Inside Sandcastles, Western Australia’s first paediatric hospice

An initiative of the Perth Children's Hospital Foundation and designed by Hassell, Sandcastles is deeply inspired by the textures of the coastal bushland and the cultural richness of the local Noongar people. 

The result is a nurturing, homelike environment, not a clinical space, where every detail, from quiet retreats to shared family areas, encourages calm, care, and connection.

With construction now underway, this vision is taking shape, and for Clémence Carayol’s interviewee, Senior Architect at Hassell James French, it is a powerful reminder of how design can profoundly support emotional wellbeing when it matters most.

Architecture & Design: What were the key design principles you followed when creating a hospice that balances medical function with emotional and familial comfort?

James French: From the very beginning our clients at Perth Children’s Hospital Foundation made it clear that this was not meant to feel like a typical medical facility. Their vision was deeply rooted in compassion — to create a space that felt like a true home away from home for children and their families. 

With so much of their time spent in hospitals and clinical environments, our goal was to create something entirely different — a place that could offer comfort, dignity, and emotional relief during the most challenging of times. With this key design principle in mind, we had to approach the clinical and functional elements of the brief in a creative way that ‘de-institutionalised’ them, resulting in a space that’s warm and welcoming.

How did you engage with the local Noongar community to ensure cultural sensitivity and authenticity in the design?

Meaningful engagement with the Noongar community was foundational to the design journey. We prioritised respectful consultation with both local Whadjuk Noongar Elders and representatives from broader Indigenous communities across Western Australia. 

Through this, a cultural framework document was developed that helped shape the project team’s understanding of the cultural context, resulting in a tangible design response — with spaces that include meaningful elements such as areas for smoking ceremonies, flexible gathering spaces for community connection, and an integrated artwork by Elder Barry McGuire that traces the journey of spirits to the western waters beyond Wadjemup (Rottnest Island) — heaven in the Noongar culture.

In what ways did the coastal bushland environment influence the material palette and spatial planning of the hospice?

Nestled between coastal bushland and the ocean, Sandcastles sits within a unique landscape that is essential to celebrate. The natural surroundings are more than just a backdrop; they are an integral part of the hospice’s identity and healing environment. In contrast to the traditional feel of clinical settings, we wanted a place where families can reconnect with nature and find moments of calm and clarity — to see the sky, feel the sea breeze on their skin and hear the sounds of nature even while indoors. 

The entire layout is anchored by central circulation paths that lead the eye outward, with each space offering a connection to the bush, the beach, or surrounding parkland. Internal courtyards invite light and greenery into the heart of the building, offering quiet places for reflection and respite. The material palette draws directly from the landscape: natural stone, timber, and earthy hues echo the textures and tones of the coastal bushland, reinforcing a deep and calming connection to Country

How did you approach designing spaces that support both privacy for families and opportunities for communal connection?

Addressing the unique circumstances and diverse needs of every hospice guest and visitor posed an interesting design challenge. It was clear to us that flexibility was a key consideration and explored how spaces could be reconfigured to accommodate for many different scenarios. Designing areas that facilitate social connection was paramount, as was creating spaces that allow for quiet and contemplation.

Were there any unique challenges in designing for children with life-limiting illnesses that shaped the architectural or interior choices?

Designing for children with life-limiting illnesses required a highly considered and sensitive approach. From a practical perspective, the performance of the building envelope and the internal finishes was critical in meeting the requirements of the Hospice. 

We had to ensure that materials were safe for immunocompromised children, and a healthy, well-ventilated internal environment was essential.  Recognising that bright and ‘childlike’ elements can lead to overstimulation in many patients, we leaned into a soft, neutral palette designed to create a sense of calm.

Can you share more about the specific features or elements that help the hospice feel more like a home than a clinical setting?

Because the hospice needed to support a significant level of clinical functionality, one of our biggest challenges was finding a way to meet those practical requirements without making the space feel institutional. 

We identified the elements that families associated with hospitals and broke them down to understand their core functions and how we might adapt them to be more home-like and welcoming.

This led to thoughtful design decisions, like creating custom handwashing stations that blend seamlessly into the space, or replacing a traditional reception desk with a relaxed, lounge-like welcome area. It was all about reimagining healthcare through the lens of comfort, dignity, and emotional wellbeing.

A key part of the design is the communal kitchen — a space where families can sit at the bench, have a cup of tea, or share a meal, just like they would at home. The challenge was ensuring it could also function as a full commercial kitchen for the entire hospice.

How did sustainability considerations inform your design choices for this project, given its sensitive function and natural context?

We adopted a holistic approach to sustainability that focussed on social and emotional health and wellbeing, connection to landscape, and efficiency in design. Careful consideration was given to material selection and specification due to the vulnerability of the children within the hospice, and the creation of a high-performing envelope was of utmost importance in achieving a healthy internal environment, which intrinsically led to a very energy efficient building.

What role did landscape design play in supporting the overall therapeutic experience of the hospice?

Hassell was engaged as both the architect and landscape architect, which allowed a truly integrated proposal. Recognising the strong link between Aboriginal connection to Country and contemporary concepts of biophilic design, our approach explores the powerful restorative benefits of nature, not only for the children staying at the hospice, but also for their families and the staff who care for them. The landscape extends the therapeutic experience outdoors, with sensory gardens, gentle water features, all-abilities play equipment, and quiet spaces to retreat and reflect.

How did you involve healthcare professionals and families in the design process to ensure it truly meets the needs of its users?

We undertook a rigorous stakeholder engagement process through the development of the design that allowed us to meet with families who provided us with invaluable insight to the disorienting and challenging experiences faced by parents of children with life limiting illness.

We followed a thorough and collaborative engagement process, just as you would for any clinical facility, working closely with specialist healthcare teams through multiple rounds of user group meetings. This was critical in helping us understand the practical needs of each area, and to ensure the design could support the highest standard of care while still feeling thoughtful and human.

As construction begins, what aspects of the design are you most looking forward to seeing come to life on site?

I'm genuinely excited to see how the building frames views and creates a sense of connection with the surrounding landscape. Each visit to the site reveals something new — a different play of light, a shifting perspective — and I’m eager to experience how these subtle changes come to life from within the various spaces.

I imagine the light filtering through the trees, moving gently across the interiors, and the sun setting over the ocean as seen from the communal balcony, moments that will be truly special. But more than anything, I look forward to seeing the space come alive — filled with toys and paintings and mess and the children with their families, connecting in a special environment and hopefully finding a moment of peace in an unimaginably difficult journey.

Visuals supplied