landscape architecture portfolio
Olivia Yifei Niu | 2024
Introduction
I am Olivia, a graduate landscape architect dedicated to exploring the dynamic interactions between nature, built environments, and people. I have worked on projects of various scales, with a focus on how natural and social landscapes shape ways of living, rooted in a deep appreciation for nature, history, and place memories. Passionate about equitable design, I aim to create meaningful experiences for diverse groups, promoting a mutual healing process between human and nature.
Contact Education
Master of Landscape Architecture (First Class Honour)
The University of Melbourne, Australia
Master of Science - Clothing & Textiles (A+)
Ewha Womans University, Republic of Korea
Address: 10 Wominjeka Walk, West Melbourne, VIC
Email: niu1fei@gmail.com
Phone: +61 434725125
[The Bradmill Circle]
[Voices of Sundholm]
[Legacy reborn]
RENDER, Drawing, Model
[The Incubators] 3. Landscape Detail Design 4. Urban/Landscape Design 6. Urban Intervention
5. Urban Transformation 7. Other Works Page 4-9
[Serenade of Apollo Bay]
1. Land Art Generator 2. Health Design
[Healing Steps]
Apollo Bay | Australia | 2024
Coastal landscape
Sound art generator
of Apollo Bay]
Drawing inspiration from the natural soundscape of Apollo Bay, the design seeks to curate an auditory environment that harmonises with the serene coastal landscape. By strategically incorporating sound related interactive architectural elements, creating habitats for wildlife, the design aims to create a symphony of soothing sounds that invites visitors to engage with the environment on a deeper, sensory level. By incorporating land art generators into the design concept, the design not only elevates the aesthetic experience but also inspires a deeper appreciation for the interconnectedness of art, nature, and sustainability.
A ring-shaped amphitheater on water, built with eco-materials, serves as a recreational and event space, while incorporating piezoelectric surfaces for energy-efficient lighting.
The redesigned car park and jetty transform existing asphalt into gardens, featuring indigenous coastal plants that support wildlife, soften the jetty’s appearance.
The gardens between the sound museum’s buildings blend nature with architecture, using WSUD, eco-friendly materials, indigenous planting, and solar panels for green energy efficiency.
a wave-inspired viewing deck made from seashell bricks offers a panoramic view of Apollo Bay, serenaded by the wave organ’s music, while integrated turbines harness wave energy for electricity.
The golf course is transformed into a public park with indigenous plants that enhance biodiversity and mitigate inundation, offering spaces for activities amidst birdsong and rustling leaves.
The jetty café features a serene courtyard garden, floating outdoor seating, and powered entirely by wave-generated electricity, with coffee grounds repurposed into eco-concrete.
The boardwalk, crafted from corten steel and recycled timber, is elevated above dune vegetation to protect the ecosystem while connecting the observation tower, offering an immersive nature experience.
Three retention ponds, placed at the lowest topography to collect rainwater, feature aquatic plants that support wildlife, while shade trees enhance summer cooling.
Six sound stations along a soundwalk trail powered by photovoltaic cells provide an acoustic journey through Apollo Bay, transmitting real-time sounds from various locations and encouraging visitors to explore hidden auditory landscapes.
The relationship between humans, space, and sound is deeply intertwined, shaping our perceptions and experiences within the environment. Sound, with its ability to evoke emotions, provide spatial cues, and foster cultural connections, holds immense significance in landscape architectural design. From the soothing rhythm of natural elements to the orchestrated symphonies of urban landscapes, sound influences how we navigate, interact with, and inhabit spaces. Understanding the complexities of acoustics, psychology, and cultural context allows designers to harness the power of sound to create environments that engage the senses, enhance well-being, and foster a sense of place.
Sound zones and Sound Design Proposal
Acoustic art 1 “Conversation”
Starting of Apollo Bay sound trail
Drawing inspiration from the speaking trumpets used on 19th-century whaling ships, Six sound art installations along a soundwalk trail offer visitors a continuous acoustic journey through Apollo Bay, transmitting real-time sounds from different locations by solar cells. Visitors are encouraged to engage their auditory senses, enabling them to discover hidden sounds and experience Apollo Bay from a fresh perspective.
Apollo Bay sound trail
Acoustic art 2 “Listen to the tree”
Acoustic art 3 “Listen to the Dunes”
Drawing inspiration from the soundwave patterns of an audio recording taken at the jetty, this design features wavy steps installed with organ pipes to create a unique visual and auditory experience in apollo bay. As waves push air through the pipes, the organ produces harmonious music, enriching the sensory experience of the site.
The layout of organ pipes consists of seven sound clusters, each containing five pipes. The music features major chords and alternating steps, based on a combination of aboriginal music and the concept of perfect resolution.
HYDRO
Layout of organ pipes (plan view)
Perspective view of the design with mountains in the background
Soundwave Stepts: Sea Stone (Concrete-like material made from shells in Apollo bay)
In every walk with Nature, one receives far more than he seeks. - John Muir
2 [Healing Steps]
Canberra (Ginninderry) | Australia | 2024
Accessible Walking Trails
Restorative outdoor rooms
The project addresses the growing need for age-friendly outdoor spaces in the rapidly developing Ginninderry community, ACT. Using the Evidence-Based Health Design in Landscape Architecture (EBHDL) model, this project proposes a walking trail system tailored specifically for elderly. Utilising the natural topography of the closed West Belconnen landfill site, and guided by the Australian Walking Track Grading System and the 8 Perceived Sensory Dimensions, the design integrates accessible, safe walking paths and diverse outdoor “rooms” that support both physical and mental health. The aim of the design is to create an inclusive and restorative environment that prioritises accessibility, promotes physical activity, encourages social interaction. Successfully implemented, this design will not only enhance the well-being of the aging population but also foster a sense of community and a deep connection to the natural world.
Using the site contours as a guide, the walking paths were designed with a grading plan that aligns pathway centrelines to connect neighbouring contours within controlled distance, ensuring accessibility standards for wheelchair users.
Four types of trails are designed. The primary loops and pathways near the lifestyle village has a gentle, consistent slope not exceeding 1:50. Secondary loops vary in slope, reaching up to 1:14, with most areas maintaining a grade gentler than 1:20. The boardwalk, connecting the top of the highest mound to the lowest waterfront. Referencing the Skovtårnet the forest tower in Denmark, the boardwalk connects the spiral viewing tower which consists of no stairs to allow wheelchair to access.
Elderly people often face unique challenges due to declines in physical and mental abilities, which can lead to stress and reduced well-being. This design incorporates eight distinct outdoor rooms based on the 8 Perceived Sensory Dimensions (8PSDs), each providing a unique sensory experience aimed at promoting physical activity, mental well-being, and stress relief for elderly users. Developed by Patrik Grahn and Ulrika Stigsdotter in 2010, the 8PSDs categorise sensory qualities in natural environments and serve as a design tool to create “rooms” that reduce stress and enhance restorative experiences. These rooms cater to diverse needs, from spaces encouraging gentle social engagement to those offering tranquil refuge. Together, these environments foster well-being and support active aging.
[The Incubators] revitalises a historically significant site by integrating modular seating with elevated plant incubators. Drawing inspiration from the stories of care and nurturing that once took place at the former Royal Women’s Hospital, the design creates a dynamic environment that invites both rest and interaction.
The geometric colourful seating echoes the façade of the Science Gallery, with different height and configurations to cater to different user needs. The incubators are also set at varied heights, offering diverse viewing experiences, with nameplates featuring plant species and caregiver recognition, fostering community engagement and honouring the site’s heritage.
By blending functionality with historical context, this design transforms the space into a vibrant public realm, nurturing connections between people, nature, and place.
Nurses with babies and isolette/incubator.Many lives wouldn’t have survived without the incubator and the care from the Royal Women’s Hospital.
Physical model of THE INCUBATORS
The incubator and seating base is designed to echo the brick shape, proportions, and colours of the Science Gallery entrance façade, providing a strong visual link between the building and the landscape.
The final design features nine different modular seating configurations, offering various options for user groups including adults, children, and families.
Plant incubators are positioned at seven different eye levels, providing comfortable, close viewing for people of various heights.
500 x 40 x 40 HARDWOOD TIMBER SLATS ON N32 COLOURED CONCRETE BASE, REF TID-07
INCUBATOR UNIT ON N32 COLOURED CONCRETE PLANT BED, REF TID-08
1500 x 1500 EXISTING TREE PIT, SANDY SURFACE, LEVEL WITH ADJACENT PAVING
NATURAL BLUESTONE PAVINGSAWN, FINISH WITH 995 x 495, STRECHER BOND
EXISTING CONCRETE KERB, 150 MM HEIGHT
EXISTING TREE CANOPY, ENGLISH ELM (Ulmus procera)
SCIENCE GALLERY ENTRANCE
DIGITAL BRICK WALL
DIGITAL BRICK WALL
DIGITAL BRICK WALL
EXISTING TELEPHONE BOX
EXISTING BRICK SEATING AGAINST WALL
EXISTING LIGHT POLE
BLUESTONE PAVING
BIKE LANE
KERB CHANNEL
GRATTAN STREET
BARRIER WINDOW
ENGLISH ELM (Ulmus procera)
DIGITAL BRICK FAÇADE
PLANT INCUBATOR
SCIENCE GALLERY ENTRANCE
DIGITAL BRICK FAÇADE
CONCRETE SEATING TIMBER SLATS
PLANT BED (PLANT INCUBATOR) ASSEMBLY DIAGRAM
PANELS INSERTED AND FIXED WITHIN 30 MM GROOVES IN CORTEN STEEL FRAME
100 x 100 x 10 MOUNTING PLATE WELDED TO INCUBATOR UNIT
50 x 8 MM STAINLESS STEEL COUNTERSUNK SCREW
50 x 8 MM STAINLESS STEEL COUNTERSUNK SCREW
340 x 130 x 5 MM STAINLESS STEEL NAME PLATE, SURFACE-MOUNTED TO CONCRETE GARDEN BED BASE
PLANT BED NAME PLATE DETAIL 2 SCALE: 1: 10
5 5 PLANT BED (PLANT INCUBATOR) PLAN 1 SCALE: 1: 10 PLANT BED (PLANT INCUBATOR) SECTION / ELEVATION 3 SCALE: 1: 10
PREFABRICATED INCUBATOR UNIT, CONSTRUCTION TO MANUFACTURER SPECIFICATION
PRECAST N32 COLOURED CONCRETE GARDEN BED BASE CONDITIONED SOIL
40 MM THICK SAWN BLUESTONE
BEDDING MORTAR RAINFORCED CONCRETE SLAB
COMPACT CRUSHED ROCK
COMPOSITE AGRICULTURAL DRAINAGE SYSTEM, DRAINAGE PIPE CONNECTED TO S.W.
140 MM DIAMETER HOT DIPPED GALVANISED CHS SLEEVE
REINFORCED CONCRETE FOOTING
Yarraville | Australia | 2022
Urban Design
Residential Design
Heritage Preservation
[The Bradmill Circle] - with its circular street network, circular building structure (inspired by Tietgen College in Copenhagen) and circular open space design - is a circula community. it is self-sufficient and sustainable, bringing the “garden city” movement to reality.
Majot
Unobstructed view
Curvilinear footpath - Cotton Thread
Section of Housing and Streets (AA’)
View from Apartment Unit
Open Space between Apartment Buildings
Street and Commercial Precedent:
Motomachi Shopping Street, Yokohama, Japan
Street between Apartment Buildings
5 [LEGACY REBORN] TANJONG
PAGAR STATION AS A CULTURAL NEXUS
In collaboration with Lokki Pun, Nicola Travers, Valentina Parada Output: Concept, Folly design, Activity Zone design, Architectural floor plan
Singapore | 2024 (Design Competition)
Heritage Re-Purpose
Open Space Design
Architectural Design
The TPRS is resting as a historic cornerstone of Singapore’s transport history, the project aims to awaken its legacy. The heritage railway line was a key transition between boarders, serving as a direct link for those travelling between Malaysia and Singapore.The landmark station remains, yet it’s underutilised and ill connected. The re-design facilitates a nod to the historical significance whilst also enhancing the experience, transforming it into a multifunctional and dynamic spaces that have a rhythm and certain grandeur to it that will ensure the future of the TPRS as a key anchor point to the Tanjong Pagar District.
A - FRONT PLAZA
B - EMPHERAL FAHSION SHOW IN MAIN HALL
C - UNDERGROUND MUSEUM
FIRST FLOOR PLAN
SECOND FLOOR PLAN
THIRD FLOOR PLAM
D - REPURPOSED PLATFORMS
The design enhances the sublimity and elegance of the TPRS, through a main mirroredfolly of the TPRS front building. The notion of a folly being a trick gives the design a playful element and allows people to engage more dynamically with the history of the site. Key stone foundations remain with the key structure transformed to steel pillars and metal mesh with climbers entangled throughout the structure, giving the feeling of nature as a powerful force and for aesthetic grandeur.
A rhythm is developed throughout the site with little follies placed at key transition points. Each folly is made from deconstructed parts of the main building with four key follies as abstractions of the economic pillars. This rhythm is enhanced by three key zones, cultural, activity and nature, each having its own intensity.
F - NATURE ZONE
6 [Voices of Sundholm]
A Temporate Urban Intervention in A Homeless Community
In collaboration with Patrik Kock Larsen and Sara Bjerregaard Riahi
Output: Concept, Stakeholder meeting, Visualisation, Installation, Presentation in English
Copenhagen | Denmark | 2023
Urban Intervention
“Leave No One Behind”
In Sundholm, a group of marginalised individuals resides for various reasons. Some are permanent residents, while others have temporary stays. Regardless of the duration, this place is home to those currently living here. They express themselves through graffiti on walls and the ground, sharing their stories with other residents and visitors.
Taking inspiration from the UIA World Congress of Architects motto “Leave No One Behind”, We aim to cultivate a unique identity, a sense of belonging, and a strong community spirit in Sundholm. We actively encourage residents and stakeholders to get involved by asking questions, initiating conversations, interpreting responses, and creating paths for communication. Together, we are shaping Sundholm into a lively and inclusive environment where everyone has the freedom to express themselves and leave their marks.
VoicesofSundholm
Voices from Sundholm
People in Sundholm are always willing to share. A surprisingly wide variety of answers are gathered within a short timeframe. Reading these answers becomes a means of engaging in a timeless dialogue. Every response is valued and captured using a camera, preserving the essence of each contribution.
Map with locations of the three boards Expression board for individuals Expression board for pairs
Location of the boards
The completed artworks are displayed in different corners in Sundholm, forming a path of voices. People pause to appreciate these displays, allowing themselves to listen and draw inspiration from the diverse perspectives that emerge from the community of Sundholm.
We utilised three-millimetre-thick wooden boards and employed laser cutting technology to precisely cut out most of the complete answers. We preserved all the lines, opting not to add any colouring to achieve a more poetic effect.
Throughout the entire process, residents here are able to express themselves. Their voices are heard and seen, akin to adding artworks or photographs to their homes. They can experience a sense of belonging and recognise the value of their existence.
The process represents the basic and complete flow of this intervention, but it is not the endpoint, as this process will return to its origin and start anew. There will be new questions and new places awaiting fresh answers, which will be showcased in new ways, creating new paths.
Other Works
Inspired by the movie “The Midnight Sky”, I decided to build a futuristic space, which has a simple and neat geometric style with enclosed glass domes to protect the “nowhere man” –who might be the last human on earth – from the thin air outside. The Farnsworth house has been criticised for no privacy. Now, it is no longer a problem.
Olivia Yifei Niu | 2024