Victorian Architecture Awards Catalogue 2013

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The annual Exhibition of Entries is held to celebrate the projects submitted for consideration into the Australian Institute of Architects’ Victorian Architecture Awards.

Entry into the Awards is via the National program which is open to all registered members of the Australian Institute of Architects. Entries are submitted in each state according to project location. As a condition of entry each practice is required to submit exhibition material/s which subsequently become the content of each state’s public exhibition.

The 2013 Victorian Exhibition of Entries integrates two components; the entrant’s submitted material (in this instance the physical hanging of A2 display boards in category groups) along with a corollary exhibition produced by students of MADA (Monash Art Design & Architecture). Along with the exhibition design, the MADA contribution is two-fold: the re-presentation of additional digital material/s requested of the entrants – in this instance the submission of a 60 second film, and the compilation of entrant’s submitted material into this exhibition catalogue. The films have been re-presented via an interdisciplinary workshop run under the direction of Callum Morton and the printed materials are the product of a Design Communication studio led by Warren Taylor.

The brief from the Institute to MADA was simple: to design an exhibition which expands the ambition of the annual awards exhibition from a simple predictable arrangement of the traditional A2 display board submissions. The higher objective is to make an interesting show intended to open a new dialogue with the architectural community.

Each year the Victorian Architecture Awards’ field of entries demonstrates the diverse range of practitioners and projects undertaken in Victoria – a reminder of the long and involved process, often unobserved, associated with delivering a building or architectural intervention. It is the dedication, perseverance and commitment to excellence which drives many of the projects being considered for awards and such drive is fundamental to the continuing success of the Australian Institute of Architects Architecture Awards program. Without the bar being continually lifted each year by the entrants and their submissions, the success of the awards system and the ability to showcase to the wider community the important role that architecture plays in its many guises, would be lost.

Congratulations to all entrants and award winners for their fantastic contributions in 2013 and their continued commitment to the pursuit of excellence in architecture.

Libby Richardson Amy Muir Awards Coordinator Muir Mendes Victorian Architecture Awards Chair of Juries

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EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE 87 Collins Street has the feel of a gentleman’s private salon - somewhere between his study and bathroom/ dressing room. Found objects, vintage furniture and lighting have been incorporated to create a sense of the inner sanctum of this worldly character. This masculine aesthetic is in response to the brief for this particular shop to relate to the other men’s retail in the area such as Harrolds. It is also in response to the location - a shop within the Athenaeum Club Building. Overall, 87 Collins feels like being in someone’s private space and being given the opportunity to go through their personal things … so the testing station is like a gentleman’s vanity with his personal grooming effects on the bench. The point of sale and the testing unit are designed as freestanding pieces of furniture as are the display areas imagined as museum cabinets. These various elements are differentiated slightly in scale, proportion and materials. Some are wall mounted as bookshelves; cabinets of curios. The idea of the curiosity cabinet was influential in this regard.

A leather curtain between front and back of house creates a feeling of intimacy and hints at a secret world behind.

AESOP Flagship Store Kerstin Thompson Architects

The new Melbourne Processing Centre is an architectural embodiment of the cultural values of the Australian Red Cross Blood Service. The design’s integrity and transparency were embraced when moving to its new West Melbourne home. The adaptive reuse and restorative approach of one of Melbourne’s old stock warehouses transcends the essence of sustainable development - a vision that was shared by the client.

Physical and metaphorical transparency is supported by a green transition gallery through which staff traverse in everyday operations. This provides occupants and visitors alike an incidental understanding of the business as a whole, whilst promoting a greater sense of community from within.

A new corner entry uses layering of materials and peeling back of the dominant brick façade to reveal a softer building core.

By realigning and bending existing façade elements a seamless integration of old and new is created. A consistent theme of recycled timber, industrial black steel and soft greenery highlight key interior spaces.

Australian Red Cross Blood Service Melbourne Processing Centre DesignInc

COMMERCIAL ARCHITECTURE

EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE This new bar is heavily influenced by memory – namely, of gathering spaces frequented and adapted by Italian migrants, with spaces maturing out of the manner in which they are used. Collaboration and connection with clients Rinaldo Di Stasio and Mallory Wall was intense, continuous and fruitful as a relationship was sought with the existing Café Di Stasio. Carefully dimensioned openings control movement and connection - curating views into the original café and vignette-like glimpses back to the new. Finishes attest to the craft of construction – architecture grounded by an admiration of the artisan.

The prosaic is embraced – the existing kitchen has been enlarged with the addition of new facilities which improve capacity and the working environment. The corridor, or rear internal spine recognised and traced from the original building, links the front with the more private dining room and seating booth to the rear – a T.S. Elliot like sense of the infinite at its very end. Light spills from (and at times pierces) spaces adjoining the corridor; a memory of the half-light of the existing residences often located at the rear of such places.

Carlton Graphic Design Studios Zen Architects

Bar Di Stasio Robert Simeoni Architects in collaboration with Callum Morton and David Pidgeon

The Carlton Graphic Design Studios is a renewed 1980s commercial building on the edge of Melbourne’s CBD. The new owner, a graphic design and publishing company, sought new headquarters that would represent its values and those of its clientele.

Key considerations for the project were sustainability, a building with an identity representative of the new owner’s brand, welcoming client meeting and entertaining areas and open studio work spaces. It was recognized at the outset of the project that the existing building performed poorly in its present state in terms of amenity for occupants, contribution to the street and operational energy use. Nevertheless, the building held a great amount of embod`ied energy and much opportunity for improvement.

The size of the building was increased with the addition of a new upper level including roof terrace and three main strategies were implemented to transform the building into a workplace suited to the new owners and to make a positive contribution to the street: a brand new façade, warm spatial connections, and pared back interiors.

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With new expansion plans anticipated, a new Mahogany Room was envisaged to ensure Crown remained a top-tier world benchmark hospitality venue. The project encompassed a new first class ground floor gateway restaurant, a significantly expanded Mahogany Room venue and a new roof top club lounge. Large room-like open air balcony spaces were created which look down the river corridor to the spectacular CBD beyond. The building in essence needed to become the new front door to Crown. A key aspect of the brief called for uniquely open and light filled interior spaces with an emblematic and transparent external character. A rich and contextual language was developed which worked to heighten Crown’s profile whilst relating strongly to the existing Crown built form and providing a strong civic treatment to the edge of Queensbridge Square. The building uses a highly sculpted façade system which combines tightly crafted and curved book matched Teakwood sandstone panels with clear, slumped and corrugated triple glazed glass cladding units. The lowest glazed panels drop down to ground floor level to provide definition and tactility to the street edge and are left open for light and views into the new Porte Cochere room behind.

The Cullen is a new boutique hotel in Prahran containing a ground floor retail component with a restaurant bar and café, as well as a five storey hotel development with a gymnasium and pool on the roof deck. The Cullen is part of an artist-hotel programme that includes The Olsen and The Blackman and is named after Archibald Prize winner Adam Cullen. The new building sits on the corner of Grattan Street and Commercial Road, set back from Grattan Street to provide an active public open space and vista to the park beyond (Grattan Gardens).

Balconies are contained within cantilevered boxes which provide an expressive and sculptural building façade.

Internally shaded green, the boxes create a random coloured pattern across the façade as an abstract vertical landscape responding to the park. On the Commercial Road façade, this idea is inverted as random pockets puncturing the façade, referencing the turrets and datums of the surrounding context. The building exterior is unashamedly bold and colourful, drawing on the artistic approach of the interior which features an estimated 450 works of Australian art. It embraces the eclectic, dynamic location in which it sits and provides an engaging and contemporary addition to the precinct.

COMMERCIAL ARCHITECTURE

The Cullen Jackson Clements Burrows Architects

EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE Euneva Avenue Living Carpark WMIA now GroupGSA+WMIA

The Euneva Avenue Community Healthcare centre and Living Car Park is Melbourne’s first environmentally aware multideck car park. A unique partnership between the City of Monash and the Department of Health resulted in a challenging brief calling for a broad exploration of ESD initiatives and the establishment of a new benchmark for the building type. The result is a remarkable hybrid building featuring six levels of public multi-deck parking, a ground floor community healthcare centre, and private basement car park. Via a simple utilisation of the site, the traditionally deep carpark format was fractured to allow an open wedge to penetrate deep into the plan. This enabled a number of initiatives including natural ventilation and access to natural light for the ground level accommodation. The façade features panels of sustainably sourced timbers and cantilevered planters for native seasonal climbers. Rainwater is harvested, stored on site and filtered through a central bioswale for use by the planters, resulting in a garden-façade prepared for the Australian climate. Internal columns of the car-park feature extensive commissioned stencil paintings by local high school students which serve to further integrate the project into the local social fabric.

The National Centre for Synchrotron Science is a spectacular building that celebrates the science of light through the art of architecture. The alluring visitor centre takes its cue from the Australian Synchrotron’s international role as a high technology research facility using light as a medium. Providing a gateway for the campus, the contemporary and innovative architecture is a confident symbol and celebration of the Synchrotron’s ground-breaking work. The large foyer/gallery doubles as an event space and extends to encircle the lecture theatre.

Striated and filmed translucent acrylic panels infuse the gallery space with a polychromatic light. Plastic lenses inserted into skylights push natural light down and through the wall cavity to form a radiant built presence of high brilliance. This treatment references the Synchrotron’s dynamic manipulation of light and minimises the gallery’s use of artificial light during the day. Another design device deployed to express the nature of light in the Synchrotron is a play on the traditional dark lecture theatre. A vast array of haloshaped fluorescent lights punctuate the ceiling to demonstrate the power of light as the sole experience.

A new Australian Synchrotron administrative hub is located on the upper level away from public activity and functions.

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National Centre for Synchrotron Science Bates Smart

EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE The Olinda Tea House comprises a main restaurant /café pavilion with floating butterfly roof atop expansive glass walls, surrounded by wide timber decks located in a natural clearing in a treed landscape setting.

The facility also includes a flexible gallery/ function space and independent enclosed gazebos for private functions and well-being activities, linked by elevated walkways.

Entry is cued by a sensuous curved rammed earth wall off the front car park and the entry experience enhanced by an associated water course feature. The buildings are environmentally sustainable, incorporating rainwater collection and storage, solar hot water and electricity generation and good passive design principles. Natural materials have been utilized including extensive timber elements in the main frame, cladding, decking, balustrades, and a feature wing wall of recycled timbers. Motifs of local flora and fauna are laser cut into rusted corten steel balustrade panels around the north facing al fresco dining deck. An openable louvre roof and roll-down café blinds provide environmental control to this area. The facility has become an icon in the Olinda area, providing the public with a high quality, environmentally friendly and unique dining and wellness destination.

The Olinda Tea House Smith + Tracey Architects

The Dandenong P.E.P. is a prototype for a new commercial/industrial building type.

The P.E.P. is a flagship project in the implementation of low carbon energy generation for a new commercial urban development.

The P.E.P Cogeneration plant supplies buildings in a seven hectare precinct with electricity, hot water, and heating with less than half the green-house gas emissions of traditional gas fired power stations.

We worked closely with Cogent Energy to deliver an iconic building that satisfies the stringent requirements for the workings of the “green machine” inside, allowing the operator to meet its business goals of selling green electricity, hot water and heating.

The building aims to provoke discussion about the environment without preaching to the public. The Rorschach giant switch and power points, astroturf wall, the ‘circuit diagram’ lighting and the giant cogeneration diagram (using engineer’s notations for the machinery inside) act as a playful set of signs. The dot matrix display on the canopy provides information about power production, consumption, and green-house gas savings from the P.E.P. for all to see, helping to underline why the building is there and why it is important.

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Precinct Energy Project, Dandenong Peter Hogg + Toby Reed Architects

COMMERCIAL ARCHITECTURE

EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE EEEEEEEEE The Council’s brief for this project was to ameliorate the problems of rainwater leaks, heat load during summer and poor shopper amenity. PMA’s design solution is a contemporary interpretation of the area’s vernacular roof profiles. South Melbourne has a rich history of industrial buildings with saw-tooth roof profiles, usually metal clad.

Often when these rectilinear elevations meet the oblique plan forms of South Melbourne’s streets, distinctive profiles emerge. In this scheme the roof plane was twisted to meet the same angle as Melbourne’s greater metropolitan grid. Additionally, this orientation is preferable for solar gain for the photovoltaic cells. The resulting skew from the South Melbourne grid has resulted in triangular and rhomboidal figuration on the elevations.

This contemporary interpretation of the saw-tooth roof thus contributes to the urban fabric by giving it contemporary form and narrating the differing scale of Melbourne’s grids. The design of this large urban artifact has additionally maximized the potential for solar power generation and has facilitated the effective capture of storm water (750 kilolitres). Ideally, the strong profile of the roof on the skyline will act as a signifier for the market and assist in the strengthening the market’s identity over time.

South Melbourne Market Roof Paul Morgan Architects

The Spring Street Grocer is modest in footprint and project cost, its value being in the concentration of effort on detail and the variety of ‘events’ and materials along a defined path through the project. The design employs affordable materials with luxury details that give a depth that overcomes the innate thinness of ‘off the shelf’ building materials. This project celebrates the sensual experience of the fine foods it houses by responding with a palette of rich and varied textures that accumulate into a choreographed composition with the aim of engaging with the historic and formal contexts of its urban location. The Grocer opens itself to the corner, the laneway and the street to the general public. It aspires to engage with the parliament house steps in the manner of the commerce surrounding the Spanish Steps.

The grocery store ignites city life by welcoming all to its fertile and democratic space of colour, texture & form.

Spring Street Grocer KGA Architecture

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JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ Australian Red Cross Blood Service Melbourne Processing Centre DesignInc

The new Melbourne Processing Centre is an architectural embodiment of the cultural values of the Australian Red Cross Blood Service.

The design’s integrity and transparency were embraced when moving to its new West Melbourne home. The adaptive reuse and restorative approach of one of Melbourne’s old stock warehouses transcends the essence of sustainable development - a vision that was shared by the client. Physical and metaphorical transparency is supported by a green transition gallery through which staff traverse in everyday operations. This provides occupants and visitors alike an incidental understanding of the business as a whole, whilst promoting a greater sense of community from within. A new corner entry uses layering of materials and peeling back of the dominant brick façade to reveal a softer building core. By realigning and bending existing façade elements a seamless integration of old and new is created. A consistent theme of recycled timber, industrial black steel and soft greenery highlight key interior spaces.

Captain Melville is the re-invention of a dark inner city nightclub into a restaurant and bar inspired by the ghosts of the hotel’s first patrons. Amid a colony in a state of dichotomy, 1853 saw the construction of Mac’s Hotel – one of Victoria's first licensed hotels.

Settlers flooded to our shores chasing land, gold and new beginnings, while convicts railed against their injustice and the class system that created it. In the spirit of this historic, rebel narrative, the fit-out is conceptually based on the scene of mass occupation of Australia in the 1850's by immigrants chasing gold in the Australian Gold Rush. Melbourne had then grown almost over night from a tiny village into a gridded tent city. The repetition of these simple peaked forms, erected from materials on hand in the settlement and laid over the landscape, became the conceptual framework for the design and material palette. Welling up from beneath the colony came the influence of the rebel spirit – here manifest in the tale of Captain Melville, the “Gentleman" Bushranger. Rousing a new layer of chaos and asymmetry, this renegade sentiment permeates the venue’s new identity, branding and raw materiality.

East Melbourne House Zoë Geyer Architect

Captain Melville Breathe Architecture

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This project is the story of a historic house regaining its dignity and liveliness in the context of the 21st century, informed by its current owners' passion for uncompromising design, preservation of history and the contemporary art world. The heritage listed building 'Queen Bess Row' was built in 1886 by architects Tappin Gilbert and Dennehy in the wealth of the gold rush. Now three separate dwellings, this adaptable building has accommodated a Temperance Hotel and doss house in past lives. Designed with forethought for technological improvements such as flushing toilets, the unusual and individual features of the house are referenced and carefully preserved in these design alterations. With great care and some playfulness, the new works introduce a layering of other stories into the history of this house. The rear 'shoeboxes' are replaced with vibrant wall panelling and secret rooms, the master bedroom floats up to the attic, and the grand front rooms are reinterpreted as living and entertaining spaces.

Every move is led by clean and rigorous design and detailing. The result is a highly dynamic and individual building which, like a family history, lives very much in the present while reflecting the many influences it has seen over its lifetime.

HERITAGE

JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ Constructed in 1871, the Chapel is the cultural and spiritual centre for the Good Shepherd Sisters at Abbotsford Convent. Robert Simeoni Architects was engaged to restore the building and explore the possibility of creating new uses and spaces for redundant areas.

In addition to traditional worship facilities, flexible spaces have been designed for use by lay people and the general public. An interpretive centre, a variety of meeting spaces and amenities including an intimate space in the crypt, have been incorporated into this restoration project. Our approach to the project was respectful of the architectural and cultural history of the Chapel and in accordance with the Burra Charter. Restoration of the existing building was undertaken with care to retain as much of the existing fabric as possible. We worked in consultation with the Abbotsford Convent Foundation, especially in relation to the aspect and interface of the two sites, in particular the new landscaping works. This restoration of the existing Chapel and the new interventions honour the history of the Good Shepherd Sisters and provide a multifunctional facility for their continued work and presence within the community.

Good Shepherd Chapel, Abbotsford Robert Simeoni Architects

GPO2 Design Studio DesignInc

DesignInc’s new design studio was delivered as an integrated fit out. It combines exposed base building services and new workspace into level two of the heritage listed Melbourne GPO building. New and old contrast to create a timeless aesthetic of recycled timber and steel on a backdrop of white masonry. A generous pinup gallery, imagined as an active street, links studio collaboration areas. Reclaimed furniture, industrial column lighting, and generous amounts of internal planting generate a domestic scale. Operable mixed mode windows combine with a large wall projection of nature and street life to further increase the natural experience. Design collaboration opportunities are maximised with the integration of a kitchen, meeting spaces, a resource area and an outdoor terrace.

A strong relationship between the resource spaces, kitchen and social spaces has been incorporated for maximum staff interaction and the opportunity for discussion of projects in informal ways. A large, spatially robust, flexible and reprogrammable ‘Lab’ inserts into the more modern segment of the building fabric. It includes a moveable timber stadium seating joinery unit that allows for project screenings, office workshops and meetings.

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JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ ARM Architecture was appointed to design the $128.5m redevelopment of Hamer Hall. The redevelopment improves Hamer Hall’s acoustics, seating, stage technology and back of house facilities, while also creating a more outward facing venue that integrates new public spaces and the riverside to make it more accessible and inviting to the public. The project connects Hamer Hall with the Yarra River and the city – a new terrace over the riverbank promenade features a ‘civic stair’ from the river to St Kilda Road. The new Hall also includes a second entry that allows access directly from the Riverbank Promenade to the circle foyer with retail outlets along the riverfront, new and expanded foyer spaces, better amenities, new stairs, improved disability access, escalators and lifts. The redevelopment was approved by Heritage Victoria and involved a rigorous documentation and management process to ensure its heritage features were treated sensitively. Throughout the redevelopment ARM took great care to preserve many unique heritage aspects of the Hall within both the foyers and the auditorium. Retaining as much as possible of John Truscott’s original interiors was a key consideration in planning the redevelopment.

Loreto Archives Centre Gray Puksand

Hamer Hall ARM Architecture

The Archives Centre forms a gatehouse to the heritage precinct at Mary's Mount, Ballarat. Located in the grounds of Loreto College, the building is sited in close proximity to the historic Convent Chapel and the Gothic façades of the residential and schoolroom wings which date from 1882. Originally, the St Anne's Parish Primary School, the 1908 federation classroom building has been restored and remodelled into a gallery space housing the Loreto collection. A 1960s extension has been demolished revealing the original structure.

Flanking new wings contain a conservation workroom controlled environment repositories, offices and a reading room. A glazed intermediary zone highlights the newly restored heritage brickwork and provides a reception area for visitors. The tesseract forms of the new wings draw garden views and natural light through the interior spaces. Double glazing and filtered glass have been adopted to maximise natural light while protecting artefacts on display and the ceramic tile cladding complements the heritage surrounds.

When purchased by the current owners in 1987 the elegant Lyndhurst Hall in Pascoe Vale was in a parlous state but already recognised by Heritage Victoria for its unique Victorian Regency Style. Undaunted by the intricacies of the Burra Charter and determined to resurrect this faded beauty, they embarked on the slow process of conservation. Working together with a Conservation Management Plan prepared by Lovell Chen, Inarc Architects and the owners evolved a scheme that combined careful conservation and restoration where necessary with any new work minimally inserted into the existing fabric. New kitchen and bathroom fitouts and joinery are all of contemporary ilk, with a continuity in materials and expression that links the new elements. French doors inserted between the kitchen and adjoining library form the only new opening permitted as a concession to current lifestyle expectations. A new ‘link’ from Lyndhurst Hall to the original farmhouse at the rear provides a transitional entrance space, deliberately minimal in appearance to maintain the visual separation of the buildings and visual continuity to the garden. It has been cleverly engineered to stand independently of the existing structures, its new roof floating butterfly-like just a breath away from the rustic original walls.

HERITAGE

Lyndhurst Hall Inarc Architects

JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ In 2001 the Maryborough Railway Station Conservation works were initiated to address problems associated with long term maintenance, neglect and inappropriate repair works. These problems threatened not only the cultural significance of the place but the resumption of passenger services (suspended between 1993 and 2010) and the on-going patronage of its retail tenants. Extensive research and detailed forensic surveys were required to resolve complex modes of building fabric deterioration and develop innovative but sensitive remediation techniques. A materials scientist, heritage structural engineer and glass and ceramics conservators were pivotal in resolving and implementing these works. A conscious effort was made to minimise the introduction of new building fabric and to faithfully reconstruct original details in accordance with the Australia ICOMOS Burra Charter 1999 principles of conservation.

The ambition of the project has been to re-establish the building to its former 19th century Goldfields opulence and to a position of respected prominence for both Maryborough and the Victorian Railway Network. The project has enabled the on-going use of a valuable asset and provided an opportunity to generate broader public support for further conservation of the Victorian Railway network.

Maryborough Railway Station Conservation Works RBA Architects + Conservation Consultants

The Old Geelong Courthouse is a prominent building of notable heritage significance to the region, containing components dating back to the brick Police Court of 1882 and the significant additions of 1938 by Geelong architect Percy Everett. The distinctive finishes and details of this significant public building define the gateway to Geelong’s cultural precinct. A balanced design strategy ensured extensions were limited to carefully selected areas, minimising the visual impact on the street and respecting the existing form and heritage façades. The adaptive reuse included the refurbishment of the entire building with an emphasis on retaining and restoring the original fabric wherever possible. A number of key interventions, including the new main entry staircase off Gheringhap Street, have resolved the previous dysfunctional series of rooms into coherent light-filled spaces of appropriate functional relationships. Through careful consideration of the brief and design innovation, the existing building was recycled, achieving an exemplary ambience. This sustainable and cost-effective solution resulted in the successful regeneration of an old building into a bright and spacious revitalised arts facility which met and exceeded all the client’s requirements. The redevelopment has transformed the building, creating accessible and celebrated spaces bringing the Arts closer to the community.

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Old Geelong Courthouse Redevelopment Bradbury Dicker Group Architects

JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ Ormond College Main Building Gables Lovell Chen

The main building at Ormond College was designed by Joseph Reed (Reed and Barnes) and opened its doors on College Crescent in March 1881. The gables project started out with the singular question, “How can we utilize the spare space we have in the main building roof without compromising the heritage significance of the iconic facade?”

The building already provided student living quarters on two levels, either side of the grand clocktower above the entrance. The steeply pitched gable roof above offered large underutilized volumes. Our concept was to work within the shell of the existing roof to create attic style accommodation with as many room types as possible, using the retained original fabric to create rooms each with their own character and eccentricities. These elements include corbelled brickwork, truss timbers, ventilation ducts and the exposed dormer window framing. Hardly visible (there is little evidence on the façade of the major works that have been undertaken within) the works have created a new attic community for the Ormond students.

This project was designed for the Filipino congregation of the Uniting Church in the St Albans town centre in Melbourne. From a heritage perspective this entry is about adaptive re-use of the old Church and building new extensions that respond to the materiality and scale of the old church. The Parish had outgrown the original Church and wished to build a new, larger worship space, a Fellowship space, Foyer and a Hall, together with car parking and a children’s playground. The old church was moved closer to the South frontage of the site so that all of the required new spaces and car parking would fit. Brimbank council required retention of the old church on Social and Historic grounds.

Moving the Church also allowed for the provision of badly needed new footings and floor structure. The old church is now used for Sunday school, meetings and Community uses and can be subdivided into three spaces with operable walls that are housed in two bright green bulkhead/wall units that are clearly identified as recent insertions into the historic fabric of the old church which has been reclaimed and restored

St Mary’s Roman Catholic Church Andronas Conservation Architecture

St Albans Uniting Church Harmer Architecture

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St Mary’s Church is a Roman Catholic Parish Church designed by noted architect William Wardell and constructed between 1859 and 1871. The Church is constructed in bluestone with freestone dressings and surmounted by a slate clad gabled roof. The Church is of state significance as one of the most important works of Wardell and as the first Roman Catholic Church consecrated in Victoria. Andronas Conservation Architecture has been engaged in works at the Church since 2008. Initial exterior works entailed masonry conservation, roof and drainage repairs. Following the completion of exterior works, interior works were undertaken in time to celebrate the 150th anniversary of the consecration of the Church including: replacement of 1960s glazed entry porch doors with contemporary frameless glass doors; repolishing of marble floor tiles; replacement of carpets; lighting upgrade and repainting of the interior. Physical investigations and documentary research were undertaken to better understand the evolution of existing decorative paint finishes in the Church, with the view to using this information to guide the approach to proposed redecoration and conservation works. The objective was to achieve a more balanced and coherent decorative scheme.

HERITAGE

JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ JJJJJJJJJ The Toorourrong Reservoir is of state significance and is listed on the Victorian Heritage Register. It was constructed in 1883-85 as an extension of the Yan Yean Water Supply system, being connected to Yan Yean Reservoir via the Clearwater Channel outlet structure.

The outlet structure is noteworthy for its high quality stonework and as a fine example of the use of stone in a major nineteenth century engineering project. As part of necessary dam expansion works, Context in association with Andronas Conservation Architecture, was engaged

by Melbourne Water to accurately record the outlet structure prior to its dismantling to enable its faithful reconstruction. Context was responsible for compliance with Heritage Victoria permit conditions and the management and monitoring of on-site works. Andronas Conservation Architecture was engaged to provide a features survey, archival photographic recording, 3D photogrammetric documentation and a specification for the dismantling and accurate reconstruction of the outlet structure. They were also involved in the on-site inspection and quality control of the works. This project was significant for its use of a variety of media to accurately record infrastructure prior to dismantling and for the care taken to ensure that the reconstruction was as accurate and authentic as possible.

VCA Elisabeth Murdoch Building Six Degrees Architects

Toorourrong Reservoir Clearwater Channel Reconstruction Context in association with Andronas Conservation Architecture

The VCA Elisabeth Murdoch Building was originally the Victorian Police Depot. Built in the Georgian Revival style, the three storey brick building is solid and well-proportioned with heritage character throughout. This informed the design strategy to strip out inappropriate insertions from years past and return the building, where possible, to its original configuration. Aesthetically, the design strategy was to take a minimal approach, using finishes and feel inspired by the Glasgow School of Art by Charles Rennie Mackintosh. Japan Black floors, oiled timber screens and clean, minimal steel framed glazing all contribute to a quiet, restrained and elegant feeling. The building was functionally very closed in character.

The design aims to open the building up, incorporating flexible multimedia uses with the parallel benefits of improved public and disabled access and improved learning outcomes. Other new programs introduced were fundraising offices, multimedia gallery and the student centre. The project included extensive environmental upgrades including low energy lighting, hydronic heating, gas absorption, sourced chilled water, air-conditioning and new insulation, all of which was achieved without compromising the heritage character of the interior spaces.

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CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC Vertical articulation of 33M references the complexity and vertical expression of Melbourne’s skyline.

The building’s massing is split into a set of volumes.

These volumes are articulated by a number of vertical grooves on the façade of the building. The heights of the volumes vary, mediating between the predominant vertical expressions of the CBD high-rise buildings and the lower Carlton area, giving the building its vertical expression. The tower façade comprises exposed precast concrete panels and recessed balconies with full-height tinted glazing. The precast concrete panels are of a textured off-white finish and are articulated with a formed pattern providing relief and shadow. In contrast to solid precast tower walls, the recessed balconies, the glazed balcony balustrades and full-height bronze glazing to the balconies, expose the inner surface of the building. This inner surface reveals the sparkling and polished core of the building. Positioning the communal functions on the rooftop terraces, with views over the CBD and the surrounding suburbs, creates quality communal spaces, reinforcing the concept of a vertical urban resort within the development.

33M Ground Lobby Elenberg Fraser Architects

Allens Linklaters’ new workplace occupies seven floors of 101 Collins St at the ‘Paris end’ of Collins St and is the embodiment of their core firm values of ‘clear thinking’ and ‘one firm’. Simplicity, elegance, honest use of materials, precision and subtle use of detail coalesce to form a single, integrated environment which supports these values. The incorporation of Allens Linklaters’ corporate art collection throughout the workplace was a key aspect of the design, particularly on the client floor where the execution of detail and a restrained materials palette of timber floors and white walls creates the ambience of an art gallery. A dramatic new stair connecting levels 35 to 40 contributes to the workplace’s integrated environment, with key placement of artwork and a subtle approach to detailing and material use extended throughout the offices’ open plan spaces.

A significant amount of breakout, formal and informal meeting spaces has also been provided for the legal and corporate services staff to support and foster collaborative teamwork. BVN worked closely with a design committee made up of senior partners from Allens Linklaters along with the consultant team and the developer to realise the clear vision for a sustainable and contemporary legal workplace.

Allens Linklaters BVN Architecture

INTERIOR ARCHITECTURE

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This new bar is heavily influenced by memory – namely, of gathering spaces frequented and adapted by Italian migrants, with spaces maturing out of the manner in which they are used. Collaboration and connection with clients Rinaldo Di Stasio and Mallory Wall was intense, continuous and fruitful as a relationship was sought with the existing Café Di Stasio. Carefully dimensioned openings control movement and connection - curating views into the original café and vignette-like glimpses back to the new. Finishes attest to the craft of construction – architecture grounded by an admiration of the artisan.

The prosaic is embraced – the existing kitchen has been enlarged with the addition of new facilities which improve capacity and the working environment. The corridor, or rear internal spine recognised and traced from the original building, links the front with the more private dining room and seating booth to the rear – a T.S. Elliot like sense of the infinite at its very end. Light spills from (and at times pierces) spaces adjoining the corridor; a memory of the half-light of the existing residences often located at the rear of such places.

A high degree of flexibility and adaptability were the key drivers in the development of this project based workplace for this national company. Simple, practical and safe operations are the principles expressed in this design solution, mirroring the management discipline applied to the complex operations entailed. This approach represents wholeof-company, common core values applied to both field and administrative service.

Transparency and openness encourage and support spontaneous team interaction and operational demands. Diversity of workstyle has been important in reinforcing a community based social context to draw people together in both formal and informal settings, promoting equality and enhancing work practice and productivity. Views, outlook and natural light are essential to workplace amenity and define the spatial framework.

Walls and divisions are presented as furniture elements that minimise construction impact, promoting the notion of a low impact ‘soft touch’. Measurable sustainability initiatives were integral to the design and implementation. Whilst engineering underpins the green approach, from a philosophical point of view it was important that implementation was approachable and real. Materiality in this work is presented in its close to natural state wherever possible, imparting a warm tactile quality that is easily readable.

Bar Di Stasio Robert Simeoni Architects in collaboration with Callum Morton and David Pidgeon

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CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC The Bastow Institute of Educational Leadership is an adaptive reuse of the heritage listed former state school designed by Henry Bastow. It functions as a training facility for the Victorian teaching profession to develop further pedagogical expertise and development. Combining both meticulous restoration work and a dynamic contemporary addition, the Bastow Institute is a 21st century learning environment embedded with history and character. The design concept emerged from the educational theories of the brief and the significant heritage features of the existing building. Diverse new learning environments that embraced modern technology and extended beyond the traditional classroom were fundamental to the design. New additions to the existing building were designed to be complementary, yet provide distinct clarity between the new and old. The angular geometry, modern materials and bold colours signify a confident new approach to the teaching and learning practices of today. Grounded in a robust historical context, the Bastow Institute provides a unique setting for educators to develop as leaders in their profession.

Bastow Institute of Educational Leadership Maddison Architects

The apartment, part of a larger development, is a slim four-storey building in a Richmond shopping strip. Below this apartment is a smaller single-level apartment and on the ground floor is a cafĂŠ. The overall project is part of an ongoing collaboration with a developer interested in the possibilities of small mixed-use developments, a love for textured surfaces and a young family to house. While most apartments consist of a series of white spaces dotted with selected pieces of loose furniture, this apartment has been conceived as a constructed interior. Interior space construction and furnishings have been deliberately integrated. A lounge suite, conversation pit, and main bed have been constructed in-situ. Materials more usually found on the exterior of a building have been brought inside and carefully crafted, defining function, space and circulation and deliberately blurring interior and exterior. Water is a theme throughout. The lap pool intersects the exterior roof deck and the space inside.

The interior also includes integrated aquaria.

If the overall effect is slightly 1970s, this is perhaps due to the crafted, earthy and sybaritic nature of the spaces and materials rather than any overt references, except perhaps the conversation pit.

INTERIOR ARCHITECTURE

Burnley Street Richmond alsoCAN architects

CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC Captain Melville is the re-invention of a dark inner city nightclub into a restaurant and bar inspired by the ghosts of the hotel’s first patrons. Amid a colony in a state of dichotomy, 1853 saw the construction of Mac’s Hotel – one of Victoria’s first licensed hotels. Settlers flooded to our shores chasing land, gold and new beginnings, while convicts railed against their injustice and the class system that created it. In the spirit of this historic, rebel narrative, the fit-out is conceptually based on the scene of mass occupation of Australia in the 1850’s by immigrants chasing gold in the Australian Gold Rush. Melbourne had then grown almost over night from a tiny village into a gridded tent city. The repetition of these simple peaked forms, erected from materials on hand in the settlement and laid over the landscape, became the conceptual framework for the design and material palette. Welling up from beneath the colony came the influence of the rebel spirit – here manifest in the tale of Captain Melville, the “Gentleman” Bushranger. Rousing a new layer of chaos and asymmetry, this renegade sentiment permeates the venue’s new identity, branding and raw materiality.

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Captain Melville Breathe Architecture

Casselden, 2 Lonsdale Street Gray Puksand

The Casselden interior at 2 Lonsdale Street establishes a new, contemporary ‘front door’ for the property. The scheme relies on a strategic use of light and materials to create dramatic effect.

Terracotta wall panels corral and establish volume. These grooved panels assist in establishing a timeless yet contemporary presence.

A minimalist glowing core provides a sense of immediate focus and point of destination. The Building Directory and Concierge have been created as jewel-like objects, placed freestanding within the space. Attached to the foyer is a new café, ‘Mr Speaker’, its internal design incorporating eclectic references to the nearby parliamentary precinct. The new café provides additional amenity, incorporates internal landscaping and provides alternative working environments for users of the building. Ancillary elements such as signage were also developed. Typically these are inset into the architectural elements so as to reinforce an impression that this minimalist space has been brought together by considered design, executed with craftsmanship.

Part of the brief was that the new interior should sit harmoniously with the external fabric of the building. Particular attention was paid to the establishment of a palette of materials and identity which would be a positive reinforcement of the existing architecture.

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CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC Cellar Bar is a considered combination of Parisian style luxury and inner city cabaret sensibility. Located on the basement level of the Newmarket Hotel, the aim was to contrast the upstairs, creating an immersive world in the hotel’s hot underbelly. Descending the stairs you arrive in an ornate realm of rich red velvet and gold sparkle, earthed by walnut timber veneer and marble. The materials are intense, elaborate, fleshy and visceral. The atmosphere is sensorial and hedonistic. As a cabaret bar and venue, special attention has been paid to create optimum sightlines to the stage from every seat in the house and ensuring that lighting does not intrude on performances. The bar serves high end wine and food and at any location you can eat and drink comfortably while watching the show. The interior celebrates indulgence, titillation and an unashamed love of ornamentation. The unique bathroom designs are the result of the client’s request for diversity and an internal Six Degrees bathroom competition. Like worlds within a world, each bathroom visit delights and surprises the patrons as they unexpectedly find themselves within a bird cage, on the back seat of a vintage car, or sitting beneath an infinite starry sky.

Cellar Bar Six Degrees Architects

DTDigital Office Fitout Mode Design

DTDigital’s brief to Mode Design was the conversion of 1300 square metres on the 11th floor of 380 St Kilda Road (circa 1980s) into an iconic new headquarters.

Our design involved the complete stripping back of the floor to a basic shell.

Existing perimeter offices blocking views were removed thus releasing spectacular views to the bay and parklands. Structural columns were stripped of cladding and left raw. The ceiling grid was replaced and only 50% of the ceiling tiles installed leaving the structure and services exposed and fragmenting the overhead views. The colour palette for the walls and ceiling was kept deliberately restrained and carefully detailed to emphasize the structural elements. These expansive and unpredictable design elements provide an exhilarating experience and impact throughout the whole floor. The selection of products and materials was strongly influenced by sustainability credentials. Floor coverings are manufactured from recycled materials and all the lighting is LED. Floor tiles have been laid to resemble a pixelated sky, gathering intensity as it reaches the outer edges of the building. The strong electric blues give a dynamic base to the fitout.

INTERIOR ARCHITECTURE

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This project is the story of a historic house regaining its dignity and liveliness in the context of the 21st century, informed by its current owners’ passion for uncompromising design, preservation of history and the contemporary art world. The heritage listed building ‘Queen Bess Row’ was built in 1886 by architects Tappin Gilbert and Dennehy, in the wealth of the gold rush. Now three separate dwellings, this adaptable building has accommodated a Temperance Hotel and doss house in past lives. Designed with forethought for technological improvements such as flushing toilets, the unusual and individual features of the house are referenced and carefully preserved in these design alterations. With great care and some playfulness, the new works introduce a layering of other stories into the history of this house.

The rear ‘shoeboxes’ are replaced with vibrant wall panelling and secret rooms, the master bedroom floats up to the attic, the grand front rooms are reinterpreted living and entertaining spaces. Every move is led by clean and rigorous design and detailing. The result is a highly dynamic and individual building which, like a family history, lives very much in the present while reflecting the many influences it has seen over its lifetime.

The Footscray Nicholson Learning Commons encompasses the refurbishment of 3,500m2 across two floors of a concrete and brick 1980s public works building. The project connects the campus, which was divided by the impermeable existing building, through a significant civic gesture with the goal of creating a new campus heart. A double height lane has been cut through the existing structure to connect the public space on each side. Curving the path of the lane has provided more street frontage for student services and learning environments than a straight cut. The sides of the lane merge and then part to create areas of different intensity and purpose - calm and active. The laneway references the scale and texture of Melbourne’s vibrant and intimate city lanes. The lane façade is varied with solid screened and open treatments to communicate the functions behind. Carving of the laneway has created a panorama which supports visual connection between levels and encourages further investigation. The project has been embraced by students and staff alike as the new heart of the campus and delivers a complex but unified environment for learning technology, food and interaction in a space with the inherant legibility and familiarity of a city lane.

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Footscray Nicholson Learning Commons Cox Architecture

CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC Garden House Penthouse Piccolo Design in collaboration with Hecker Guthrie

The Garden House Penthouse is a breathtaking example of carefully considered architecture, the finest quality finishes and expert styling. A labour of love from start to finish, the interior has been designed with the same rigour and consideration as the multi award-winning building itself. A veritable home in the sky, the sumptuous residence feels as though it is encased within a floating garden, the treetops of surrounding oaks and the nearby Carlton Gardens both visible at eye level.

Oriented to the north, the apartment is split into two distinct zones. To the east is a light filled open plan area for living and entertaining; to the west are private quarters for rest and recuperation. At the heart of each of these zones is a landscaped outdoor space creating a dialogue with the gardens and blurring the threshold between indoor and outdoor. This stunning residence is testament to the dedication of the architect and superior quality and enduring design of The Garden House and illustrates a commitment to leaving a design legacy, not only for the client, but also for its future residents.

Constructed in 1871, the Chapel is the cultural and spiritual centre for the Good Shepherd Sisters at Abbotsford Convent. Robert Simeoni Architects was engaged to restore the building and explore the possibility of creating new uses and spaces for redundant areas.

In addition to traditional worship facilities, flexible spaces have been designed for use by lay people and the general public. An interpretive centre, a variety of meeting spaces and amenities including an intimate space in the crypt, have been incorporated into this restoration project. Our approach to the project was respectful of the architectural and cultural history of the Chapel and in accordance with the Burra Charter. Restoration of the existing building was undertaken with care to retain as much of the existing fabric as possible. We worked in consultation with the Abbotsford Convent Foundation, especially in relation to the aspect and interface of the two sites, in particular the new landscaping works. This restoration of the existing Chapel and the new interventions honour the history of the Good Shepherd Sisters and provide a multifunctional facility for their continued work and presence within the community.

GPO2 Design Studio DesignInc

Good Shepherd Chapel, Abbotsford Robert Simeoni Architects

DesignInc’s new design studio was delivered as an integrated fit out. It combines exposed base building services and new workspace into level two of the heritage listed Melbourne GPO building.

New and old contrast to create a timeless aesthetic of recycled timber and steel on a backdrop of white masonry. A generous pinup gallery, imagined as an active street, links studio collaboration areas. Reclaimed furniture, industrial column lighting, and generous amounts of internal planting generate a domestic scale. Operable mixed mode windows combine with a large wall projection of nature and street life tofurther increase the natural experience. Design collaboration opportunities are maximised with the integration of a kitchen, meeting spaces, a resource area and an outdoor terrace. A strong relationship between the resource spaces, kitchen and social spaces has been incorporated for maximum staff interaction and the opportunity for discussion of projects in informal ways. A large, spatially robust, flexible and reprogrammable ‘Lab’ inserts into the more modern segment of the building fabric. It includes a moveable timber stadium seating joinery unit that allows for project screenings, office workshops and meetings.

INTERIOR ARCHITECTURE

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ARM Architecture was appointed to design the $128.5m redevelopment of Hamer Hall. The redevelopment improves Hamer Hall’s acoustics, seating, stage technology and back of house facilities, while also creating a more outward facing venue that integrates new public spaces and the riverside to make it more accessible and inviting to the public. The project connects Hamer Hall with the Yarra River and the city – a new terrace over the riverbank promenade features a ‘civic stair’ from the River to St Kilda Road. The new Hall also includes a second entry that allows access directly from the Riverbank Promenade to the circle foyer with retail outlets along the riverfront, new and expanded foyer spaces, better amenities, new stairs, improved disability access, escalators and lifts. The redevelopment was approved

by Heritage Victoria and involved a rigorous documentation and management process to ensure its heritage features were treated sensitively. Throughout the redevelopment ARM took great care to preserve many unique heritage aspects of the Hall within both the foyers and the auditorium. Retaining as much as possible of John Truscott’s original interiors was a key consideration in planning the redevelopment.

Partnering with Property Logic and FDC Building + Construction, V Arc has completed an unconventional fit out for the iSelect team. The 4,800m2 site marries contemporary design practices with clear design drivers, namely designing an environment that is fun, quirky and gives back to the staff – creating an environment that is professional yet entertaining, promoting social interaction. iSelect is a young company that has experienced rapid growth as consumers increasingly go online to find better solutions for products and services. V Arc established the workplace goals and aspirations and set about designing a new home for the company. With a rich culture and young and vibrant staff demographic, there was a requirement for lots of meeting rooms and collaboration spaces but not much storage. With these as our “iSelect principles”, V Arc sought to integrate a variety of fun environments throughout the work zones. iSelect embraced ‘out there’ design solutions and really supported out of the box thinking. V Arc aimed to flip the concept of what a call centre is on its head and create a working environment that was not only striking but fostered communication between staff across all departments and levels and promoted their achievements.

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iSelect V Arc Architects

CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC The East Lecture Theatres is one of Sir Roy Grounds’ lesser known projects, constructed in1968. The concrete, brick and steel composition is the only circular building on the campus, having a ‘pinwheel’ plan divided into six equal theatres. Our brief was to imbue the interior space with a renewed sense of light, freshness and texture whilst respecting the past. All spaces were uniform in their materiality, colour and texture, lacking any sense of individuality and identity. To differentiate the spaces we took inspiration from Johannes Itten’s Bauhaus colour wheel, an appropriate reference for the heritage of the building. Vibrant colours are used for pathways and lectern areas, with a neutral grey colour for the seating area carpet and majority of the seating upholstery. The location of each lecture theatre is expressed using the selected vibrant colour in each lecture theatre. Primary and secondary colours are used graphically to reflect their relationship with the adjacent lecture theatre. As one moves clockwise from theatre to theatre the secondary colour becomes the primary colour. In keeping with Grounds’ aesthetic, new plywood details have been added to walls and lecterns. The new details are curved at junctions in response to the building’s overall form.

Matilda Bay Brewers’ Canteen Di Mase Architects

La Trobe University East Lecture Theatre Refurbishment Baldasso Cortese

Re-imagining space is a key focus for our practice, so the challenge to create a cosy, intimate bar on the factory floor of the Matilda Bay Brewery was an exciting brief. Our aim was to design a space that supports the leading edge of experience marketing - a space with a strong focus on the story of the client’s brand and product. Our approach started with the concept of the brewers building their own canteen and then inviting their friends around to taste the product of their efforts. To achieve this, materials from the surrounding brewery such as stainless steel, cable trays and cool-room panelling were drawn together to create a sense of density that contrasted with the vastness of the factory. The result is a bar that offers a welcoming and comfortable atmosphere whilst embracing its location on a working factory floor. Our practice strives to not impose designs derived from fashion or precedent. Instead we seek to embed ourselves in the client’s narrative and craft a response that reads simply as another chapter. The ‘Brewers’ Canteen’ does just this. It is a space indistinguishable from the story of Matilda Bay - a bar of and for the makers of craft beer.

Following an intensive consulting exercise and full interior design services, Mirvac recently moved into its new Woods Bagotdesigned workplace in Melbourne’s CBD. With a history spanning over 40 years, Mirvac is one of the leading brands in the Australian development and construction industry. The Consulting team and Melbourne studio worked with Mirvac to define and realise the vision for their new workplace. Workshops were held with Mirvac’s people in both Sydney and Melbourne to establish a national accommodation strategy. Recommendations for the new workplace identified during the consulting phase included: creation of a branded Mirvac showcase; an open [plan] and collaborative environment that supports and facilitates flexible working, offering a diversity of worksettings and spaces to meet the needs of both individuals and teams; implementing leading edge technology that facilitates mobility, knowledge sharing, and collaboration, and providing a space that is green, sustainable and healthy. The new workplace was acknowledged as key to ‘reinforcing’ the skills of Mirvac’s people and aligning the physical environment with the desirable spaces the company creates in its own project undertakings.

INTERIOR ARCHITECTURE

MIRVAC Woods Bagot

CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC Monash University Learning Space Vincent Chrisp Architects

The Learning Space is a refurbishment of an existing Teaching and Library facility for Monash University’s Faculty of Education. Through extensive research the faculty had determined a new type of learning environment was required to facilitate emerging pedagogies, with spaces able to accommodate a shift away from traditional teacher directed instruction toward more student focussed, collaborative based learning. Intended as a showcase for the faculty’s innovative approach, “learning on display” was the central tenet of the design. Housed in a staid, concrete framed brick building, the design aims to manifest the faculty’s departure from traditional education methodology by offsetting the new insertion against the rigidity of the existing building fabric. A series of free-flowing, intersecting geometries were applied across the site, establishing the framework for the positioning of fixed furniture and the layout of materials. The result is a series of vibrant, colourful and overlapping spaces, affording varying degrees of privacy and interaction.

Faced with a rigid construction program and budget, a sophisticated ceiling treatment was also required.

The solution was to suspend a series of ‘folding’ timber panels from the concrete ceiling, concealing services, providing excellent sound absorption and reinforcing the vibrant aesthetic and free-flowing connection between spaces.

This double project called for the internal fit-outs of a creative design studio and a private residence for its directors, both within three levels of a striking building in Fitzroy, originally designed by architect Ivan Rijavec. The resulting self-contained 250m2 units – a warehouse-style residence and, in mirror plan, the adjacent office – have been rigorously planned to work within the angular form of the existing building.

While respecting its iconic nature and maintaining the exposed, internal heritage brick walls, a strong visual identity has been established for the design studio. Interior works focus on fine detailing and textured surfaces within a restrained colour palette which allows the colourful display of greeting cards (created by the studio) and a vast, vibrant artwork in the Perspex-walled meeting room to become the focal points of the open plan. The adjacent residence maintains a light warehouse feel, with three living zones clearly organised across the three levels. Custom-designed industrial elements, such as a 6m long concrete island bench with an expressed blackened steel framework, reference the existing building. Limed timber ceilings add texture and warmth to the home.

Moor Street Studio Clare Cousins Architects

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CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC The design of the showroom comes from the idea of the brick and the medium of the wall, in particular the point where the wall fails and becomes the ‘unwall’. This material-based investigation was inspired by the work of James Wines, the founder of SITE Architecture who brought the literal into the most prosaic architectural forms. The ‘unwall’ is not only not a wall, but it is mortarless,or dry-jointed – intriguing we know! The new Move-In showroom was designed and built by a team of our younger graduate architects, with Zahava Elenberg setting the conceptual brief. The team worked on the project from concept through to post-construction, approaching the design through an exploration of specific materials and techniques.

After designing the ‘unwall’, the team was faced with the problem of producing sufficient construction advice for the builder. We decided it would be quicker (and more enjoyable) to build it ourselves. We are excited by the new directions in brickwork that this project has (literally) exposed. The Move-In showroom design and construction demonstrates our studio’s role as an incubator for young architects and we’re looking forward to the next opportunity to get our hands dirty.

MPARC Monash Peninsula Activity & Recreation Centre Harmer Architecture

Move-In Elenberg Fraser Architects

MPARC is the Monash Peninsula Activity and Recreation Centre, located on the Peninsula Campus of Monash University in Frankston. Our brief from the University was to design a new building that serves teaching faculties of the Peninsula Campus, connects with the community and achieves a 5 star accredited Green Star Rating. Required spaces included two basketball courts in a sports hall together with teaching spaces for Physiotherapy, Biophysics, Occupational Therapy and Sport and Outdoor Recreation. Also to be included was a gymnasium for Monash Sport, a Movement and Performance studio and consulting rooms, as well as a large multipurpose room, the “Peninsula Room”. The aim was to encourage the community to use all of the facilities. MPARC is a substantial institutional building of over 4,000m2, but with a great variety of spaces, so our approach was to apply a different interior colour scheme to each. The interior is therefore a collage of colours and finishes (like the exterior) that express the particular function and theme of each space.

The National Centre for Synchrotron Science is a spectacular building that celebrates the science of light through the art of architecture. The alluring visitor centre takes its cue from the Australian Synchrotron’s international role as a high technology research facility using light as a medium. Providing a gateway for the campus, the contemporary and innovative architecture is a confident symbol and celebration of the Synchrotron’s ground-breaking work. The large foyer/gallery doubles as an event space and extends to encircle the lecture theatre. Striated and filmed translucent acrylic panels infuse the gallery space with a polychromatic light. Plastic lenses inserted into skylights push natural light down and through the wall cavity to form a radiant built presence of high brilliance. This treatment references the Synchrotron’s dynamic manipulation of light and minimises the gallery’s use of artificial light during the day.

Another design device deployed to express the nature of light in the Synchrotron is a play on the traditional dark lecture theatre. A vast array of halo-shaped fluorescent lights punctuate the ceiling to demonstrate the power of light as the sole experience. A new Australian Synchrotron administrative hub is located on the upper level away from public activity and functions.

INTERIOR ARCHITECTURE

National Centre for Synchrotron Science Bates Smart

CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC Park House Leeton Pointon Architects + Interiors

The approach here was to seamlessly integrate all elements of the architecture, landscape, joinery and furnishings into the interior of the house. Park House provides a separation of uses. Whilst each space can act independently, sculptural staircases allow an easy flow between levels. Each space has been carefully considered through the balance of scale, zoning, materials, finishes, lighting, acoustics, furnishings and artworks. Sliding walls on the lower level provide flexible connections between spaces that can adapt to the ebb and flow of family life. The interior is defined by framing a series of differing landscape views throughout the house. A vertical landscaped wall brings the garden into the interior spaces.

Interior finishes are soft and natural and reinforce a connection to the landscape. The palette of concrete, timber and black steel is purposefully subtle and restrained, and selected with respect to materiality.

Curved soft plastered walls accentuate the organic nature of the building. Skylights have been used to wash walls with light from above. Furniture, curtains and rugs were selected for each space, including custom designed front door handles, a glass display cabinet and tapware. A strong collaboration between the architect and builder allowed for refining throughout the construction process.

This barn-like beach house sits proudly ontop of Benito’s point in Queenscliff, on the site of the old Queenscliff high school tennis courts. The house is orientated west to capture the wide panoramic views of Swan Bay, with the parkland reserve in the foreground. The expansive western balcony opens up towards the south and the north to further capture framed views of the heads at Port Phillip Bay and Swan Bay. During the spatial journey through the house from arrival, the view is choreographed to increase anticipation before reaching the main living space. Arrival is via the east façade, which is protected by a cantilevered corridor of louvre windows and spotted gum batten screens. The limestone wall from the garage penetrates the entry space and draws the eye out towards Swan Bay. Ascending the steel and timber staircase, the view is revealed slowly, before completely opening up to the 4.5m high ceilings in the lounge and dining area. This space is amplified by large spotted gum scissor trusses at 1.8m centres which run the length of the barn, drawing the eye to the timber-lined wall beyond the kitchen, further reinforcing the significance of the pitched roof.

Queenscliff Residence Minett Studio

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CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC The project is an interior addition situated within the confines of a c.1930s button factory/warehouse in Clifton Hill. We were asked to produce a design which would freely accommodate the complexities of a blended family arrangement, whilst expressing a strong sense of the original building’s fabric and spatial organisation. The project re-inhabits the former storage and production spaces of the existing building through a carefully composed assemblage of new floor levels and blind plywood volumes reinstalled as new elements inside an old space. The project uses mainly carpentered materials including light-coloured plywood, recycled hardwood, rough-sawn softwood, exposed galvanised sheet and painted steel, contrasted with brown and black form-ply and factory-painted flush-faced door panelling. The detailed combination of these materials expresses the process of construction and assists in re-introducing the design’s new elements to an existing palette of stained oregon, weathered concrete and sometimes-painted brick. In general, the project reexamines how to adapt a typical warehouse space into something able to be enjoyed domestically and sustainably whilst maintaining an authentic engagement with its former context.

Scandinavian Freestyle Minifie van Schaik Architects and Fiona Abicare in association

Roseneath Street Warehouse STAUGHTONTHORNE

Completed in 1954 the former Russell Street Telephone Exchange & Post Office, designed by the Commonwealth Department of Works, is a unique multi-storey CBD building - the first to be completed after WW11 and the last to express the architectural traditions of solid masonry. Influenced by European Modernism, in particular the Amsterdam School and Scandinavian Freestyle Classicism, the interlocking unadorned mass of cream-brick features in its 2001 redevelopment, Hero Apartments by Nonda Katsalidis Architects, via intersecting interior vertical planes, structural plates and green columns. Scandinavian Freestyle develops a language of materiality in relation to the formal qualities and associated styles present within the foyers’ interior. The project developed through a process of removing temporary structures, fixtures and adorning features. Through this process the foyer is activated by natural light and the spatial and material interconnectivities of its original forms. Objects were designed to enhance aesthetic experiences and for specific functions, such as seating and mail retrieval, while drapery, upholstery and artwork also present a functionality. An emphasis on the ‘complete interior’ describes the process and project’s ambitions, namely to develop relations between art, décor, interior architecture and utility objects and to present artistic material configured in relationship to surrounding context and history.

Have you ever wondered what the Elenberg Fraser ‘Bizarro World’ would look like? Well, we have and we thought we’d execute it. While Elenberg Fraser’s studio design focused tightly on the themes in Tron 1, particularly the point at which the third dimension is constructed, Slattery’s new fitout embraces the innovation and luxury of the uniforms and vehicles of Tron Legacy. We can confirm the rumour that Elenberg Fraser had designed and specified latex reception wear (non-genderspecific). We love the interaction between people and space – one relies upon the other. In the same building as our studio, Slattery Australia’s office feels a world away. Way up above us on level 13, it is certainly heavenly – blonde timber floors flow up onto the walls, embedded graphics are linear curves, and a collection of works by young artists including Joseph Kosuth, Emily Floyd, and Daniel Crooks is installed throughout the space. The design reflects our reading of a company that’s come of age, one that we have been actively involved with for fourteen years since our first project.

As Elenberg Fraser has moved into late adolescence, Slattery Australia has become a real adult.

INTERIOR ARCHITECTURE

Slattery Elenberg Fraser Architects

CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC The Spring Street Grocer is modest in footprint and project cost, its value being in the concentration of effort on detail and the variety of ‘events’ and materials along a defined path through the project. The design employs affordable materials with luxury details that give a depth that overcomes the innate thinness of ‘off the shelf’ building materials. This project celebrates the sensual experience of the fine foods it houses by responding with a palette of rich and varied textures that accumulate into a choreographed composition with the aim of engaging with the historic and formal contexts of its urban location. The Grocer opens itself to the corner, the laneway and the street - to the general public. It aspires to engage with the parliament house steps in the manner of the commerce surrounding the Spanish Steps. The grocery store ignites city life by welcoming all to its fertile and democratic space of colour, texture and form.

Wolf House Wolf Architects

Spring Street Grocer KGA Architecture

The Wolf House is a family home that was designed and built to a very extensive, detailed and specific brief and was fulfilled with a continuum of intertwining spaces.

The architecture embodies many ideas at once and is fuelled by rich personal memories from the family’s Asian heritage and a passion for the excellence of Mercedes Benz . A carefully conceived staircase gently winds up to the roof-top studio. Together with an open void space it forms a vertical corridor through the centre of the house, creating zones that separate public from private and parents from children. Various views and vistas through this vertical corridor playfully connect the family. Ultimately it acts as a thermal chimney that allows for night-time purging. A large variety of materials was used throughout.

A change in colour, tone, texture and density can be seen as one travels through the various levels and spaces.

The ground level, for example, has harder and darker surfaces while the top floor is an expression of softness and lightness. On so many levels, from form, arrangement of spaces, use natural light, and materiality, the house works like a well honed and finely crafted instrument.

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AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AgriBio will provide a world leading sustainable research facility for the Victorian Department of Primary Industries in colla­ boration with La Trobe University. Located in the established campus at La Trobe University, Bundoora the new low scale Laboratory building and glasshouse facility provides accommodation for over 400 scientists from a wide range of agricultural research disciplines. The main public entry is via a landscaped courtyard formed around an old river red-gum. The reception foyer and café are located in a large sky-lit atrium allowing visitors to view up into the laboratory and office space above. Conference facilities on the ground floor provide a forum for education and industry collaboration.

The research environments, offices and laboratories on the upper floors are interconnected by open stairs and informal staff lounges. The offices relate directly to the research laboratories and are provided with shaded openable windows to the perimeter of the facility. The laboratories are openplanned and flexible to accommodate changing research directions and new science.

The facility will attain the Australian Green Building Council 5 Star Green Star As-Built award, incorporating both passive design initiatives and active design measures such as a Tri-generation and significant water harvesting.

AgriBio - Centre for AgriBiosciences Lyons

Balwyn High School commissioned a new arts, design and classroom building on its grounds in Buchanan Avenue, Balwyn North. The project was an opportunity to promote the School to the wider community as the site on the existing basketball courts was highly visible from Belmore Road across Macleay Park. The building was planned as two linear wings each running east-west over three levels. The wings are connected vertically by open stairs and link bridges through the Atrium. Rooms were divided using moveable storage units to allow for reconfiguration. The lower level was finished in flush glazing in a random pattern of transparent and white opaque glass. The glazing was bookended by precast concrete panels around the plant rooms at each end of each wing. The middle and upper levels were originally intended to be wrapped in a random rectangular pattern of concealed-fix prefinished fibre cement panels.

The panels were coloured in a variety of yellows and greens. This material was changed to decorative coloured glass during construction. The colours of the external façade capture the colours of the adjacent landscape the existing spotted gum to the north and the school oval and park to the south.

Balwyn High School Arts and Design Building Architectus

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AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA We have sought to escape the existing architectural paradigms of the contemporary police station, characterised as they are by opacity, security and fenced compounds. Instead, an emphasis is placed upon the police station as a truly public community building – inviting, accessible and part of the civic fabric of the neighbourhood. However, the same strict technical and in particular, security requirements must be achieved to create a safe working environment, all within very tight cost constraints for this typology. Our intention is to reinforce Victoria Police’s vision of a more open and interactive approach to contemporary policing. The public elements of the station are composed within an overarching formal frame, addressing the street and lifting the scale of the building to the adjacent Masonic Hall, while positioning public meeting and control rooms in a tight composition and opening them to natural light from above. The perimeter of the main volume is a layered system of glass operable panels, a captured linear landscaped garden and a wall of continuous metal louvre grilles which provide environmental mediation and security. The design seeks to establish a contemporary sense of place, providing an open and inviting facility with strong connection to its setting.

Bayside Police Station fjmt (Francis-Jones Morehen Thorp)

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Camberwell Primary School Workshop Architecture

This new building for Camberwell Primary School accommodates six classrooms and four small group learning areas above a multi-purpose gymnasium, with associated toilets and storage. The school runs an immersive bilingual program, in French and English, for which the classrooms are arranged in pairs with operable walls between. The gymnasium downstairs has large glazed tilt doors opening directly onto the hardstand play area which forms a seamless play surface from inside to out and maximises precious open space. The upper level classrooms, with external circulation, provide excellent views to the surrounding neighbourhood, protection from prying eyes on the adjacent public street, and allow the paired French and English classrooms to combine into generous communal rooms. The upper level walkway soffits are in equal bands of the blue, white and red of the famous French Tricoleur flag, set against the neutral to warm colour palette of adjacent materials, including three colours of brickwork echoing the polychrome brick colouration of the original 19th century school building. This gesture celebrates the French language culture within the school and embeds this unique period of its history in its own built fabric - a celebration of the diversity possible within the public education system.

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AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA Chisholm Institute Automotive and Logistics Centre Paul Morgan Architects

The Chisholm Automotive and Logistics Centre (ALC) responds to the flows of movement through the city – freeway networks, freight movements and wind dynamics. The client brief was for a training facility for apprentices in the automotive and logistics training streams. The street context for the building is heterotopic, with dissimilar activities sitting side by side. Flows that occur through the city influence the streamlining of the building envelope, reducing the building mass in the streetscape. The ‘performance shell’ of the ALC responds aerodynamically to wind conditions and thermally to solar orientation and penetration. In a sense it seems obvious to utilize a machine aesthetic for a building in which automotive apprentices are trained. Obvious perhaps, but appropriate given the student responses }to the building. The ALC is an aerodynamic envelope in the suburbs evoking high speed machines - a giant industrial shed completed on an absurdly cheap budget.

Our inspiration was the automobile viewed through the lens of the adventurous risk-taking era of American cinema in the late 1960s and early 1970s. And while the building is ‘responsible’ by achieving certain environmental benchmarks and training students in alternative fuels and energy, the final result signifies something more high octane to the students.

Located at The Gordon’s East Geelong Campus, the Gordon Technical Education Centre (GTEC) is a new double storey trades training facility for high school age students. Sited in the centre of the campus with access from all sides, GTEC is surrounded by buildings of varying age, form and aesthetic. Within this eclectic context was a requirement to accommodate an eclectic mix of programs: trades skills areas, computer training, hair and beauty, home economics facilities, a gymnasium and staff & admin areas. The design responds to both the varied programmatic requirements and surrounding context by breaking down the building mass into a series of elements rather than one wholistic gesture. Individual activities within the building are expressed by a separate mass, with material and colour creating a composition of parts. Critically, this ensures there is no defined front, side, or rear, but rather a series of elevations that evolve according to approach from within the campus.

This strategy penetrates inside, where individual functions are defined through changes in colour, material and plane. The resultant non-linear floor plan creates circu-lation spaces that expand and contract as one moves through the building, providing gathering points throughout the building for informal collaboration or tutorial.

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The Gordon Technical Education Centre (GTEC) Vincent Chrisp Architects

AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA The Hume Global Learning Centre & Library in Craigieburn is an important new facility for the rapidly expanding community within the City of Hume. fjmt’s approach was to seek a sensitive balance between the functional requirements of a contemporary library with the need to create an iconic building that will form the basis of a new civic and community precinct. The project provides for the rigorous requirements of a contemporary library, community gallery and meeting spaces. Rammed Earth walls are the primary forms for the building, set out on a simple structural grid creating a series pavilions of different volumes. The design provides an elegant, warm, friendly community facility that invites residents to utilise the café, gallery, meeting spaces and library, as well as the external shaded courtyards. The building is heavily shaded with carefully detailed horizontal louvres creating a sense of place.

Full height double glazing maximises visibility into and out of the library and invites in passing residents. Patronage of the library has increased significantly and the building is now the new heart of the township. The centre will continue to act as a focal point for the community for generations to come.

Kardinia International College Inquiry Centre James Deans & Associates

Hume Global Learning Centre & Library, Craigieburn fjmt (Francis-Jones Morehen Thorp)

The Kardinia International College Inquiry Centre aims to represent and promote the school’s innovative educational philosophy and methodologies. The building focuses on the pedagogy of “Inquiry” - this learning technique is based upon problem oriented learning. The design solution aims to promote an open learning environment allowing free access to traditional print media, electronic media, or learning via physical activities such as experiments. The spatial organisation provides opportunities to engage students in these different modes of learning, as individuals, small groups, or as a large presentation dependent on the task and problem to be solved. The building, in terms of layout, space, aesthetics and function, has been derived from the metaphor of the internet and the non-linear methods of information transfer. This concept informed the complex geometries and functional characteristics of the space. Libraries are no longer passive linear learning environments; they must be flexible and accommodate multiple media forms to ensure their relevance. Information is no longer centralised - the internet has democratized, distributed and fragmented the nature of information. The Kardinia International Inquiry centre aims to address and embody this fundamental educational and sociological transformation in a way that is meaningful and engaging.

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AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA The La Trobe Institute for Molecular Science (LIMS) is a major new building on La Trobe University’s Bundoora Campus which will meet the University’s long-term needs for student learning and international research in the science disciplines. The building is designed around a model that creates a pathway for students in science - within one building, students can grow into student researchers and ultimately into lead researchers. The lower levels of the building accommodate undergraduate learning spaces and are connected to the research spaces on the upper levels of the building through a broad open stair – literally a representation of the ‘pathway’. The learning areas and laboratories are all designed specifically to promote collaboration – either through students working together on science projects or research teams working together within a laboratory setting. The cellular exterior of the building is derived from ideas about expressing the molecular research that happens within the building and creates a framework for the creation of a number of distinctive spaces for students to occupy or for research staff to meet and collaborate. The building is one of the first to achieve formal certification for a 5 Star Greenstar (Design) rating using the Education Tool.

La Trobe Institute for Molecular Science Lyons

La Trobe University Clinical Teaching, Bendigo Billard Leece Partnership

A transformational addition to the Bendigo Health campus, the Clinical Teaching building provides a new front door to an important student hub and works with other teaching buildings to establish a new built form and context for the expanding La Trobe University on Arnold Street. The design connects the facility with surrounding precincts: Monash University School of Rural Health adjacent and Bendigo Hospital beyond.

The facility includes evidence based and project based learning spaces, practical skills laboratories and simulation spaces for a broad set of teaching disciplines on two levels above a carpark. The form is expressed as two parts centred on a linear galleria highlighted by a major stair and void space. The form is of two simple blocks and expressive white concrete which hold academic/administrative/teaching spaces and a bold red block filtered by a modulated aluminium screen which holds the clinical learning laboratories. The interior is developed around the importance of the entry and main galleria timber staircase and layered walls of white panel and timber. Bold coloured floors of the galleria set up social meeting places and the patterns link to a north facing external terrace that further connects to the wider campus at ground level.

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AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA The Health Sciences Building is sited on La Trobe University’s Flora Hill Campus in Bendigo and begins a planned rejuvenation of the 1970s building stock.

Rather than repeat the nondescript nature of the existing buildings, the new Health Sciences building is distinctive in form. It signals a new evolving approach within the campus and connects back into the campus network of buildings and open spaces. With a limited material palette of similar colour tonalities to the existing building stock, the new building is visually linked to the surrounding context. The built form is imagined as two rectangular zinc clad boxes set askew to engage a triangular movement space. A narrow void provides top light through the floors. Both boxes spring from the hillside and provide a dramatic cantilevered form overhanging an entrance forecourt. The building’s base is of strongly contrasting black and white brickwork walls and banded pavement.

The screened aperture created by the angled zinc boxes affords long range vistas to Bendigo city and highlights the main staircase and entrance. This high profile building for La Trobe University in Bendigo represents a new generation of state-of-the-art education facilities.

MC2 - Civic Precinct Community Centre Haskell Architects

La Trobe University Health Sciences, Bendigo Billard Leece Partnership

MC2 is a $38 million environmentally sustainable community facility adjacent to the existing Manningham Civic Centre and is the first stage of the future development of Precinct 1. The facility is the largest community centre of its kind in Victoria. MC2 is an accessible community centre providing a range of organisations in one location.

These organisations offer a range of services and programs that focus on health, education, welfare, community, arts, cultural and heritage activities. They support the goal of integrated service delivery and are committed to forging strong working relationships to innovate and improve service delivery, share resources and ensure programs are more accessible and responsive to the Manningham community’s needs. MC2 is located at 687 Doncaster Road, Doncaster, between the existing Council Offices and the Doncaster Primary School, bordering Doncaster Road. MC2 is home to a number of arts and culture, social and community services including Doncaster Library, Manningham Art Gallery, Manningham Community Arts Centre, MC2 Café, Chinese Community Social Services, Doncare Community Services, Interact Youth and Community Services, Manningham Community Health Services Limited, Manningham YMCA Youth Services, Early Years at MC2, Doncaster Kindergarten and Doncaster Maternal and Child Health.

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AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA MPARC Monash Peninsula Activity & Recreation Centre Harmer Architecture

MPARC is the Monash Peninsula Activity and Recreation Centre located on the Peninsula Campus of Monash University in Frankston. MPARC is a new hybrid for university facilities in combining teaching and sporting facilities into one building. MPARC creates a new facility for the Peninsula Campus that enriches student life, provides a great place to teach and establishes connections with the wider community. The intent was not to create a centre for elite athletes but instead a recreational facility for the use of university staff and students and the Frankston community. Registered for a Green Star - Education rating and targeting a 5 star ‘Design and As Built’ rating, MPARC will be heralding a new direction for the University in environmental sustainability. The façade of the building celebrates the suburbs as a patchwork of roof colours using five shades of colorbond and five shades of enameled bricks, which are bevelled to resemble roof tiling. In addition to the main Sports Hall, MPARC provides teaching space for staff and students studying physiotherapy, biophysics, early childhood studies, occupational therapy, sport and outdoor recreation and is managed by Monash Sport with a gymnasium as a major component.

The National Tennis Centre located at Melbourne Park provides a model for the future of world class tennis with a progressive, innovative and visually stimulating public building and overall sporting precinct. This Centre will encourage and assist the junior tennis development programs throughout the year as well as provide world class facilities for the Australian Open in January. It incorporates key features including a sporting campus with world class indoor and outdoor tennis training facilities and a new piazza-style public space for fans and visitors. The tennis facilities include 8 indoor Plexicushion courts within a dynamic and transparent indoor hall and 13 new outdoor courts, 5 of which are Plexicushion and 8 European clay. Also incorporated into the design is a pedestrian bridge over Olympic Boulevard completing a direct link between Melbourne’s iconic sporting facilities of the MCG, Melbourne Park and AAMI stadium. The project also consists of car parking for 1,000 cars within a 2 level carpark which is located directly below the tennis courts and bus parking. To complete the development, Hisense arena has been refurbished to include new entries to the east and west sides incorporating new functions; ticketing, cloaking, toilet and food and beverage facilities.

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National Tennis Centre Melbourne Park Jackson Architecture

AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA Paul Morgan Architects has designed a dynamic building that is a compelling form of ‘suburban monumentalism’, displaying its inner workings and representing a permeable version of the civic type. Acting as a contemporary proscenium arch or gateway, the south elevation is located adjacent to the vehicular entry. The practice describes the proposed building as ‘civic’ because, even though the function it contains is for training rather than municipal purposes, the building achieves a more monumental scale due to the two storey height on the arterial road within a suburb lacking in civic buildings. It symbolises the expanding role of NMIT Epping’s services offered to the local community, exposing the library, computer commons and gymnasium to public view. On the east and west façades, the building consists of a series of concave precast concrete panels which, in the manner of a carapace, protect the interior library space from undesirable street noise and harsh light. This shell gives the library a bounded and directional stance appropriate to its position at the entry to the campus and serves to taper the building’s scale in response to its context.

Noble Park Aquatic Centre Suters Architects

NMIT Epping Student Centre Paul Morgan Architects

Noble Park Aquatic Centre is a community facility located on Memorial Drive, Noble Park. The new facility replaces the Noble Park Memorial Pool built in the 1960s. The municipality of Greater Dandenong has the most culturally diverse population in Victoria. The people of this community come from regions as different as Afghanistan, Sudan and Burma. Many are newly arrived in Australia through refugee, immigration and family reunion programs. Many of these people have not enjoyed the freedom of access to water nor had the opportunity to learn to swim. Assisting these people to become confident around water and familiar with safety, as well as enjoying the social and health benefits of the pool were integral parts of the design brief. The facility offers a mix of formal and informal aquatic pursuits to support the early experiential stages of swimming as well as professional swimming. The outdoor community amenities coupled with the programmable foyer space and café play an instrumental role in fulfilling Council’s vision of creating informal spaces that help foster social interaction among different cultural groups. Noble Park Aquatic Centre is a true community facility where different cultural groups can learn to swim, interact and importantly have fun.

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This project is the final stage of a three stage master plan, replacing an existing cluster of seven relocatable classrooms with a single purpose two storey teaching facility.

The alignment of the new building along its northern edge reinforces views to the heritage school building allowing the existing courtyard to open onto a new play area forming the forecourt to the new building. From the entry its roofline is stepped to the north, reducing its scale against the playground edge and the heritage building, whilst allowing for controlled entry of sunlight deep into the floor plan. The traditional classroom teaching model has been abandoned in favour of the ‘activity based team teaching’ model. This creates spaces somewhat like an internal playground for learning with dedicated activity areas within two open plan ‘learning neighbourhoods’ of 100 students downstairs and 75 students upstairs. An innovative air conditioning and ventilation system was also developed to control temperature, air quality and CO2 levels. In mild weather the windows are opened, whilst during hot or cold weather the windows are closed and heat exchange ventilation units are activated to provide high O2 content fresh air with minimal loss of heating and cooling energy.

North Richmond Community Health Centre Lyons

North Melbourne Primary School Stage 3 Workshop Architecture

The North Richmond Community Health Centre is located at the heart of North Richmond and provides primary healthcare services to its local multicultural community. The completed building represents over 2 years of consultation and collaboration with the service providers and project stakeholders, including representatives from the local community. The circular plan form presents an accessible ‘face’ in all directions, welcoming and inviting, connecting and in constant dialogue with its neighbours.

On the inside the plan is punctuated with a series of atria spaces which provide orientation and wayfinding for clients and around which gathering/waiting spaces are aggregated. Internal corridors are provided with glazed open ends, creating a building that is connected with the outside and with its community. Outwardly, the peripheral concrete wall presents a building of civic scale and substance – an assertive new building holding its own in a small patch of green between the high-rise housing commission towers. Its language challenges ‘domestic’ and ‘institutional’ typologies which have traditionally been associated with the design of community health centres. This building suggests a new form of public architecture which is able to provide meaning for its local community and support placemaking within a local context.

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Northern School for Autism Hede Architects

This project is a school for students with autism. It groups the student learning spaces around a central courtyard and provides individual access directly to play areas from all learning areas. It uses cut roof edging to allow north sun penetration to all rooms plus covered outdoor learning space.

Learning areas are assembled around strong curved circulation routes that are purposely non-interactive with learning areas to reduce distractions. These routes are defined in the building for students to understand. The building applies the cut edging to the staff/ admin areas facing south, enabling staff spaces to be enjoyed as individual spaces.

Access points are via the secure bus drop off. The building provides an integrated, connected group of sub-schools in a community, yet gives all student learning an individual, controlled outlook, breaking the learning areas down into calm, small group spaces for 6-8 students. The design contrasts the perimeter edging with the inner arteries, creating a living form. The language of the school’s cut façade extends to 3 different streets, with a protected inner core space for junior students. Winged roofs reach out to the bus drop off to give covered, separate, secure access for senior and junior students from the bus area.

Penleigh and Essendon Grammar Senior School McBride Charles Ryan

The Infinity Centre is a new senior school for the Penleigh and Essendon Grammar School. PEGS’ approach to VCE combines structured pedagogy with individual freedom and fosters socialisation and interaction. The Infinity Centre reflects this approach through the key concepts underpinning its design: the dynamic between structure and fluidity and between uniformity and individuality. At a practical level the Infinity Centre provides all the structured areas required of such a facility. Beyond this, the design is developed as an abstraction of the infinity symbol. As with Gothic cathedrals, the symbolic form is embodied in use. At the centre of the infinity plan, where all the wings cross over, is the library. The building is clad in gloss-black and silver-banded brickwork like a medieval walled city. Sweeping ‘gateways’ maintain the fluid continuity of this form and provide access into the school’s sheltered inner courtyards. The consistency of the external architectural treatment is in contrast to the richly expressive variety of internal spaces, materials and colours that distinguish the disciplines. The coexistence of these contrasts is emblematic of the school’s pedagogical approach. The Infinity Centre is a celebration of the potential for architecture to realise the ambitions of its community.

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AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA Trinity Grammar School is an independent school for boys, progressive in its approach to spaces for learning. They commissioned us to design a new kind of building for the whole school – a centre for contemporary learning. The aim is to break down the nature of typical classrooms in favour of a series of interlinked spaces in which students and teachers work together. It is also a demonstration project in environmental sustainability, an approach designed to influence students and the wider community. The building lies at the heart of school activity.

Among the huge range of integrated functional spaces it provides are six main classrooms, a presentation area, multiple studying and teaching zones, book stacks, a student café, an exhibition space, alcove seating, reading nooks, fireplaces and lounge seating and offices. Key site constraints included a restricted footprint and a two-storey height limit governed by links with neighbouring buildings. Inside, visual stack supervision from a single location is required. Building functions are spread over nine levels fanning around a central oval atrium ringed by an oval ramp. Colour is used to signal location and influence the mood of the various zones. The building sets the imagination racing.

The Richard & Elizabeth Tudor Centre for Contemporary Learning, Trinity Grammar School McIntyre Partnership

The purpose of the Design Hub is to provide accommodation in one building for a diverse range of design research and post graduate education. The Hub provides a collegial research base for post graduates investigating areas of design ranging from architecture, landscape architecture and interior design, to industrial, aeronautical, automotive and computer based diciplines. Research groups have the ability to locate and fine tune their accommodation within ‘warehouses’ - open plan spaces where research teams can set up and tailor their work environment to suit their particular needs.

The plan of the Hub acknowledges the desire for incidental cross pollination where researchers from one field encounter those from completely unrelated other fields as part of their day to day use of the building. An exhibition space and design archive provide a public interface with both industry and research outcomes. These spaces combine with a variety of lecture, seminar and multi-purpose rooms to facilitate high level exchanges in a number of forums.

The Sister Una McAllister Centre is Catholic Ladies’ College’s new chapel and music school building. The Centre is located on an environmentally sensitive site, a steep landscaped embankment separating the college buildings from the lower sports ovals, and serves as a striking landmark as one enters the College. The chapel and recital space provide an open, flat floor auditorium capable of seating up to 220 people in varying formats for a variety of uses. An entry foyer provides a gathering and function space before moving into the chapel.

A kitchen, toilet facilities and sacristy for visiting clergy all provide support for the buildings uses. A private, travertine lined shrine space with a “Tree of Life” sculpture is located off the main chapel and overlooks an outdoor prayer space. The music school provides large music classrooms, rehearsal and private tuition rooms, a recording studio, a staff room, and storage. The selection of materials comprises a natural and soft toned palette. The main chapel space was lined externally with soft green vertical panels and lined internally with white plasterboard, scalloped slightly in form, towards the large eastern window.

A series of artist designed sculptural stained glass windows was also incorporated into the chapel space.

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RMIT Design Hub Sean Godsell Architects in association with Peddle Thorp Architects

Sister Una McAllister Centre Williams Ross Architects

AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA South Morang Rail Extension Cox Architecture

The South Morang Rail Extension Project includes construction of three new rail stations (at Thomastown, Epping and South Morang), urban plazas and associated pedestrian, bus and vehicular access. Each station provides legibility, linkage and activation to existing urban form. The most significant aspect of the stations’ built form is the canopy - a sculptural form of civic scale that folds and unfolds in response to each site and its functional context. The canopy is a unifying element of the stations that integrates the station buildings, platforms and ground plane. Its design is dynamic and provides orientation by choreographing the movement of station users from plaza to rail corridor with its angled geometrical form.

Form and materials have been carefully considered to ensure a robust and safe rail and interchange environment that has a warmth and scale suitable for community-focussed public use. Painted steel panels were selected as the key material for the buildings due to their robustness and maintainability as well as their flexible nature in form-making, while timber has been used to provide material warmth to the stations.

St Augustine’s College Kyabram was a P–10 school up until 2007. In 2008 the school offered VCE for the first time and has since attracted a growing number of students. Accommodation for the VCE students was the disused convent. V Arc embarked on a journey with the College leadership team, to visit and be inspired by similar VCE centres. The resulting design is a feature-laden symphony of form, texture and colour.

The brick exterior of the building reflects the original College buildings. The north façade is a progression of geometrical forms that concludes with a triangle of rusting steel that is a stylised heart with flame, penetrated by a spear – a reference to Augustinian symbolism. A large circular opening with a cracked earth screen introduces the geometry of the internal planning. St Augustine’s maxim “Tolle Lege – take and read” is inscribed in glazed bricks facing the courtyard.

The large timber gate repres`ents the opening of a book.

The building is analogous with a book that hopefully the students won’t be able to put down.

St Augustine’s College Senior Student Centre V Arc Architects

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AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA Swanston Academic Building Lyons

This new building for RMIT University, called the Swanston Academic Building (SAB), arose from an idea for a vertical campus, bringing the diversity of the city deeply into its design conception. It places the students of the University ‘at the centre’ of its design by constructing an integrated vertical ‘infrastructure’ of student spaces – to be used for informal and social learning activities. These student spaces are named ‘portals’ as a hybrid of the architectural gateway and the contemporary use of the word ‘portal’, as an access point to digital information. The building provides over 80 new teaching spaces ranging from 360 seat theatres to 30 student conversational spaces. In each of these spaces the idea of student-centered learning is paramount, the spaces having been specifically designed for collaborative work, with staff acting as mentors. Externally, the design is characterized by a faceted geometry of compression and expansion with colours derived from the mapping of the surrounding cityscape, extending the building’s relationship with the city. Through these design strategies the building reinforces RMIT’s unique character as a truly urban campus.

The Knox Innovation Training Opportunity and Sustainability Centre (KIOSC) is a collaborative partnership between a consortium of seven Knox schools and Swinburne University of Technology (TAFE). KIOSC provides a range of technology-rich collaborative areas, presentation rooms and laboratories. The building also showcases an extensive array of active and passive sustainable systems. The steeply falling site is located within Swinburne’s Wantirna Campus. Formal arrival is along a sinuously curved ramp, drawing the eye to the organic nature of the blades arrayed along the building’s façade. These both protect the façade and set the building’s image as they rhythmically undulate in a gradating palette of green tones. Below, the slope has been transformed into a landscaped amphitheatre nestled amongst the sweeping ramp and playful façade. Inside, warm timber lining the main stairwell floods the double height entry foyer. This height carries through into main arrival space which is framed on one side by a fluid, curved display wall and the other by a view back through the coloured blades to the landscaped amphitheatre. Much of the finish has been left relatively untreated in line with the school’s need for students to understand the workings of a building.

PUBLIC NEW

Swinburne University of Technology Knox Innovation & Opportunity Centre Woods Bagot

AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA AAAAAAAAA This building is a youth hub that embraces its adjoining sport and skate bowl activities. It uses a zig zag façade of glass and refrigeration panels, which softly curves via changing glass length, to give a backdrop to the youth outdoor activities. A central spine, entered from the tilted central roof, provides community rooms for counsellors and youth workers. On the west side it has sports change rooms, band rehearsal and social rooms. On the east is an internet lounge, courtyard, counselling and meeting spaces. The oval side red verandahs invite use of the change rooms. Its skin changes as you pass it and is as important as its interior by defining the ‘youths’ precinct.

This building supports the youth with activities internally and ‘presents’ the youth outdoor spaces to the community, as the building acts as a draw card to the precinct’s spaces. The building’s role therefore can be one of providing an object to ‘hang around’ and offer services when needed. It is constructed of thermally efficient refrigeration panels with a systematic steel structure.

The building collects water for the adjoining ovals and its internal services.

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Taylors Hill Youth and Community Centre Hede Architects

The new Clinical School is designed as a contemporary teaching and research environment that is fully integrated with the University of Notre Dame Australia. Regional forces shaped and guided the development of the project. The built form undulates, in mimicry of an imagined past topography of land and trees. A strong material connection between the exterior and interior of the building links the inhabitants with the new imagined landscape. A central ‘hub’ facilitates incidental interaction between staff, students and visiting public and acts as a threshold to the teaching, administration, research and consultation suite zones. The design is responsive to the University’s current and future requirements and the plan and layout allow adaptation for future expansion and flexibility. The quality of the interior spaces and their effect on inhabitants were seen as of paramount importance. The building is orientated to maximise passive forms of heating and cooling. Strong visual links to exterior landscaping and access to natural light and views are exploited to maximum effect.

WaterMarc Peddle Thorp Architects

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The University of Notre Dame Australia Melbourne Clinical School DesignInc

The Greensborough Leisure Centre sets a new paradigm for leisure and entertainment in the community aquatic facility field. Known as `WaterMarc’, the facility includes a 750m2 gymnasium, dedicated spin room, flexible programme rooms and a secluded programme pool, spa, sauna and steam room. The flexible 50m pool, with movable boom, learn-to-swim and leisure pools, cater for learn-to-swim requirements and squad training. However, where `WaterMarc’ is really unique is the interactive splash decks incorporating an integration of light and water aqua play elements and the larger than life `Tantrum Alley’ and `Pipeline’ water slides imported from Canada. Café facilities are carefully integrated into both the aquatic environment as well as the civic atrium which addresses the north facing Greensborough Walk and after hours can double as a licensed function space. On the site of the former outdoor 50m pool, and suspended over a tributary of the Plenty River, the facility sits as Stage 1 of the overall transformation of the Greensborough retail precinct to a regional centre a piece of urban design as much as a piece of architecture.

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BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB Take a purpose, a community and an environment and you have a unique matrix of factors which inform the architectural vision of a public building like the new Camberwell Library and Offices. For Nicholas Alexander Architects synthesising these variables was a multifaceted process of integrating heritage sustainability and the client’s needs and aspirations into one cohesive whole. In many ways the project encapsulates the practice’s approach to design which is to be free from pre-conceived constraints of any particular aesthetic style. We believe architecture is something that emerges out of a given set of circumstances that are unique to each project. The architecture responds to the place, the time, the context and the individuals who interpret and form the response. In a public building this translates to an expression of the community and for the community.

There is a breaking down of the barrriers between those engaged in Civic administrative functions and the citizen which is part of the City of Boroondara’s inclusive and democratic philosophy. Spaces for both administrative staff and the public share the same light and air and are open acoustically. There is no mystique here, no secrets, just open governance.

Camberwell Library & Civic Precinct Nicholas & Alexander Architects

Footscray Nicholson Learning Commons Cox Architecture

The Footscray Nicholson Learning Commons encompasses the refurbishment of 3,500m2 across two floors of a concrete and brick 1980s public works building.

The project connects the campus, which was divided by the impermeable existing building, through a significant civic gesture with the goal of creating a new campus heart. A double height lane has been cut through the existing structure to connect the public space on each side. Curving the path of the lane has provided more street frontage for student services and learning environments than a straight cut. The sides of the lane merge and then part to create areas of different intensity and purpose - calm and active. The laneway references the scale and texture of Melbourne’s vibrant and intimate city lanes. The lane façade is varied with solid screened and open treatments to communicate the functions behind. Carving of the laneway has created a panorama which supports visual connection between levels and encourages further investigation. The project has been embraced by students and staff alike as the new heart of the campus and delivers a complex but unified environment for learning technology, food and interaction in a space with the inherant legibility and familiarity of a city lane.

PUBLIC ADDITIONS AND ALTERATIONS

BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB Good Shepherd Chapel, Abbotsford Robert Simeoni Architects

Constructed in 1871, the Chapel is the cultural and spiritual centre for the Good Shepherd Sisters at Abbotsford Convent. Robert Simeoni Architects was engaged to restore the building and explore the possibility of creating new uses and spaces for redundant areas. In addition to traditional worship facilities, flexible spaces have been designed for use by lay people and the general public. An interpretive centre, a variety of meeting spaces and amenities including an intimate space in the crypt, have been incorporated into this restoration project. Our approach to the project was respectful of the architectural and cultural history of the Chapel and in accordance with the Burra Charter. Restoration of the existing building was undertaken with care to retain as much of the existing fabric as possible. We worked in consultation with the Abbotsford Convent Foundation, especially in relation to the aspect and interface of the two sites, in particular the new landscaping works. This restoration of the existing Chapel and the new interventions honour the history of the Good Shepherd Sisters and provide a multifunctional facility for their continued work and presence within the community.

ARM Architecture was appointed to design the $128.5m redevelopment of Hamer Hall.

The redevelopment improves Hamer Hall’s acoustics, seating, stage technology, and back of house facilities, while also creating a more outward facing venue that integrates new public spaces and the riverside to make it more accessible and inviting to the public.

The project connects Hamer Hall with the Yarra River and the city – a new terrace over the riverbank promenade features a ‘civic stair’ from the river to St Kilda Road. The new Hall also includes a second entry that allows access directly from the Riverbank Promenade to the circle foyer, with retail outlets along the riverfront, new and expanded foyer spaces, better amenities, new stairs, improved disability access, and escalators and lifts. The redevelopment was approved

by Heritage Victoria and involved a rigorous documentation and management process to ensure its heritage features were treated sensitively. Throughout the redevelopment ARM took great care to preserve many unique heritage aspects of the Hall, within both the foyers and the auditorium. Retaining as much as possible of John Truscott’s original interiors was a key consideration in planning the redevelopment.

Hamer Hall ARM Architecture

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BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB Hawthorn West Primary School Six Degrees Architects

The Hawthorn West Primary School project was commissioned as part of the Federal Government BER school improvement program, with the attendant requirements for speed of delivery and cost control.

The project demonstrates a number of unusual approaches to school design to create optimum teaching and learning environments for students and staff. These include: flexible classroom layouts with a variety of spatial experiences; small scale ‘bean bag’ areas to provide small group learning/collaborative experiences; flexible divisions between rooms to allow them to be interconnected or separated as required to accommodate larger education groups with team teaching; integrated computer benches and access for students; a large roof deck teaching space with views across the adjoining park and separation from the heritage buildings with a bridge link to simplify construction and minimize impact on the existing building. The cubist formal composition of the building deliberately expresses its mass into smaller parts to reduce visual bulk. Windows are modulated with aluminium shades to define the window forms and disguise the “thinness” of the timber construction.

The cladding of exposed cement sheet cladding prov­ides a low cost alternative to traditional construction materials without compromising thermal or low maintenance requirements.

Architecture can be a creative vehicle to help evolve and shape a community’s identity. In its imaginative and functional layout, design, art and relationship with the natural environment, the IKE building facilitates a uniquely Koorie vision of education and community and brings a bold, confident and authentic Koorie Presence to the Deakin University Waurn Ponds Campus. The plan is organised around one main ‘track’- a north-south spine threading the main entry gallery, reception, the main stair, lift, common room and courtyard. From this spine a strong sense of orientation and feel for the pulse and life of the whole place is possible, visually linking the two extremities of the building, their entrances and mediating landscape. The building, with the inspiration, commitment and collaboration of the Institute staff, students and associated respected elders, aspires to express the spirit of Koorie culture in a way that is sharing, inclusive, practical and inspirational, facilitating a creative and supportive environment, a place that brings together the abiding ancient traditional wisdom with the best of current knowledge and educational methods to meet the challenges of life in the 21st Century.

PUBLIC ADDITIONS AND ALTERATIONS

Institute of Koorie Education, Deakin University Gregory Burgess Architects

BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB In juxtaposition with the delicate surface treatment of a highly detailed façade, this new facility demonstrates a robust and muscular aesthetic. A detailed and complex layering of elements displays a metaphor for the machine. All façades respond passively to environmental conditions, simultaneously allowing controlled daylight into the building whilst maintaining a sense of transparency and permeability. As a powerful contribution to contemporary tertiary education and a showcase to the automotive industry, this building represents an important contribution to the city of Melbourne. This facility provides an opportunity to bring collaborative learning to the heart of Docklands, serving as a central and iconic statement within its urban context. It is a building set in the public realm, offering an enhanced sense of ‘soul’ to the extended south west corner of the Melbourne CBD. Built to the boundaries of a complex site configuration and conforming with height restrictions, a seamless connection to Stage One has been achieved. Stage One continues to anchor the facility to its corner site and the chevron patterned façade, referencing roadside graphics, provides the backdrop for future campus development. The project explores a didactic interpretation of the automotive industry, contemporary learning and environmental sustainability.

La Trobe Institute of Molecular Sciences Bio-Resources Centre SKM

Kangan Institute Automotive Centre of Excellence Stage 2 Gray Puksand

Scientists and students at La Trobe University now have access to a rare, specialised Bio-Resources Centre to support their research and learning into complex biological mechanisms. The design of the new facility for the La Trobe Institute of Molecular Science (LIMS) will have a big impact on researchers, staff and students, but in very different ways. For researchers, who will use the building as a tool for preclinical experiments that might lead to therapeutic or diagnostic products to help treat human disease, it is a finely controlled research environment whose design required careful collaboration between the Centre’s director, the architects, engineers and the builder. For the staff who will run the Centre, the careful building design, including maximisation of windows and outdoor spaces where possible, means that they will not be isolated for long shifts without seeing their colleagues or the outside world. For University students and staff from other faculties who may never enter the building, the Centre is a backdrop for the campus’ creek and surrounding landscape. The long reflective façade hides other utilitarian buildings and provides flashes of colour and texture.

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BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB The Lighthouse Theatre project comprised a significant upgrade to the existing Theatre in amenity and functionality. Improvements include: new interior spaces and design to the auditorium and front of house; development of the ‘blackbox’ Studio facility in the former Civic Hall; new front of house entry, foyers, bars and staff facilities; a comprehensive stage and theatre systems upgrade and mechanical air handling and electrical services upgrade throughout. The design also includes an emphasis on presentation of the Theatre to the street, acoustic separation between performance and function areas and the functional flexibility of the Studio space. The redevelopment updates its level of amenity for all users from staff to patrons with universal access for all to current day standards and improved theatre OH&S equipment handling and movement. Perhaps most significantly, the new Foyer spaces provide an opportunity for the Theatre to present itself to the passers-by in the street and promote the performing arts that it houses. Construction was completed in early 2012 as programmed and within budget with all areas in full operation as expected.

Melbourne Girls’ Grammar Morris Hall Redevelopment Sally Draper Architects in association with DP Toscano Architects

Lighthouse Theatre Williams Ross Architects

Morris Hall is the junior campus of Melbourne Girls’ Grammar.

Located in a residential street in South Yarra, it accommodates 220 students on a very constrained urban site. It explores a new model for the design of inner urban primary schools which draws on the architectural experience of “home” rather than “institution”. Morris Hall builds on the framework and palette of the original 1960s building, layering new onto old to create a richly textured and crafted whole. The planning strategies of the original building have been reversed within the campus: previously small, cramped classrooms have been replaced with expansive learning studios, specialist facilities are located at the centre of the school and the previously contained and inward looking spaces now flow out to integrated outdoor learning areas at all levels of the building. Materials are soft, earthy and textural, clearly expressing the craft of “construction”. Layering of sun screens and balconies provides a subtle quality of light and shade that moves and changes throughout the day. What is Morris Hall? In the words of the school it is: “a home for the mind and the heart, an environment that speaks to our senses and a place of joy”.

Monash University Menzies Building Refurbishment DesignInc

The refurbishment and extension of the Robert Menzies Building combines the spatial and material qualities of the existing building with the diverse functions of a modern university. The strong character of the building and quality of existing materials provide an ideal base condition to create a new campus gateway and Menzies building experience. The redevelopment draws on the same source of nature for inspiration as the original 1960s Eggelston Macdonald Secomb building, incorporating biophillic patterns and recycled timber features, enhancing the foyer circulation upgrade and adding a dynamic new lift and stair structure. The Foyer redevelopment was critical to Stage One including a new café and links from the campus through to academic spaces via intuitive way finding ideas. The Foyer carved out tired fit out and escalators, whilst retaining original timbers, terrazzo and slate finishes. Clear views have been created throughout the space from north to south, promoting cross campus circulation.

PUBLIC ADDITIONS AND ALTERATIONS

BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB Some years ago Trinity Grammar acquired the former Kew Municipal Offices. A single storey extension was constructed and the complex dedicated to the arts. The school later received government funding for a ‘vertical’ extension to accommodate a multipurpose hall for its junior school. The South Room sits directly over the existing building, integrating the whole and providing a new main entrance. The school wanted the hall to have a ‘Trinity’ identity pushing the ‘municipal offices’ concept to the background. We identified a number of design criteria aimed at delivering a friendly, unpretentious solution, appropriately-scaled for its users and at home in its surroundings. But it also needed to make its presence felt and express a certain creative vitality. The new steel portal frame structure is supported on the concrete frame of the earlier extension. Over the hall, roof trusses sweep in an elegant curve, echoed by a reverse curve below, creating a distinctive ‘eye’ shape. The second storey and its roof are as one, embracing the older structure. This project demonstrates the use of innovation and creative thinking to successfully develop an existing building for a new more demanding purpose, balancing distinctive form, respect for the surroundings and sustainability.

South West Healthcare, Warrnambool Hospital Health Science Planning Consultants

South Room, Trinity Grammar School McIntyre Partnership

The core philosophy for the upgrade of this hospital was to deliver the most modern and technologically advanced health facility for regional Victoria. Elements of the 157 year old hospital were well past their use-by date. The redevelopment enabled the facility to provide its users with modern accommodation and contemporary workplaces, facilitating the delivery of 21st century public health. An over-arching principle for the redevelopment was to deliver departmental areas with inherent flexibility to enable the logical expansion of inpatient wards, the ED and Operating Theatres, thereby facilitating a physical integration of services, including an Integrated Community Health Centre on the site. A key driver was to create an innovative building that accommodated all Ambulatory Care Functions, with a design approach that created an environment with universal visual appeal and was conducive to the physical and psychological well-being and comfort of patients, visitors and staff.

This patient/client focus in the design was an imperative for all matters affecting the planning and deliverables.

This established a concept of patient-centred spaces, such as multi-disciplinary consulting and treatment rooms, with the care coming to the patient rather than the patient to the care, in multiple locations in the facility. The design seeks to support these principles and is inspired by the local environment and context of the south west Victorian coastline.

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Situated on a peninsula between the Glen Waverley train line and the Yarra River, the extension to the J.A. Kearney Building is visible from the river and creates a direct link to Heyington Station. Employing a layered program to key directly into the existing building, this project accommodates design technology on the ground floor, science laboratories and a visiting scientists research facility on the 1st and 2nd levels and an informal student center on level 3 that provides a space supporting independent learning in preparation for tertiary studies. The building form steps and twists to manage the transition from 2 stories to the existing 5. It is cloaked in a ventilation screen that reduces heat-load and minimises reflection and contrast into the river environs. This sculpted termination links back to the crafted nature of the activities undertaken within the design technology center. The terraced building form also provides additional rooftop space which is utilized as outdoor-learning spaces. All mechanical, hydraulic and electrical services are suspended below the acoustic ceilings and are labelled as a teaching tool to complement the technical curriculum.

The interiors feature graphic treatments that provide educational content and a unique identity to each level.

Architecture matters sought to negotiate the contrasting hard-edged, urban, and idyllic parkland settings surrounding the Stonnington Pound site, responding to the contemporary architecture of the existing Pound building and adjacent Stonnington depot complex, whilst seeking to meet the projected requirements for sustainably housing the municipalities’ growing population of lost and abandoned cats in ‘best-practice’ accommodation.

The resulting wedge-like, steel clad building, with its relatively simple, cost-effective though dynamic forms and textures sits somewhere between the ‘duck’ and the ‘decorated shed’, seeking to engage when viewed from a footpath on arrival, a freeway when passing at speed, or from a park-bench in contemplation. Dynamic entry-screen foils speak directly to the depot’s nearby road-screens in a gesture towards creating an identifiably unified civic precinct, albeit one with a relatively unglamorous use. The new screens better signify the building entry whilst also providing a filtered outlook into and out of the cats’ outdoor play enclosures. The facility’s environmental performance was enhanced through tanks providing rain water for the washing of existing dog enclosures and new wc cisterns; sensor-controlled lowenergy light fittings; cross-ventilation opportunities; air conditioning system cut-offs when windows are opened; high-performance thermal roof insulation, and low-e double-glazed and externally shaded windows.

PUBLIC ADDITIONS AND ALTERATIONS

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Stonnington Pound Redevelopment architecture matters

BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB BBBBBBBBB The Walter & Eliza Hall Institute is at the forefront of international medical research. A new building and renovation of an existing building effectively doubles the Institute’s size and creates a suitably distinctive landmark. Carrying a vibrant, forward-looking imagery for the whole complex, the new building is conceived as a series of horizontally stacked metal boxes. Each is a satin silver envelope, brought to life with glazing and banks of aluminium sun screening louvres with randomly placed downturned tab edges. Fusing it to the new, the older building is lightly wrapped in a new polished aluminium skin. Random rectangular openings echo the character of the louvred tabs on the new building. The seven levels of each building link directly in a new double height glass atrium. The atrium visually connects the levels and offers views of the working laboratories, instilling a sense of community within the workspace. The two buildings house offices, laboratory and scientific research services, an insectary, advanced cell and tissue imaging and flow cytometry centres and seminar facilities, including a 300 seat lecture theatre. It is a high quality work environment fostering collaborative research and attracting the highest calibre of staff.

Walter + Eliza Hall Institute of Medical Research Denton Corker Marshall in association with SKM-S2F

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Yackandandah Primary School: Growing Spaces, Reaching New Heightsv NOWarchitecture

Yackandandah Primary School realises the ambitious educational priorities, community values, heritage issues and environmentally sustainable philosophy of the school community and NOWarchitecture. The project delivers a revitalised administration area and art room in the heritage schoolhouse which connects through a nodal foyer to the new northern wing of learning centres, canteen, multi-purpose room and central Resource Centre. The new building’s contemporary form draws inspiration from the surrounding mountains, with the resulting form of “rolling hills” comfortably positioning the building within the goldrush town. The school is part of the community, hosting fetes, school meetings and the annual regional Arts Festival. Its internal spaces, defined by an exposed timber structure, are generous and support diverse learning connections. Natural light is brought evenly into the building through clerestories in the peaks and valleys of the roof form. Natural convection moves pre-tempered air through the spaces for excellent thermal comfort and air quality. Heating and cooling is delivered through the slab, perfect for primary school children who so often use the floor as a learning area. Bespoke mobile furniture adds value to the brief by allowing students and teachers now, and for decades to come, to rapidly create their own environments.

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FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF This is a new house located in Elwood for a family with two young children. The house comprises a single open living/dining space on the ground floor, with windows to the front garden and deck, framed by a steel pergola and sliding timber slat screen for privacy.

The kitchen/laundry ‘block’ and an entry/studio opposite forms a framed vista to the rear backyard, a private play area with sand pit, veggie patch and a ‘Lilly pad’ deck which surrounds the base of an existing Magnolia tree, providing a welcome shady play area. The first floor contains three bed rooms with the main bedroom to the front separated by a bathroom which features a raised roof skylight with louvre windows - the so called ‘green lantern’ which also provides natural light whilst maintaining privacy, and increased ventilation during warm summer months. This new home celebrates the use of local domestic construction with timber weatherboard and cement sheet cladding. It also retains simple elements such as the low stone front fence to be more inviting and inhabit its place alongside its neighbours and serve as a family home as it had done for its previous occupant for sixty years.

The Blue House, Elwood David Vernon Architect

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Bluff House Inarc Architects

Bluff House on the Mornington Peninsula in Victoria is a holiday home which confidently addresses the challenges of a dual interface with a rugged coastline and the neighbouring countryside.

The building sits on top of an escarpment in the seaside township of Flinders. The view is world class serene and bucolic to the rural north, with rugged seascape to the south. The site is located on a land slip affected bluff. Deep bored piers anchor the building to the crest of the allotment and allow the upper level to cantilever over the steep terrain below. The first floor plan is a linear arrangement of spaces kinked around existing trees. The cantilevered corners of the first floor give the feeling of detachment from the building, a feeling of leaning over the edge whilst searching for the best views. The northern façade is clad in tailored narrow blackbutt timber boards and reads as an angular but warm and welcoming timber house. The more inclement southern orientation has resulted in a brooding and sharp composition of dark painted steel and glass. The two façades are not seen together yet co-exist. This is a tightly planned building of great complexity, offering a variety of experiences.

This home, through dialogue and investigation, delivers on the brief (environmental design and aging-in-place) while injecting responses to hobbies, family, and longevity. The 1ha site on the Bellarine Peninsula was purchased by the clients to enjoy gardening in their retirement. The interior spaces are linked to the landscape through large picture windows and glazed winter gardens - these acting as dynamic artworks in place of still-life. Formal landscaping of the entry courtyard provides the clients with structure to enjoy their hobby. With four adult children and their families, flexible accommodation was a core idea of the clients. The plan was the result of functional zones and passive design principles. The house can act as a whole or as three smaller supporting units. Environmental design principles were integral in the design, namely passive heating, passive cooling, and passive shading. A roof pitch at 35° accommodates future photovoltaic panels. The desire of the clients to agein-place supported the decision to use natural slate shingles as the roof and wall cladding. Formally, the simple gable form references the Australian country shed vernacular. The geometry is pushed further to integrate fixed eaves and therefore begins referencing the suburban villa.

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The Bothroyd Residence Gunn Dyring Architecture & Urban Design

FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF Camberwell House Ashley Lochhead Architects

This single dwelling in the Melbourne suburb of Camberwell seeks an alternative residential typology by promoting a more efficient use of land and a stronger relationship between a house and its site. Our approach was to split the site lengthways, placing the primary built form along the western boundary, creating a parallel arrangement of building and landscape. The living room is then extended into the garden with glazing to both sides supporting the idea of a single, continuous indooroutdoor space. The resultant ‘T’ shaped plan neatly divides the house into two distinct zones or pavilions (public and private) and is externally expressed with two primary overlapping gestures: a concrete box containing bedrooms and garage and a copper box containing living areas. Through material expression and considered planning, this house demonstrates how a contemporary replacement building can respect the established context whilst developing an innovative and sustainable typology.

The Cassell Street house was originally one of a row of heritage graded Edwardian buildings. The local planning authority required the replacement building to comply with the character of the neighbourhood. This was interpreted as being a building that would imbue a sense of history, something typical of b.e Architecture’s work – a building that belongs to a time prior to itself, whilst still remaining contemporary. Travertine, rusticated timber, and steel make up the limited palette of materials.

Sourced from opposite ends of a single quarry to create the varying colours in the stone allowed the architects to create a Byzantine style of patterning on the façade that references the owner’s heritage. The use of travertine and the Miesian column is reminiscent of the Barcelona pavilion, designed at a time which ironically parallels the Edwardian era. Designed for a larger-than-life local identity, the house had to speak to the masculinity of its owner but also maintain a casual, comfortable feel. Oiled oak floors and matte walnut cabinetry were designed to negate the formality of the building form, creating a casual feel best suited to the owner’s lifestyle.

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Cassell Street b.e architecture

FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF This house is an exercise in experimentation with just two materials - concrete and glass. Driven by a desire to both simplify and refine construction processes and material quality, the dwelling pursues its potential with rigour and intent. The three storey dwelling embraces opportunities offered by its site turning itself 'upside down', with the bedrooms and service spaces on the lower floors rising to a spectacular open living space under the retractable glass 'roof', with panoramic views and a glass fronted rooftop pool. The application of commercial building systems defines the concept behind this house and pushes the ability of its panelled, insulated concrete walls to provide a thermally consistent space of great clarity.

The relentless focus on material has revealed a collection of spaces that shift and change throughout the day due to carefully orchestrated and accidental movement of light that activates and warms the firmness of the concrete walls.

Its details are reductive and parsimonious, but within this simplicity, the patina of the concrete surface is revealed. The soaring staircase and dark theatre space demonstrate perfect contrast in the manipulation of material within a clean rectilinear form; floor, wall and ceiling hold brutal materials transformed through a labour of love.

Cosham House Peddle Thorp Architects

The Concrete House FGR Architects

Clarity of architectural vernacular and purity of form merged with the clients’ brief and architect’s response form the nexus for the design approach of the Cosham House. The home, located in Brighton, announces itself to the street and its neighbours by proclaiming through simple form a bold metaphor which engages with the environs in which it is sited. Sharing the street frontage with an existing large canopy tree, the architectural outcome stands stoic and proud whilst disguising its finer intricacies which lay dormant within the bounds of the entry gate. Upon approach you become immersed and almost embraced by the volumes of the cantilever above, stimulated by the pond as it traverses its way from the entry door into the dining area and pool beyond. Large void spaces which are punctured by elevated walkways and large glazed sections continually inform you of your position within the home relative to the outdoor environment. Blurring the lines between the indoor and outdoor realms ensures one is continually engaged in the moment of the space. Intangible and tactile experiences stimulate the senses and arouse one’s awareness of space and built form relationships. Cosham House is a home that enriches the lives of its occupants.

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FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF Crofthouse James Stockwell Architect

Edward Street House Sean Godsell Architects

Along the south coast of Victoria near Inverloch, the geography turns away from the prevailing wind. This house forms a protected garden with peripheral vision to the sea and sky permitted by tapered façades. The design looks at shelter in an exposed environment and that shelter may house the activities of domestic life in an uncompromised way, but that these activities are enhanced by participation in the role of the overall form. It adopts the language of the rural context of corrugated metal. It illustrates the suitability of local, low embodied energy materials in contemporary architecture which is able to tell the story of its place. The pallet of grey metal and concrete blends with the muted shale geology. The protective exterior is warmed by compressed sand walls, a fragment of distant sand dunes.

The interior structure and joinery is of local Victorian Ash timber.

Running costs are minimized by passive solar design. The design process adopts the 1950s modernist philosophy of ‘plastic integrity’.

The form of the house distorts mathematical and structural curves to achieve the interior purpose. Laminated timber beams form the sine curve of the building courtyard, the natural curve of material ductility.

This house is for an artist, his musician wife and their three young children. The site is in inner suburban Melbourne approximately 4 km from the CBD. For the past decade or more the houses we have produced have been free-standing in either the country or coastal regions of Victoria and so this project presented what were for all intents and purposes new problems to be solved, or more accurately old problems to be viewed with fresh eyes. Embedded in this condition was the belief that the houses produced are part of a continuum of thinking and the exploration of certain fundamental themes that are modified by the peculiar qualities that each client brings to the office and that each site offers. The semiotics of codes – barcodes, gene codes and thumbprints – exist in the plans of these buildings as simple gestures.

Notions of discrete space are reinforced by these strategies. Public and private realms are defined via these investigations rather than consciously considered, and cultural overlaps between the traditional Japanese house and the traditional colonial house in the Australian context are a constant source of inspiration.

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FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF This nimble house enjoys panoramic views over the southern ocean and surf beaches. Located on a ridgeline above the Great Ocean Road, the proportions, orientation and dimensions of windows are tailored to particular views and to reveal internal spaces. The spatial journey through the house is choreographed to increase anticipation before reaching the main living space.

As you step beneath a cantilevered study into a dramatic vertical entry space, you become acutely aware of a number of twists and folds along its length that make the transformation into horizontal living space. The main window aperture matches the cinematic proportions of the ocean view. This house coils and steps around a protected central courtyard, which creates an outdoor space sheltered from the harsh prevailing winds. The living area doors and an oversized sliding kitchen window open up and integrate the courtyard with the house during fine weather. Materially the house is clad in a green-grey zinc cladding, for both its longevity and natural colouring that merges with the scrub and tea tree landscape. In contrast, the interior surfaces of the house are completely lined in timber to form an enclosure for living within which its inhabitants become immersed.

Finn House WoodWoodWard Architecture

Fairhaven Residence John Wardle Architects

Nestled amongst the banksia trees and coastal scrub on the Silverleaves foreshore is a pair of glistening red fins - a bold response to the client’s brief for a “grand gesture on limited means.” Reminiscent of a Richard Serra sculpture, the two striking red glazed-brick blade walls slice through the site, organising the program into linear bands. The colour of the glazed bricks varies slightly as they are mostly seconds, a ‘defect’ that is celebrated in this project by interspersing the colours to create a mottled, reflective sheen. Wedged between the fins are the discreet private spaces. Beside this to the east, a generous light-filled glass box clings to the luminescent bricks and contains the more public program.

Cleverly located between the two blade walls, a corkscrew staircase guides the visitor between the three distinct programmatic zones, through thresholds in the brickwork, emphasizing the red walls as the separator and mediator. Finn house achieves a maximum effect through an economy of means by employing glazed bricks throughout the interior of house, amplified in the double height living space – and as an almost civic gesture that projects out towards the street, offering striking colour to an otherwise muted neighbourhood.

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FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF Flinders House Ashley Lochhead Architects

This project for a family coastal residence is located in Flinders, Victoria. Conceived as a simple timber form the building nestles into the topography and presents an unassuming façade to the street. The plan employs a linear typology arranged over two levels, with all rooms oriented to the north. Indentations in the building form provide shelter and signify points of entry. A limited and neutral palette of materials is implemented to form a calm enclosure in contrast to the exposed coastal nature of the site. Living spaces open to a north deck allowing the occupants to engage with the site whilst being protected from the prevailing winds. The northern and western façades are veiled in timber-battened screens to provide privacy from adjoining properties and to offer protection from the summer sun. Adopting a material aesthetic that engages with its context, the muted palette of weathered timber and refined steel plate detailing links the house to the surrounding landscape and defines the architectural character. This house negotiates the desire for privacy and openness whilst making an assertive contemporary contribution to the coastal context.

Embracing the challenge of a relatively tight inner suburban location and a restrictive building envelope, the building’s finely detailed bold, rectilinear form is proportionally comfortable in its street context.

Design strategies that layer environmental principles, operational program, spatial flexibility and the creation of numerous vistas and private areas drove this project. The building has been sited and articulated to allow the occupant to control internal and external interaction. Clad in metal and glass the outer protective shell gives little away, whilst internally a crisp clean palate of greys and whites is punctuated by a warm central spine clad in “curly birch”. Whilst not overtly “green” in appearance the design is based on sound ESD principles, ultimately handing control to the occupant through a solution that is highly interactive. The passive design solutions and the options they provide have resulted in a house that relies little on active cooling and heating systems.

Great Ocean House Peter Winkler Architect

Good House Crone Partners

The ‘Great Ocean House’ is a building borne of a study of the landscape, a unique experience for its inhabitants whether nestling into the site at the lower level or relaxing above in the main living area enjoying views to the stunning coastal surrounds. A honed bluestone path leads guests through a break in the vegetation to the largely open and transparent entry space, affording glimpses of the site beyond. The folded steel staircase rests gently upon a polished concrete platform and gestures to journey upstairs towards the more social zones. There is a logical orientation within the home.

From the top of the stair a glimpse of the sea is revealed and becomes the focal point of the living spaces and associated decking. Rammed Earth and restrained glazing create an intimate dining experience. The kitchen extends out to an east facing breakfast deck. Positioned above the entry below, this outdoor space serves as a vantage point. The daybeds skirting the perimeter of the living space provide the owners with a sense that their site is the landscape. A walk-through study space provides a connection between the living zones and bedroom wing at the upper level.

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FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF We saw the Hampton House as an interesting opportunity to explore the constraints of a typical north - south subdivision in an established conventional suburban context. Part of this exploration was to consider the (often overlooked) residue side spaces between houses as a valuable spatial commodity that could enhance both internal amenity and program (space/light/ swimming/services) and provide a more formally engaging interface between neighbours. The house responds to the surrounding neighbourhood character in a considered way through its own unique topography which is a positive manipulation of the prescriptive setback guidelines of the City of Bayside. In its streetscape context the new house recalls the old demolished bungalow, appearing single storey in form, its folded hips and ridgelines sitting comfortably alongside its neighbours. The house wants to engage with its location in a positive way. It is not an object that is defiant of its location. It is both sculptural and contextual and challenges the perception that suggests these attributes need to be mutually exclusive.

Hampton Residence Jackson Clements Burrows

Into The Woods is a house for two artists. It is located on a treed sloping site in Eltham, north of Melbourne.

The house takes the form of three fallen trees laid together on the forest floor. These “fallen trees" serve three functional requirements, namely the lower living quarters, the upper bedrooms and studios and the central circulation spine. Inspired by the clients’ "no fuss" mentality, we designed a space inspired by the work of design-build Rural Studios in the south of the USA. A simple, robust series of spaces, they are imperfect in finish but still infused with a sense of delight and wonder.

The project has no painted walls or ceilings, but instead employs ply and recycled timbers as interior linings.

Conceptually linked to the hollow of the fallen tree, this approach also marks the progression of Breathe's work exploring the "de-materialisation" of structures and pursuit of building only what is needed, rather than what is expected.

Liquid Amber Zen Architects

Into The Woods Breathe Architecture

Liquid Amber explores architectural forms to harness and control sunlight and frame landscape views. The client wanted a house that was thermally stable and comfortable and relatively environmentally friendly. The Architects brought a desire to express sustainable design in the building’s form, offering the public a vision of alternative architectural forms and ways of living in the suburban context.

The floor plan revolves around two nodes – a Liquid Amber tree and a northern courtyard. The void over the ground floor living rooms allows views up into the canopy of the tree while connecting these rooms with the Studio above. The courtyard and stair void allow northern light into the ground floor, heating the house and facilitating natural ventilation via highlight louvres. Low level southern windows draw cool air from a southern landscaped courtyard and pond. Five sweeping roofs twist over the house controlling sun. Northern roofs spring from a compressed 2.1m ceiling allowing sun into the courtyard.

These roofs twist and cantilever upwards north-east and north-west maximizing winter sun and controlling summer sun. Southern roofs rake northwards providing clerestories. The uppermost roof lifts southwards, creating clerestories catching cool bayside breezes and providing a surface for solar panels.

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FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF Main Ridge Residence McAllister Alcock Architects

The Main Ridge house sits within an established working vineyard. The brief was for a comfortable four bedroom family home with a visual connection to the vines and which provided an area suitable for entertaining international guests who visit our clients’ Winery.

The site had no clear ‘hero’ views with which to orientate the building. However there were a series of lovely, albeit modest, aspects: to the north, a view beneath trees full of dappled light and a promise of what lies beyond and to the south a gentle, rolling grassy slope terminating at the vines. The architecture retains the memory of these existing landscape vistas and uses them as an ordering device – externally with the form and placement of the new building and internally with the orientation of the interior spaces. On approach the house is hidden by two 20 metre long angled Coreten walls. Entering between the walls, the house and site reveal themselves.

A sculptural plywood ceiling extends through the glass walls to the exterior, providing sun protection and a horizontal ribbon which links the public and private areas of the main living pavilion.

A visit to the Mansfield House is a journey of discovery.

From afar the building appears to sit modestly in the rolling landscape, blending with distant farm buildings.

The brickwork subtly references the local palette and complements the strong eaves colours that overtly challenge the dominant green pastures and blue skies, allowing the house to confidently stake its claim in the expansive landscape. The front door is revealed via the intermediary space of a walled courtyard that deliberately and suddenly converts the outdoor realm to a domestic scale. For visitors, entry through the kitchen, with its warmth and welcoming nature, delivers a surprise invitation into the very heart of the domestic condition. In an interior carefully honed to reflect the meaning and function of a specific lifestyle, the house continues to develop a series of surprising contrasts, intensifying the relationship between building and landscape and giving expression to the act of living.

The panoramic vistas are rediscovered but are held within view and reframed to achieve a calming, contemplative experience.

Mansfield House MGS Architects

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FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF Marysville House Steffen Welsch Architects and Terminus

The Marysville House is a replacement of a three bedroom holiday house, for a family of four, that had burned down in the 2009 bushfires. For us it was an exercise in restraint. Our first designs were of a large double storey residence with a large communal dining/living space, three bedrooms, two bathrooms and a detached studio. After a long and intensive planning process it became less desirable and appeared questionable if a dwelling of that size and complexity would be appropriate for its purpose of being a short to medium term holiday accommodation.

We pared back the design from a house to an enlarged studio.

Our abode now consists essentially of one communal room, utilities and a mezzanine as a sleeping platform, similar to a refuge that you would find in a mountainous and less accessible area. The building is compact in order to reduce wastage and labour on site for its construction and to optimise its thermal performance during its lifetime. The outcome is a small and modest building that appears very effortless and uses simple means to connect to its environment.

Merricks Beach House Kennedy Nolan

This house is located at Merricks Beach on the Mornington Peninsula. It is two blocks from the beach.

It has no views and had no existing trees on the site.

This small house has been designed as a weekender that is available for short term rental. Consequently it needed to be an economical build and tough enough to withstand the knocks of a rental market. The house is sited to the rear of the property and a large earth mound protects the house from the unsealed road. There is the usual line-up of rooms required for a house and in this instance it is a modest list; but what becomes a more interesting conversation is about how people live differently in a weekender. A courtyard typology ensures maximum privacy and access to low northern winter sunlight, yet in this straight forward floor plan a number of ‘in-between’ spaces have been explored.

Merricks House Robson Rak Architects

In accordance with the client’s desire for simplicity and material honesty, the house has been reduced to a modest palette of earth, glass and timber. Using one of the oldest and most natural building methods, sand sourced from the Peninsula was used for the construction of the rammed earth walls. The majority of internal walls are rammed earth creating a beautiful warm, textural look and feel, and taking on a life and personality of their own as they evolve throughout the day according to the light.

By responding to the natural fall of the land we created two levels to the building with three distinct zones, the effect being a long, low presence on the landscape.

The first zone is the parent’s retreat, the central zone is the living zone and the lower zone is the children’s zone.

A large outdoor terrace, with double steps leading to the landscape, was created to connect the spectacular views to the inside spaces, and coupled with the outdoor fire, the living space can be moved outside all through the year. This is a quiet building with a large presence, made of natural materials and which integrates with the landscape rather than imposing upon it.

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FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF Park house is located on a sloped suburban site of 54m by 12m (648m2), with a fall of 5.25m to the west (rear) of the site. The house has been zoned to provide a separation of uses, whilst sculptural staircases allow a seamless flow between each level. Sliding walls on the lower level provide flexible connections between spaces that can adapt to family life. The house provides accommodation for multi-generational living. The brief was to integrate and frame landscape elements into the house. A vertical landscaped wall on the central floor anchors the living spaces, and an internal courtyard provides northern light into the centre of the house. The house at the front has been excavated into the ground which allows for a fern ‘gorge’. The sculptural building form is expressed in mute, natural grey render and zinc. Interior finishes are soft and natural and reinforce a connection to the landscape. The palette of concrete, timber, black steel and curved soft plastered walls is purposefully restrained, and selected with respect to materiality. Sustainability is integrated into the building fabric. A strong collaboration between the architect and builder allowed for the refining of detailing throughout the construcPark House tion process.

Leeton Pointon Architects + Interiors

The Pool House David Edelman Architects

The design of this new four bedroom house provides a strong contemporary presence but also maintains a very private face to the street. Composed of simple elements, the ground floor is largely glass overhung by the first floor balconies framed in white, creating deep shadows at both levels. Adjustable white louvred screens to all balconies control sunlight and privacy, while maintaining the connection between inside and out. Following a minimalist aesthetic, the building is almost totally white, internally and externally, with small splashes of colour provided by furnishings and the vivid aqua pool that is visible from most rooms. Parallel with the central hallway is the stair, seemingly cut from a block of white terrazzo.

It glows with light from above, illuminating the sheets of glass suspended from the ceiling forming the balustrade. The view from the central kitchen and family living areas is dominated by the pool. The long north facing terrace and garden become part of the house, multiplying the light within these rooms. The first floor contains bedrooms and a living area, all with direct access to balconies, to the front or side overlooking the pool and also providing shade for the ground floor windows.

This house was designed for a busy young professional couple.

Our aims were to achieve a “good fit” house with minimal wasted space. The northern aspect to the living area was critical. Low maintenance design, high ceilings and an open feel were high on our “must have” list. The house serves as an example of how contemporary design can be fully integrated with the existing heritage street context. The botanical themed metal screens cast interesting shadows during the day and subtle patterns on the walls when lit up at night. A simple gabled front was adopted as this is one of the dominant shapes in the street. The layout has performed well against the clients’ every day use. The house achieved a rating of 6.5 stars.

Sustainable design features include local hardwood flooring, the thermal mass of the floor and central wall, double glazed timber windows from NZ plantation source, cross ventilation throughout, a 2000 litre water tank for toilets and a solar hot water unit. The floor plan is optimal with no wasted space. The zoning separation also reduces energy demand, resulting in a smaller carbon footprint.

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Princes Hill House Nott Architecture

FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF This barnesque beach house sits proudly on top of Benito’s point on the site of the old high school tennis courts. The house is orientated west to capture the wide panoramic views of Swan Bay with the parkland reserve in the foreground. The expansive western balcony opens up towards the south and north to further capture framed views of the heads at Port Phillip Bay and Swan Bay. The spatial journey through the house from arrival to view is choreographed to increase anticipation before reaching the main living space. You arrive via the east façade, protected by a cantilevered corridor of louvre windows and spotted gum batten screens. The limestone wall from the garage penetrates the entry space and draws your eye out towards Swan Bay. As you ascend the steel and timber staircase the view is slowly revealed before completely opening up to the 4.5m high ceilings in the lounge and dining area. This space is amplified by large spotted gum scissor trusses at 1.8m centres which run the length of the barn, drawing your eye to the timber lined wall beyond the kitchen, further reinforcing the barn pitched roof significance.

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Shrouded House Inarc Architects

Queenscliff Residence Minett Studio

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Shrouded House addresses the dual design challenges of combining sculptural contemporary architecture with the everyday requirements of a welcoming family home. Located on a large allotment in one of Melbourne’s premier landscape suburbs, the northern aspect to the rear of the site required the building to be positioned as close as possible to the street frontage. A heritage streetscape coupled with a narrow street width resulted in the adoption of a simple elongated two storey building form which sits behind a landscape veil. The rear of the building becomes a right angle “L” shape to embrace and open the house up to its park-like newly constructed landscape. The severity of the private front façade is left behind.

The rear suddenly opens up to a verdant landscape and a warm, light interior which responds to the requirements of a young family.

The sombre bronze exterior is offset by a rich internal palette of white and oak timber surfaces. Spaces flow into each other and form a seamless bond with the exterior.

The Sorrento Blue House is one of three weekenders built within a ‘family compound’ on the Mornington Peninsula, only a short walk along unpaved streets to the surf beach. The houses are set within a contiguous undulating landscape designed by Fiona Brockhoff. It is a garden haven. The spacious two-bedroom house replaces the original blue cottage. Unlike our earlier project Zac’s House, a masonry structure that hugs the terrain in the corner of the site, the new Blue House surveys its garden landscape from the centre. It is a lightweight structure skirted almost entirely by plantings. The orientation of the house is guided by the sweep of contours, resulting in a stepping floorplane and singular raking roof. The plan is tripartite – an open central living space flanked by wings with more enclosed spaces and private rooms. External louvres enable the modulation of sunlight and privacy to these areas. Multi-coloured, they enliven the mute grey of the raw fibre cement sheet cladding. The interior of the house is entirely blue, with a timber floor and ceiling plane. The house is filled with an eclectic collection of furniture, furnishings, artwork, mementos and vernacular crafts, which imbue a relaxed and lived-in atmosphere.

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Sorrento Blue House Neeson Murcutt Architects

FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF The Boulevard Sandersondean

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Builder Steve Vuillermin supplied the trade personnel and expertise required to build on a difficult sloping site.

Brendan Dunne of Inline Building Products supplied and installed the external vinyl wall cladding weatherboards.

This product is highly durable, pest resistant, easily maintained, sealed and will not change in appearance or performance for decades. Total Water Management Solutions designed and installed the Taylex waste water treatment facility for the processing and filtration of the waste water which is recycled and filtered via the dune sands and grasses. All Weather Aluminium Windows designed and installed large windows to maximize the views and resist the high winds associated with Bass Strait. Benalli Kitchens designed and installed all the benches and built-in units for the kitchens, laundry, shower rooms, bedrooms, and living areas. Dome Consulting Engineers were responsible for the innovative and practical design of the structural steel. DSK Engineering Pty Ltd were responsible for fabrication and installation of the steel. Jack Kaspi gave invaluable advice on the use and sustainability of materials for the overall project. Coast 'n Country took considerable care to ensure that excavation works on the dune sands, grasses, and trees were the least intrusive possible.

This project attempts to challenge our traditional notions of how buildings can exist both in a coastal environment and in this case also the context of an emerging built form and character. In coastal conditions buildings must be robust and defy the elements, yet create protective spaces, both internal and external, which allow the occupants to feel safe, comfortable, that they have adequate privacy, and are able to enjoy good times. Whether the occupants are fulltime residents or weekenders, the beach house is a place to look forward to arriving at, whether in the heat of the summer or the winter’s cold. With excellent views to the north and south and a conscious motivation to avoid the east/west outlooks, this project evolved as a series of interconnected and robustly finished containers. Each prescribed to a rigid set of rules and the relationship and spaces between containers became essential to the program and to the life of the building. The robust mass of the buildings is intended to be offset by the expression of finely considered detail and proportions.

It is the private spaces created in between that allow natural ventilation and light, intimate outlooks and privacy for the occupants - a place to call home.

Torquay House Wolveridge Architects

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FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF Trunk House Paul Morgan Architects

The project is a small cabin set in a beautiful forest of Stringybark woodland. The brief included a living area, small kitchen, bathroom and two bedrooms. The clients loved the isolation of the forest and the closeness of the birdlife. The initial designs responded to the forms of bleached bones of kangaroos and sheep, Laugier’s discussion of the primitive hut, and the local modernist tradition of the small house utilising triangulated steel and timber structures.

The engineer, Peter Felicetti, proposed utilising the timber forks, or bifurcations, as the basis for the structure. A system of forks and columns, creating an external truss, was developed. An internal column with radiating beams completed the structure, the complete triangulated truss system attaining great inherent strength.

Stringybark trees were removed from the site to make way for the new house. The lining boards were milled and cured on site and then fixed internally. This also resulted in a minimal carbon footprint for the sourcing and installing of the lining boards. The design sought to achieve an almost transparent relationship with the surrounding forest, achieved through an eco-morphological transformation of ground fuel into structure.

The house is located in Venus Bay, a small village in South Gippsland set between the beaches of Cape Liptrap and Anderson Inlet. The brief from our Clients was elegantly simple - to create an unpretentious, pragmatically built house that would protect them from the elements without compromising their amenity. Externally, the house reads as a volume wrapped up and over in metal sheet.

At each end the house is closed off with prosaic fittings and materials pragmatically attached to the front and rear elevations. FC sheet is detailed in the traditional way of many beach houses with battens covering the joints, all perched on unadorned concrete block retaining walls. Sections of the building’s volume are cut away on the east side, creating courtyards and alcoves protected from prevailing winds. This house seeks to expand upon the ethos of a typical local beach house. The house is designed as much as possible to be a selfcontained entity - when it isn’t being occupied it sits quietly on the hill. Pragmatic and lightweight, bounced between extremes of cold and heat, and rain and wind, the house sits unadorned and honest, providing a comfortable retreat for the people who use it.

Wolf House Wolf Architects

Venus Bay House Welsh + Major

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The Wolf house is a family home that was designed and built to a very extensive, detailed and specific brief that was fulfilled with a continuum of intertwining spaces. The architecture is an example of many ideas at once and is fuelled by rich personal memories from the family's Asian heritage and a passion for the excellence of Mercedes Benz . A carefully conceived staircase gently winds up to the roof-top studio. Together with an open void space it forms a vertical corridor through the centre of the house, creating zones that separate public from private and parents from children. Various views and vistas through this vertical corridor playfully connect the family. Ultimately it acts as thermal chimney that allows for night purging. A large variety of materials were used throughout. A change in colour, tone, texture and density can be seen as one travels through the various levels and spaces. The ground level, for example, has harder and darker surfaces, while the top floor is an expression of softness and lightness. On so many levels from form and arrangement of spaces, to use natural light and materiality, the house works like a well honed and finely crafted instrument.

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FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF FFFFFFFFF Situated in Wye River, perched overlooking the Bass Strait coastline and Otway hinterland, the coastal dwelling fuses both conditions, offering an intimate and elevated experience within its natural surrounds.

The faceted and cantilevered roof and wall forms respond to the challenge of controlling the east/ west sun on the main view axes and sheltering the internal-external interface spaces. The project celebrates the coastal vernacular - responsive in its creation of a sustainable, compact, faceted, sheltered, tent-like shack, visually anchoring the ground and framing internal spaces that fully engage the environment. The prominent north end void connecting the master bedroom to the living room, layered in timber battens, allows a continuum of space and form and reinforces the commonality of living in the retreat. The palette of materials compliments the coastal theme, seamlessly easing onto the site. The encapsulating custom orb roof becomes a wall and faceted eave soffit. The timber battening flows horizontally between interior bulkheads to enhance acoustic performance and external eaves and walls, creating delicate compositions and mimicking the adjacent hinterland. The natural limestone of the central fireplace, like the lush marble in the wet areas, was chosen to reflect the estuary sands of the nearby river mouth.

Wye River House Dale Cohen Architects

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Located within a rural context on more than two hectares of mostly sloping land, the residence establishes within itself boundaries between public and private domains, articulation of spaces based on the program and crafted interactions with the landscape. The floor plan creates opportunities for the integration of the work of others or to showcase their skills. Internal galleries lead to vistas - one housing a giant stainless steel ball and the other leading to the artists’ studios. The oversized ball reflects the residence - a mutually beneficial relationship and part analogy of art referencing itself. A highly pragmatic plan has sleeping areas to the southern section of the house. The layout provides two separate creative work spaces to one end of the floor plan. Separating this from the creative spaces and garage are kitchen, meals, and living which integrate along the glazed building perimeter to form an edge against the pool preceding the view.

The stone wall serves to bind the plan, forming a tension that holds the spaces together. Tension within the façade is alleviated by the clear glazed entry door, illustrating the freedoms offered by a rural site and facilitating a dramatic revelation of space upon entry.

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Yellingbo Artists’ Residence Michael Ellis Architects

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Abbotsford Residence Chan Architecture

The Abbotsford Residence involved an alteration and addition to an existing Edwardian house for a young family. The scheme transformed an inward facing dwelling to a light filled home with a focus on its connection to place and the outdoors. Works to the Ground Floor involved the construction of a new kitchen/living/dining space to the rear and modification of the existing dwelling to incorporate a feature staircase to the first floor, study, concealed laundry and re-fitted bathroom. The first floor incorporated a master suite with bedroom, ensuite, walkin-robe and balcony. The rear addition echoes the existing urban fabric through use of recycled bricks, references to the curved roof of a typical bullnose verandah and other choices of materials including corrugated metal cladding. The rear (western) façade was designed to reflect the large Red Box gum tree in the backyard through bold use of varying shades of green, reminiscent of the leaves of the gum. This green highlight is continued inside too, with use of green splashback tiles in the kitchen and re-installation of the original stained glass window which also incorporates similar tones.

A new self-contained timber pavilion added to a 1970s beach house on the Mornington Peninsula is an equally modest but contemporary extension of the original holiday home. It provides its owners with a legitimate retreat from the bustle of their extended families and engages its surrounds with its natural materials and simplicity. The practical brief required a new, selfcontained master bedroom wing, with living space, ensuite, study, kitchenette and deck, but at the owners’ heart was the wish to access views of the Mornington pier and Port Phillip Bay. This necessitated an elevated pavilion at the front of the site, with car-parking and storage below. Its tree-house form around an orthogonal plan is informed by the coastal typology and existing house, as is the predominant structural and cladding material of timber. The link between old and new is made prominent in a fibreglass joining structure which acts as a new entry to both elements and its thermal and aesthetic properties enhance the experience of the transition. Retaining the existing home and employing readily available materials and cost-effective construction methods kept the project costs to a minimum, while ensuring maximum site permeability and garden area.

Beach House, Mornington Clare Cousins Architects

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HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH The clients asked for a home that retained the formal qualities of the original 19th century house for entertaining but which also provided for contemporary family life. Buro designed a home in which the “old” and the “new” parts connect seamlessly, yet have distinct personalities. A perforated stone screen wraps the new pavilion in an abstract pattern, providing openness and light, while its solidity, colour and authority are in tune with the original house. From outside, the extension appears mirage-like and, at night, almost translucent.

Constructed from waterjet cut stone it had no identifiable precedent and required careful structural and aesthetic resolutions. The screen provides privacy, sun shading, and cross-ventilation. Its openness softens the interior/exterior boundary, helping to connect interior and exterior spaces. This boundary is further blurred by the patterned shadows cast on and within the house. The chiaroscuro effects and materiality of the stone screen influenced the choice of interior finishes. Natural stone and timber are used throughout as a consistent language within a simple grisaille palette. A glass link holds apart the old and the new to allow sun to penetrate the heart of the house.

Ferrars Place antarctica

Brighton House Büro Architects

A new pavilion wrapping around a theatrical courtyard joins a renovated terrace house on an inner city wedge shaped block.

New living space opens to a major and minor courtyard at ground level and the bedrooms in the old terrace connect to a balcony overlooking this garden space. This conventional arrangement is handled with gently twisting geometry and a wrapping of timber to contrast with the terrace and give the courtyard a memorable backdrop. The new design knits into its context simply by disappearing in the street. The courtyard creates a private realm which reconciles a Victorian streetscape and northern solar orientation. The design contributes to a sustainable urban environment, longevity and density. The design makes a luxury house in a 220m2 footprint on a 228m2 piece of land without a car space. It recycles a piece of 19th century building and chooses high quality materials for a long life. The approach chooses high quality design and finishes over land area and built volume; and proximity to urban life over garages.

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HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH Working within the rich history of Fisherman’s Bend in Port Melbourne, this house provides a modern take on the nautical traditions of the local area whilst binding itself to the terracotta roofed, precast concrete commission houses that provide so much of the suburb’s character. The fisherman’s bend knot, still a favourite knot of seamen today, is called upon to define patterns throughout the house in concrete, timber and recycled plastic. Orange panelled first floor wall cladding references the bright colours of the nearby shipping lanes, together with the terracotta roofs of the houses. The new building wraps around to enclose a courtyard that becomes the hub of the house with new living areas opening seamlessly upon it. Tapping into the rich history of the courtyard, the new courtyard offers sustenance with its outdoor barbeque, refreshment with it its cooling pond and a connection with nature. The end result sees an aging two bedroom commission house given a new lease of life as a modern four bedroom home that is robustly planned to suit differing households types and aging in place.

Fisherman’s Bend House Adam Dettrick Architect

The Fitzroy House project aimed to accommodate the functional requirements of a growing family, while also providing spaces that enhance day to day living and entertaining. The existing residence was renovated and extended creating a house that is highly responsive to its environment by maximising passive systems of heating and cooling. The relationship between old and new was of paramount importance, with the approach being to define the two parts yet link them together. Brick chips from parts of the existing house were recycled into gabion walls on the street elevation in reference to the local vernacular, with voids through providing glimpses of the modern zinc extension behind. The original exterior brick wall has been left exposed within the new addition with entries to the children’s bedrooms and utility rooms punched through and framed with deep timber boxed reveals. A central courtyard – developed in response to an existing garden the original owner had kept for his two sisters – extends the central living spaces, with sliding walls providing a seamless connection between interior and exterior. Natural light and ventilation was provided to existing bedrooms and new bathroom with the introduction of a light court.

Fitzroy House DesignInc

RESIDENTIAL ALTERATIONS AND ADDITIONS

HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH Forever House WoodWoodWard Architecture

Rising from under the eaves of a suburban bungalow in Surrey Hills is a new ’nugget-like’ pavilion. Fused onto part of the house’s triple-fronted façade, this pavilion mimics and expands upon the original dwelling‘s architectural language. Connections and disconnections are made between the old and the new, promoting a layered and evolving character. The clients’ brief was for a sustainable, flexible living space that was contemporary, whilst fitting in with the existing context. The Forever House does this by being both reverent and cheeky, radical and conservative. The original house is clad in a double-skin of clinker bricks. Commonly used throughout the 1930’s neighbourhood, clinker bricks have been unpopular in recent times. They have an unusual character - a kind of Tudoresque-Art-Deco. Instead of spurning this humble material, the Forever House reappraises and incorporates it. The purplish, burnt bricks are laid randomly along with their matte and glazed red cousins, producing an abstract, colourful fresco. On the large south-western wall the pattern is at its most powerful, taking on a decisively urban presence. The new pavilion’s materiality relates it back to the original house, but does so on its own terms.

This house had undergone renovation in the 1980s, converting it into a tropical resort style house, the Balinese influence evident in the heavy use of timber windows and doors, which now looked tired and dated.

With the family grown, the owners were ready for another transformation with the new emphasis being on entertaining and a more sophisticated look, without losing the warmth of the original design. New formal living and dining areas were created with views to the rear garden and pool, with timber screens to the adjacent informal living areas designed to open up the rooms for large scale entertaining. The original kitchen and breakfast room were retained in function but transformed into a spacious and contemporary heart of the house and with the new family room opening onto the pool and rear roofed terrace. Timber remains the dominant internal material, with natural oak flooring and dark joinery balanced with panels of white to contrast its richness. The existing windows with heavy timber frames were retained and stained dark, with the original glazing bars removed. This simple change has transformed the house from a fussy and dated appearance to a more streamlined but robust aesthetic, filled with light and flowing space.

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The Gallery House David Edelman Architects

HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH The starting point for this addition to a Califorian bungalow was its setting in a leafy and terraced backyard, providing inspiration for our design. The rooms were developed from a succession of platforms that follow the slope of the site and merge into the backyard making the garden the final destination of an upwards journey through the house. The internal zoning is clear and simple. The front, which leads to the family living spaces, belongs to the children. A stair behind the kitchen leads you to the parents’ wing on the first floor with access to a private roof terrace. We paid attention to balanced natural light, the effects of sun and shadows, the different characters and the relationships between spaces. The dining area downstairs and study upstairs are connected through a void, the stair is ‘hidden’, and dining and lounge areas are linked by a curved wall that defines the communal outdoor dining area. Building form and façade were developed to evoke the qualities of a tree, almost becoming part of the backyard itself.

Glen Iris House Steffen Welsch Architects

Hawthorn House AM Architecture

The starting point was a unique and dignified Victorian dwelling in Hawthorn which had become fragmented and incomplete over time. The task was firstly to restore the original heritage parts and secondly to delineate the modern part with a clear threshold and create a new indoor-outdoor living and entertaining area that would transform the existing addition. This begins at the rear with a timber framed and vine covered truss that spans over the ground floor living areas with minimal steelwork, repeating in a vine covered pergola that cantilevers over a BBQ area and the water’s edge. The pool, soon to be surrounded by Ficus creeper and overhanging vine, is intentionally immersive at 1.7m - 2.0m deep, as if a natural swimming hole.

Here you can leap into the pool from the deck or sit at the water’s edge under dappled light. The truss creates a formal gesture that sits comfortably with the heritage style, a decorative structural motif which continues the idea of Victorian decoration at the front of the building. Internally, architectural details from the modern addition are introduced into the heritage building to help create a continuity across the two distinct parts.

The single storey period cottage is a familiar sight in established neighbourhoods across Melbourne. This house, located in a street of Edwardian town houses, maintains the original frontage and the neighbourhood character while extending modestly into two storeys at the rear, providing a more contemporary amenity for the family of residents. The renovated interior of the house features softly vaulted ceilings in the hallways and rounded cornices that give it a quiet, contemplative feel. The finishes are refined but minimal, supportive of the clients’ well-stocked contemporary art collection. The extended section is an L-shaped kitchen, living, dining and covered outdoor space framed by an extended roofline and patio, like a boxed window looking into a harmonious space of family living. The horizontality of this rear extension is emphasised by its materials. In reference to old timber lean-to structures commonly found in the area, painted timber ceiling boards of this ‘lean-to’ extension run the length of the expansive space. This contrasts with the vertical black ribbed steel surrounding the exterior of the second floor bedroom wing.

RESIDENTIAL ALTERATIONS AND ADDITIONS

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Hopetoun Street b.e architecture

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HOUSE House Andrew Maynard Architects

The flat typographical conditions of Melbourne have resulted in suburbs with low-density housing and large building footprints. In contrast, HOUSE House is a narrow and vertical addition to two existing Victorian terrace houses. The new structure is built in a different orientation to the existing houses. Each level is unique in function and personality. The shared and living spaces have inconspicuous and blurred boundaries.

The dining room, kitchen and backyard open onto one another. The fence along each house can slide away.

A perforated stair is situated between the existing and new structure. The perforation provides finesse and transparency to articulate the separation between old and new. A material palette of contrasting steel and timber has been implemented throughout the project.

Reminiscent of scar tissue, raw structural steel is applied to the space that is ‘cut out’ of the existing building and structure. HOUSE house engages with Melbourne’s tendency to tag buildings. The timber box when facing the street is painted black. The black graphic is representative of the child-like image of a suburban home. Here we see the overlap of two distinct approaches to the single-family house – the stereotypical home overlaid on the import.

House Reduction MAKE architecture

Located in a dense, inner urban area, the efficient planning of this house has meant that there was an actual reduction in its internal footprint. As an alternative to the large ‘box on back’ extension, this project looks at how smaller spaces and multifunctional rooms can provide a large family with the space it needs.

The existing house has been reduced and a flexible studio space has been added.

With two energetic teenage boys to accommodate, the project became an exercise in squeezing suburban amenity into an urban site. We see the move towards smaller, more flexible houses as an essential response to conserve resources and reduce carbon footprints. The existing Victorian building has been modified by extruding the hip roof form to the rear. External screens provide flexibility and allow the living spaces to expand and contract. Built-in daybeds and joinery maximise the efficiency of the house and provide wonderful places to sit and enjoy the sun. The project makes a positive contribution to the neighbourhood by treating the busy road at the rear as a valued street address. The back of the house has been designed as another front and the studio-garage engages and activates the street.

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HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH Positioned on a hill overlooking the city, the house was to become conceptually linked to rekindling childhood nostalgia. We took a nursery rhyme, a childhood memory, the story of Jack & Jill, and used this as our starting point. The new spaces, like Jack & Jill, were designed to tumble down the hill – to break apart and spill open toward the view and the sun. Unfurling downward in a series of terraced platforms and volumes, Jack and Jill house is tactically configured by its context. Nestling into the landscape, greater internal volumes are achieved without breaching the contextual script.

With this approach, the new spaces may be passively conditioned, employing thermal mass, overhangs and awnings to mediate or promote solar gain. From within the open plan or on the decks beyond, occupants are visually connected throughout. Unhindered sightlines allow interaction between dining, kitchen, booth seating, living room and adjoining decks, promoting various modes of social and spatial habitation. Parents can observe their children while joinery, decked and grassed planes are inhabited and re-appropriated through play.

Both robust and playful in palette, the addition addresses a common archetype with an innovative and varied spatial solution.

Kew Extension Windiate Architects

Jack & Jill House Breathe Architecture

The new addition to the Kew house is respectful of the existing heritage building, complimentary with its simple form and clean lines, enhancing the old building as well as standing on its own feet as a simple considered piece of architecture. The brief was achieved by replacing the tired old single storey extension with a much more open and fresh series of spaces, an uncluttered bathroom with an elegant feature bath, an open-plan living space connected physically and thoughtfully with the backyard and pool and a new master bedroom with ensuite adding simplicity to the upper level. The newly renovated first floor bathroom sits with both period features and contemporary clean lines. The external materials define the form with the use of feature grade spotted gum lining boards and black zinc cladding – a simple contrast in texture and colour. The house already has well defined areas for living and the new open plan area creates a threshold between the old house and the backyard – a space for all the family to enjoy. The interior furnishings

by Shelly Joyce from Design Fundamentals added an elegant touch to a relaxing and much enjoyed home.

King William Street House Edmond & Corrigan

This inner suburban residential extension, located in Fitzroy on a narrow sloping site, challenges the norm of providing a large open living area contiguous with the rest of the dwelling. The Room is sited away from the main dwelling, linked via a glazed corridor which faces a small contemplation courtyard. This inner courtyard also enabled the new north facing stacked bedrooms to reflect the original bluestone fabric form. A small balcony on the roof of the link provides a discreet view of the courtyard as well as accommodating the services infrastructure. The regulatory requirements for side boundary wall heights and lengths were overcome by sinking the floor level. The ceiling height in the Room was augmented by a large clerestory roof with 360 degree operable louvres. By grounding the Room in the middle of the conclave of private open space rear gardens, the extension has added to the frivolity of the back lanes of Fitzroy.

RESIDENTIAL ALTERATIONS AND ADDITIONS

HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH Miller Street three c architects

In inner Melbourne a contemporary two storey volume sits between a Victorian cottage and a garden, offering a family of five an alternative to the Australian quarter acre dream. A mezzanine perched above the neighbourhood looks east into a garden and west towards the MCG parks and city skyline. Here the parent’s bedroom, open sided, provides the fourth bedroom required until the kids grow up and leave. Then it will revert to a drawing and sewing room.

The scale of the Victorian house has been respected and interpreted. Materials, like pressed metal, are used in new ways so that the dwelling feels like an evolution rather than a dismissal of the past. The bitumen and concrete of the Richmond streetscape gives way to the green grass of the garden.

The Victorian focus on the presentation to the street is replaced with a celebration of the rear façade. The dark rooms of the cottage evolve into a double height, light filled wall of glass. The backdrop is a collection of trees - lemon, nectarine and native hedges.

In the foreground a date palm is a remnant from a time when the house was occupied by a servicemen returned from the Great War.

“It looks like a mullet don’t ya reckon? It’s formal up front with the party out the back!

But I’m no architect…” – Anonymous (conversation overheard on the street). ‘The Mullet’ performs contorted gymnastics in order to facilitate an ambitious brief on a small, yet opportunistic site. The ‘fun’ begins to emerge when rounding Hardiman Street. “I don’t like it,” says one of the locals during construction.

“It’s not in keeping with the area.” The new extension is not meant to be sympathetic to an older style but rather has been shaped by the clients’ brief, solar access and one of Melbourne’s best views back onto the city.

Soaring above the living spaces is the black zinc roof. On the northern edge, the roof is pulled up to increase natural light to the northwest corner and pushed down to the neighbouring building on Hardiman Street on the northeast so as not to overshadow it.

On the south side, the operation is reversed and the southwest corner is lifted to create a framed view of the city. This simple twisting operation grabs light and views from two corners and anchors the remaining two with rain heads falling to collection tanks.

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The Mullet March Studio

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HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH North Melbourne House Basset Lobaza Architects

This two storey house is located in a quiet, leafy inner Melbourne street. The project involved the careful restoration of the front of a heritage-listed Victorian polychrome brick terrace house and extension of the original structure, converting it into a light-filled, comfortable home for a family of adults. The existing skin of the building has been retained with the front façade impeccably restored to its original grandeur, playing an important role in the streetscape as a whole. Historic charm characterises the front of the house which opens out to the rear extension comprising light and airy living spaces.

The northern walls comprise full height glazed doors which concertina open, seamlessly connecting indoors and out. The transition from old to new is handled carefully, with a glass wedge separating the adjacent forms. Family members are accommodated in independent wings, however an overall sense of connection and conviviality is achieved. The dichotomy between the controlled, solid street elevation and the more sculpted, open northern aspect balances privacy and seclusion with an inclusive and generous living environment.The re-use of this heritage building provides a sustainable solution, celebrating the charisma of the historic fabric whilst fulfilling the needs of a contemporary context.

Paris Opera, Collingwood The Rexroth Mannasmann Collective

In this project a specific historic example - Charles Garnier’s Opera de Paris – is dissected and transformed to inform a post-industrial space closer to home.

A three storey brick warehouse shell in the Foy and Gibson complex in Collingwood has been remodelled from a 200m2 bedsit to a flexible two bedroom apartment. Reworking the idea of stage, theatre box, and back-of-house required a re-examination of domestic space and introduced playful drama. The ‘front’ areas become stage and revel in the glory of the building’s heritage. Vertical circulation is inserted into the deep isolated ‘back’ of the plan to provide filtered natural light and snippets of views. The ‘middle’ is the interstitial blackness between foyer and seats, between dressing room and stage, the furtive shadows at the back of the theatre box. The public ‘display’ spaces are treated with rich, patterned lavishness. Economical materials are often used inventively to achieve this effect. In contrast, the back-of-house palette is honest and utilitarian. The project seeks to achieve overall cohesion between both front and back and between old and new. Like the Paris Opera, this project uses revelation and concealment to create tension and theatrical effect.

RESIDENTIAL ALTERATIONS AND ADDITIONS

HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH The Park Lane house is an Alteration and Addition project which is also concerned with urban design. Formally, the architecture is reduced to platonic volume or emblematic and suggestive forms which serve the aesthetic and functional requirements of the interiors. Materials are chosen for texture and durability to support the formal expression and to delight aesthetic sensibilities. What is perhaps most interesting about this house is its function as a component of urban design in its neighbourhood.

The highly exposed site, bound by street, lane and park on three sides, uses a mutually supportive synthesis of architecture and urban design to do a lot of work.

The austere and suggestive forms which face the park and lane provide a substantial presence, appropriate in scale and quality for their role in the urban realm.

Simultaneously, these forms provide privacy to the interior which can be modulated at key points on the ground level from opaque to transparent. A spectacular eucalypt tree at the rear of the site is a gift to the project – architectural form and program nestles under its generous canopy. The building might outlast the tree, but its legacy will remain and hopefully be suggested in its successor.

Park Lane House Kennedy Nolan

The Profile House offers an evocative tribute to the defined industrial typology of Brunswick East in Melbourne’s inner north. Simple planning creates clean, elegant, and sculptural internal living spaces. Seeking an addition to their typically dark Californian Bungalow, the clients placed emphasis on the sustainable performance of their future home. Accordingly, they described a space with a feeling of openness, lightness and visual continuity, connecting their home and landscape. The defining character of each internal space is the high, undulating ceilings which, along with a central wharf-decking courtyard and smaller light-well to the west, allow natural light to penetrate the entire plan. This strong internal vertical profile extrudes to form the western elevation. Clad with roughsawn overlapping Victorian Ash timber, this distinct contour continues along the western boundary as the defining architectural expression of the Profile House.

In addition to the retention of three front rooms and the central bathroom, the plan now features a re-worked kitchen and dining area, an informal children’s area, and new living space. A new main bedroom, en-suite and private garden are also incorporated. This compact, economical and highly livable outcome strengthens family engagement and visual communication, reinforcing the relationships between space and activity.

Profile House Black Line One X Architecture Studio

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HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH The project is an internal addition situated within the confines of a c.1930s button factory/warehouse in Clifton Hill. We were asked to produce a design which would freely accommodate the complexities of a blended family whilst expressing a strong sense of the original building’s fabric and spatial organisation. The project re-inhabits the former storage and production spaces of the existing building through a carefully composed assemblage of new floor levels and blind plywood volumes, reinstalled as new elements inside an old space. The project uses mainly carpentered materials including light-coloured plywood, recycled hardwood, rough-sawn softwood, exposed galvanised sheet and painted steel, contrasted with brown and black form-ply and factory-painted flush-faced door panelling. The detailed combination of these materials expresses the process of construction and assists in re-introducing the design’s new elements to an existing palette of stained oregon, weathered concrete and sometimes-painted brick. In general, the project re-examines how to adapt a typical warehouse space into something able to be enjoyed domestically and sustainably whilst maintaining an authentic engagement with its former context.

Roseneath Street Warehouse Staughton Thorne

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Shelter Shed multiplicity

Upon being presented with a run down building on a badly orientated and somewhat awkward site, with neighbours nudging up close in all directions and a wishful budget, our initial design response was to keep it simple and provide our clients with a shed of raw black steel - a solution which has proven successful for us in the past. We hoped that it would be used both structurally and decoratively for lots of the extraneous things needed internally. We were also responding to an in-office challenge to use something new from the Hafele catalogue and a need to keep the construction as minimal as possible. The simple shed ultimately ended up being more complex than ever imagined, but undaunted and with a known and trusted builder on board, we proceeded to negotiate the contract sum.

What we have delivered is a highly detailed and personalised building. It is both robust and suited to nurturing the growing family that now occupies every inch of it.

RESIDENTIAL ALTERATIONS AND ADDITIONS

HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH HHHHHHHHH Victoria Road House Fiona Winzar Architects

The crescent shaped addition to this home in Victoria Road is an unexpected rear extension to a charming but formal Victorian villa in one of Melbourne’s most conservative suburbs. Instead of the box on the back, this extension is the remnant of a circular cut-out made into the rear north facing back yard. Housing a fluid arrangement for living, dining, and kitchen areas, the new space is as much about experiencing the private garden and pool beyond as it is about being within the space. The new addition is a contrast to and questions the structured, cellular formality of the original dwelling by providing a new freedom in the social hub of the house.

The project is layered with an eclectic mix of references and personal meanings for the client, though the references are familiar enough to have universal appeal.

However, the light-weight pavilion form, passive energy design and material use are recognisably Australian.

The White House is a single fronted weatherboard terrace with its beginnings dating back to the 1870s. Now designed for a couple with a child, the intent of the house is to embrace and engage with its surrounds while providing a high level of amenity within the confines of a single terrace block. The ground floor retained two existing bedrooms and a central bathroom. Added are a new kitchen and dining space with a separate living area facing onto the back garden.

A new first floor houses a large main bedroom and walk-in robe, with an incorporated study space. Adjoining is a bathroom along with a second living area. Up another level is the roof terrace offering views over neighbouring rooftopsto the city beyond. The original form of the house retains a simplicity, heightened by its singular colour – white.

The purity of the white façade gives boldness to its street context without being unsympathetic to the character of its surrounds. The upper levels appear as a pure form in black, disguising the lofty light filled spaces and roof terrace within, whilst providing a skyline silhouette to the pureness of the existing white house.

The White House Nixon Tulloch Fortey Architecture

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GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG 33M Elenberg Fraser Architects

Vertical articulation of 33M references the complexity and vertical expression of Melbourne’s skyline. The building’s massing is split into a set of volumes. These volumes are articulated by a number of vertical grooves on the façade of the building. The heights of the volumes vary, mediating between the predominant vertical expressions of the CBD high-rise buildings and the lower Carlton area, giving the building its vertical expression. The tower façade com­­­prises exposed precast concrete panels and recessed balconies with full height tinted glazing. The precast concrete panels are of a textured off-white finish and are articulated with a formed pattern providing relief and shadow. In contrast to solid precast tower walls, the recessed balconies, the glazed balcony balustrades and full height bronze glazing to the balconies expose the inner surface of the building. This inner surface reveals the sparkling and polished core of the building. Positioning the communal functions on the rooftop terraces with views over the CBD and surrounding suburbs creates quality communal spaces, bringing the concept of a vertical urban resort to the development.

We believe that our buildings should tell a story, that of our suburbs and the architecture we have built over the last 200 years, but especially of our recent past which is within reach of our own living memories. Hence we develop multiple layers to the narrative we build.

We always start with the street and the context, materials and scale being the important cues here. The type also offers much food for thought as we bring the necessary invention to the architecture and lastly we expand the project through additional layers to offer a sense of play to internal and external spaces, with the use of graphics or with our integrated art collaborations. The affordable housing development at 87 Chapel Street, St Kilda is one such project. It consists of 2 four storey apartment buildings, comprising a total of 81 units, joined by a basement car park for 70 vehicles, providing a well considered residential development that addresses local and regional needs for housing. The project is the undertaking of the Port Phillip Housing Association and includes a commercial component to ensure the Association’s financial sustainability in the long term.

A Place to Live SJB Architects

87 Chapel Street MGS Architects

Relationship of Built Form to Context: the site provided the opportunity to separate the built response into three distinct and separate buildings fronting Burnley street, allowing a lower scale apartment building and the town houses to respond to Davison Lane. Through the articulation of the façade and balconies and a bold use of colour, the development responds to the gritty nature of Burnley Street and the busy traffic intersection with Victoria Street, and also acts as a counter proposal to the monolithic and utilitarian nature of the Victoria Gardens Shopping Centre. To the west of the site along Davison Lane where the development addresses the more familiar fine residential urban grain of Richmond, the architectural response was to break the mass into smaller, individual townhouses or units, which better respond to the language of the traditional workers’ cottage typology found throughout this suburb. The car parking and servicing has been located within the development to allow the apartments to wrap the façade and maintain activity and passive surveillance over the surrounding street.

RESIDENTIAL MULTIPLE

GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG Aerial was conceived as a confident, positive and optimistic architectural gesture resulting in an elegant and dynamic contribution to its urban context.

Designed as a sinuous, sculpted structure, its changes in height and setback alter the perception of the building’s size and shape from varying points of reference. The elliptical forms collapse away from the viewer’s perspective, resulting in a visually dynamic addition to the junction that avoids overwhelming the existing buildings. Space is established between the building forms to reduce bulk and increase amenity.

These curvaceous, flowing shapes embody a sculptural quality that contrasts with the rectilinear junction.

Light moving around the objects during the day enhances the three dimensional quality of the design.

The timber podium screen curves in from the footpath and aligns with the existing buildings at either end of the site. The deflection of the podium screen creates a public space at street level, providing opportunity for a protected and activated streetscape less dominated by the busy intersection. This improves the current narrow and harsh street edge. The towers, setback from the building edge and arranged in a radiating group, present a soft, oblique, rounded edge to an otherwise hard streetscape.

Atherton Gardens Social Housing and HUB Development McCabe Architects and Bird de la Coeur Architects

Aerial Apartments Wood / Marsh Architecture

The Atherton Gardens Social Housing and Hub development comprises 152 energy-efficient affordable rental apartments, youth support services, maternal and child health facilities, retail and a childcare centre for 120 children. The building sits directly on Brunswick Street, rather than being setback within the public housing estate, purposefully drawing the wider community into the estate and re-connecting the estate to the heritage streetscape. Residents are provided with a safe, desirable and stimulating living environment. The design approach is derived from studying the surrounding Victorian terraces. Like them, the building has a formal front façade and an informal rear. The innovative woven brickwork pattern responds to patterned brick buildings in the neighbouring streetscape. The pattern has a textural and warm appearance, like fabric, and uses a low-maintenance combination of inlayed brick and exposed concrete. Behind the Brunswick Street façade, the formality of the building becomes decidedly informal, where ordered and decorated fronts give way to a collection of lean-tos and out-buildings. The layering of the five different apartment types and brightly coloured seraphic glass balconies on clean concrete panels creates an exciting, informal domesticity. All apartments have balconies, many with extraordinary views, connecting residents to the street and the adjacent open spaces.

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GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG Replacing a rundown old block of beachside flats on a terrific square-shaped parcel of land on the beach at Aspendale, this project comprises three private residences. Each is built over two levels with commanding bay views. Upon arrival, the three dwellings are identified by three stone clad cubic forms which combine to establish a rhythm or pattern for the street and the recesses in between incorporate the entrance to each. The privacy of the street façade leads to a haven of natural light and volume within, culminating in three further seaside cubic forms clad in zinc and providing a protective environment for the occupants. Within, the program is defined by a north facing private courtyard that allows the occupants to sit in the sun, yet out of the commonly uncomfortable south-westerlies that prevail across the water. The courtyards are the key to each dwelling, configured differently in each to suit the micro-conditions.

Significantly, they encourage a strong inside/outside connection and the ability to use the outdoors even in winter when they act as a sun trap. For the most part, the dwellings provide passage for cross ventilation year round while maintaining the important link to the view for the occupants.

Coppin Centre ThomsonAdsett

Bowman Street Wolveridge Architects

The first stage of a new long term masterplan was completed in 2012 for this prominent inner city site. Once all of the stages are completed the site will incorporate high-rise living, multi-storey car parking, a service building and dementia and transition aged care.

The brief was to develop a new building which would fit between an existing 1995 high care wing and a Chapel to house 106 aged care beds along with community care, day therapy and administration for the whole Royal Freemasons organisation. The client requested that the building retain some of the existing Masonic Royal Freemasons heritage from the site. The design team decided to retain the existing Masonic temple façade to Coppin Hall which was demolished to make way for the new building. User response to the development has been extremely positive, especially from the relatives of residents who visit on a regular basis. They see a contemporary, light and bright building which will serve its purpose well into the future and resembles a high quality hotel rather than an institutional home for the aged.

The Face offers 35 apartments ranging from 39m2 studios to 240m2 three bedroom terraces, as well as 450m2 of retail space at ground level. The four storey volume of the building is conceived as a singular extruded volume with various interfaces determined by contrasting site conditions and aspects. The building’s primary orientation is to the Acland Street/Carlisle Street corner, but it also addresses the public realm flanked by the tram interchange, O’Donnell Gardens, and Luna Park. By embracing the idiosyncrasies of St Kilda we have extended and reinforced this sense of civic quality in the architecture. The building is designed as an abstract, ornate object, standing as a sculptural element in the ‘plaza’ of the Carlisle/ Acland Streets intersection. A rendition of Luna Park’s Mr Moon face becomes, metaphorically, a visual link to the Carlisle Street façade.

The source of The Face façade is Salvador Dali’s 1937 painting ‘Sleep’, which depicts a face propped up on crutches. We have conceptually extruded it along the south elevation of the building.

On the north-east and north-west façades are the drawers that open out of Salvador Dali’s 1936 painting ‘The Anthropomorphic Cabinet’ and his 1937 ‘The Burning Giraffe’.

RESIDENTIAL MULTIPLE

The Face ARM Architecture

GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG Kyme Place Rooming House was made possible by a partnership between the City of Port Phillip, Port Phillip Housing Association and The State Government.

The rooming house provides accommodation for 27 social housing clients and retains the council owned carpark.

The design repairs the urban fabric by providing an active frontage to Liardet Street and creating a transition between the retail development to the west and residential neighbourhood to the east through built form and materials. As with most community housing, the project attracted both considerable community interest and concern, with the proposal being confused with a poorly managed, private boarding house typology. This could not have been further from the truth as the project was envisaged from the very start as a “BIG HOUSE” rather than an institutional building. The big house idea is evident in the transitioning of the gabled four storey form to the adjacent one storey neighbour. It’s also evidenced in the choice of materials and construction, comprising brick, timber and tiled gables, a colourful palette and highly decorated forms. The development features passive design solutions to maximise environmental sustainability, which together with the social sustainability agenda it meets, makes the development sustainable on many levels.

La Trobe University Residential Accommodation, Wodonga Billard Leece Partnership

Kyme Place Rooming House MGS Architects

The Wodonga student accommodation provides residential support for students studying in rural and regional areas to access ongoing studies. The accommodation provides 28 beds, amenities and common areas, kitchenettes, internal dining areas, external breakout space and carparking. The pair of two storey buildings sits within a greenfield student accommodation precinct adjacent to the main spine of the campus. The site provides an idyllic pastoral backdrop, with rolling hills, expansive grasslands and aged gum trees. The buildings’ material and colour palette reflects the rural context. The design provides a strong sense of communal space, both within the residential precinct and each individual housing pod. The bedrooms, support spaces and circulation of each building are arranged around a north facing courtyard, with views into the courtyard from living and circulation areas, while individual student bedrooms are located with outward looking views. Large windows in all bedrooms provide natural light, views and natural ventilation. Slimline bricks play upon the scale of the building and accentuate the linear aspect of the landscape. A blend of grey and brown tones reflects the rural context and provides the building with a distinctive character and quality.

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GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG Leopold SJB Architects and Fender Katsalidis Architects

The Carlton Housing Redevelopment is an urban renewal and community development project that provides housing and associated facilities for the entire Carlton Community.

Stage 1 involves the construction of 3 apartment buildings (N1, N2 and N4) on the northern part of the Lygon/Rathdowne Precinct, delivering a total of 174 apartments. The project delivers significant social, economic and environmental outcomes through an integrated mix of public and private housing, community facilities and public parks. The buildings, designed by Daryl Jackson and his team, establish a distinctive urban presence, not one of a monolithic kind, but rather of a stratified elevational type where privacy, outlook and occupied “outdoor balcony rooms” face the surrounding streets and courtyard garden to provide fundamental value and comfort for the people who will inhabit them.

Building N1 Social Housing apartments consists of a range of 1, 2, 3 and 4 bedroom apartments with the bulk of the larger family units located on the lower levels of the building for the amenity of users. Private apartments are located in Buildings N2 and N4.

All apartments have access to large areas of private open space with the above-ground apartments each provided with a balcony.

Leopold Apartments is an adaptive re-use of the former Becton Headquarters. The existing 8 storey monolithic black stone and glass commercial building has been transformed into 176 new residential apartments through the addition of new lightweight floors added to the existing building, in a design solution that stitches the old and new components into a cohesive, new residential identity in the St Kilda Road boulevard. This project continues the progressive return of residences into the St Kilda Road boulevard and acknowledges the benefits of clever adaptive re-use of older commercial stock into new residences. The design optimised the retention of the existing building and allowed for a highly efficient recycling of the structure, floorplates and façade. The existing building’s structural grid was tested to accommodate the most efficient apartment pitch that maximised the amenity of the new apartments. An innovative structural solution was to add 6 more storeys over the existing 8 storey structure, using a lightweight construction over traditional construction. The conversion of an existing commercial glass box through adaptive re-use into a residential development by using balcony structure gave the building form, articulation and a residential character.

Living Carlton (Stage 1) - N1 N2 and N4 Jackson Architecture

RESIDENTIAL MULTIPLE

GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG Living Carlton KN1 & KN2 Jackson Clements Burrows

Buildings KN1 and KN2 are two separate buildings, 3-6 storeys high, located at the corners of Swanston St, Cemetery Rd, and Cardigan St. The buildings separate the functions of public and private housing, but are architecturally designed to be indistinguishable.

Building KN1 is a Private Residential building containing 42 apartments. Building KN2 is a Public Residential Building and contains 50 apartments. The apartments consist of a mix of 1, 2, 3, and 4 bedroom apartments. The buildings are set amidst a series of leafy courtyard gardens. The design provides natural light and ventilation to the corridors, with good solar orientation and natural ventilation.

The building façade pays homage to the existing heritage buildings on the site. Transposed upon its surface is a pixilated, abstract pattern of an iron balustrade referenced from a Carlton Victorian terrace house. Distinct vertical forms and roof parapets with staggering heights resonate further with the surrounding handsome typologies. A bold mixture of natural and dark coloured concrete wraps round the building, juxtaposed with glimmering slivers of subtle colour. Orange film lines the openable windows, while green accents and feature timber lining on the balcony recesses serve to enliven the façade’s design. We believe this project makes a positive contribution to the Carlton locality.

Elenberg Fraser’s new four storey residential project Luna on Barkly St, St Kilda, is based on Princess Leia’s infamous ‘dancing girl’ gold bikini, featured in Star Wars, Episode VI: Return of the Jedi.

The shimmering gold glass and metal mesh materials are matched perfectly with the colours and textures of Leia’s gold brassiere.

According to Callum Fraser, ‘the science of the building is the science of perception’. The metallic skin seems almost intangible, hovering between reality and fantasy – a comment on the tension between the interior and exterior self. To address privacy, light and visibility issues, we designed an operable shutter system, which surrounds the entire building, protecting the interior and housing a series of lights, which offer residents ultimate control over not only what they see, but what others can see of them. Switching the inside lights on reflects the interior of the apartment onto the windows, and people outside can see in, however leaving the outside lights on illuminates the interior, turning the windows transparent, and people outside are prevented from seeing in by the reflection of the lights on the glass.

Luna Elenberg Fraser Architects

Malvern Hill SJB Architects

Malvern Hill is an example of how thoughtfully designed medium density living can complement an existing established neighbourhood. Located on a 1.0 hectare site of the former “MECWA” aged care facility, Malvern Hill provides a range of diverse apartment types set in a “gardenesque” environment. The introduction of “Warner Lane” through the middle of the sloping site reconnected the property with the neighbourhood as well as providing a new identity and address for the project, with two distinctive stages. Stage one of the project for our client was branded Malvern Grove and completed three years before Malvern Hill. The site also adjoins a commercial precinct on Malvern Road, providing additional height and density for the project, away from the low-rise apartments which have an interface with single and double storey existing dwellings on Elizabeth Street.

A series of courtyards and landscaped zones have been arranged throughout the site to enhance the outlook, amenity and open space for the new apartments.

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GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG The Maze Apartments CHT Architects (Carabott Holt Turcinov Architects)

The Maze Apartments is a five-storey building comprising 32 apartments.

The concept behind its façade evolved through the exploration of graphic patterns and how they could be manifested in contemporary architecture.

The found geometry of a maze was projected onto the façade grid, informing both the composition and placement of architectural elements. The spandrel weaves balconies and windows in a ribbon-like manner, adhering to an order, yet creating a non-repetitive façade that becomes the built diagram. Essentially, the building is an orthogonal block that has been carved into with intent and precision. The materials are inspired by Melbourne’s apartment typologies, yet are applied in a way that liberates them from their typical use. A nonrepetitive composition of concrete forms, floating between ribbons of glass and planes of timber, results in a unified, identifiable and resolved presence.

With its raw and robust materiality, the building is sympathetic to Richmond’s industrial history, while referencing the area’s current residential and com– mercial uses. It also serves as a contemporary example of residential architecture. The stacked floor plan meets the client’s commercial objectives without compromising the architectural aspirations for the building. Apartment typologies reflect current market trends with high-quality detailing and finishes.

This project of sixty nine apartments in Altona explores a nexus between the surrounding suburban neighbourhood and denser housing development models. It reinterprets the suburban vernacular over multiple levels to create a connection from the street to the main entrance. The focus of the project is a gathering space, somewhere to look into or be watched from, to be dropped off or wait vfor a friend or relative. But unlike the spaces within the perimeter block plans used in European cities, this space is without formality.

The veggie patch is here to be tended to by the residents as are the “front yards” of the ground floor tenants. This project is the only apartment complex in an area characterised by single family dwellings. Funding for the development came via the ‘Social Housing Initiative’, through the Commonwealth’s ‘Nation Building’ economic stimulus plan. In accordance with DHS objectives, the building provides independent living accommodation for residents with disabilities and includes communal spaces, community gardens, private open space and disability access provisions throughout.

Parking, driveways and streetscape planting, as well as a number of existing mature trees which were retained, preserve the established character of the site which borders a council reserve.

The Nicholson DesignInc

McIntyre Drive Social Housing, Altona MGS Architects

The architectural design for this Places Victoria (formerly VicUrban) initiated affordable housing project combines a direct response to the urban context with an imperative to create a better quality affordable housing development. Stepped forms and fine grain articulation eases the transition from medium density housing into a semi–suburban streetscape. 199 fully modular apartment units are stacked and articulated around a shared common green.

This ground breaking mixed–tenure housing model includes 110 privately owned units alongside 89 social housing and affordable rental units. The project aims to provide a bookend to the existing Urban Village and creates built forms that relate to the scale of the adjoining neighbourhood, signifying the transition from suburban housing to retail and commercial activity. The offset building height promotes access to light and views, and opportunity for greenery without extensive ground level site remediation. Sustainable design solutions have been fully integrated into the building and landscape design. These range from passive design fundamentals such as maximising winter sun and cross ventilation, to greywater reuse and solar hot water panels.

RESIDENTIAL MULTIPLE

GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG Pulse Apartments Architects EAT

Originally named the Oasis Apartments, this is a PublicPrivate Partnership development of the former waste depot at Inkerman Street, St Kilda. Our brief was to design the remaining two buildings (of the total six) facing Inkerman Street. The 101 units are split into two 5 storey buildings which are positioned on an existing podium slab which covers the basement carpark.

We kickstarted our design with a series of warming-up exercises in which images were stretched, compressed, and stacked to form a rectangular collage, resulting in a draft design which was later fine-tuned to correspond with the previous approved envelopes and existing basement structure. Working closely with two project artists, we hope to provide through integrated arts a strong public quality and positive contribution to the street.

These artworks deal with the pedestrians’ perception of scale and distances, much in the same way as our buildings. We incorporated into the apartment interiors some of the design characteristics regularly employed in our domestic projects. Lobbies are naturally illuminated and ventilated, while timber battens and bluestone cladding provide different tactile experiences. Apartment bedroom windows are directly connected to the outdoor with louvres allowing maximum ventilation. All top floor apartments feature skylights over showers.

Raven St Development Onoff Architecture

Onoff Architecture is a small practice working in the housing sector. In terms of sustainability, passive design measures have been deployed at Raven Street. Shaded double glazing is concentrated around the north facing courtyard spaces and concrete floors provide thermal mass to capture heat in these areas. Additional retractable shade awnings are provided to improve amenity in the main courtyard areas. Materials have been chosen for their long term durability and ability to weather with minimal maintainence. A solar powered hydronic heating system is provided in each unit along with a solar hot water service. Rainwater is harvested in underground tanks. The project generally seeks to demonstrate the viability and desirability of urban consolidation. Within its immediate context, the project’s formal aspect contributes to the streetscape. The underlying motive of the project is commercial in nature.

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GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG The River Homes Precinct at Yarra’s Edge is part of Mirvac’s redevelopment of the Docklands on the northern banks of the Yarra River.

The medium density multiple housing precinct, designed and documented by Mirvac Design, contains eighty six town houses with three distinct house types including Home Offices, Terraces, and River Homes. The project provides a substantial public realm contribution commensurate with the needs of the immediate and surrounding communities along the Yarra River. A new promenade foreshore walk and substantial landscape component deliver a sustainable public realm contribution to the greater Melbourne community. The architecture is distinctive and integral with the surrounding fabric, reflecting the urban grain characteristics and materiality of the residential neighbourhood architectural heritage. The architecture is legible and delivers housing typologies which activate the foreshore and Lorimer Street. The Home Offices provide commercial shop fronts meeting the authority requirement for a commercial urban boulevard characteristic. River front homes with courtyards and roof top terraces overlooking the foreshore promenade providing passive surveillance over the public realm. Sustainable initiatives include water sensitive urban design and the inclusion of rainwater storage, a precinct-wide fibre network and efficient materials, energy and water appliances.

Roi Apartments Bird de la Coeur Architects

River Homes at Yarra’s Edge Mirvac Design

On a land-locked acre in Fitzroy, hidden behind Nicholson street, sits Roi Apartments. With a sense of surprise the 172 apartments are ‘discovered’ at the end of Bik Lane, sited around a generous north-facing courtyard. The provision of shared public space is a key element in the spatial configuration. In its neighbourhood of small timber workers’ cottages and remnant industrial buildings, its generous and light-filled foyer and courtyard provide an element of surprise. The development creates new linkages through the site and to its neighbourhood. These spaces are the ‘democratic’ spaces – generous and uplifting, and shared by occupants of the entry-level one-bedroom apartments as well as the larger apartments. More important to us than the provision of facilities with on-going costs like a pool or a gym, is the proper orientation of the building around a north-facing courtyard with the foyer becoming the extension of that arrangement. The apartments are identifiable individual units, articulated as a series of staggered boxes around the courtyard, creating privacy and roof terraces. Mostly the form is key to the idea so materials are left raw - off-form structural V-shaped columns provide a muscular expression and sit alongside stone paving and timber blades.

Rue de Chapel contributes a new layer and dimension to the Chapel Street precinct. Located along the vibrant retail strip in Prahran, the challenge was to address the sensitive interfaces of the adjoining heritage buildings and the proximity of the Stonnington Town Hall opposite. The design allowed for the conservation of the existing heritage building along Chapel Street with a communal landscaped deck set behind the façade. Rising above the residential levels, the building creates an elegantly proportioned and finely wrapped architectural form that provides a counterpoint to the cacophony of shapes, colour and sound that defines the Chapel Street experience. The introduction of apartment living right on the ‘strip’ led to a solution of wrapping the apartments in a semi-transparent, perforated, diaphanous skin, effectively cocooning the occupants and also contributing a strong architectural identity to Chapel Street. The subtle perforations and the adjustable quality provide an operable, breathable and acoustic surface which delivers variation and depth. The pattern of the tree super-graphic stretches over the entire façade, folding the surface from Chapel Street into King Street, thus creating an architectural ‘greening’ of the building and a treatment of the apartments as an urban art proposition.

RESIDENTIAL MULTIPLE

Rue de Chapel SJB Architects

GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG The building name ‘Serrata’ derives from a botanical term describing the saw-tooth edge of leaves on some coastal plants. The serrations protect the leaf from buffeting winds. There’s an affinity to both the architectural form of the tower as well as the folds incorporated into the podium/public space that ‘holds’ and protects people. A principal aim for this fifteen level apartment building in Docklands’ Victoria Harbour is to create a sense of place and intimacy of scale through connections between exterior and interior composition, materials and community. Emphasis is on the interaction between residential and public space and how this contributes to liveability – meeting key policy aspirations for the ‘Second Decade’ of Docklands. A second key aim is to achieve a low carbon footprint building and the ability to control individual energy use. The design introduces apartments and small-scale commercial tenancies at ground level, creating an active edge to the building while masking the podium car parking and providing a much better experience for pedestrians. Lend Lease’s Victoria Harbour precinct is currently working towards a Climate Positive certification. Serrata contributes strongly to this aim and was the first Australian (Version 1) 4 Star Green Star Multi-Residential development constructed.

St John’s Place ROTHELOWMAN

Serrata Docklands Hayball

This project comprises the redevelopment of an active social housing site in North Melbourne delivered through the Victorian Government and funded through the Federal Government’s Nation Building economic stimulus plan. The design was conceived by viewing the site as the shell of a city block eroded internally over time, creating unique organic internal spaces throughout the site. The masterplan incorporates five residential buildings designed to respond to the existing nature of the site, the existing heritage building, and patterns within surrounding urban streets. The external glass screen language is derived from a desire to reconstruct a sharp urban edge, relating directly to patterns of built form within the neighbourhood. Within the site, a softer series of woven façades form the backdrop to heavily landscaped community courtyard spaces. This clear definition creates a series of architectural spaces, nodal points, and paths, giving residents their own private communal spaces without excluding the wider neighbourhood. A screen of translucent glass panels embracing shades of green, yellow, and blue faces the street, reflecting and intensifying generous street landscaping in the neighbourhood. The street façade presents as a wall with depth changing under differing lighting conditions. The internal courtyard takes advantage of substantial landscaping running through the development.

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GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG The project is the consolidation of a large suburban block with a very low density into two higher-density townhouses. The project has two distinct frontages - one is a low-rise suburban streetscape typical to Kew, the other is a landscape corridor and bicycle path. The design for the site stretches between these two conditions, twisting and deflecting to negotiate the steeply sloping levels and orientate to the sun. The street frontage presents a brick rectilinear façade drawn from Gunn’s Molesworth St Townhouses (1968). Gunn’s great void/ courtyard spatial experience is also continued throughout the first house. The rear house presents a hipped-roof structure more akin to Greg Burgess’ explorations into the tent-as-shelter. This expanding spatial sequence opens the space to a lush landscape setting.

The houses are figuratively and literally stretched between these two, shifting from the predominantly brick to the predominantly timber façade. Both houses are designed for a flexibility of occupation over time. Through a simple alteration both houses can be transformed into separate apartments offering an option for the occupants to vary their living arrangements and either derive a rental income, provide for live-in care, or house an extended family.

Uniting Aged Care, Kingsville ThomsonAdsett

Two Townhouses BKK Architects

Uniting Aged Care at Kingsville is an ageing inner suburban care facility which has been completely reimagined for the next generation of elders. The project, while ultimately a totally new build and contemporary in both style and substance, was for the renewal of an existing aged care facility which had been closed prior to the redevelopment being started. 68 beds of aged care, community care, and independent living offerings on site have contributed to the rejuvenation of the neighbourhood. This facility sets up a new paradigm for UAC and the way they deliver aged care services into the community. With a carefully integrated care philosophy embodied in the building, the co-location of its aged care, independent living, and administrative facilities provides a range of care and social options for the residents. The building responds to the local context and collages the diverse industrial and residential heritage of the area into a point of common ground between the culturally diverse people who live together there. Material, pattern and colour, space, and light are used with care and prudence to deliver a project that was both economically feasible and truly enriching to the quality of life of the residents who live there.

UAC Noble Park is an ageing suburban care facility completely reimagined for the next generation of elders. The project, while ultimately a totally new build and contemporary in both style and substance, was for the renewal of an existing aged care facility which operated continuously on the site throughout the construction process. 68 beds of aged care and the associated community care offering on site were enriched by a strong sense of continuing place and identity. Placing the resident at the centre of the design and the entire building process was a critical driver for the Client for whom provision of care services in Noble Park forms part of an overall mission rather than an economic decision. The building responds to the local context and uses the Australian landscape as a point of common ground between the culturally diverse people who live together there. Material, pattern and colour, space and light are used with care and prudence to deliver a project that was both economically feasible and truly enriching to the quality of life of the residents who live there.

RESIDENTIAL MULTIPLE

Uniting Aged Care, Noble Park ThomsonAdsett

GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG GGGGGGGGG Wintringham Eunice Seddon Home and Wallara Accomodation Allen Kong Architect

People living with acquired brain injury and challenging behaviors tend to be shuffled between various services – homeless housing, emergency, correctional and mental health – none of which can provide appropriate long-term residential care solutions. The Wintringham service model has evolved flexible, tolerant and non-judgmental strategies to address the myriad of unique and diverse care needs. These buildings are the result of years of specific research and the evolution of design ideas in order to best support this challenging cohort. The architecture is by necessity familiar in order to create a peaceful and supporting environment.

It is familiar but not suburban; it is large but personal; it is secure but not restricting, and it is low-key and comfortable. Orientation, way-finding, environmental stimulation and indoor air quality are achieved by open-style planning which importantly encourages residents to have daily contact with the outdoors and control over their space inside and out. Recognized in 2011 by United Nations Habitat with the Scroll of Honour, the most prestigious award in the World for Human Settlements, for 25 years Wintringham and Allen Kong Architect have been evolving this type of residential care building.

Youth Prevention and Recovery Care, Bendigo WMIA now GroupGSA+WMIA

Set in Kennington, an inner residential suburb of Bendigo in Victoria, is a new building for a Youth Prevention and Recovery Care (YPARC) service. Design for this project was developed alongside a new supportive model of care focused at youth aged between 16 and 25 years old, with a moderate to severe mental illness. Careful and detailed briefing with client and user groups was vital in the design outcome which both responds to and informs the management of residents. Creating a safe and secure environment is important in the building and site design of this type. However, the key principle to its design is breaking down the notion of an “institutional facility” and promoting a sense of continuity with everyday life within the community. To achieve this, the design evokes the domestic home in form, scale, and environment in order to provide a reassuring and pleasant atmosphere, while maintaining, as a secondary function, the requirements for treatment and support - effectively becoming a large house and not a 10-bed mental health facility.

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DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD

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DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD The aim of this intervention is to improve the pedestrian connection between one side of the Convent, the Steiner school, Children’s Farm, and artisan studios precinct with the central precinct of cafés at the main entry to the Convent. The other aim was to provide public access into an otherwise inaccessible cluster of buildings. The spaces which the intervention traverses are awaiting funding to be further developed and restored. In the meantime they have been appropriated for temporary conceptual art installations.

The breezeway intervention is imagined as a kind of portal or ‘wormhole’ connecting two sides of the Convent. The wormhole carefully negotiates its way through existing openings while minimising disruption to the existing building. The walls, ceiling and floors were left in their unrenovated state with minimum demolition. The design is made up of three parts, two timber and steel tubes which connect the outside to a large central atrium space where a steel cage contains the pedestrian movements. This cage was positioned by Nigel Lewis and is intended as a temporary component which will be removed when funding is found to restore the building’s internal spaces.

Abbotsford Convent Breezeway Jackson Clements Burrows

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The Australia Garden Shelters were an opportunity to engage with one of the nation’s most unique landscape projects. This is Australia’s only botanical gardens to feature solely Australian native plants. Rather than present a collection of plantings in a ‘museum’ type setting, the landscape is designed, reinterpreted and presented under a conceptual framework that is posed as a transition from the relatively unoccupied interior to the more constructed coastlines. In contrast to most Architectural commissions, the architecture responds directly to the landscape context both conceptually and physically. In fact, the landscape was mostly completed when the architectural process began. The designs for the structures explore notions of what shelter is and the history of shelter from its most primitive forms to the more contemporary vernacular. All of the shelters are designed to a high level of detail and meet stringent technical, sustainable and maintenance requirements demanded by the Botanical Gardens. All will receive a high level of public use and are designed to meet the demands of these types of largely unsupervised public areas. Although not required by code, the shelters are designed to a BAL29 fire standard.

SMALL PROJECT

Australian Garden Shelters BKK Architects

DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD A new self-contained timber pavilion added to a 1970s beach house on the Mornington Peninsula is an equally modest but contemporary extension of the original holiday home. It provides its owners with a legitimate retreat from the bustle of their extended families and engages its surrounds with its natural materials and simplicity.

The practical brief required a new self-contained master bedroom wing, with living space, ensuite, study, kitchenette and deck. But at the owners’ heart was the wish to access views of the Mornington pier and Port Phillip Bay. This necessitated an elevated pavilion at the front of the site, with car-parking and storage below. Its treehouse form around an orthogonal plan is informed by the coastal typology and existing house, as is the predominant structural and cladding material of timber. The link between old and new is made prominent in a fibreglass joining structure which acts as a new entry to both elements, and its thermal and aesthetic properties enhance the experience of the transition. Retaining the existing home and employing readily available materials and cost-effective construction methods kept the project costs to a minimum, while ensuring maximum site permeability and garden area.

Beach House, Mornington Clare Cousins Architects

The Central Reserve Sports and Community Pavilion designed by the Monash City Council Urban Design and Architecture Department, with structural engineering design by Kersulting, and building services engineering by BRT Consulting, features a high degree of innovative and ecologically sustainable design features including: natural ventilation; enhanced passive cooling; a crushed rock covered insulated sub floor plenum; double brickwork western walls; double glazing with timber frames; roof, ceiling, floor and wall insulation (building envelope average R5.6); trombe wall passive heating; a 2.2kW photovoltaic solar panel array; 100% recyclable carpet tiles; low VOC finishes; recyclable internal plasterboard; T5 and LED lighting and ceiling fans, and 40,000 litres of rainwater harvesting overflowing to an overland bio-swale. This building was designed with the aim of achieving the highest affordable environmentally sustainable design principles the budget would allow, requiring many ‘first principle’ initiatives to be employed in preference to an over reliance on technology and or ‘systems’ solutions. This building is an outstanding example of affordable, user friendly environmentally sustainable design woven into quality pragmatic architecture.

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Central Reserve Sports + Community Pavilion City of Monash Urban Design + Architecture

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DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD The new owner of 31 Queen Street, Challenger Diversified Property Group, engaged Gray Puksand to continue the ongoing refurbishment and repositioning of 31 Queen Street.

Challenger’s brief was to assert the ‘brand’ or ‘address’ to improve the commercial identity of the building. 31 Queen Street had become lost in the monochrome beige and bluey greys that dominate the mid level Melbourne skyline, particularly from the Southbank River view. Gray Puksand adopted a bold use of graphics combined with a simple applied paint technique to achieve a unique and cost effective outcome. The ‘Escheresque’ spiraling graphic form accentuates the strong vertical and horizontal lines of the existing 1960s building to re-strengthen the vertical aspect of the building form. 31Q’s position within the monochrome surrounding buildings changed from being part of the horizontal baseline blended into other city buildings. From an urban design perspective, the consideration was to juxtapose the built form within the city skyline, creating ‘impact’.

Seeking the greatest impact via contrast, the minimal black and white ‘de-colour’ scheme was chosen as it was in keeping with the period of the existing building. The design is less likely to suffer from changing trends in fashion and colours.

Challenger, 31 Queen St External Façade Works Gray Puksand

This mausoleum at Geelong Eastern Cemetery is the second of a three stage development for the Italian community of Geelong. The mausoleum provides 105 casket spaces, and like its sibling a little further up the hill, the Stage 1 mausoleum, the crypts are arranged in three blocks to form a simple triangular internal space. This second stage mausoleum is a reiteration of Stage 1, but with a more prominent roof.

The concept for each of the mausoleums is to create a refuge in an often windy, open cemetery landscape that overlooks Corio Bay. The interiors are conceived as a rich array of materials, colours and details to create a comforting and restful space. The central feature of this space is a hanging ‘chandelier’ of three panels of coloured glass designed

by Harmer Architecture in collaboration with glass artist Andrew Ferguson. Sunlight from the pyramidal skylight above filters through the chandelier and throws washes of coloured light over the walls and floor.

Geelong Mausoleum Harmer Architecture

SMALL PROJECT

DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD Grange Road Kindergarten Black Line One X Architecture Studio

The approach to learning at the Grange Road Kindergarten is one of discovery through play. The educational environment utilizes internal and external spaces, so the design created unrestricted visual and physical connections between the playground and the classroom.

On approach to the kindergarten, children are invited and excited by the gradient of vibrant colours upon the low-height paling fence which hovers over the blue gum timber ramp. Upon arriving at the kinder each day, the design attempts to incite happiness and inspiration to the child’s day. These elements, incorporating tiered timber seating at the site’s approach, now provide a fun, light-filled transitional space, wide enough for times of heavy pedestrian traffic and informal conversations, along with the storage of bicycles and prams. The new classroom is flooded with northern and eastern light. The northern elevation contains a pop-out plywood window seat offering a place for the children to sit in the morning and afternoon sun. The external canopy colour mimics the sun-dappled leaves, enhancing the connection with the natural environment, whilst offering shelter above theatrette style timber seating. Interconnecting and transitional spaces remove boundaries and create a sense of unity throughout the project and building’s entirety.

This project uses a modest client brief (two bedrooms and en-suite) to create a space providing a spiritual anchoring for a family that had become somewhat dislocated after living in a number of cities around the world. The sense of dislocation for the family was strong and the symbolism of permanence, anchoring and gravitas became important factors in our design thinking. Blue Cave, the neo-organic, curvilinear wall, large, undulating and finished in a haze/blue, marmorino plaster, welcomes one on arrival and leads one further in. Two large light spouts bring light into the interior of the bedrooms and further emphasise a fluidity of form. White Nest, carved out of the white wall, comprises two curvilinear nests, much in the manner of water pools carved out of white rock, one for sitting, reading, or lounging, the other acting as a bar. Each nest is developed around a small existing window and the reveals suffuse the surroundings with softer light and maximise spatial modulation.

House 1: Blue Cave White Nest Katsieris Origami: Architecture & Urbanism

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DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD Howard Place, Bendigo WILLIAMS BOAG architects (WBa)

The Howard Place Safe Transport Space is a new civic addition to the City of Greater Bendigo–one which caters for multiple events in the life of the city to suit residents, students and visitors during daylight hours.

Crucially, it operates as a safe and legible taxi queuing area for Bendigo’s nightclub patrons. The project came about in response to the Council’s initiative to establish a safe waiting area for all, but particularly night time users, and provide an increased level of personal safety by occasional security presence and with additional assistance from the Salvation Army’s “Chillout Space” program. Council’s research and observation has recognised that unsafe and anti-social behaviour tends to emerge from the frustrated crowds gathered waiting for the reduced taxi numbers available to Bendigo late at night, and large numbers of queuing patrons have had an increasingly damaging effect on the existing parkland landscape, generally degrading the grassed area. Furthermore, there have been incidences of violent assault and predatory sexual harassment during latenight waiting times. The project creates a lightweight, translucent fixed canopy within the existing trees on site, with flexible seating and much-needed toilet amenities for both daytime activities and late-night users.

On this small site the client was keen to continue the ‘life’ of the existing dwelling, retaining its unique ‘swellegance’, but to juxtapose it with a practical and constructed approach. At the same time there was a need to increase space and maximise connections to the external garden areas. So a reduction of the original footprint made way for a new deck and ‘folly.’ The ‘folly’ is the new outdoor ‘dunny’ and shower! Clad in simple white polycarbonate, it doubles as a light source at night, with shadows of ‘discrete events’ playing out on its façade. Having removed the laundry, toilet and play area for the deck, the interior spaces had to work more efficiently. New openings between rooms and fitted joinery provided a more connected and flexible lifestyle with valuable storage. The ground floor living areas retain the original formality while opening to the kitchen to celebrate the relaxed family ritual of cooking and eating. Upper floor areas retain the sleeping quarters and amenities for four with the use of new storage units as bedheads, dividing walls and a combined playful bunkbed. Once reconfigured, the house which seemed too small is now more spacious.

John & Kathleen’s Irons McDuff Architecture

SMALL PROJECT

DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD Squeezed into a tight space in the inner city suburb of Abbotsford, the ‘Little Brick Studio’ engages with the urban scale of the busy street and brick buildings opposite, but is also sensitive to the smaller residential scale of the houses behind. Comprising a single garage with a studio space above, the footprint of the building is minimised to reduce the impact on the house and backyard. The angled roof form comes from a desire to reduce perceived mass from inside and also control overshadowing. On the street, rather than create another rear garage door turning its back on the street, the Little Brick Studio provides a positive contribution to the neighbourhood, treating it as a valued street address. The garage door is recessed and forms part of the fence language. The brick studio above hangs out over the street with a large window. The timber entry door gives the building a sense of address. The studio space has been designed as a flexible and adaptable space that can change with family needs. The flexible nature of the space means that it could work as a teenage retreat, home office, granny flat, guestroom, or separate commercial and residential rental.

Little Brick Studio MAKE architecture

This modest building is sustainable, practical, and poetic, embodying shelter and animated with life.

The forms of the building were conceived to be experienced from the moving viewpoint of motorists, pedestrians, cyclists etc, its various elements shifting in relation to one another, creating a robust civic convenience of delight, beauty and local pride. The Middle Park Beach Amenities was a signature ESD project for the Council providing a benchmark of efficient design in public amenity buildings. Located on a prominent foreshore site, the amenities building responds both practically and poetically to its immediate site and to its wider context, reinforcing its stance of belonging and our sense of place.

The building is seen against water, horizon and sky. Its forms resonate with the flux and dynamics of the coastal edge – the effects of wind, water and light. The walls are softly rounded, the roof poises, skewed and stretching, as if tensing ready for flight in the face of sea breezes.

Designed to weather graciously, materials include recycled timber, perforated corten steel, and low maintenance pre-cast concrete in colours that are in harmony with the bay side setting.

Middle Park Beach Amenities Building Gregory Burgess Architects

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DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD Stawell Steps is a small piece of infrastructure. It forms a spillway to allow floodwaters to escape from Cato Park Lake, protecting surrounding properties from inundation.

At the same time it organises the spillway and associated bridges and steps to form a new public space. It utilises the shade of existing willow trees along the banks to make a backdrop for picnics and small gatherings; it finds room for pausing, talking, fishing, performing, or just watching, a way to measure and feel the edge of land and water. Twenty architecture students worked with a local expert brick-maker, council, client, engineers and tradespeople over eight weeks to construct this work.

The students lived in the town and felt in their bodies a new and very physical understanding of the work they had drawn, designed and studied over the preceding eight weeks in the studio. The project and its execution generated an intense, co-operative energy – becoming an exercise in community building and immersive experience at multiple scales.

Move-In Elenberg Fraser Architects

Monash Steps/ Stawell Steps Hiroshi Nakao + Monash Architecture

The design of the showroom comes from the idea of the brick and the medium of the wall, in particular the point where the wall fails and becomes the ‘unwall’.

This material-based investigation was inspired by the work of James Wines, the founder of SITE Architecture, who brought the literal into the most prosaic architectural forms. The ‘unwall’ is not only not a wall, but it’s mortarless, or dry jointed. Intriguing we know! The new Move-In showroom was designed and built by a team of our younger graduate architects, with Zahava Elenberg setting the conceptual brief. The team worked on the project from concept through to post-construction, approaching the design through an exploration of specific materials and techniques. After designing the ‘unwall’, the team was faced with the problem of producing sufficient construction advice for the builder.

We decided it would be quicker (and more enjoyable) to build it ourselves. We are excited by the new directions in brickwork that this project has (literally) exposed.

The Move-In showroom design and construction demonstrates our studio’s role as an incubator for young architects, and we’re looking forward to the next opportunity to get our hands dirty.

SMALL PROJECT

DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD New Garden Crypts at Boroondara General Cemetery McIntyre Partnership

The project to provide new crypts in a small, underdeveloped area of Kew Cemetery represents an excellent example of successful contemporary design in an historical setting. It also demonstrates an integrated approach to placing structures in a landscape. The cemetery is one of the oldest in the state. The new crypts occupy a strip of gently sloping ground running between the tall brick and iron boundary wall and an area of historical paupers’ graves, as well as isolated sites among the graves, as not all the paupers’ graves had been used. Mature trees, large shrubs and various areas of planting and landscape items, such as curving kerbed paths feature in this area, contiguous with the rest of the cemetery.

Designing crypts is an unusual challenge — a dignified architectural solution is needed that works on the confined sites of varying size and orientation. Some sites allowed for rows or groups of crypts. We found a configuration that delivered 260 new crypts housed in simple contemporary modular units. Constructed using precast concrete panels, each grouping is clad on three sides in calm, cool, grey granite. The front epitaph panels are white stone slabs with discreet stainless steel fittings.

This renovation of a weatherboard house on a small inner suburban block demonstrates the effectiveness of simple functional planning and small interceptions into an existing building fabric. Designed and constructed on a tight budget and timeline, the works consisted in rearranging the main living area, opening up the external skin, and inserting two simple shells, one accommodating the kitchen and the other extending the dining area. The additions were placed and articulated according to their function, their location within, and relationship to the backyard, as well as orientation.

The central dining space was developed as a glazed garden pavilion with a skin that achieves balance between openness as well enclosure and shelter. The new kitchen is added on and oriented inwards towards the dwelling. The solid timber façade provides the backdrop for the greened backyard.

The objective of our intrusion was to achieve liveability on a number of levels with small means and simple gestures. Since completion, the new house has been perceived as an understated pleasant, beautiful and functional environment which demonstrates the success of our approach.

Northcote House Transformation Steffen Welsch Architects

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One Hot Yoga is no different. The inspiration for One Hot Yoga was to create an escape, to provide an holistic retreat for Melbourne Yogis to practice. Robert Mills set out to create an experience that was clean, fresh, cleansing, uplifting and healthy – an environment that is synonymous with the aspirations of yoga practice. The monochromatic palate of painted recycled material is arranged in a logical and peaceful way to house the functional requirements of a yoga studio.

Soft textured fabric and highlights of recycled polished copper against the hard brick and concrete surfaces make the studio a place that people want to spend time and reflect in. In a community sense the addition of One Hot Yoga in River Street offers not only a place for health and well being, but a meeting space for the yoga community.

By taking a dark, dank industrial building and transforming it into an inner city oasis, ultimately the design has achieved a truly tranquil space where people can experience the wisdom and bliss of yoga.

One Hot Yoga Robert Mills Architect

How do you fit two boys, a girl and a parent into an existing two bedroom duplex? Can you do it on your own? What will the bank lend you to build it? How bad is the old kitchen to work in anyway? The desire for increased space and privacy was a driving factor for this project. The outcome is a 17 square metre addition, located in the existing driveway and plugged into the side of the old building, like a pod, docked to provide new services and access. The new addition scoops in light and ventilation, provides access and views to the play area, allows for an upgraded kitchen and eating area, and creates an extra bedroom for the children. Another opening to the street frontage provides opportunity for chance encounters with passers by. The project was completed on time and on budget with the help of a supportive building team sympathetic to the task at hand. This is a humble project - a simple intervention to solve the problem of personal privacy and access.

The Purple Rose of Cairo Architecture Architecture

Penny Wise Marc Dixon Architect

Architecture Architecture has retrofitted one of Melbourne’s iconic Cairo apartments apartments as an exercise in creating a fully functional abode within just 24m2. Embracing the philosophy of making more with less, they have created a simple space with maximum flexibility to address contemporary living needs within a minimum floor area. Compact robes and clever storage solutions are integrated with a fold-out bed and a handsome full-height curtain, creating the flexibility to quickly convert the single-room space from a bedroom, to a dining room, to an office, or to a media room. A door has also been moved and a kitchen servery created, reactivating the forgotten entry area, maintaining a strong visual connection from the kitchen to the garden, improving natural light and ventilation and creating greater flexibility in the layout of the apartment. In an era when people are increasingly opt-ing to live in cities and our urban fringes are forever expanding outwards, Architecture Architecture understands the imperative to make more with less, opting for high quality flexible space rather than inflexible specialised spaces—quality over quantity.

SMALL PROJECT

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Completed in 1954, the former Russell Street Telephone Exchange & Post Office, designed by the Commonwealth Department of Works, is a unique multi-storey CBD building - the first to be completed after WWII and the last to express the architectural traditions of solid masonry. Influenced by European Modernism, in particular the Amsterdam School and Scandinavian Freestyle Classicism, the interlocking unadorned mass of cream brick features in its 2001 re-development, the Hero Apartments by Nonda Katsalidis Architects, via intersecting interior vertical planes, structural plates and green columns. Scandinavian Freestyle develops a language of materiality in relation to the formal qualities and associated styles present within the foyers’ interior.

The project developed through a process of removing temporary structures, fixtures and adorning features.

Through this process the foyer is activated by natural light and the spatial and material interconnections of its original forms. Objects were designed to enhance aesthetic experiences and for specific functions such as seating and mail retrieval, while drapery, upholstery and artwork also present a functionality. An emphasis on the ‘complete interior’ describes the process and project’s ambitions – to develop relations between art, décor, interior architecture and utility objects, and present artistic material configured in relationship to surrounding context and history.

Seventh Heaven Nest Architects

The project converted under-utilised roof space, on the seventh floor of Ormond College’s McCaughey Court, into post-graduate student accommodation. Located within the distinctive “Akubra” roof form of an iconic Romberg and Boyd building, the new student rooms presented many spatial challenges and opportunities. The unique volume of space required a different approach to standard student housing models, wherein flexible, built-in furniture replaced prescriptive furniture items. The small footprint and large volume of the spaces also presented the opportunity for level changes, creating platforms which subtly differentiate zones within rooms. Each room features three platforms – living, studying and sleeping. The living space features cushioned banquette seats with storage; study spaces incorporate a large desk with shelving and storage, sleeping spaces provide ample room for a double bed, and the four single occupancy rooms feature sleeping spaces located on a mezzanine floor. The rooms also feature large wardrobes and a vanity unit incorporating basin, refrigerator and storage. The resultant student rooms, four single occupancy and one double occupancy, and shared facilities demonstrate an alternative approach to student accommodation, in which the rooms reflect the flexibility of a small apartment and provide a sophisticated living arrangement for post-graduate residents.

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DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD St Augustine’s Anglican Kindergarten Wilson Architecture

The kindergarten addition is a modest infill project that creates a new teaching space for small and highly imaginative people. The interior aesthetic has been paired back to leave a “blank canvas” for childrens’ artwork to be hung on the walls and exposed roof structure. We were further inspired by viewing childrens’ drawings of built form that frequently have little spatial differentiation between exterior and interior, which informed the curtain glass windows to the northern wall to the external play area. Built to a slender budget and exceptionally tight time program, a resource efficient design was proposed that makes use of the two existing adjoining buildings both as structural fabric and thermal insulation, resulting in less consumption of materials for construction and a building envelope that is heavily insulated on its west and east faces. The design features numerous sustainability measures including external operable blinds to control and maximise passive solar radiation, cross ventilation, high levels of thermal insulation and rain water collection.

In response to a masterplan produced by Harrison and White and Paul Coffey Architects, the St Bernard’s Parish and School in Coburg East has a new 47 metre fence to renew its prominent northwest corner, the most public face of the school. The fence is a first step towards implementing the architects’ masterplan.

The space behind the fence, the Presbytery backyard, has evolved into a productive garden learning space for the school where children are able to grow vegetables. This function will be able to expand in the future as the fence re-alignment has cleverly increased the space available. The fence, which starts in full height brick, transforms gradually to full height in expanded steel mesh – the two contrasting materials overlapping and slicing together to form a barrier with is both solid and transparent. The existing brick church, a fine example of a post war Modernist church, features clinker brick fencing, providing a starting point for Harrison and White and Paul Coffey Architects’ transformative use of brick.

STREAT Melbourne Central Six Degrees Architects

St Bernard’s Parish Fence Harrison and White with Paul Coffey Architects

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Six Degrees was engaged in this pro-bono project to design a new café for STREAT, which activates an under utilised space at Melbourne Central. STREAT is a foodservice social enterprise dedicated to providing training and employment for young people who have been living on the street or are at risk of doing so. This project brings together efforts from a number of groups in order to deliver a successful outcome for a worthy client.

This includes pro-bono services provision by Architects and Building Surveyors, outstanding support from Melbourne Central Shopping Centre management, and generous contribution by the Construction community, including Bunnings, McCorkell Construction, Online Upholstery, Urban Salvage and Eymack Stainless, who have all provided work at discounted rates.

The design intent is to make simple, raw materials into intriguing objects. Materiality is expressive, using Truform structural timbers as three dimensional decorative surfaces, with strong colours and shapes based on utilitarian origins of structural coding. Seating is custom designed and also uses simple Truform structures with soft leather seat tops for comfort. The elements are resolved in section to add mass and texture to the forms.

The overall visual effect is one of relaxed earthy textures with Art Deco elegance.

SMALL PROJECT

DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD DDDDDDDDD Ingrained in Australia’s national identity and way of life is our unique beach culture and love of the sun, sand, surf and sea.

It is here where our fondest childhood memories conjure up summers running over the hot sand, chasing windswept umbrellas up the beach, dodging the myriad of cricket games on the way to the water and of course the afternoon pilgrimage to grab an ice-cream. It is here where the kiosk came into its own and dutifully rewarded the sunkissed beachgoers. It is this authentic experience that the Third Wave Kiosk has strived to capture, not only through its engagement with beach culture, but also through its respect for its environmental setting – its strength in character and resilience, and its attention to modest and elegant simplicity.

Designed to assimilate into its beachside location through its play on height, profile, material and colour, the kiosk sculpturally responds to its setting through its use of recycled sheet piles, allowing the building to touch the ground lightly and take on a sculptural quality which blends in with the surrounding environment and shrouds the utilitarian function of the working core.

Wodonga Rail Station GHD

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Third Wave Kiosk Tony Hobba Architects

This project is part of the larger rail bypass project also undertaken by GHD that relocated the train line that historically bisected the town. The Wodonga central city area has been revived by the removal of the rail line and has opened to community and commercial development. It did, however, mean that the existing rail station at the centre of town, with all its cultural and historic connections, would be made redundant and a new station would be required to the north of town. The new station represented an opportunity to create a new piece of public architecture providing integral community infrastructure and a link between Melbourne, Sydney, and other regional destinations. A series of meetings with council and residents during the design stage has led to a collaborative and locally popular outcome. The idea of the traditional railway station was explored as an interim destination with a waiting room that is referential and memorable.

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IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII With new expansion plans anticipated, a new Mahogany Room was envisaged to ensure Crown remained a top-tier, world benchmark hospitality venue. The project encompassed a new first class, ground floor, gateway restaurant, a significantly expanded Mahogany Room venue and a new roof top club lounge. Large room-like open air balcony spaces were created which look down the river corridor to the spectacular CBD beyond. The building, in essence, needed to become the new front door to Crown. A key aspect of the brief called for uniquely open and light filled interior spaces with an emblematic and transparent external character. A rich and contextual language was developed which worked to heighten Crown’s profile whilst relating strongly to the existing Crown built form and providing a strong civic treatment to the edge of Queensbridge Square. The building uses a highly sculpted façade system which combines tightly crafted and curved book-matched Teakwood sandstone panels with clear, slumped and corrugated triple glazed glass cladding units. The lowest glazed panels drop down to ground floor level to provide definition and tactility to the street edge, and are left open for light and view into the new Porte Cochere room behind.

Docklands Public Realm Plan City of Melbourne and Places Victoria

Crown Mahogany Room Expansion Bates Smart

In 2012 City of Melbourne, in conjunction with Places Victoria, produced the Docklands Public Realm Plan – a document that aims to assist in shaping public spaces in Docklands in the future. Since the redevelopment of Docklands began 16 years ago, a network of public spaces including lanes, streets and waterfront promenades, has been established for the 7,000 residents and 25,000 workers that use this area today. Future streets and spaces are planned to support the continued expansion of Docklands. With Docklands entering into its next decade of evolution, we have spent time engaging with thousands of Melbournians to articulate and refine a community vision for this important and unique place in Melbourne. A vital and high quality public realm is a priority for the local community. The Plan outlines spatial strategies and principles that are linked to this vision and demonstrates how these can be applied to the public realm in Docklands. This Plan is a public document.

It will be of most help to those who are responsible for facilitating, designing, assessing, or implementing future interventions in the public realm.

URBAN DESIGN

IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII The project was jointly funded by Monash City Council, the Office of Multicultural Affairs, the Department of Planning and Community Development, and Melbourne Water. The Eaton Mall Enhancement project is a highly innovative and significant initiative in liveable public places. This project is aimed at supporting social, economic, environmental and cultural development for Oakleigh Village through the provision of: safe, connected and accessible public spaces; psychological calming of traffic using “Naked” street design techniques; pedestrian, cycle and child friendly places; extensive water sensitive urban design treatments; high quality sustainable and durable street furniture, lighting and finishes; supporting councils’ initiatives for economically vibrant precincts; improved outdoor retail trading and public amenity for community benefit; promotion of public art and sculpture; encouraging a healthier, crime free environment through CPETD; enhancing the vibrancy of activities and functions for both day and night and providing a unique and enhanced cultural experience.

Hamer Hall ARM Architecture

Eaton Mall Enhancement City of Monash Urban Design and Architecture

ARM Architecture was appointed to design the $128.5m redevelopment of Hamer Hall. The redevelopment improves Hamer Hall’s acoustics, seating, stage technology and back of house facilities, while also creating a more outward facing venue that integrates new public spaces and the riverside to make it more accessible and inviting to the public. The project connects Hamer Hall with the Yarra River and the city – a new terrace over the riverbank promenade features a ‘civic stair’ from the River to St Kilda Road. The new Hall also includes a second entry that allows access directly from the Riverbank Promenade to the circle foyer with retail outlets along the riverfront, new and expanded foyer spaces, better amenities, new stairs, improved disability access, escalators and lifts. The redevelopment was approved by Heritage Victoria and involved a rigorous documentation and management process to ensure its heritage features were treated sensitively. Throughout the redevelopment we took great care to preserve many unique heritage aspects of the Hall, within both the foyers and the auditorium. Retaining as much as possible of John Truscott’s original interiors was a key consideration in planning the redevelopment.

This Pavilion was designed as part of an upgrade to Langtree Mall in the center of Mildura which saw the transformation of the main shopping mall into the civic heart of the town. This Pavilion needed to become the all-weather outdoor gathering place for civic events, providing much needed shade, as well as a sculptural landmark that attracted both residents and visitors into the center of town. The inspiration for the pavilion was found in the agricultural landscape around Mildura the patterns in the cultivated land were translated into an elevated, inverted canopy. The layout of the battens in the structure creates a striated shade which aptly recasts the shadow of the rural landscape onto the urban landscape as well as giving the welcome pleasure of wandering in dappled shade. The pavilion has sufficient size and vernacular relevance to become a local landmark, somewhere that can be visited for its sake alone and also used as a reference point for residents and visitors. For this rural town, this is integrated architecture that provides an umbrella for people both physically and socially, providing shade and creating public space.

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Langtree Mall Pavilion Bellemo & Cat

IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII Within a regional township the police station is an important piece of civic infrastructure. In the rebuild of Marysville post the 2009 fires, this humble station was pivotal to the re-establishment and reformation of the community. Extensive community engagement demanded that the architecture, in forming the future, drew upon the somewhat illusive character of the township as remembered by its members. The main material choice of timber recalls the local timber industry, the surrounding forests and the heritage of timber buildings that were most strongly associated with Marysville’s built past, now lost. In combination with the Marysville Community Center, the station completes the regenerated Marysville Heart, a public recreation space in the center of the town instrumental in creating links between people, place and landscape. The expression of the police as a positive force and community guardian more than law enforcer, was achieved through a modest built form, the arrangement of program and the tectonics. Exploiting the site’s dual frontage - to both the Main Street and the southern edge of the Marysville Heart parkland - the most active aspects of the program were strung along these edges to provide a visual exchange between the police and community.

Marysville 16 Hour Police Station Kerstin Thompson Architects

Although Clayton and Caulfield are two distinct urban and suburban campuses, the Masterplans for both has been informed by a pedagogical and intensivelyresearched business case that asks, ‘What are the campuses’ unique attributes, who makes up the Monash Community, and what will enhance the Monash experience?’. Clayton Campus is in Melbourne’s south-eastern innovation precinct and a driver of industry research, jobs and invention. This masterplan transforms the existing citadel arrangement into an integrated, dynamic, 24-hour “University City”. Caulfield Campus is in one of Melbourne’s main growth and employment corridors and sits adjacent to a major transport interchange.

The central campus green is a key organising node and interconnects with Caulfield Village to create extended activity, and interconnects to the strategically important transport hub and through to the Melbourne Racing Club.

In keeping with the University’s vision, the plans articulate physical, economic, shared-use and cultural connections with their surrounds; a network of lanes provides a highly permeable interface to the adjacent village and station. These masterplans are enabling documents, aligning projects to known needs, priorities and financial capacity, and informed by international best practice and campus history. Both plans provide community, tertiary education and research leadership for the Australian community.

URBAN DESIGN

Monash Masterplan Suite, Caulfield & Clayton MGS Architects

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The P.E.P. is a flagship project in the implementation of low carbon energy generation for an entire new urban development. The building aims to provide a focal point and local icon for the regeneration of downtown Dandenong. With its sculptural form and super-graphics, oversized power points and switch, it helps to anchor and activate the new Station North Plaza and City Street Mall (which will soon include the new Civic Centre). It aims to be a highly visible and playful element in the new urban landscape and marks a sense of arrival and place, especially when viewed from Dandenong station, or approaching from the new Civic Centre. Taking Walter Burley Griffin’s incinerator designs as a local (pre-global warming) precedent, the building aims to provoke discussion about the environment in a fun way that doesn’t preach. The giant Rorschach, the “readymades”, the astro-turf wall, the ‘circuit diagram’ lighting and the giant cogeneration diagram on the north elevation using engineer’s notations for the machinery inside, act as a playful set of signs. The dot matrix display on the canopy provides information about power production, consumption and green-house gas savings from the building, helping to provide visual interest, activating the plaza.

Revitalising Central Dandenong: Lonsdale Street Redevelopment BKK/TCL Partnership

Precinct Energy Project, Dandenong Peter Hogg + Toby Reed Architects

Lonsdale Street in central Dandenong is the first key infrastructure project delivered as part of the State Government’s Revitalising Central Dandenong (RCD) Initiative. BKK/TCL’s approach to Urban Design projects of this magnitude is curatorial, offering key ideas and strategic moves that are fundamental catalysts for change. Key connections included Lonsdale Street becoming a connecting catalyst, fostering clear and legible street connections to each of the City’s key public assets. With regards to street life, of importance was creating a memorable boulevard, animated along its length.

With regards to knitting into the urban morphology, it was important to ensure that Lonsdale Street was structured to build upon the distinctive urban structure of the City, reinforcing existing fine grain patterns. With regards to protecting valued urban places, it was important to identify opportunities to curate the ongoing retention of cultural destinations and create new opportunities for urban places and activities. With regards to investment and design excellence, it was important to create opportunities for investment and further development via the creation of a rich and enduring public realm experience.

Lonsdale Street was conceived as a grand boulevard with a pedestrian focus. The design is an example of an interdisciplinary approach to the construction of the city involving expertise across a wide range of disciplines and continuous liaison with the community.

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IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII The new Sandy Creek Bridge spans Lake Hume 9km south west of Tallangatta. It utilises the historic rail bridge pylons, transforming them from a ghostly relic into a celebration of the region’s history and its vibrant future. Providing an iconic rail trail bike link between Wodonga and Tallangatta, the bridge’s dynamic sculptural form marries the memory of the steam from the trains that made this same crossing with the motion of today’s cyclists and pedestrians. Initiated following an intensive community consultation process that focused on potential opportunities for the revitalisation of the declining rural town of Tallangatta, the Sandy Creek Bridge project is the first step towards shaping a positive future for the local community. Drawing inspiration from the red oxide colouring of the original bridge beams, the Sandy Creek Bridge is defined by the repetition of bold red sculptural elements that allow for striking views over the lake and replicate the flowing forms of the rolling hills beyond, creating a playful insertion in the landscape.

The Sandy Creek Bridge celebrates the history and movement of travellers past, present and future, opening up the landscape to visitors and establishing a bold new identity for the Tallangatta region.

Serrata Docklands Hayball

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Sandy Creek Bridge ClarkeHopkinsClarke

The building name ‘Serrata’ is a botanical term describing the saw-tooth edge of leaves on some coastal plants.

The serrations protect the leaf from buffeting winds.

There’s an affinity to both the architectural form of the tower as well as the folds incorporated into the podium/ public space that ‘hold’ and protect people. A principal aim for this fifteen level apartment building in Docklands’ Victoria Harbour is to create a sense of place and an intimacy of scale through connections between exterior and interior, composition, materials and community.

Emphasis is on the interaction between residential and public space and how this contributes to liveability, meeting key policy aspirations for the ‘Second Decade’ of Docklands. A second key aim is to achieve a low carbon footprint building and the ability to control individual energy use. The design introduces apartments and smallscale commercial tenancies at ground level, creating an active edge to the building while masking the podium car parking and providing a much better experience for pedestrians. Lend Lease’s Victoria Harbour precinct is currently working towards a Climate Positive certification. Serrata contributes strongly to this aim and was the first Australian (Version 1) 4 Star Green Star Multi-Res development constructed.

URBAN DESIGN

IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII IIIIIIIII The South Morang Rail Extension is an extension to an existing metropolitan rail corridor that links a rapidly expanding growth corridor to the broader city fabric. The project included construction of three new rail stations, urban plaza’s, associated pedestrian, bus and vehicular access. A core design objective was to use each station as an expressive catalyst to establish a clear and unique urban identity and create a benchmark of quality for subsequent development.

The stations have been considered primarily as high quality public spaces that use the vitality of public transport and interchange to provide a venue for social exchange. Each station is a carefully designed local movement system that provides legibility, linkage and activation to existing urban form. Each of the stations is clearly identifiable as one of three parts of a greater urban vision to link current and future activities of local communities. The station’s canopies are sculptural forms of civic scale that fold and unfold in response to each site and its functional context, and provide orientation from plaza to rail corridor with their angled geometrical forms. The canopy is a unifying element of the stations that integrates the station buildings, platforms and ground plane.

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Wedge Street Bridge WMIA now Group GSA+WMIA

South Morang Rail Extension Cox Architecture

In 2007 an invited competition was held to link the retail hub of Werribee’s Watton Street with Wyndham Park. Wyndham Council’s vision was to link the active street with the park. Our 165m design twists through the river red gum canopy from Watton St to the north side of the park. Our concept was conceived as a ‘snaking’ path that provided a changing perspective of view along the river and through the red gum canopy. We used the deadly eastern brown snake as a reference point.

The snake’s underbelly is orange, which became an obvious choice of colour for the bridge. The ribbed patterns represent the scales on the belly. The bridge deck is subtly patterned and displays earth coloured tones of concrete. Design challenges included minimising light pollution into the river so as not to disturb the new population of wild platypuses and build a pedestrian bridge that could withstand a 1 in 200 year flood.

The arcade is a new east-west pedestrian connection from Claremont Street to Yarra Street in South Yarra. `It crystallizes a desire to facilitate and increase the pedestrian permeability through this emerging precinct, with a view to enriching the public domain. The desire is to create a laneway experience in the tradition of Melbourne’s city lanes, arcades and through block connections. The lane is a public space facilitated over private land with different owners. The resolution of the lane required innovative urban design initiatives in the private and public spheres. The public benefit comes from the provision of a pedestrian safe east-west connection from Chapel Street through to the South Yarra Station. The arcade provides an address for the finer grained services required to support the emerging population in the precinct, including both residential and office requirements. The arcade reinstates the original permeability of the precinct. It also contemplates a future pedestrian link to the South Yarra Station with provision and clearances for escalators to connect over Yarra Street to a new ticketing and retail deck above the station.

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Yarra Lane Arcade Bird de la Coeur Architects

KKKKKKKKK KKKKKKKKK KKKKKKKKK KKKKKKKKK KKKKKKKKK KKKKKKKKK KKKKKKKKK KKKKKKKKK KKKKKKKKK KKKKKKKKK KKKKKKKKK Printed on the occasion of The Victorian Architecture Awards 2013 Awards Coordinator Libby Richardson

Project Supervisors Callum Morton, Warren Taylor, Matt Hinkley and Adam Cruickshank

Graphic Design and Exhibition Students of the Faculty of Art Design and Architecture, Monash University

Graphic Design Team: Natasha Cuddihy, Hayden Daniel, Sophie Ereglidis, Paul Hanslow, Simone Hill, Sarah Hogan, Domenico Mazza, Dylan McDonough, Glonaida Quiapon, Sonja Petrovic, Peter Pham, Tegan Ruta and Vivian Wong Curatorial Team: Jessica Argall, Yu-Ting Chen, Lauren Giusti, Rachel Schenberg, James Taylor, Nell Willshire Typeset in Akkurat by Laurenz Brunner and Fugue by Radim Pesko Edition 500

COLOUR

WHERE YOUR IMAGE COUNTS

Printed in Melbourne, Australia by Complete Colour. Paper supplied by K.W.Doggett Fine Paper.

Photographers Aaron Poccock 118; Adam Dimech 38; Adrian Rivalland 116; Alex Aslangul 116; Alex Leiva 16; Alicia Taylor 64; Andrew Lecky 31, 40; Andrew Lloyd 123; Andrew Wuttke 14, 25, 70, 73, 83, 86; Ben Hosking 76, 111, 118; Ben Wrigley of Photohub 51; Brendan Finn 72, 115; Brett Boardman 74; Carmine La Scaleia 48, 59, 115; Chris Neylon 96, 104; Christine Francis 73,100; Christopher Alexander 60; Dale Cohen Architects 77; Dana Beligan 81; Dave Kulesza 35, 76; David Hannah 101; David Simmonds 16; David Wixted 19; Derek Swalwell 33, 65, 71, 72, 74, 75, 89, 96; Dianna Snape 6, 14, 26, 27, 42, 46, 49, 51, 54, 58, 81, 84, 88, 127; Earl Carter 28, 48, 67; Elisha Morgan 61; Emma Cross 7, 24, 70, 90, 91, 112; Erica Lauthier 88; Folded Bird Photography 80; Fraser Marsden 86; Geoff Faulk 124; Giovanni Mendini 9; Glenn Hester 95; Greg Elms 56; Gregory Burgess 113; Health Science Planning Consultants 59; Ian Davidson 38; Jacob Walker 19; Jaime Diaz Berrio 94, 98, 99, 102, 108; James Archibald 67; Jesse Marlow 104, 117; John Brash of Fotograffiti 47; John Gollings 8, 10, 22, 26, 29, 39, 46, 47, 50, 56, 57, 61, 68, 70, 83, 86, 87, 94, 95, 96, 98, 100, 108, 112, 122, 123, 125; Jonathan Tabensky 99; Jonathon Makaay 123; Marcus Clinton 23; Mark Duffus 16, 25; Mark Wilson Photography 54; Martin Saunders 105; Matt Irwin Photography 30; Matt Ryan 110; Michael At UA Creative 103; Michael Downes 82; Michael Larionoff 101; Michelle Williams 82; Nicholas Hansen 122; Patrick Rodriguez 118; Peter Bennetts 9, 11, 17, 32, 34, 35, 40, 45, 50, 65, 66, 69, 73, 76, 85, 89; Peter Casamento 18; Peter Clarke 22, 30, 32, 34, 60, 64, 65, 69, 74, 84, 91, 94, 99, 103, 113, 126; Peter Hyatt 48, 119; Photoasia 41; Rendine Construction 17; Rhiannon Slater 71, 84; Rory Gardiner 119; Ross Dunstan 69; Ross Kimber 105; Sarah Anderson 110; Shannon McGrath 30, 31, 57, 66, 72, 80, 111, 117; smith+tracey 10; St Albans Uniting Church 18; StaughtonThorne 34, 90; Su-En Ch’ng 109; Teck Vee Lim 126; ted 75; Tom Roe 87; Tom Ross of Brilliant Creek 116; Tony Miller 43, 97, 100, 102; Trevor Mein 6, 7, 15, 18, 23, 28, 32, 41, 44, 55, 58, 68, 97, 100, 124; V Arc 49; Virginia Ross 58; Watpac 44; William Watt 24, 105, 127; YQ Photography 77; Yvonne Qumi 29.

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Colorbond Award