Hospice: Home for the Terminally Ill Competition

In Collaboration with Isaac McCormack

Float, Nourish & Connect.

Water is central to wellbeing for the people of Perth, Western Australia; for recreation, family time, teaching and spirituality. Our end-of-life care approach is inspired by Ken Worpole’s principle of “public faces and private places” (Modern Hospice Design, 2024). The landscape-driven design balances community connection with moments of serene privacy, organised into three themes: Float, Nourish, and Connect.

Float refers to the hydrotherapy ocean pools and tranquil spaces for users, staff, and guests to find peace throughout the day. Nourish includes fresh produce grown on-site for the café and restaurant, along with psychological nourishment from the library-counselling space and spiritual nourishment from the floating chapel. Connect is the heart of the architecture, offering layers of connection – with nature, others, and oneself.

After a loved one passes, families can return here to celebrate their memory with a beach day, a meal, or a quiet moment watching the sunset.

  • Landscape Led Design: rocks and reef provide natural ocean pools and inform the scheme’s ethos.

  • Bed to Bay: Hyrdrotherapy supports physical, cognitive and spiritual comfort.

  • Float, Nourish & Connect: the three tenets of the scheme are accessible to guests, staff and loved ones throughout the journey.

  • Public Faces and Private Places respond to the gifts of the site: vibrant community, healing nature, degrees of connection & protection.

Home of Shadow Competition

In Collaboration with Isaac McCormack

The Home of Shadow is an ideas competition where artificial light is banned. Designers must produce an architecture that relies exclusively on lighting that occurs naturally - in our case, the sun, the stars and the moon. For this exercise, we chose an extraordinary granite cliff face, scarred by the Old Barrington Quarry. Our form is an attempt to manifest the existential quandaries of time itself into a series of physical, tangible, haptic and primal experiences. This is our competition entry:

The Body of Time.

The dwelling is a manifestation of time itself. Each space is carefully crafted to be experienced at precise moments through the daily cycle. It beckons its occupants to awaken gently with the caress of dawn, to toil and create bathed in the radiant embrace of the sun, and revel in the ethereal glow of moonlight. In a harmonious interplay of light and shadow, the contours of the house gracefully guide its inhabitants through an architectural and temporal passage, enabling them to embrace the unfolding narrative of existence. Within these walls, a pair of visionary artists explore the essence time; delving into its intricate dimensions that span from fleeting pauses between breaths, to the expansive realm of aeons. Unlike the eternal clock of shadow and light, the house will slowly surrender to the gentle erosion of passing ages. Within the confines of this dwelling, a timeless symphony gracefully unfolds. Light and shadow partner in a choreographed dance, forever concealing and revealing the palpable embodiment of time itself.

Museum of Emotion Competition

In Collaboration with Isaac McCormack

The Museum of Emotion is an ideas competition where teams can speculate on an architectural scheme that procures emotional states for the inhabitants as they travel through the designed spaces. Borrowing from Joseph Campbell’s A Hero with a Thousand Faces, we have designed our “Heroine’s Journey” - an architectural experience that follows the circle of emotion; calm, angst, terror, rage, hope and joy.

Part of the competition brief was to be wordless: emotion must be felt through the experience of space, without dialogue, annotation or description. Extending on this challenge, we explored ways of embedding narrative and story-telling through our architectural and visual journey. Using a combination of tools, including immersive game engines like Unreal Engine, we placed ourselves “inside” the spaces as we designed in order to feel the emotion and inform the architecture. The outcome is a sequence of Boullée-esque colossal spaces that seek to manifest moments of sublime sensation and enable both positive and negative emotions to be truly confronted.

  • Calm

  • Angst

  • Terror

  • Rage

  • Hope

  • Joy

Competition

Visualising Night's Bridge from Neil Gaiman's Neverwhere.

This work is a kitbash of architecture assets strewn together in Twinmotion in an attempt to manifest what I see in my mind when I read about crossing Night's Bridge.

"Richard began to understand darkness: darkness as something solid and real, so much more than a simple absence of light. He felt it touch his skin, questing, moving, exploring: gliding through his mind. It slipped into his lungs, behind his eyes..."

Meaning-full Visuals

If you feed A.I. a quote from a famous architect or artist, but do not mention the source, would the image still look like the artist’s work? The exercise below explores this question.

  • “Form is easy to crack. More difficult is the alchemy between material and shadow.” - Peter Zumthor

  • “Form is easy to crack. More difficult is the alchemy between material and shadow.” - Peter Zumthor

  • “Architecture has an ulterior motive, the idea of creating paradise.” - Alvar Aalto.

  • “Structure is the maker of light.” - Louis Kahn.

  • “The sublime brings and experience of solemn serenity.” - Juhani Pallasmaa

  • “When you dream, where does the light come from?” - James Turrell

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