Instagram Story Save

This year for 11024: History & Theory 3, students from Canberra and Brisbane chose two ‘twin’ projects around the theme of leisure, one Australian, and one international. Through research and redrawing, their essays explored the translation of post-WWII architectural and urban discourse into Australian architecture.

Angus Palmer @designedbyangus compared E.H. “Ted” Farmer’s Tropical Glasshouse (1970) with Buckminster Fuller’s Montreal Biosphere at Expo ‘67, examining themes of triangulated geometry, environmental systems, and transparency, to argue that Farmer adapted Fuller’s techno-utopian structural language into a climatically and regionally grounded project.

Ella Bradley @_ella.bradley looked at Colin Madigan's Dee Why Library in NSW (1966) and Hans Scharoun's Berlin State Library (1967-78), noting post-WWII architectural inclinations toward humanism and context, and in turn, defining the library typology as an atmospheric and socially engaging space. This was traced through each projects use of light, spatial organisation, and site responsive design.

Insightful work, with more to come…

@architecture_uc @uc_artsdesign
#australianarchitecture #architecture #architecturehistory #architecturetheory #historyandtheoryofarchitecture #planobliquedrawing #orthographicdrawing #parallelprojection #sectionalplanoblique #obliquedrawing

This year for 11024: History & Theory 3, students from Canberra and Brisbane chose two ‘twin’ projects around the theme of leisure, one Australian, and one international. Through research and redrawing, their essays explored the translation of post-WWII architectural and urban discourse into Australian architecture.

Angus Palmer @designedbyangus compared E.H. “Ted” Farmer’s Tropical Glasshouse (1970) with Buckminster Fuller’s Montreal Biosphere at Expo ‘67, examining themes of triangulated geometry, environmental systems, and transparency, to argue that Farmer adapted Fuller’s techno-utopian structural language into a climatically and regionally grounded project.

Ella Bradley @_ella.bradley looked at Colin Madigan's Dee Why Library in NSW (1966) and Hans Scharoun's Berlin State Library (1967-78), noting post-WWII architectural inclinations toward humanism and context, and in turn, defining the library typology as an atmospheric and socially engaging space. This was traced through each projects use of light, spatial organisation, and site responsive design.

Insightful work, with more to come…

@architecture_uc @uc_artsdesign
#australianarchitecture #architecture #architecturehistory #architecturetheory #historyandtheoryofarchitecture #planobliquedrawing #orthographicdrawing #parallelprojection #sectionalplanoblique #obliquedrawing

This year for 11024: History & Theory 3, students from Canberra and Brisbane chose two ‘twin’ projects around the theme of leisure, one Australian, and one international. Through research and redrawing, their essays explored the translation of post-WWII architectural and urban discourse into Australian architecture.

Angus Palmer @designedbyangus compared E.H. “Ted” Farmer’s Tropical Glasshouse (1970) with Buckminster Fuller’s Montreal Biosphere at Expo ‘67, examining themes of triangulated geometry, environmental systems, and transparency, to argue that Farmer adapted Fuller’s techno-utopian structural language into a climatically and regionally grounded project.

Ella Bradley @_ella.bradley looked at Colin Madigan's Dee Why Library in NSW (1966) and Hans Scharoun's Berlin State Library (1967-78), noting post-WWII architectural inclinations toward humanism and context, and in turn, defining the library typology as an atmospheric and socially engaging space. This was traced through each projects use of light, spatial organisation, and site responsive design.

Insightful work, with more to come…

@architecture_uc @uc_artsdesign
#australianarchitecture #architecture #architecturehistory #architecturetheory #historyandtheoryofarchitecture #planobliquedrawing #orthographicdrawing #parallelprojection #sectionalplanoblique #obliquedrawing

This year for 11024: History & Theory 3, students from Canberra and Brisbane chose two ‘twin’ projects around the theme of leisure, one Australian, and one international. Through research and redrawing, their essays explored the translation of post-WWII architectural and urban discourse into Australian architecture.

Angus Palmer @designedbyangus compared E.H. “Ted” Farmer’s Tropical Glasshouse (1970) with Buckminster Fuller’s Montreal Biosphere at Expo ‘67, examining themes of triangulated geometry, environmental systems, and transparency, to argue that Farmer adapted Fuller’s techno-utopian structural language into a climatically and regionally grounded project.

Ella Bradley @_ella.bradley looked at Colin Madigan's Dee Why Library in NSW (1966) and Hans Scharoun's Berlin State Library (1967-78), noting post-WWII architectural inclinations toward humanism and context, and in turn, defining the library typology as an atmospheric and socially engaging space. This was traced through each projects use of light, spatial organisation, and site responsive design.

Insightful work, with more to come…

@architecture_uc @uc_artsdesign
#australianarchitecture #architecture #architecturehistory #architecturetheory #historyandtheoryofarchitecture #planobliquedrawing #orthographicdrawing #parallelprojection #sectionalplanoblique #obliquedrawing

This year for 11024: History & Theory 3, students from Canberra and Brisbane chose two ‘twin’ projects around the theme of leisure, one Australian, and one international. Through research and redrawing, their essays explored the translation of post-WWII architectural and urban discourse into Australian architecture.

Angus Palmer @designedbyangus compared E.H. “Ted” Farmer’s Tropical Glasshouse (1970) with Buckminster Fuller’s Montreal Biosphere at Expo ‘67, examining themes of triangulated geometry, environmental systems, and transparency, to argue that Farmer adapted Fuller’s techno-utopian structural language into a climatically and regionally grounded project.

Ella Bradley @_ella.bradley looked at Colin Madigan's Dee Why Library in NSW (1966) and Hans Scharoun's Berlin State Library (1967-78), noting post-WWII architectural inclinations toward humanism and context, and in turn, defining the library typology as an atmospheric and socially engaging space. This was traced through each projects use of light, spatial organisation, and site responsive design.

Insightful work, with more to come…

@architecture_uc @uc_artsdesign
#australianarchitecture #architecture #architecturehistory #architecturetheory #historyandtheoryofarchitecture #planobliquedrawing #orthographicdrawing #parallelprojection #sectionalplanoblique #obliquedrawing

This year for 11024: History & Theory 3, students from Canberra and Brisbane chose two ‘twin’ projects around the theme of leisure, one Australian, and one international. Through research and redrawing, their essays explored the translation of post-WWII architectural and urban discourse into Australian architecture.

Angus Palmer @designedbyangus compared E.H. “Ted” Farmer’s Tropical Glasshouse (1970) with Buckminster Fuller’s Montreal Biosphere at Expo ‘67, examining themes of triangulated geometry, environmental systems, and transparency, to argue that Farmer adapted Fuller’s techno-utopian structural language into a climatically and regionally grounded project.

Ella Bradley @_ella.bradley looked at Colin Madigan's Dee Why Library in NSW (1966) and Hans Scharoun's Berlin State Library (1967-78), noting post-WWII architectural inclinations toward humanism and context, and in turn, defining the library typology as an atmospheric and socially engaging space. This was traced through each projects use of light, spatial organisation, and site responsive design.

Insightful work, with more to come…

@architecture_uc @uc_artsdesign
#australianarchitecture #architecture #architecturehistory #architecturetheory #historyandtheoryofarchitecture #planobliquedrawing #orthographicdrawing #parallelprojection #sectionalplanoblique #obliquedrawing

What fun that was! Thanks to everyone who came along to the Parlour Canberra Autumn Salon, to @_justineclark and @_parlour for organising, to Sonia @lymesmithy for having a chat, @coxarchitecture for hosting us, and @aris_pixels for the photographs.

#architecture #parlour #marionslist #parloursalon #australianarchitecture #womeninarchitecture
@architecture_uc @uc_artsdesign

What fun that was! Thanks to everyone who came along to the Parlour Canberra Autumn Salon, to @_justineclark and @_parlour for organising, to Sonia @lymesmithy for having a chat, @coxarchitecture for hosting us, and @aris_pixels for the photographs.

#architecture #parlour #marionslist #parloursalon #australianarchitecture #womeninarchitecture
@architecture_uc @uc_artsdesign

What fun that was! Thanks to everyone who came along to the Parlour Canberra Autumn Salon, to @_justineclark and @_parlour for organising, to Sonia @lymesmithy for having a chat, @coxarchitecture for hosting us, and @aris_pixels for the photographs.

#architecture #parlour #marionslist #parloursalon #australianarchitecture #womeninarchitecture
@architecture_uc @uc_artsdesign

What fun that was! Thanks to everyone who came along to the Parlour Canberra Autumn Salon, to @_justineclark and @_parlour for organising, to Sonia @lymesmithy for having a chat, @coxarchitecture for hosting us, and @aris_pixels for the photographs.

#architecture #parlour #marionslist #parloursalon #australianarchitecture #womeninarchitecture
@architecture_uc @uc_artsdesign

What fun that was! Thanks to everyone who came along to the Parlour Canberra Autumn Salon, to @_justineclark and @_parlour for organising, to Sonia @lymesmithy for having a chat, @coxarchitecture for hosting us, and @aris_pixels for the photographs.

#architecture #parlour #marionslist #parloursalon #australianarchitecture #womeninarchitecture
@architecture_uc @uc_artsdesign

What fun that was! Thanks to everyone who came along to the Parlour Canberra Autumn Salon, to @_justineclark and @_parlour for organising, to Sonia @lymesmithy for having a chat, @coxarchitecture for hosting us, and @aris_pixels for the photographs.

#architecture #parlour #marionslist #parloursalon #australianarchitecture #womeninarchitecture
@architecture_uc @uc_artsdesign

@elliederuyterdesign Ellie De Ruyter’s work for second year studio.

This Kindergarten frames safe, inclusive, and sustainable environments that foster community and connection both within its primary context, and beyond within the surrounding university campus.
The form is set into the landscape, working with the terrain beneath one homogenous, sloping canopy, opening and folding in response to programmatic needs beneath. Volumes vary in vertical scale to optimise light, structure, space, and acoustic qualities. The experience of the exposed ceiling, an intricate system of timber rafters, purlins, and columns that frame spaces for movement, pause, and subtle spatial separation, contrast to the exterior treatment of walls and the paper-like roof. Spaces are organised around a central outdoor area and flexible activity zones, encouraging play, visibility, sustainable education, and social connection, whilst maintaining safety through the building’s naturally enclosing form. Open and adjoining classrooms circulate each age groups independent outdoor areas, additionally supporting more age-appropriate developmental needs, while fully accessible bathrooms and circulation ramps facilitate an inclusive environment.

@architecture_uc @uc_artsdesign
#architecturestudio #architectureschool #canberraarchitecture #australianarchitecture #childcare #kindergarten #ergonomics

@elliederuyterdesign Ellie De Ruyter’s work for second year studio.

This Kindergarten frames safe, inclusive, and sustainable environments that foster community and connection both within its primary context, and beyond within the surrounding university campus.
The form is set into the landscape, working with the terrain beneath one homogenous, sloping canopy, opening and folding in response to programmatic needs beneath. Volumes vary in vertical scale to optimise light, structure, space, and acoustic qualities. The experience of the exposed ceiling, an intricate system of timber rafters, purlins, and columns that frame spaces for movement, pause, and subtle spatial separation, contrast to the exterior treatment of walls and the paper-like roof. Spaces are organised around a central outdoor area and flexible activity zones, encouraging play, visibility, sustainable education, and social connection, whilst maintaining safety through the building’s naturally enclosing form. Open and adjoining classrooms circulate each age groups independent outdoor areas, additionally supporting more age-appropriate developmental needs, while fully accessible bathrooms and circulation ramps facilitate an inclusive environment.

@architecture_uc @uc_artsdesign
#architecturestudio #architectureschool #canberraarchitecture #australianarchitecture #childcare #kindergarten #ergonomics

@elliederuyterdesign Ellie De Ruyter’s work for second year studio.

This Kindergarten frames safe, inclusive, and sustainable environments that foster community and connection both within its primary context, and beyond within the surrounding university campus.
The form is set into the landscape, working with the terrain beneath one homogenous, sloping canopy, opening and folding in response to programmatic needs beneath. Volumes vary in vertical scale to optimise light, structure, space, and acoustic qualities. The experience of the exposed ceiling, an intricate system of timber rafters, purlins, and columns that frame spaces for movement, pause, and subtle spatial separation, contrast to the exterior treatment of walls and the paper-like roof. Spaces are organised around a central outdoor area and flexible activity zones, encouraging play, visibility, sustainable education, and social connection, whilst maintaining safety through the building’s naturally enclosing form. Open and adjoining classrooms circulate each age groups independent outdoor areas, additionally supporting more age-appropriate developmental needs, while fully accessible bathrooms and circulation ramps facilitate an inclusive environment.

@architecture_uc @uc_artsdesign
#architecturestudio #architectureschool #canberraarchitecture #australianarchitecture #childcare #kindergarten #ergonomics

@elliederuyterdesign Ellie De Ruyter’s work for second year studio.

This Kindergarten frames safe, inclusive, and sustainable environments that foster community and connection both within its primary context, and beyond within the surrounding university campus.
The form is set into the landscape, working with the terrain beneath one homogenous, sloping canopy, opening and folding in response to programmatic needs beneath. Volumes vary in vertical scale to optimise light, structure, space, and acoustic qualities. The experience of the exposed ceiling, an intricate system of timber rafters, purlins, and columns that frame spaces for movement, pause, and subtle spatial separation, contrast to the exterior treatment of walls and the paper-like roof. Spaces are organised around a central outdoor area and flexible activity zones, encouraging play, visibility, sustainable education, and social connection, whilst maintaining safety through the building’s naturally enclosing form. Open and adjoining classrooms circulate each age groups independent outdoor areas, additionally supporting more age-appropriate developmental needs, while fully accessible bathrooms and circulation ramps facilitate an inclusive environment.

@architecture_uc @uc_artsdesign
#architecturestudio #architectureschool #canberraarchitecture #australianarchitecture #childcare #kindergarten #ergonomics

@elliederuyterdesign Ellie De Ruyter’s work for second year studio.

This Kindergarten frames safe, inclusive, and sustainable environments that foster community and connection both within its primary context, and beyond within the surrounding university campus.
The form is set into the landscape, working with the terrain beneath one homogenous, sloping canopy, opening and folding in response to programmatic needs beneath. Volumes vary in vertical scale to optimise light, structure, space, and acoustic qualities. The experience of the exposed ceiling, an intricate system of timber rafters, purlins, and columns that frame spaces for movement, pause, and subtle spatial separation, contrast to the exterior treatment of walls and the paper-like roof. Spaces are organised around a central outdoor area and flexible activity zones, encouraging play, visibility, sustainable education, and social connection, whilst maintaining safety through the building’s naturally enclosing form. Open and adjoining classrooms circulate each age groups independent outdoor areas, additionally supporting more age-appropriate developmental needs, while fully accessible bathrooms and circulation ramps facilitate an inclusive environment.

@architecture_uc @uc_artsdesign
#architecturestudio #architectureschool #canberraarchitecture #australianarchitecture #childcare #kindergarten #ergonomics

@elliederuyterdesign Ellie De Ruyter’s work for second year studio.

This Kindergarten frames safe, inclusive, and sustainable environments that foster community and connection both within its primary context, and beyond within the surrounding university campus.
The form is set into the landscape, working with the terrain beneath one homogenous, sloping canopy, opening and folding in response to programmatic needs beneath. Volumes vary in vertical scale to optimise light, structure, space, and acoustic qualities. The experience of the exposed ceiling, an intricate system of timber rafters, purlins, and columns that frame spaces for movement, pause, and subtle spatial separation, contrast to the exterior treatment of walls and the paper-like roof. Spaces are organised around a central outdoor area and flexible activity zones, encouraging play, visibility, sustainable education, and social connection, whilst maintaining safety through the building’s naturally enclosing form. Open and adjoining classrooms circulate each age groups independent outdoor areas, additionally supporting more age-appropriate developmental needs, while fully accessible bathrooms and circulation ramps facilitate an inclusive environment.

@architecture_uc @uc_artsdesign
#architecturestudio #architectureschool #canberraarchitecture #australianarchitecture #childcare #kindergarten #ergonomics

@elliederuyterdesign Ellie De Ruyter’s work for second year studio.

This Kindergarten frames safe, inclusive, and sustainable environments that foster community and connection both within its primary context, and beyond within the surrounding university campus.
The form is set into the landscape, working with the terrain beneath one homogenous, sloping canopy, opening and folding in response to programmatic needs beneath. Volumes vary in vertical scale to optimise light, structure, space, and acoustic qualities. The experience of the exposed ceiling, an intricate system of timber rafters, purlins, and columns that frame spaces for movement, pause, and subtle spatial separation, contrast to the exterior treatment of walls and the paper-like roof. Spaces are organised around a central outdoor area and flexible activity zones, encouraging play, visibility, sustainable education, and social connection, whilst maintaining safety through the building’s naturally enclosing form. Open and adjoining classrooms circulate each age groups independent outdoor areas, additionally supporting more age-appropriate developmental needs, while fully accessible bathrooms and circulation ramps facilitate an inclusive environment.

@architecture_uc @uc_artsdesign
#architecturestudio #architectureschool #canberraarchitecture #australianarchitecture #childcare #kindergarten #ergonomics

@elliederuyterdesign Ellie De Ruyter’s work for second year studio.

This Kindergarten frames safe, inclusive, and sustainable environments that foster community and connection both within its primary context, and beyond within the surrounding university campus.
The form is set into the landscape, working with the terrain beneath one homogenous, sloping canopy, opening and folding in response to programmatic needs beneath. Volumes vary in vertical scale to optimise light, structure, space, and acoustic qualities. The experience of the exposed ceiling, an intricate system of timber rafters, purlins, and columns that frame spaces for movement, pause, and subtle spatial separation, contrast to the exterior treatment of walls and the paper-like roof. Spaces are organised around a central outdoor area and flexible activity zones, encouraging play, visibility, sustainable education, and social connection, whilst maintaining safety through the building’s naturally enclosing form. Open and adjoining classrooms circulate each age groups independent outdoor areas, additionally supporting more age-appropriate developmental needs, while fully accessible bathrooms and circulation ramps facilitate an inclusive environment.

@architecture_uc @uc_artsdesign
#architecturestudio #architectureschool #canberraarchitecture #australianarchitecture #childcare #kindergarten #ergonomics

@elliederuyterdesign Ellie De Ruyter’s work for second year studio.

This Kindergarten frames safe, inclusive, and sustainable environments that foster community and connection both within its primary context, and beyond within the surrounding university campus.
The form is set into the landscape, working with the terrain beneath one homogenous, sloping canopy, opening and folding in response to programmatic needs beneath. Volumes vary in vertical scale to optimise light, structure, space, and acoustic qualities. The experience of the exposed ceiling, an intricate system of timber rafters, purlins, and columns that frame spaces for movement, pause, and subtle spatial separation, contrast to the exterior treatment of walls and the paper-like roof. Spaces are organised around a central outdoor area and flexible activity zones, encouraging play, visibility, sustainable education, and social connection, whilst maintaining safety through the building’s naturally enclosing form. Open and adjoining classrooms circulate each age groups independent outdoor areas, additionally supporting more age-appropriate developmental needs, while fully accessible bathrooms and circulation ramps facilitate an inclusive environment.

@architecture_uc @uc_artsdesign
#architecturestudio #architectureschool #canberraarchitecture #australianarchitecture #childcare #kindergarten #ergonomics

@chien_1095 Chi-En Shih’s work for ‘Being a Good Neighbour’ Masters Studio S2 2025.

Great civilizations are born from rivers.
The origins of life are inseparable from water. Mountains carve the paths for rivers, and all living systems emerge from these flows.
For First Australians, seasonal migration follows the rhythms of nature. Their paths are organic, dynamic, and encoded in myths and stories that express ecological identity and pride in the land. Colonial laws and technologies disrupted this relationship, slicing the ground into rigid parcels and reshaping how people relate to Country.
This project begins with hydrology — reading contour lines to infer underground water routes, then reconstructing ecological order through regenerative strategies such as dry creeks, micro-forests, and rainwater systems. Within this sequence, the landscape becomes the primary space, and architecture as backdrop.
Through minimal scale and flexible configurations, the building adapts to its environment and community, allowing users to understand the land through its textures and flows. By letting water guide movement and perception, the project invites people to reconnect with Country — not through form, but through an embodied, sensory relationship with place.

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

@chien_1095 Chi-En Shih’s work for ‘Being a Good Neighbour’ Masters Studio S2 2025.

Great civilizations are born from rivers.
The origins of life are inseparable from water. Mountains carve the paths for rivers, and all living systems emerge from these flows.
For First Australians, seasonal migration follows the rhythms of nature. Their paths are organic, dynamic, and encoded in myths and stories that express ecological identity and pride in the land. Colonial laws and technologies disrupted this relationship, slicing the ground into rigid parcels and reshaping how people relate to Country.
This project begins with hydrology — reading contour lines to infer underground water routes, then reconstructing ecological order through regenerative strategies such as dry creeks, micro-forests, and rainwater systems. Within this sequence, the landscape becomes the primary space, and architecture as backdrop.
Through minimal scale and flexible configurations, the building adapts to its environment and community, allowing users to understand the land through its textures and flows. By letting water guide movement and perception, the project invites people to reconnect with Country — not through form, but through an embodied, sensory relationship with place.

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

@chien_1095 Chi-En Shih’s work for ‘Being a Good Neighbour’ Masters Studio S2 2025.

Great civilizations are born from rivers.
The origins of life are inseparable from water. Mountains carve the paths for rivers, and all living systems emerge from these flows.
For First Australians, seasonal migration follows the rhythms of nature. Their paths are organic, dynamic, and encoded in myths and stories that express ecological identity and pride in the land. Colonial laws and technologies disrupted this relationship, slicing the ground into rigid parcels and reshaping how people relate to Country.
This project begins with hydrology — reading contour lines to infer underground water routes, then reconstructing ecological order through regenerative strategies such as dry creeks, micro-forests, and rainwater systems. Within this sequence, the landscape becomes the primary space, and architecture as backdrop.
Through minimal scale and flexible configurations, the building adapts to its environment and community, allowing users to understand the land through its textures and flows. By letting water guide movement and perception, the project invites people to reconnect with Country — not through form, but through an embodied, sensory relationship with place.

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

@chien_1095 Chi-En Shih’s work for ‘Being a Good Neighbour’ Masters Studio S2 2025.

Great civilizations are born from rivers.
The origins of life are inseparable from water. Mountains carve the paths for rivers, and all living systems emerge from these flows.
For First Australians, seasonal migration follows the rhythms of nature. Their paths are organic, dynamic, and encoded in myths and stories that express ecological identity and pride in the land. Colonial laws and technologies disrupted this relationship, slicing the ground into rigid parcels and reshaping how people relate to Country.
This project begins with hydrology — reading contour lines to infer underground water routes, then reconstructing ecological order through regenerative strategies such as dry creeks, micro-forests, and rainwater systems. Within this sequence, the landscape becomes the primary space, and architecture as backdrop.
Through minimal scale and flexible configurations, the building adapts to its environment and community, allowing users to understand the land through its textures and flows. By letting water guide movement and perception, the project invites people to reconnect with Country — not through form, but through an embodied, sensory relationship with place.

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

@chien_1095 Chi-En Shih’s work for ‘Being a Good Neighbour’ Masters Studio S2 2025.

Great civilizations are born from rivers.
The origins of life are inseparable from water. Mountains carve the paths for rivers, and all living systems emerge from these flows.
For First Australians, seasonal migration follows the rhythms of nature. Their paths are organic, dynamic, and encoded in myths and stories that express ecological identity and pride in the land. Colonial laws and technologies disrupted this relationship, slicing the ground into rigid parcels and reshaping how people relate to Country.
This project begins with hydrology — reading contour lines to infer underground water routes, then reconstructing ecological order through regenerative strategies such as dry creeks, micro-forests, and rainwater systems. Within this sequence, the landscape becomes the primary space, and architecture as backdrop.
Through minimal scale and flexible configurations, the building adapts to its environment and community, allowing users to understand the land through its textures and flows. By letting water guide movement and perception, the project invites people to reconnect with Country — not through form, but through an embodied, sensory relationship with place.

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

@chien_1095 Chi-En Shih’s work for ‘Being a Good Neighbour’ Masters Studio S2 2025.

Great civilizations are born from rivers.
The origins of life are inseparable from water. Mountains carve the paths for rivers, and all living systems emerge from these flows.
For First Australians, seasonal migration follows the rhythms of nature. Their paths are organic, dynamic, and encoded in myths and stories that express ecological identity and pride in the land. Colonial laws and technologies disrupted this relationship, slicing the ground into rigid parcels and reshaping how people relate to Country.
This project begins with hydrology — reading contour lines to infer underground water routes, then reconstructing ecological order through regenerative strategies such as dry creeks, micro-forests, and rainwater systems. Within this sequence, the landscape becomes the primary space, and architecture as backdrop.
Through minimal scale and flexible configurations, the building adapts to its environment and community, allowing users to understand the land through its textures and flows. By letting water guide movement and perception, the project invites people to reconnect with Country — not through form, but through an embodied, sensory relationship with place.

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

@chien_1095 Chi-En Shih’s work for ‘Being a Good Neighbour’ Masters Studio S2 2025.

Great civilizations are born from rivers.
The origins of life are inseparable from water. Mountains carve the paths for rivers, and all living systems emerge from these flows.
For First Australians, seasonal migration follows the rhythms of nature. Their paths are organic, dynamic, and encoded in myths and stories that express ecological identity and pride in the land. Colonial laws and technologies disrupted this relationship, slicing the ground into rigid parcels and reshaping how people relate to Country.
This project begins with hydrology — reading contour lines to infer underground water routes, then reconstructing ecological order through regenerative strategies such as dry creeks, micro-forests, and rainwater systems. Within this sequence, the landscape becomes the primary space, and architecture as backdrop.
Through minimal scale and flexible configurations, the building adapts to its environment and community, allowing users to understand the land through its textures and flows. By letting water guide movement and perception, the project invites people to reconnect with Country — not through form, but through an embodied, sensory relationship with place.

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

@chien_1095 Chi-En Shih’s work for ‘Being a Good Neighbour’ Masters Studio S2 2025.

Great civilizations are born from rivers.
The origins of life are inseparable from water. Mountains carve the paths for rivers, and all living systems emerge from these flows.
For First Australians, seasonal migration follows the rhythms of nature. Their paths are organic, dynamic, and encoded in myths and stories that express ecological identity and pride in the land. Colonial laws and technologies disrupted this relationship, slicing the ground into rigid parcels and reshaping how people relate to Country.
This project begins with hydrology — reading contour lines to infer underground water routes, then reconstructing ecological order through regenerative strategies such as dry creeks, micro-forests, and rainwater systems. Within this sequence, the landscape becomes the primary space, and architecture as backdrop.
Through minimal scale and flexible configurations, the building adapts to its environment and community, allowing users to understand the land through its textures and flows. By letting water guide movement and perception, the project invites people to reconnect with Country — not through form, but through an embodied, sensory relationship with place.

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

@chien_1095 Chi-En Shih’s work for ‘Being a Good Neighbour’ Masters Studio S2 2025.

Great civilizations are born from rivers.
The origins of life are inseparable from water. Mountains carve the paths for rivers, and all living systems emerge from these flows.
For First Australians, seasonal migration follows the rhythms of nature. Their paths are organic, dynamic, and encoded in myths and stories that express ecological identity and pride in the land. Colonial laws and technologies disrupted this relationship, slicing the ground into rigid parcels and reshaping how people relate to Country.
This project begins with hydrology — reading contour lines to infer underground water routes, then reconstructing ecological order through regenerative strategies such as dry creeks, micro-forests, and rainwater systems. Within this sequence, the landscape becomes the primary space, and architecture as backdrop.
Through minimal scale and flexible configurations, the building adapts to its environment and community, allowing users to understand the land through its textures and flows. By letting water guide movement and perception, the project invites people to reconnect with Country — not through form, but through an embodied, sensory relationship with place.

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

@chien_1095 Chi-En Shih’s work for ‘Being a Good Neighbour’ Masters Studio S2 2025.

Great civilizations are born from rivers.
The origins of life are inseparable from water. Mountains carve the paths for rivers, and all living systems emerge from these flows.
For First Australians, seasonal migration follows the rhythms of nature. Their paths are organic, dynamic, and encoded in myths and stories that express ecological identity and pride in the land. Colonial laws and technologies disrupted this relationship, slicing the ground into rigid parcels and reshaping how people relate to Country.
This project begins with hydrology — reading contour lines to infer underground water routes, then reconstructing ecological order through regenerative strategies such as dry creeks, micro-forests, and rainwater systems. Within this sequence, the landscape becomes the primary space, and architecture as backdrop.
Through minimal scale and flexible configurations, the building adapts to its environment and community, allowing users to understand the land through its textures and flows. By letting water guide movement and perception, the project invites people to reconnect with Country — not through form, but through an embodied, sensory relationship with place.

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

@juliamcgratharchitecture Julia McGrath’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

This project was conceived through an ethnographic and socio-spatial investigation of Country. Research and mapping of the Ginninderra Plain revealed Ginninderra Creek as both watercourse and cultural corridor, where water, people, and landscape intersect in acts of making and tradition. At the site scale, this connection had dissipated, with water's ecological and cultural significance muted within the pattern of contemporary dwelling.
The project seeks to mediate this disconnect by embedding water patterns, flows, and cycles into a three-storey walk-up and its surrounding landscape. A slightly elevated building allows stormwater to flow beneath, while vegetated swales guide the water back to the creek. Rain chains and designed channels bring water through shared and private spaces inside the dwelling, forming thresholds that shape habitation and attune daily life to the cyclical rhythms of weather, seasons, and Country. Through these interventions, the project explores the phenomenological presence of water as a medium for reawakening sensory and temporal awareness within dwelling.

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

@juliamcgratharchitecture Julia McGrath’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

This project was conceived through an ethnographic and socio-spatial investigation of Country. Research and mapping of the Ginninderra Plain revealed Ginninderra Creek as both watercourse and cultural corridor, where water, people, and landscape intersect in acts of making and tradition. At the site scale, this connection had dissipated, with water's ecological and cultural significance muted within the pattern of contemporary dwelling.
The project seeks to mediate this disconnect by embedding water patterns, flows, and cycles into a three-storey walk-up and its surrounding landscape. A slightly elevated building allows stormwater to flow beneath, while vegetated swales guide the water back to the creek. Rain chains and designed channels bring water through shared and private spaces inside the dwelling, forming thresholds that shape habitation and attune daily life to the cyclical rhythms of weather, seasons, and Country. Through these interventions, the project explores the phenomenological presence of water as a medium for reawakening sensory and temporal awareness within dwelling.

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

@juliamcgratharchitecture Julia McGrath’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

This project was conceived through an ethnographic and socio-spatial investigation of Country. Research and mapping of the Ginninderra Plain revealed Ginninderra Creek as both watercourse and cultural corridor, where water, people, and landscape intersect in acts of making and tradition. At the site scale, this connection had dissipated, with water's ecological and cultural significance muted within the pattern of contemporary dwelling.
The project seeks to mediate this disconnect by embedding water patterns, flows, and cycles into a three-storey walk-up and its surrounding landscape. A slightly elevated building allows stormwater to flow beneath, while vegetated swales guide the water back to the creek. Rain chains and designed channels bring water through shared and private spaces inside the dwelling, forming thresholds that shape habitation and attune daily life to the cyclical rhythms of weather, seasons, and Country. Through these interventions, the project explores the phenomenological presence of water as a medium for reawakening sensory and temporal awareness within dwelling.

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

@juliamcgratharchitecture Julia McGrath’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

This project was conceived through an ethnographic and socio-spatial investigation of Country. Research and mapping of the Ginninderra Plain revealed Ginninderra Creek as both watercourse and cultural corridor, where water, people, and landscape intersect in acts of making and tradition. At the site scale, this connection had dissipated, with water's ecological and cultural significance muted within the pattern of contemporary dwelling.
The project seeks to mediate this disconnect by embedding water patterns, flows, and cycles into a three-storey walk-up and its surrounding landscape. A slightly elevated building allows stormwater to flow beneath, while vegetated swales guide the water back to the creek. Rain chains and designed channels bring water through shared and private spaces inside the dwelling, forming thresholds that shape habitation and attune daily life to the cyclical rhythms of weather, seasons, and Country. Through these interventions, the project explores the phenomenological presence of water as a medium for reawakening sensory and temporal awareness within dwelling.

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

@juliamcgratharchitecture Julia McGrath’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

This project was conceived through an ethnographic and socio-spatial investigation of Country. Research and mapping of the Ginninderra Plain revealed Ginninderra Creek as both watercourse and cultural corridor, where water, people, and landscape intersect in acts of making and tradition. At the site scale, this connection had dissipated, with water's ecological and cultural significance muted within the pattern of contemporary dwelling.
The project seeks to mediate this disconnect by embedding water patterns, flows, and cycles into a three-storey walk-up and its surrounding landscape. A slightly elevated building allows stormwater to flow beneath, while vegetated swales guide the water back to the creek. Rain chains and designed channels bring water through shared and private spaces inside the dwelling, forming thresholds that shape habitation and attune daily life to the cyclical rhythms of weather, seasons, and Country. Through these interventions, the project explores the phenomenological presence of water as a medium for reawakening sensory and temporal awareness within dwelling.

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

@juliamcgratharchitecture Julia McGrath’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

This project was conceived through an ethnographic and socio-spatial investigation of Country. Research and mapping of the Ginninderra Plain revealed Ginninderra Creek as both watercourse and cultural corridor, where water, people, and landscape intersect in acts of making and tradition. At the site scale, this connection had dissipated, with water's ecological and cultural significance muted within the pattern of contemporary dwelling.
The project seeks to mediate this disconnect by embedding water patterns, flows, and cycles into a three-storey walk-up and its surrounding landscape. A slightly elevated building allows stormwater to flow beneath, while vegetated swales guide the water back to the creek. Rain chains and designed channels bring water through shared and private spaces inside the dwelling, forming thresholds that shape habitation and attune daily life to the cyclical rhythms of weather, seasons, and Country. Through these interventions, the project explores the phenomenological presence of water as a medium for reawakening sensory and temporal awareness within dwelling.

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

@juliamcgratharchitecture Julia McGrath’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

This project was conceived through an ethnographic and socio-spatial investigation of Country. Research and mapping of the Ginninderra Plain revealed Ginninderra Creek as both watercourse and cultural corridor, where water, people, and landscape intersect in acts of making and tradition. At the site scale, this connection had dissipated, with water's ecological and cultural significance muted within the pattern of contemporary dwelling.
The project seeks to mediate this disconnect by embedding water patterns, flows, and cycles into a three-storey walk-up and its surrounding landscape. A slightly elevated building allows stormwater to flow beneath, while vegetated swales guide the water back to the creek. Rain chains and designed channels bring water through shared and private spaces inside the dwelling, forming thresholds that shape habitation and attune daily life to the cyclical rhythms of weather, seasons, and Country. Through these interventions, the project explores the phenomenological presence of water as a medium for reawakening sensory and temporal awareness within dwelling.

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

@juliamcgratharchitecture Julia McGrath’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

This project was conceived through an ethnographic and socio-spatial investigation of Country. Research and mapping of the Ginninderra Plain revealed Ginninderra Creek as both watercourse and cultural corridor, where water, people, and landscape intersect in acts of making and tradition. At the site scale, this connection had dissipated, with water's ecological and cultural significance muted within the pattern of contemporary dwelling.
The project seeks to mediate this disconnect by embedding water patterns, flows, and cycles into a three-storey walk-up and its surrounding landscape. A slightly elevated building allows stormwater to flow beneath, while vegetated swales guide the water back to the creek. Rain chains and designed channels bring water through shared and private spaces inside the dwelling, forming thresholds that shape habitation and attune daily life to the cyclical rhythms of weather, seasons, and Country. Through these interventions, the project explores the phenomenological presence of water as a medium for reawakening sensory and temporal awareness within dwelling.

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

@juliamcgratharchitecture Julia McGrath’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

This project was conceived through an ethnographic and socio-spatial investigation of Country. Research and mapping of the Ginninderra Plain revealed Ginninderra Creek as both watercourse and cultural corridor, where water, people, and landscape intersect in acts of making and tradition. At the site scale, this connection had dissipated, with water's ecological and cultural significance muted within the pattern of contemporary dwelling.
The project seeks to mediate this disconnect by embedding water patterns, flows, and cycles into a three-storey walk-up and its surrounding landscape. A slightly elevated building allows stormwater to flow beneath, while vegetated swales guide the water back to the creek. Rain chains and designed channels bring water through shared and private spaces inside the dwelling, forming thresholds that shape habitation and attune daily life to the cyclical rhythms of weather, seasons, and Country. Through these interventions, the project explores the phenomenological presence of water as a medium for reawakening sensory and temporal awareness within dwelling.

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

@juliamcgratharchitecture Julia McGrath’s work produced for ‘Being a Good Neighbour’ Masters Studio S2 2025.

This project was conceived through an ethnographic and socio-spatial investigation of Country. Research and mapping of the Ginninderra Plain revealed Ginninderra Creek as both watercourse and cultural corridor, where water, people, and landscape intersect in acts of making and tradition. At the site scale, this connection had dissipated, with water's ecological and cultural significance muted within the pattern of contemporary dwelling.
The project seeks to mediate this disconnect by embedding water patterns, flows, and cycles into a three-storey walk-up and its surrounding landscape. A slightly elevated building allows stormwater to flow beneath, while vegetated swales guide the water back to the creek. Rain chains and designed channels bring water through shared and private spaces inside the dwelling, forming thresholds that shape habitation and attune daily life to the cyclical rhythms of weather, seasons, and Country. Through these interventions, the project explores the phenomenological presence of water as a medium for reawakening sensory and temporal awareness within dwelling.

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

The team from UC’s Faculty of Arts & Design, consisting of @mic_lou @beneb @rahmatollahamirjani Dianne Firth and I were thrilled last month to receive a National Trust ACT Heritage 2025 award, a ‘Highly Commended’ for our NCDC Unearthed exhibition held earlier this year in the category ‘Heritage Tool & Resource’.

It was wonderful to see our ongoing collaborators and chums @canberra_modern receive the award for ‘Outstanding Advocacy’, incredibly well deserved!

Thank you also to @natepauletto as Research Assistant, and our sponsors ACT Heritage @alastairswaynfoundation @uc_artsdesign and @uc_cccr for making the exhibition possible.

A fabulous night at the iconic Hyatt Hotel, thank you National Trust ACT.

@architecture_uc @uc_artsdesign
#nationaltrust#heritageawards #canberra #canberraarchitecture #nationaltrustACT #heritagearchitecture #architectureheritage #midcenturymodernism
#architecture #australianarchitecture #canberraarchitecture#canberramodern #universityofcanberra#facultyofartsanddesign #universitycanberraarchitecture#NCDC #australiandesign #landscapearchitecture #newtowns#housingdesign #housing #urbanplanning #townplanning#ACTHeritage #ACTHeritageFestival2025

@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

Thrilled to be involved in the Garage Talks, tonight I will briefly talk about four obsessions with orthography: the archaic; war; the occult; and ambiguity between drawings and models. Thank you @kfarchitect and @angrew87 for having me along

Excited to embark on this studio next semester with John Ting.
This studio is dealing with big concepts and questions the best way architects can – through research, drawing, listening, and questioning.
Looking forward to the discussions and the outcomes to follow…

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

Excited to embark on this studio next semester with John Ting.
This studio is dealing with big concepts and questions the best way architects can – through research, drawing, listening, and questioning.
Looking forward to the discussions and the outcomes to follow…

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

Excited to embark on this studio next semester with John Ting.
This studio is dealing with big concepts and questions the best way architects can – through research, drawing, listening, and questioning.
Looking forward to the discussions and the outcomes to follow…

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

Excited to embark on this studio next semester with John Ting.
This studio is dealing with big concepts and questions the best way architects can – through research, drawing, listening, and questioning.
Looking forward to the discussions and the outcomes to follow…

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

Excited to embark on this studio next semester with John Ting.
This studio is dealing with big concepts and questions the best way architects can – through research, drawing, listening, and questioning.
Looking forward to the discussions and the outcomes to follow…

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

Excited to embark on this studio next semester with John Ting.
This studio is dealing with big concepts and questions the best way architects can – through research, drawing, listening, and questioning.
Looking forward to the discussions and the outcomes to follow…

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

Excited to embark on this studio next semester with John Ting.
This studio is dealing with big concepts and questions the best way architects can – through research, drawing, listening, and questioning.
Looking forward to the discussions and the outcomes to follow…

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

Excited to embark on this studio next semester with John Ting.
This studio is dealing with big concepts and questions the best way architects can – through research, drawing, listening, and questioning.
Looking forward to the discussions and the outcomes to follow…

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

MX / 2024-25. #luisbarragán #davidchipperfield #méxicocity #productora #juanogorman

MX / 2024-25. #luisbarragán #davidchipperfield #méxicocity #productora #juanogorman

MX / 2024-25. #luisbarragán #davidchipperfield #méxicocity #productora #juanogorman

MX / 2024-25. #luisbarragán #davidchipperfield #méxicocity #productora #juanogorman

MX / 2024-25. #luisbarragán #davidchipperfield #méxicocity #productora #juanogorman

MX / 2024-25. #luisbarragán #davidchipperfield #méxicocity #productora #juanogorman

MX / 2024-25. #luisbarragán #davidchipperfield #méxicocity #productora #juanogorman

MX / 2024-25. #luisbarragán #davidchipperfield #méxicocity #productora #juanogorman

MX / 2024-25. #luisbarragán #davidchipperfield #méxicocity #productora #juanogorman

MX / 2024-25. #luisbarragán #davidchipperfield #méxicocity #productora #juanogorman

A selection of S1 2025 sectional models from the first year unit Visual Communication, highlighting their small yet considered alts & adds to a twentieth-century house:
Freya Robinson’s addition to Alvar Aalto’s Muurasatlo Summer House (1953);
Sina Booraghi’s @sina_booraghi addition to Lina Bo Bardi’s Glass House in Sao Paolo (1951);
Irene Kuah’s @irene_niap Auguste Perret’s House in Versailles (1924);
and Nhu Nguyen’s _ngnqnef5_ addition to Gunnar Asplund’s Snellman House (1914).

@architecture_uc @sona_act @ucas.cbr
#architecturalrepresentation #physicalmodels #architecturemodel #architecturecollage #collage #architecturemontage #sectionalmodel #architecture #architectureschool #architecturestudio

A selection of S1 2025 sectional models from the first year unit Visual Communication, highlighting their small yet considered alts & adds to a twentieth-century house:
Freya Robinson’s addition to Alvar Aalto’s Muurasatlo Summer House (1953);
Sina Booraghi’s @sina_booraghi addition to Lina Bo Bardi’s Glass House in Sao Paolo (1951);
Irene Kuah’s @irene_niap Auguste Perret’s House in Versailles (1924);
and Nhu Nguyen’s _ngnqnef5_ addition to Gunnar Asplund’s Snellman House (1914).

@architecture_uc @sona_act @ucas.cbr
#architecturalrepresentation #physicalmodels #architecturemodel #architecturecollage #collage #architecturemontage #sectionalmodel #architecture #architectureschool #architecturestudio

A selection of S1 2025 sectional models from the first year unit Visual Communication, highlighting their small yet considered alts & adds to a twentieth-century house:
Freya Robinson’s addition to Alvar Aalto’s Muurasatlo Summer House (1953);
Sina Booraghi’s @sina_booraghi addition to Lina Bo Bardi’s Glass House in Sao Paolo (1951);
Irene Kuah’s @irene_niap Auguste Perret’s House in Versailles (1924);
and Nhu Nguyen’s _ngnqnef5_ addition to Gunnar Asplund’s Snellman House (1914).

@architecture_uc @sona_act @ucas.cbr
#architecturalrepresentation #physicalmodels #architecturemodel #architecturecollage #collage #architecturemontage #sectionalmodel #architecture #architectureschool #architecturestudio

A selection of S1 2025 sectional models from the first year unit Visual Communication, highlighting their small yet considered alts & adds to a twentieth-century house:
Freya Robinson’s addition to Alvar Aalto’s Muurasatlo Summer House (1953);
Sina Booraghi’s @sina_booraghi addition to Lina Bo Bardi’s Glass House in Sao Paolo (1951);
Irene Kuah’s @irene_niap Auguste Perret’s House in Versailles (1924);
and Nhu Nguyen’s _ngnqnef5_ addition to Gunnar Asplund’s Snellman House (1914).

@architecture_uc @sona_act @ucas.cbr
#architecturalrepresentation #physicalmodels #architecturemodel #architecturecollage #collage #architecturemontage #sectionalmodel #architecture #architectureschool #architecturestudio

A selection of S1 2025 sectional models from the first year unit Visual Communication, highlighting their small yet considered alts & adds to a twentieth-century house:
Freya Robinson’s addition to Alvar Aalto’s Muurasatlo Summer House (1953);
Sina Booraghi’s @sina_booraghi addition to Lina Bo Bardi’s Glass House in Sao Paolo (1951);
Irene Kuah’s @irene_niap Auguste Perret’s House in Versailles (1924);
and Nhu Nguyen’s _ngnqnef5_ addition to Gunnar Asplund’s Snellman House (1914).

@architecture_uc @sona_act @ucas.cbr
#architecturalrepresentation #physicalmodels #architecturemodel #architecturecollage #collage #architecturemontage #sectionalmodel #architecture #architectureschool #architecturestudio

A selection of S1 2025 sectional models from the first year unit Visual Communication, highlighting their small yet considered alts & adds to a twentieth-century house:
Freya Robinson’s addition to Alvar Aalto’s Muurasatlo Summer House (1953);
Sina Booraghi’s @sina_booraghi addition to Lina Bo Bardi’s Glass House in Sao Paolo (1951);
Irene Kuah’s @irene_niap Auguste Perret’s House in Versailles (1924);
and Nhu Nguyen’s _ngnqnef5_ addition to Gunnar Asplund’s Snellman House (1914).

@architecture_uc @sona_act @ucas.cbr
#architecturalrepresentation #physicalmodels #architecturemodel #architecturecollage #collage #architecturemontage #sectionalmodel #architecture #architectureschool #architecturestudio

A selection of S1 2025 sectional models from the first year unit Visual Communication, highlighting their small yet considered alts & adds to a twentieth-century house:
Freya Robinson’s addition to Alvar Aalto’s Muurasatlo Summer House (1953);
Sina Booraghi’s @sina_booraghi addition to Lina Bo Bardi’s Glass House in Sao Paolo (1951);
Irene Kuah’s @irene_niap Auguste Perret’s House in Versailles (1924);
and Nhu Nguyen’s _ngnqnef5_ addition to Gunnar Asplund’s Snellman House (1914).

@architecture_uc @sona_act @ucas.cbr
#architecturalrepresentation #physicalmodels #architecturemodel #architecturecollage #collage #architecturemontage #sectionalmodel #architecture #architectureschool #architecturestudio

A selection from S1 2025 ‘photo models’ from the first year unit Visual Communication – where students learn how to curate a three-dimensional image by hand (not Photoshop!) – and integrate a carefully chosen photograph of a sectional model (also made by hand). Students were encouraged to explore interior photography, collage, and/or hand-drawing to express their small alteration or addition to their assigned house.

Sina Booraghi’s @sina_booraghi addition to Lina Bo Bardi’s Glass House in Sao Paolo (1951);
Irene Kuah’s @irene_niap alteration to Auguste Perret’s House in Versailles (1924);
Casey Burge’s @caseyjayburge alteration of Konstantin Melnikov’s House (1927-29);
Ellyse Beattie’s @ @ellysebeattie interior shots of John Voelker’s Lyttelton House (1956);
Jake Henry’s @jakehenry_15 interior alteration to Peter Behrens’s Berlin-Schlachtensee House (1929);
Donna Cummin’s @donna.cummins.7902 alteration to Team 4’s Jaffee House (1966);
and Oliver Withers’s @oli_withers having some fun with his ‘Where’s Wally’ of Luigi Figini’s Villa Figini, Milan (1935).

@architecture_uc @sona_act @ucas.cbr
#architecturalrepresentation #orthographicdrawing #physicalmodels #architecturemodel #architecturecollage #collage #architecturemontage #analoguemodel #sectionalmodel #architecture #architectureschool #architecturestudio

A selection from S1 2025 ‘photo models’ from the first year unit Visual Communication – where students learn how to curate a three-dimensional image by hand (not Photoshop!) – and integrate a carefully chosen photograph of a sectional model (also made by hand). Students were encouraged to explore interior photography, collage, and/or hand-drawing to express their small alteration or addition to their assigned house.

Sina Booraghi’s @sina_booraghi addition to Lina Bo Bardi’s Glass House in Sao Paolo (1951);
Irene Kuah’s @irene_niap alteration to Auguste Perret’s House in Versailles (1924);
Casey Burge’s @caseyjayburge alteration of Konstantin Melnikov’s House (1927-29);
Ellyse Beattie’s @ @ellysebeattie interior shots of John Voelker’s Lyttelton House (1956);
Jake Henry’s @jakehenry_15 interior alteration to Peter Behrens’s Berlin-Schlachtensee House (1929);
Donna Cummin’s @donna.cummins.7902 alteration to Team 4’s Jaffee House (1966);
and Oliver Withers’s @oli_withers having some fun with his ‘Where’s Wally’ of Luigi Figini’s Villa Figini, Milan (1935).

@architecture_uc @sona_act @ucas.cbr
#architecturalrepresentation #orthographicdrawing #physicalmodels #architecturemodel #architecturecollage #collage #architecturemontage #analoguemodel #sectionalmodel #architecture #architectureschool #architecturestudio

A selection from S1 2025 ‘photo models’ from the first year unit Visual Communication – where students learn how to curate a three-dimensional image by hand (not Photoshop!) – and integrate a carefully chosen photograph of a sectional model (also made by hand). Students were encouraged to explore interior photography, collage, and/or hand-drawing to express their small alteration or addition to their assigned house.

Sina Booraghi’s @sina_booraghi addition to Lina Bo Bardi’s Glass House in Sao Paolo (1951);
Irene Kuah’s @irene_niap alteration to Auguste Perret’s House in Versailles (1924);
Casey Burge’s @caseyjayburge alteration of Konstantin Melnikov’s House (1927-29);
Ellyse Beattie’s @ @ellysebeattie interior shots of John Voelker’s Lyttelton House (1956);
Jake Henry’s @jakehenry_15 interior alteration to Peter Behrens’s Berlin-Schlachtensee House (1929);
Donna Cummin’s @donna.cummins.7902 alteration to Team 4’s Jaffee House (1966);
and Oliver Withers’s @oli_withers having some fun with his ‘Where’s Wally’ of Luigi Figini’s Villa Figini, Milan (1935).

@architecture_uc @sona_act @ucas.cbr
#architecturalrepresentation #orthographicdrawing #physicalmodels #architecturemodel #architecturecollage #collage #architecturemontage #analoguemodel #sectionalmodel #architecture #architectureschool #architecturestudio

A selection from S1 2025 ‘photo models’ from the first year unit Visual Communication – where students learn how to curate a three-dimensional image by hand (not Photoshop!) – and integrate a carefully chosen photograph of a sectional model (also made by hand). Students were encouraged to explore interior photography, collage, and/or hand-drawing to express their small alteration or addition to their assigned house.

Sina Booraghi’s @sina_booraghi addition to Lina Bo Bardi’s Glass House in Sao Paolo (1951);
Irene Kuah’s @irene_niap alteration to Auguste Perret’s House in Versailles (1924);
Casey Burge’s @caseyjayburge alteration of Konstantin Melnikov’s House (1927-29);
Ellyse Beattie’s @ @ellysebeattie interior shots of John Voelker’s Lyttelton House (1956);
Jake Henry’s @jakehenry_15 interior alteration to Peter Behrens’s Berlin-Schlachtensee House (1929);
Donna Cummin’s @donna.cummins.7902 alteration to Team 4’s Jaffee House (1966);
and Oliver Withers’s @oli_withers having some fun with his ‘Where’s Wally’ of Luigi Figini’s Villa Figini, Milan (1935).

@architecture_uc @sona_act @ucas.cbr
#architecturalrepresentation #orthographicdrawing #physicalmodels #architecturemodel #architecturecollage #collage #architecturemontage #analoguemodel #sectionalmodel #architecture #architectureschool #architecturestudio

A selection from S1 2025 ‘photo models’ from the first year unit Visual Communication – where students learn how to curate a three-dimensional image by hand (not Photoshop!) – and integrate a carefully chosen photograph of a sectional model (also made by hand). Students were encouraged to explore interior photography, collage, and/or hand-drawing to express their small alteration or addition to their assigned house.

Sina Booraghi’s @sina_booraghi addition to Lina Bo Bardi’s Glass House in Sao Paolo (1951);
Irene Kuah’s @irene_niap alteration to Auguste Perret’s House in Versailles (1924);
Casey Burge’s @caseyjayburge alteration of Konstantin Melnikov’s House (1927-29);
Ellyse Beattie’s @ @ellysebeattie interior shots of John Voelker’s Lyttelton House (1956);
Jake Henry’s @jakehenry_15 interior alteration to Peter Behrens’s Berlin-Schlachtensee House (1929);
Donna Cummin’s @donna.cummins.7902 alteration to Team 4’s Jaffee House (1966);
and Oliver Withers’s @oli_withers having some fun with his ‘Where’s Wally’ of Luigi Figini’s Villa Figini, Milan (1935).

@architecture_uc @sona_act @ucas.cbr
#architecturalrepresentation #orthographicdrawing #physicalmodels #architecturemodel #architecturecollage #collage #architecturemontage #analoguemodel #sectionalmodel #architecture #architectureschool #architecturestudio

A selection from S1 2025 ‘photo models’ from the first year unit Visual Communication – where students learn how to curate a three-dimensional image by hand (not Photoshop!) – and integrate a carefully chosen photograph of a sectional model (also made by hand). Students were encouraged to explore interior photography, collage, and/or hand-drawing to express their small alteration or addition to their assigned house.

Sina Booraghi’s @sina_booraghi addition to Lina Bo Bardi’s Glass House in Sao Paolo (1951);
Irene Kuah’s @irene_niap alteration to Auguste Perret’s House in Versailles (1924);
Casey Burge’s @caseyjayburge alteration of Konstantin Melnikov’s House (1927-29);
Ellyse Beattie’s @ @ellysebeattie interior shots of John Voelker’s Lyttelton House (1956);
Jake Henry’s @jakehenry_15 interior alteration to Peter Behrens’s Berlin-Schlachtensee House (1929);
Donna Cummin’s @donna.cummins.7902 alteration to Team 4’s Jaffee House (1966);
and Oliver Withers’s @oli_withers having some fun with his ‘Where’s Wally’ of Luigi Figini’s Villa Figini, Milan (1935).

@architecture_uc @sona_act @ucas.cbr
#architecturalrepresentation #orthographicdrawing #physicalmodels #architecturemodel #architecturecollage #collage #architecturemontage #analoguemodel #sectionalmodel #architecture #architectureschool #architecturestudio

A selection from S1 2025 ‘photo models’ from the first year unit Visual Communication – where students learn how to curate a three-dimensional image by hand (not Photoshop!) – and integrate a carefully chosen photograph of a sectional model (also made by hand). Students were encouraged to explore interior photography, collage, and/or hand-drawing to express their small alteration or addition to their assigned house.

Sina Booraghi’s @sina_booraghi addition to Lina Bo Bardi’s Glass House in Sao Paolo (1951);
Irene Kuah’s @irene_niap alteration to Auguste Perret’s House in Versailles (1924);
Casey Burge’s @caseyjayburge alteration of Konstantin Melnikov’s House (1927-29);
Ellyse Beattie’s @ @ellysebeattie interior shots of John Voelker’s Lyttelton House (1956);
Jake Henry’s @jakehenry_15 interior alteration to Peter Behrens’s Berlin-Schlachtensee House (1929);
Donna Cummin’s @donna.cummins.7902 alteration to Team 4’s Jaffee House (1966);
and Oliver Withers’s @oli_withers having some fun with his ‘Where’s Wally’ of Luigi Figini’s Villa Figini, Milan (1935).

@architecture_uc @sona_act @ucas.cbr
#architecturalrepresentation #orthographicdrawing #physicalmodels #architecturemodel #architecturecollage #collage #architecturemontage #analoguemodel #sectionalmodel #architecture #architectureschool #architecturestudio

A selection from S1 2025 ‘photo models’ from the first year unit Visual Communication – where students learn how to curate a three-dimensional image by hand (not Photoshop!) – and integrate a carefully chosen photograph of a sectional model (also made by hand). Students were encouraged to explore interior photography, collage, and/or hand-drawing to express their small alteration or addition to their assigned house.

Sina Booraghi’s @sina_booraghi addition to Lina Bo Bardi’s Glass House in Sao Paolo (1951);
Irene Kuah’s @irene_niap alteration to Auguste Perret’s House in Versailles (1924);
Casey Burge’s @caseyjayburge alteration of Konstantin Melnikov’s House (1927-29);
Ellyse Beattie’s @ @ellysebeattie interior shots of John Voelker’s Lyttelton House (1956);
Jake Henry’s @jakehenry_15 interior alteration to Peter Behrens’s Berlin-Schlachtensee House (1929);
Donna Cummin’s @donna.cummins.7902 alteration to Team 4’s Jaffee House (1966);
and Oliver Withers’s @oli_withers having some fun with his ‘Where’s Wally’ of Luigi Figini’s Villa Figini, Milan (1935).

@architecture_uc @sona_act @ucas.cbr
#architecturalrepresentation #orthographicdrawing #physicalmodels #architecturemodel #architecturecollage #collage #architecturemontage #analoguemodel #sectionalmodel #architecture #architectureschool #architecturestudio