JITONGLI

This project takes the habitat requirements of Carnaby's Black Cockatoo as its central focus, positioning landscape design as a mediator between ecological conservation and public use, and exploring the balance between biodiversity restoration and human activity within an urban park.

The design adopts a species-driven approach, addressing the bird's needs for nesting, foraging, and movement by reintroducing native Western Australian plant communities such as Banksia and Hakea to establish reliable food sources and suitable habitats, while creating a continuous ecological network to enhance habitat quality and resilience.

A spatial zoning strategy is implemented to define core conservation areas, buffer zones, and public spaces, effectively minimizing human disturbance. At the same time, ecological pathways, observation points, and interpretive elements are integrated to transform conservation into a perceptible spatial experience, fostering public engagement and environmental awareness.

Beyond the site itself, the proposal emphasizes connectivity with surrounding green spaces, aiming to create an urban ecological landscape that integrates ecological function, educational value, and social significance.

This project reimagines the cemetery in Rockingham as a hybrid landscape that integrates memorial space with ecological restoration. The design is structured around an emotional journey: from the disorientation of loss, to a sense of calm healing, and ultimately to a space for reflection on mortality.

This narrative is reinforced through a formal spatial framework inspired by the axial symmetry of French Versailles-style design, where strong geometric order and clear sightlines establish a solemn and dignified atmosphere. The use of symmetrical layouts and processional axes not only enhances the sense of ceremony but also guides visitors through a sequence of spaces, transitioning from enclosed and fragmented areas into open, tranquil environments.

Native vegetation, habitat corridors, and water-sensitive design are introduced to embed the site within a broader ecological network, transforming it into a living system rather than a static ground. At the same time, the design carefully maintains the contemplative nature of the cemetery while allowing for quiet public engagement.

By framing the landscape as both an ecological infrastructure and an emotional medium, the project explores how design can mediate between grief and acceptance, ultimately creating a space where memory, healing, and contemplation coexist.

Site challenges

1. High summer temperatures and strong direct sunlight affect the comfort of the space, and shadows on the back of the hill may disturb the visual experience and plant growth.
2. Development and industrial sites in the vicinity create a constant noise pressure that requires sound insulation and buffering strategies.
3. The topography is not gentle. A large difference in elevation complicates paths, accessibility and layout, and is addressed through zoning and terrain optimization.

The elements of forests, farmlands, water bodies, villages, and soil possess the distinctive characteristics of rural sections. How can these elements collaborate with each other to promote the harmonious coexistence of humans, animals, and plants?

Through connection, stitching, improvement, and planting, a 19.6-kilometer ecological corridor will be built to create a near-natural restoration of biological habitats, among which soil salinization is a key issue that needs urgent solution.

I contributed to this UIA exhibition project within the design institute, where I was responsible for GIS data collection and spatial analysis, drawing production, and design support. I participated in both concept development and visual representation, enhancing my ability to integrate analytical research with design outcomes.

This is a real-world project I worked on with the Open Space Design team during my internship at the City of Melville. It aims to upgrade the central area of Mount Henry Park with nature play elements, creating a space where local children and families can explore freely and connect with nature.

The biggest challenge was the budget: only $5,000 AUD in total, part of which had to cover a new BBQ. With ready-made play equipment out of reach, the design relied mainly on recycled materials, including timber salvaged from an old jetty built in the 1970s. This timber was key to keeping costs low, and it also became the starting point for the whole design.

Conceptually, I wanted the timber to be more than a reused material: I wanted it to tell the story of the site. The old jetty timber still carries marks from years of water erosion, showing how high the water once reached. By keeping and highlighting these marks, the design helps people naturally connect the play space with the old jetty as they play and spend time there. In this way, the site's history lives on, and the old timber is given a new life.

Building on this idea, the design is themed 'Walking on Water, Feeling the Water'. Inspired by the site's history with water, it turns the movement of water, waves and boats into hands-on play for children. Made mainly from recycled timber and rope, the play elements offer a variety of activities, including stepping, balancing, climbing, rocking, resting and imaginative play, so that children can feel the rise and fall of water through their own bodies.