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UNISA STUDENT DESIGN INNOVATION
OPEN SPACES+URBAN REGENERATION
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DESIGNING FOR A BRIGHTER FUTURE. UniSA is leading the way in enterprising design. We are educating the next generation of creative thinkers, designers and problem solvers through our innovative degrees in Product Design, Communication Design, and Illustration and Animation. Our highly specialised design degrees equip you with the skills and techniques required to quickly move into exciting, dynamic and creative careers. At UniSA, we are enterprising design thinkers who are creating a better future. Join Australia’s University of Enterprise. unisa.edu.au/design
National Winner Design Institute of Australia 2018 Graduate of the Year Awards Visual Communication Design
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Louise Robinson Bachelor of Design (Communication Design)
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Renewal SA is developing accessible, connected and vibrant places where people want to live, work, enjoy and invest. To achieve this, we partner and engage with community, industry and organisations to unlock the potential of existing urban areas. We create places for people. We build on a community’s assets, its inspiration and participation, to create and shape dynamic spaces; healthy, mixed communities that promote economic and social prosperity.
F I N D YO U R O P P O R T U N I T Y
renewalsa.sa.gov.au
Renewal SA
@RenewalSA
theadelaideriverbank.com.au/lotfourteen
playfordalive.com.au
lifemoreinteresting.com.au
thesquareatwoodvillewest.com.au
tonsley.com.au
peet.com.au/communities/adelaide-and-sa/lightsview
ourport.com.au
PIETRA DEL NORD Exclusive to International Ceramics
Tiles, stone, tapware and sanitaryware. 213 Glynburn Road Firle Phone 08 8431 6777 internationalceramics.com.au
FORM Journal Editor Nathan James Crane
Contributors Alisa Fraser Lysandra Fraser John Dexter Jordi Pardo Nicolette Di Lernia
Adelaide Review Editor David Knight Digital Manager Jess Bayly
Head of Major Events and Special Publications Tamrah Petruzzelli
Design Director Sabas Renteria
Advertising Jana Maragozidis Renee Lambert Sophia Nikolakopoulos Publishing Director Amanda Pepe
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Welcome to the third volume of FORM Journal, which celebrates the best of local design, architecture and planning across all disciplines. Enjoy.
Cover: Darling Building Photographer: Christopher Morrison
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–––– We are proud to present some of the best projects to be designed and built in South Australia with FORM Journal and the FORM INNOVATION AWARDS (FIA). As advocates for local design, the winning projects display innovation and exceptional creativity, showcasing the depth of talent that resides in this state. It’s been another busy 12 months for the state’s design industry with the further development of North Terrace, increased inner-city living options, product innovation and the completion of stage one of the Market to Riverbank Link.
This edition of the publication also includes content from design thinkers and practitioners on a range of themes including design disruption, the Museum of Discovery (MOD), adaptive re-use and a reflection on city planning and technology.
Design is at its best when it engages with innovation from concept to completion. The projects selected in the publication remind us of the outcomes that arise when we embrace this notion. We hope you enjoy the latest volume of FORM Journal, and the outstanding talent that is on show across the following pages.
Sponsors
SPON SORS
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THANK YOU TO OUR 2018/2019 FORM JOURNAL SPONSORS
JOANNE CYS
WARWICK KEATES
UNISA
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Professor Cys LFDIA is Pro Vice Chancellor of the Division of Education, Arts and Social Sciences at the University of South Australia. Cys is a Design Ambassador for the Design Institute of Australia and an IFI Ambassador (International Federation of Interior Architects/Designers). In 2017 she was inducted into the Australian Design Hall of Fame.
WAX DESIGN
ANNA BROWN
DESIGN INSTITUTE OF AUSTRALIA Brown is a lecturer in product design in the School of Art, Architecture and Design (AAD) at the University of South Australia and has a decade of professional experience as a furniture and product designer in both Australia and Italy. Brown also coordinates cross disciplinary furniture electives in AAD and is the CoVice President of the DIA, SA/NT chapter.
Keates is a landscape architect and urban designer with nearly 30 years experience and has worked on projects in the UK, Middle East and Australia. Keates is a founding director of WAX Design. His awardwinning body of work spans the fields of landscape architecture, urban design and placemaking, visual impact assessment, art and design, play and education. Keates is passionate about design and how innovative design can create amazing environmental, social and cultural outcomes.
JOSEPHINE EVANS JPE DESIGN STUDIO
Evans is an architect with experience working across disciplines designing public, community and education projects both in South Australia and interstate. She has an interest in how we inhabit the environment, innovate through design and encourages debate about thinking differently about how we live, work, learn and socialise. Evans believes in collaboration and a holistic approach to designing buildings and spaces for people.Â
JORDI PARDO
NARTEX BARCELONA
NICOLETTE DI LERNIA AUSTRALIAN INSTITUTE OF ARCHITECTS Following graduation Di Lernia spent 23 years in architectural practice and was involved in the delivery of many significant projects, primarily within the cultural, arts and education sectors. Since moving to the Institute in 2015 she has applied her considerable experience and passion for architecture to raising public awareness, advocacy and providing valued programs to members.
Pardo is an international expert in cultural projects and urban renewal. He is the CEO at Pablo Casals Foundation and a member of the jury of the European Capitals of Culture (European Commission, 20122016), and the UNESCO pool of culture experts (2011-2015). He was also the Director of the Barcelona Museum of Design project.
2018 Judges
NATHAN JAMES CRANE JURY CHAIR
Pryde is the president of the SA Division of Planning Institute of Australia (PIA). She is also a former national board member of the Institute. Pryde is a qualified urban and regional planner majoring in environment planning and currently works for the SA Environment Protection Authority as their Principal Adviser, Planning Policy and Projects. Pryde has a range of public and private experience and has extensive experience in working in project management, business systems, legislation reform, planning strategy and policy, development assessment and major developments.
BRIAN PARKES JAMFACTORY
Parkes has been CEO at JamFactory in Adelaide since April 2010. During this time he has overseen significant organisational growth and a deepening of engagement with the architecture and design community. He spent 10 years prior to this as Associate Director and Senior Curator at Object: Australian Centre for Craft and Design in Sydney. Form Journal / Volume 03
KYM PRYDE
PLANNING INSTITUTE OF AUSTRALIA
Crane is an independent design writer, editor and commentator. He is currently a doctoral candidate and lecturer at the University of South Australia and has presented his work internationally in places such as Oxford University, Taiwan and Milan. Crane is the editor of FORM JOURNAL and Jury chair for this year's FORM INNOVATION AWARDS.
MAX PRITCHARD MP ARCHITECTS
ALISA AND LYSANDRA FRASER ALISA AND LYSANDRA INTERIORS
Fresh from taking out the win on The Block: Sky High in 2013, design duo Alisa and Lysandra Fraser returned to defend their title on The Block: Fans vs Faves in 2014. Working as interior designers on bespoke properties, and collaborating with high profile brands and clients, has been a dream come true for these Adelaide-born sisters. Alisa and Lysandra have developed a unique design style that is contemporary and luxurious, yet minimal and understated. Having recently purchased a prime development site in Albert Park, Victoria, the girls have been busy renovating the property, which is all being filmed for The Design Duo online series airing in October 2018.
Pritchard established Max Pritchard Architect in 1986 before forming Max Pritchard Gunner Architects with Andrew Gunner and Tess Pritchard in 2015. His work has been widely published and has received over 40 awards and commendations from the Australian Institute of Architects. His design portfolio includes hundreds of unique residential projects as well as the highly acclaimed Southern Ocean Lodge.
NIC ELDRIDGE SECTOR 7G/AGDA
Eldridge holds considerable experience relating to corporate identity and brand management. He is the current CEO of the Australian Graphic Design Association and has been an occasional lecturer in Information Typography at University of South Australia. Eldridge is an active member of the Australian Graphic Design Association, Design Institute of Australia, and the New York Type Directors Club.
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INNO VATION
We believe that the category winners and projects with high commendations represent some of the best design innovation in South Australia.
AWARDS We are excited to present this year’s FORM INNOVATION AWARDS recognising the best of South Australian design, planning and innovation.
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–––– Building upon our previous awards program, this year we invited entries from all South Australian practices across five different categories: Built Environment, Open Spaces + Urban Regeneration, Communication, Object and Student. As a cross-disciplinary judging panel, we were able to stimulate a range of discussions about the nature of innovation and share project insights in a collaborative approach to design. Our judging panel deliberated on all entries, scoring them against a set of criteria:
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CONFLICTS OF INTEREST Judges recused from voting in the FORM INNOVATION AWARDS if conflicts arose in a particular entry.
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FORM INNOVATION AWARDS
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How successfully does this project demonstrate innovation within its sphere of practice?
To what extent does the project add value and/or further the profession within its sphere of practice?
LEADERSHIP Overall, to what extent does the project demonstrate leadership/future leadership as a model of best practice?
We’re Open
Branding Wayfinding
Print Packaging Digital FORM Innovation Award winning studio 2017
The judges wish to congratulate all of the winning entries.
wereopen.com.au
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Overall Award Winner
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The major winner of this year’s FORM INNOVATION AWARDS is the Darling Building, a once derelict structure that underwent a massive heritage transformation by Williams Burton Leopardi Architects. X BY NATHAN JAMES CRANE
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The FORM INNOVATION AWARDS judges noted that “the project challenges current expectations regarding commercial space while delivering a complex, layered environment that is engaging, meaningful and empathetic with the original architecture”.
“Firstly because it’s such a beautiful building, [secondly] that it had been left to more or less rot for so long, and thirdly, because it is located in probably the most densely restructured block in the city. It resonates on a number of different levels.” The significant upgrade sets an important precedent for other heritage sites in the city that still remain dormant and neglected. The capacity to reinvigorate the historic spaces and create relevant contemporary business tenancies is a noteworthy achievement, which Burton hopes “is a bit of a lightning rod to show that there are ways and means of achieving this result without having to do a complete rethink”.
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“With the right approach, we realised we could renovate it, rather than re-develop it, and make it a viable option.” The notion of legacy is also vital to the project as the design studio see themselves as the caretakers of the building, adding to its long history. “It existed long before us, and hopefully will continue to exist long after us,” Burton says. “Our part has been bringing it back to its former glory. We are proud to be custodians.” What is evident is that the careful restoration is what Burton describes as “a conversation with the building, as opposed to wiping away the history”. The materiality is honest, with the scarring of concrete pillars (the Darling Building was one of the first Adelaide examples to use re-enforced concrete) left revealed. Ceiling finishes and services are left unconcealed and new additions are sympathetic to the nature of the interior. The palette refers quite elegantly to the building’s industrial heritage, but also acts as a demonstration of Williams Burton Leopardi’s aesthetic and design sensibilities.
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Overall, the building’s spaces are a deeply sophisticated reawakening, achieved through the skilful and highly considered integration of old and new architectural elements. “We made a choice, where we could have done something new, however it tells part of the story [of the building’s past], which we wanted to embrace,” Burton says. As an example of thoughtful design practice, the Darling Building stands as a model for future design interventions, which have the potential to
R R revive our urban streetscapes and serve as a case study for the revitalisation of heritage buildings as a still-viable option for city business occupancy in an age of perpetual new development. As the Overall Category winner, Williams Burton Leopardi Architects were awarded two return airfares to a design destination of their choosing: Milan, Rome, Barcelona or Copenhagen, courtesy of Singapore Airlines.
designbywbl.com.au
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“However, the idea evolved from the concept of space, product and visualisation represented by the intersecting faces of the award design.” The overall winner of the FORM INNOVATION AWARDS receives the gold award; the winners of each category receive silver awards while high commendations receive the green edition.
huntfurniture.com.au
If you desire style, build it with Austral Bricks. www.australbricks.com.au
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DESIGN Disruption is a word we hear regularly in the realms of business, start-ups and, now, design. What does it really mean? How is society shifting within and around it, and why do we have a profound need to disrupt our conventional paradigms of being and doing?
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DISRUP — T O R S
–––– Design disruption is not new; notable designers such as Philippe Starck, Kelly Wearstler and the late Zaha Hadid interrupted the linear conventions of design by introducing unique enquiry and ideation that addresses one key objective – to address, and, ultimately, solve real problems in an aesthetically enriching and change-making way. A disruptive design mind uses a creative and an out-of-the-square approach to understand, recreate and evolve the spaces we live in; the spaces that represent us and communicate so much about our identity and purpose. In fact, for the disruptive designer, ‘the square’ no longer exists; it’s well and truly redundant! With this in mind, there are six distinct characteristics that as designers we can explore and ignite in order to activate our inner disruptor. Why would we want to do that? The answer is simple: our circles of influence not only crave, but demand complex thinking that is beautifully juxtaposed by simplicity, and it is this winning combination of contrasts that delivers awe, and forward-thinking solutions to our everyday problems.
Design Disruptors
DESIGN DISRUPTORS DON’T BREAK THE RULES BECAUSE THERE ARE NONE In the world of a disruptive design mind, rules do not exist. We are free to interpret the world as we see it from our lenses, and it’s this individuality of design ideas that creates winning concepts that are memorable, adored and leave an imprint in the world.
DESIGN DISRUPTORS DETEST MEDIOCRITY ‘Go bold, or go home’ is a motto that describes our work well. Mediocrity has no air-time in our vocabulary. Do not confuse bold with loud; understated and well-balanced interiors can indeed be disruptive in their design execution. Our recent project in Albert Park, Victoria is by far the boldest design project we have undertaken to date, turning a heritage listed Victorian terrace home into a property that is pushing the boundaries of interior design. There were so many ways our design brief could be executed, but we knew we needed to challenge our thinking, and create a standout property, that harnessed a more inclusive palette of interiors, and not one that is conventional for a heritage listed home.
DESIGN DISRUPTORS EMBRACE TECHNOLOGY While a little late in the scene, interior design is one of the last few industries to be disrupted by technology. Interior design start-ups and emerging tech platforms are promising for the future of interior design, and a truly disruptive designer knows this and embraces this wholeheartedly. We have access to innovative platforms that truly revolutionise the way we communicate with clients in Australia and overseas, breaking all boundaries, allowing us to source materials faster, easier and in ways that can indeed be cost-effective in the design process.
DESIGN DISRUPTORS KNOW THAT COMPLEXITY AND CONTRAST IS BEAUTIFUL Raw meets refined, masculine meets feminine, ethereal meets structured; these contrasts offer visual appeal and reflect the designers’ ability to incorporate complex thinking in their execution. Complexity is not synonymous with complication, which is the reason why it’s often misunderstood. Complexity is the ability to translate elements of a design brief and interpret them as analogies and metaphors. This is the boundary-breaking space, which requires delicate balance and the ability to translate a brief with exceptional clarity. In the hands of designers who lack foresight, this can in fact have a dangerous result; ‘the world’s ugliest buildings’ for example. But in the hands of insightful designers who embrace complex thinking equally on aesthetics, form, and functionality, this could well create legacy projects! If you’re a designer, take some time to explore and challenge your thinking. Every step outside of your comfort zone stretches your creative mind in ways that will help you evolve and discover new ideas in design, creation, and execution. If you’re a client in search for a designer, freely communicate your wish list, then sit back and allow your designer to showcase their interpretation of your vision. Here’s to the future of design through disruption!
thedesignduo.com.au
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DESIGN DISRUPTORS ARE AND WILL ALWAYS BE CURIOUS As interior designers, we know that the real catalyst behind our work and our projects is this innate curiosity to explore. Be it materiality, nature, landscapes, architectural structures, colour palettes, textiles, and creative representations within our industry, there is always something new to discover. We are constant consumers of ideas. Our minds are like sponges, thirsty for more, and this natural curiosity and conscious receptivity of sensory stimuli is what forms the basis of a disruptive design mind.
Photo: Lisa Cohen Photography
DESIGN DISRUPTORS ARE CONSCIOUS ABOUT SUSTAINABILITY As a society, we have become increasingly aware of the importance of environmentally sustainable building and interior design. Reducing our natural environmental impact has not only improved our living, but our design choices, too. The search for environmentally-friendly alternatives has offered a plethora of options for materiality that can be sourced worldwide, from large manufacturers to artisans in remote geographical locations. Aesthetics are no longer the solo goal. Reduced waste, longevity, flexibility, repurposing and responsible design for healthier interior spaces are now the new norm.
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FORM Journal X DPTI Promotion
Reshaping South Australia’s planning system Over the next eighteen months, South Australians will witness the biggest overhaul of our planning system since Colonel Light first laid out our city, when he used the Imperial ‘chain’ measure to ensure that Adelaide’s streets would be the widest in the nation. X By Sally Smith
Photos: Renewal SA
–––– Our capital, and indeed many of the state’s regional cities, are regarded as some of the best-planned places in Australia. Our parkland belts, preserved from development since the colony’s establishment, are now public reserves, sites for open-air music and arts performances, culinary events and international festivals. Critics from the eastern seaboard who once snickered at our genteel urban spaces and dismissed Adelaide as the city of churches now gaze with a sense of envy at the forward thinking Light showed; his vision left us a unique legacy. So, if we really were one of the best planned cities in the nation, why would we need to change anything? Quite simply, evolution. Civilisation and culture, like a shark, needs to keep moving. If it stops, it stagnates and dies. To most outside the industry, planning is about housing, architecture, multistorey buildings and higher density – it’s rarely
about people, how they live and work, how they spend their money and their recreation time. Yet it’s people who’ve had an impact on planning and the reason our system has to change. We have the country’s largest ageing population per capita. Many of our older residents want to down-size and live somewhere more appropriate to their needs. Meanwhile, all our younger generations are demanding instant accessibility in communications, for business, employment, education and tracking of information, applications and online purchases. Our planning system needs to evolve to keep pace with modern life. It’s about more than high-rise structures on city skylines. It encompasses our whole state, its pristine natural environments and important agricultural areas that produce world-class wine and food – and the motivation for these special areas to be preserved for future generations. Our planning system had become too complex; there were too many variations from place to
In a new planning world with online access, you’ll be able to search your property, see what policy applies and what type of development you can undertake – including whether you do or don’t need a permit. When the new electronic planning platform is introduced, you’ll be able to submit planning applications on your phone or mobile device, retrieve all the information you need quickly and easily and be able to track your application as it’s progressed. And there will be a range of data about the whole planning system available you previously couldn’t access. It means you can compare regions or local suburbs and evaluate information about all development happening in a specific area, which could prove useful if you wish to set up a business there, for example, or move somewhere that better suits your lifestyle or family needs. It’s important that the new system is more open to community views, so as a state we can rein in inappropriate development to preserve specific areas for recreation or agriculture - or just because they are unique. place, between one set of rules and the next. You could build that over there but not here. It had reached a point where processes were more subjective, with too many rules few people could understand and thousands of pages of legislation for planners to decipher. So what’s really going to change in the new planning system? A new Planning and Design Code will condense the current 72 development plans into one consistent, clear set of guidelines that apply across the state. The way development applications will be assessed is also changing, with more transparent processes and easier methods to gain approvals for simple proposals. For ordinary homeowners, it means their plans for normal, expected renovations and improvements – like fences, sheds, carports, solar panels and pools - will be processed and approved faster. There will be far more knowledge and professionalism in the system generally, with qualified industry practitioners
Few South Australians want to see the sort of unfettered development that’s occurred in other cities which has resulted in a significant loss of heritage. We want world-class design that’s innovative, functional and aesthetically satisfying, but not at the expense of Adelaide’s character and charm. We want urban communities that function well, places where people want to live, close to transport or work, in walkable, healthy neighbourhoods. The planning system needs to take this into account,
because new developments or urban renewal sites need to have the right infrastructure which makes them safe, affordable, energy-efficient and desirable for new generations of residents. These are some of the main pillars of the new system which are evolving now and being readied for introduction in mid-2020. It’s important that South Australians realise that the baby isn’t being thrown out with the bathwater – many of the tried and tested rules which underpin the old planning system are being transferred to the new model, but everything is being robustly re-examined to determine if it’s sensible, fair and, most importantly, whether it’s simple for everyone to understand. If you’re keen to know more about changes to our planning system, visit the SA Planning Portal. There’s a wealth of information, including fact sheets, explanatory videos and a number of discussion papers which are currently open for public comment. Keep the website address in your phone and computer, too. It will be the single entry point for all development applications in future – a future which is arriving sooner than you think. Of course, now that the process is going to be so much easier for homeowners, you won’t have any excuses when your kids ask you why you haven’t submitted those plans for the backyard pool you promised them when you moved in.
saplanningportal.sa.gov.au
Sally Smith has worked as a planner for over twenty years in SA, Qld and NSW across policy, assessment and strategy, the last fifteen of those in State Government. Sally is General Manager of Planning and Development at the Department of Planning, Transport and Infrastructure (DPTI) and is overseeing implementation of the state’s new planning system. Sally is passionate about fostering a Planning Department which collaborates and works effectively with local government, the development sector and listens to our community about building healthy, connected and well-designed neighbourhoods.
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making the decisions about appropriate types of development, particularly those which benefit you, our communities or the state’s economy.
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COMM U N I C A T I O N The COMMUNICATION category was open to entries from all areas of graphic design, including branding, signage and typography. This category is one of the most popular sections of the awards as a result of the enduring connection communication design has to South Australia’s innovative wine industry.
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The project presents an interesting way to investigate the wine industry and reveals a new level of comprehension for the average Australian wine aficionado. It successfully sets new comprehensive standards for developing wine tourism and is an innovative application of digital mapping to provide a tool for the wine industry to inform customers and promote their unique product.
ADELAIDE HILLS WINE REGION INTERACTIVE MAP X
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IN 2017 the ASPECT Studios Urban&Public team was called upon to solve an unusual problem: how to represent 52 Adelaide Hills wineries with an interactive platform.
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–––– One of the challenges for producers in this renowned wine country is the region’s scale and diversity in character and sub-regions. Urban&Public were engaged to explore ways to help local winemakers talk to their local and international peers who are unfamiliar with the region. Through a process of digital mapping, they created an interactive visualisation platform
The platform enables winemakers and cellar doors to tell the story of the terroir at conferences and wine tastings.
The Adelaide Hills wine region is east of the city, in the Mount Lofty Ranges, stretching for 70 kilometres in a narrow band. Its highest vineyards are around 600-650 metres, in areas such as Crafers, Summertown, Piccadilly and Carey Gully.
Terroir describes how the natural environment in which a wine is produced – its soil, topography and climate – imparts its characteristic flavours.
Photo: Urban&Public
offering an unrivalled way of exploring the local terrain, and understanding the nuances and characters of the region.
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JUDGES’ CITATION
Communication
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The Daddy Long Legs has long been a well-regarded fortified wine of limited release and exceptional quality.
–––– It is an extremely rare and special product, with production restricted to the contents of only two remaining barrels set aside for over 40 years. As such it represents d’Arenberg’s most expensive and coveted offering, and is one of the most highly priced fortifieds available in Australia. The barrel shed that houses the wine is inhabited by hundreds of ‘Daddy Long Leg’ spiders who have kept a watchful eye over these barrels for decades. The major design challenge was to develop a package
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Photos: Liam West
that would reflect the product’s namesake whilst creating a premium impression, without gimmick. The packaging had to convey the unique and limited nature of the product and its accompanying premium price point. Sold only at cellar door and aimed exclusively at high-budget consumers, it was decided to present the bottle suspended in a custom-fabricated stand inspired by the Daddy Long Legs’ uniquely-shaped limbs.
JUDGES’ CITATION Daddy Long Legs is a playful and memorable project. It creates a brand that responds to the specific challenges of the brief to arrive at a highly resolved and beautiful outcome which is at once logical and unexpected. A playful yet refined response to an interesting brief, which builds on the d’Arenberg tradition of quality and fun.
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Daddy Long Legs
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Communication
How do you meaningfully reuse an 11 hectare shed? This was the unique challenge presented once Mitsubishi vacated the Main Assembly Building (MAB) at Tonsley. Having committed to retention of this cathedral to car manufacturing, the government of the day needed a vision to match the scale of the structure. X BY NICOLETTE DI LERNIA
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Life
–––– The masterplan for the 61 hectare site identified a range of opportunities – connection to existing and proposed transport infrastructure and proximity to facilities including Flinders University and Flinders Medical Centre. However, what had made the site available was also a key challenge – with the closure of Mitsubishi the area lacked employment. To counter this, Tonsley was envisioned as sustainable development built around innovation, research and high value manufacturing. At the centre of the site the MAB would be subdivided into flexible tenancies for private enterprise, with shared amenities – cafés, landscaped zones and sports facilities – fostering interaction between organisations. The TAFE Sustainable Industries Education Centre would occupy two hectares at the south end of the MAB and Flinders Uni School of Computer Science, Engineering and Mathematics a site created by demolition of the northern section of the building. These education nodes would act as catalysts for development and innovation.
So, what has been achieved six years later? I first visited the site in about 2011 during a briefing for the MAB masterplan. The asbestos cladding had been removed, leaving a sprawling skeletal structure. Our little group were like krill swimming through the ribcage of a whale. The potential was clear and so were the challenges – providing clear circulation and identity within such a vast volume; establishing a ‘sub-division’ strategy; provision of services to each tenancy; ensuring fire safety for disparate occupants housed under one massive roof. These have been skilfully addressed through the work of Woods Bagot, Tridente Architects and Oxigen. The remaining structure has been stabilised and reclad to provide a light but unifying umbrella. Two social nodes have been created – the Town Square and the Plaza – providing food and recreation services. They are defined through well resolved and executed landscaping, furniture and lighting. Paths through the expansive MAB interior have also been identified using lighting and will increasingly be defined as the tenancy buildings are constructed. The design approach – exposed services, robust materials, simple forms, super graphics – works with the language of the existing building to celebrate the industrial heritage and lay the groundwork for future activation. This masterplan has been recognised through design awards and inclusion of the project in Australia’s 2018 Venice Biennale exhibition. It is the establishment of the tenancies that presents the biggest challenge moving forward. To date the MAB is about a third occupied. This is a significant improvement from my last visit two years ago, but still presents the visitor with tracts of unoccupied space. Some of these are fenced off for future tenancies, weeds growing through the dusty floor slab. One large sector is being used as carparking in a deflating return of the automobile to the building.
The tenancies that have been built are clustered around the Plaza and straggle towards the Square. They demonstrate varied approaches, from the highly resolved modular construction of Tridente’s Micro-X, to the smooth curves of Hassell’s Flinders Uni facilities, to the refined timber and polycarbonate of Greenway’s interconnecting tenancies. The potential for the MAB is evident where they come together to shape and activate the space. They provide visual interest, life and purpose. The requirement for design by an architect is evident in the attention to detail, interesting material selections and expressive forms. However, in the unoccupied regions around the entry to the Flinders Uni and TAFE buildings, the echoing expanses exist as desolate testament to the scale and ambition of the project. They do not invite connection or encourage interaction. Only the prohibition on food outlets within the TAFE and Flinders buildings compels occupants to leave the civilised sanctuaries created at the MAB’s north and south extremities and venture into the interior. Similarly, the areas surrounding the MAB also remain largely undeveloped. A desultory ‘green’ has been created between the MAB and the Drill Core Library, which is the only significant new building on the site. To the west and north of the MAB, the promised housing and social infrastructure is still a concept. The roads have been constructed but otherwise the potential to remake Tonsley as an integrated 21st century community remains unrealised. Temporary activations, like Hybrid World, are one response to the open spaces within the MAB. However, they are no substitute for permanent businesses which will inject vibrancy, activity and long-term viability. It is to be hoped that the development of the remainder of the site and the completion of the interminable Darlington interchange works will provide impetus for the next stage of development of the MAB and enable it to fulfil its potential. In the meantime, sites like Lot 14 threaten to pull focus, potentially leaving Tonsley to battle for its future.
Nicolette Di Lernia is the chapter manager of the Australian Institute of Architects’ South Australian Chapter.
Form Journal / Volume 03
Tonsley was envisioned as sustainable development built around innovation, research and high value manufacturing.
After The Car
BUI LT ENVI RON
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St Andrew's Hospital
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The Darling Building
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The City Is An Idea
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BUIL T E N V I R O N M E N T The BUILT ENVIRONMENT category was open to all entries from the disciplines of architecture, interior architecture and interior design in South Australia. The state has continued to see a rise of new architectural additions to our cityscape, as well as the restoration of a number of key heritage buildings and interiors.
ME NT
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C O M M E N D A T I O N
ST ANDREW'S HOSPITAL EASTERN CLINICAL DEVELOPMENT X
W I LTS H I R E + S WA I N A R C H I T E CTS
––––The design integrates with the low-scale residential character of the precinct. Building massing provides a transition in scale, form and materiality from the taller hospital buildings to the surrounding neighbourhood dwellings while providing a respectful backdrop that enhances the adjacent State Heritage Waverley House.
The Eastern Clinical Development is a new seven storey day surgery facility linked to the existing St Andrew’s Hospital. It is inclusive of underground carpark, gym, procedural suites, recovery, cardiac ward and outdoor patient courtyard.
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Photo: David Sievers
The exterior utilises quality materials,
modulated, articulated fenestration and avoids long blank walls. The set back at ground level provides an activated and visually permeable edge to the public realm.
JUDGES’ CITATION The Eastern Clinical Development provides a thoughtful response to a complex context and program. The articulation of the facade assists in managing the scale of the development, resulting in a well-considered relationship with the neighbouring
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buildings, as well as creating an interesting streetscape. The colour palette wonderfully complements the surrounding park lands’ flora. The balance between the highly serviced, technical nature of the facilities and the creation of a comfortable environment for staff, patients and visitors has been achieved through skilful detailing, maximising views to outside and uncluttered, commodious spatial arrangements. X YEAR OF COMPLETION 2018
Built Environment
THE DARLING BUILDING X
WILLIAMS B U RTO N L E O PA R D I
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In 1997, the Darling Building was abandoned. Unappreciated, unviable, unusable, it remained as the day it was left… derelict.
–––– It’s a project in two parts….A viable commercial proposition, and a home for Williams Burton Leopardi. Contrasting the gritty exposed building fabric are delicate and detailed insertions. These soften the practical with the beautiful. Repair is celebrated, understanding that an object or a space can be more beautiful for having been broken, a story told, patina a virtue, but not at the expense of the authenticity or quality. The Darling Building remains a symbol of a time when civic pride and patronage in architecture was lauded.
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The Darling Building
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Photos: Christopher Morrison
JUDGES’ CITATION A sublime project expertly expressed and executed. The architects have bravely grasped a unique challenge and succeeded on so many levels. This project takes adaptive reuse to a new level. Taking on the Darling Building was not for the fainthearted and the final design solution is the result of significant exploration and investigation. It challenges current expectations regarding commercial space while delivering a complex, layered environment that is engaging, meaningful and empathetic with the original architecture.
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X YEAR OF COMPLETION 2017
Built Environment
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As an expert on cultural policies, development and urban renewal, Jordi Pardo explores the inherent dangers and advantages of technology in the future and reminds us of the human side of our cities.
X BY JORDI PARDO
AN D –––– Technology is in itself silly, not smart. Rather, it is the intelligent use of technology that is smart. Cities have always been smart. Nowadays, there is a new faith in technology. It seems that the future is primarily based on technology. But a better future for cities is only possible through an intelligent and honest use of technology. Throughout the history of civilisation, technology has increased the capacity to face big threats for individuals and communities, but it has always been the driver for a better life and a happier
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society. Fire, steam, electricity and digital technology have improved our lives. Perhaps, we are just in the prehistory of the digital age, and artificial intelligence is just starting to be a reality. Perhaps we are too fascinated by them, and we should take care of the values of the fair use, and the social, cultural and sustainable development and rethinking of cities. In this challenge, design, architecture and urban planning are crucial for a better life and for more liveable cities.
The City Is An Idea
Cities are probably one of the most sophisticated cultural creations of human beings. Cities were born as platforms of complexity that boosted the specialisation of spaces, activities, and developed shared knowledge. Cities were, from their origins, marketplaces, hubs of ideas and creativity. But to rethink or provide a futuristic urban plan for our cities is not only a matter of technology. We should remember that the city is an idea. A collective idea shared in time and managed with long- and short-term decisions.
A liveable city should be vibrant and pleasant, green but efficient and human but competitive. Technology can help a lot, and, of course, it is always essential. We need to learn to move from analogic thinking to digital thinking when we are designing, planning or managing urban projects. I think it is helpful as well to remind, rethink and update old concepts, and shake them to provide inspiring options.
concepts that provided competitiveness, social equity, sustainable activity and wellbeing in a secure and attractive urban scenario. In 1859, Cerdà said: “we must urbanise the rural areas, and we must ruralise the city.” Let’s think...
Jordi Pardo is an expert on cultural policies, development and urban renewal and was a judge in this year’s FORM INNOVATION AWARDS.
In 1859, the engineer Ildefons Cerdà designed the urban project for Barcelona. This has been a successful model of a liveable city because the concept has been updated and upgraded. Rethinking the city but without missing the values and main
Form Journal / Volume 03
Of course, the speed and depth of change is much faster and more global than ever. But the history of civilisations is a history of innovation. Every tradition was, a long time ago, an innovation. The intelligent approach is the open-minded and creative tension between new technologies, knowledge and values. Let’s not forget that values and concepts are fundamental to better shape our cities.
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A W A R D ––––––– W I N N E R
S T U D I O 7: THINK SPACE X
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YIN SHAN CHEE
UNISA STUDENT DESIGN INNOVATION AWARD This year we invited design entries from students in any discipline (architecture, landscape, interior design, planning or product innovation) from the University of South Australia (UniSA), for the UniSA Student Design Innovation Award. To be eligible, students must be currently enrolled in either an undergraduate or post graduate program in Art Architecture and Design at UniSA (architecture, interior architecture, communication design, product design, illustration and animation, urban and regional planning, sustainable design, design and construct, contemporary art, AAD honours).
Studio 7: Thinkspace
X YEAR OF COMPLETION 2018
Form Journal / Volume 03
Photos: Yin Shan Chee
The project’s objective is to transform the area around Hindley Street into a more vibrant place.
–––– The site is ideally situated near public transport, universities, offices and hotels. Hence Thinkspace, a lifestyle coworking space was created. Thinkspace's design consisted of coworking spaces as well as a cafe with an open courtyard. The design incorporated public seating spaces that cater to the public and functions as a meeting space to bring together a strong community. Thinkspace’s design is influenced by the history of Adelaide’s Theatre Royal which was once a famous landmark.
JUDGES’ CITATION Thinkspace is the result of a well-researched brief. The central sculptural staircase is rhythmic, sensitive and a highly-considered centrepiece. The judges congratulate the community spirit shown here. This project demonstrates the ability to design something with historical context and respect but is modern and contemporary. A lovely interpretation of the communal workspace, which is beautifully resolved and presented.
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Photos: Grant Hancock
I N N O »
The Museum of Discovery (MOD) at the University of South Australia is an exciting and innovative space rising out of the medical and research precinct on the west side of North Terrace, making it a perfect venue for the 2018 FORM INNOVATION AWARDS. X BY NATHAN
JAMES CRANE
T I O N S
V A – –––– MOD’s aim is to inspire young adults aged 15 to 25 in science and technology, showcasing how research shapes our understanding of the world to inform the future. Since opening, more than 40,000 visitors have come through its doors to visit the space’s seven galleries. “Every exhibition has a theme,” says MOD’s operations manager Becci Love. “The current exhibition, MOD.IFY, explores perception. Most of the work has a relationship to research into something specific.” The underpinning concept of the futurefocused museum is to showcase the synthesis of art and science, which Love says is “working with cutting edge research, to explore science, engineering, technology and maths in a different way to how a normal museum or science gallery might show this”. “Everything is interactive, not in display cases,” she says.
Experience is key to learning, and MOD, as its name suggests, is all about discovery. “It’s about creating provocations for visitors to come back and think about the ideas we are sharing, or to think about working in the subject area,” Love says.
The museum offers different perspectives, rather than dictating them and allows visitors to be exposed to many different ways of thinking, through their own explorations. “An example of this is that the gallery staff are called ‘moderators’, they are there to encourage more questions, rather than answer them,” Love says.
While MOD is enjoying overwhelmingly affirmative feedback from the public, she admits they were uncertain how it would be received initially. “We were unsure at first how the public would respond, as there is nothing like this around, but we have had such positive feedback in person and online, which is unusual for an arts organisation.” The science museum, art gallery and research laboratory stands as a key example of South Australia’s strength in finding engaging approaches that bridge the art and science, technology and research and design and innovation divides.
MOD is open Tuesday to Sunday, North Terrace, adjacent Morphett Street Bridge. mod.org.au
Form Journal / Volume 03
MOD Innovations
OP EN SPACES + URBAN
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Design King William
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Mukanthi Nature Playspace
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Luxury Meets Portability
Page 46/47
OPEN S P A C E S + URBA N R E G E N E R A T I O N The OPEN SPACES + URBAN REGENERATION category welcomed entries from the disciplines of planning, landscape architecture and urban development. The category saw a multitude of different project scales entered (large urban regeneration projects to small residential landscapes) and is a reflection of the ongoing relationship between our state and its developing urban sites.
REGENER ATION
H I G H ––––––– C O M M E N D A T I O N
DESIGN KING WILLIAM
Photo: Communikate
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C I T Y O F U N L EY, W I T H C O M M U N I KAT E , VILLAGE WELL, O U T E R S PA C E L A N D S CA P E A R C H I T E CTS In 2018, the City of Unley commenced the reinvigoration of King William Road, one of Adelaide’s most recognised main streets.
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–––– Council established a co-design approach, working with the community, traders and landlords, through three stages: Developing a shared vision, testing key design ideas and developing and testing a preferred design. A communication and engagement campaign, Design King William, saw the implementation of an engagement shopfront supported by engaging marketing activity, enabling more than
600 conversations that helped test appetite for change and develop a preferred design.
JUDGES’ CITATION The Design King William project has incorporated a robust and inclusive consultation process. The use of face-to-face and digital consultation mechanisms allows a wide range of engagement
and the website provides a clear and informative summary of the process and the outcomes. The consultation methodology has been applied very well and demonstrates how effective a genuine consultation process can be.
X YEAR OF COMPLETION 2018
Open Spaces
MUKANTHI NATURE PLAYSPACE MORIALTA CONSERVATION PARK X
P ET E R S E M P L E L A N D S CA P E A R C H I T E CTS & C L I M B I N G T R E E C R E AT I O N S In 2015 DEWNR (Department of Environment Water & Natural Resources) engaged Peter Semple Landscape Architects (PSLA) and Climbing Tree to design a new $900,000 nature playspace at Morialta Conservation Park.
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–––– The design team recognised that the playspace needed to complement and integrate seamlessly into a site containing natural play affordances. A strategic approach of playful and sympathetic interventions could aid in connecting, celebrating and legitimising the existing natural play experiences; which were often
bypassed or restricted by traditional adult influences. This was an opportunity to create a playspace that wasn’t physically or cognitively constrained, but inspired children to explore independently, to seek wilder adventures, to inspire imagination and ultimately fabricate childhood memories while fostering empathy to nature.
Photos: Peter Semple
Mukanthi Nature Playspace
X YEAR OF COMPLETION 2017
A W A R D –––––––
Form Journal / Volume 03
W I N N E R
JUDGES’ CITATION This is a stunning project all South Australians should be proud of. If only every project had clients with vision that were this sensitive to different stakeholders and the environment, all while providing such a high level of engagement, excitement and play for visitors. This is a well-executed example of nature play, with robust research and consultation to inform the design and documented outcomes to demonstrate the success of the project.
Open Spaces
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The portable pre-fabricated prism of Escapod might be just the right size to fill the contemporary luxury accommodation gap in South Australia’s scenic regions.
X BY JOHN DEXTER
Escapod
–––– It was in preparing for a weekend getaway to the Barossa that Escapod co-founder and CEO Ryan Brown saw a gap in South Australia’s luxury accommodation market. “I was doing my research and couldn’t find many contemporary offerings,” Brown says. “It was really all the old school B’n’Bs that have their own charm which is great, but I was looking for something more modern and contemporary. “Dino [Vrynios, architect and Escapod codirector] and I started to talk about it, and at the same time were exposed to modular design and pre-fabrication,” he says. “We thought why don’t we bring the two together to create an accommodation product that is pre-fabricated, which allows us to bring it into regional areas.” It’s four years since Brown and Vrynios set out on their journey to develop Escapod. Now the first of their pre-fabricated luxury accommodations has been installed at The Vineyard Retreat in McLaren Vale.
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It is a disarmingly charming space informed by deeply considered minimalist design. The interior’s bedroom, living room and kitchen flow into each other in an open plan, with a separated bathroom and storeroom adjoining, and three massive double-glazed windows sitting on three sides of the prism. It’s comfortable and finely finished, but the story is all about those windows, and their link to the outside world.
“The artwork is the window, really,” Vrynios says. “That’s the part of the experience that is amazing.” As a modular, moveable, pre-fabricated building, Escapod’s ingenuity is its ability to sit in any variety of scenic locale. From a vineyard to a beach to a forest to the red centre, this pod can do it all and fits the present trend of luxury accommodation to highlight beautiful settings rather than simply aim for gilded baroque opulence. Asked whether other local luxury accommodation projects with a focus on natural immersion, such as the Southern Ocean Lodge, were an inspiration in this design, Vrynios says it was certainly a consideration and also helped in developing their business case for the project.
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“It was a reference point for us in a lot of ways, because it gave us confidence that what we were endeavouring to do can work,” he says. “We knew that we were always going to have to reach a certain per-night price point. We know that they achieve that at the Southern Ocean Lodge in a location that is remote and exclusive, and incredibly experiential.”
Photos: Sam Dickinson
Another feather in Escapod’s cap is its focus on sustainability, both in design and its capacity to be fully functional in an off-grid scenario. As a moveable, well insulated structure, the Escapod has a lighter footprint on the land than fully permanent
constructions, and the capacity for it to be re-skinned to suit its environment can draw in the expertise and materials of the region it lands in. “We have built it here locally,” Brown says. “All trades, inputs and materials in the building have been sourced locally, which was really important to us as well. It also reinforces the story of that place and makes it a far more genuine, authentic experience, which is critical, that it looks like it should belong.” “It can’t look like an alien that’s been dropped into place,” Vrynios adds. “It needs to feel like it’s been anchored and belongs there.” While the Escapod is built with luxury accommodation in mind, it has some parallels with size and full-service facilities of the tiny house movement. In the context of high property prices for first home buyers, could the Escapod be used as a home too? “It is essentially a one-bedroom apartment,” Brown says. “It has everything you need to live, so people are actually very interested from that perspective… It’s not our focus, though, and we need to be clear about that. Our focus is about redefining regional tourism and to create that offering that there’s not enough of.”
escapod.com.au
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“The four-year gestation period of the development of the idea was critical,” Vrynios says. “Putting a transportable building into a premium location is not anything new, but we found that speaking to more people gave us more ideas, and every roadblock we hit forced us to think differently about the solution.”
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Counterfold
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OBJE C T The OBJECT category welcomed entries from all practices in the discipline of industrial design, including furniture and product design. South Australia is renowned for its history of craftmanship, and as the centre for new emerging talent in object design and making, this year’s entries were successful in continuing this tradition.
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Counterfold
A W A Photos: Sam Noonan
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Aesthetically unique, functional and with a complementary palette of materials and textures, this is a practical but stylish addition to the home. It’s a centrepiece without the need for additional sculpture. Well executed and designed to complement the architecture and provide a sculptural focus for the space. Projects like this show clients it is possible to think outside the square and not buy off the shelf.
COUNTERFOLD X
T E S S P R I TC H A R D Art and sculpture may be added to buildings to enrich the architecture, an adornment to decorate a space, but rarely are functional furniture objects in a home conceived as sculpture.
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–––– Counterfold is an island bench that bridges the gap of form and function. It becomes the focal point of the living space; a uniquely dynamic object hovering lightly in the room.
Folded planes of steel mirror the clean origami shapes of the ceiling and angular floor plan. A simple and refined palette of white steel, porcelain and plywood allow the island bench's form to become the hero of the space as an element of pure sculpture.
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JUDGES’ CITATION
Summary
PRO JECT COMMUNICATION p.31 –––– HIGH COMMENDATION
Urban&Public / Aspect Studios Terroir p.32 –––– AWARD WINNER
Voice
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Congratulations to all of this year’s winners.
Daddy Long Legs BUILT ENVIRONMENT p.37 –––– HIGH COMMENDATION
Wiltshire + Swain Architects St Andrews Hospital, Eastern Clinical Development p.38 –––– AWARD WINNER
Williams Burton Leopardi
P 54/55
The Darling Building UNISA STUDENT DESIGN INNOVATION p.42 –––– AWARD WINNER
Yin Shan Chee Studio 7: Thinkspace
OPEN SPACES + URBAN REGENERATION p.47 –––– H I G H C O M M E N D A T I O N
City of Unley, with Communikate, Village Well, Outerspace Landscape Architects Design King William p.48 –––– A W A R D W I N N E R
Peter Semple Landscape Architects & Climbing Tree Creations Mukanthi Nature Playspace OBJECT
p.53 –––– A W A R D W I N N E R
Tess Pritchard Counterfold
SUM
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VOLUME THREE