Assemblages 2022 | Final Year Exhibition Catalogue

ASSEMBLAGES

The University of Adelaide, School of Architecture & Built Environment, [08] 8313 5836 www.architecture.adelaide.edu.au

Catalogue design by Athanasios Lazarou

Editing by Urs Bette, Scott Hawken and Athanasios Lazarou

Printed by Newstyle Printing, Adelaide Cover project by Afton Kenneth

Thank you to the sponsors of the 2022 Final Year exhibition GOLD SPONSORS

PLATINUM SPONSORS

SILVER SPONSORS

BRONZE SPONSORS

The school expresses its gratitude to those who gave their time to advise, discuss and critique the work throughout the semester:

ARCHITECTURE

Hugh Adare Dimitty Andersen Helen Barrie

Arkadius Belov Tom Borgas Margit Bruenner Daniel Butcher Juliana Croffi Calixto Jo Russell-Clarke Micah Cruz

Jonathan Dady Yucheng Dai Mykaela Dearinger Johanna Faust Enzo Ferraro Harrison Gale Tony Giannone Drew Joyce William Morris Andrew Lymn-Penning Geraldine Petit Martin Ridge Meherzad Shroff Nancy Spork Monika Stankiewicz Charles Tindley Mladen Zujic

LANDSCAPE ARCHITECTURE

Richard Le Messurier

Jackie Zhuocheng Gu Tim Cavagnaro

Isobel Hume

Lynette Zeitz

Kate Delaporte Mark Branson

Joshua Zeunert Lyndon Slavin

74

STUDIO URS BETTE - HUMAN/NONHUMAN COHABITATION: COMRADESHIP IN URBAN SPACES

Wen Bin Chong Nicholas Marchesan Atharva Dixit Yao Sun Rhyse Gutschmidt Vanessa Jane Omamalin

STUDIO JAMES CURRY - ARCHITECTURE AND ITS TEMPORALITIES: WINE EDUCATION BUILDING

156 162 168 174 178 182

Afton Kenneth Emily Clarke John Erwin De Leon Ziqing Ye Nimisha Junquan Mao

STUDIO PETER SCRIVER - RE-IMAGINING REDUNDANT BUILDINGS & SITES AS ARCHITECTURES FOR LEARNING

78 84 88

Tingting Zhao Anastassiya Popova Junyi Du

STUDIO DAVID KROLL - SUSTAINABLE ARTISTS’ RESIDENCES

190 194 198 202 206

Lin Xin Chao Virali Jayeshkumar Patel Elena Zekirias Goi Kimberly Kimisopa Changhao Wang

STUDIO AMIT SRIVASTAVA - LUNAR HABITATION

96 100 104 108 112 116 120

Pui Wah Phoebe Tse Yue Liu Xu Yang Jared Clark Feng Tang Heyu Ding Rose Nikian

STUDIO ATHANASIOS LAZAROU - FLASH-BULB FUTURES: ALL TOGETHER NOW!

Jacob Graham Kate Maiden Dongxu Yuan Mikayla Robson

216 222 226 230 234 240 246 252

STUDIO MIRAI MORITA - TREES 128

Hamzah Hamad Zvikomberoro Keith Kutsanzira Jia Shi Jiawei Li Chelsea Young Naomi Xia Jamie Doherty Matthew Nayda

314 318 260

264 270 274 278 284 290 294 298 302 308

STUDIO FOOD & THE CITY

- SCOTT HAWKEN & JO RUSSELL-CLARKE

Austin Hardcastle, Spencer Caon, Logan Smith, Cynthia Aybar & Ruxin Zhou (group project)

Cynthua Aybar Spencer Caon Yahui Guo

Austin Hardcastle Xiang Ni Ruxin Zhou Victoria Smart Elissa Stapleton Junyu Zhong

Architecture Landscape Architecture

INTERIM HEAD OF SCHOOL SCHOOL OF ARCHITECTURE & BUILT ENVIRONMENT, UNIVERSITY OF ADELAIDE

Recently, an alumna contacted me out-of-the-blue. I was delighted to hear about her productive career in Shanghai, working side-by-side with design professionals from around the world, since she graduated from our double-degree in Architecture and Landscape Architecture in 2007. At the School of Architecture and Built Environment we are immensely proud of our graduates who are leaders in Industry.

the architecture of Muslim communities, at the Australian Pavilion at Dubai Expo, funded by the Council for Australian-Arab Relations, DFAT, and led by myself and Dr Majdi Faleh (Nottingham Trent University). Closer to home, Dr James Curry curated Lust for Lifestyle in collaboration with the State Library of South Australia which showcased Modern Adelaide Homes from 1950-1965.

In this current exhibition – documented in our fifth “Yellow Book” catalogue – SABE celebrates the culmination of a dynamic year of imagination, innovation, speculative inquiry, research, outreach, creativity and hard work by students and colleagues alike. This catalogue features outstanding capstone projects by students completing the Master Architecture, the Master of Landscape Architecture or the Master of Planning (Urban Design). I commend the energetic leadership of Program Directors, Dr Ursus Bette (Architecture) and Dr Scott Hawken (Landscape Architecture), and the Studio Leaders who devote their time and talent to our Final Year students.

The projects featured in this catalogue are incredibly diverse. Students have the opportunity to choose their topic which is

carefully aligned with the professional or academic expertise of the Studio Leader. The scope of projects was intimated by Dr Amit Srivastava who launched Destination Moon from the NASA Space Centre in Houston. Dr Ursus Bette encouraged students to choose a species whose coexistence with humans inspired them to develop an architectural proposal of Cohabitation while Mirai Morita invited students to explore the intersections between architecture and ecology with emphasis on Trees. Associate Professor Peter Scriver urged students to reimagine redundant sites for progressive futures whilst interrogating issues of equity, social justice and homelessness and Dr David Kroll’s group envisaged designs for sustainable artists’ residences. At the University of Adelaide’s Waite campus, Dr James Curry’s students devised a new winery to showcase oenology and viticulture while Dr Scott Hawken and Dr Jo Russell-Clarke encouraged students in Landscape Architecture and Urban Design to explore Food and the City. Not least, Athanasios Lazarou precipitated Flash-Bulb Futures whereby students could select a topical issue to inform the architecture of a shared future. Moreover, I

thank Athanasios for his compilation of this wonderful catalogue and I extend my thanks to the sponsors who have made this year’s exhibition possible.

I am privileged to work with such a talented team. These small bespoke Final Project groups are a microcosm of the camaraderie which we nurture in the School.

Having taught many of these students since their first tentative forays into design, it is rewarding for me to see the emergence of confident, professional future leaders. Congratulations to our 2022 cohort; I can’t wait to hear about the provocative futures you will build, terrestrial, lunar or otherwise.

ASSEMBLAGES

MASTERS OF ARCHITECTURE

Final Project is a self-led design studio, in which students are asked to develop an architectural proposition in response to a specific site, program or research question. The project develops along the students own lines of interest and inquiry. Accordingly they are given the opportunity to choose a studio leader from a pool of available staff members and their respective fields of interest. The studio leader’s role is to coach and assist the students in their design research.

ARCHITECTURE

“FOR THE SAKE OF SURVIVAL, PEOPLE TODAY MUST ADMIT THAT THEY ARE ON PAR WITH ANIMALS, AND THAT OUR COMMON SURVIVAL DEPENDS ON A SHARED INTACT ENVIRONMENT.”

COHABITATION: COMRADESHIP IN URBAN SPACES

Ninety percent of the mammals and seventy percent of the birds that currently live on this planet are farm animals, providing food for humans. Conversely, only ten percent of mammals and thirty percent of birds are wild. Probably 80 percent of wild mammals have disappeared from the earth since the beginning of civilization. Even if you didn’t know anything about factory farming, methane emissions from cows, the extinction of species, and rainforests that are turning into fields with fodder crops, the mere numbers indicate that something is out of balance in the relationship between humans and the rest. The relationship between humans and animals has always been a subject of discussion. Are they close to us? Yes, very! Now that climate change and the extinction of species are acute threats, this insight has other implications than in the past. For the sake of survival, people today must admit that they are on par with animals, and that our common survival depends on a shared intact environment.

As architects we are used to focusing on human needs, designing buildings that revolve around our primary clients. That’s

fair, however, our anthropocentric attitude has shot us in the foot. The recent experience of zoonosis, the transmission of SARS-CoV-2 from animals to humans, points that way.

It is the result of the destruction and forced overlap of previously separated habitats. Looking at demographics this process is unlikely to stop, so the question is how we as architects and designers can respond. The first step is to think about buildings as an agent that is enchained in relational networks. Every building, besides its human occupancy, has an impact on other forms of life. If each newly designed building would consider and cater for at least one non-human client, we would already be going a long way. The coupling of human and non-human clients may only be a small step, but it raises the awareness that we cannot exist outside of reciprocal partnerships.

Architects have a unique skill set that combines cultural and environmental awareness with technical understanding and the ability to project alternative realities. Yet too often we don’t consider the possibility of a return brief, one that adds a surplus beyond the human needs. To create awareness

“AS ARCHITECTS WE ARE USED TO FOCUSING ON HUMAN NEEDS, DESIGNING BUILDING THAT REVOLVE AROUND OUR PRIMARY CLIENTS, THAT’S FAIR. HOWEVER, OUR ANTHROPOCENTRIC ATTITUDE HAS SHOT US IN THE FOOT.”

for this, students were asked to select an issue or species, whose coexistence with humans inspired them. Next, they defined the context / environment that their human and non-human clients share, followed by developing an architectural proposal that facilitates their coexistence. The aim is to acknowledge the reciprocal relationships that exist between all beings and that buildings should be a living part of this network. Each student tackled this differently. They examined migration routes, areas of conflict, friendship, economic and political dependencies, often combining this with processbased modes of form generation, suggesting different types of spaces and subsequently the modes of living they inform. The aim is for students to develop a spatial mode of thinking, where they evaluate the ‘unprecedented’ for its potential to suggest alternative ways of living.

We like students to be inventors of space, responding to the multiplicity of human needs - including the poetic - and draw up the world they want to live in. By distancing themselves from ingrained stereotypes and modes of best practice, designers can see

anew, claim back creative agency, and hypothesise about alternative forms of organisation, both spatial and social. By weaving a performative surplus into a coherent narrative and developing a feasible implementation process, students give evidence of their creative thinking and capacity to innovate. Our graduates are comfortable with the fact that the world constantly changes, that our environments are negotiable, and that creativity is a key producer of reality. I’m particularly proud of the collaborative spirit that exists within this cohort, where each and all supported one another. I commend them for their tenacity and persistence throughout the semester and wish all students every possible success for their future endeavours!

URS BETTE

DR

Course Coordinator and Studio Leader

THE MAKING OF BUFFALO PALACE

Water buffaloes were imported to Australia in the 19th century to supply meat to remote northern settlements. However, the settlements and their buffalo were abandoned in 1949 and now they are spreading across the northern floodplains. In the 1980s the state government initiated a campaign to reduce the population of feral buffaloes, but their natural increase is still projected to be approximately 27,000 head per year, surpassing the count of buffaloes culled by rangers. In today’s Top End of the Northern Territory, at least 200,000 water buffalo are roaming in the wild and the population is rising rapidly. These feral buffalo cause extensive damage to wetlands and have been a major issue for people managing the land in the Top End. Buffaloes have grossly altered the characteristic of the northern floodplains. Due to its wallows, trails, dung, trampling and disturbance, it has caused soil erosion, channelled floodwaters, increased the intrusion of saltwater into freshwater habitats, and the destruction of wetland vegetation.

This project attempts to address the issue of the damaged wetlands caused by these wild buffaloes by testing and speculating on the possible outcomes of various current and ongoing real-world research projects. Abandoning current violent methods, alternative approaches have been introduced utilizing buffalo to produce energy. For instance, with the increasing number of buffalo and the amount of methane they produce, their flatulence can be harvested and purified into fuel that provides energy for buildings. Additionally, kinetic energy can be captured from the movement of the buffalo and converted into electric power. Finally, by implementing a series of gravitational loops, energy can be harvested through the weight of the buffalo.

The architecture embodies a series of seasonal buffalo festivals to celebrate Asian buffalo cultures in the Northern Territory for immigrant and local populations. The project is an opportunity to envision an alternative future that promotes a symbiotic relationship between humans and buffalo.

“THIS PROJECT ATTEMPTS TO ADDRESS THE ISSUE OF THE DAMAGED WETLANDS CAUSED BY THESE WILD BUFFALOES BY TESTING AND SPECULATING ON THE POSSIBLE OUTCOMES OF VARIOUS CURRENT AND ONGOING REAL-WORLD RESEARCH PROJECTS.”

THE LAST STRAW

The Great Pacific Garbage Patch (GPGP) is a collection of marine debris that has accumulated in the North Pacific Ocean. Cleaning it up is currently an impossible feat to accomplish as the current methods are unsustainable and they ignore the fabricated ecosystem of the GPGP. The garbage patch is predominantly made up of 2.41 million tonnes of fishing equipment (plastic nets and ropes) and plastic waste that concentrates at the gyre (a large system of swirling ocean currents). The circular motion of the gyre draws debris into this stable center, where it becomes trapped.

With rising sea levels, the nation of Tuvalu (9 islands) is currently under threat of losing its shorelines and subsequently its infrastructure. 70% of the population do not have the money nor the resources to migrate and the Islands government does not have a plan B for these people. Hence ‘The Last Straw’ aims to provide an alternative housing solution that enables residents to maintain island life and culture.

In analogy to Josh Niland’s ‘Scale to Tail’ philosophy, where fish are seen as more than two filets, the project expands and completes the ‘plastics’ lifecycle. Rubbish is not just seen as trash, but rather as a usable medium – building material for a new island and home. Plastic is collected, sorted, shredded, and extruded into sheets that are attached to steel frames by residents as they fabricate their new sprawling islands.

Inspired by the resourcefulness of model makers seeing the opportunity in combining unrelated kits to create unique and new models, the rubbish is seen as an opportunity for form generation. Common pieces of rubbish were identified from photos of the GPGP, modeled, procedurally broken, and combined in a plausible and aesthetic way whilst paying heed to the individual pieces themselves. 3D fluid weather simulation was used to manipulate the shapes, mimicking the torsional forces found in ocean currents and thus embedding the Islands’ morphology within the context of the Pacific Ocean.

GREAT PACIFIC GARBAGE PATCH

‘DONNA HARAWAY’ CONCEPT MODELS EXPLORE THE SHARED RELATIONSHIPS BETWEEN HUMAN AND NON-HUMANS.

This is an architectural space that communicates with culture and blends with the newfound research on cohabitation with frogs. The Sonoran desert frog known for its naturally occurring psychoactive properties is crucially used for treating modern illness in an extraordinary way. Discovered in 1983 by a scientific researcher on 5-Meo-DMT and further tested with trials to achieve the outcome, The Seri-Comcaac culture was brought to light,. Located in the north of Mexico, these habitants share the desert with the native frog known as Bufo Alvarius.

The notable feature of this community began to capture the psychedelic colonies’ attention as they practice their culture alongside frogs, historically also referred to as the bringers of rain and water to the parched and sparse place. The unusual way of practicing the tradition was to secrete the frog for its psychoactive substances and later inhale it to connect to the environment in an elevated state of mind, which was believed to be a sacred way of being attached to nature. The Seri-Comcaac Community currently thrives on handicrafts and sculpting for their economic status and work together in groups to gather and hunt.

This project attempts to cater for the community by both enabling those people wanting to exercise their traditional methods through different means and facilitating the community’s practices in being at their service by producing goods for value. The frog plays a vital role in bringing people together to celebrate and rejoice in its presence within them. The space also facilitates nursing the frog back to its highest potential and regaining the substance before it is sent back to the wild. Additionally, the project also investigates the subject of treatment and remedy using the frog’s psychoactive substance for modern-day illness through a progression of spatial arrangements towards a shared space between the two entities.

DESTINY

Liam Young’s experiments on the response of bird sounds to climate change reveal a dramatic future for human development and the extinction of animal species.

Cities are built only with human habitation in mind. In the last half century, the population of Beijing has increased from 2 million to 20 million. Due to the disappearance of many ancient buildings, the population of swifts, which have lived in Beijing for more than a thousand years, has rapidly diminished from 50,000 to 10,000.

How to provide a habitat for swifts in a highdensity city, while also establishing reciprocal benefits to humans, is the mission of this project. Based on research into the ecological chains that connect swifts, insects, plants and humans, the project aims to provide the infrastructure needed to support each living element. The project caters for the swifts’ physical survival, while also aiming to maintain its cultural significance and project its scientific relevance as a seismograph for ecological changes.

While studying the relationship between humans and swifts, it was found that swifts are closely linked to regional culture and that their songs are beneficial to mental health and the human spirit. The program and brief of this project were established by collating the human behaviors that benefit from the swifts’ songs, and joining them with spaces that were created from and with infrastructure that supports the swifts’ needs.

Swifts are sensible indicators of climatic conditions. The project foresees the ability of big data to interpret the nuances of the swift’s song, thereby monitoring urban climates and predicting future changes. Their song accompanies a sustainable urban density and acts as a warning sign to the city’s climate.

HABITAT

“A

FOR SWIFTS IN A HIGH-DENSITY CITY, WHILE ALSO ESTABLISHING RECIPROCAL BENEFITS TO HUMANS”

Sesfontein 1hr11min 67.0km

THE WATERING HOLE

In South Africa, and in particular the Kunene Region in Namibia’s North-West, elephants are destroying water tanks and infrastructure to gain access to fresh and clean water. Studies have been conducted showing that their own hand dug wells are more than satisfactory for water consumption; however, their shear strength and ability to smell clean water from a distance means that they can and will continually hunt for better alternatives. This project aims to combat this conflict by openly providing fresh water for the elephants to drink and bathe in, thereby negating the need for any destruction.

Namibia’s current economic state is thriving in mechanical and entrepreneurial industries, with multiple companies in recent years starting businesses converting traditional fossil fuel cars into electric vehicles. A company called ‘e-Car Namibia CC’ is working with the 79 series Landcruiser as a replacement agricultural vehicle; however, access to the latest battery life technology is lacking and the current travelling distance is capped at approximately 80kms.

As an extension to the notion of providing water sources for elephants, this project combines the ideas of traditional service stations and roadhouses as refuelling depots, analogous to that of a watering hole for animals, and aims to create a place in which cohabitation can be made. To design spaces to facilitate the cohabitation between elephants and humans, it is first necessary to design a set of established rules and ways in which human-elephant interactions can occur. Each of these interactions presents a new challenge and an entirely different atmosphere. These moments and interactions have been carefully curated and integrated amongst the formwork throughout the project as a leading element of design. To fully integrate this idea, energy deriving panels have been embedded within the design to harness the electricity gained from the mass of elephants to charge these EVs inside one large iconic landscape at the midway point of their journey from Sesfontein to Opuwu.

NORTH ELEVATION

SERVICES

EAST ELEVATION

WEST ELEVATION

“AS AN EXTENSION TO THE NOTION OF PROVIDING WATER SOURCES FOR ELEPHANTS, THIS PROJECT COMBINES THE IDEAS OF TRADITIONAL SERVICE STATIONS AND ROADHOUSES AS REFUELLING DEPOTS.”

Gallery

EXPERIENCE CENTRE

Experience Centre

Experience Centre

Cockatoo & Bee Research Centre

COCKATOO & BEE RESEARCH CENTRE

Cockatoo & Bee Research Centre

PREVENTION PROTECTION REGENERATION

SENSORY CENTRE

Sensory Centre

BUSHFIRE RESEARCH LAB

Bush re Research Lab

Gallery

Koala Breeding Lab

Koala Breeding Lab

KOALA BREEDING LAB

FIRE SANCTUARY

Australia, no stranger to extreme weather conditions, has seen a dramatic increase in the severity of bushfires over the past two decades. Scientists fear that billions of animals have been killed by the bushfires that have swept across Australia’s south-east in recent years.

The proposed ‘Fire Sanctuary’ is a refuge facility for wildlife on Kangaroo Island, ensuring their survival during periods of bushfires or drought. Inspired by the survival of burrowing animals, the refuge centre lies beneath the ground to shelter its habitants from the heat. The act of ‘digging’ has created a series of interconnected, organically shaped spaces which bear resemblance to man’s primitive home – caves. These are enveloped by layers of various types of soils, which have been specifically selected to attract and cater for different species of burrowing animals, enabling them to burrow in more easily. The different soils also relate to the different programs within the building.

The contiguous spaces host a large research and experience centre to help manage and elevate the well-being of native animals. The visitor’s journey begins underground when they enter a large open space with sensor embedded walls, which visually reflect any burrowing animal movement outside the external walls. Openings in the floor bring the natural scent of the soils into the facility and allow visitors to insert burrow cams into the ground, manoeuvre them and observe the wildlife. The process of discovering and following animals underground has become achievable through the technological advancements in microchip tagging and sensor collars.

The project aims to not only provide a shelter for animals during bushfires but also to uncover the secrets and knowledge of these underground habitants, allowing us to learn and possibly live alongside them in the future. The building creates points of interaction between humans and underground animals. This benefits animals when escaping a bushfire or searching for a place to hibernate, but also allows humans to study them, track their movements and learn about their lifestyles.

VANESSA JANE OMAMALIN

Black Saturday (VIC), 7-8 Feb 2009 Black Saturday resulted from some of the worst fire conditions ever record ed in Victoria. Record-high tempera tures and strong winds after a season of intense drought set the bush alight across the state, causing widespread devastation, 173 fatalities and the destruction of more than 2000 homes.

Kangaroo Island Bushfire, 20-30 Dec 2019

The Kangaroo Island fires burned 211,474 hectares of land, almost half of the island. It is unknown how many of the island’s wild animals perished, along with the estimated 32,000 head of stock and domestic animals that died.

KANGAROO ISLAND

“THE CONTIGUOUS SPACES HOST A LARGE RESEARCH AND EXPERIENCE CENTRE TO HELP MANAGE AND ELEVATE THE WELLBEING OF NATIVE ANIMALS. THE VISITOR’S JOURNEY BEGINS UNDERGROUND WHEN THEY ENTER A LARGE OPEN SPACE WITH SENSOR EMBEDDED WALLS, WHICH VISUALLY REFLECT ANY BURROWING ANIMAL MOVEMENT OUTSIDE THE EXTERNAL WALLS.”

STUDIO JAMES CURRY

“STUDENTS ENGAGED WITH THE TEACHING AND RESEARCH TEAM AT WAITE CAMPUS TO DESIGN NEW WINERY AND THE RESEARCH LABS”

ARCHITECTURE & ITS TEMPORALITIES: WINE EDUCATION BUILDING

Tingting Zhao Anastassiya Popova Junyi

A new world is emerging— by fits and starts—and it will not reset to normal as many thought and hoped it might. What should be clear to everyone by now is that the pre-pandemic world we departed, more than two years ago, will never return. That world is now a catalogued memory that each of us must use to create and live new, individual and collective futures.

Architects in the 1920s, and then in the 1960s and 1990s faced similar challenges in transitioning from one world to the next. But as the contours of the post-pandemic world come more sharply into focus, many of the problems left unaddressed or unresolved by past architects confront current and future architects with challenges that have crossed the line from fundamental to existential:

Architecture is too often understood as a discipline

concerned almost exclusively with space, understood independent of time (understood as a system of measurement) and/or temporality (understood as a condition of objective or subjective duration and sequence). This bias toward space has for the most part underplayed or even ignored the multiple roles played by time and temporality in the theorization, production and experience of “architecture as it exists in time and as time exists in architecture,” to slightly paraphrase Jeremy Till.

This final studio group concerns itself with identifying and taking a position on some aspect of time and/or temporality as it produces and/or is produced by architecture. About 70 per cent of Australian wine research happens at the University of Adelaide’s Waite campus. Our grape growers and winemakers are

innovators and cultural leaders within a sector helping drive the nation’s economy. During this studio, students engaged with the teaching and research team at Waite Campus to design new winery and the research labs – with a multi-functional teaching, outreach and event, space that elevates Wine Science at the University of Adelaide in an iconic new space.

This was a ‘live’ project where architectural skills where developed across three main areas:

1) “Wine Research+”: The primary goal is to devise a program that offers opportunities to showcase research, teaching and fermentation areas in wine production, with awareness of resilient environmental practices. The building should serve as a magnet for students, researchers, and visitors.

2) “Atmosphere”: Theoretical focus played out as highly detailed

renderings that have some relationship with detailed sections and which engage with the setting.

Considerations to be Light, Materials, Scale, Memory

3) “Very Detailed Site Studies”: Considerations of programme and atmosphere are to be enriched by studies of topography, place and the urban context and the site and contextual analysis should capitalize on the opportunity to connect the site to the landscape .

DR JAMES CURRY Studio Leader

VECTORS OF ENCOUNTER & CONNECTION: THE NEW REIMAGINING OF WINERY EDUCATION

This project is a new winery with education and research centre for Waite Campus at Adelaide University. This project uses humble and simple architectural language to design the building and to express a respect for nature. The protection and utilisation of natural low-level area and existing trees and vineyards creates a natural harmonious environment which coexists with hills and introduced water. The topography is a positive factor has been used in the building, lower level is used as a pond for treated wastewater storage. The building sits between the pond and the vineyard, giving the building the appearance of floating on the water and buried on the other side. These two approaches are connected to the landscape by a bridge which links trees, pond, the building, vineyard and enables immersive access to the landscape. The winery takes up a position on the site to enhance the landscape values, where you can feel and taste a different tempo. The main material of the building is rammed earth wall which use local materials, meaning it has low embodied energy and produces little waste.

The challenge of this project is the monotony of the existing traditional winery experience – greeting, tasting and sales. The goal of this project is breaking the traditional pattern to create new visiting vectors for customer. This project makes the different function spaces for these encounters and connections that enable and promote an interaction between visitors and spaces. It shows the whole process of modern wine making and adds the traditional wine making process for the visitor to get involved. Meanwhile, additional programs such as a market, shopping, and wedding are introduced as important tools for the winery in attracting its customers and increasing the profit.

RE-IMAGINING TOPOGRAPHY AND FORM: BUILDING RELATIONSHIP

TO THE GROUND

The proposed facility for Waite Institute wine centre is located on the hill and accommodates a wine making centre, education facilities and event space. The design process involved working with a site where the slope is one of the major design factors to make the building merge with the surrounding context. The design therefore forms three different relationships to the ground - traditional, modern and contemporary.

A traditional relationship to the ground is represented in wine making center, that is embedded into the ground, conceived parallel to the topography, using the slope for gravity-flow wine making process inside. The natural slope of the land allows for the winery to utilize gravity to move wine through various phases of production. Removing pumps and machinery from the winemaking process preserves better fragrance and flavor.

A modern relationship to the ground is symbolised through the education space, which floats above the ground to minimize footprint. Structural columns and beams are inspired by Pier Luigi Nervi’s engineering works of 1950s. Inovative use of reinforced concrete allowed post tension concrete slab disconnect from the ground and create appealing look to the underside of slab and columns.

A contemporary relationship to the ground is suggested in the event space, that sits on the ground down the hill offering the views to the existing trees along the Walter Young avenue and cityscape views. Highly reflective windows allow to bring the distant views closer. Complex roof shape symbolises the surrounding hills. The second major factor for the design is to make the most of the views. The building is located to allow an unobstructed views across the historic Waite building. The education facility containing the offices and research labs floats above the vineyards, offering sweeping views to the cityscape. The roofs intersect and fall in the opposite directions to create window openings and increase natural light inside of the fermentation rooms. The northern elevation of the wine making centre steps down the hill with the loading docks located at each level. The glass roller doors allow the northern sun inside of the production area. The materials proposed for the project are corten steel roof and cladding.

ANASTASSIYA POPOVA

GROUND

“A MODERN RELATIONSHIP TO THE GROUND IS SYMBOLISED THROUGH THE EDUCATION SPACE, WHICH FLOATS ABOVE THE

TO MINIMIZE FOOTPRINT. STRUCTURAL COLUMNS AND BEAMS ARE INSPIRED BY PIER LUIGI NERVI’S ENGINEERING WORKS OF 1950S.”

The project is a winemaking center hidden in the forest. The site is located at The Waite campus of the University of Adelaide. Next to the site are fixed grape plantations for academic research, and teaching buildings. The existing surrounding environment brought some constraints to the project, notable the terrain being a hillside, with the east side higher than the west side. The project is a large multi-purpose winemaking center. It contains the production of wine, the education of winemaking and the experimental area of grape species. Basic on research produced from work at Waite campus it was revealed that projects which study sustainable development are beneficial. So, the entire design revolves around sustainable architecture to achieve an organic winery. The first step in the design was an analysis of the site. What’s interesting is that when you are in the site you can see a few high-rise buildings in the city, they form a horizontal line across the city. At the back of the site is the landmark “Waite Building” of the entire campus. When you connect them together, the site is divided into two parts. Vineyards on the left and winemaking center on the right.

Then, according to the topography, a similar slope was modeled to integrate the entire building into the site. The result is a sloping triangular roof. This reminds me of rainwater storage units. Rainwater is collected and recycled through the pitched roof to spatialise the water.

Expand the idea of storing rainwater. Through the treatment of roof details and the flow of ground water channels, the rainwater is collected into the storage tank at the bottom. Annual precipitation in Adelaide is 520 mm. The roof area is 9673 square meters and can collect more than 5,000,000 liters of water per year.

“THE DESIGN REVOLVES AROUND SPATIALISING WATER AS PART OF A BROADER APPROACH THE ORGANIC WINERY.”

“THE AIM IS TO ATTRACT ARTISTS AND TOURISTS WITH SPACES THAT FOSTERS ARTISTIC CREATION, SURROUNDED BY HISTORIC ARCHITECTURE, A STUNNING NATURAL SETTING OF THE PYRENEES AND AMPLE HIKING TRACKS.”

Pui Wah Phoebe Tse

After lockdowns and border restrictions in Australia, this studio took on the challenge of transporting the students’ design investigations across continents to the unfamiliar context of Puebla de Fantova, a village in the Huesca province, Aragon, in the North of Spain. Puebla de Fantova began as a medieval settlement and has a population of about 100 residents today, but this been in decline in recent decades. The large sloping site adjacent to the village was previously used for terrace farming, with olive trees between the fields. There is also a derelict historic farm building on the site. The owners of the site teamed up with the Gaudi Knowledge Association, an organisation dedicated to spreading knowledge about the architect Antoni Gaudi, to transform this location into an artist residence and hostel. The aim is to attract artists and tourists with spaces that

fosters artistic creation, surrounded by historic architecture, a stunning natural setting of the Pyrenees and ample hiking tracks. The proposals for the site should be guided by Antoni Gaudi’s design values and principles of sustainability, functionality, aesthetics, and innovation. The building programme includes artists’ residences, a hostel for up to 40 people, an artist workshop, co-working areas, meditation and yoga space, as well as an associated landscape design.

This brief and setting challenged students to test design approaches and skills they have built throughout their studies. To better understand this unfamiliar context, the students researched the area and communicated via zoom with residents of La Puebla de Fantova to better understand life in the town and local community. Taking this research and brief as a point of departure,

“THE PROPOSALS FOR THE SITE SHOULD BE GUIDED BY ANTONI GAUDI’S DESIGN VALUES AND PRINCIPLES OF SUSTAINABILITY, FUNCTIONALITY, AESTHETICS, AND INNOVATION.”

the students developed their own design inquiries and concepts as drivers for their proposals. These inquiries included considerations such as: ‘developing a prefabricated building design strategy with a high level of recycled materials’, ‘creating strong links to the cultural, social and architectural context of the village’, ‘creating a new growing network of functions’, ‘learning from plants and nature of its surrounding to drive the design language and relationship to the site’. The students were encouraged to bring their own personality and interests to the project and relate these to how Gaudi approached design, without aiming for imitation, but instead strengthening their own convictions and creating a basis for commencing their own journey as professionals in architecture. The proposals also allowed students to build on the varied skills they have developed in

their studies which included not only the design of buildings, but also to root these within a broader vision of shaping the landscaping of the site and to create buildings that are informed by and contribute positively to an existing cultural, social, economic, architectural and natural environment.

DR DAVID KROLL Studio Leader

Among the many remarkable qualities of Antoni Gaudi’s architectural design, his consideration of the social impact that his design created is often overlooked. Inspired by Gaudi, this project considers the surrounding physical and social context when placing new structures into an existing neighbourhood. Inspired by the medieval planning of the adjacent village, La Puebla de Fantova, this proposal is about creating a common ground that allows the exchange of knowledge between artists, tourists, farmers and local residents. An in-depth history and cultural site analysis were conducted to better understand the existing community. Programs are altered to tackle the goal of building new connections and common ground. The alteration is driven by the qualities of the existing community, including gardening, food sharing and gathering at a meeting point. Through massing study and exploration, medieval town planning elements are introduced to the site to imbue qualities like wayfinding, layering, and framing. Since the size of the required functions only takes up a small portion of the site, the landscape design and planning are integrated into the overall design and an essential component. The site is divided into different groups of buildings. By creating organic spaces between these groups, the site and new proposal can contribute to the growth and future of La Puebla de Fantova. This growth does not stop after the building construction finishes. It will carry on in a form of a ‘Mini-Forest’ biodiversity landscape strategy, and a ‘Structure & Infill’ self-made hempcrete architecture. The proposed buildings are constructed from natural local stone and can again become part of the site and its surroundings if the population declines in the future and if nature takes over.

“THROUGH

NATURAL NEURAL NETWORKS

The project site is in La Puebla de Fantova in the northeastern part of Spain on the Balkan Peninsula, nearly 3 hours’ drive from Barcelona. The specific site is on the hillside south of the village, once a wheat field with 269 olive trees. Considering the size of the site, the project was planned in relation to how it would contribute to and interact with the existing village. The concept was distilled into “being in nature and the arts” around four keywords: nature, agriculture, leisure, and art. Given this theme of nature and art, the proposal references traditional Catalan architecture, Gaudí’s modernist architecture, and organic contemporary architecture, and proposes a scenario for the future of architecture interacting with nature. The overall design concept derives inspiration from a neural network and proposes the triple attributes of System, Hybrid and Selfgrowth. The specific relationships between this inspiration and the project are as follows: Architecture = Nerve Center; Landscape Walking System = Nervous Conduction System; Nature = Environmental Substrate; Arts Space = Neuron; Art Works = Neurotransmitter. The ground floor of the buildings is raised off the ground for sustainability reasons. First, there are many steep ridges on the site and if the building is forced into the ground, there will be a lot of earthworks. Second, there are many small animals such as rabbits and insects that originally lived on the hillside, and there is no reason for humans to let them lose their nests. Finally, the building proposes to be developed in stages according to functional groups to suit available funding. Over time, the scope of development can grow and expand to create strong links with the existing village according to the design concept of the neural network.

“THE OVERALL DESIGN CONCEPT DERIVES INSPIRATION FROM A NEURAL NETWORK AND PROPOSES THE TRIPLE ATTRIBUTES OF SYSTEM, HYBRID AND SELF-GROWTH.”

LAYOUT GREENERY STRUCTURE

ROOF DETAIL

NATURAL LAYERS

The proposal site is in a small town called Fantova in Spain. The project aims to create a series of interactive spaces, based on Gaudi’s design principles, where artists can live and work. Natural inspiration is important for Gaudi who stated that ‘nature is an open book for design’. ‘Natural layers’, as the project theme, not only responds to Gaudi’s design principles but can also be an effective measure to adapt to the topography of the site. The altitude difference of the site is high (around 30 meters in the north-south direction). This concept of natural layers over different levels could therefore respond well to the slope of the site. Through exploration of the nature around the site, the texture of leaves inspired a 3d form that smoothly adapts to the topography. The spaces are allocated across different levels which prevents different functions from interfering with each other because of privacy issues. However, these units are not completely separate. They are connected by a continuous framework and the three-dimensional traffic system could offer high accessibility from one unit to another. The outside framework of the concept has two layers with straight lines and curved lines, which respond to Gaudi’s principle that a ‘straight line belongs to men and a curved one to god’. This framework also has other practical purposes. For example, between the framework and the interior, it will create a semi-interior space with a balcony and waterscape as a type of sheltered winter garden for the residents. Additionally, the framework acts as an effective shading system that creates beautiful shadows.

THE OLIVE GARDEN

Situated in the NE of Spain in the Huesca region, ‘The Olive Garden’ is a refined and considered solution that places emphasis on 3 main design objectives: framing views, integration into the existing landscape, and community. The brief for this project involved the Gaudi Knowledge Association and tasked us with designing a sustainable artists’ residence and education complex which will be named “La Coma”. The site was previously utilised as agricultural land and plantings were primarily olive and almond trees. A preliminary study into the anatomy of an olive tree and its contents (which included its foliage, root system, and produce) lead to a host of opportunities for form-finding. The form of its produce was taken and placed upon the site in areas that were suitable for their function and size. The form was extruded and then pulled out at certain points to integrate with the landscape to create places of gathering and places for circulation. Openings were cut out to frame views and provide well-lit interior spaces. The final step was to lift the walls to create interest and an element of undulation. The buildings were placed according to their function and are positioned to reference the original concept of the olive tree with the outer and inner layers of an olive. This arrangement creates a central communal green space that can be used by artists and visitors. The placement of the buildings as well as the planters create meandering paths that enhance the user’s sense of unification with the immediate landscape and larger site context. Rammed earth is the chosen construction type due to the material qualities that it possesses and how it closely links to the three design principles. Ashwood door and window frames add contrast, and a green roof completes the integration of the buildings into the landscape.

ROOF DETAIL

“THE FORM WAS EXTRUDED AND THEN PULLED OUT AT CERTAIN POINTS TO INTEGRATE WITH THE LANDSCAPE TO CREATE PLACES OF GATHERING AND PLACES FOR CIRCULATION.”

The site is in a small town in the north of Spain, La Puebla de Fantova, with open views and scenic natural surroundings. However, the town has a declining population, and the project aims to attract more visitors through its architecture. Inspired by Gaudi’s use of recycled tiles, the use of recycled materials will inspire and lead to a new architectural model that will address the pollution and waste of resources caused by industrial development. The entire building will be constructed from recycled materials, such as discarded glass from old houses, recycled concrete skins and plastic reconstituted panels, all of which are common wastes that will hopefully help the local government reduce its budget for waste disposal through secondary use. The prefabricated concept will also be used in this project, as all panels and skins can be pre-customized and transported to the site for assembly. This will greatly reduce construction time and difficulty. Through research, several local companies have been established in Spain to customize prefabricated buildings.

“THE ENTIRE BUILDING WILL BE CONSTRUCTED FROM RECYCLED MATERIALS, SUCH AS DISCARDED GLASS FROM OLD HOUSES, RECYCLED CONCRETE SKINS AND PLASTIC RECONSTITUTED PANELS.”

The proposal aims to draw design inspiration from the natural setting and context. Since the nature of the site was originally agricultural, and the topography of the site is extremely varied, my first design idea was to derive inspiration from the topography, which is also one of Gaudi’s design concepts, drawing on elements from nature. Since the site rises from south to north, and the height difference is large, the buildings can naturally be placed in ‘steps’ across different levels. The design of the overall site is developed around the provided program in the project brief. The artists’ residences are designed as duplexes and under the design concept of topographic level changes, the proposal integrates the roof to link the road. The curved external walls and curtain walling are inspired by Gaudi’s design method and use of curvilinear forms. The hostel is a two-storey design within the topographic setting. The proposed buildings use sustainable materials and reference the form of the existing town, which was one of Gaudi’s design approaches to respond to the nearby context. Similarly, the meditation space and co-working offices are designed over two levels with associated facilities. The concept of this design is built on respect for its natural settings and local culture. The clustered arrangement of buildings across the site facilitates a sense of community that relates to its natural setting and the town.

TIMBER-LOOK ROOF

TIMBER LOOKING ROOF SHEET WITH TIMBER FLOOR TRUSS

STEEL STRUCTURE W/GLASS INFILL

STEEL STRUCTURE WITH GLASS INFILL

TIMBER COLUMN W/STUD WALL INFILL. TIMBER EXTERNAL CLADDING WALL SYSTEM

TIMBER COLUMN WITH STUD INFILL, TIMBER EXTERNAL CLADDING WALL SYSTEM

PERGOLA 2700H

PERGOLA @2700H

TIMBER COLUMN WITH STUD INFILL, TIMBER EXTERNAL CLADDING WALL SYSTEM

TIMBER COLUMN W/STUD WALL INFILL. TIMBER EXTERNAL CLADDING WALL SYSTEM

INTERNAL PARTITION WALL W/TIMBER COLUMN AND STUD INFILL

INTERNAL PARTITION WALL WITH TIMBER COLUMN AND STUD INFILL

TIMBER-LOOK ALUMINIUM BALUSTRADE

TIMBER LOOKING ALUMINIUM BALUSTRADE

ROOFTOP GARDEN

ROOFTOP GARDEN WITH GARDEN BED DEEP SOIL

TIMBER COLUMN W/STUD WALL INFILL. TIMBER EXTERNAL CLADDING WALL SYSTEM

TIMBER COLUMN WITH STUD INFILL, TIMBER EXTERNAL CLADDING WALL SYSTEM

INTERNAL PARTITION WALL WITH TIMBER COLUMN AND STUD INFILL

INTERNAL PARTITION WALL W/TIMBER COLUMN AND STUD INFILL

TIMBER-LOOK

TIMBER

FLOOR TRUSS

STEEL STRUCTURE W/GLASS INFILL

STEEL STRUCTURE WITH GLASS INFILL

TIMBER COLUMN W/STUD WALL INFILL. TIMBER EXTERNAL CLADDING WALL SYSTEM INTERNAL PARTITION WALL W/TIMBER COLUMN AND STUD INFILL

TIMBER COLUMN WITH STUD INFILL, TIMBER EXTERNAL CLADDING WALL SYSTEM INTERNAL PARTITION WALL WITH TIMBER COLUMN AND STUD INFILL

TIMBER COLUMN W/STUD WALL INFILL. TIMBER EXTERNAL CLADDING WALL SYSTEM

TIMBER COLUMN WITH STUD INFILL, TIMBER EXTERNAL CLADDING WALL SYSTEM

INTERNAL PARTITION WALL W/TIMBER COLUMN AND STUD INFILL

INTERNAL PARTITION WALL WITH TIMBER COLUMN AND STUD INFILL

ORGANIC GROWTH

Located in the small village of La Puebla, 97 km from Huesca in Spain, the site consists of a vegetation cover of predominantly olive trees. Antoni Gaudi was an important architect active in the area. Inspired by Gaudi, the design follows the principles of sustainability, functionality, aesthetics, innovation and symbolism. Being a symbol of peace and growth, the olive tree is a medium to connect the project with Gaudi’s principles. Not only is the olive tree a powerful symbol of peace, but it is also known for its resiliency, toughness, growth, longevity, and endurance, surviving a myriad of natural and man-made challenges. In the shapes, symbols, patterns and pathways, the proposal follows the shape and relationships of the branches, leaves, and fruits of an olive tree. The proposed buildings ‘grow’ between these branch-like pathways. This concept draws on the symbolic approach apparent in Gaudi’s work and connects the proposal to the topography of the site. The façade of the buildings are made of timber louvres which are made from olive wood. These louvres are not only constructed as ornamental objects but are also designed to reduce the sun and wind effect inside the buildings. Their function is inspired by the olive fruit surrounding the core to protect it. Eventually, the glazing on the first and second floors of the hostel directs and reflects the light, kind of like the leaves of an olive tree, and the light and shading through the wooden façade louvres resemble the shadows of olive trees. The site consists of seven buildings that will function as hostels, artists’ residences, art workshops, meditation and yoga spaces, reception, and office areas. The building will serve as a community for artists, tourists, and locals. This design can offer artists and tourists spaces where wellbeing, personal growth, and creativity are promoted.

“THE PROPOSED BUILDINGS ‘GROW’ BETWEEN THESE BRANCH-LIKE PATHWAYS. THIS CONCEPT DRAWS ON THE SYMBOLIC APPROACH APPARENT IN GAUDI’S WORK AND CONNECTS THE PROPOSAL TO THE TOPOGRAPHY OF THE SITE.”

STUDIO ATHANASIOS LAZAROU

“THE STUDIO GIVES A ‘THROW OF THE DICE’ TO THE FUTURE. WHAT CURRENT PROGRAMS CAN GROW TO PROMOTE THE VALUES WE WANT TO SEE? WHAT ROLE CAN ARCHITECTURE PLAY TO HELP ‘FIX’ (OR SET) THE SOCIAL RELATIONS OF TOMORROW?”

STUDENTS

Jacob Graham Kate Maiden Dongxu Yuan Mikayla Robson

“There are in French two words for ‘future’ which cannot be adequately rendered in English: futur and avenir. Futur stands for ‘future as the continuation of the present, as the full actualization of tendencies already in existence; while avenir points more towards a radical break, a discontinuity with the present—avenir is what is to come (avenir), not just what will be.”

- Slavoj Žižek, The Year of Dreaming Dangerously (London: Verso, 2012), 166

62 individuals hold more wealth than half the world. The six warmest years on record have all occurred since 2015. More people have died from gun violence in the United States than the cumulative total deaths of all wars since its founding (1,516,863 gun-related deaths against 1,396,733 war deaths). In Australia there are 1,089,165 empty dwellings and 116,000 people who are homeless. So, what do you do when the world starts to fall apart? The studio asked the students this question, but also asked them to define a future they want? Furthermore, it also asked them to consider this future as a shared future (hence the name “All Together Now!”) Each student was consequently tasked with identifying key social values they hold and which they would like to see more of in the future. Following this, students identified marginal spatial practices which shared those values, and, in turn, researched the role architecture could

enable those marginal practices of today, and by extension those values of today, to grow into tomorrow. So, the departure point of ‘Flashbulb Futures’ is architectural program. Consequently the studio gives a “throw of the dice” to the future. What current programs can grow to promote the values we want to see? What role can architecture play to help ‘fix’ (or set) the social relations of tomorrow? Such an approach draws on the famous words of the poet Mallarmé, who wrote “Toute Pensée émet un Coup de Dés” (“a throw of the dice will never abolish chance”), to develop modes of practice via questions of being and by engaging with social relations. Mallarmé wants us to convey not just the experience of things, but our experience of the possibility of them too. What is created are speculations on the possibility of the future itself, which, in turn, opens questions of temporal experience, such as attention, to play.

Importantly, how we give attention to things informs their significance. As Walter Benjamin writes, the act of noticing is key: “Anyone can observe that the duration for which we are exposed to impressions has no bearing on their fate in memory. Nothing prevents our keeping rooms in which we have spent twenty-four hours more or less clearly in our memory, and forgetting others in which we passed months.”1

Further to this, Benjamin’s

illumination of flash-bulb photography makes a distinctive argument for privileging the present:

“It is not, therefore, due to insufficient exposure-time if no image appears on the plate of remembrance. More frequent, perhaps, are the cases when the half-light of habit denies the plate the necessary light for years, until one day from an alien source it flashes as if from burning magnesium powder, and now a snapshot transfixes the room’s image on a plate.”2

How we notice things and give them attention renders their significance. Thus, in privileging marginal spatial practices we can enlarge the role those practices have in the present, consequently shaping the future. Benjamin’s flash-bulb formation of time draws a similar bow to William James’s description of attention, whereby “an object once attended will remain in the memory, whilst one inattentively allowed to pass will leave no traces behind.”3 What matters, therefore, is what significance the present holds and to make the significance of the present larger. We can articulate this method in a similar manner to John Berger’s deceased mother in ‘Here is Where we Meet’, who, as she walks the streets of Lisboa, tells Berger “the dead don’t stay where they are buried”4. For Berger’s mother, time itself matters less than the place of time itself (“everything in life, John, is a question of drawing a line, and you have to decide for yourself where

1.

to draw it.”5). Given the uncertainty of the world we currently live in, acknowledging what to give attention to is key. Returning to Zizek, “we should bring in the perspective of the future , taking them as limited, distorted (sometimes even perverted) fragments of a utopian future that lies dormant in the present as its hidden perspective.”6

As such, the developed projects are both personal and social. From strategies of guerrilla nuclear remediation that question the role of place in a changing climate, to modes of repair that tackle the scars left by mining, a temporal interrogation of our memory channels through theatre, and a slow clay bank that forces us to give attention to everyday rhythms, the projects represented on the following pages reflect an attempt to propose architectures of tomorrow.

Students watched Chris Marker’s ‘La Jeteé’, they read Anna Lowenhaupt Tsing’s ‘The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins’, and they spent a lot of time making physical models. The semester was a joy. I do think the work reflects the rich engagement that was shared. Just like Berger and his mother, the students were asked to decide where to draw the line for tomorrow, at futur or avenir?

2. Ibid, 342-43.

3. William James, the Affects of Attention, 248.

4. John Berger, Here Is Where We Meet (London: Bloomsbury, 2005), 42.

5. Ibid, 42.

6. Slavoj Žižek, The Year of Dreaming Dangerously (London; New York: Verso, 2012), 128.

Walter Benjamin, One-Way Street and Other Writings, trans. Kingsley Shorter Edmubd Jephcott (Frankfurt: Suhrkamp Verlag, 1970), 342.

ATHANASIOS LAZAROU Studio Leader

EVERYDAY THEATRE

In the era of ‘digital amnesia,’ our brains are fast losing the ability to remember as we have become increasingly reliant on technology to retain information. Instead of brain recollection, we are more likely to use digital devices to remember and store our passwords, anniversaries, photos, appointments; all of it. In just five years, 79% of us have become more reliant on our digital devices for accessing information now more than ever.

For our brains to retain and develop memories we must first give the moment attention for it to enter our shortterm memory. Then, through consolidation, the moment can enter our long-term memory for later recollection. However, now we instantly offload our memories into our digital cloud without undergoing the memory process. Our recollection is now not without the assistance of a photo app, old message, or ‘Memories’ notification. With our reliance on our devices, the efficacy of our memory is negatively impacted.

As an extension of the cataloguing currently undertaken by the State Library of South Australia, the Everyday Theatre will store our personal memories in the form of objects in a long-term archive and data centre. These ‘everyday’ objects will be collected and catalogued and through this process, trends and consistencies can be extrapolated to allow for the curation of theatrical experiences by way of exhibitions. The culmination of this is befittingly displayed and projected in the oldest surviving theatre in Australia; the Queen’s Theatre in Adelaide.

The Everyday Theatre uses the weakness of ‘digital amnesia’ to not only enhance our memories and experiences but to explore a greater understanding of them.

MASTER OF

JACOB GRAHAM

PROCESS

THEATRICAL ARCHIVE

“AS AN EXTENSION OF THE CATALOGUING CURRENTLY UNDERTAKEN BY THE STATE LIBRARY OF SOUTH AUSTRALIA, THE EVERYDAY THEATRE WILL STORE OUR PERSONAL MEMORIES IN THE FORM OF OBJECTS IN A LONG-TERM ARCHIVE AND DATA CENTRE.”

THE NUCLEAR FAMILY

The future is remediated. As we become more aware of our impacts on the earth’s climate, we must also become aware of how we as people will inhabit the new climates we create.

One form of rapid change is nuclear climate change, a form that leaves ecosystems, waterways, air and communities catastrophically altered. In Fukushima’s ‘Difficult-To-Return’ zone, 2,000 people have returned illegally due to a lack of government support and connection to their old homes. These people live in family homes that aren’t suitable for protection against gamma radiation and ingest food and water heavily contaminated with alpha and beta radioisotopes, placing children and pregnant women particularly at extreme risk.

Prevalence of distrust in government bodies within these communities are high, as any remediation strategies used are made at a grand scale, and safety at the scale of communities and families is not prioritized. Official strategies also flatten whole towns for the sake of numbers, ruining communities and biodiversity.

In retaliation a new kind of community emerges. A community of guerrilla scientists who independently measure the safety of their own and their neighbors soil, water and atmosphere and who remediate their communities in new ways. These guerrilla scientists have a tangible connection to the impact of remediation, they are embracing experimentation by using mushrooms to absorb radiation from soil and atmosphere and through crowdfunded laboratories.

Although a promising rebellion, these practices can be strengthened by combining their efforts and housing all residents safely while maintaining connection to their home. The Nuclear Family therefore is a collective of like minded residents who actively create change to save their community. With specific attention to creating an architecture of safety, connectedness and utility, the new built form enables residents to rebel against governments whilst not sacrificing themselves or their families in the process. By expanding mushroom growing, cleaning and scientific practices; guerrilla residents can save more than just their own homes.

MASTER OF

KATE MAIDEN

GENESIS TIMELINE OF REMEDIATION

6 years 3.5 years

1.5 years

Gallery

Clay Making Sharing Space Sieve Space

SLOW CLAY CENTRE

In an increasingly fast-paced and urbanised world the pressures of life and work are increasing day by day. Coincidentally, how to relax is also getting more and more attention. People often say that they yearn for a slow life. So, how to slow down is a profound issue worthy of consideration. For me, making models by hand is an activity that helps me slow down. It is different from the common relaxation behaviors such as bathing, exercising, or enjoying food. It allows me to concentrate on the things at hand and enjoy the process of communicating with myself at the moment my own time. Creating handicrafts also enriches the spirit of the maker and produces a valuable output. Working with materials can help us better appreciate the value of slowness and help us engage with different registrars of time.

To focus on doing something is a good way to enjoy time slowly. Notably, many traditional cultural practices organise around handmade crafts, so, the proposal aims rekindle a relationship to traditional techniques and to encourage a slow life. A notable master of slowness is the Chinese clay-maker Zhang. The proposal aims to expand Zhang’s practice by creating a ‘Slow Clay Centre’.

Zhang uses a regional red clay as the main raw material of traditional clay sculpture because of its flexibility and plasticity. However this clay always cracks when it dries, so, this is improved this by mixing fibers such as cotton with clay. The process of preparing the raw materials requires manual completion, Therefore, the preparation process of clay is becomes a carrier to attract the public to participate and experience the process of handmade further. This introduces the program of a claybank as well as the clay studio. This project is sited in the CBD of Tianjin where is the origin of Zhang’s clay studio to remind people tradition and slow life can bring a more relaxing future.

YUAN

Step 8: Checking Well-done mixture should be that fibers are average distributed in the clay as picture shown. And there are not any air bubbles in it. After checking, the clay can be packaged with tarpaulin and sotred about 3 years.

Step 10: Storage By packaged with oil paper and sotred about 3 years, the clay and cotton can be mixed better. This step is called ‘Shu’ in Chinese, which means to be mature.

Step 10:

Cotton

Oil paper

Step 8: Checking Well-done mixture should be that fibers are average distributed in the clay as picture shown. And there are not any air bubbles in it. After checking, the clay can be packaged with tarpaulin and sotred about 3 years. to bale the clay like a brick.

Part 3: Strengthen Clay Cotton Cotton scraps

Strengthen Clay Clay when it is dry. No matter how beyond all recognition when could be one way to improve cotton are two different matters.

scraps Clay

Step 8: Checking Well-done mixture should be that fibers are average distributed in the clay as picture shown. And there are not any air bubbles in it. After checking, the clay can be packaged with tarpaulin and sotred about 3 years.

Storage By packaged with oil paper and sotred about 3 years, the clay and cotton can be mixed better. This step is called ‘Shu’ in Chinese, which means to be mature.

Step 1: Raw Material Selection Red clay is rich in iron and organic matter, and is a very good clay plastic material. The soil collected from nature is often mixed with many stones and larger particles of sand, which need to be removed.

Part 3: Strengthen Clay Mixing Cotton & Clay

Step

Step

Step 2: Picking Stone Break up clumped dirt and pick out rocks.

Part 3: Strengthen Clay Mixing Cotton &

Clay

Step 4: Adding water Make organic matter disslove in water.

Step 5: Flour sieve In this step, use a finer sieve than the previous step to remove coarser sand to make the clay more delicate.

Step 7:

Mixing Cotton & Clay

Clay is very easy to break into pieces when it is dry. No matter how exquisite the clay work is, it turns beyond all recognition when cracks.

So, adding fibrous matter like cotton could be one way to improve the adhesiveness of clay. Clay and cotton are two different matters. It is a laborious work to mix them together which can only be achieved through repeated beating. This dull act usually needs to be kept on for five or six hours. Throughly tempered, the fibers and clay are compeletely fused together. The fibers and clay are completely fused together.

Step 6:

Placed calmly & Reward

Let the mud be placed for about 24 hours. When the precipitation is complete, the water is carefully and quietly removed. In the remaining soil, for the bottom is the larger particle of sand, take the soil except the bottom as the final clay material.

Step 7:

Step

Cotton & Clay

Cotton Clay Clay Oil paper

Step 9: Package Use oil paper to bale the clay like a brick.

Step 8:

Checking

Well-done mixture should be that fibers are average distributed in the clay as picture shown. And there are not any air bubbles in it. After checking, the clay can be packaged with tarpaulin and sotred about 3 years.

Step 10: Storage By packaged with oil paper and sotred about 3 years, the clay and cotton can be mixed better. This step is called ‘Shu’ in Chinese, which means to be mature.

Cotton scraps Clay

REPAIRING

ANSTEY HILL QUARRY

This project introduces a design intervention to repair damage from mining at Anstey Hill quarry. A series of four interventions repair key issues and address key relationships to the environment: rubbish, lack of biodiversity, a toxic lake, and broader ecological relationships to site.

(1) Conservation. The conservation research centre acts as the brain behind repair based upon three components. Recycling rubbish collected from site and reusing to make habitats for native species whilst maintaining a clean and safe environment. Reintroduction of native bird Chestnut-rumped Heathwren with a breeding program increasing breeding areas from recycled materials. Plant cultivation using aquatic plants to naturally filter the quarry lake currently with high Ammonia levels due to lack of filtration, providing future scope for aquatic ecosystems.

(2) Ecosystem. The lookout is designed to blend into surroundings with floating architecture adding to landscape opposed to subtracting. This provides another dimension for appreciation of native ecosystems and witness the methods of repair by building relationships through interaction with humans and nature.

(3) Community. The cut in architecture mimicking a rock found on site consists of a filtration facility and diving centre where a two-stage filter is formulated to repair the lake into a safe and usable space for both humans and nature. A place to assemble as a community, the lake will act as a memento of returning what was taken (the rock) from site.

(4) Culture. The museum repairs relationships within the site human, quarry, and nature through three aspects: viewpoints, movement, and education. The views repair the relationship with nature and the quarry by opening views projected across lake with movement incorporated through descending staircase moving around cliff-face topography caused by quarrying. The museum develops our understanding of the site through surveying the damage from mining industries and previous repair methods. Together, these four buildings will work as one to repair the Anstey Hill Quarry into an ecofriendly space for both the ecosystem and humans.

(1) CONSERVATION

Plastic

Collected Plastic shredded Molded Melted Sheetpress

RESTORE RELATIONSHIPS THROUGH UNOBSTRUCTED VIEW

MOVEMENT

Plastic Plinth Plinth

Amonia

Amonia

Nitrogen Ammonium

N2

N2

Nitrification

Collected Plastic shredded Molded Melted Sheetpress Restore relationships through education Restore relationships through movement through unobstructed view points Restore relationships through education Restore relationships through movement

Nitrogen Ammonium

Nitrification

Released to atmosphere Uptake

Released to atmosphere Uptake

Algae C Decomposition Organic N

Nitrite ion Nitrate

Algae C Decomposition Organic N

Denitrification Nitrite Nitrate Nitrogen

Nitrite ion Nitrate

Denitrification Nitrite Nitrate Nitrogen UP UP UP

(1) CONSERVATION: THE MODEL DEMONSTRATES HOW THE PROPOSAL CONTINUES THE TOPOGRAPHY OF THE SITE

STUDIO MIRAI MORITA

ARE FULL OF WONDER. THEY ARE BEAUTIFUL AND STRONG. THEY HAVE DIFFERENT MEANINGS AND SYMBOLISMS FOR DIFFERENT CULTURES. THEY ARE IMPORTANT TO WILDLIFE. THEY ARE IMPORTANT TO HUMANS MENTALLY AND PHYSICALLY. TREES ARE IMPORTANT TO OUR PLANET.”

“TREES

Trees are amazing and are vital to this planet. In recent years, through final architecture projects, I have been exploring ideas of architecture which aims loves this beautiful planet. I’ve investigated the potentials of insects and waste in previous years, and this year we delved into Trees.

Trees are full of wonder. There are many different aspects to trees. They are beautiful and strong. They have different meanings and symbolisms for different cultures. They are important to wildlife. They are important to humans mentally and physically. Trees are important to our planet.

There are many different parts which makes up a tree which can be investigated. Trees can be planted inside and outside to create atmosphere for exhibitions and conferences and can raise awareness to the importance. Timber can be used and formed as powerful expressive art installations. There are various kinds of relationships architecture have with trees. Trees can become equal partners in buildings. Trees can become primary structure of largescale buildings. Timber structure can take dynamic forms and expressions.

Sometimes architecture works around existing trees, informing the form of the building. Or architecture can be built around an important tree. Architecture can aspire to be amongst the trees. And architecture can actively engage with trees as part of space making. Or architecture can take the form of tree house. Tree forks can be converted to structural elements. Live trees can be formed into functioning bridges. Trees can be formed and grafted and mixed with man-made material to form a structure, or using live trees mixed with man-made structure to grow houses. Possibilities are endless. Sky is the limit. What can we do to embrace the power of trees?

Students took this challenging task with stride and great intentions. Students brought their own interest onto the table to discover their own interest in trees. Students started by finding a tree that they were interested in. They researched into the tree they selected and extracted key characteristics which they translated into architecture project. Students choose the site, based on their interest, ideas and their selection of tree. The trees investigated included trees such mangroves, red gum tree,

“STUDENTS RESEARCHED INTO THE TREE THEY SELECTED AND EXTRACTED KEY CHARACTERISTICS WHICH THEY TRANSLATED INTO ARCHITECTURE PROJECT.”

bamboo and banyan tree. Rather than taking tree as a literal inspiration, one student found inspiration in mystical characteristics of mangrove and used its strength to reconsider human living condition to nature loving network of spaces in Jakarta. This project titled ‘Nest’ provides hopeful solutions to increasingly realistic problems humans face due to climate change. Another student chose to look into a natural phenomenon in rain forest where ants and a particular species of tree developed a mutual beneficial relationship which she translated the idea into wellness spaces for office workers in Japan. This project titled ‘Nursery’ interestingly addressed many other existing issues around Japanese working culture with unique and creative outcome, giving a positive spin into grim subjects. Another student explored the possibility of using living tree in architecture, building upon existing research, baubotanik, a building technique which combined living tree with man-made construction material, and developed a proposal for nurturing spaces for people at different stages of life. This project titled ‘Embracing Growth’ pushes boundary of green

architecture and wonderfully combines conventional building technique with trees, proposing a promising future for humans and natural environment.

Students opened doors into potentials of trees and architecture from unique perspectives. It is us humans’ responsibility to work better with natural environment. As architects, there is a lot more we can do to better. Students have used this final project as an opportunity to test and experiment with our relationship with trees. It was a challenging journey, but the outcome is fascinating and forward thinking and gives us hope that they will go out to the world with such considerations.

Good lock to all students with their bright futures ahead. I hope they continue to care about our natural environments including trees but so much more. I look forward to seeing their thinking, knowledge and skills put into practice to shape better world for both humans and nature in the future.

MIRAI MORITA Studio Leader

Devil’s Gardens are clearings in the typically diverse and dense Amazon rainforest where only one species of small tree, Duroia Hirsuta is allowed to grow. The local people believe these clearings were created by the once evil spirit the Chullachaki, who, as a result of intense logging is now regarded as a protector of the rainforest.

Recent studies on the Devil’s Gardens implicate the small lemon ant for the clearings. Ant and tree share a mutually beneficial relationship where the tree provides the ants safe housing in specifically adapted hollows called domatia, and the ants guard against pests and remove competing plants, allowing the gardens to grow.

I have mirrored the dynamics of the Devils Garden by selecting the main business district of Tokyo, Marunouchi as the ‘rainforest’. In this location, humans are the ‘ants’ that could benefit from a contrasting intervention in their built surroundings. Karoshi (death by over-work) has become an increasingly pertinent issue in Japan and slowly worldwide. Many workplaces are incorporating wellness rooms for the benefits to worker well-being, particularly the increases in productivity.

Nursery proposes an alternative wellness space, aimed at benefiting the workers first. Based on existing research which shows the presence of children helps foster more generous and prosocial behaviour in adults, Nursery will introduce a kindergarten alongside conventional wellness spaces like meditation and yoga.

The form is inspired by the formal “swelling” motions of the domatia, captured through an iteration of physical models constraining/binding foam. These forms created a soft typology starkly contrasting the blank office towers. Internal rooms were created by simplifying the intersecting swellings, playing on and with the collisions between adult and child.

The aim of this project is to support a gradual change in behaviour for these workers to value life outside of their offices. Similar to the evolution of the Chullachaki from evil to guardian, the children’s presence in offices transitions from a hindrance to protecting the workers.

FORM IS INSPIRED BY THE FORMAL “SWELLING” MOTIONS OF THE DOMATIA, CREATING A SOFT TYPOLOGY WHICH STARKLY CONTRASTS THE BLANK OFFICE TOWERS.”

“THE

Mangroves are a genus of tree that are typically found in tropical/warm regions along the saline swampcoastal lines. Although there are many aspects of a mangroves which drew my interest, I was more absorbed in the ephemeral nature of the mangroves, and their preference to grow as a forest community rather than singular units. This proclivity shows the mangrove forests as an ever expanding and growing network rather than an individual that lives and dies.

This reminded me of the film “The red turtle” which is about working with nature (her), accepting her, and her everchanging forms and human’s desire to joined her with open arms. The strengthening of this relationship, instead of human’s rejecting nature, improves the lives of humans.

Port Mura Angke in Jakarta, Indonesia was selected for the project site as mangroves are found along the shoreline. This region of the city is facing current and future issues of flooding due to subterranean aquafers collapsing and rising sea levels, both the result of human’s carelessness and failure to work with nature.

My proposal uses the qualities of the mangrove trees that were gathered to create architecture that can be home for the people of these flooding communities. By embracing the qualities of nature humans can live as part of nature in its everchanging environment.

This ethereal architectural cluster mirrors mangroves through enhancing the community aspects the current living conditions of the public by rethinking the idea of the house as a unit. The basic elements of the house for a singular family are broken and reconstructed as a community network along the street using permeant in impermanent materials. The new community lifecycle of the house aligns with the families that reside, and its inevitable decay is seen as part of nature’s course.

I am using flooding as an opportunity to rethink the idea of a house from the context of a singular family home to making the street home for the community. This new configuration moves away from the climate controlled, removed from natural conditions that reject nature and instead returns to it, embracing, accepting, and desiring it.

EMILY CLARKE

MANGROVE GROWTH

ETHEREAL ARCHITECTURAL CLUSTER MIRRORS MANGROVES THROUGH ENHANCING THE COMMUNITY ASPECTS THE CURRENT LIVING CONDITIONS OF THE PUBLIC BY RETHINKING THE IDEA OF THE HOUSE AS A UNIT.”

“THIS

EMBRACING GROWTH

ARCHITECTURE

The project is situated in Helen Mayo Park, Adelaide. The site is on the river Torrens where some level of ecology is maintained within Adelaide CBD, but is slightly neglected or underutilised at the moment. Dr. Helen Mayo, person who the park is named after, is regarded as essential to the efficiency and improvements of South Australia’s infant health system and midwifery.

the

with

JOHN ERWIN DE

Having to focus on a singular variety of flowering deciduous trees, Extractions are made with inspiration from cherry blossom petals and flowers, as the tree species carries widely known symbolism of the ephemerality of life, and the transience of existence.

Having to focus on a singular variety of flowering deciduous trees, Extractions are made with inspiration from cherry blossom petals and flowers, as the tree species carries widely known symbolism of the ephemerality of life, and the transience of existence.

Having to focus on a singular variety of flowering Extractions are made with inspiration from and flowers, as the tree species carries widely of the ephemerality of life, and the transience Inspiration for the formation of the extractions clusters of cherry blossoms within a branch. a physical model which appear as clusters interesting interactions of spaces in the interior the structures.

form generation

Inspiration for the formation of the extractions is taken from the clusters of cherry blossoms within a branch. This translated into a physical model which appear as clusters of petals to create interesting interactions of spaces in the interior and in between the structures. Extractions are developed into a model which represents

Inspiration for the formation of the extractions is taken from the clusters of cherry blossoms within a branch. This translated into a physical model which appear as clusters of petals to create interesting interactions of spaces in the interior and in between the structures.

1

LEON 169

The hospital, enhancement

The hospital, enhancement

Extractions are developed into a model which represents flower petals appear to naturally extend from a single point or branch. The physical into digital forms in multiple densities and scales to create in between with the circulation. These curved forms serve as a potential base in living architectural connections.

Extractions are developed into a model which represents flower petals appear to naturally extend from a single point or branch. The physical into digital forms in multiple densities and scales to create in between with the circulation. These curved forms serve as a potential base in living architectural connections.

form generation 2 3 4 Further

flower petals placed in clusters which

Flowering deciduous trees have beautiful blooming flowers and falling leaves which on average lasts a few weeks. This theme is the concept of cherishing and appreciating the time that is experienced with something or someone, the same as one might cherish the short time in viewing the flowering of these trees. This theme stems from the Japanese tradition of hanabi, the activity of flower viewing, which is widely done with cherry blossoms, a deciduous flowering tree.

1 : 5 0 0 s e c t i o n 1

Changes of life is the stages or growth in something or someone’s development such as birth, childhood, adulthood, and the end of life. This concept comes from the seasonal changes of deciduous flowering trees such as the Jacaranda and Chery Blossom and how fleeting these moments are. The theme is associated with the cherishing time concept as the short-lasting moments of the jacaranda and the cherry blossom blooming is why they are both celebrated and appreciated.

Just as the trees can provide changing experiences, the architecture should have the same concept. Using methods which combine living and man-made architecture, the structure can have the concept of having the ability to give occupants changing experience and adapting to the seasons by having the structure be made out of the tree itself, connecting to the concept of changes of life.

Providing a post-natal retreat to support new mothers in a nurturing environment that provides for their needs in comfort while being closer to nature.

Providing the elderly with spaces of comfort and relaxation close to greenery and nature in order to create an environment which eases them in their current stage of life.

The interactions of post-natal mothers, their children, the elderly, and families creates a nurturing community of interaction, sharing of knowledge, in supporting one another in their current stages of life.

At the final stage of life those who choose can be buried beneath a tree which serves as memoriam, as well as contribute to creating the environment which they have spent their final moments in. A shift to a new cycle of life.

Climbing Wisteria is formed over the structure to create a canopy in between the structures. Metal bars fixed to the concrete building form is used to form the tree until inosculation occurs, and the growth of the tree over time engulfs the bars forming a rigid composite structure of manmade and living.

Wisteria is bolted to the wall with straps and pleached on the cable tension wire in order to create a canopy and shade majority of the larger openings in between structures. The in between spaces of the building is used grow various climbing species to be used as a canopy or to climb the walls to encapsulate the building.

program concepts

community final life start of life end of life

“WORKING WITH THEMES OF LIVING-TECHNICAL COMPOSITE STRUCTURES AND FLOWERING DECIDUOUS TREES, MY PROJECT AIMS TO CREATE AN ALTERNATIVE MORE NATURAL NURTURING ENVIRONMENT”

A metal frame fixed to the CLT columns holding the roots of pre-planted Ficus Microcapra, Wisteria, and other vine species such as Star Jasmine using espalier methods. The roots of the Ficus can be joined and fixed together in order to create a facade that will serve as a component for vines to climb. A fully grown system can be fixed to the columns and the metal frame removed.

DETAIL 4 - ROOT & VINE CONNECTION TO FRAME

ABOVE UNDER WATER

I chose Mangrove tree as the starting inspiration of my final project. Mangroves are a type of tree that thrives on the coastline (between ocean and land). They can survive both in fresh water and brackish water. Another feature of mangrove is tangled network of rooting. Those roots and branches stand strongly against disaster like tsunami and cyclone. Their rich network of roots and branches provide excellent habitats to many wildlife including marine life.

Taking inspirations from above mentioned characteristics of mangroves, my project explores an architecture that works with both above water and under water. How can architecture deal with the boundary between water and land? What if we bring humans, who are usually above water, under water and bring water, which is usually under water, above water line? Mangroves provide habitat for ocean creatures under water, I proposed underwater habitat for humans.

The project is located in Magnetic island Queensland, near one of the richest marine life habitats, the Great Barrier Reef is situated. The form of the architecture is inspired by the characteristics of the mangrove trees, including the network of roots, trunks, and branches.

Marine life is threatened by global warming. Corals are dying, coral is crucial to ocean eco-system. My project will be a research facility and tourist hub. The research facility will be used for studying climate-resilient corals. The resilient coral works as an opportunity to address and find alternative ways that possibly improves the worsening ocean condition incurred by climate change. Tourist program which includes accommodation, aquarium, restaurants, education, will provide us an opportunity to live underwater, helping us to build a better understanding of aquatic ecosystem.

“MANGROVES PROVIDE HABITAT FOR OCEAN CREATURES UNDER WATER, I PROPOSED UNDERWATER HABITAT FOR HUMANS.”

New construction- space inside one of the added element

GROWING STRENGTH

My project is inspired by the banyan tree, a strangler fig, native to the Indian subcontinent. In particular, Banyan tree are known for their aerial roots, which provide strength and stability to the tree as it grows and expands horizontally over large distances. Further, the aerial roots are known to destroy man made structures like roads in the quest to grow indefinitely.

Although, initially these roots act as parasites and strangle the host plant, I considered their character of reinforcing the tree structure, by becoming stout and sturdy when they finally reach the ground and supporting the banyan tree to grow stronger in the area.

The site for the project is an abandoned construction site (47 acre) located in Mumbai, India which was meant to be a socio-economic redevelopment housing project but was not completed, displacing 672 families.

The project physically manifests the aerial root twisted forms to create structural reinforced elements to an existing building, while also creating spaces to strengthen the program. These new structures surround the prevailing building, similar to the roots of the banyan tree surrounding the host plant, and eat into the existing building’s columns and floor plates replacing it with the new construction.

The aim of the project is to boost the displaced community by providing them with alternate living conditions to make them self-sufficient as much as possible in an expensive city. This is achieved by providing urban vertical farming, market, cattle tending area that complement the residential program and the project aim. The adaptation of these mixed-use programs in a single building complex would help the residents to strengthen their foothold in the society while increasing the bonds between them. My proposed project which combines the green vertical farm and residential program brings back the displaced green nature and the people back into the city. It further helps humans and nature to thrive alongside each other showcasing a healthy relationship which is otherwise absent in cities.

NIMISHA

Flexible area for customisable spaces by residents.

STRUCTURE

“THE AIM OF THE PROJECT IS TO BOOST THE DISPLACED COMMUNITY BY PROVIDING THEM WITH ALTERNATE LIVING CONDITIONS TO MAKE THEM SELF-SUFFICIENT AS MUCH AS POSSIBLE.”

BAMBOO HUB

Bamboo has many characteristics and strengths. Bamboo grows and spreads rapidly creating a tranquil atmosphere like the forest. Bamboo is extremely versatile, and its products are biodegradable and sustainable. In recent years bamboo is gaining much interest as building material as well as products.

My proposal is in Chanba Reservoir, Xi’an City, Shaanxi Province, in the Qinling Mountains. It is the largest bamboo forest in Northwest China, covering an area of about 30 hectares. The site offers unique terrain and the capacity to use bamboo as the main material of the building working with the existing bamboo forest. My aim is to use these conditions to explore opportunities to integrate people with nature in a non-resisting way.

Bamboo growing on site is Chinese native bamboo species, moso bamboo, known for its high strength and toughness which is suited for building material. The project works with the existing topography in the site integrating bamboo and modern human life without destroying the existing bamboo forest. My architecture expresses the toughness and composition of bamboo in design.

This bamboo complex is an exploration of sustainable building materials, promoting local development by creating an ecologically closed-loop bamboo experience, which is sown and grown like a seed, symbolizing our hope for the future of bamboo as a way of life and dreams – a more livable environment for our next generation. In addition, increasing the use of more sustainable building materials in harmony with the environment strengthens the intimacy between man and nature. My proposal includes three buildings nestled in the bamboo forest. One building accommodates restaurants and lounges. Another building is a hotel for visitors and staff. Third building is a bamboo processing factory, which can make bamboo beer and all bamboo derivatives to maximize the use of bamboo. These three buildings reflect a coherent architectural space by mixing structures and weaving techniques.

My project aims to work with the local culture and integrate the bamboo forest and landscape to develop a bamboo hub and ecological journey based on bamboo within the site. When people enter space, they can feel the tranquil atmosphere together with the balance between architecture and nature, while exploring the possibilities of bamboo as a Biodegradable, sustainable material as well as atmosphere.

STUDIO PETER SCRIVER

“BUILDINGS ALSO EMBODY THE ENERGY AND RESOURCES INVESTED IN THEIR DESIGN AND CONSTRUCTION, AND BECOME RECEPTACLES OF CULTURAL MEMORY AS THEY LIVE-ON AND AGE.”

Lin Xin Chao Virali Jayeshkumar Patel

This studio explores ‘Architecture’ in the broadest of understandings, as the embodiment of social order and values in physical form and space. Conversely, architecture has often been conceived as a tool to construct and constrain cultural practices through the design of fit-for-purpose microcosms – worlds within worlds – for the users that they serve. Indeed, social engineering in that sense could be regarded as one of the prime functions of institutional architectures such as schools, along with hospitals, military barracks, and prisons. But even everyday commercial and industrial workplaces, as well as places of leisure and community such as hotels, community centres and places of worship can constrain rather than sustain social growth and wellbeing.

Buildings also embody the energy and resources invested in their design and construction, and become receptacles of cultural memory as they live-on and age. They may therefore evoke strong emotions as well – comforting or disturbing depending on the case – for the

communities that they accommodate, or for whom they are the familiar and enduring features of the built environment around them.

But how can past architectures help us re-imagine future design possibilities, when the world around a building changes, or when the former worlds within the institutions or industries that gave those buildings their original forms have vanished? How can the built fabric and intrinsic order of such structures be adapted to new purposes or cultural practices? And, how might the tectonic culture of redundant architecture be re-engaged creatively to assist rather than resist growth and change?

This year, students who chose to address these core questions in this research-studio option were asked to re-examine the form and function of the ‘school’ as a type of institutional architecture that can shape the lives of young people profoundly, for better or for worse. Instigated by major ongoing SA Government investment in new and retrofitted school infrastructure –including the building of a major new

“BUT HOW CAN PAST ARCHITECTURES HELP US RE-IMAGINE FUTURE DESIGN POSSIBILITIES, WHEN THE WORLD AROUND A BUILDING CHANGES, OR WHEN THE FORMER WORLDS WITHIN THE INSTITUTIONS OR INDUSTRIES THAT GAVE THOSE BUILDINGS THEIR ORIGINAL FORMS HAVE VANISHED?”

secondary school in the Adelaide metropolitan region – students were asked to explore how outmoded school buildings or other redundant architectures (institutional, industrial, commercial or communal) could be creatively expanded and re-imagined for re-use as inspiring new places of learning and healthy social growth and development for 21st century youth.

In each case the student was required to begin with an intensive physical, historical, and qualitative design documentation and deconstruction of the existing fabric of their self-selected building/site. Each then developed an original brief and design proposal for how that fabric could be sensitively but creatively adapted to accommodate the social as well as the educational needs of future generations of high school students, reflecting specific curricular and/or communal foci in each case.

This year the selected sites on which each student developed their own brief and scheme for adaptivere-use for residential included seven different heritage places in Adelaide, some of which have had

difficult histories, as well as a disused out-patient clinic of the former Royal Adelaide Hospital . Two additional sites in China – a former shipyard in Shanghai, and a pioneering example of early modernist hotel architecture in Qingdao – were re-imagined as next generation secondary schools for Chinese youth by students working remotely in those cities.

ASSOC. PROF. PETER SCRIVER Studio Leader

GENESIS

GENESIS

TYPOLOGY STUDY

TYPOLOGY STUDY

TYPOLOGY STUDY

COMMON VALUE FOUND--EMPATHY

COMMON VALUE FOUND--EMPATHY

VALUE OF SWAPPABILITY

VALUE OF SWAPPABILITY

H.O.M.E

This project explored the tangible and intangible aspects of a former clinical building located at 279 North Terrace, and its potential adaptive reuse as temporary housing. Keywords were standardisation, grids, division, and upgradability.

Initial research investigated parallels between the modular division of space in hospital architecture and standardisation in modern housing. The final scheme explores a fusion of both. It maintains important aspects and characteristics of the original structure, but optimises this for residential purposes by integrating additional sub-structural components with modular living blocks that enable flexible, scalable and upgradable internal planning. Upgradability allows for personalization and sense of belonging: both essential qualities of ‘home’, as defined in this project. Demographically, the scheme attempts to make a home and refuge from harsh street living for both young people and old. This requires different configurations of living patterns designed for easy substitution and upgrading to ensure living essentials, on one hand, but the possibility of personalising space and enriching living experience at the same time. For example, internal paneling and modular systems can be quickly deployed for easy spatial division or addition when needed. When no longer required, however, these modular elements can be retracted, removed and re-deployed to somewhere else. This method contributes to creating more meaningful living spaces, and sense of belonging.

An Important aspect of the living mode developed is the duration of stay. To satisfy the vision of the client (Renewal SA) of deployablity, stays range from short-term accommodation to temporary dwelling. The design therefore maximizes the living opportunity of the space, making use of roof terraces as social spaces in daytime and temporary living spaces at night.

TEMPORARYMODELIVING

MODULESLIVING

final drawing (not to scale,

final drawing first floor (not to scale, please refer to poster)

DRAWINGvector graphic

DRAWINGvector graphic

1层

HABITAT BEYOND SHELTER

Lochiel Park House, the historic site of this project, initially functioned as a stately settler-colonial homestead, but later became a resdiential ‘home’ for boys. For close to half a century (1940s-1990s) in this inistituional role, the house effectively served as a juvelnile training and correctional facility in which young boys were subjected to serious mental and physical harm. Today, the old house sits empty amidst its beautiful wooded surroundings in Adelaide’s eastern suburbs, still reflecting the pain of its past.

But, what if the historic house could be simultaneously conserved and transformed in its salubrious context? Could a few cuts and additions to the surviving fabric have a more positive impact on the community than did its troubed past? The present project – RE HAB –takes direct corrective action for past misdeeds by adaptively redesigning this historic site for a more positive new use as a residential clinic for re-habilitation from substance abuse. Adolescent depression and substance abuse are closely related. The drug abuse that the child inmates of the former boys home-cum-training center were exposed to had adverse effects on their mental health and abilities. Formulating my program and concepts around the intangible aspect of the past seeks to bring a brighter future to the next generations who face the same problems in the same or different contexts. Reorienting the structure with interventions cannot undo all these sufferings and memories, but acts as an empathetic step to understand the facts and work towards a more positive and less-oppressive environment.

“FORMULATING MY PROGRAM AND CONCEPTS AROUND THE INTANGIBLE ASPECT OF THE PAST SEEKS TO BRING A BRIGHTER FUTURE TO THE NEXT GENERATIONS WHO FACE THE SAME PROBLEMS IN THE SAME OR DIFFERENT CONTEXTS.”

GROUND PAINTED

TIMBER PITCH ROOF 197

FIRST

In this project, the systemic pain and abuse experienced within the walls of Hobbs House, Lochiel Park, are transformed into a space for healing and recuperation.

The initial perception of this Victorian manor home was significantly altered when uncovering its past. Discovery of the abuse that occurred in this once stately residence, later repurposed as a ‘Boys’ Home’, was a leading factor in generating the final proposal. Although it is a notable remnant of the Victorian Italianate style of its day, the significance of the house is not its architecture but what lies within the history it carries.

The testimonies of the boys led to the use of AI to generate images based on their emotions. This was done by analyzing the testimonies and extracting key phrases that related to their feelings, emotions, pain, suffering, and spatial experiences. By using a tool that can be described as “lacking empathy”, a true understanding of those emotions can be felt, without the human bias clouding judgment. Whilst the images carried heavy visual significance, they had limited architectural use. By extracting more visually prominent lines within the images themselves, the architectural components were refined. This experimentation led to a more successful outcome from which spaces that were once the cause of the pain, can now create spaces for healing.

Hobbs House, being the space that carried pain and suffering, was approached with a much more symbolic and ethical intervention. Hobbs House is now therapy for the people residing within this Sexual Abuse Shelter. It allows people to grow and nurture a plant or tree within the walls of the house. This nurturing of the plant will also mirror their healing and recuperation. As more people pass through the shelter and get back on their feet, the emotional pain associated with the house will be replaced by healing and growth.

Bias

Walls of Anxiety

Bedrooms of Pain

A House of Pain and Solitude

Full of Rooms of Despair Spaces of Terror

SECURITY COMMUNITY

“HOBBS HOUSE, BEING THE SPACE THAT CARRIED PAIN AND SUFFERING, WAS APPROACHED WITH A MUCH MORE SYMBOLIC AND ETHICAL INTERVENTION.”

RECLAIM HOMES: ADAPTIVE REUSE OF THE FORMER KENT TOWN BREWERY

Reclaim Homes is a scheme for the adaptive reuse of the Brewery Apartments in Kent Town. It aims to be a middle ground, a gateway bridge to aid those seeking affordable housing. In the context of the current postpandemic housing crisis many find themselves in a state of housing stress or on the way towards homelessness. With such high demand there are few options for those in need of affordable housing, with limited existing supply already at maximum capacity.

Reclaim Homes is a scheme that provides short-term housing solutions, within the solid and secure stone walls of one of Adelaide’s longest-standing heritage structures. The process of stone quarrying and its significance in the building history of the city offers three inspirational metaphors for how the process of re-housing is conceived in this project. ‘Discovery’, ‘Develop’ and ‘Reclaim’ – the respective stages in the life-cycle of the quarries from which the stones were cut to build the architectural fabric and early industrial infrastructure of Adelaide – represent three phases in the lives of the potentially homeless tenants of Reclaim Homes during their period of stay (maximum two years) that the re-purposed fabric of the former brewery seeks to support.

The design of Reclaim Homes celebrates its heritage architecture, conserving the integrity of the stone façade, but substantially retrofitting the interior of the brewery to new purposes. In addition to residential accommodation additional functions and revenue-raising uses are integrated to cross-subsidise affordability for the residential tenants. In particular the original concrete silos are reamed-out to create more exciting spaces for a mix use hub for both tenants, government workers, doctors, and private business houses.

Gensis: Site History 1967-1995

TION

ed around an original eserving that structure ompassing it inside a new

RENOVATION

preserving the building ’s

FACADISM

The process is known as a facadectomy

preserving a building ’s facade while demolishing the bulk of the rest of the building to replace it with a modern structure.

INTEGRATION

FACADISM

The process is known as a facadectomy

Living Space

ONE PLAN

Goverment Office (for placement into Short Term housing unit)

Level One Floor Plan

INTEGRATION RENOVATION ADAPTIVE REUSE PRINCIPLES 204

INFRASTRUCTURE

is constructed around an original structure, preserving that structure while encompassing it inside a new building.

INFRATRUCTURE

focuses on buildings, some of the projects transform outdated and or unused infrastructure into community features

preserving a building ’s facade while demolishing the bulk of the rest of the building to replace it with a modern structure.

INFRA focuses projects unused community

West Elevation WEST ELEVATION

NORTH ELEVATION SECTION

MUSICAL PLAYGROUND

This site is 279 North Terrace, Adelaide, the former chest clinic of the Adelaide Royal Hospital, which has been abandoned for several years. The project re-purposes the building temporarily as a response to the current housing crisis in South Australia. Through this small pilotstudy, a universal plug-in modular system for temporary emergency housing purposes is developed. Designed to be both low-cost and re-usable, it could be efficiently dismantled and re-installed in other redundant buildings of similar typology.

The design also attempts to harmonise the needs of different demographics, the first floor accommodating both homeless families and individual youths, while the ground supports disabled residents. Conceptually, the design explores an analogy between music and architecture, inspired by the prior use of the site for a dance hall and key music venue in the social life of the city. Architecturally, the basic building, like the ‘base’ lines of music, supports the basic (shared) needs of the residents while their higher (individual) needs correlate with the ‘melody’ of the composition. Like two different musical instruments in dialogue, the inserted temporary structures modulate and differentiate the spaces and functions implied by the structure and services of the existing building, Different people, with different needs play their individual melodies on a common ‘harmonising’ base.

Materiality has also been considered carefully. The existing building was constructed in two stages. Initially clad with heavy precast concrete panels, the later stage was finished with thinner more evenly textured metal panels. Thinner still, paper and cardboard are the primary materials used to adapt the interior. Green and flexible, the modular system allows for easy transport, installation and dismantling, and can therefore be adapted to other buildings at low cost. The ceiling of the paper system is translucent, but the walls are double layered with insulation between to ensure some visual and acoustic privacy.

STUDIO AMIT SRIVASTAVA

“THE PROJECTS THIS YEAR SHOW A BREADTH OF TOPICS DEALING WITH VARIOUS ASPECTS OF HUMAN HABITATION ON THE MOON.”

The Lunar Habitation studio works in collaboration with the Andy Thomas Centre for Space Resources (ATCSR) to connect with a university-wide network on space research. This includes the research on technical issues relating to automation and construction led by the Lunar Construction Group (LCG), as well as the research on human and psycho-social concerns led by the Deep Space Habitation Group (DSHG). We are particularly thankful for the support provided by Kevin Farries and Monika Stankiewicz, and would like to acknowledge the contribution of the parallel psychology internship program run by Prof. Deborah Turnbull. This year the studio was further supported by our industry partners at Grieve Gillett Andersen Architects, and we are thankful for the student mentorship provided by Jody Allen, Tim Fenton and Enzo Ferraro. The collaboration with GGA Architects was coordinated by Nancy Spork and directly supported by Dimitty Andersen. Additionally, students also received guidance in Augmented Reality Visualisations from Utsav Mathur at GMetriXR.

In the studio, students are encouraged to explore design research in one of three areas of investigation. First is the technical challenges of construction on the Moon. This includes consideration of

payload management, construction materials, and automation of construction. They also need to address environmental concerns such as extreme temperatures, radiation, and micro-meteorites. Students are expected to follow NASA’s In-Situ Resource Utilisation (ISRU) protocol and use local materials for construction where possible. They work closely with civil, structural, and mechanical engineers to understand the latest research and aim to build upon that to provide appropriate design solutions. Second is the consideration of the human psychosocial dimension. Here students take into account the physiological impact of human presence in space and account for changes in human movement, sense perception, and circadian rhythm. They further consider the psychological challenges of being far from home in inhospitable conditions living at close quarters with others. Finally, students are encouraged to consider the broader social and cultural impact of lunar habitation in the way we perceive human cultural values and communicate them through architecture.

The projects this year show a breadth of topics dealing with various aspects of human habitation on the Moon. We have an exploration of different construction

“STUDENTS WORK CLOSELY WITH CIVIL, STRUCTURAL, AND MECHANICAL ENGINEERS TO UNDERSTAND THE LATEST RESEARCH AND AIM TO BUILD UPON THAT TO PROVIDE APPROPRIATE DESIGN SOLUTIONS.”

materials from sintered regolith based interlocking blocks to mycelium-based structures made from radiotrophic fungi. Projects have further explored the advantages of using pneumatic structures for temporary habitation when exploring the lava-tubes underneath the lunar surface or capturing and storing essential gases for expanding human settlement in the future. Focusing on the human experience of lunar habitation, one project investigates the changes in human movement in lunar gravity and challenges the spatial and programmatic preconceptions of architecture. Similarly, another project reconsiders the need for daylighting and colour when dealing with high temperature and radiation to explore new methods of light manipulation and create atmospheric interiors for specific programmatic requirements. Finally, two projects deal with broader human cultural issues concerning inter-planetary resource exploitation and the search for extra-terrestrial intelligence. Here, they engage theoretical frameworks of Literary or Narrative Architecture and build upon the linguistic structures of architectural form and form making.

The Final Architecture Project offers an opportunity to both inspire and challenge the students through the establishment of a unique design project. Beyond setting up

an inspiring and exciting design opportunity, this process also tests the limits of disciplinary knowledge and challenges any inherent assumptions about the profession. By setting up a project in outer space, we have removed the framework of design and construction available to students in a standard urban practice and forced them to deal with all aspects of the design and construction process.

A complete systemic approach to construction that looks at bringing together automation, materiality and form development will provide considerable benefits for defining the next era of design activities on Earth. Furthermore, the insights into human psychological wellbeing in extreme environments of the Moon will provide a basis for creating better solutions for human habitation in remote conditions like mining, or simply enhancing psycho-social behaviour through design.

It is expected that understanding these aspects of the discipline in an alien environment will make these students more attuned to the importance of continually innovating and updating disciplinary understanding and set them up for the profession of the future.

DR AMIT SRIVASTAVA Studio Leader

ON THE MOON

The project investigates lighting conditions for a lunar habitat based around the south pole. On the one hand the design addresses the challenges of extreme heat and radiation from direct sunlight through architectural techniques for capturing and storing daylight in this context. On the other hand, the design explores the psychological impact of light and colour on the inhabitants and aims to generate a range of atmospheric solutions. The design process employs pioneering AI visualization techniques based on established architectural precedents to create atmospheres that are used as generators of architectural forms.

Primarily, the project is based on the concept of creating various atmospheric effects by capturing and manipulating sunlight using different techniques and using it to provide a spectrum of colours. We recognise that each colour will have a certain psychological impact on the inhabitants. Using warm colours for instance, can create a visually comfortable and relaxing atmosphere, while cool colours can increase performance and reduce stress. The final design, thus, explores 5 types of atmospherics conditions which were developed using several architectural precedents from architects that use light and colour in their work, such as Peter Zumthor or Luis Barragan.

The precedents were divided into 5 sets and used to generate new interior atmospheres using an AI image generator. Each set defined a certain interior atmosphere, such as appropriate for living areas, leisure or work etc. Starting with these AI visualisation, the design then aimed to develop the required architectural form by incorporating the movement of the Sun around the Lunar South Pole. The project required further research and experimentation into methods of protecting against extreme heat and radiation where lead filters as well as spectral diffusers were employed to manipulate the light. While further research is still required, this project begins the conversation into an important topic of future space exploration which addresses human psychological needs for light and colour.

“THE PROJECT IS BASED ON THE CONCEPT OF CREATING VARIOUS ATMOSPHERIC EFFECTS BY CAPTURING AND MANIPULATING SUNLIGHT USING DIFFERENT TECHNIQUES AND USING IT TO PROVIDE A SPECTRUM OF COLOURS.”

PRISMATIC SHIFT RADIATION & HEAT PROTECTION

inflatable exterior

axonometric

LUNAR EXPLORATION VEHICLE

Getting to the Moon is an expensive endeavour. Transporting materials to create a functional moon base is a different beast altogether. As such we are always looking for solutions that minimise our requirement to carry construction materials to the moon. Lunar lava-tubes, which are cavernous voids formed after the eruption of basaltic lava, are currently being explored as potential enclosures for human habitat. These spaces can be as wide as 500 meters and can be entered via lunar ‘skylights’ which are openings on the surface of the moon providing access to these lavatubes. As the lava-tubes are located deep under the surface of the moon, they will provide protection from harmful cosmic radiation and meteorite impacts. Accordingly, this project explores deploy-able and inflatable structures that can be used within the protected environment of these lavatubes as a viable solution for human habitation.

This project focuses on the nature of transient living and exploration as a whole, proposing a mobile and inflatable base situated on the interior of one of these lava tubes. This proposed base would only take up a fraction of its volume when deflated and wouldn’t be as expensive to transport to the moon. The vehicle would arrive on the lunar surface in a deflated state, with its large rear component being inflated only after it has found a suitable location within the lava-tube. The Pneumatic Lunar Exploration Vehicle (PLEV)’s inflatable exterior will be made of a Vectranbased material that can withstand the cold temperatures of the lunar base as well as an additional 8 layers that act as redundant barriers and internal insulation. These inflatables would be operated by electric pumps, with the redundant layers helping with maintaining the internal pressure within the inhabitable areas. Since the PLEV would feature inflatable technology at various scales - from entire rooms to furniture - the resultant technology could also be translated into projects on Earth to help define an emergent Pneumatic Architecture.

section

section

MUSEUM OF ANARCHY – TRANSLATIONS OF DUNE

This project moves away from pragmatic issues of construction on the moon and considers the cultural basis of human intervention beyond our planet. Through the mechanism of ‘literary architecture’ the project engages the cult classic sci-fi novel Dune by Frank Herbert, to provide a commentary on inter-planetary resource exploitation. In the novel we find references to the mining of ‘spice’ an ultimate resource coveted by all, which is similar to the proposed aspirations for mining Helium-3 from the moon. The project then uses the various visualisations of the narrative offered in the sci-fi novel to explore how architecture can be used to reflect a similar cultural critique.

The design process started with analysing previous reimaginations of the book in various movies, TV series and graphic novel format. These were ultimately limited to 5 key moments in the narrative which were further explored through a two-step process. For the first part, the project used a methodology developed by architect Bernard Tschumi which explores the notion of ‘event’ through a series of points and vectors. Here the 5 key moments are expressed through a juxtaposition of the main characters as a system of points connected through spatial vectors, which are finally translated into surface systems defining the overall form of the building. In the next step, the interior expression of these spaces is explored through a metaphoric expression of the character’s inner development. Here the architectural tools of atmosphere, colour, light and materiality are deployed to create a meaningful interior experience.

The final design brings these disjointed atmospheric parts into a cohesive series of experiences exploring the rationalisation of and challenges to interplanetary resource exploitation. Curating such an experiential narrative, the building can ultimately serve as a memorial or a museum that marks the end of an era of human reliance on exhaustible planetary resources.

“THROUGH THE MECHANISM OF ‘LITERARY ARCHITECTURE’ THE PROJECT ENGAGES THE CULT CLASSIC SCI-FI NOVEL DUNE BY FRANK HERBERT, TO PROVIDE A COMMENTARY ON INTERPLANETARY RESOURCE EXPLOITATION.” SECTION B

B

LUNAR REHABILITATION LABORATORY

The inspiration for this project came from the awkward movement of astronauts under lunar gravity, which is only one sixth of that on Earth. Accordingly, the design aims to explore the challenges of human movement in lunar gravity and consider its impact on the architectural form as well as occupant adaptations of space. As a human outpost on the moon, the design will not only respond to the architectural needs of such movement, but also provide opportunities for rehabilitation to support the physical and mental well-being of the inhabitants.

The project starts with an exploration of human movement patterns and combines them with corresponding adaptions of minimal surface forms. It further engages the notion of ‘play’ to reimagine these architectural spaces and develops a new formal vocabulary appropriate for the lunar context. It borrows from the work of Toyo Ito, as explored in the Taichung Metropolitan Opera House and the Sendai Mediatheque. These projects challenge the basic elements of modern architecture, as the use of minimal surfaces breaks through the long-standing vocabulary of flat walls and floors. Additionally, the Sendai Mediatheque demonstrates how columns not only acts as a supporting element, but can also define spaces for movement. The context of the moon allows for a new opportunity to explore these ideas within a low gravity environment where their potential can be fully realised.

With gravity on Earth, architectural forms support the natural coordinate system of human movement. This allows humans to distinguish directions and keep balance through their movements. However, these frameworks need to be reconsidered for the gravity on the Moon. Here, the minimal surface design can create a sense of fluidity appropriate to the lower gravity and the floors can be tilted to suit the altered angle of vision. Furthermore, since humans do not need to walk along a surface in a line, diversity of movement can allow for different types of spatial interpenetration. In my design experiments, I have employed human movement to reimagine architectural form and I believe the project helps us recognise the intimate relationship between human mobility and architectural forms.

“WITH GRAVITY ON EARTH, ARCHITECTURAL FORMS SUPPORT THE NATURAL COORDINATE SYSTEM OF HUMAN MOVEMENT. HOWEVER, THESE FRAMEWORKS NEED TO BE RECONSIDERED FOR THE GRAVITY ON THE MOON.”

LUNAR REGOLITH

NANOPOROUS LAYER

PIPE DREAM

This project explores the production and storage of essential gases in the process of mining lunar resources. The architectural response builds on these industrial processes and highlights the service components in accordance with the High-Tech movement in architecture. It engages with the aesthetics of pipes in industrial landscapes, but particularly explores pneumatic systems used for the storage of gases. Here the philosophical metaphor of Sloterdijk’s Bubbles is deployed to highlight the interconnectedness of such human-systems as part of the ‘closed-loop’ systems approach.

There is no atmosphere on the moon, but we need these essential gases for our survival. Therefore, the project focuses on capturing the necessary gases for sustaining human life by mining the surface of the moon and storing it for future use. Mining, however, comes with negative connotations and as a designer it is important to consider how we can change the perception of this process by highlighting its importance and inherent value for mankind. The design, thus, works to not only provide a practicable solution to the mining process, but also aims to reveal the beauty of its industrial aesthetic.

In particular, the design explores the earthly perception of gases and the way their presence and movement can be expressed, to create an aspirational form for the lunar structure. This allowed for the design to not only provide for a complex layered aesthetic of an industrial landscape, but also use the form of ‘bubbles’ to bring focus to the ultimate outcome of capturing essential gases. The pneumatic structures used not only serve as effective storage for the gases but also mimic the atmospheric movement to highlight their importance for our long-term presence on the moon.

“THE

western elevation 1:2000

western elevation 1:2000 southern elevation 1:2000

eastern elevation 1:2000

northern elevation 1:2000

western elevation 1:2000 southern elevation 1:2000

western elevation 1:2000 southern elevation 1:2000

mining/living

southern

elevation 1:2000

eastern elevation 1:2000 PROJECT FOCUSES ON CAPTURING THE NECESSARY GASES FOR SUSTAINING HUMAN LIFE BY MINING THE SURFACE OF THE MOON AND STORING IT FOR FUTURE USE.” 237

ET

RESEARCH CENTRE

Since the 1970s mankind has been making efforts to search for extra-terrestrial civilizations. The SETI program was established to scan the universe for ET intelligence, and the subsequent formation of the METI program is proof of mankind’s desire to establish contact with extra-terrestrial civilizations. Through the Pioneer and Voyager missions, that carried messages for alien intelligence, mankind had already set in place a process of inter-planetary communication. This project takes that idea further and intersects it with the language of architecture, that often uses the spatial arrangement of signs and symbols to communicate nonverbal cultural meaning.

The design process started with collecting images of UFO sightings and working with the hypothesis that these might be actual attempts at communication by extra-terrestrial intelligence. This set of shapes, symbols and movements were then considered through linguistic frameworks to attempt potential syntactical structures that would define the exterior and interior of an architectural built form. These linguistic modules, put together in an architectural spatial configuration, form a three-dimensional puzzle that can be read in many different ways to create potential ‘sentences’. The architecture then becomes an exploration of syntactical configurations of these alien forms to mark an attempt at conveying meaning. This process is most clearly articulated on the exterior of the building, but the interior and the building skin are also designed in a manner that the symbols can be read from various vantage points and remind the user of their purpose.

Pioneer, Voyager Research - Human exploration of extraterrestr

Pioneer, Voyager Research - Human exploration of extraterrest

Pioneer, Voyager Research - Human exploration of extraterrest

The proposal for an ET Communications Research Centre on the Moon extends the work of the SETI and METI program as it will make it easier to observe the universe for signs of intelligence and reach out to potential intelligent life out there. Finally, as a human outpost, the centre on the Moon also acts as a gateway to Earth, and clearly presents a united front for potential communication with any visitors from outer space.

The way: Purpose: Language/symbols: system

The way: Purpose: Language/symbols: system

The way: Purpose: Language/symbols: system

Name:

Name: The symbols The way: Purpose: by the probe. Languages/symbols: greetings

Name: The symbols The way: Purpose: by the Languages/symbols: greetings

Name:

Name: The symbols The way: Purpose: by the Languages/symbols: greetings

Name:

“THE DESIGN PROCESS STARTED WITH COLLECTING IMAGES OF UFO SIGHTINGS AND WORKING WITH THE HYPOTHESIS THAT THESE MIGHT BE ACTUAL ATTEMPTS AT COMMUNICATION BY EXTRA-TERRESTRIAL INTELLIGENCE.”

MATERIALS - LEAD GLASS ENERGY - SOLAR BUILDING WALLS - MOON SOIL

ROBOTS + RUINS

This project aims to explore the application of solar sintered regolith blocks in the construction of lunar habitats. Through research into the construction history of Nubian and Catalan vaulting techniques, the design develops a masonry structure that does not require mortar or formwork for construction. Experimentation with interlocking and osteomorphic geometries helped in the design of specific block shapes and parametric combination algorithms. Finally, the design process employs robotic construction techniques to repurpose this vernacular structural form language for future autonomous construction.

The moon is covered in regolith, a powder like substance with high glass content, that is abrasive and needs to be avoided for machinery and human health. However, regolith has an abundance of metals and silicon in its makeup which can allow for it to be used as a building material. Considering the high costs of transporting materials to the moon, NASA supports the use of local materials for construction under its In-Situ Resource Utilisation (ISRU) protocol. In accordance with this the project employed a process called solar sintering, where focused sunlight melts the regolith, bonding it layer by layer to produce a block. It further aimed at creating interlocking geometries that can be used for construction without mortar or formwork. The final proposed block is a modified tetrahedron whose shape is defined by robotic constraints.

With the developed interlocking system that resolves the lunar construction constraints, the harsh environment needed to be addressed by encasing the habitable spaces in a substantial barrier for protection from radiation and micro-meteorites. Here, Louis Kahn’s process of ‘wrapping ruins around buildings’ influenced the design of the project’s protective barriers. Additionally, this project took inspiration from the geometric fascination of Carlo Scarpa and Mario Botta, in which they create juxtapositions of lightness and weight. The architectural language of masonry developed through the ages and celebrated by these architects guided the final design of this lunar habitat.

“LOUIS KAHN’S PROCESS OF ‘WRAPPING RUINS AROUND BUILDINGS’ INFLUENCED THE DESIGN OF THE PROJECT’S PROTECTIVE BARRIERS.”

LIVING LUNAR LABORATORY

This project explores the challenges and opportunities of introducing plant life into lunar habitats. While plants are primarily considered for food source, they also have benefits for human psychology acting to reduce environmental stress. As such the project adopts a ‘closed-loop’ systems approach to design and focuses on the symbiotic relationship of humans and plants in space. It also engages with research in ‘living architecture’ to explore certain types of algae and mycelium as building materials.

Human habitation has historically been connected to our ability to cultivate plants. Evolution saw a shift from treetops to small huts made from natural materials, eventually cultivating and farming forests for their timber. The next phase of human evolution may see a move into space, away from traditional natural materials, where trees cannot be grown. However, I propose that we can still grow our homes.

Fungal spores are extremely resilient to the effects of space, due to a hardened cellular shell. From these spores, come mushrooms, the fruiting bodies of mycelium, an interconnected fibrous root structure. Radiotrophic fungi are a particular type of fungus which feeds off high radiation – blocking incoming radiation – and recent research in biochemistry allows for the radiotrophy DNA to be synthetically implanted into other varieties of fungus. Thus, this project proposes a combination of cladosporium sphaerospermum and pleurotus ostreatus, for a fastgrowing, anti-radiation mycelial body. Additionally, the fungus can also provide fire and water resistance, oxygen recycling, gray water recycling, and can even be used as a material for manufacturing clothing, packaging, and furniture.

MASTERS OF LANDSCAPE ARCHITECTURE

Final Landscape

Architecture Project is a self-directed design studio in which students are asked to develop a landscape architectural proposition within the parameters of a given theme and site. This capstone course is designed to foster advanced knowledge, understanding and skills that will assist the student in their future professional design practice. As the culmination of the master’s program, the project aims to demonstrate a practical yet critical engagement with aspects of urbanism, design research, history, civil engineering principles, theory, culture, technology, horticulture, and ecology, developed in the previous stages of the degree. Accordingly, the design project is necessarily accompanied by a theoretical exegesis that discusses the relevance of the proposed design to contemporary landscape architectural developments and debates. Students therefore have the opportunity to expand their individual knowledge and interest in a particular area through proposal and critique to develop a conceptually strong landscape architectural design project. As well as this theoretical and ethical dimension students must demonstrate technical expertise in digital and physical modelling and clearly communicate their ideas visually at an advanced level. This year the course focused on “Food and the City” and was led by Dr Scott Hawken with Dr Jo Russell-Clarke.

“WHILST VEGETABLE GARDENS AND URBAN AGRICULTURE IS SEEN AS COMMON PLACE, WE CANNOT TAKE IT FOR GRANTED.”

Food and the City is an apt topic at this current juncture with COVID19, when we have all been reflecting on health, self-sufficiency, and rising food costs, and when our local food habits have been unsettled. Whilst vegetable gardens and urban agriculture is seen as common place, we cannot take it for granted. The loss of arable and fertile land for urban development is a global trend across the global north and south. Equally we are complacent about the types of land uses within our cities: both those that could be used for food production and consumption and those foodscapes that we are on the brink of losing. There are key critical dimensions to the food and the city challenge. For instance, food shortages and access to food is not an equally shared challenge amongst urban citizens in the face of economic shocks and climate change and entrenched disadvantage. Likewise, the vulnerability of global supply chains has highlighted just how unsustainable industrial agriculture is. Finally, despite urban gardens and local production being amongst us as humble vegetable

patches or new innovative grassroots or craft practices, urban agricultural alternatives to the capitalist ordering of city life have been overlooked as a serious contributor to urban sustainability and culture.

The study site for the studio is the Waite Bequest Lands, an extensive tract bequeathed to the public by Peter Waite in the interests of furthering agricultural knowledge in South Australia. Peter Waite was a Scottish innovator who shaped a pastoral empire out of semi-arid salt bush country. Waite used “spelling”, where pastures were systematically protected from grazing to let them regenerate. By 1874, after a short period of 15 years, Waite had established a flock of 260,000 sheep succeeding where many others had failed. He went on to purchase Urrbrae (the location of the Waite Bequest Lands) where he lived for many years before gifting it to the public. The students were given the task to reappraise the bequest in light of contemporary landscape themes and challenges related to food, agriculture, and the city. Being based in the Coach House Studio at Waite

“THERE ARE KEY CRITICAL DIMENSIONS TO THE FOOD AND THE CITY CHALLENGE. FOR INSTANCE, FOOD SHORTAGES AND ACCESS TO FOOD IS NOT AN EQUALLY SHARED CHALLENGE AMONGST URBAN CITIZENS IN THE FACE OF ECONOMIC SHOCKS AND CLIMATE CHANGE AND ENTRENCHED DISADVANTAGE.”

Campus upon the bequest lands, the students had the opportunity to be immersed in the subject and landscape of their study on a daily basis.

The students have engaged with a number of these ideas and also touched on indigenous possibilities too. The diversity of their explorations is heartening and motivating to see. The inspiration for this design investigations has come in part from the studio culture established by Dr Scott Hawken and Dr Jo RussellClarke and the students themselves, but also by the rich program offered in the studio by a number of experts and specialists.

Dr Richard Le Messurier, director of Maess Projects, ran a model making masterclass to promote physical models as the evidence of spatial inquiry rather than as bespoke presentation pieces. Jackie Zhuocheng Gu ran a masterclass in landscape mapping, graphics and montage to help link research investigations with graphic outputs. Scott Hawken ran a masterclass in landscape scenario design to expand thinking beyond

conventional landscape project limits. Prof Tim Cavagnaro and Isobel Hume gave a fascinating lecture on soil ecology and urban agriculture. Finally, Lynette Zeitz, Manager Urrbrae House Historic Precinct; Dr Kate Delaporte, Curator Waite Arboretum; and Mr Mark Branson, Campus Facilities Manager, all gave unique tours of the site as experts or “people of the place”. The final design review panel consisted of a range of experienced landscape architecture academics and practitioners including Ass Prof Joshua Zeunert, Landscape Architecture, UNSW; Lyndon Slavin, Senior Landscape Architect, Aspect Studio; Dr Richard Le Messurier, Architect and Urbanist, Director Maess Projects; Dr Jo RussellClarke, Landscape Architecture and Architecture, Adelaide University; and Dr Scott Hawken, Director Landscape Architecture and Urban Design, Adelaide University. Thankyou to all involved.

DR. SCOTT HAWKEN Studio Leader

GROUP PROJECT: FOOD AND THE CITY

Over the past semester, students in this year’s final landscape architecture studio have been working at the University of Adelaide’s Waite campus exploring the studio theme Food and the City. This studio considers how alternative food and agricultural systems can be integrated into the urban environment of Greater Adelaide and the Waite Campus, as well as exploring and critiquing how we grow, distribute, and engage with food.

The site for this year’s studio is the Waite Bequest, situated within the eastern suburbs of Adelaide, 8km south east from the CDB. The bequest was a gift to the University of Adelaide from South Australian pastoralist and benefactor Peter Waite in 1924. Today, the University of Adelaide’s Waite Campus forms the largest teaching campus in the southern hemisphere dedicated to agriculture, food & wine teaching and research. The site can be viewed as four districts, each with its own unique program as specified by Waite’s bequest letter, including Urrbrae TAFE and High School, Arboretum, Research Precinct, and the Waite Conservation Reserve.

Students in this year’s studio were asked to explore the history and development of modern agriculture, identify and analysis systems, and consider the future of the Waite Campus through testing and analysing scenarios. The scenarios students created considered current, megatrends, history, and global impacts such as climate change which then inspired a series of projects which could be implemented in the future scenario. Students then chose one or multiple projects to develop into their final project.

MASTER OF LANDSCAPE ARCHITECTURE

CRAFTING DISTILLERY

THE MEADOW

STORMWATER HARVESTING

“HOW CAN ALTERNATIVE FOOD AND AGRICULTURAL SYSTEMS CAN BE INTEGRATED INTO THE URBAN ENVIRONMENT OF GREATER ADELAIDE AND THE WAITE CAMPUS?”

AUTUMN/WINTER GARDEN A

SUMMER/SPRING GARDEN B

AUTUMN/WINTER GARDENS B

FOOD CULTURE

Globally, harvesting and eating practices were once strongly linked with human interactions and were built on direct interconnection with nature. This mindset has largely been lost in place of an industrial model that focuses on production that degrades nature and disconnects humans and landscapes.

In Indigenous culture, food and food-related practices were opportunities for gatherings and feasts with family, clans, and the community. The deep connection of these practices with nature was evidenced in the food consumed and activities involved that varied according to the seasons. This food dynamic built community bonds and generated a sense of belonging to the land.

In a world where globalization forces the standardization of food production and how it is consumed, the cultural heritage of food production and consumption is dismissed. Food loses its social, cultural and spiritual value.

The approach of this proposal is to revive the value of indigenous food culture through an edible landscape that engages the community, empowers indigenous peoples and reinforces identity. The proposal approach is based on community engagement, indigenous people empowerment and national identity reinforcement.

The spaces proposed have four different purposes:

• Foraging, where activities for the production and harvesting of food are held such as planting, gathering, collecting, and digging.

• Consumption, where indigenous foods, fusion food and drinks are consumed.

• Exhibition, where land management practices and festivals are held and walls of knowledge are installed on the main avenue.

• Commercial, where markets generate revenue to support indigenous community projects.

Each of these spaces will be activated in the landscape according to seasons when specific food sources are available: Warltati (Summer), Parnati(Autumn), Kudlila(Winter) and Wirltuti (Spring). Products consumed and practices among them will vary throughout the year.

Z1 - NATURAL/OPEN SPACE

Z2 - SUB-URBAN GARDENS

Z3 - STEEP

Z4 - FLAT

SEASONAL ACTIVITIES

SUMMER/SPRING GARDENS

SUMMER/SPRING GARDEN B

“THE APPROACH OF THE PROPOSAL IS TO REVIVE THE VALUE OF INDIGENOUS FOOD CULTURE THROUGH AN EDIBLE LANDSCAPE THAT ENGAGES THE COMMUNITY, EMPOWERS INDIGENOUS PEOPLES AND REINFORCES NATIONAL IDENTITY”

DISTILLING AGRICULTURE: DEVELOPING A SELFSUSTAINING GIN DISTILLERY AND PRODUCTIVE CULTURAL LANDSCAPE FOR WAITE CAMPUS

Gin and juniper flavoured alcohol has existed for hundreds of years, with the first recorded gin recipe from the 16th century. The spirit is undergoing a global revival, dubbed a “ginaissance”. South Australia is a region which has embraced this interest wholeheartedly, being home to over 35 operational distilleries today. While this growth is providing huge social and economic benefits to many communities, the rapid expansion of the industry raises questions about ensuring future sustainability. Increased demand for juniper supplies, global distribution networks for botanicals, and use of cereal crops for ethanol production are all factors which, if are not regulated, could cause or exacerbate problems in the future.

The project Distilling Agriculture looks to address these concerns through an industrial and spatial intervention at the University of Adelaide’s Waite campus designed to attract visitors and demonstrate agricultural best practice. The site is already home to many food and beverage science research institutions, with a long legacy of wine research and a new experiments in beer production.

The proposed design is a self-sustaining distillery which sits nestled amongst an agriculturally productive cultural landscape. All necessary inputs will be produced on site and waste outputs will be repurposed back into production.

Visitors to the site can immerse themselves in the rich history of gin, exploring the sequence of circular gardens. Each represents a notable historic style of the variable spirit, with additional hardscaping elements supporting this context.

As a secondary program, more botanicals will be introduced to the Waite Arboretum – an area lacking understory planting. These plantings will follow historic rings which mark the original arrangement of the Arboretum landscape, with the design of each ring based on flowering colour, an approach reflecting the horticultural order prevalent in other areas of the campus.

MASTER OF PLANNING (URBAN DESIGN)

SPENCER CAON

PORT

This project establishes a communitiesbased multifunctional food centre on the Waite campus. Agricultural education is its overall aim and various activities are proposed to help different groups engage and learn about food production and consumption.

Four key places are created: a food plaza, a shared farm, an edible garden, and a food education area. These locations make use of food production, food experiences, and food education to improve social qualities in individuals. The food plaza can be used for plant viewing, food festivals, and weekend food market events. The edible park and shared farm as a whole are used to grow food for a variety of different groups, find food socialization opportunities while growing, find partners with common interests, promote weekend family reunions, and more. Food education utilizes the Waite’s existing educational resources – such as the library, meeting rooms, and laboratories – to provide a wealth of education on food growing for different groups of learners in the surrounding residential, school and university communities.

Six key communities are catered to by the Waite food port: university students and employees, high school students, families, elders, local residents, and special interest groups, including from different ethnic and national backgrounds and with specific hobby and niche gardening interests. These groups can participate in various foodrelated activities, including observing, drawing plants and plant photography, different cultivation methods, seed collection, breeding and propagation, economic botany and history, and socializing with people who share their interests, including relaxing on the weekends in particular when outdoor facilities are available to all. The Waite food port format is intended as a model that can be popularised across Adelaide – in whole or in any of its parts - and help in the development of consistently productive urban food landscape landscapes through education and cross-community learning.

Hydraculture is a series of projects which investigate engaging better with water as both a useful and enjoyable landscape material. The project interventions demonstrate potential for capture and reuse in agricultural production, also showing how different techniques improve water quality flowing down-stream to wetlands and riparian ecosystems of the adjoining Brown Hill Creek and Patawalonga Catchments.

In Australia, 60% of freshwater resources are consumed by agricultural. With the need to increase food production to sustain population growth, while also anticipating drought and more intense rainfall events, it is necessary to trial water management techniques for agricultural use at all scales.

The wetland situated within the plains of Urrbrae TAFE and high school grounds, is a typical example of water sensitive urban design treatment. Hydraculture further explores the wetland’s potential to be a food growing site by creating habitat for freshwater fish and yabbies, as well as a variety of aquatic crops within the filtration zones. Interventions within the university campus explore cultivation of market greens, herbs and other leafy salad crops in a series of terraced rain gardens and biofiltration beds. This new green infrastructure transforms existing carpark and courtyard spaces into an urban agricultural zone, utilising captured runoff from streets and roofs of surrounding buildings, while also creating an engaging social space. The final intervention is situated within the Waite Conservation Reserve foothills, demonstrating a sensitive approach to water harvesting within a rural setting. Inspired by the work of P.A Yeomans, it adopts the ‘keyline’ method utilising existing site contours to more evenly distribute water and optimise water catchment and storage. These projects demonstrate that treating runoff as a resource rather than as a problem, can not only create healthier water sources for urban agriculture, but also improve local riparian ecologies and spaces for enjoyment in a sustainable future.

INSECT EFFECT

This project considers insects, exploring their influence on different aspects of food production: the Insect Effect. Located on Waite campus, it incorporates heritage areas as well as contributing to agricultural research and education.

The project has three sites with different functions, connected by the ‘pollinator corridor’. It improves the insect diversity of the overall campus and provides a habitat for beneficial insects for agricultural production. It also provides a route for people to experience the impact of insects.

The overall design comprises three sites: the Crop Center, Alverstoke Orchard and the Insect Farm. Each attracts, explores and demonstrates how insects are beneficial to crops and also how they produce food (e.g. honey). Insects themselves are also a good source of protein!

The masterplan form is inspired by an organic pattern. The Voronoi pattern is applied to simulate the activity radius of the insect. A corresponding insect hotel and beehive is located within the appropriate range.

By studying specific insects, the project makes a big impact from small creatures. Insect Effect presents options for intensified and new food production, improving insect diversity on campus through provision of insect nourishment and shelter, giving access to more and different insects, and diversifying a farming center that can employ insects while research is expanded to study them.

Central Animal House Barrier Field Machinery Store

Birksgate Orchard

Wild Dogs Dam

The Plant Accelerator

Fauna

The Waite Campus has many greenhouses for economic horticultural and research purposes. In landscape design, the presence of a greenhouse is often used to establish the right environmental conditions to grow plants. Temperature, humidity and even light can be better controlled to provide the optimal environment for certain crops. Greenhouses can not only increase the yield of food plants, but also increase the variety of food plants. Different greenhouses have different functions, including food plant cultivation, tropical plant cultivation and specialist plant collection cultivation. In this landscape design project, the functional application of greenhouses is expanded to include opportunities for community engagement and enjoyment. Community gardens, cafés and relaxation areas are integrated with various food plant cultivation within greenhouses. Connecting the different types of community greenhouses is a “greenway” which is a linear parkland that links the various greenhouse infrastructures with the campus community. The greenway connects four different areas which are shown in the perspectives. The first is the community picnic lawn and a café greenhouse. Continuing along the greenway the community is then able to experience some tropical food greenhouses. Next a cluster of geodesic domes support the production of different berries. Finally, the greenway leads the community to the conservation reserve. Here a green gateway and recreational areas provides an interface between the research campus and the more natural conservation reserve.

“CONNECTING THE DIFFERENT TYPES OF COMMUNITY GREENHOUSES IS A “GREENWAY” WHICH IS A LINEAR PARKLAND THAT LINKS THE VARIOUS GREENHOUSE INFRASTRUCTURES WITH THE CAMPUS COMMUNITY.”

NATIVE PICNICS

Native Picnics acknowledges the first nations people of Kaurna Land (Adelaide Plains), where the University of Adelaide’s campuses are located. This project considers that all Australian landscape is an Indigenous food landscape.

Before colonisation, Indigenous people managed and sustained their food environment with deep understanding, living learning and eating on Country. Australian settler cultures too have rich practices of outdoor camping and eating, reflected in literature, poetry and film. Picnics can create a deep sense of place. Native Picnics investigates the different ways Australians see themselves through food and landscape, offering a variety of outdoor eating experiences for Waite campus.

Urrbrae Wetland was one of the first urban wetland developments in Australia. Dine by the Water provides opportunities for physical and educational activities. A new walking track connects spaces for indigenous reed harvesting and weaving, fishing and cooking at the communal bbq stations. Signage explains native food ingredients and cultural food practices.

Camp in the Arboretum supplements existing trees with new native grasses understory. New paths include signage with guidance for native species preparation.

Australian native grasslands are a threatened ecosystem supporting many endangered plants and animals. By using native grasses, Native Picnics are helping to restore habitat and preserve biodiversity.

Urban Barbecues are located around Waite campus close to buildings. The barbecue spaces educate through signage that includes nearby native plant identification and recipes. From the urban core, a walk leads to lookouts over the campus and a series of Picnics in the Conservation Reserve where tables and chairs are positioned to take advantage of the elevated topography. The picnic spaces suit various individuals, couples or groups for education and recreation. From these vantage points, visitors can develop appreciation of the lie of the land and its remnant and replanted native vegetation below – including Waite’s many picnic opportunities!

The original Waite bequest offered both a suite of important historical assets and opportunity for contemporary research and industry collaboration. To unify these elements and physical connections between them requires a greater level of clarity and legibility. Native Picnics is an opportunity to reinforce partnership intent through shared spaces and gathering nodes.

ARBORETUM

3. URBAN

Project 2: Camp in the Arboretum

from paddock to plate

The use of Australian native grasses has many benefits for the Australian environment. There are both practical and aesthetic benefits from using native grasses that can be utilised in a wide variety of projects, such as Camp in the Arboretum. Native grasses have been the dominant vegetation type for hundreds of thousands of years and have been lost to agriculture and

the dominant vegetation type for hundreds of thousands of years and have been lost to agriculture and urbanisation and now only remnants remain. There are many threatened and endangered species of plants and animals whose habitat has been lost. By using native grasses, Native Picnics are helping to restore habitat and preserve biodiversity.

5.2 Plant Schedule

THE SHIFT: WAITE URBAN FOOD FARM AND TRANSPORT PRECINCT

This project offers a model for commercial and research-based food production which can be incorporated within pockets of metropolitan Adelaide and adapted to other Australian cities. Based around an integrated site system of bike transport, bio-waste recycling and crop rotation, this re-designed campus precinct demonstrates a shift in approaches to local food security and climate resilience. Adelaide’s population continues to grow and demand for food increases, while climate change puts further strain on the existing agricultural industry. In response to these challenges, ‘The Shift’ presents an alternative model of food production located on the site of the existing Waite agricultural precinct. Co-operatively run by the University of Adelaide and Urrbrae Agricultural High School, this model will provide economic revenue for both institutions, as well as increased and new forms of agricultural research and education.

The site is divided into two zones: one for annual/ biennial planting and one for perennial plants. A five-year crop rotation system encourages good soil health and crop output, alongside a three-year weed control cycle.

To support this agricultural system, a new transport network implemented across the site prioritises the use of bikes as the primary mode of transport. Cars are removed from all internal spaces and traffic calming has been implemented on some adjacent roads. This increases the amount of space available for food production, while reducing carbon emissions across the site.

In addition to this, there are four utility hubs across the two main food planting zones. These hubs provide storage for bikes, agricultural equipment, and supplies, as well as space for educational activities and direct food sales. These hubs foster opportunities for increased community connection which will be essential to the ongoing success of The Shift urban food system.

WAITE

This project creates a range of therapeutic experiences at Waite campus to suit the varied age and health profile of the local Urrbrae community. The design of healing gardens will take advantage of original site conditions and features within key areas. Each area will have designated functions serving the needs of specific groups. Some areas will focus on health issues facing children for example, or accessibility and use for patients with reduced mobility, especially the elderly. The different areas are accessed by interconnected pathways.

The Urrbrae Wetland at the north-west corner of Urrbrae will be a healing wetland garden for the elderly, close to the main road and adjacent residential community, making it convenient for those with mobility problems to access. The open space to the east of the wetland park will be used as a sunken meditation park. To separate the meditation area from the activity area there will be dense shrub planting.

The redesigned farm trail – based on the original Urrbrae Farm circulation – provides a space for patients of all ages to walk, relax and be close to farm animals. Visitors can interact through the feeding of gentle animals such as poultry and young livestock, for relaxation and healing as a form of animal therapy.

The Netherby Kindergarten car park will be closed and turned it into a children’s-only park with small, easily managed garden beds for children with autism and ADHD. This will allow them to get closer to nature through planting and harvesting vegetables.

From the central urban heritage and education area of Waite Campus, all the way to Waite Conservation Reserve, an existing group hiking trail will be improved by seating and shade at regular intervals. The location and types of furniture will consider the comfort and capacity or different users.

DEMENTIA

ANGER, ANXIETY, BIPOLAR

“A RANGE OF THERAPEUTIC EXPERIENCES AT WAITE CAMPUS TO SUIT THE VARIED AGE AND HEALTH PROFILE OF THE LOCAL URRBRAE COMMUNITY.”

RENDERS

EMILY CLARKE

ZHI XUAN CHEN

JARED CLARK

HEYU DING

ZHANGZHUO CHENG

JOHN ERWIN DE LEON

JAMIE DOHERTY

SHANGYI GUO

JUNYI DU

ATHARVA DIXIT

WEN BIN CHONG

ISRA HAJAY

RHYSE GUTSCHMIDT

JACOB GRAHAM

LIN XIN CHAO

In the courtyard, the buildings surround the historic plan�ngs and the new buildings appear as if they are not there. Students, visitors and staff can all enjoy the environment.

Section 1

HAMZAH HAMAD CHANG HE

GOI KIMBERLY KIMISOPA

JUNQUAN MAO

ROSE NIKIAN

JIE MIN HE

YUE LIU

ZVIKOMBORERO KEITH KUTSANZIRA

MATTHEW NAYDA

VANESSA JANE OMAMALIN

AFTON KENNETH

JIAWEI LI

NICHOLAS MARCHESAN

KATE MAIDEN

VIRALI JAYESHKUMAR PATEL

NAOMI XIA

ANASTASSIYA POPOVA

JIA SHI

PUI WAH PHOEBE TSE

MIKAYLA ROBSON

CHENGXUAN YANG

JIANXIN SUN

CHANHAO WANG XU YANG

RUPERT STEWART

THOMAS WALKER

SHULIN RUAN

FENG TANG

YAO SUN

DONGXU YANG

HAO ZHU

ELENA ZEKIRIAS

TINGTING ZHAO

BERNADETTE YIP

ZIQING YE CHELSEA YOUNG

Area Views

The three images above show views of the main public square.

SPENCER CAON

AUSTIN HARDCASTLE

CYNTHIA AYBAR

XIANG NI

YAHUI GUO

VICTORIA SMART

RUXIN ZHUO

JUNYU ZHONG

ELISSA STAPLETON

SIOCAELA-JANE GRAHAM

LOGAN SMITH

SHUTAO

LIAN

JIAMEI XU

XUANHAO FAN

The University of Adelaide, School of Architecture & Built Environment

[08] 8313 5836 www.architecture.adelaide.edu.au

PUBLISHED DECEMBER 2, 2022

SCHOOL OF ARCHITECTURE & BUILT ENVIRONMENT, UNIVERSITY OF ADELAIDE

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