What might a truly lunar Martian architecture look like, and could a human born in space feel at home in such an environment? Historically, colonial projects have constructed cities that mirror the architecture of their origin cultures, assimilating rather than accommodating landscape. Most visions of future space habitation continue in this pattern by simulating a controlled version of Earth to shelter from the harshness of space, a potentially useful psychological strategy for the first inhabitants of a new frontier. Happy Homesick chronicles an alternative approach to lunar habitation, working with the Moon as a staging ground for Mars and beyond.

The studio focused on exploring present spaces and envisioning potential futures by observing how people utilize and share the space. The site is located along Iera Odos, meaning “Sacred Way.” It is a historic road in Greece, traditionally associated with religious processions and lined with significant monuments, serving as a route of pilgrimage and cultural significance. Today, the site marks the boundary or threshold between residential and industrial. The design outcome was to integrate the two spaces with a red artery or ribbon incorporating transport, services and different dynamic threshold typologies to navigate the private vs public realms.

Chapter 1: A Moving Biking Adventure Waking up in Wycombe Central, I knew today would be different from my days in Perth. I hopped on my bike and headed towards Kalamunda on one of the dedicated cycling highways. Sharing the road with other cyclists and small automated vehicles makes the ride a breeze, especially without big, petrol-guzzling, noisy and polluting deathtraps pushing me off the road. The town is all about being active and automated, and my ride to Kalamunda Hills and back was an enjoyable cakewalk. Chapter 2: Nature’s Embrace As I pedalled through the cool, canopied cycling lanes, I couldn’t help but notice the wide range of plant and animal life around me. The town has a central conservation corridor where animals roam free and black cockatoos nest in the trees. I looked at one of the buildings and saw people having a garden party underneath the shade of the building’s solar panels on the roof Chapter 3: Exploring Town Amenities After my ride, I went to Wycombe Central’s town centre. All the restaurants were buzzing due to the easy access via trains, buses, and the airport. I also popped by the local coffee roastery. The owners, Andrew and Molly, live above their roastery in one of the old industrial-only areas. The front of the coffee shop faces one of the green corridors, while the back has access to deliveries for their export business. Who says industrial companies combined with homes can’t be functional works of art, eh? Chapter 4: A Visual Design Delight The day kept getting better. I continued biking through all the different artworks displayed throughout the green corridors. None of the buildings felt imposing, and all of the lower-floor shops had an extraordinarily open and welcoming feel to them. After the day I went home. I managed to have an active and healthy day without even realising it. I am honestly super thankful to live in a place that looks after my mental and physical well-being. Thank you, Wycombe Central

The design of the Beaconsfield community centre promotes resource conservation, renewable energy use, and resilience to environmental changes, all crucial elements during the current and ongoing climate crisis. The design also facilitates usage flexibility, which includes possibilities such as an educational hub where sustainable practices and climate change awareness can be taught. Furthermore, the regenerative design enhances local biodiversity and sequesters carbon, helping combat climate change. Finally, the centre fosters community cohesion, encouraging collective action and resilience in the face of environmental challenges. The centre breaks down its outcome into five core principles, serving as the criteria against which all design solutions were rated.

Bijenbos Apiaries is a beekeeping venture in the unspoiled wilderness of the Jan Zwartzkraal farm, nestled between the Overberg and Cape Agulhas regions in the Western Cape, South Africa. The farm is run by wife and husband duo Alesha & Peter Groenewald, who started their hive adoption business from the ground up. With a deep appreciation for nature's beauty and a commitment to sustainable beekeeping practices, Bijenbos seeks to create a cabin retreat that treads lightly on the land and allows the sanctuary to thrive. The client envisions a cabin that offers a peaceful escape for beekeepers that integrates well with the environment while promoting a thriving bee habitat and diverse flora. www.bijenbos.com

A two-dimensional and three-dimensional analysis of a selected building (Bosco Verticale, Stefano Boeri, Milan) focusing on a significant structural bay.

The Kelp Rack Pavilion is an Australian pavilion that challenges unsustainable consumption habits and explores the dichotomy between rigidity and flexibility. It takes inspiration from a food preservation system, the drying rack, and uses wood and kelp as modular and circular bio-based materials. The pavilion is designed to be a meeting and exhibition space with a positive life cycle analysis outcome. It features a framework made of Jarrah timber and a malleable and fluid facade made of kelp. The pavilion’s design is easy to disassemble, allowing for better maintenance and the prospect of reusability and upcycling. The pavilion provides an immersive experience in nature and sustainable materials for students and visitors at UWA.

This design proposal formulates what the urban-scape of a post-carbon Leederville community center will look like. The community center strives to limit the embodied energy of the building by looking towards recycled materials inspired by Leederville’s brick laced industrial heritage. Long platforms, elevated walkways for performance & exhibition areas allows uninterrupted views of Leederville and Perth city.

The argument that cities are not safe for children is a common reason why people move to the suburbs. This has led to unencumbered urban sprawl in Perth, with children growing up with a suburban mindset, leaving the city without custodians. To break this cycle, a design proposal has been created to bring the elements of a suburban neighborhood into the city, combining space, privacy, nature, views, local amenities, and child-friendly intergenerational living while retaining the city’s cultural richness. The proposal aims to create a sense of community, allowing the inhabitants to become custodians of their environment and pass the legacy of urban living to their children. The design is based on the 20-minute or 15-minute city concept, ensuring amenities are within a 10-minute walking radius, making walking a priority and blurring the lines between indoor and outdoor spaces. The key to creating a successful soft city is a choice of enclosed spaces designated as public, shared, semi-shared, and private, with the shared and semi-shared spaces allowing for the most meaningful chance encounters.

The title of this studio was borrowed from the 17th International Architecture Exhibition also titled ‘How will we live together?’ . The project seeks to respond to the curator’s main theme of ‘How will we live together?’, not only in harmony with other humans but also with other living beings. The endangered Gilbert Potoroo was chosen as the species to live with a Southwest Australian family.

A case study house (HOUSE VI, Peter Eisenman) was environmentally analysed and subsequently transplanted to a Western Australian context. Environmental solutions for the house performance was proposed for optimal performance. Programs used: Rhino, Grasshopper, Ladybug and Honeybee.

The aim of the project in my first year of Bachelors of Architecture was to do a photo spread and line drawing of our everyday life in a David Hockney style collage. This drawing, featuring my dog and dear friends, is a composite of the two projects for produced for Techniques of Visualization 1030.