Architectureaustralianovemberdecembre2015 by MODE

NOV/DEC 2015

2015 NATIONAL ARCHITECTURE AWARDS

VOL. 104 NO. 6

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NOV/DEC 2015

Cover image Melbourne School of Design, The University of Melbourne by John Wardle Architects & NADAAA in collaboration. Photography: Peter Bennetts

DIRECTION 13

Sawmill House by Archier

Foreword Letter from Jon Clements, National President of the Australian Institute of Architects. Reﬂection Editorial director Cameron Bruhn muses on architecture’s role in shaping our cities and towns.

Balmoral House by Clinton Murray + Polly Harbison 64

A look back at people, places and projects that shaped Australian architecture in 2015.

Jury Overview Jury chair David Karotkin on the deliberations of the National Architecture Awards jury.

2015 Shortlist An overview of the projects in contention to win national awards.

Public Architecture The Sir Zelman Cowen Award Shrine of Remembrance, Galleries of Remembrance by ARM Architecture National Award Adelaide Oval Redevelopment by Cox Architecture, Walter Brooke and Hames Sharley

National Commendations LOVESTORY shop by MORQ

Residential Architecture – Multiple Housing The Frederick Romberg Award Upper House by Jackson Clements Burrows Architects

Moonlight Cabin by Jackson Clements Burrows Architects

Commercial Architecture The Harry Seidler Award 50 Martin Place by Johnson Pilton Walker

Fiona Stanley Hospital – Main Hospital Building by The Fiona Stanley Hospital Design Collaboration

National Commendation Equestrian Centre, Merricks by Seth Stein Architects (London) in association with Watson Architecture + Design (Melbourne) 78

National Commendations Camperdown Childcare by CO-AP (Architects) Jeffrey Smart Building by John Wardle Architects in association with Phillips/Pilkington Architects Residential Architecture – Houses (New) The Robin Boyd Award Planchonella House by Jesse Bennett Architect Builder

Heritage The Lachlan Macquarie Award Irving Street Brewery by Tzannes Associates National Awards The Abbey, Johnston Street, Annandale by Design 5 – Architects

National Award UTS Science Faculty, Building 7 by Durbach Block Jaggers Architects + BVN

National Commendation Walter Street Terrace by David Boyle Architect

National Award The GPT Group’s Wollongong Central by HDR Rice Daubney

Educational Architecture The Daryl Jackson Award Melbourne School of Design, The University of Melbourne by John Wardle Architects and NADAAA in collaboration

Coriyule by Bryce Raworth and Trethowan Architecture #thebarnTAS by workbylizandalex 84

National Award Monash University North West Precinct by Jackson Clements Burrows Architects in collaboration with MGS Architects (masterplan)

Orama by Smart Design Studio

National Commendations Lady Cilento Children’s Hospital by Conrad Gargett Lyons

Margaret Court Arena by NH Architecture + Populous

Urban Design The Walter Burley Griffin Award NewActon Precinct by Fender Katsalidis Architects

Small Project Architecture The Nicholas Murcutt Award #thebarnTAS by workbylizandalex

National Award Studios 54 by Hill Thalis Architecture + Urban Projects 74

Residential Architecture – Houses (Alterations and Additions) The Eleanor Cullis-Hill Award Tower House by Andrew Maynard Architects National Awards Local House by MAKE Architecture

NATIONAL ARCHITECTURE AWARDS 23

National Commendation Medibank by Hassell

Villa Marittima, St Andrews Beach by Robin Williams Architect

YEAR IN REVIEW 19

National Award The University of Queensland Global Change Institute by Hassell

National Awards Light House by Peter Stutchbury Architecture

Interior Architecture The Emil Sodersten Award Bankstown Library and Knowledge Centre by Francis-Jones Morehen Thorp

Sustainable Architecture The David Oppenheim Award The University of Queensland Global Change Institute by Hassell National Awards Bethanga House by tUG workshop Library at the Dock by Clare Design + Hayball (Architect of Record) National Commendations Sustainable Buildings Research Centre – University of Wollongong by Cox Richardson Cameraygal (formerly Dunbar building) by NSW Government Architect’s Office

102 Enduring Architecture Council House by Howlett and Bailey Architects 104 International Architecture The Jørn Utzon Award Pico Branch Library by Koning Eizenberg Architecture Awards Aman, Tokyo by Kerry Hill Architects Gloucestershire Garden Room by Robert Grace Architecture 111 Steel Architecture The National Colorbond® Award Adelaide Oval Redevelopment by Cox Architecture, Walter Brooke and Hames Sharley National Commendation 50 Martin Place by Johnson Pilton Walker

NOV/DEC 2015

Foreword

Welcome to the national awards issue of Architecture Australia. The Australian Institute of Architects’ awards celebrate exceptional architecture built by Australians in Australia and internationally, projects that demonstrate a commitment to innovation and the ability to enrich our communities and reinvigorate public spaces. Our awards program also highlights the significant contribution that our members are making within the community. Outstanding public projects in the realms of healthcare, education, culture, urban design, sustainability and heritage were delivered in all states and territories. From a total of 861 entries at the chapter level, 185 projects won chapter awards and advanced to the national awards. A separate category has been introduced in 2015 for educational architecture. From twenty-one awarded projects across the country, nine were included in the shortlist for national recognition. The sheer number and quality of awarded projects, ranging from early learning centres to sophisticated tertiary research facilities, validates the benefit of this new category. Architects have also been willing to experiment. David Karotkin, jury chair, writes in his overview (page 25): “The inventiveness witnessed by the jury was incredible. These architects have demonstrated the benefits of embracing risk as a necessary ingredient in achieving genuine design innovation.” Around the country, clients, architects and project teams have demonstrated an extraordinary commitment to the realization of exceptional architecture. The rigour of the peer jury process leads to a consistently high standard of awarded work, widely recognized in architectural media throughout Australia and overseas. The Institute’s awards program celebrates the vision, talent and achievements of architects through public and peer recognition. It also provides the Institute with a valuable mechanism for promoting Australian architects and architecture locally, nationally and internationally. The awards garner a lot of publicity for members and architecture more generally and this is an area that we believe provides exceptional benefit to our members and the profession.

In the lead-up to the 2015 awards, the Institute rolled out a number of public outreach events and initiatives to ensure that the public understands the real value that architects bring to their lives in so many ways. An online campaign, Where I’d Like to Live, is the first stage in a long-term plan to promote architects to the general public. Launched on World Architecture Day (5 October), the campaign celebrates a broad range of residential projects, not just the award winners. You can find out more at whereidliketo.com.au. Our People’s Choice Award has also returned, following its successful launch last year. Featuring the houses shortlisted by the national jury across the categories of Residential Architecture (Houses – New and Houses – Alterations and Additions), the People’s Choice Award invites the public to engage with the national awards and the work of Australian architects. On behalf of our members I would like to thank the team at the Institute for working intensively to deliver another successful awards program and I would like to extend my personal congratulations to all the winners.

Jon Clements National President Australian Institute of Architects

NOV/DEC 2015

Reﬂection The publication of the National Architecture Awards issue of Architecture Australia is an opportunity to think about the things that have shaped the profession in 2015. In contemplating the year (through what has been published and broadcast) I am reminded of an observation Philip Goad made more than a decade ago in the article “One Hundred Years of Discourse: Architecture Australia 1904–2004” (Architecture Australia, vol 93 no 1, Jan/Feb 2004, page 25). Philip observed that alongside themes like professionalism, excellence and discourse, Architecture Australia “has also had a responsible preoccupation with the Australian city.” In 2015 the shaping of Australian cities and towns was a present and at times controversial topic for the profession. This reﬂects a number of nationwide matters, including the pressure Australia’s rapidly growing urban population is placing on the built environment (particularly housing and transport, the building blocks of urban density). The 2014–2015 edition of the “State of Australian Cities” report, which was released mid-year, revealed that 75 percent of Australians now live in urban areas – well above a global average of 54 percent. As this issue was going to print the future of cities was gaining renewed attention in the political arena, with Prime Minister Malcolm Turnbull appointing Jamie Briggs to the newly created role of Minister for Cities and the Built Environment. Briggs joins Shadow Minister for Cities Anthony Albanese and Scott Ludlam, the Greens spokesperson for Housing and Sustainable Cities, in this portfolio. The last time both the Liberal and Labor Parties simultaneously committed to a cities portfolio was back in 1972. The architectural profession’s response to this landscape has included strident commentary and productive advocacy. The quality and liveability of buildings, social and environmental sustainability and the development and protection of the public domain have been used to foreground architecture’s critical role in reconciling the competing forces of urbanity. Throughout the year Architecture Australia has explored these issues through the dissemination and discussion of architecture. This view is primarily through the lens of the individual project and includes coverage of the Institute’s state awards. This issue records the outcomes of the Institute’s 2015 National Architecture Awards, presenting a peer-judged cohort of projects that represent the full gamut of Australian architectural endeavour. To the practices awarded at a regional and state level and to those who received recognition in the national program, our warm congratulations.

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NOV/DEC 2015

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Overall Winner and Commercial Interior: The Library at the Dock by Clare Design (design architect) and Hayball (architect of record)

JURY COMMENT

Regarded as a standout overall winner, this modestly scaled public library in Melbourne’s Docklands pays homage to timber as both structure and surface. The lightweight, cross-laminated timber frame construction sits gently on the seventy-five-year-old wharf it is situated on, while the recycled ironbark and tallowwood highlight a departure from the monolithic towers of Docklands’ early development. The result is a quality public building that is both timeless and modern.

NOV/DEC 2015

The Library at the Dock also received the Commercial Interior Award. The project is an impressive piece of institutional architecture that demonstrates the clever integration of timber throughout the structure without dominating the site. PHOTOGRAPHY Dianna Snape COMMENDATIONS (2) Abbots and Kinney by studio-gram; Bresic Whitney Hunters Hill by Chenchow Little Architects

Commercial Exterior: The Mornington Centre Stage 2 by Billard Leece Partnership

Public Space: Jubilee Playground by Sue Barnsley Design

JURY COMMENT

In this sophisticated building, Billard Leece Partnership has created a centre that feels less like an institution and more welcoming in form. Much of the relaxed, warm feel is owed to the application of timber, through recessed windows and cladding. Layers of detailing and textures enhance timber’s ability to put people at ease.

Featuring a handcrafted, pod-like cubbyhouse hidden within a fig tree, Jubilee Playground, in the inner-Sydney suburb of Glebe, articulates a witty, charming narrative. The use of timber is stylistic and free, with a sense of adventure – embracing the playground’s purpose and the delight of untethering young imaginations.

PHOTOGRAPHY Shannon McGrath

PHOTOGRAPHY Brett Boardman

COMMENDATION Australian Grains Genebank by H20 Architects

COMMENDATION Articulated Timber Ground by The University of Melbourne

Residential Exterior: Moonlight Cabin by Jackson Clements Burrows

Residential Interior: Lagoon House by Taylor and Hinds Architects

JURY COMMENT

Refreshing modesty underpins the success of this compact sixtysquare-metre holiday home on a rugged Victorian clifftop. The simple exterior – a rainscreen of spotted gum cladding – is expected to blend into the landscape as it interacts with the elements over time.

Situated on the edge of Pipe Clay Lagoon, south of Hobart, this house gently ushers the inside out. Through an impressive use of timber, Taylor and Hinds has struck a balance here that is simultaneously solid and delicate, simple and beautiful.

PHOTOGRAPHY Jeremy Weihrauch/Gollings Photography

PHOTOGRAPHY Jonathan Wherrett

COMMENDATIONS (2) Local House by MAKE Architecture; Lagoon House by Taylor and Hinds Architects

COMMENDATION Panorama Drive by Vokes and Peters with Owen and Vokes and Peters

NOV/DEC 2015

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YEAR IN REVIEW

People, places and projects Narratives of cultural identity curated for Australia’s 2016 Venice exhibition

Australians present proposal to “un-supersize” McMansions at Chicago Architecture Biennial

The Pool by Aileen Sage and Michelle Tabet. Image: Courtesy of Aileen Sage

Models of Oﬀset House by Grace Mortlock and David Neustein. Image: Tom Harris

The Pool by Aileen Sage and Michelle Tabet was selected as the winning proposal for Australia’s exhibition at the 2016 Venice Architecture Biennale. The exhibition will investigate the pool as an architectural typology, exploring its environmental and cultural implications through eight narratives by notable Australians: Tim Flannery, Ian Thorpe, Romance was Born, Christos Tsiolkas, Anna Funder, Hetti Perkins, Dawn Fraser and Paul Kelly. The creative directors hope that the pool narratives, which describe a powerful relationship between place and society, will engage both architects and the broader community in an exploration of our cultural identity.

David Neustein and Grace Mortlock, founders of Sydney-based Otherothers, presented their concept for Offset House at the inaugural Chicago Architecture Biennial (3 October 2015 – 3 January 2016). Neustein and Mortlock’s proposal seeks to “un-supersize” suburban McMansions by “renewing and retrofitting existing housing stock, adapting the typical brick-veneer, power-intensive, eave-less, spatially inflexible Australian home into a more nimble, efficient and economical form.” The University of Technology, Sydney’s senior lecturers Urtzi Grau and Cristina Goberna, founders of Fake Industries Architectural Agonism, also presented at the biennial.

READ MORE ABOUT AILEEN SAGE AND MICHELLE TABET’S PLANS FOR THE POOL

LEARN MORE ABOUT OTHEROTHERS’ AND GRAU AND GOBERNA’S PROJECTS

architectureau.com/articles/the-pool-at-Venice-2016

architectureau.com/articles/australians-part-of-chicago-architecture-biennial

Vale Ian McKay

2015 Dulux Study Tour: Tokyo, London and Paris

The late Australian architect Ian McKay, a key proponent of the “Sydney School” approach to architecture. Image: Anthony Browell

The 2015 Dulux Study Tour winners visited signiﬁcant projects and practices, including the 7 July Memorial by Carmody Groarke in London’s Hyde Park. Image: Katelin Butler

Ian McKay, who passed away in August 2015, is remembered by Philip Cox and many others as a great Australian architect. “He was a boy from the bush. A passionate believer in all things Australian,” writes Cox. “Both his parents had come from pastoral backgrounds and Ian seemed to have the power of the Australian landscape flowing through his blood. He had a conventional upbringing and a university education of no great distinction. However, he was imbued with a creative and energetic mind that was passionate about architecture.”

Five emerging architects explored projects and practices in Tokyo, Paris and London as part of the 2015 Dulux Study Tour travelling scholarship. The scholarship is awarded annually in recognition of contributions to architectural practice, education, design excellence and community involvement. Nic Brunsdon, Casey Bryant, John Ellway, Bonnie Herring and Monique Woodward toured buildings including Le Corbusier and Pierre Jeanneret’s Maison La Roche in Paris and Allford Hall Monaghan Morris’s Tea Building in London.

READ PHILIP COX’S TRIBUTE TO IAN MCKAY

READ HIGHLIGHTS FROM THE 2015 DULUX STUDY TOUR

architectureau.com/articles/philip-cox-remembers-Ian-McKay

architectureau.com/tags/2015-dulux-study-tour NOV/DEC 2015

YEAR IN REVIEW

Temporary structures John Wardle Architects’ NGV summer pavilion explores the transition of technology

Amanda Levete Architects’ MPavilion evokes “the sensation of a forest canopy”

The 2015 Summer Architecture Commission by John Wardle Architects. Image: John Gollings

Amanda Levete Architects’ nature-inspired MPavilion in Melbourne. Image: John Gollings

The National Gallery of Victoria unveiled its inaugural Summer Architecture Commission, designed by John Wardle Architects. The colourful pavilion, which takes up temporary residence in the backyard of NGV International, is the first in an annual series of architecture commissions. The pavilion design references “the transition of technology through time,” and was inspired by C. J. Dennis’s poem I Dips Me Lid, published to commemorate the opening of the Sydney Harbour Bridge in 1932. Made from a steel grid shell at twenty-one metres wide, the pavilion arches over the garden like a half dome.

Amanda Levete Architects’ (AL_A) MPavilion opened on the grounds of Melbourne’s Queen Victoria Gardens. The proposal was selected by the Naomi Milgrom Foundation in April for the commission of the second MPavilion. The 2015 MPavilion is not so much an enclosed structure (as with Sean Godsell’s unfurling “jewel box” that was the 2014 MPavilion) as a space defined by a field of objects. Forty-three “petals” – thirteen with five-metre spans and thirty with three-metre spans – are supported by ninety-five slender columns. The pavilion will host events over a four-month period.

READ MORE ABOUT JOHN WARDLE ARCHITECTS’ SUMMER PAVILION

READ MORE ABOUT AMANDA LEVETE ARCHITECTS’ MPAVILION

architectureau.com/articles/john-wardle-architects-ngv-summer-pavilion-opens

architectureau.com/articles/amanda-levetes-mpavilion-opens

Fugitive Structures commission considers refugees, homelessness and aﬀordability

Dark Mofo Hothouse pavilion oﬀers the experience of “making” and a winter feast

Sway by Sack and Reicher + Muller with Eyal Zur, one of the installations in the 2015 Fugitive Structures commission by the Sherman Contemporary Art Foundation. Image: Brett Boardman

University of Tasmania graduate students and Cave Urban designed a temporary pavilion for the Museum of Old and New Art’s annual Dark Mofo winter festival. Image: MONA/Rémi Chauvin

This year marked the first time Sydney’s Sherman Contemporary Art Foundation (SCAF) has granted a commission for its annual spring courtyard structures to an international architect. The series, called Fugitive Structures, straddles the architecture/art divide. Located in the Zen Garden behind SCAF’s Paddington gallery, Sway by Sack and Reicher + Muller with Eyal Zur addresses issues around homelessness, the life of refugees, housing affordability and population transience.

As part of the Museum of Old and New Art’s Dark Mofo annual winter festival in Hobart, the School of Architecture and Design at the University of Tasmania, Launceston partnered with Sydney-based design practice Cave Urban to create the Hothouse, a temporary bamboo pavilion. The pavilion, which gave architecture students the often elusive experience of “making,” housed small think-tank sessions and accommodated guests for a five-night winter feast.

READ ABOUT FUGITIVE STRUCTURES AND THIS YEAR’S PAVILIONS

LEARN MORE ABOUT THE HOTHOUSE PROJECT

architectureau.com/articles/spirit-of-displacement-fugitive-structures-2015

architectureau.com/articles/utas-and-cave-urban-join-forces-to-create-the-hothouse/

NOV/DEC 2015

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2015 NATIONAL ARCHITECTURE AWARDS ACROSS SCALES AND BUDGETS, THE PROJECTS HONOURED IN THE 2015 NATIONAL ARCHITECTURE AWARDS ARE UNITED BY AMBITION, QUALITY AND INNOVATION. CONGRATULATIONS TO THIS YEAR’S WINNERS.

NOV/DEC 2015

JURY

David Karotkin National Jury Chair Immediate Past National President Managing Director, Sandover Pinder

NOV/DEC 2015

Shelley Indyk Design Director, Indyk Architects

Steve Grieve Director, Grieve Gillett Dimitty Andersen Architects

Philip Goad Chair of Architecture, University of Melbourne

Peta HeďŹ&#x20AC;ernan Director, Liminal Studio

JURY CHAIR OVERVIEW DAVID KAROTKIN

he Australian Institute of Architects’ 2015 awards program has once again highlighted the significant contribution that our members are making to society through outstanding built works, across all types of projects and in all types of locations. In particular, Australian architects are playing important roles in advancing healthcare, education, culture, urban design, sustainability and heritage. The state chapters have awarded 185 entries across fourteen categories – an impressive number and certainly daunting for the national awards jury, which is tasked with selecting the best of the best. This year’s national jury, which I had the privilege of chairing, reflects the diversity of our profession – geographically, demographically and through the ways in which we practise. The breadth of experience and varied backgrounds of the jury have contributed to well-informed, robust discussions during the course of our deliberations. The first and most difficult task for the jury was to review all award winners and select a shortlist of projects to visit. We selected seventy-five entries (comprising sixty-one projects, some considered in multiple categories), committing us to visiting fifty-eight sites (excluding international projects) over thirteen immersive days. We travelled from Perth to Hobart to Far North Queensland and to many places in between (plus one, because our driver took us to the Macquarie Lighthouse in Vaucluse instead of Peter Stutchbury’s Light House in Dover Heights – which, to be fair, is next to Vaucluse). While acknowledging that we undoubtedly, and regrettably, missed seeing some extraordinary work, our visits confirmed the remarkable quality of the projects that we did choose for our shortlist. The introduction of a separate category for educational architecture in 2015 has been validated by the number and quality of awarded educational projects, ranging from early learning centres to sophisticated tertiary research facilities. From twenty-one awarded educational projects across the country, nine were included in our shortlist for national recognition. In all cases these projects demonstrate the way architects are partnering with educators to create innovative learning environments, contributing to our education system their unique understanding of the impact of the built environment on learning. The jury was impressed by the number of awarded projects where the architect was also their own client. In all cases the architects were willing to experiment in order to achieve their project ambitions. The inventiveness witnessed by the jury was incredible. These architects have demonstrated the benefits of embracing risk as a necessary ingredient in achieving genuine design innovation.

Some interesting trends emerged as we travelled the country visiting the shortlist of projects. Materials trends included finely finished face concrete, copper, brass, sustainably sourced spotted gum and folded steel plate. The proliferation of these materials across large and small projects suggests an increased interest in the intrinsic qualities of the materials and associated construction technologies used by architects. Durability, maintenance minimization, longevity, patina and sustainability are all factored into decisions about materials. We saw a strong interest in adaptation and adaptability, once again signalling an awareness of the importance of looking at the long term for our buildings as a central strategy in creating a sustainable built environment. It was particularly encouraging to see many examples of projects where boundaries between private and public realms are broken down in order to better contribute to their urban and suburban contexts and to create opportunities for enhanced community engagement. Such generosity in design is led by the architects and embraced by their clients and results in stronger communities and improved urban activation. This approach was seen in projects ranging from residential alterations and additions to hospitals and sporting arenas. And finally, a trend that should come as no surprise is that the common ingredient for great projects is a collaborative team of architect, client and builder – all committed to achieving a shared goal and respecting each other’s contributions. As with all awards juries, the national jury used a matrix of assessment criteria to guide our evaluation of the projects. The criteria are: conceptual framework, public and cultural benefits, relationship of built form to context, program resolution, cost/value outcome, sustainability, and response to client and user needs. To these criteria, our jury added two of our own – detail resolution/quality, and joy. Our observations were that the quality of detail and the quality of the finished works were consistently of the highest standard, which is a testament to the joint commitment of the architects and the builders. And joy? Well, without reservation I can say that the jury experienced absolute joy throughout the tour. Despite the frantic schedule, at no time did our enthusiasm for the task wane – the joy that emanated from every project constantly energized the jury. To all award winners from around the country, thank you for your commitment to excellence. And on behalf of the national jury, I extend my congratulations to the winners of this year’s national awards. David Karotkin LFRAIA Jury Chair, 2015 National Architecture Awards

NOV/DEC 2015

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2015 SHORTLIST THE WINNERS OF THE AUSTRALIAN INSTITUTE OF ARCHITECTS’ 2015 CHAPTER AWARDS WERE CONSIDERED FOR THE NATIONAL AWARDS. HERE WE TAKE A LOOK AT THOSE PROJECTS SHORTLISTED BY THE NATIONAL JURY.

PUBLIC ARCHITECTURE 1 ADELAIDE OVAL REDEVELOPMENT SA Cox Architecture, Walter Brooke and Hames Sharley Photography: John Gollings

2 FIONA STANLEY HOSPITAL – MAIN HOSPITAL BUILDING WA 3

The Fiona Stanley Hospital Design Collaboration (comprising Hassell, Hames Sharley and Silver Thomas Hanley) Photography: Peter Bennetts

1 3 LADY CILENTO CHILDREN’S HOSPITAL Qld Conrad Gargett Lyons Photography: Christopher Frederick Jones

NOV/DEC 2015

2015 NATIONAL AWARDS SHORTLIST

PUBLIC ARCHITECTURE (CONT.) 4 MARGARET COURT ARENA Vic NH Architecture + Populous Photography: John Gollings

5 SHRINE OF REMEMBRANCE – GALLERIES OF REMEMBRANCE Vic ARM Architecture Photography: John Gollings

6 ST BARNABAS CHURCH NSW Francis-Jones Morehen Thorp Photography: John Gollings

7 WESTMEAD MILLENNIUM INSTITUTE NSW BVN Photography: John Gollings

NOV/DEC 2015

2015 NATIONAL AWARDS SHORTLIST

EDUCATIONAL ARCHITECTURE

1 CAMERAYGAL (FORMERLY DUNBAR BUILDING) NSW NSW Government Architect’s Oﬃce Photography: Simon Whitbread

2 CAMPERDOWN CHILDCARE NSW CO-AP (Architects) Photography: Ross Honeysett

3 JEFFREY SMART BUILDING, UNIVERSITY OF SOUTH AUSTRALIA SA

John Wardle Architects in association with Phillips/Pilkington Architects 4

Photography: Sam Noonan

4 MELBOURNE SCHOOL OF DESIGN, THE UNIVERSITY OF MELBOURNE Vic John Wardle Architects & NADAAA in collaboration Photography: Nils Koenning

5 MONASH UNIVERSITY NORTH WEST PRECINCT Vic Jackson Clements Burrows Architects

Photography: Peter Clarke

6 PENLEIGH AND ESSENDON GRAMMAR MIDDLE GIRLS SCHOOL Vic McBride Charles Ryan Photography: John Gollings

NOV/DEC 2015

2015 NATIONAL AWARDS SHORTLIST

EDUCATIONAL ARCHITECTURE (CONT.) 7 ST SEBASTIAN’S PRIMARY SCHOOL Qld Elizabeth Watson Brown Architects and Architectus Photography: Christopher Frederick Jones

8 UTS SCIENCE FACULTY, BUILDING 7 NSW Durbach Block Jaggers Architects & BVN

Photography: Anthony Browell

9 THE UNIVERSITY OF QUEENSLAND GLOBAL CHANGE INSTITUTE Qld Hassell Photography: Peter Bennetts

RESIDENTIAL ARCHITECTURE — HOUSES (NEW)

1 BALMORAL HOUSE NSW Clinton Murray + Polly Harbison Photography: Brett Boardman

2 LIGHT HOUSE NSW Peter Stutchbury Architecture Photography: Michael Nicholson

NOV/DEC 2015

2015 NATIONAL AWARDS SHORTLIST

RESIDENTIAL ARCHITECTURE — HOUSES (NEW)

3 BETHANGA HOUSE Vic tUG workshop Photography: Trevor Mein

4 PLANCHONELLA HOUSE Qld Jesse Bennett Architect Builder Photography: Sean Fennessy

5 SAWMILL HOUSE Vic Archier Photography: Benjamin Hosking

6 VILLA MARITTIMA, ST ANDREWS BEACH Vic Robin Williams Architect Photography: Dean Bradley

7 THE EDGE Qld Charles Wright Architect Photography: Patrick Bingham-Hall

NOV/DEC 2015

2015 NATIONAL AWARDS SHORTLIST

RESIDENTIAL ARCHITECTURE — HOUSES (ALTERATIONS & ADDITIONS)

1 LOCAL HOUSE Vic MAKE Architecture Photography: Peter Bennetts

2 ORAMA NSW Smart Design Studio Photography: Sharrin Rees

3 TOWER HOUSE Vic Andrew Maynard Architects Photography: Peter Bennetts

4 WALTER STREET TERRACE NSW David Boyle Architect Photography: Brigid Arnott

NOV/DEC 2015

Illuminating a cityâ&#x20AC;&#x2122;s symbol of resilience Opened during late September 2014, the New

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Exterior Lighting Specialist

WE-EF LED street and area lighting luminaires installed at New Farm Riverwalk in Brisbane, Queensland, Australia.

WE-EF LIGHTING Tel +61 3 8587 0444 Fax +61 3 8587 0499 info.australia@we-ef.com www.we-ef.com Photography Andrew Welstead, Flip Creative.

2015 NATIONAL AWARDS SHORTLIST

RESIDENTIAL ARCHITECTURE â&#x20AC;&#x201D; MULTIPLE HOUSING

1 DOMAIN ROAD APARTMENTS Vic Wood Marsh Architecture Photography: Peter Bennetts

2 STUDIOS 54 NSW

Hill Thalis Architecture + Urban Projects Photography: Aaron Murray/Alexander Rink

3 SILT Qld

bureau^proberts Photography: Christopher Frederick Jones

4 UPPER HOUSE Vic Jackson Clements Burrows Architects Photography: John Gollings

NOV/DEC 2015

2015 NATIONAL AWARDS SHORTLIST

COMMERCIAL ARCHITECTURE

1 50 MARTIN PLACE NSW JPW Photography: Brett Boardman

2 EQUESTRIAN CENTRE, MERRICKS Vic Seth Stein Architects (London) in association with Watson Architecture + Design (Melbourne) Photography: Lisbeth Grosmann

3 PUMPHOUSE POINT Tas Cumulus Studio Photography: Stuart Gibson

4 THE GPT GROUP’S WOLLONGONG CENTRAL NSW

HDR Rice Daubney Photography: Brett Boardman

2 4

NOV/DEC 2015

2015 NATIONAL AWARDS SHORTLIST

HERITAGE

1 #THEBARNTAS Tas workbylizandalex Photography: Matt Sansom

2 CORIYULE Vic Bryce Raworth & Trethowan Architecture Photography: Hin Lim

3 IRVING STREET BREWERY NSW 1

Tzannes Associates Photography: John Gollings

4 THE ABBEY, JOHNSTON STREET, ANNANDALE NSW Design 5 – Architects Photography: Images for Business

5 SHRINE OF REMEMBRANCE – GALLERIES OF REMEMBRANCE Vic ARM Architecture Photography: John Gollings

NOV/DEC 2015

Principal Corporate Partner

Supporting Corporate Partners

Event Sponsors

Media Supporter

Insurance partner

2015 NATIONAL AWARDS SHORTLIST

INTERIOR ARCHITECTURE

1 BANKSTOWN LIBRARY AND KNOWLEDGE CENTRE NSW Francis-Jones Morehen Thorp Photography: Christian Mushenko

2 LADY CILENTO CHILDREN’S HOSPITAL Qld Conrad Gargett Lyons Photography: Christopher Frederick Jones

3 MEDIBANK Vic

Hassell Photography: Earl Carter

4 MELBOURNE SCHOOL OF DESIGN, THE UNIVERSITY OF MELBOURNE Vic

John Wardle Architects & NADAAA in collaboration Photography: John Horner

5 ST BARNABAS CHURCH NSW Francis-Jones Morehen Thorp Photography: John Gollings

6 THE UNIVERSITY OF QUEENSLAND GLOBAL CHANGE INSTITUTE Qld

Hassell Photography: Angus Martin

NOV/DEC 2015

2015 NATIONAL AWARDS SHORTLIST

URBAN DESIGN

1 LADY CILENTO CHILDREN’S HOSPITAL Qld Conrad Gargett Lyons Photography: Christopher Frederick Jones

2 MONASH UNIVERSITY NORTH WEST PRECINCT Vic Jackson Clements Burrows Architects in collaboration with MGS Architects (masterplan) Photography: Peter Clarke

3 NEWACTON PRECINCT ACT Fender Katsalidis Architects Photography: Courtesy of Colliers

4 RMIT A’BECKETT URBAN SQUARE Vic Peter Elliott Architecture + Urban Design Photography: John Gollings

5 THE GPT GROUP’S WOLLONGONG CENTRAL NSW

HDR Rice Daubney Photography: Simon Grimes

6 THE HART’S MILL PROJECTS SA Mulloway Studio and Aspect Studios Photography: Don Brice

NOV/DEC 2015

2015 NATIONAL AWARDS SHORTLIST

SMALL PROJECT ARCHITECTURE

1 COPPER HOUSE NSW Takt | Studio for Architecture Photography: Shantanu Starick

2 LOVESTORY SHOP WA MORQ Photography: Peter Bennetts

3 #THEBARNTAS Tas workbylizandalex Photography: Alex Nielsen

4 NEW TOWN ROAD HOUSE Tas Core Collective Photography: Chris Clinton

5 ROJI SALON ACT Craig Tan Architects Photography: Ross Honeysett

1 6 MOONLIGHT CABIN Vic Jackson Clements Burrows Architects Photography: Jeremy Weihrauch/Gollings Photography

NOV/DEC 2015

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2015 NATIONAL AWARDS SHORTLIST

SUSTAINABLE ARCHITECTURE

1 BETHANGA HOUSE Vic tUG workshop Photography: Trevor Mein

2 CAMERAYGAL (FORMERLY DUNBAR BUILDING) NSW NSW Government Architect’s Oﬃce Photography: Simon Whitbread

4 3 LIBRARY AT THE DOCK Vic Clare Design + Hayball (Architect of Record) Photography: Dianna Snape

4 THE UNIVERSITY OF QUEENSLAND GLOBAL CHANGE INSTITUTE Qld Hassell Photography: Peter Bennetts

5 SUSTAINABLE BUILDINGS RESEARCH CENTRE (SBRC) – UNIVERSITY OF WOLLONGONG NSW

Cox Richardson Photography: John Gollings

6 NEWACTON NISHI COMMERCIAL ACT Fender Katsalidis Architects Photography: John Gollings

NOV/DEC 2015

2015 NATIONAL AWARDS SHORTLIST

ENDURING ARCHITECTURE

1 BUHRICH HOUSE II NSW Hugh Buhrich Photography: Jean Rice

2 COUNCIL HOUSE WA Howlett & Bailey Architects Photography: Courtesy of City of Perth History Centre

INTERNATIONAL ARCHITECTURE

1 AMAN, TOKYO Tokyo, Japan Kerry Hill Architects Photography: Nacasa & Partners

2 PICO BRANCH LIBRARY Santa Monica, United States of America Koning Eizenberg Architecture 2

Photography: Eric Staudenmaier

3 GLOUCESTERSHIRE GARDEN ROOM Gloucestershire, United Kingdom Robert Grace Architecture Photography: Jesper Ray

NOV/DEC 2015

2015 NATIONAL AWARDS SHORTLIST

COLORBOND速 AWARD FOR STEEL ARCHITECTURE

1 ADELAIDE OVAL REDEVELOPMENT SA Cox Architecture, Walter Brooke and Hames Sharley Photography: John Gollings

2 FITZGIBBON COMMUNITY CENTRE Qld Richard Kirk Architect Photography: Scott Burrows

3 GREEN CHEMICAL FUTURES Vic Lyons

Photography: Peter Bennetts

4 50 MARTIN PLACE NSW JPW Photography: Peter Bennetts

NOV/DEC 2015

ENSURE THERMAL PERFORMANCE Kingspan Insulated Gutter

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PUBLIC ARCHITECTURE THE SIR ZELMAN COWEN AWARD

SHRINE OF REMEMBRANCE, GALLERIES OF REMEMBRANCE ARM ARCHITECTURE

JURY CITATION

The Galleries of Remembrance at Melbourne’s Shrine of Remembrance, completed in time to commemorate the centenary of the 1915 Gallipoli campaign, represent the fitting culmination of a masterplan that was established fifteen years ago. This outstanding final stage reinstates the symmetry of the four quadrants of the Shrine’s original 1927 layout. Cutting courtyards into the historic grassed mound is a masterstroke that resolves the programmatic challenges of turning a landmark monument into a major museum and gallery building while keeping intact the original urban design concept. The new entry courtyards create equal feelings of awe and pleasure in an appropriate and comfortable balance. These dramatic spaces are highly effective sensory thresholds between the city and the subterranean education and gallery spaces. The dedicated schoolchildren’s entry court is especially poignant, with its giant abstracted poppy canopy and the custom that has developed serendipitously of children leaving paper poppies in the walls as they leave. What is remarkable about these latest additions is that they enhance the appreciation of the existing monument while confidently creating a new and intriguing visitor experience. The entire undercroft of the Shrine and its supporting brick piers are exposed to the public for the first time and complemented by a permanent exhibition that is extraordinarily moving in its content. The inclusion of one of the

NOV/DEC 2015

original Gallipoli boats in the exhibition meant complex scheduling in the building’s construction and also the need for a hidden grass-clad door in the Shrine’s mound for ongoing and future servicing and delivery. Also contained beneath the mound are new administrative offices decorated with artworks drawn from original wartime sketches and military memorabilia and a boldly confronting all-blood-red lecture theatre that features plywood Japanese origami paper cranes as the surrounding wall surfaces. All of the new works are unashamedly of their time while matching the material quality, robustness and detail finesse of their heritage host. The design response is reflective of a fiercely independent nation, even though the memorial references global events. This is important in this exemplary creation of what is now undoubtedly a nationally significant cultural destination. SHRINE OF REMEMBRANCE – GALLERIES OF REMEMBRANCE WAS REVIEWED BY CONRAD HAMANN IN ARCHITECTURE AUSTRALIA MAY/JUN 2015. SEE ARCHITECTUREAU.COM/ ARTICLES/SHRINE-OF-REMEMBRANCE-GALLERIES-OF-REMEMBRANCE ARCHITECT ARM Architecture/project team: Ian McDougall (design director); Tony Allen (project director); Jeremy Stewart (design/project architect); Stephen Davies (project architect); Andrea Wilson (interiors); Ross Liddell, Tim Brooks, Aaron Poupard, Michael McManus, Doug Dickson EXHIBITION DESIGNER Cunningham Martyn STRUCTURAL CONSULTANT Irwin Consult LANDSCAPE CONSULTANT Rush\Wright LIGHTING CONSULTANT Electrolight ACOUSTIC CONSULTANT Marshall Day SERVICES CONSULTANT Umow Lai COST CONSULTANT Rider Levett Bucknall HERITAGE CONSULTANT Lovell Chen BUILDING SURVEYOR PLP BUILDER Probuild PHOTOGRAPHY John Gollings

SECTION 1:1000

10 m

NOV/DEC 2015

Langtree Mall, Mildura, Victoria

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PUBLIC ARCHITECTURE NATIONAL AWARD

ADELAIDE OVAL REDEVELOPMENT COX ARCHITECTURE, WALTER BROOKE AND HAMES SHARLEY JURY CITATION

The redevelopment of the Adelaide Oval has set a new standard for facilitating a range of sporting and hospitality events within a major sports stadium. The project retains the unique characteristics of the Adelaide Oval by creating pavilions that not only provide perfect sightlines for a game but also allow views to break out of the central bowl. Of special note is the retention of the northern grass bank, its Moreton Bay fig trees enhanced by a new hospitality deck. This retention of one of the Adelaide Oval’s most favourite viewing points reinforces the globally recognized identity of the ground. The new complex makes the most of its urban context. It engages successfully with the city and parklands by introducing a transparent perimeter skin and elevated external terraces with views back to the city, which have proved to be extremely popular. The complex, curved stadium roof forms are suitably grand in scale yet structurally refined to the point of looking deceptively simple. The choice of materials and detail rejects the brutality that has been prominent in this typology over recent decades. However, robustness is not compromised. All parts of the Adelaide Oval have been carefully considered to produce what must be, nationally, one of the most accessible and most spatially dramatic public buildings devoted to sport. ADELAIDE OVAL REDEVELOPMENT WAS REVIEWED BY STEPHEN WARD IN ARCHITECTURE AUSTRALIA JUL/AUG 2015. SEE ARCHITECTUREAU.COM/ARTICLES/ADELAIDE-OVAL ARCHITECT Cox Architecture, Walter Brooke and Hames Sharley/project team: Adam Hannon (project architect); Patrick Ness (design architect); Alastair Richardson (project director); Ian Hore (director); Anthony Balsamo (urban lead); Michael Lambert (planning lead); Soren Fischer (facade design); Mee Kim Kyong (facade lead); Joachim Clauss (roof lead); Stuart Harper (roof team); Naomi Evans (urban and facade team); Chin Tan, Kirsty Dicker, James Thompson, Kate Holford, Amos Dahlitz STRUCTURAL CONSULTANT Arup, Wallbridge and Gilbert LANDSCAPE CONSULTANT Oxigen SERVICES CONSULTANT Aurecon, AECOM COST CONSULTANT Rider Levett Bucknall BUILDING SURVEYOR Katnich Dodd BUILDER Lend Lease PROJECT MANAGER Mott Macdonald PHOTOGRAPHY John Gollings (top), Drew Lenman (bottom)

NOV/DEC 2015

PUBLIC ARCHITECTURE NATIONAL COMMENDATION

LADY CILENTO CHILDREN’S HOSPITAL CONRAD GARGETT LYONS

FIONA STANLEY HOSPITAL — MAIN HOSPITAL BUILDING THE FIONA STANLEY HOSPITAL DESIGN COLLABORATION

JURY CITATION

Lady Cilento Children’s Hospital in Brisbane is an outstanding response to a very complex project typology, made all the more difficult by its location, which had restricted access, a sloping site and an encumbered perimeter. The architects cleverly reframed that context by looking beyond the site boundaries. They reorganized the broader precinct in a way that benefited all the adjacent stakeholders. At the same time, creative attention was paid to the hospital’s architectural cues for wayfinding and wellbeing. The internal atria are beautifully scaled to retain intimacy while providing reference points for orientation as well as opportunities for the integration of major artworks. Elevated landscaped terraces are integrated into the building’s complex envelope to create spectacular views of downtown Brisbane and breakout spaces for staff and patients. The jury found the ground plane to be especially well handled. The hospital is easy to approach, with a clear delineation of essential functional divisions related to emergency and general admission. The design invites the public to pass through and engage with the retail and hospitality facilities on offer in addition to medical services. For children, the Lady Cilento Children’s Hospital is a place of vibrant colour, lively activity and, in terms of fitout and furniture, fun. The result is an exemplary healthcare complex and a fully integrated urban contribution.

The Main Hospital Building at Perth’s Fiona Stanley Hospital is commended for its remarkable resolution of a highly complex program. An exceptional degree of clarity has created a tangible atmosphere of calmness, due in large part to the central, well-proportioned internal “street” and the careful planning of frequent and regularly spaced views to beautifully landscaped courtyards. The scale of the building is deftly handled, including a podium with landscaped roof and separated ward towers. A restrained material palette supports the calming effect of the frequent contact with landscape. The sophisticated facade system on the ward towers, which responds aesthetically to the geometric structure of the banksia flower and seed pods, cleverly manages outlook and sun control. Major public artworks also form an integral part of the design response. As the central component of a major new medical precinct, the Main Hospital Building at Fiona Stanley Hospital successfully establishes premium architectural standards and a coherent urban framework for the ongoing development of an entire “health city.”

LADY CILENTO CHILDREN’S HOSPITAL WAS REVIEWED BY LEON VAN SCHAIK IN ARCHITECTURE AUSTRALIA MAY/JUN 2015. SEE ARCHITECTUREAU.COM/ARTICLES/LADY-CILENTO-CHILDRENS-HOSPITAL ARCHITECT Conrad Gargett Lyons STRUCTURAL AND CIVIL CONSULTANT

Cardno LANDSCAPE CONSULTANT Conrad Gargett INTERIOR DESIGN Conrad Gargett Lyons ACOUSTIC CONSULTANT Ask Acoustics & Air Quality SERVICES CONSULTANT AECOM BUILDER AND CONSTRUCTION MANAGER Lend Lease PROJECT MANAGER Aurecon PHOTOGRAPHY Christopher Frederick Jones

NOV/DEC 2015

THE FIONA STANLEY HOSPITAL MAIN HOSPITAL BUILDING WAS REVIEWED BY MICHAEL KENIGER IN ARCHITECTURE AUSTRALIA SEPT/OCT 2014. SEE ARCHITECTUREAU.COM/ARTICLES/FIONA-STANLEY-HOSPITAL ARCHITECT The Fiona Stanley Hospital Design Collaboration (comprising Hassell, Hames Sharley, Silver Thomas Hanley)/project team: Justin Gurney, Mark Keltie (project architects); Jeff Menkens, David Gulland, Brenden Kelly, Peter Dean, George Raffa (design architects); John O’Brien, Rod Marshall, Morag Lee, Brad Anderson, Chris Pratt, Eleni Gogos, Nigel Goodman, Tony Di Leo STRUCTURAL AND FACADE CONSULTANT BG&E ELECTRICAL CONSULTANT Wood & Grieve MECHANICAL CONSULTANT AECOM HYDRAULIC CONSULTANT SKM LANDSCAPE CONSULTANT Hassell ACOUSTIC CONSULTANT Gabriels Environmental Design ENVIRONMENTAL CONSULTANT Strategen COST CONSULTANT RBB, WT Partnership FIRE ENGINEERING NDY WAYFINDING DESIGN Minale Tattersfield ACCESSIBILITY CONSULTANT O’Brien Harrop Access WIND CONSULTANT Cermak Peterka Petersen BUILDING SURVEYOR Ian Lush and Associates BUILDER Brookfield Multiplex PHOTOGRAPHY Peter Bennetts

PUBLIC ARCHITECTURE NATIONAL COMMENDATION

MARGARET COURT ARENA NH ARCHITECTURE + POPULOUS JURY CITATION

Embedded in the heart of Melbourne’s urban sports precinct, the Margaret Court Arena redevelopment project embraces its context with framed views across the city, the Yarra River and adjacent parklands, along with the brace of outdoor tennis courts that comprise Flinders Park. Margaret Court Arena has been built over the substructure of an existing tennis court and stands and extended in size by 1500 seats to form a new, encircling public concourse. Its striking folded copper roof hints at the opening mechanism of the world’s fastest retractable roof at its centre. The architects have successfully addressed the technical challenges of a combined sport and performance venue. At the same time, they have also recognized the important role that procession and gathering play in the experience of a public event. MARGARET COURT ARENA WAS REVIEWED BY MAITIÚ WARD IN ARCHITECTURE AUSTRALIA MAY/JUN 2015. SEE ARCHITECTUREAU.COM/ARTICLES/MARGARET-COURT-ARENA-1

ARCHITECT NH Architecture + Populous in joint venture/project team: Ralph Wheeler, Adrian Costa (project architects); Hamish Lyon, Richard Breslin (design principals); Lyndon Hayward, Paul Henry (project principals); Astrid Jenkin (interior architect); Emily Kilvington, Mun Ching Wong, Thuyai Chung, Wilko Doehring, Paul Foskett, Nicholas George, Dale Jennins, Mitch McTaggart, Michael Neve, Jaye O’Dwyer, Julie Rinaldi, Mieke Vinju STRUCTURAL, CIVIL, ELECTRICAL AND MECHANICAL CONSULTANT Aurecon HYDRAULIC CONSULTANT CJ Arms LANDSCAPE CONSULTANT Aspect Studios ACOUSTIC CONSULTANT Marshall Day CATERING CONSULTANT McCartney Taylor Dimitroff BUILDING SURVEYOR One Group ID BUILDER Lend Lease PHOTOGRAPHY John Gollings

NOV/DEC 2015

EDUCATIONAL ARCHITECTURE THE DARYL JACKSON AWARD

MELBOURNE SCHOOL OF DESIGN, THE UNIVERSITY OF MELBOURNE JOHN WARDLE ARCHITECTS & NADAAA IN COLLABORATION

JURY CITATION

The Melbourne School of Design (MSD) has given the University of Melbourne a building of outstanding quality and delivered a complex educational program. As an urban design move, it clarifies circulation in this part of the Parkville campus. The building successfully engages with its context in distinctively different ways, such as the sculptured landscape of the south lawn above the building’s submerged library and the activated main entry court to the east. The Joseph Reed-designed heritage facade is skilfully integrated both internally (with humour) and externally through the juxtaposition of finely detailed perforated corrugated zinc sunscreens. A major circulation path runs through the building. This has the benefit of showing off the MSD’s workings, such as the digital fabrication laboratory, timber workshop and library. There are also two major exhibition spaces on the ground floor. Education is on full display. Every space within the building is exploited to create breakout spaces, learning and study opportunities and places for functions and events. The spectacular central atrium, with its finely detailed suspended timber-clad studios, provides excellent visual and physical interconnection between students and staff. The building explains its operation through architecture. It reveals layers of construction as tools to teach. The exposure of building systems, jointing techniques

NOV/DEC 2015

and operable elements like windows and partitions is a lesson in itself. A high level of detail is evident throughout the building, in spite of the variety and complexity of spaces and functional requirements. The Melbourne School of Design sets new standards in the design of education facilities. It takes every opportunity to foster collaboration in undergraduate and graduate research, teaching and learning as well as cleverly integrating a variety of materials and construction and fabrication techniques. The building is itself an education vehicle, a veritable architecture of pedagogy. MELBOURNE SCHOOL OF DESIGN WAS REVIEWED BY SANDRA KAJI-O’GRADY IN ARCHITECTURE AUSTRALIA JAN/FEB 2015. SEE ARCHITECTUREAU.COM/ARTICLES/MELBOURNE-SCHOOL-OF-DESIGN ARCHITECT John Wardle Architects and NADAAA/project team: John Wardle, Stefan Mee, Nader Tehrani, Meaghan Dwyer, Stephen Georgalas, John Chow, Arthur Chang, Jasmin Williamson, Adam Kolsrud, Alex Peck, Barry Hayes, Jeff Arnold, James Juricevich, Parke MacDowell, Marta Guerra, James Loder, Danny Truong, Sharon Crabb, Yohan Abhayaratne, Elisabetta Zanella STRUCTURAL AND CIVIL CONSULTANT Irwin Consult LANDSCAPE CONSULTANT Oculus LIGHTING CONSULTANT Electrolight ACOUSTIC CONSULTANT AECOM SERVICES CONSULTANT AND PROJECT MANAGEMENT Aurecon ENVIRONMENTAL, BUILDING SERVICES ENGINEERING AND SUSTAINABILITY CONSULTANT

Umow Lai COST CONSULTANT Rider Levett Bucknall ACCESSIBILITY CONSULTANT One Group ID AUDIOVISUAL CONSULTANT AVDEC BUILDING SUSTAINABILITY COMMISSIONING AGENT AG Coombs HERITAGE CONSULTANT RBA Architects & Conservation Consultants BUILDING SURVEYOR McKenzie Group BUILDER Brookfield Multiplex PHOTOGRAPHY John Gollings (above, opposite top and bottom left), Peter Bennetts (opposite bottom right)

NOV/DEC 2015

EDUCATIONAL ARCHITECTURE NATIONAL AWARD

UTS SCIENCE FACULTY, BUILDING 7 DURBACH BLOCK JAGGERS ARCHITECTS + BVN JURY CITATION

The jury was impressed by the contribution the UTS Science Faculty’s Building 7 makes to the university’s Ultimo campus masterplan. It is a lively, architecturally inventive learning and research environment. The architects developed a powerful concept by wrapping the largely rectilinear program of laboratories with undulating and canting building forms that contain circulation and breakout spaces. The combination of natural light from openings in the roof, the organic forms of the walls and balustrades, the reflective surfaces of the mosaic-covered walls and the carefully chosen colour palette provides a delightful array of spaces and experiences. It is a tribute to the architects that the subterranean spaces enlivened by shafts of natural light are just as successful and delightful as the upper levels. The building’s rippling facades make a strong and forthright contribution to the public domain. By curving and canting the building form, the architects have brought maximum sunlight to the Alumni Green to the south – a major recreational student space for the campus. The building is integrated internally by a wonderfully sinuous and generous stairway connecting levels two through to seven. This stair provides opportunities for interaction and chance encounters between the building’s occupants. The concertina-like sequence of double layers of offset windows contributes to excellent workspaces for research students and staff. These large unfolding spaces are given a wonderful and appropriate sense of scale and rhythm by the varying widths and colours of the windows, reinforced by pendant light fittings. An additional layer of delight is added through the architect’s personal touches, such as the large baked enamel mural pivot doors with their clear tributes to Le Corbusier; the Southern Cross clusters of downlights; and the all-green lecture theatre, its ceiling studded with laboratory beaker lights and that splash of pink in one corner. UTS SCIENCE FACULTY, BUILDING 7 WAS REVIEWED BY DAVID NEUSTEIN IN ARCHITECTURE AUSTRALIA MAY/JUN 2015. SEE ARCHITECTUREAU.COM/ARTICLES/UTS-SCIENCE-AND-HEALTH-BUILDING ARCHITECT Durbach Block Jaggers Architects + BVN/project team: Neil Durbach,

Camilla Block, David Jaggers (design directors); Stefan Heim, Paul Pannell (practice directors); Abbie Galvin (principal); Erin Field, Deborah Hodge, Sarah Kirkham, Xiaoxiao Cai, Alex Holman, Elena Bonanni, Kristin Neise, Erika Halim, Manny Prouzos, Ian James, Michael Janeke, Benjamin Chew, Laura Robinson, Valentine Steisel FACADE CONSULTANT Surface Design, Kingston Building HYDRAULIC AND FIRE CONSULTANT Arup MECHANICAL, ELECTRICAL, LIGHTING, GREENSTAR AND ESD CONSULTANT Steensen Varming PLANNER JBA Urban Planning PCA & BCA Steve Watson & Partners ACCESSIBILITY CONSULTANT Morris Goding Access Consulting COLOUR CONSULTANT Lymesmith Polychromy STRUCTURAL CONSULTANT Taylor Thomson Whitting LANDSCAPE CONSULTANT Aspect Studios COST CONSULTANT Davis Langdon/AECOM BUILDER Richard Crookes Constructions PROJECT MANAGER Savills Project Management PHOTOGRAPHY Darren Bradley (top), Peter Bennetts (centre), Anthony Browell (bottom)

NOV/DEC 2015

EDUCATIONAL ARCHITECTURE NATIONAL COMMENDATION

CAMPERDOWN CHILDCARE CO-AP (ARCHITECTS)

JEFFREY SMART BUILDING JOHN WARDLE ARCHITECTS IN ASSOCIATION WITH PHILLIPS/PILKINGTON ARCHITECTS

JURY CITATION

This project for an eighty-place childcare centre successfully inserts new architecture into a former industrial warehouse in Sydney’s inner west. The architects’ response to the brief has been to cleverly design a series of indoor and outdoor spaces that create the ambience of a domestic neighbourhood. While the inherent qualities of the warehouse have been preserved, large parts of the roof have been removed to create outdoor play spaces. Other sections of the roof have been retained for shade and waterproofing. The internal accommodation requirements have been met through the design of simple and delightful structures that provide a domestic typology and scale suitable for children. Collectively these structures form a playful streetscape and skyline when viewed from the outdoor play area. Simple materials, a restrained colour palette (avoiding the overuse of primary colours prevalent in early learning centres) and a judicious use of many textures have resulted in a robust and very cost-effective outcome. The architects have taken every opportunity to provide a wonderful learning environment full of choice for children and staff. This project has successfully challenged current risk-averse commercial models and has contributed positively to invigorating an increasingly demanding building typology.

The Jeffrey Smart Building at the University of South Australia makes an excellent contribution to the western end of Adelaide. The program has been cleverly arranged to ensure that both the university population and the general public are welcomed into the ground-level facilities. Teaching and learning spaces have been organized to create a generous courtyard, a much-needed open space in this dense, urban campus. The Hindley Street facade activates the street through the placement of study spaces immediately inside angled and shaded glazing. A carefully considered mixture of precast concrete and lightweight cladding panels suggests a pattern of shelved books. The design team has masterfully integrated student services, administrative offices, twenty-first-century library services, and teaching and learning spaces that facilitate self-directed as well as teacher-led endeavours. Meeting spaces, a technology hub, student kitchens and breakout spaces complete the student facilities. Technology is integrated throughout, while the Forum space, with its state-of-the-art audiovisual facilities, provides a more formal presentation space. Largely “open plan,” at least visually, areas are defined by activity. Excellent visual access throughout the building simplifies navigation and wayfinding. This building, with its repetition of form, its play of light and shadow and its highly resolved architecture, makes an invaluable contribution to the university campus, the streetscape and Adelaide’s increasingly urban West End.

CAMPERDOWN CHILDCARE WAS REVIEWED BY SING D’ARCY IN ARTICHOKE 48. SEE ARCHITECTUREAU.COM/ARTICLES/CAMPERDOWN-CHILDCARE ARCHITECT CO-AP (Architects)/project team: Patrik Braun (project architect); Will Fung

(design architect); Tina Engelen STRUCTURAL CONSULTANT Partridge MECHANICAL CONSULTANT Northrop HYDRAULIC CONSULTANT Glenn Haig & Partners LANDSCAPE CONSULTANT Fiona Robbé Landscape Architecture ACOUSTIC CONSULTANT Acoustic Logic BCA CONSULTANT BCA Logic BUILDER Blitz Group PHOTOGRAPHY Ross Honeysett

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ARCHITECT John Wardle Architects in association with Phillips/Pilkington Architects/ project team: John Wardle, Stefan Mee, Meaghan Dwyer, Minnie Cade, Amanda Moore, Susan Phillips, Brett Julian, Andrew Wong, Barry Hayes, Michael Pilkington, Alison McFadyen, Heather Griffin, Kirrilly Wilson, Alexa Schroder, Bec Wilkie, Ross Goldsworthy, Scott Meek, Ben Bindon, Genevieve Griffiths, Kah-Fai Lee STRUCTURAL AND CIVIL CONSULTANT Wallbridge & Gilbert LANDSCAPE CONSULTANT Taylor Cullity Lethlean ACOUSTIC CONSULTANT Sonus SERVICES CONSULTANT Bestec SERVICES, ENVIRONMENTAL AND AUDIOVISUAL CONSULTANT Umow Lai COST CONSULTANT Rider Levett Bucknall DISABILITY ACCESS CONSULTANT Disability Consultancy Services WAYFINDING AND BRANDING Arketype EDUCATION CONSULTANT Wilson Architects FACADE ENGINEER BG&E PLANNING CONSULTANT URPS BUILDING SURVEYOR Katnich Dodd BUILDER Hindmarsh PHOTOGRAPHY Sam Noonan

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RESIDENTIAL ARCHITECTURE — HOUSES (NEW) THE ROBIN BOYD AWARD

PLANCHONELLA HOUSE JESSE BENNETT ARCHITECT BUILDER

JURY CITATION

Here is an architect/builder/inventor and an interior innovator at their combined best. The Planchonella House in Cairns is not constrained by climatic concerns or by a client who might have had differing design aspirations. It has a consistency throughout. Its most persuasive attitude is its invention and directed playfulness. As architect and builder Jesse Bennett informed us on site, “The form of the house evolved out of planning the internal relationships.” This house was not formed from a singular concept but from an evolving set of often opposite relationships: open to closed container, concrete upper to concrete lower slab, concrete to glass, timber framing to metal framing, air to solid, planar to curved. The house often appears raw because of the directness of its materials but it is highly sophisticated and inventive in its detailing. The combination is surprising and confident and it is this that sets this house apart. The Planchonella House also belongs to its place. The rear northern courtyard sets the datum for the large amoebic living platform. This courtyard, with its spongy carpet of green grass, is a northern harbour while the house proper occupies a southern viewing platform. With arms extending north and east, enjoying the calm lawn that faces upwards to the mountain and rainforest, the house focuses on the south, the long view and long drop of the impossibly steep site.

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It is to the south that the curvaceous edge of the two concrete slabs – floor and roof – are most wonderfully linked by the play of glazed vertical panels, framing the view in rosewood, then floating in frameless glass. The fine black silicon lines of glass panelling joints are reminiscent of seamed hosiery. The joy of living is embraced at every viewpoint. Detailing is never taken for granted. Every moment is an opportunity for a new analysis and a fresh invention. Glass sliding door mechanisms have been rethought, designed and cast; the thick bookshelf wall – lined with books on one side and black upholstered silk on the other side – has a long rosewood crafted handle that allows one to enter the inner sanctum and close out the public realm. It opens with a simple pivot. There’s a “femme fatale” wardrobe that is a shop setting out of Sex and the Single Girl. The steel frames that support the stair treads also become the balustrade frames of steel to echo the frames of rosewood windows. All the furniture – like this house – has been designed to fit or echo relationships of harmony and surprise. PLANCHONELLA HOUSE WAS REVIEWED BY SHANEEN FANTIN IN HOUSES 104. SEE ARCHITECTUREAU.COM/ARTICLES/PLANCHONELLA-HOUSE ARCHITECT AND BUILDER Jesse Bennett Architect Builder/project team: Jesse Bennett (architect and builder); Anne-Marie Bennett (interior designer) STRUCTURAL CONSULTANT Kel Bruce Engineers PHOTOGRAPHY Sean Fennessy

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RESIDENTIAL ARCHITECTURE — HOUSES (NEW) NATIONAL AWARD

LIGHT HOUSE PETER STUTCHBURY ARCHITECTURE JURY CITATION

Crammed into a tight suburban context where all vie for that precious Sydney water view, the Light House sits understated. Here is a building with a sensual upper-storey curvature that is actually more hidden than revealed due to the density of its location. The house’s internal planning is largely rectilinear, which leaves the outdoor terraces to enjoy the unexpectedness of the curved facade and obliquely revealed coastline views. The toughness of the house’s concrete slabs and suspended precast concrete panels is constantly balanced with attention to detail on every surface. The facade’s vertical concrete panels have a reducing chamfered bottom edge that is repeated in the adjacent timber verticals that act as glazing bars. The application of a boat deck finish to the underside of the slab for weather protection is immaculately applied around the edges of the frame and slab; the copper mesh fence is a beautiful version of the perforated screen but stiffened simply with a repeated crisp V-fold; exposed pipework in bronze and brass is installed with refinement and precision everywhere. The siting of a circular pool at ground level, under the canopy of the bathroom concrete floor plate above, has allowed an open elliptical skylight to the pool below. The skylights in the upper-level bedroom and sitting room allow the glare of the coastal view to be screened away, and a soft indirect light, bouncing off timber, enters the room. Light House has an understated beauty that emerges from the robustness of its materials, its calm internal planning and its craft-like attention to detailing. Unexpected opportunities have been taken to invent, surprise and delight. ARCHITECT Peter Stutchbury Architecture/project team: John Bohane (project architect); Peter Stutchbury (design architect) STRUCTURAL CONSULTANT Max Irvine HYDRAULIC CONSULTANT JCL Development Solutions LANDSCAPE CONSULTANT Craig Burton, CAB Consulting BUILDER David Watson PHOTOGRAPHY Peter Stutchbury (top), Michael Nicholson (bottom)

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RESIDENTIAL ARCHITECTURE — HOUSES (NEW) NATIONAL AWARD

SAWMILL HOUSE ARCHIER JURY CITATION

Through the old sawmill shed, the jury is escorted up a steep old steel-gridded ramp covered in blackberries, to meet the architect’s brother and client and to stand on a tower overlooking the site: “This is the best view of it.” And this is where the bird’s-eye view resonates. The Sawmill House is one of understated brilliance, read from above as a long rectangular block, hugging the landform at its rear and flat-roofed with what appears to be a sliding roof section. A long timber-boarded verandah runs parallel to the rectangular house form and in front, the site drops away into what looks like an old dug-out pit. From above, one can see that there is a void behind the house, also dug out from a rear earth mound and lined with the same concrete blocks from which the house is constructed. Is this an ancient site, a ruin or an old quarry? The concrete building blocks of the house are intriguingly huge. They appear made for giants. They are the recycled wastage of concrete from road making, road barriers and commercial building sites, recognizable by their colour. The blocks are uniform only in their tonnage; they bulge and angle, and stay in place by sheer weight and some slurry. The rectangular house form is completed by occasional timber-steel columns and hidden beams supported on the blocks. When the equally long sliding door and roof are opened, the house almost disappears as one giant oculus is revealed and half the house is outdoors again. The verandah is balustraded from the pit below, with a set of equally long full-height bifold sliding trellis doors. The interior – one long rectangular space – is just as clever. It’s another lesson in “less is more.” The eastern end wall is a pivot glass door that opens onto a grass lawn. The long rear southern wall, brass-clad, stores a concealed bathroom, an exposed kitchen and, behind a double-thick hinged insulated door, an opening to the southern-facing block-lined dug-out void, which acts as a cooling “sink” on heatwave days. In just this simple space, there is daily life, work, bed, hearth, bath, verandah and sky – beauty, invention and ingenuity all in one. SAWMILL HOUSE WAS REVIEWED BY STUART HARRISON IN HOUSES 106. SEE ARCHITECTUREAU.COM/ARTICLES/SAWMILL-HOUSE ARCHITECT Archier/project team: Chris Haddad (project architect); Chris Gilbert

(lead designer); Josh FitzGerald (designer) LIGHTING CONSULTANT Archier BUILDER Benjamin Gilbert PHOTOGRAPHY Benjamin Hosking

NOV/DEC 2015

RESIDENTIAL ARCHITECTURE — HOUSES (NEW) NATIONAL AWARD

VILLA MARITTIMA, ST ANDREWS BEACH ROBIN WILLIAMS ARCHITECT JURY CITATION

Villa Marittima challenges the “norms” as great works must. This villa is about poetry, discipline and commitment. It’s also almost impossible to describe, as it is alluring, reflective, abstract and particular. It is at one moment a garage, a shed, a reflection pool, a mesmerizing abstract painting, a framed “James Turrell-like” light-scape, a clever articulate interpretation of the Building Code of Australia and, quite simply, “a joy to live in.” Villa Marittima has the traditional elements of house, those of structure, ground plane and walls, collated in a most surprising way. Rooms could be multipurpose; they are defined more by their relationship to other spaces and their “hidden” elements than by furniture and objects. The ground plane is made up of angled slabs linking to horizontal slabs, both equally used for living on. To live on an angled plane is a challenge met with direct acceptance. The walls are the planar envelopes of the boxes for living – they are all made of translucent polycarbonate cladding, which reflects abstract colour, light and shadow, and does not define detail. Nothing hangs upon these walls. If glass, they become abstract art, cloud-scapes as they reflect the day. The polycarbonate walls brilliantly contain all uses – hidden bathrooms, library, office desk and kitchen – these are the “servants” of the house, only pulled out, revealed and used when needed. They are meticulously detailed items that have minimal tolerances and extensive requirements. The material palette is clear and disciplined: hot-dipped galvanized steel, aluminium-framed polycarbonate, glass, water and artificial grass. All are materials that will withstand the site’s harsh coastal conditions. Structure is concrete slab and steel, seamless and wrapped within polycarbonate sheeting. The structure thus becomes part of the framing element, essential to boxes for living. This framing creates the perspective of reality, a crisp reality of context that comprises seascape and skyscape. It also reflects back introspectively into the house and “frames” the interior activities of everyday life. A bizarre and joyful experiment in living within an art piece, Villa Marittima is unique. It celebrates the possibility of architecture as art. VILLA MARITTIMA WILL BE REVIEWED BY KATELIN BUTLER IN HOUSES 107. ARCHITECT Robin Williams Architect/project team: Robin Williams (project architect, design architect and project manager) STRUCTURAL CONSULTANT Perrett Simpson Stantin LANDSCAPE CONSULTANT Jovan Wells LIGHTING CONSULTANT Euroluce PLANNING CONSULTANT Hansen Partnership POOL CONSTRUCTION Out From The Blue BUILDING SURVEYOR Nicholson Wright BUILDER A Romanin and Sons PHOTOGRAPHY Dean Bradley

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RESIDENTIAL ARCHITECTURE — HOUSES (NEW) NATIONAL AWARD

BALMORAL HOUSE CLINTON MURRAY + POLLY HARBISON JURY CITATION

The jury found the Balmoral House to be unusual in its generosity to the street and the community. The most compelling gesture of this house is its striking sculptural composition, when seen from the street and in relationship to the captured views of distant bush and the harbour. Concrete forms are stacked on top of one another – overhanging at street level, they create a dramatic opening below for anyone to peer through. It gives back to the passer-by the view of Balmoral’s headland lighthouse, while allowing that same passer-by to look through the owners’ personal garden space to a concrete sculpture platform and the wild headland beyond. This is a truly exemplary public gesture formed in architecture, to the credit of both architect and client. The house has been cleverly manipulated to offer this public gesture at ground level while maintaining domestic privacy on the house’s upper levels. A concert room at ground level allows music events to be overheard. On the house’s private side, there are several cantilevered moments of incredulity, especially at the point where the kitchen/informal dining space opens onto its terrace. This design takes concrete as a material to its architectural edge. Detailing is immaculate and well considered throughout, with a refined and constrained material palette. Views and rooms are framed by blackbutt joinery, concrete portals, off-form concrete walls in several textures and painted gyprock ceilings. Colour has been used sparingly and brilliantly, especially in the cobalt blue ceiling of the living room and entrance hall. Balmoral House nurtures structure, art, environment and lifestyle to the maximum. BALMORAL HOUSE WAS REVIEWED BY JENNIFER CALZINI IN HOUSES 106. SEE ARCHITECTUREAU.COM/ARTICLES/BALMORAL-HOUSE ARCHITECT Clinton Murray + Polly Harbison/project team: Clinton Murray, Polly Harbison (design architects); Nicholas Byrne, Vince Myson STRUCTURAL CONSULTANT Ken Murtagh LANDSCAPE CONSULTANT Daniel Baffsky INTERIOR DESIGNER Ralph Rembel LIGHTING CONSULTANT Andre Tammes BUILDER Bellevarde PHOTOGRAPHY Brett Boardman

NOV/DEC 2015

RESIDENTIAL ARCHITECTURE — HOUSES (ALTERATIONS AND ADDITIONS) THE ELEANOR CULLIS-HILL AWARD

TOWER HOUSE ANDREW MAYNARD ARCHITECTS

JURY CITATION

Inserted deftly into a suburban streetscape, the playful additions and alterations of the Tower House are a surprisingly comfortable and delightful fit. From the street, the project’s defining tall-shingled “tower” can be seen alongside the renovated weatherboard cottage. As the site opens up towards the rear laneway, a distinctive character is revealed through a series of added pavilions, each possessing an apparently childlike silhouette of a house. Each of the profiles of the little pavilion “houses” is skilfully manipulated to turn a low-scale and well-finished face to the southern neighbour whose boundary the new buildings hug. This generous approach to the neighbourhood extends to the rear laneway, where a sunny, north-facing garden invites neighbours to engage. The playful external pavilion forms reveal themselves internally through elegantly detailed skylights and a charming menagerie of domestic-scaled volumes. Diverse living zones have been provided with no hint of the disjuncture that might have been anticipated, all made right by the harmonious choice of materials and the skilful resolution of junctions between forms and finishes. There’s a timber-lined and

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book-lined study with its floor below ground level. Here one can look out at the level of flowers. Another highlight is the netted floor of the tall tower, where parents and children can escape and enter another world, suspended and cushioned with a framed view of the rear garden. It’s an absolute delight. This project demonstrates how the talents of the architect can deliver on a client’s ambition to be a positive influence in their community. TOWER HOUSE WAS REVIEWED BY MARK SCRUBY IN HOUSES 104. SEE ARCHITECTUREAU.COM/ARTICLES/TOWER-HOUSE ARCHITECT Andrew Maynard Architects/project team: Andrew Maynard, Mark Austin (directors) BUILDER Overend Construction PHOTOGRAPHY Peter Bennetts

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RESIDENTIAL ARCHITECTURE — HOUSES (ALTERATIONS AND ADDITIONS) NATIONAL AWARD

LOCAL HOUSE MAKE ARCHITECTURE JURY CITATION

This modest house extension demonstrates the value of inventive design to a willing and receptive client. Details and finishes have been worked hard to deliver maximum benefits. There are seethrough stairs that morph into bookshelves, kitchen benches that turn into seats, and a fireplace that addresses both inside and out. All are examples of creative solutions to small-scale living and all are achieved without compromise. The local cafe culture of St Kilda that endears this neighbourhood to the owners has been translated into a kitchen/dining room that opens onto a generous outdoor gathering space. The studio and garage are designed to address the rear lane as an alternative entry, which can be open and inviting or closed down for privacy and security. The house’s spotted gum brise-soleil, also a privacy screen, is beautifully detailed. Alongside the use of off-form concrete at ground level, it defines the rear courtyard. This project is an excellent demonstration of the way good design can turn potential obstacles into opportunities for added comfort, spatial delight and the eloquent expression of a client’s desires. LOCAL HOUSE WAS REVIEWED BY ANNA JOHNSON IN HOUSES 104. SEE ARCHITECTUREAU.COM/ARTICLES/LOCAL-HOUSE ARCHITECT MAKE Architecture/project team: Melissa Bright, Bruce Rowe, Robert McIntyre, Emily Watson, Todd de Hoog, Gillian Hatch STRUCTURAL CONSULTANT HIVE Engineering LANDSCAPE CONSULTANT Marion Bonadeo COST CONSULTANT Z.N.T. Partnership BUILDING SURVEYOR Inline Building Surveyors BUILDER 4AD Construction PHOTOGRAPHY Peter Bennetts

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RESIDENTIAL ARCHITECTURE — HOUSES (ALTERATIONS AND ADDITIONS) NATIONAL AWARD

ORAMA SMART DESIGN STUDIO JURY CITATION

The jury was impressed by this monumental concrete and glass extension, which is a perfect contemporary companion to Orama, the stately Victorian villa of similar proportions that sits in front. The transitions from old to new are deftly handled to celebrate the new partnership of forms with framed views from one to the other. The junctions are seamless and preserve the qualities of enclosure in the original rooms. The resolution of detail throughout the project is consistently intricate, meticulous and at times breathtaking in its precision. Such execution is a credit to the close working relationship between builders and architects. The grand proportions, mass and fine detail of the original villa are interpreted in a bold and dramatic contemporary extension that celebrates the collective skills of the designers and builders in the same way the original house did in its day. The result is a balanced composition where old and new do not compete but speak equally of gracious contemporary living. ORAMA WAS REVIEWED BY SING D’ARCY IN HOUSES 105. SEE ARCHITECTUREAU.COM/ARTICLES/ORAMA ARCHITECT Smart Design Studio/project team: Lucy Bedbrook (project architect); William Smart (design architect); Anita Panov STRUCTURAL CONSULTANT Istruct LANDSCAPE CONSULTANT William Dangar & Associates PLANNER GSA Planning QUANTITY SURVEYOR QS Plus EFFICIENT LIVING CONSULTANT Basix CERTIFIER Building Certificates Australia HERITAGE CONSULTANT Tropman & Tropman BUILDING SURVEYOR Geometra CONSTRUCTION TEAM AEA Constructions/Anthony Alexious (head contractor), George Alexious (project manager); Masterform/John Sussanna (concrete contractor) PHOTOGRAPHY Sharrin Rees

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RESIDENTIAL ARCHITECTURE — HOUSES (ALTERATIONS AND ADDITIONS) NATIONAL COMMENDATION

WALTER STREET TERRACE DAVID BOYLE ARCHITECT JURY CITATION

This project is a great example of clever design delivering significant architectural benefit to a severely constrained site. It is a narrow, single-storey terrace with a ten-metre-high brick warehouse facade on the northern boundary, so opportunities for light and ventilation were limited. These issues were resolved with carefully positioned light and ventilation wells, a north-facing clerestory reflecting sunlight into the heart of the building, and a long narrow semi-covered courtyard paired with a narrow kitchen that can be opened up to share outdoor space when weather permits. Recycled bricks are incorporated into parts of the interior. Combined with strategically placed highlight windows, which link the internal space to the high northern boundary wall, they visually expand the volume. A step in the original floor level allowed the architect to insert an extra bedroom within the existing roof space. The sense of space, light and warmth that has been created on such a tight site is a credit to the architect’s capacity firstly to imagine the opportunities and secondly to deliver the outcome in such a sophisticated and well-resolved manner. ARCHITECT David Boyle Architect/project team: David Boyle STRUCTURAL CONSULTANT Targett Engineering HYDRAULIC CONSULTANT Serrao Smith Consulting Engineers LANDSCAPE CONSULTANT Landscapes Unlimited BUILDER Jigsaw Construction PHOTOGRAPHY Brigid Arnott

NOV/DEC 2015

RESIDENTIAL ARCHITECTURE — MULTIPLE HOUSING THE FREDERICK ROMBERG AWARD

UPPER HOUSE JACKSON CLEMENTS BURROWS ARCHITECTS

JURY CITATION

As a model for multiple housing in the contemporary city, Upper House stands tall. Its program is innovative and well conceived: the strategy of creating a communal platform at the present council height limitation has benefited developer, user and the city. It allowed the council to re-evaluate its height policies, knowing that the community within the building was to benefit from this dedicated communal platform. It gave the city a new place from which to reflect on itself and its inherent grandeur, and it also allowed the developer to build an additional five levels on a reduced footprint, to a new considered height. Upper House’s internal communal living room is inserted at this break in levels, opening onto an outdoor recreation platform with a breathtaking view of the Melbourne skyline. The building’s form benefits from this welcome indentation of fenestration and the surprise addition of greenery, which reads in the day as a deep shadowed platform and at night as an illuminated horizontal light band linked with the lit louvred hallway windows of the tower. Upper House is also expertly articulated in a formal sense. At street level, the ground floor appears as a tough base to service the apartment community above. It reads as a dark shadow from which the vertical residential box overhangs and its occupancy can and will change as all

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retail does at street level. The almost square building site offered the architects a clear geometric approach. The vertical container is punctuated with steel balcony boxes that create a syncopated rhythm on all four vertical facades. This tactic also creates protected external spaces for each apartment. The architecture of precast concrete panels in the lower section and sheer glazing for the upper portion of the tower is precise and the pod balconies that pop out randomly are a masterstroke of simplicity, delivering interior privacy and visual rhythm. A commercially driven project, it also offers clever, well-detailed internal planning and at all times a sense of quality and correctness. It is an excellent example of multi-unit highrise development. UPPER HOUSE WAS REVIEWED BY KERSTIN THOMPSON IN ARCHITECTURE AUSTRALIA MAY/JUN 2015. SEE ARCHITECTUREAU.COM/ARTICLES/UPPER-HOUSE ARCHITECT Jackson Clements Burrows Architects/project team: Tim Jackson

(design director); Jon Clements, Graham Burrows (directors); Chris Manderson (project architect); Simon Topliss, Blair Smith (architects) STRUCTURAL CONSULTANT Rincovitch ACOUSTIC CONSULTANT Acoustic Logic SERVICES CONSULTANT ALA Consulting Engineers ENVIRONMENTAL CONSULTANT Ark Resources FIRE ENGINEER Thomas Nicholas QUANTITY SURVEYOR Rider Levett Bucknall BUILDING SURVEYOR Reddo BUILDER Hamilton Marino PHOTOGRAPHY Shannon McGrath (above, opposite bottom left), John Gollings (opposite top right)

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RESIDENTIAL ARCHITECTURE — MULTIPLE HOUSING NATIONAL AWARD

STUDIOS 54 HILL THALIS ARCHITECTURE + URBAN PROJECTS JURY CITATION

The jury found this slimmest of residential slabs on a 126-square-metre site in Surry Hills, Sydney to be an exciting prototype for creatively rethinking tight inner urban locations. The project exemplifies the potential to insert diverse dwelling typologies that might also function as commercial space. It takes a robust, almost generic approach to flexibly planned space, servicing and a maximized provision of light, air and ventilation. The project acknowledges the city as a rich fabric that can evolve and be added to with respect. The height of Studios 54 follows that of its neighbour. There’s a shop at ground level and four single-floor apartments and a communal roof terrace above. Each apartment has a long open floor space that runs from the front to the rear and includes a generous balcony overlooking the street and an outdoor terrace at the rear. The southern wall of each apartment is a thickened “wall” of services that includes the elevator and its outdoor vestibule, kitchen, bathroom and laundry. On the street facade, each apartment has a different and boldly coloured canvas blind (red, yellow, green and blue) that can drop down and create another “room.” The framed element that signifies the lift core and the thickened wall of services has its internal panel tiled with glazed ceramic tiles. We could be in Naples, not Sydney. But this is the point. Studios 54 is a project that announces the larger and necessary project of consolidating the Australian city. STUDIOS 54 WILL BE REVIEWED IN ARCHITECTURE AUSTRALIA JAN/FEB 2016. ARCHITECT Hill Thalis Architecture + Urban Projects/project team: Philip Thalis (design architect); Laura Harding DEVELOPER AND BUILDER Trinium Group STRUCTURAL CONSULTANT Paul Bekker Engineering Design Buro MECHANICAL CONSULTANT ARIM Services Consulting SERVICES CONSULTANT Viscona CONSULTANT Paul Aramini HERITAGE CONSULTANT John Oultram Heritage and Design PHOTOGRAPHY Brett Boardman

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FIELDERS STEEL

COMMERCIAL ARCHITECTURE THE HARRY SEIDLER AWARD

50 MARTIN PLACE JOHNSON PILTON WALKER

JURY CITATION

At 50 Martin Place, the jury was unanimous in its praise of the way in which the architects masterfully interpreted the client’s contemporary “not lavish but intelligent brief.” They drew on innovative engineering, clever planning, environmentally sensitive insertions, simple finishes and intricately worked bespoke detail and design solutions to do so. From the outset, this project reinstated respectful and productive life in the Beaux-Arts revivalist building. This was partly inspired and then driven by the innovative nature of the original 1928 building, with its large side-core floor plates, central atrium and diminishing structural member sizes as the building rose in height. The project shows that contemporary workplaces within a heritage building can successfully coexist and enhance one another. The architects removed a 1980s refurbishment, stripped the interior back to its original handsome proportions and refreshed every floor with the latest in contemporary workplace design. They then opened up and widened the atrium to reveal the fabric and form of the original building, and inserted the world’s first glass cylindrical lifts to provide a vertical and visual tour of the workings of Macquarie Bank. Finally, they added further executive and function floors within a glass-shingled dome at the very top. This elliptical dome is an engineering feat and gives neighbouring highrise buildings an elegant fifth elevation. Outdoor terraces provide additional rooftop amenity, while the building’s original classically styled service structures have been retained within.

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The technical precision and graceful articulation of the new addition reinforce the design choice of a lightweight intervention and this is further emphasized by the atrium’s light-filled heart and porous visual connections across each floor. This is a vital workplace for a global financial company. With a 6-star Green Star rating for the largest heritage-listed commercial building in Australia, 50 Martin Place also sets a new benchmark. The project is an exemplar of how collaborative teams can push the boundaries of commercially driven architecture and inspire those who reside and work within it. The result is a masterful example of the best in sensitive and intelligent building addition, sophisticated engineering for aesthetics and sustainability, clever adaptive re-use and restoration, innovative workplace design and, most importantly, how to create a relevant legacy to complement great commercial architecture of the past. 50 MARTIN PLACE WAS REVIEWED BY KEN MAHER IN ARCHITECTURE AUSTRALIA MAR/APR 2015. SEE ARCHITECTUREAU.COM/ARTICLES/50-MARTIN-PLACE ARCHITECT Johnson Pilton Walker/project team: Paul van Ratingen (project director); Matthew Morel, Peter Blome (project associates); Richard Johnson, Matteo Salval, Walter Brindle, Brent Alexander, Mark Rostron, Gareth Jenkins, Natalie Minasian, Davide Galli, Michelle Vassiliou, Brendan Murray, Sisi Wang, Yi-Jan Lien, Tomek Archer, Paolo Stracchi STRUCTURAL CONSULTANT Taylor Thomson Whitting INTERIOR DESIGNER BVN, Clive Wilkinson Architects ACOUSTIC CONSULTANT Arup, Acoustic Logic SERVICES CONSULTANT Arup COST CONSULTANT MBM HERITAGE ARCHITECT Tanner Kibble Denton FACADE ENGINEER Surface Design VERTICAL TRANSPORTATION NDY ACCESSIBILITY CONSULTANT One Group ID BUILDING SURVEYOR Steve Watson & Partners BUILDER Brookfield Multiplex PROJECT MANAGER Savills PHOTOGRAPHY Peter Bennetts (above), Brett Boardman (opposite)

NOV/DEC 2015

COMMERCIAL ARCHITECTURE NATIONAL AWARD

THE GPT GROUP’S WOLLONGONG CENTRAL HDR RICE DAUBNEY JURY CITATION

The GPT Group’s Wollongong Central redefines the role of a shopping centre as an important city node and as having a responsibility beyond its property boundaries. An exemplary retail precinct has been created that connects outwards rather than solely focusing inwards. It makes a significant contribution to revitalizing the City of Wollongong on multiple levels. It strengthens pedestrian urban connections and sets up a visual dialogue with this regional city. It re-establishes a connection to place through design and detail interpretations of Wollongong’s industrial past and local native flora. It also provides a commercial incubator that gives Wollongong the confidence to further develop and activate its central business district. Wollongong Central benefits from conceptual depth in its visual articulation and in its planning. It shows how a quality retail precinct can revitalize a city through: integrating into its circulation urban laneways that reinforce connections to the city; seamlessly incorporating large public artworks; creating attractive, naturally lit environments for the shopping experience; providing intelligent public amenity; and improving the commercial environment to the point where the demand for leasing tenancies outstrips supply. The jury was particularly impressed by the architects’ passion for making a difference, by the developer’s foresight in seeing value in design excellence, and by the strong relationship that was developed with the City of Wollongong. This project is a showcase of how vision is developed, realized and achieved through collaboration and shared aspirations. ARCHITECT HDR Rice Daubney/project team: Stephen Auld (project architect); Susanne Pini (design architect); Kylie Soltani, Ciaran Durney, Stefano Cottini, Hugh Irving, Sandra Stewart, John Peachey, Lionel Kettler, Stephan Langella, Graham Reynolds, Simon Grimes, Robert Byrne, Jason Roberts, Graham Steer, David Hart, Scott Gould, Tony Rastrick STRUCTURAL CONSULTANT Enstruct LANDSCAPE CONSULTANT JMD Design LIGHTING CONSULTANT Electrolight SERVICES CONSULTANT Hyder BUILDER Hansen Yuncken PHOTOGRAPHY Simon Grimes

SITE PLAN 1:2500

NOV/DEC 2015

50 m

COMMERCIAL ARCHITECTURE NATIONAL COMMENDATION

EQUESTRIAN CENTRE, MERRICKS SETH STEIN ARCHITECTS (LONDON) IN ASSOCIATION WITH WATSON ARCHITECTURE + DESIGN (MELBOURNE) JURY CITATION

Equestrian Centre at Merricks on Victoria’s Mornington Peninsula successfully expresses the client’s dedication to the development of specialized skills associated with breeding, caring for and training pedigree eventing horses. Beautiful siting, impressive detail precision, a simple but rich materials palette and seamless construction engineering create a supportive environment for the presentation and training of eventing horses and their day-to-day care. The gently curved building is anchored into its site by massive rammed earth walls, which turn the building’s southern back to face the weather. The composition includes a graceful, curving zinc-clad roof (with not a single penetration), a water fountain and pool (that is a respectful nod to Luis Barragán’s masterwork), and meticulous detailing of the timber framing and spotted gum cladding. Walking into these grounds, one is immediately aware of the prestige associated with the sport and the calibre of the horses that reside here. This is a commendable example of architecture that presents equine business in such a sophisticated and elegant light.

ARCHITECT Seth Stein Architects (London) in association with Watson Architecture +

Design (Melbourne)/project team: Robert Watson, Seth Stein (design architects); Tim Sidebottom, Nico Warr (documentation) STRUCTURAL CONSULTANT Perrett Simpson Stantin ELECTRICAL CONSULTANT WSP BUILDING SURVEYOR Nepean Building Permits BUILDER B2D Constructions PHOTOGRAPHY Lisbeth Grosmann

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NOV/DEC 2015

HERITAGE THE LACHLAN MACQUARIE AWARD

IRVING STREET BREWERY TZANNES ASSOCIATES

JURY CITATION

The Irving Street Brewery is an outstanding example of the retention and adaptive re-use of a significant heritage building. It acts as the generating focus of an entire new urban precinct, whose masterplan is by the same architect. Tzannes Associates has created a landmark of almost futurist-inspired forms at the level of the skyline and people-scaled urban spaces at ground level. On top of the historic brick brewery, part of a trigeneration plant for the entire surrounding development has been imaginatively integrated. The project thus combines new technology, sustainability, urban design and heritage. The rooftop additions, clad in expanded metal mesh fabric, are exciting and dynamic, with a clear definition between old and new. These elegantly detailed forms stand in memorable contradistinction to the relatively uniform fabric of the surrounding highrise apartment towers and slabs. In short, Tzannes Associates has provided the precinct with its first “monument” and given identity to the series of substantial urban spaces and interconnections at ground level. The historic shell has been retained and awaits a new public function but all of the structure’s industrial parts, including the original hoppers, have been faithfully revealed. The Irving Street Brewery is one of the only remnants of a much larger complex of industrial buildings that originally occupied this inner Sydney site.

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The Irving Street Brewery delivers significant community benefits through a highly energy-efficient method of supplying power and hot and cold water to a major inner urban mixed-use development. It provides a model of how new sustainable technologies can be integrated and celebrated with the reinvention and adaptive re-use of an important historic structure. IRVING STREET BREWERY WAS REVIEWED BY ASHLEY DUNN IN ARCHITECTURE AUSTRALIA SEPT/OCT 2015. SEE ARCHITECTUREAU.COM/ARTICLES/IRVING-STREET-BREWERY ARCHITECT Tzannes Associates/project team: Allison Cronin (project architect); Alec Tzannes (design director); Amanda Roberts, Antoinette Cano, Ben Green, Bruce Chadlowe, Carl Holder, Derek Chin, Nadia Zhao STRUCTURAL AND FACADE CONSULTANT Meinhardt ELECTRICAL, MECHANICAL, HYDRAULIC, ENVIRONMENTAL AND FIRE CONSULTANT WSP Group LIGHTING CONSULTANT Webb Australia ACOUSTIC CONSULTANT Acoustic Logic COST CONSULTANT Atlus Page Kirkland ACCESSIBILITY CONSULTANT Accessibility Solutions BCA CONSULTANT City Plan Services PLANNER JBA SURVEYOR Degotardi Smith & Partners HERITAGE AND CONSERVATION CONSULTANT Urbis BUILDER Christie Civil (Shroud), Total Constructions (trigeneration plant equipment) PROJECT MANAGER

Scott Clohessy, Frasers Property Australia DEVELOPER Frasers Property Australia, Sekisui House PHOTOGRAPHY John Gollings

NOV/DEC 2015

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HERITAGE NATIONAL AWARD

THE ABBEY, JOHNSTON STREET, ANNANDALE DESIGN 5 – ARCHITECTS JURY CITATION

The jury found The Abbey in Annandale, Sydney to be an extraordinary achievement of restoration and sympathetic addition. This project has brought back to life one of Australia’s most idiosyncratic latenineteenth-century houses, the former home of eccentric Sydney architect-builder John Young. The house also had a colourful recent past as home for more than forty years to Dr Geoffrey Davis, member of the Sydney bohemian movement The Push, and hence it was the dramatic location for legendary wild parties in the 1960s and 1970s. The lavish and romantic Victorian Free Gothic style house, completed in 1882, includes a tower with gargoyles, a conservatory/ chapel, servants’ quarters and stables. The elaborate medievalinspired internal decorative scheme, which includes stencil work, extensive and elaborate use of Minton tiles, handpainted panels of medieval stories and of indigenous Australian birdlife, and original Gothic-inspired built-in furniture, is a marvel to behold. Its restoration is of national significance. This project is an exemplar of the way in which heritage, technical and construction experts can collaborate to conserve a significant local landmark. The Abbey is also a testament to the clients’ dedication and commitment to preserving the past. As required, all additions and alterations were sensitive and sympathetic, taking design cues from the original residence. Complemented by the clients’ subsequent development and nurturing of a beautiful garden, The Abbey has been transformed from a dilapidated ruin to a gorgeous contemporary family home. ARCHITECT Design 5 – Architects/project team: Robert Gasparini, Letizia Coppo-Jones, Lian Wong (project architects); Alan Croker (principal) STRUCTURAL CONSULTANT Mott Macdonald, Partridge LANDSCAPE CONSULTANT Dangar Group CONSERVATION OF EARLY INTERIOR PAINT FINISHES A & C Inhof INTERIOR COLOURS AND FURNISHINGS Karen Akers, Design 5 – Architects HISTORICAL RESEARCH Urbis, Design 5 – Architects CONSTRUCTION TEAM A & DR Illes (stage one builder); Aranac (stage two and three

builder); Combined Roofing Solutions (specialist roofer); Dasreef, Jinhua Dong (stonemasons); Ian Thomson, Wayne Mavin & Co, Aranac (specialist joiners); Notley Engineering Services, EF Service, Steel Design (metalworkers); Heritage Decorative Glass (metalwork and stained glass); Gino Vinciguerra (specialist tiler) PHOTOGRAPHY Images for Business

NOV/DEC 2015

HERITAGE NATIONAL AWARD

CORIYULE BRYCE RAWORTH & TRETHOWAN ARCHITECTURE JURY CITATION

The jury was impressed by the outstanding restoration and refurbishment of Coriyule, one of Victoria’s most important and earliest architect-designed homesteads. The project is the result of the architect’s and clients’ comprehensive and painstaking research and detailed technical investigation over more than seven years. The rare 1848 Tudor Gothic style residence designed by colonial architect Charles Laing includes distinctive, locally sourced stone and diamond panel patterned casement windows, which, unusually, use cast iron instead of lead for housing the glass. It is believed this was a strategy to protect Coriyule’s owner, Scottish heiress Anne Drysdale, and her companion Caroline Newcomb from local marauders. Restoring Coriyule required exemplary effort to source replacement stone and timbers from around Australia, as well as, where required, replication of the original Morewood and Rogers galvanized roof tiles. All exterior walls were repointed using a lime mortar coloured with local sand and soil to match the original and finished to the same detail. The house has been brought back to its former life as a country house. All the interior spaces are legible without age or patina being lost. Complementing this preservation strategy are low-key, sympathetic insertions of contemporary bathrooms, kitchen and laundry. At all times, these defer to the greater interest and significance of the original house. Coriyule’s conservation restores, improves and celebrates one of Victoria’s earliest and finest homesteads. The careful and methodical approach adopted for the works has ensured adherence to best conservation practice, retaining all aspects of cultural significance connected to the place. ARCHITECT Bryce Raworth & Trethowan Architecture/project team: Bryce Raworth, Bruce Trethowan (directors); Carolynne Baker (heritage consultant); Anthony Mussen (consultant architect); Robert Ashby (project architect) FORENSIC ENGINEER David Beauchamp DECORATIVE SCHEMES (HISTORIC) Artcare ARBORIST Let’s Talk About Trees BUILDER R & E Hogan Builders CONSTRUCTION TEAM Barwon Stone, Cathedral Stone (stone conservators); Willem Snoek (timber conservator); Matthew Michie (floor and furniture restoration); Ron Williams (painting and wallpaper); Mulholland Restoration & Decorating (painters); David Barry (carpenter); Craig Trewin (plumber); Hi-Tech Stainless Fabrications (roof tile fabricator); Aquatherm (hydronic heating); P G Smith Electrical (electrician); Paul Hallett (monumental mason); TechRest (roof plumber) PHOTOGRAPHY Hin Lim

UPPER FLOOR PLAN 1:500

GROUND FLOOR PLAN 1:500

NOV/DEC 2015

HERITAGE NATIONAL AWARD

#THEBARNTAS WORKBYLIZANDALEX JURY CITATION

The conversion of a historic barn to a studio apartment is a brilliant solution to the problem of how to resurrect a tiny service structure that might easily have been left to decay. Minimal and inventive interventions clearly delineate where old and new meet. Existing window openings are retained but celebrated with exquisitely detailed new window “boxes” and a giant pivot window/door that opens onto a pocket-sized courtyard. The original stable stalls and loft can still be read, while a contemporary bathroom and kitchen have been cleverly inserted. A double-height living space celebrates the original volume of the barn. Weatherproofing, insulation, heating and major repairs are all hidden. The historic structure has been lovingly retained – even its original shingles have been scrupulously cleaned and now form a ceiling to the upper mezzanine bedroom. This is an excellent example of how the limits and challenges of heritage and conservation can encourage inventive solutions. Regulatory, technical and structural requirements have not been seen as impediments but rather as creative possibilities. ARCHITECT Workbylizandalex/project team: Alex Nielsen, Liz Walsh STRUCTURAL CONSULTANT Aldanmark HERITAGE CONSULTANT Peter Spratt BUILDING SURVEYOR Kim Eagling BUILDER Cordwell Lane Builders/construction team: Mick Lane, Neil Richards (project managers); Andrew Hilder (site foreman) PHOTOGRAPHY Matt Sansom (top and

bottom), Alex Nielsen (centre)

NOV/DEC 2015

INTERIOR ARCHITECTURE THE EMIL SODERSTEN AWARD

BANKSTOWN LIBRARY AND KNOWLEDGE CENTRE FRANCIS-JONES MOREHEN THORP

JURY CITATION

The Bankstown Library and Knowledge Centre successfully combines a vibrant community meeting place, a cafe, IT labs and a 300-seat theatre with an excellent library service. The architects have also designed a highly sustainable interior environment without compromising core functional requirements. The atmosphere within the library is enhanced by a substantial green wall installation, which is fundamental to the interior design and to the operation of mechanical systems to actively purify, oxygenate and cool the reading room spaces. The spaces have been organized to provide progression from a welcoming and lively introduction to more restrained and quieter spaces conducive to learning and study. The architects have celebrated the major features and materials of the existing 1960s Bankstown Town Hall, which has been renovated and extended with the addition of the library. While there is extensive use of a range of salvaged Australian hardwood timbers internally, the design of the library’s external folded plate steel sunscreens reflects the forms of the town hall’s original precast concrete cladding. The library’s reading spaces are enriched by soft, filtered southern light and panoramic views across the aquatic sculpture garden toward

NOV/DEC 2015

Paul Keating Park and the podium forecourt. A highlight of the library interior – spatially – is two soaring architectural “trees” that act as sculptural light diffusers, while the building’s outer skin of steel “leaves” acts as a further canopy of shade. The book stacks have been cleverly integrated into the fabric of the building so as to create intimate spaces for quiet contemplation. At the same time these small spaces are open-ended to provide sightlines across the main atrium spaces. Such visual connections add to the cohesiveness of the interior. This densely programmed building offers Bankstown’s strong multicultural community a rich and comprehensive range of interiors in which to meet, learn, reflect and celebrate. ARCHITECT Francis-Jones Morehen Thorp/project team: Simon Barr, Laura Valentine, Annis Lee, Karina Kerr, Katherine Tracey (project architects) STRUCTURAL CONSULTANT Taylor Thomson Whitting MECHANICAL CONSULTANT Steensen Varming HYDRAULIC CONSULTANT Warren Smith & Partners ACOUSTIC CONSULTANT Acoustic Studio FACADE AND FIRE ENGINEERING Arup ACCESSIBILITY CONSULTANT Accessibility Solutions BCA CONSULTANT Group DLA BUILDER Watpac PHOTOGRAPHY Christian Mushenko

LEVEL 2 FLOOR PLAN 1:1000

LEVEL 1 FLOOR PLAN 1:1000

GROUND FLOOR PLAN 1:1000

10 m

NOV/DEC 2015

INTERIOR ARCHITECTURE NATIONAL AWARD

THE UNIVERSITY OF QUEENSLAND GLOBAL CHANGE INSTITUTE HASSELL JURY CITATION

The interior of The University of Queensland Global Change Institute demonstrates the architect’s and client’s commitment to best practice environmental design. The building has a natural affinity with the educational message of global change. The central atrium provides a calm respite space removed from the hum of an active campus. Anchored in its local historic context, the building has a spatial layout centred on opportunities for passive ventilation, natural light and internal vegetation. The natural environment is controlled and measured through computer-driven operable facade screens. A rich material palette of recycled timbers and repurposed carpets contrasts with exposed geopolymer structural precast concrete soffits (the latter a world first). These objectives have been achieved through the provision of excellent interior spaces. Working environments have been created that provide a wonderful balance between privacy and opportunities for collaboration. The exposed structural elements have been integrated with the interior spaces with notable balance and restraint. The fullheight glazing provides exceptionally elegant workspaces with views of the campus filtered by external screens. The internal atrium works particularly well as a gathering and meeting place for staff and students alike. The stairs and open circulation corridors that flank the atrium give excellent internal views and visual connections. The visual integration of the environment control systems, including the green wall, gives the building’s interiors a rare richness and refreshing honesty. ARCHITECT Hassell/project team: Robert Keen, Matthew Larme, BP Loh (project

architects); Mark Roehrs (design architect); Troy King, Catherine van der Heide (interior designers); Nguyen Luu (BIM manager); Michael Copeland STRUCTURAL AND CIVIL CONSULTANT Bligh Tanner ELECTRICAL, MECHANICAL AND LIGHTING CONSULTANT Medland Metropolis HYDRAULIC CONSULTANT SPP Group LANDSCAPE AND INTERIOR DESIGN Hassell ACOUSTIC AND ENVIRONMENTAL CONSULTANT Arup BUILDING SURVEYOR Certis BUILDER McNab PHOTOGRAPHY Peter Bennetts

NOV/DEC 2015

INTERIOR ARCHITECTURE NATIONAL COMMENDATION

MEDIBANK HASSELL JURY CITATION

This interior fitout is a spectacular response to the brief for Medibank’s new “activity-based” workplace. The project is intended to be a physical manifestation of the organization’s transformation from a traditional health insurance business to one with a focus on health and wellbeing. Colour, lighting and loose and fixed furnishings are employed to provide spaces suitable for a wide range of activities. The central atrium, linked by staircases and spiralling ramps, creates physical and visual connections across the workplace. This device has been exploited by the designers to provide simple and direct circulation through a complexity of departments and sections. Individual quiet working rooms, open communal areas, libraries and meeting rooms have been successfully designed to facilitate a flexible, creative and collaborative style of working. Complex programmatic requirements, including acoustic requirements, have been met through the judicious juxtaposition of compatible functions. This is evident in the placement of the multipurpose sports court at ground level, enabling people to participate in more vigorous physical activity during the day. The court is next to an edible garden, conveniently located near a demonstration kitchen used by Medibank to promote healthy eating by staff.

MEDIBANK WAS REVIEWED BY PHILIP VIVIAN IN ARCHITECTURE AUSTRALIA JUL/AUG 2015. SEE ARCHITECTUREAU.COM/ARTICLES/MEDIBANK-PLACE ARCHITECT Hassell/project team: Ingrid Bakker, Robert Backhouse, Steve Coster, Mary Papaioannou, Anthony Dickens, Harley Vincent, Matthew Mackay, Travis Hemley, David Andrew, Robin Deutschmann, Kevin Cullis, Trevor Coolledge, Ian Grant, Joel Sampson, Greta Stoutjesdijk, Allison Armstrong, Jacqueline Low, Yi Zhen Kueh, Brenton Beggs, Mark Loughnan STRUCTURAL CONSULTANT 4D Workshop ELECTRICAL CONSULTANT Norman Disney & Young LANDSCAPE AND INTERIOR DESIGN Hassell COST CONSULTANT Altus Page Kirkland PROJECT MANAGEMENT Montlaur (project manager and fitout), Project Planning & Management WORKPLACE STRATEGY Veldhoen + Company ENVIRONMENTAL BRANDING Fabio Ongarato Design DESIGN CONTRIBUTOR Russell & George, K.P.D.O., Chris Connell Design BUILDING SURVEYOR McKenzie Group BUILDER Brookfield Multiplex DEVELOPER Cbus Property PHOTOGRAPHY Earl Carter

NOV/DEC 2015

URBAN DESIGN THE WALTER BURLEY GRIFFIN AWARD

NEWACTON PRECINCT FENDER KATSALIDIS ARCHITECTS

JURY CITATION

Since 2002 Fender Katsalidis Architects and the Molonglo Group have worked together to realize the NewActon Precinct Masterplan. As a piece of urban design, the NewActon Precinct has transformed a part of Canberra that sits at the intersection of highway, lake, city and university. It is now a lively, mixed-use precinct with a definite sense of community, a fine example of partnership, opportunities, inventive architecture and clever urban design. Lessons learnt over thirteen years have helped to build a rich tapestry of activities across the site. Heritage architecture overlaps with commercial use, which in turn merges with residential highrise. Cinemas sit beneath government offices and all are woven together by a comprehensive and ongoing program of contemporary art. This could be the ultimate urban mix. It has been an evolving urbanism, partly reinvented at each new phase. The precinct offers various levels of complexity within the buildings: volumetric complexities, services complexities that overlap due to mixed usages, and leasing diversity. For the pedestrian and user such issues are invisible. The pedestrian experience is rich. One can walk between buildings, across lawns and gardens contained by steel edging to lanes with cafes and restaurant doors open, through foyers to parallel streets beyond. At each step there is something to see. Sculptures are on street corners; they tumble out of facades or are woven into them. Collaboration is felt and experienced here.

NOV/DEC 2015

There have been many initiatives created in this precinct, perhaps the strongest being the ongoing public art project. The NewActon Precinct has pushed the boundaries of the ACT legislative planning system and its definitions of “mixed use” and encouraged real reform. It is evident that the team at Fender Katsalidis Architects has successfully exploited this rare opportunity to provoke conversations between the various built forms, to test life cycles of materials, to explore approaches to sustainability and to develop ongoing strategies for including mixed-use functions in such a development. They’ve set exacting new standards for urban design in Canberra, ones that will have national impact. ARCHITECT AND URBAN DESIGN Fender Katsalidis Architects/project team: Craig Baudin (project architect); Karl Fender, David Sutherland (design architects); Kathie Hall (interiors); Falk Peuser, Shem Kelder, Jessica Lee, Joe Venuto, Sophie Zasempa, Penpa Namgyal, Ben Sann, Shinil Kil, Edgar Lopez, Gabriel Kok, Craig Tan, Atsushi Kubota, Robyn Bartley, Pam Sando, Ixone Altube, Matt Sandiford LANDSCAPE AND URBAN DESIGN Oculus BUILDING GRAPHICS Emery Studio BRANDING CONSULTANT Clear Design GALLERY BUILDING DESIGN Oculus, Hungerford + Edmunds BUILDER Construction Control (NewActon East); Nikias Diamond (NewActon Pavilion); PBS (NewActon South); PLY (NewActon Nishi Commercial); Molonglo Group (NewActon Nishi Residential, NewActon Gallery) PHOTOGRAPHY Courtesy of Colliers (above), John Gollings (opposite top and bottom right), Shannon McGrath (opposite bottom left)

NOV/DEC 2015

URBAN DESIGN NATIONAL AWARD

MONASH UNIVERSITY NORTH WEST PRECINCT JACKSON CLEMENTS BURROWS ARCHITECTS IN COLLABORATION WITH MGS ARCHITECTS (MASTERPLAN) JURY CITATION

Jackson Clements Burrows, in collaboration with MGS Architects (who was responsible for the masterplan of Monash University’s Clayton campus), has conceived and implemented an economical and lively program of interventions that revitalize a group of low-rise 1960s masonry and concrete university buildings. Their concept, which introduces pedestrian walks to new and old spaces and creates entrance “places” with an architectural kit of parts, succeeds on many levels. The old two-storey buildings are skilfully refurbished internally and externally refaced with a colourful language of new plate steel fenestration elements that contrasts with new raw concrete entrance portals and stairs. This work is not monumental. It is a matter of careful addition and subtraction, what one might call successful architectural surgery. The folded concrete portals bring a larger scale to the existing low-rise buildings. They create protected entrances and stepped platforms, which provide successful places for students to gather. Laneways have steel portals in conversation with the larger concrete portals, but these are more about transition – moving spaces, not lingering and meeting places. A large aperture cut in at ground level opens one of the buildings to an intimate courtyard garden between. The architects have lined this “tunnel” with continuously varying red-glazed frames, creating a rich connection. Deep black shadow angles at intersections of old and new show the architects’ attention to detail and the delicate circumstance of creating “new” within the “old.” These works are about urban renewal. The architects’ design strategy can be used at any level of urbanism and in this context, they have brought new energy and focus to a previously lifeless precinct. ARCHITECT Jackson Clements Burrows Architects in collaboration with MGS Architects (masterplan)/project team: Graham Burrows (design architect); Simon Topliss (project architect); Alex Hopkins (interior architect); Blair Smith, Ben Bindon (graduate architects) STRUCTURAL CONSULTANT Arup LANDSCAPE CONSULTANT Outlines ACOUSTIC CONSULTANT Marshall Day SERVICES CONSULTANT SKM-S2FF PEER REVIEW Monash Facilities, Services and Associated Committees BUILDER Lend Lease PHOTOGRAPHY Peter Clarke

SITE PLAN 1:2500

NOV/DEC 2015

50 m

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SMALL PROJECT ARCHITECTURE THE NICHOLAS MURCUTT AWARD

#THEBARNTAS WORKBYLIZANDALEX

JURY CITATION

The architects have successfully realized the potential of this very small, neglected barn beyond any reasonable expectations. The concept was quite simple: retain as much of the existing building fabric as possible. Where services and amenity were required, they have provided new insertions. Working within the original envelope of the barn, they created two distinctive spaces: a long, low one for dining and a tall, smaller space that showcases the original full height of the building while also revealing the underside of the original roof shingles that have been painstakingly cleaned by the architects. All new work has been made to read differently from the existing fabric and in this way the important qualities of the building’s past have been retained. The Burra Charter mantra of “do as much as necessary, as little as possible” has led to the retention of much of the rich textures of the stonework, timberwork and plasterwork. As a result the ingenuity of the new insertions is emphasized.

NOV/DEC 2015

Every opportunity to maximize spatial usefulness has been exploited. For example, the new glazing finishes flush with the exterior sandstone, heightening the awareness of the “new,” while internally these inserted window boxes provide much needed ancillary storage space. Inside, the architects have succeeded in preserving the sense of the barn’s original height by making the adjacent spaces lower as well as dividing space according to the structure and spacing of the original horse stalls. Working within the original envelope, they have used volume, outlook and a clear material strategy to define spaces and encourage variety and play. This project overwhelmingly demonstrates that less can be much more. ARCHITECT Workbylizandalex/project team: Alex Nielsen, Liz Walsh STRUCTURAL CONSULTANT Aldanmark HERITAGE CONSULTANT Peter Spratt BUILDING SURVEYOR Kim Eagling BUILDER Cordwell Lane Builders/construction team: Mick Lane, Neil Richards (project managers); Andrew Hilder (site foreman) PHOTOGRAPHY Matt Sansom (above,

opposite left and bottom right), Bek Verrier (opposite top right)

FLOOR PLAN 1:200

NOV/DEC 2015

SMALL PROJECT ARCHITECTURE NATIONAL COMMENDATION

LOVESTORY SHOP MORQ

MOONLIGHT CABIN JACKSON CLEMENTS BURROWS ARCHITECTS

JURY CITATION

The jury was unanimous in its commendation of this tiny interior fitout, the refurbishment of a small, nondescript commercial space into a bespoke clothing shop. The project demonstrated an exceptional use of a restrained palette of materials and simple details to produce a small retail interior of great serenity. Subtle detailing incorporating handcrafted elements such as the handrails fashioned from bicycle frame tubing reinforced the bespoke nature of the products on sale. The detailing throughout the store interior is impeccable. The project developed from an ambitious brief: a client vying to gain access to an exclusive European label, which selects its international resellers based on the quality and uniqueness of their retail spaces. To meet these aspirations, the new space needed to convey a sense of unique identity, display craftsmanship and create a quality of space comparable to the best international clothing boutiques. In response, the architect designed an “inner skin” of plywood to entirely line the space, thus creating a cohesive, welcoming place. The plywood was lightened with whitewash and finished with burnt umber wax. This single material works as walls, shelves, ceilings and accessories to generate a warm, subdued atmosphere. The material palette includes waxed mill-finished stainless steel for all exposed metalwork and a resinous cement finish to all floors and stair. The whole project was designed as a large plywood cabinet, employing a limited number of quality building trades, and the vast majority of the works was carried out by a single cabinet-maker. The quality of this small, intricate project is testament to a true collaborative approach between architect, builder and trades, led by a clear architectural vision. The project has achieved a strong result for the client: she successfully secured the European clothing brand.

Moonlight Cabin on Victoria’s wild south-west coast is a masterful response to the challenge of providing minimal accommodation for a couple and two children. This tiny gem of a building has been successfully sited to maximize spectacular coastal views. The project explores the boundaries of how small is too small for transient occupation at various times of the year. The design solution is a direct response to the harsh, windswept climate: the building has been wrapped in a rain screen of spotted gum cladding. This cladding has been interspersed with finely detailed shutters that can be opened and closed in response to prevailing weather conditions. It is a highly adaptable shelter that can be opened or closed, partially shut down and secured when the owners leave and reopened when they return. Accommodation requirements have been met by a very efficient plan that makes use of the corridors for both circulation and habitation. The interior spaces feel surprisingly generous due to the minimalist detailing and judicious selection of internal linings (floors, walls and ceilings) as limed spotted gum. This is a model project, an exemplar of holiday dwelling that celebrates the small and the modest as appropriate and relevant and as a poignant formal counter to the greater and overwhelming scale of a surrounding landscape.

ARCHITECT MORQ/project team: MORQ (design architect); Lorenzo Donin, Mark Jecks, Sally Farrah (collaborators) BUILDER Subiaco Homes/Gary Matson EXPOSED METALWORK Mark Foti, Elliot Barber PAINTING AND FINISHES John Harrison CABINETRY Joondalup Cabinets PHOTOGRAPHY Peter Bennetts

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ARCHITECT Jackson Clements Burrows Architects/project team: Tim Jackson (design architect); Jon Clements, Graham Burrows, Joachim Holland, Rob Kennon, Chris Haddad, Jessie Legge STRUCTURAL CONSULTANT P.J. Yttrup Associates BUILDING SURVEYOR Noel Gosling BUILDER Spence Construction PHOTOGRAPHY Jeremy Weihrauch/Gollings Photography

SUSTAINABLE ARCHITECTURE THE DAVID OPPENHEIM AWARD

THE UNIVERSITY OF QUEENSLAND GLOBAL CHANGE INSTITUTE HASSELL

JURY CITATION

The University of Queensland Global Change Institute (GCI) embodies a holistic, integrated approach to ecological design that deserves special celebration as it achieves architectural excellence while pushing forward the frontiers for sustainability. The project was awarded because of its comprehensive and extensive incorporation of sustainable measures, from passive, low-tech strategies to more innovative active technologies, using the building and the research generated within it to educate and partner with industry while at the same time creating uplifting architecture conducive to an inviting, healthy working environment. The GCI is a living experimental model with ongoing monitoring, guided by the Living Building Challenge, and it will continue to offer leadership in innovations combating global change. It is a 6-star Green Star certified building, targeting net zero energy and a carbon-neutral footprint in its operation. Its sustainable measures include: renewable solar energy captured and stored in the building, natural ventilation for 88 percent of the year, an innovative translucent ETFE (a fluorinebased plastic) triple-skin atrium roof, a green wall that naturally filters the air, operable layered facades that contribute to thermal comfort, the first use of cement-free structural geopolymer concrete (made from fly-ash), a labyrinth for passive cooling and innovative use of recycled

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materials. It is an infill development incorporated into an adjacent heritage building, there is “task air” available at each desk which can be altered individually and, in the building’s daily operation, there is collaboration with multiple disciplines and research experts to develop innovations and products relevant to industry. The jury appreciated the discreet expression of sustainability. This is not an architecture of gadgets but a highly sophisticated building addition that is respectful to its historic neighbour and has made a substantial contribution in its own right as an aesthetic composition. The spaces of the open office floors are dignified by cleverly designed workstations and exposed sculptural precast floor panels with chilled water flushed through them. The building’s sky-lit atrium is a triumph, transforming a former service zone into a showpiece for the university. This is a project that successfully combines architectural excellence and ecological sustainability. ARCHITECT Hassell/project team: Robert Keen, Matthew Larme, BP Loh (project architects);

Mark Roehrs (design architect); Troy King, Catherine van der Heide (interior designers); Nguyen Luu (BIM manager); Michael Copeland STRUCTURAL AND CIVIL CONSULTANT Bligh Tanner ELECTRICAL, MECHANICAL AND LIGHTING CONSULTANT Medland Metropolis HYDRAULIC CONSULTANT SPP Group LANDSCAPE AND INTERIOR DESIGN Hassell ACOUSTIC AND ENVIRONMENTAL CONSULTANT Arup BUILDING SURVEYOR Certis BUILDER McNab PHOTOGRAPHY Peter Bennetts (opposite), Angus Martin (above)

LEVEL 1 FLOOR PLAN 1:1000

LEVEL 3 FLOOR PLAN 1:1000

10 m

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SUSTAINABLE ARCHITECTURE NATIONAL AWARD

BETHANGA HOUSE tUG workshop JURY CITATION

Bethanga House pushes the boundaries of residential sustainable design while at the same time establishing a frank beauty through its rawness and honesty. Sustainable strategies were tested and tailored to address the microclimate of the Lake Hume site, where temperatures have ranged from 3.9°C to 44°C in the last two years. Resources used in construction and operation were minimized; the house operates autonomously while feeding power to the grid. Studwork, plasterboard and almost all paint was eliminated; the surface area of the roof was calculated to harvest enough rainwater to account for dry periods; wastewater is treated and used to irrigate the orchard; a sandwich panel exterior insulates the exposed internal concrete panels; the floor slab is insulated through the earth and insulated perimeter concrete walls extend up to 1200 millimetres below ground level. It is particularly noteworthy that the project team’s own monitoring tests challenge industry rating tools. They provide “real-world” results. The data collected will make a significant contribution to further developing sustainable benchmarks and educating clients, architects and industry. The architects have displayed exceptional rigour and commitment to improving the ongoing environmental performance and comfort through continually monitoring and fine-tuning. The jury was impressed by the deliberate way in which architectural moves and detail choices have been combined with sophisticated but accessible environmentally sustainable principles. ARCHITECT tUG workshop/project team: Michael Markham (design architect); Peter Steudle (environmental engineering); Kevin O’Brien (collaborating land artist); James Jamison (architectural assistant); Gina Levenspiel (concrete technician) STRUCTURAL CONSULTANT Tim Hall & Associates LIGHTING CONSULTANT Richmond Lighting COST CONSULTANT Prowse Quantity Surveyors LAND CAPABILITY ASSESSMENT Coffey Geotechnics GEOTECHNICAL CONSULTANT A. S. James STEEL SHOP DRAWINGS Quantech Design PRECAST SHOP DRAWINGS G. Dickie LAND SURVEYOR Walpole Surveying BUILDING SURVEYOR Anthony Middling CONSTRUCTION TEAM Scott James Builder (builder, chief contractor), Andrew Wilson – SJB (chief carpenter), Krautz & Summerill (precast concrete, in-situ concrete), Phil’s Custom Steel (steel fabricator), Askin (insulated wall, roof panels), Superior Joinery (window joinery), Austview (window glazing), Michael Boyle Plumbing (plumber), Kdec (electrician), Hydrospec (solar kombi system, hydronics), L. A. Smith Kitchens (cabinet joiner), K & K Faber (painting), Richard Muller (shotcreting), Darren Clarke (earthworks) PHOTOGRAPHY Trevor Mein

FLOOR PLAN 1:400

0 1 2

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10 m

SUSTAINABLE ARCHITECTURE NATIONAL AWARD

LIBRARY AT THE DOCK CLARE DESIGN + HAYBALL (ARCHITECT OF RECORD) JURY CITATION

The Library at the Dock is a successful public building that seamlessly integrates environmental sustainability with social inclusiveness. The architects have cleverly turned the constraints of minimizing the building’s physical loading on the heritage-listed wharf into an inspired opportunity. Austrian spruce cross laminated timber (CLT) has been used for the building’s exposed structural system, creating a lightweight building that is 30 percent lighter than a conventional building. Using the repetitive expression of the timber structure and exposing the timber wall, prefabricated stair and floor slab construction have also significantly added to the building’s distinctive architectural personality. Contributing to the 6-star Green Star rating are: materials with low or no toxicity, recycled tallowwood for the exterior cladding, the CLT structural system, a rooftop solar array supplying 30 percent of power, mixed-mode ventilation, the introduction of a sheltered urban verandah, a narrow floor plan depth that maximizes natural light, rainwater harvesting for toilet flushing, and furniture selection that in material and finish adheres to the rating tool. Designed so that the adjacent park and wharf promenade become extensions of the building, the relatively small building footprint has a sense of spatial expansiveness with maximum visual connectivity. Library at the Dock welcomes the diverse community to make it their own, whether as living room, study space, recording studio, activity centre, media centre, meeting place, function centre, reading room or just a place to pause. LIBRARY AT THE DOCK WAS REVIEWED BY PHILIP GOAD IN ARCHITECTURE AUSTRALIA JAN/FEB 2015. SEE ARCHITECTUREAU.COM/ARTICLES/LIBRARY-AT-THE-DOCK ARCHITECT Clare Design + Hayball (Architect of Record)/project team: Lindsay Clare, Kerry Clare (design architects); Renee Farah (interior designer); David Tweedie, Stuart Davey, Susy Gee (architects of record) STRUCTURAL CONSULTANT TimberFirst, Robert Bird Group ELECTRICAL, LIGHTING AND ENVIRONMENTAL CONSULTANT Lend Lease Design INTERIOR DESIGNER Clare Design ACOUSTIC CONSULTANT Renzo Tonin BUILDER AND CONSTRUCTION MANAGER Lend Lease Building PHOTOGRAPHY Dianna Snape

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SUSTAINABLE ARCHITECTURE NATIONAL COMMENDATION

SUSTAINABLE BUILDINGS RESEARCH CENTRE – UNIVERSITY OF WOLLONGONG COX RICHARDSON

CAMERAYGAL (FORMERLY DUNBAR BUILDING) NSW GOVERNMENT ARCHITECT’S OFFICE

JURY CITATION

The University of Wollongong’s Sustainable Buildings Research Centre (SBRC) is commended for integrating ecological and social initiatives. It creates a workshop environment that supports experimental research leading to readily adoptable innovation. Designed to achieve certification with the Living Building Challenge, the building aims to be water, energy and carbon neutral. It includes measures such as power supplied from the rooftop photovoltaic array, a micro-grid distribution system, supplementary heating or cooling integrated with passive systems provided through an energy-efficient ground source heat pump connected to an in-slab hydronic system, water supplied by harvested rainwater, treated blackwater, edible gardens, the extensive use of recycled materials and healthy work environments with green walls filtering the air. The point of difference at Wollongong is that some of these systems use prototypes not yet tested. It challenges current thinking about sustainable research and how educational buildings are designed, occupied and operated. The jury found the “plug-and-play” approach to experimental technologies to be refreshing. The building can be continually experimented with and new inventions can be developed and “plugged in” for testing. The commitment to community engagement was evident in the client’s focus on partnering with industry and the broader community. The building’s welcoming, educational role is supported through exposure of the mechanics of sustainability as well as through its training, partnering, exhibition and event spaces.

Located on the Northern Sydney Institute’s St Leonards Campus, Cameraygal is a noteworthy example of how adaptive re-use can benefit a college community and support contemporary learning on a modest budget. In its previous life it was a brutalist building, completed in 1967, and a sealed container for science education. Considered interventions enhance the building’s urban presence and relationship with the College Green while a new architectural narrative has been written to connect Cameraygal to its past. It’s now been converted into a living, breathing building, integrating sustainable operation modes and using them as educational tools. A building management system integrates and informs occupants of all data collected from the building’s systems. Other interventions include solar panels on the roof and north-western facade and these service 75 percent of the operational power needs while also providing sunshading. Zoning of services has reduced operation costs. External glass has been replaced with high performance laminated glazing and there is extensive use of recycled and low-emission materials. Cameraygal is a clever adaptation of what might have been considered an obsolete building. By keeping true to the robustness of the original building’s structural skeleton and efficient floor plate and then allowing more natural light to penetrate, by increasing cross-flow ventilation and by improving student amenity generally, an uplifting environment for contemporary learning has been created.

ARCHITECT Cox Richardson/project team: Michael Bradburn (project architect); Joe Agius

(design director); Andy Marlow, Andrew Noonan, Anna Brown, Andrew Hosking, Tony Lam STRUCTURAL AND CIVIL CONSULTANT TLB Engineers LANDSCAPE CONSULTANT Taylor Brammer ESD CONSULTANT Cundall BUILDER Lend Lease PHOTOGRAPHY John Gollings

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ARCHITECT NSW Government Architect’s Office/project team: Carlos Sogari (design and project architect); Thomas Singleton STRUCTURAL, ELECTRICAL, HYDRAULIC, LANDSCAPE, INTERIOR DESIGN, LIGHTING, COST, COMMUNICATIONS AND PHOTOVOLTAIC ENERGY CONSULTANT NSW Government Architect’s Office MECHANICAL CONSULTANT Cundall

Johnston TECHNICAL SPECIFICATIONS NSW Government Architect’s Office, Kollanyi Architects BUILDING SURVEYOR AND CIVIL CONSULTANT NSW Public Works BUILDER Watpac PHOTOGRAPHY Simon Whitbread

ENDURING ARCHITECTURE NATIONAL AWARD

COUNCIL HOUSE HOWLETT & BAILEY ARCHITECTS

JURY CITATION

Perth’s Council House, designed by Howlett and Bailey in 1960 and opened in 1963, testifies to enduring architectural excellence. Its exceptional aesthetic resolution provided leadership at the time it was built and fifty-two years later it continues to be regarded as one of Australia’s finest examples of postwar modernist civic architecture. A striking vertical slab encrusted in mosaic-tiled T-shaped precast concrete sunshades, this landmark building has always accommodated the offices and council rooms of Perth City Council. From its opening, Council House showcased innovative thinking. At thirteen storeys it provided an early example of large, adaptable floor plates through the positioning of circulation and service cores on the building’s narrow eastern and western edges. It was the first time that typhoon-tested floor-to-ceiling double-glazed walls with openable sash windows were used. Its transparent ground floor welcomed the public and offered clear views and pedestrian connection through to public terraces and gardens, and it was one of the first public buildings to have completely integrated airconditioning. The distinctive T-shaped sunshades that define its architectural expression are cleverly detailed to continue

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around the corners and also perform as fire-isolating spandrels between floors. Internally, the architects’ vision was carried through to carpets, decorative screens and furniture design. Many original chairs, tables and desks are still in use and all feel as contemporary today as they did in 1963. The irony of the WA State Government wanting to demolish Council House in the 1990s to make way for a “heritage precinct” became evident when there was public and professional outcry over the building’s impending demise. All arguments pointed to the fact that Council House contributed, in its own right, an important and significant layer to Perth’s and Australia’s cultural heritage. As a measure of its ongoing civic presence, Council House is frequently celebrated through artistic light mapping across its facades, which redefines its presence during festivals and cultural events. It is a much-loved icon and it will remain an important and functioning part of Perth’s city fabric for generations to come. ARCHITECT Howlett and Bailey/project team: Jeffrey Howlett (deceased), Donald Bailey PHOTOGRAPHY Peter Bennetts (above, opposite bottom), Robert Frith (opposite top),

Council House plan courtesy of City of Perth History Centre

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INTERNATIONAL ARCHITECTURE THE JØRN UTZON AWARD

PICO BRANCH LIBRARY KONING EIZENBERG ARCHITECTURE

JURY CITATION

The Pico Branch Library in Santa Monica, California is a delightful example of community architecture and urban design that creates multiple opportunities for public engagement. The project was developed in close collaboration with the local community, who participated in a series of highly productive consultative public design and programming workshops. Key to the project’s success was that the library was conceived as a community “living room” that would actively engage with the adjacent public park, thus encouraging the use of an educational resource in a minority neighbourhood. The library’s formally playful design involved not only the creation of a beautifully folded sculptural roof over a light and airy reading room, but also the melding of new and existing buildings with the 2005 Koning Eizenberg Architecture-designed landscape for Virginia Avenue Park (the first US park to achieve LEED certification). To cope with a regulatory need for what’s called in the US a “fire lane,” the building was split in two: on one side, the library; on the other, a much-needed community room that is clad in perforated steel sheet and opens onto an outdoor amphitheatre. Roofing the fire lane is a bank of photovoltaic panels that works like a pergola, bringing dappled light to the access way, which is treated not as a service lane but as an urban pedestrian spine connecting neighbourhoods north and south of the park. The jury was impressed by the ability of this diminutive project to bring not just urban clarity and focus to the neighbourhood but also, with limited means, such formal ingenuity.

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The blurring and overlap of public functions is clever. One day there’ll be a farmers’ market in front of the library’s acid-green fabric canopies; on another it will be families enjoying picnics in the park, playing basketball and throwing frisbees across the introduced grass mounds. This project exemplifies Koning Eizenberg Architecture’s longstanding dedication to community participation and to finding design richness in the programmatic and budget-challenged environment of small-scale institutional architecture. KONING EIZENBERG ARCHITECTURE WAS PROFILED BY PHILIP GOAD IN ARCHITECTURE AUSTRALIA JUL/AUG 2015. SEE ARCHITECTUREAU.COM/ARTICLES/PROFILE-KONINGEIZENBERG-ARCHITECTURE/ ARCHITECT Koning Eizenberg Architecture/project team: Julie Eizenberg (project architect),

Nathan Bishop (project designer) STRUCTURAL CONSULTANT Thornton Tomasetti CIVIL CONSULTANT KPFF MECHANICAL CONSULTANT Glumac LANDSCAPE CONSULTANT Spurlock Poirier LIGHTING CONSULTANT Lighting Design Alliance ACOUSTIC CONSULTANT Veneklasen Associates ENVIRONMENTAL CONSULTANT Brightworks COST CONSULTANT C. P. O’Halloran GEOTECHNICAL CONSULTANT GeoDesign BUILDING SURVEYOR JMC2 BUILDER RC Construction Services PHOTOGRAPHY Eric Staudenmaier

SITE/FLOOR PLAN 1:1000

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10 m

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INTERNATIONAL ARCHITECTURE AWARD

AMAN, TOKYO KERRY HILL ARCHITECTS JURY CITATION

Aman, Tokyo is a luxury hotel that occupies the top six floors of the Otemachi Tower, a thirty-eight-floor commercial office tower in central Tokyo. This project is an oasis of calm within a bustling metropolis. The array and sequence of interior spaces epitomize Kerry Hill’s perceptive and original reading of another culture’s architectural traditions. The design references traditional Japanese architecture through meticulous detail and accomplished spatial flow and volumetric control. The highlight is “The Inner Garden,” the lobby lounge, which has a six-storey-high washi paper lantern and skylight as its focus above, while at floor level, there is what appears to be a contemporary Japanese garden but is in fact a spectacular seasonal ikebana arrangement. All the public spaces are defined by stone, paper, water and landscape in contrast to the guestrooms, where Japanese sen timber detail, shoji-style screens and large stone soaking tubs suggest the intimate and sensory small scale of traditional Japanese domestic architecture. This is a masterful work, another example of Kerry Hill’s internationally acclaimed practice of designing exquisite spaces for travel and escape. AMAN, TOKYO WAS REVIEWED BY ERWIN VIRAY IN ARCHITECTURE AUSTRALIA SEPT/OCT 2015. SEE ARCHITECTUREAU.COM/ARTICLES/AMAN-TOKYO ARCHITECT Kerry Hill Architects/project team: Yvette Adams (project architect); Kerry Hill, Justin Hill (design architects); Anna Siefert, Valeria La Pegna, Benjamin Smestad, Alicia Worthington, Alex Ong, Mylene Ng-Gomez, Belinda Stuart, Cathleen Wing Kee, Sulaini Jonied STRUCTURAL, ELECTRICAL AND MECHANICAL CONSULTANT AND LOCAL ARCHITECT Taisei Design Planners Architects & Engineers LANDSCAPE CONSULTANT Salad Leaves BUILDING EXTERIOR ARCHITECT Kohn Pedersen Fox Associates KITCHEN CONSULTANT Cinni Little HOTEL OPERATOR Aman Resorts BUILDER Taisei Corporation PHOTOGRAPHY Lighting Planners Associates/Toshio Kaneko (top), Nacasa & Partners (bottom)

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INTERNATIONAL ARCHITECTURE AWARD

GLOUCESTERSHIRE GARDEN ROOM ROBERT GRACE ARCHITECTURE JURY CITATION

The jury was impressed by this impeccably detailed glass pavilion, which has been added to Woodchester House, a heritage-listed eighteenth-century Georgian mansion in Gloucestershire, England. The program for the room includes an entry, bathroom, laundry and living area with a fireplace inset into a stone wall, all of which is linked by a twelve-metre-long gallery to an existing outbuilding that adjoins the main house and contains a kitchen and dining room. The Garden Room makes innovative use of a glass roof resting on glass beams in the linking gallery, which gives the structure almost complete transparency. Within the Garden Room itself, thin blade concrete columns support a concrete roof, and glass is cleverly used again to emphasize the idea of a solid parasol placed next to a concrete wall. Impossibly tall (five-metre-high) glazed doors then slide away at the pavilion’s corners, dissolving any sense of intrusive mass. This project demonstrates a deft blend of high technology and contemporary materials with existing stone walls and framed views of a garden landscape. It is a compositional gem. ARCHITECT Robert Grace Architecture/project team: Tony Loizou – Studio Ran

(project architect); Robert Grace (design architect); Linus Gruszewski (trainee architect); Sarah de Teliga (existing house, interior designer) CONSULTANT Mel Yates, Alun Mock PROJECT CONCRETE ENGINEERING Hazel Gillett STRUCTURAL CONSULTANT Andy Ilsley (principal concrete), Philip Wilson (glazing) BUILDER Chris Walker – Parr Walker GLAZING CONTRACTOR Firman Glass PHOTOGRAPHY Jesper Ray

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For your next award winning project, collaborate with a Landscape Architect and add value to open space.

New Acton Precinct. MolongOo Group, Fender Katsalidis and OCULUS. Image courtesy of OCULUS. Photography by Simon Patching.

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STEEL ARCHITECTURE THE NATIONAL COLORBOND® AWARD

ADELAIDE OVAL REDEVELOPMENT COX ARCHITECTURE, WALTER BROOKE AND HAMES SHARLEY

RIVERBANK STAND SECTION 1:2000

10 20 m

JURY CITATION

The Adelaide Oval Redevelopment is a landmark public design project for the city of Adelaide. Its innovative use of steel has provided the material and structural means to give shade and shelter at human scale, to solve complex functional challenges and to impart a spectacular sense of spatial expression and occasion for the facility’s year-round sporting and cultural events. The concept of three pavilions, each framed and roofed in steel and of a different but formally related character, located above a sandstone-coloured massive base and sitting in a park landscape, has allowed each different section of the stadium to feel like a special place. At the same time, the language of the floating, column-free, white diagrid structure common to each pavilion unifies the whole composition. Especially noteworthy is the carefully engineered lightness of the pavilion roofs’ steel members and the white PTFE fabric (Teflon-coated fibreglass) roofs, which give the impression of elegant umbrellas in the park. This lightness is accentuated by each pavilion roof sitting well above the uppermost seating plats, which visually and functionally allows the entire stadium to “breathe.” The jury found the new Southern Stand’s roof structure to be particularly breathtaking in its scale. Formed by a single curved shell with a stiffening perimeter truss, it too has been engineered to achieve maximum visual lightness.

The whole stadium appears framed and ready for the excitement of a game or a concert. In a brilliant move, the architects retained at the stadium’s northern end the much-loved grassy landscape of the hill next to the historic scoreboard. This outstanding public structure is not just an exemplary piece of architecture and engineering design, it has also revitalized one of Adelaide’s most important public places and it is the result of an exceptional collaborative venture between architects, engineers and steel fabricators. ADELAIDE OVAL REDEVELOPMENT WAS REVIEWED BY STEPHEN WARD IN ARCHITECTURE AUSTRALIA JUL/AUG 2015. SEE ARCHITECTUREAU.COM/ARTICLES/ADELAIDE-OVAL ARCHITECT Cox Architecture, Walter Brooke and Hames Sharley/project team: Adam Hannon (project architect); Patrick Ness (design architect); Alastair Richardson (project director); Ian Hore (director); Anthony Balsamo (urban lead); Michael Lambert (planning lead); Soren Fischer (facade design); Mee Kim Kyong (facade lead); Joachim Clauss (roof lead); Stuart Harper (roof team); Naomi Evans (urban and facade team); Chin Tan, Kirsty Dicker, James Thompson, Kate Holford, Amos Dahlitz STRUCTURAL CONSULTANT Arup, Wallbridge and Gilbert LANDSCAPE CONSULTANT Oxigen SERVICES CONSULTANT Aurecon, AECOM COST CONSULTANT Rider Levett Bucknall BUILDING SURVEYOR Katnich Dodd BUILDER Lend Lease PROJECT MANAGER Mott Macdonald PHOTOGRAPHY John Gollings

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STEEL ARCHITECTURE NATIONAL COMMENDATION

50 MARTIN PLACE JOHNSON PILTON WALKER JURY CITATION

The jury found the use of steel and glass at 50 Martin Place to be especially innovative. Firstly, it was an ingenious idea to create a Beaux-Arts-inspired domed form of exceptional elegance on top of one of Sydney’s most important historic banks of the 1920s. Secondly, the efforts made to lighten and reduce the size of all steel members gave the project exceptional aesthetic rigour. The result is an arched and domed form that capitalizes on steel strengths and on minimized and efficiently resolved loads. In the end, the structure used 30 percent less steel than a conventional design. Combined with the building’s minimalist cylindrical glass lifts, the new steel-and-glass structure is the perfect complement to the weight and dignity of the original 1920s classical interiors at ground level. The crowning of this building in steel and glass is an excellent example of the way in which advanced technologies and inventive attention to issues such as fire regulation and design detail can be married with existing buildings. The clever adaptive re-use of this building equally celebrates old and new. 50 MARTIN PLACE WAS REVIEWED BY KEN MAHER IN ARCHITECTURE AUSTRALIA MAR/APR 2015. SEE ARCHITECTUREAU.COM/ARTICLES/50-MARTIN-PLACE

ARCHITECT Johnson Pilton Walker/project team: Paul van Ratingen (project director); Matthew Morel, Peter Blome (project associates); Richard Johnson, Matteo Salval, Walter Brindle, Brent Alexander, Mark Rostron, Gareth Jenkins, Natalie Minasian, Davide Galli, Michelle Vassiliou, Brendan Murray, Sisi Wang, Yi-Jan Lien, Tomek Archer, Paolo Stracchi STRUCTURAL CONSULTANT Taylor Thomson Whitting INTERIOR DESIGNER BVN, Clive Wilkinson Architects ACOUSTIC CONSULTANT Arup, Acoustic Logic SERVICES CONSULTANT Arup COST CONSULTANT MBM HERITAGE ARCHITECT Tanner Kibble Denton FACADE ENGINEER Surface Design VERTICAL TRANSPORTATION NDY ACCESSIBILITY CONSULTANT One Group ID BUILDING SURVEYOR Steve Watson & Partners BUILDER Brookfield Multiplex PROJECT MANAGER Savills PHOTOGRAPHY Peter Bennetts (left), Brett Boardman (right)

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2015 NATIONAL ARCHITECTURE AWARDS

Villa Marittima, St Andrews Beach by Robin Williams Architect. Photography: Dean Bradley VOL. 104 NO. 6

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Roca presents the toilet of the future. Roca has once again revolutionised the world of bathrooms, with its new In-Tank system which incorporates the cistern into the toilet. Its Soft Air technology guarantees an optimal and quieter flush. This single piece encompasses simplicity, style and easy installation. In-Tank marks the beginning of a new era in the world of bathrooms. Available in the Meridian Collection and exclusively distributed through Reece