floors connect to flora and fauna which emerge from the land.
‘Nengi Yhar’ is an attempt to understand what it means to design with rather than on Country, and to foreground architecture’s ongoing relationship between people, place, and Country. This project, which suggests a land carved by water asks us to not only walk on the land, but walk with it.

@architecture_uc @uc_artsdesign
#mastersstudio #architecturestudio #canberraarchitecture #australianarchitecture #missingmiddlehosing #missingmiddle #sixpackhousing #threestoreywalkups #housing #housingdesign #workingonCountry #workingwithCountry #NgunnawalCountry

SuperStudio 2025:

An Excuse for Division

The year is 2061 and enormous monoliths that cast a permanent un-moving shadow called the 'stillfall' have landed in major cities all over the world.

‘An Excuse for Division’ acts as a social dialogue on the manner in which humans will react to change. In this case, the change; an immoveable structure, which permanently divides those with an opinion of it. .

Day one

You start the day off with an argument with your partner, they do not believe that children should be allowed to play in the shadow of the monolith in the still fall, they’re worried it will affect their development. You reckon it doesn't matter.

On your way to work, people are out in the masses, once again, protesting their displacement in the government's proposed evacuation of the homes and businesses left within the shadow of the monolith. You reckon that’s fair.

The monolith has created a figurative border, an internal schism within each and every person that slowly threatens to de-rail the everyday relationships you know; the things that are actually important to you.

One Day

Utopia: the facilitation of an ideal society, often speculative radical or idealistic.

The monolith will always exist as a really large symbol for a really insignificant problem, and hopefully One day, when the non-real big problems become small. The real problems that the world is constantly running away from can become big.

The monolith exists as a metaphor for the over-reactive division we create between ourselves over things that are totally out of our control.

SuperStudio 2025:

An Excuse for Division

The year is 2061 and enormous monoliths that cast a permanent un-moving shadow called the 'stillfall' have landed in major cities all over the world.

‘An Excuse for Division’ acts as a social dialogue on the manner in which humans will react to change. In this case, the change; an immoveable structure, which permanently divides those with an opinion of it. .

Day one

You start the day off with an argument with your partner, they do not believe that children should be allowed to play in the shadow of the monolith in the still fall, they’re worried it will affect their development. You reckon it doesn't matter.

On your way to work, people are out in the masses, once again, protesting their displacement in the government's proposed evacuation of the homes and businesses left within the shadow of the monolith. You reckon that’s fair.

The monolith has created a figurative border, an internal schism within each and every person that slowly threatens to de-rail the everyday relationships you know; the things that are actually important to you.

One Day

Utopia: the facilitation of an ideal society, often speculative radical or idealistic.

The monolith will always exist as a really large symbol for a really insignificant problem, and hopefully One day, when the non-real big problems become small. The real problems that the world is constantly running away from can become big.

The monolith exists as a metaphor for the over-reactive division we create between ourselves over things that are totally out of our control.

SuperStudio 2025:

An Excuse for Division

The year is 2061 and enormous monoliths that cast a permanent un-moving shadow called the 'stillfall' have landed in major cities all over the world.

‘An Excuse for Division’ acts as a social dialogue on the manner in which humans will react to change. In this case, the change; an immoveable structure, which permanently divides those with an opinion of it. .

Day one

You start the day off with an argument with your partner, they do not believe that children should be allowed to play in the shadow of the monolith in the still fall, they’re worried it will affect their development. You reckon it doesn't matter.

On your way to work, people are out in the masses, once again, protesting their displacement in the government's proposed evacuation of the homes and businesses left within the shadow of the monolith. You reckon that’s fair.

The monolith has created a figurative border, an internal schism within each and every person that slowly threatens to de-rail the everyday relationships you know; the things that are actually important to you.

One Day

Utopia: the facilitation of an ideal society, often speculative radical or idealistic.

The monolith will always exist as a really large symbol for a really insignificant problem, and hopefully One day, when the non-real big problems become small. The real problems that the world is constantly running away from can become big.

The monolith exists as a metaphor for the over-reactive division we create between ourselves over things that are totally out of our control.

Streetscape interface in Taiwan.

Streetscape interface in Taiwan.

Streetscape interface in Taiwan.

Streetscape interface in Taiwan.

Streetscape interface in Taiwan.

Streetscape interface in Taiwan.

Streetscape interface in Taiwan.

Streetscape interface in Taiwan.

Streetscape interface in Taiwan.

Streetscape interface in Taiwan.

SuperStudio 2024:

The Call of the Manumea

In collaboration with: Henry Eklund and Jackson King

The Manumea, also known as the tooth-billed pigeon, or Samoan dodo, is a bird native to, and only found in Samoa. In Samoan mythology, the Manumea’s unique call is said to be a lament, or a sign of impending changes, and thus amongst folklore, is regarded as performing a role as a mediator between the human world and the spiritual.

“The call of the Manumea” aims to reflect the bird's adaptability in an approach that incorporates both a temporary and permanent use of structures that align with traditional Samoan building styles and forms.

The heavily Christian population of Samoa, spread along the coast-lines operate in separated villages whom, within each village have a great sense of community and connection.

“The call of the Manumea” utilises permanent steel and reinforced concrete platforms as a permanent place for gathering for religious or community means, while also providing several species of endangered birds, safe roosting space.

When natural disaster strikes, each member of the community will gather, and will bring along with them their survival pack: an easily transportable backpack which services times of needs the same way a life jacket or airmask would on an aeroplane.

Upon arriving at the refuge/community space, the towns people can unwrap their pack to form the walls of a temporary shelter. A temporary shelter, which permanent in structural nature can withstand winds, rains, fires, floods, while providing communities along the coast with the comfortability, of a known space tied to their culture and community.

SuperStudio 2024:

The Call of the Manumea

In collaboration with: Henry Eklund and Jackson King

The Manumea, also known as the tooth-billed pigeon, or Samoan dodo, is a bird native to, and only found in Samoa. In Samoan mythology, the Manumea’s unique call is said to be a lament, or a sign of impending changes, and thus amongst folklore, is regarded as performing a role as a mediator between the human world and the spiritual.

“The call of the Manumea” aims to reflect the bird's adaptability in an approach that incorporates both a temporary and permanent use of structures that align with traditional Samoan building styles and forms.

The heavily Christian population of Samoa, spread along the coast-lines operate in separated villages whom, within each village have a great sense of community and connection.

“The call of the Manumea” utilises permanent steel and reinforced concrete platforms as a permanent place for gathering for religious or community means, while also providing several species of endangered birds, safe roosting space.

When natural disaster strikes, each member of the community will gather, and will bring along with them their survival pack: an easily transportable backpack which services times of needs the same way a life jacket or airmask would on an aeroplane.

Upon arriving at the refuge/community space, the towns people can unwrap their pack to form the walls of a temporary shelter. A temporary shelter, which permanent in structural nature can withstand winds, rains, fires, floods, while providing communities along the coast with the comfortability, of a known space tied to their culture and community.

SuperStudio 2024:

The Call of the Manumea

In collaboration with: Henry Eklund and Jackson King

The Manumea, also known as the tooth-billed pigeon, or Samoan dodo, is a bird native to, and only found in Samoa. In Samoan mythology, the Manumea’s unique call is said to be a lament, or a sign of impending changes, and thus amongst folklore, is regarded as performing a role as a mediator between the human world and the spiritual.

“The call of the Manumea” aims to reflect the bird's adaptability in an approach that incorporates both a temporary and permanent use of structures that align with traditional Samoan building styles and forms.

The heavily Christian population of Samoa, spread along the coast-lines operate in separated villages whom, within each village have a great sense of community and connection.

“The call of the Manumea” utilises permanent steel and reinforced concrete platforms as a permanent place for gathering for religious or community means, while also providing several species of endangered birds, safe roosting space.

When natural disaster strikes, each member of the community will gather, and will bring along with them their survival pack: an easily transportable backpack which services times of needs the same way a life jacket or airmask would on an aeroplane.

Upon arriving at the refuge/community space, the towns people can unwrap their pack to form the walls of a temporary shelter. A temporary shelter, which permanent in structural nature can withstand winds, rains, fires, floods, while providing communities along the coast with the comfortability, of a known space tied to their culture and community.

The Dust that Never Settles

In collaboration with Henry Eklund and Ciaran French

A submission to the ‘Last Nuclear Memorial’ competition by Buildner.

The brief involved a silent submission (no text or icons), creating a memorial that would honour the lives lost in nuclear expeditions over time including the bombings at the end of WWII and all testing of nuclear explosions since.

We selected our site as the ‘Scooter Crater’, one of the many surrounding the Sedan crater at the Nevada test site, Nevada, USA.

Our response to the brief aimed to represent the scale of the atrocities associated with nuclear testing, while also portraying a theme of, rehabilitation, reflection, accountability and hope.

The visualisations each tackle one of the core themes, while leaving its interpretation to the viewer and their experience and knowledge on the subject.

The Dust that Never Settles

In collaboration with Henry Eklund and Ciaran French

A submission to the ‘Last Nuclear Memorial’ competition by Buildner.

The brief involved a silent submission (no text or icons), creating a memorial that would honour the lives lost in nuclear expeditions over time including the bombings at the end of WWII and all testing of nuclear explosions since.

We selected our site as the ‘Scooter Crater’, one of the many surrounding the Sedan crater at the Nevada test site, Nevada, USA.

Our response to the brief aimed to represent the scale of the atrocities associated with nuclear testing, while also portraying a theme of, rehabilitation, reflection, accountability and hope.

The visualisations each tackle one of the core themes, while leaving its interpretation to the viewer and their experience and knowledge on the subject.

The Dust that Never Settles

In collaboration with Henry Eklund and Ciaran French

A submission to the ‘Last Nuclear Memorial’ competition by Buildner.

The brief involved a silent submission (no text or icons), creating a memorial that would honour the lives lost in nuclear expeditions over time including the bombings at the end of WWII and all testing of nuclear explosions since.

We selected our site as the ‘Scooter Crater’, one of the many surrounding the Sedan crater at the Nevada test site, Nevada, USA.

Our response to the brief aimed to represent the scale of the atrocities associated with nuclear testing, while also portraying a theme of, rehabilitation, reflection, accountability and hope.

The visualisations each tackle one of the core themes, while leaving its interpretation to the viewer and their experience and knowledge on the subject.

The Dust that Never Settles

In collaboration with Henry Eklund and Ciaran French

A submission to the ‘Last Nuclear Memorial’ competition by Buildner.

The brief involved a silent submission (no text or icons), creating a memorial that would honour the lives lost in nuclear expeditions over time including the bombings at the end of WWII and all testing of nuclear explosions since.

We selected our site as the ‘Scooter Crater’, one of the many surrounding the Sedan crater at the Nevada test site, Nevada, USA.

Our response to the brief aimed to represent the scale of the atrocities associated with nuclear testing, while also portraying a theme of, rehabilitation, reflection, accountability and hope.

The visualisations each tackle one of the core themes, while leaving its interpretation to the viewer and their experience and knowledge on the subject.

Studio 3.2 within: SPATIAL POROSITIES - The Chasm

FADXL Sponsor Award: DJAS

The final spatial views and models of this project aimed to reflect the open and light nature of the building. Shown as a path of connection, the Chasm would've been a public first approach to the site, and could have recycled Garema place to another high.

Studio 3.2 within: SPATIAL POROSITIES - The Chasm

FADXL Sponsor Award: DJAS

The final spatial views and models of this project aimed to reflect the open and light nature of the building. Shown as a path of connection, the Chasm would've been a public first approach to the site, and could have recycled Garema place to another high.

Studio 3.2 within: SPATIAL POROSITIES - The Chasm

FADXL Sponsor Award: DJAS

The final spatial views and models of this project aimed to reflect the open and light nature of the building. Shown as a path of connection, the Chasm would've been a public first approach to the site, and could have recycled Garema place to another high.

Studio 3.2 within: SPATIAL POROSITIES - The Chasm

FADXL Sponsor Award: DJAS

The final spatial views and models of this project aimed to reflect the open and light nature of the building. Shown as a path of connection, the Chasm would've been a public first approach to the site, and could have recycled Garema place to another high.

Studio 3.2 within: SPATIAL POROSITIES - The Chasm

FADXL Sponsor Award: DJAS

The final spatial views and models of this project aimed to reflect the open and light nature of the building. Shown as a path of connection, the Chasm would've been a public first approach to the site, and could have recycled Garema place to another high.

Studio 3.2 within: SPATIAL POROSITIES - The Chasm

FADXL Sponsor Award: DJAS

The final spatial views and models of this project aimed to reflect the open and light nature of the building. Shown as a path of connection, the Chasm would've been a public first approach to the site, and could have recycled Garema place to another high.

Studio 3.2 within: SPATIAL POROSITIES - The Chasm

FADXL Sponsor Award: DJAS

The final spatial views and models of this project aimed to reflect the open and light nature of the building. Shown as a path of connection, the Chasm would've been a public first approach to the site, and could have recycled Garema place to another high.

Studio 3.2 within: SPATIAL POROSITIES - The Chasm

The form making of this project as a cultural vessel followed the 7 elements of civic architecture; Circulation, Volume and void, Terracing, Air + Light + Water, Arrival Courts, Facade Articulation and Public Gathering space. And utilised each within itself as a process continued from a previous development.

As the early volumetric forms were produced as a bi-product of the site properties, the continuation of these motifs, and design languages were used in the internal space making and the facade conditions, creating a space intended to be both opened and closed, while reading as a whole.

Studio 3.2 within: SPATIAL POROSITIES - The Chasm

The form making of this project as a cultural vessel followed the 7 elements of civic architecture; Circulation, Volume and void, Terracing, Air + Light + Water, Arrival Courts, Facade Articulation and Public Gathering space. And utilised each within itself as a process continued from a previous development.

As the early volumetric forms were produced as a bi-product of the site properties, the continuation of these motifs, and design languages were used in the internal space making and the facade conditions, creating a space intended to be both opened and closed, while reading as a whole.

Studio 3.2 within: SPATIAL POROSITIES - The Chasm

As Garema Place transitions through its 15-year cycles of both successful, and unsuccessful activation, it is evident that the cultural potential of the space is never truly realised. ‘The Chasm’ responds to the surrounding programs of cafes, and bars by acting as a filter to Garema Place. The design revolves around the continuation of the Braddon axis, embedding a cultural vessel as a path, between two volumes, in a twisting, welcoming gesture. The volumes encased in a programmatically responsive triangular façade provide both public-social and commercial-private spaces, while maintaining a site-evident theme of filtering through fractalisation. The Chasm creates an ‘Urban Lantern’ whilst simultaneously reinvigorating Garema Place as the living room of the city.

Studio 3.2 within: SPATIAL POROSITIES - The Chasm

As Garema Place transitions through its 15-year cycles of both successful, and unsuccessful activation, it is evident that the cultural potential of the space is never truly realised. ‘The Chasm’ responds to the surrounding programs of cafes, and bars by acting as a filter to Garema Place. The design revolves around the continuation of the Braddon axis, embedding a cultural vessel as a path, between two volumes, in a twisting, welcoming gesture. The volumes encased in a programmatically responsive triangular façade provide both public-social and commercial-private spaces, while maintaining a site-evident theme of filtering through fractalisation. The Chasm creates an ‘Urban Lantern’ whilst simultaneously reinvigorating Garema Place as the living room of the city.

SuperStudio 2023: WINNER

Something in the Nothing

The activation of ‘nothing’ spaces in Canberra is a problem faced regularly due to the high incidence of useless back alleys, and ‘pedestrian space’. Something in the Nothing aims to regenerate these spaces with the use of a suspended grid of extendable LED light tubes that upon activation through noise will extend towards or change colour based on a proximity to the noise event.

Not only will this make the back alley environments throughout Canberra safer, but it will also foster relationships, and aim to spark interactions between strangers, who once would not interact, will now converse in order to activate the light display.

SuperStudio 2023: WINNER

Something in the Nothing

The activation of ‘nothing’ spaces in Canberra is a problem faced regularly due to the high incidence of useless back alleys, and ‘pedestrian space’. Something in the Nothing aims to regenerate these spaces with the use of a suspended grid of extendable LED light tubes that upon activation through noise will extend towards or change colour based on a proximity to the noise event.

Not only will this make the back alley environments throughout Canberra safer, but it will also foster relationships, and aim to spark interactions between strangers, who once would not interact, will now converse in order to activate the light display.

SuperStudio 2023: WINNER

Something in the Nothing

The activation of ‘nothing’ spaces in Canberra is a problem faced regularly due to the high incidence of useless back alleys, and ‘pedestrian space’. Something in the Nothing aims to regenerate these spaces with the use of a suspended grid of extendable LED light tubes that upon activation through noise will extend towards or change colour based on a proximity to the noise event.

Not only will this make the back alley environments throughout Canberra safer, but it will also foster relationships, and aim to spark interactions between strangers, who once would not interact, will now converse in order to activate the light display.

Studio 3.1 : Fields of Play - The Interaction of Intersection

The final product of this project aimed to extend beyond the campus, and situate itself as more of a large scale urban intervention. As the large concrete walls which sit on the defined grid lines support the ETFE bubble roof forms, the walls themselves sink into the ground creating a harmonious relationship with the site, and its existing contours, giving the sense that the sports centre is simply an extension of the ground plane. As the primary circular grid embeds itself into the ground, the extension of the grid lines create circulation paths which aimed to force that further site connection. Programming all who access the uni towards the intervention, making the basketball centre; home of the UC Caps, a gateway into the University

Studio 3.1 : Fields of Play - The Interaction of Intersection

The final product of this project aimed to extend beyond the campus, and situate itself as more of a large scale urban intervention. As the large concrete walls which sit on the defined grid lines support the ETFE bubble roof forms, the walls themselves sink into the ground creating a harmonious relationship with the site, and its existing contours, giving the sense that the sports centre is simply an extension of the ground plane. As the primary circular grid embeds itself into the ground, the extension of the grid lines create circulation paths which aimed to force that further site connection. Programming all who access the uni towards the intervention, making the basketball centre; home of the UC Caps, a gateway into the University

Studio 3.1 : Fields of Play - The Interaction of Intersection

The final product of this project aimed to extend beyond the campus, and situate itself as more of a large scale urban intervention. As the large concrete walls which sit on the defined grid lines support the ETFE bubble roof forms, the walls themselves sink into the ground creating a harmonious relationship with the site, and its existing contours, giving the sense that the sports centre is simply an extension of the ground plane. As the primary circular grid embeds itself into the ground, the extension of the grid lines create circulation paths which aimed to force that further site connection. Programming all who access the uni towards the intervention, making the basketball centre; home of the UC Caps, a gateway into the University

Studio 3.1 : Fields of Play - The Interaction of Intersection

The final product of this project aimed to extend beyond the campus, and situate itself as more of a large scale urban intervention. As the large concrete walls which sit on the defined grid lines support the ETFE bubble roof forms, the walls themselves sink into the ground creating a harmonious relationship with the site, and its existing contours, giving the sense that the sports centre is simply an extension of the ground plane. As the primary circular grid embeds itself into the ground, the extension of the grid lines create circulation paths which aimed to force that further site connection. Programming all who access the uni towards the intervention, making the basketball centre; home of the UC Caps, a gateway into the University

Studio 3.1 : Fields of Play - The Interaction of Intersection

In progressing the form in the vertical axis, I explored the material processing technique of vacuum-forming, which at a small scale almost entirely resolved the roof condition of the space. By vacuum forming acrylic through the site grid condition, the hierarchy of the spaces was immediately resolved with the bigger bubbles creating spaces for the larger court typologies. These habitable bubbles, which would be made from an ETFE panel, gives an open feel to all the courts.

Studio 3.1 : Fields of Play - The Interaction of Intersection

In progressing the form in the vertical axis, I explored the material processing technique of vacuum-forming, which at a small scale almost entirely resolved the roof condition of the space. By vacuum forming acrylic through the site grid condition, the hierarchy of the spaces was immediately resolved with the bigger bubbles creating spaces for the larger court typologies. These habitable bubbles, which would be made from an ETFE panel, gives an open feel to all the courts.

Studio 3.1 : Fields of Play - The Interaction of Intersection

In progressing the form in the vertical axis, I explored the material processing technique of vacuum-forming, which at a small scale almost entirely resolved the roof condition of the space. By vacuum forming acrylic through the site grid condition, the hierarchy of the spaces was immediately resolved with the bigger bubbles creating spaces for the larger court typologies. These habitable bubbles, which would be made from an ETFE panel, gives an open feel to all the courts.

Studio 3.1 : Fields of Play - The Interaction of Intersection

In progressing the form in the vertical axis, I explored the material processing technique of vacuum-forming, which at a small scale almost entirely resolved the roof condition of the space. By vacuum forming acrylic through the site grid condition, the hierarchy of the spaces was immediately resolved with the bigger bubbles creating spaces for the larger court typologies. These habitable bubbles, which would be made from an ETFE panel, gives an open feel to all the courts.

Studio 3.1 : Fields of Play - The Interaction of Intersection

In progressing the form in the vertical axis, I explored the material processing technique of vacuum-forming, which at a small scale almost entirely resolved the roof condition of the space. By vacuum forming acrylic through the site grid condition, the hierarchy of the spaces was immediately resolved with the bigger bubbles creating spaces for the larger court typologies. These habitable bubbles, which would be made from an ETFE panel, gives an open feel to all the courts.

Studio 3.1 : Fields of Play - The Interaction of Intersection

In progressing the form in the vertical axis, I explored the material processing technique of vacuum-forming, which at a small scale almost entirely resolved the roof condition of the space. By vacuum forming acrylic through the site grid condition, the hierarchy of the spaces was immediately resolved with the bigger bubbles creating spaces for the larger court typologies. These habitable bubbles, which would be made from an ETFE panel, gives an open feel to all the courts.

Studio 3.1 : Fields of Play - The Interaction of Intersection

The brief for this project was to develop a new sports hub for UC, specifically focusing on examining UC’s new Basketball Centre of Excellence, and specifically its capacity to deliver a world-leading sports experience, while simultaneously resurrecting the south-east quadrant of the University campus. The project comprises varying different court typologies, needing to house: arena, showcase, training, scrimmage, indoor and outdoor courts.

The project focused on the development of generative organisational strategies, gathered from speculative re-situating of designated precedent diagrams.

My Initial precedent grid (slide 6) was based on the Tama Art Library, designed by Toyo Ito and associates. Initial explorations show my response to creating a similar grid, as a means for programming the three different court typologies of Playing, Training and Performing.

Studio 3.1 : Fields of Play - The Interaction of Intersection

The brief for this project was to develop a new sports hub for UC, specifically focusing on examining UC’s new Basketball Centre of Excellence, and specifically its capacity to deliver a world-leading sports experience, while simultaneously resurrecting the south-east quadrant of the University campus. The project comprises varying different court typologies, needing to house: arena, showcase, training, scrimmage, indoor and outdoor courts.

The project focused on the development of generative organisational strategies, gathered from speculative re-situating of designated precedent diagrams.

My Initial precedent grid (slide 6) was based on the Tama Art Library, designed by Toyo Ito and associates. Initial explorations show my response to creating a similar grid, as a means for programming the three different court typologies of Playing, Training and Performing.

Studio 3.1 : Fields of Play - The Interaction of Intersection

The brief for this project was to develop a new sports hub for UC, specifically focusing on examining UC’s new Basketball Centre of Excellence, and specifically its capacity to deliver a world-leading sports experience, while simultaneously resurrecting the south-east quadrant of the University campus. The project comprises varying different court typologies, needing to house: arena, showcase, training, scrimmage, indoor and outdoor courts.

The project focused on the development of generative organisational strategies, gathered from speculative re-situating of designated precedent diagrams.

My Initial precedent grid (slide 6) was based on the Tama Art Library, designed by Toyo Ito and associates. Initial explorations show my response to creating a similar grid, as a means for programming the three different court typologies of Playing, Training and Performing.

Studio 3.1 : Fields of Play - The Interaction of Intersection

The brief for this project was to develop a new sports hub for UC, specifically focusing on examining UC’s new Basketball Centre of Excellence, and specifically its capacity to deliver a world-leading sports experience, while simultaneously resurrecting the south-east quadrant of the University campus. The project comprises varying different court typologies, needing to house: arena, showcase, training, scrimmage, indoor and outdoor courts.

The project focused on the development of generative organisational strategies, gathered from speculative re-situating of designated precedent diagrams.

My Initial precedent grid (slide 6) was based on the Tama Art Library, designed by Toyo Ito and associates. Initial explorations show my response to creating a similar grid, as a means for programming the three different court typologies of Playing, Training and Performing.

Studio 3.1 : Fields of Play - The Interaction of Intersection

The brief for this project was to develop a new sports hub for UC, specifically focusing on examining UC’s new Basketball Centre of Excellence, and specifically its capacity to deliver a world-leading sports experience, while simultaneously resurrecting the south-east quadrant of the University campus. The project comprises varying different court typologies, needing to house: arena, showcase, training, scrimmage, indoor and outdoor courts.

The project focused on the development of generative organisational strategies, gathered from speculative re-situating of designated precedent diagrams.

My Initial precedent grid (slide 6) was based on the Tama Art Library, designed by Toyo Ito and associates. Initial explorations show my response to creating a similar grid, as a means for programming the three different court typologies of Playing, Training and Performing.

Studio 3.1 : Fields of Play - The Interaction of Intersection

The brief for this project was to develop a new sports hub for UC, specifically focusing on examining UC’s new Basketball Centre of Excellence, and specifically its capacity to deliver a world-leading sports experience, while simultaneously resurrecting the south-east quadrant of the University campus. The project comprises varying different court typologies, needing to house: arena, showcase, training, scrimmage, indoor and outdoor courts.

The project focused on the development of generative organisational strategies, gathered from speculative re-situating of designated precedent diagrams.

My Initial precedent grid (slide 6) was based on the Tama Art Library, designed by Toyo Ito and associates. Initial explorations show my response to creating a similar grid, as a means for programming the three different court typologies of Playing, Training and Performing.