Architecture Australia - November December 2023

2023 National
Architecture Awards
VOL. 112 NO. 6
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Architecture Australia Nov / Dec 2023

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Good
Gooddesign
design
doing
doinggood
good
JuryJury
David
David
Fisher,
Fisher,
Housing
Housing
Choices
Choices
Australia
Australia
Maryam
Maryam
Gusheh,
Gusheh,
Monash
Monash
University
University
Elizabeth
Elizabeth
Watson-Brown
Watson-Brown
MP,MP,
LFRAIA
LFRAIA
Kieran
Kieran
Wong,
Wong,
TheThe
Fulcrum
Fulcrum
Agency
Agency
Linda
Linda
Cheng,
Cheng,
Architecture
Architecture
Media
Media
Prize
Prize
$5000
$5000
More
More
Information
Information
+61+61
3 8699
3 8699
1000
1000
aausocialimpact@archmedia.com.au
aausocialimpact@archmedia.com.au
Entries
Entries
accepted
accepted
2020November
November 2023
2023
– 8–March
8 March2024
2024
Presenting
Presenting
Partner
Partner Media
Media
Partners
Partners Organizer
Organizer
Contents Nov / Dec 2023
(FOREWORD) (2023 NATIONAL ARCHITECTURE AWARDS)
08 Advocating, celebrating, 22 Jury chair overview

commemorating Words by Shannon Battisson
Words by Stuart Tanner, National President,
Australian Institute of Architects 24 Public Architecture
(REFLECTION) 30 Educational Architecture

10 Asking more from 36 Commercial Architecture
our built environment
Words by Katelin Butler, Editorial Director, 40 Interior Architecture
Architecture Media
44 Residential Architecture –
(CONTRIBUTORS) Houses (New)
12 Selected writers
50 Residential Architecture –
and photographers
Houses (Alterations and Additions)
(DISCUSSION) 54 Residential Architecture –
14 Are yarning circles Multiple Housing
the new decal?
58 Sustainable Architecture
Words by Carroll Go-Sam
62 Heritage
(EXHIBITION)
16 Liam Young: Planetary Redesign 66 Urban Design

Review by Dan Hill
70 International Architecture
18 Purpose Built: Architecture 72 Small Project Architecture
for a Better Tomorrow
Review by Kirsty Volz 76 Steel Architecture
(2003 GOLD MEDAL TRIBUTE) 78 Enduring Architecture

86 Maggie Edmond 80 Emerging Architect Prize
Words by Philip Goad
82 Shortlist
(2023 A. S. HOOK ADDRESS)
90 A legacy for everyday dignity

Words by Kerstin Thompson
(IN MEMORY)
96 Vale Pat Pinder

Words by David Karotkin
97 Vale Peter Myers

Words by Richard Leplastrier
98 Vale Ken Latona (COVER IMAGE) 19 Waterloo Street by SJB
Words by Mat Hinds (PHOTOGRAPHER) Anson Smart
Contents 07
(FOREWORD) I am incredibly privileged to have grown up on the beautiful island
of lutruwita (Tasmania), on palawa Country. Lutruwita’s beautiful
Advocating, celebrating, mountains, forests and coastlines hold precious stories that can
be heard on the wind.
commemorating At the time of writing, Australia is approaching a significant
moment in its postcolonial history: a referendum on whether to
alter our Constitution to recognize the First Peoples of Australia
by establishing an Aboriginal and Torres Strait Islander Voice.
I feel profoundly hopeful that this change will be made, and I am
incredibly proud that the Institute supports the Uluru Statement
from the Heart. We understand that not everyone will support this
position; we are all free to inform ourselves of the issues and form
our own views. The Institute’s “Yes” position builds on the 2020
addition of a statement of recognition in our own constitution
and a First Nations voice within our governance structure.
As the end of the year approaches, we are all balancing project
commitments with arrangements for the festive season. However,
we must keep in mind those who are struggling to maintain shelter
or even to find any. The Institute’s commitment to advocating for
quality affordable and social housing is unwavering, and we continue
to push for better governmental policy and zoning review to foster
more equitable living conditions within our cities.
It has been wonderful to gather in person once more to
celebrate and collaborate at this year’s Australian Architecture
Conference and National Architecture Awards. These events have
highlighted the excellence and diversity of the work accomplished
by the profession this year. Australian architects are delivering
projects that achieve strong measures of sustainability, efficiency
and connection to Country. It is inspiring to see these factors come
to the fore, especially in the face of increasingly complex planning
and code regulations. The awarded projects are testaments to the
power of architecture to shape our communities and enrich our lives.
A new aspect of the awards this year was the inclusion of a
sustainability checklist for all categories. We believe that this
requirement will honour industry leaders in the sustainability field,
highlight what sustainability means in different regions of the
country, and incentivize further climate and sustainability action.
We have been heartened by the remarkable adoption of more
sustainable approaches; architects are at the forefront of designing
solutions that prioritize efficiency, minimize the use of resources
and promote resilience.
Amid the celebrations, we paused to commemorate a truly
iconic landmark – the Sydney Opera House – on its fiftieth
anniversary. A World Heritage-listed work designed by visionary
Jørn Utzon, the Opera House remains a symbol of architectural
ingenuity and cultural significance. Its pioneering shell structure,
resting on a symbolic podium at Bennelong Point, continues to
inspire generations of architects. We were privileged to hear from
Jan and Lin Utzon, children of Jørn and honorary members of the
Institute, at the UNSW Sydney Utzon Lecture.
As well as being fantastic events that highlight the scale,
range and beauty of architectural projects across our nation,
the Australian Architecture Conference and National Architecture
Awards also provide opportunities to catch up with friends and
colleagues. Architecture is a demanding profession, and the value
of taking time to pause, reflect and enjoy each other’s company
must not be underestimated.
Thank you to all the architects, designers and stakeholders
whose collective efforts continue to shape our built environment
and pave the way for a more sustainable, diverse and culturally
enriched future.
— Stuart Tanner, National President,

Australian Institute of Architects
08 Architecture Australia Nov / Dec 2023

Congratulating those
who design together
Unity. Vision. Craftsmanship. The architectural wonders that grace our landscapes are not just the product of individual
genius but are the culmination of collective passion and collaboration. The National Architecture Awards winners have
shown the world what it truly means to “design together.” At Fielders, we believe in the power of partnership. We’ve seen
time and time again how combining the right minds with the right materials can lead to masterpieces. Your award-winning
designs stand as a testament to the incredible outcomes of unity in purpose and action. Every one of the steel building
products we manufacture is infused with the hope that it will become a part of something bigger, something meaningful.
And with architects and designers like you at the helm, our hopes turn into realities. Here’s to the teams behind the
designs, the minds that mold our products into art, and the shared dreams that redefine our built environment.
Because great architecture isn’t just designed. It’s designed together.
Fielders is a proud partner of the

Australian Institute of Architects.
Fielders® and ® product names are registered trademarks of BlueScope Steel Limited and ™ product names are trademarks
of BlueScope Steel Limited. © 2023 BlueScope Steel Limited. ABN 16 000 011 058. All rights reserved. FIE0506 - 10/23
fielders.com.au
(REFLECTION) (ACKNOWLEDGEMENT) We acknowledge the Traditional Custodians of Country
throughout Australia and recognize their continuing connection
Asking more from to land, waters and culture. We pay our respects to their Elders
past, present and emerging.
our built environment
This issue of Architecture Australia celebrates the 2023 National

Architecture Awards. Jury chair Shannon Battisson comments
on the common themes of collaboration and sustainability (social
and environmental). Many of the winners have been reviewed in our
pages over the last year or so – and collectively demonstrate the
high calibre of architecture and design in Australia.
In light of our climate emergency, we need to keep asking for
more from our built environment, and this was the first year that all
state chapter entrants were required to complete a “sustainability
checklist” to be considered for any award. Although this is a step in
the right direction, we still aren’t doing enough as an industry – and
to continually improve, we need to keep learning and innovating.
Faced with increasing urgency and strong incentives to build less,
we may find it interesting to look back at this time next year and
consider our progress.
Also included in this issue is an abridged version of Kerstin
Thompson’s eloquent A. S. Hook Address (page 90), which she
delivered as part of her 2023 Gold Medal tour across the country.
Peppered with nutritious takeaways, the address takes us through
the foundations of her practice in six chapters. In “What architect?”,
Thompson reflects on how the limited number of women role models
within the industry when she started her practice in the early 1990s
compelled her to consider how others perceived and received her.
She asks “why women were absent – or at least unacknowledged –
in architecture’s history.”
Thompson is one of only four women to receive Australian
architecture’s highest honour – but this year, the Institute asked the
Gold Medal jury to “consider whether there has been an oversight
in acknowledging only one member of the duo whose longstanding
collaboration was responsible for the practice of Edmond and
Corrigan.” Twenty years on, the jury unanimously awarded the 2003
Gold Medal to Maggie Edmond and Peter Corrigan. To celebrate this
achievement, Philip Goad pays tribute to Edmond (page 86), noting
that “the inclusion of Edmond’s portrait on the front cover of the
2003 Gold Medal issue of Architecture Australia” was an important
acknowledgement of her central role. Personally, I feel proud of the
editor’s decision to do this at the time.
Looking toward 2024, we’re planning a series of themed issues
and dossiers, the first of which focusses on the next generation of
architects. We are interested in what we might learn from previous
generations, how the emphasis of practice has shifted, and how we
might keep the role of the architect relevant. With the spotlight on
artificial intelligence, we’ve invited Roland Snooks (director of the
Tectonic Formation Lab at RMIT) and Gwyllim Jahn (creative director
of design research practice Fologram) to guest-edit a dossier on the
opportunities and challenges that this technology brings our industry.
Finally, as our projects’ social value becomes increasingly important,
we’re working with Emma Williamson and Kieran Wong of The Fulcrum
Agency to curate an issue that celebrates those projects with impact
beyond the built form itself. Lots to come – watch this space!
— Katelin Butler, Editorial Director,

Architecture Media
(CORRECTION)
In Architecture Australia, vol. 102, no. 1, January/February 2013, a review of

One One One Eagle Street, designed by Cox Rayner Architects (pages 44–52),
incorrectly attributed the 1999 masterplan to Harry Seidler. Seidler never had any
masterplan envisioning One One One Eagle Street. Lend Lease Design Group’s
1996 masterplan did not include One One One Eagle Street. The One One One
tower first appeared in a 1999 masterplan – and neither the 1996 nor the 1999
precinct masterplan involved Seidler or his firm.

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(CONTRIBUTORS)
Selected writers
and photographers
Anson Smart Carroll Go-Sam Dan Hill
Anson Smart is a commercial Carroll Go-Sam is an Indigenous Dan Hill is director of the Melbourne
photographer specializing in interior, lecturer and researcher in the School of Design at the University
food and lifestyle imagery. Whatever University of Queensland’s of Melbourne. He has previously held
he’s shooting, his aim is to create School of Architecture. positions at Swedish government
images that have depth and emotion. innovation agency Vinnova, Arup,
(WRITER, PAGE 14)
Future Cities Catapult, Fabrica, Finnish
(PHOTOGRAPHER, COVER)
Innovation fund SITRA, and the BBC.
(WRITER, PAGE 16)
Shannon Battisson Philip Goad Kerstin Thompson
Shannon Battisson is the immediate Philip Goad is chair of architecture, Kerstin Thompson is principal
past national president of the Redmond Barry distinguished of Kerstin Thompson Architects and
Australian Institute of Architects professor, and co-director of the an adjunct professor of architecture
and director of architecture at Australian Centre for Architectural at RMIT and Monash Universities.
The Mill Architecture and Design. History, Urban and Cultural She is the Australian Institute of
Heritage (ACAHUCH) at the Architects’ Gold Medallist for 2023.
(2023 NATIONAL ARCHITECTURE University of Melbourne.
AWARDS JURY CHAIR, PAGE 22) (2023 A. S. HOOK ADDRESS,
(WRITER, PAGE 86) PAGE 90)
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CONGRATULATING
THOSE WHO ARE
INSPIRED TO
BUILD BETTER
In a world of endless blueprints, it is the visionaries that stand out.
To all the winners of the National Architecture Awards, we
celebrate your dedication to pushing the boundaries of
architectural excellence. You craft more than just structures; you
craft legacies. At Lysaght, we share your passion for innovative
design and pioneering construction. Every foundation laid,
every beam placed, and every space created is a testament to
your commitment to excellence. As a leading building product
manufacturer, we’ve witnessed how the right tools, materials,
and ideas can transform visions into iconic structures.
We’re honored to have been a part of many of your journeys,
and look forward to supporting your groundbreaking work in
the years to come. Together, let’s continue to reshape skylines,
inspire communities, and redefine the future of building.
Here’s to the architects of tomorrow, and the designs

that will pave the way.
Lysaght is a proud partner of the

Australian Institute of Architects.
COLORBOND®, LYSAGHT® and ® product names are registered

trademarks of BlueScope Steel Limited and ™ product names are
trademarks of BlueScope Steel Limited. © 2023 BlueScope Steel Limited.
ABN 16 000 011 058. All rights reserved. LYH2321 – 10/23
INSPIRATION TO BUILD BETTER

(DISCUSSION) (WRITER) Carroll Go-Sam
Are yarning circles

the new decal?
With requests for yarning circles

becoming increasingly commonplace
in design briefs, Carroll Go-Sam
suggests how this element might
be more meaningfully and
creatively incorporated.
Yarning circles have been popping up in architectural and landscape

projects across the country in recent decades, with current prod-
uction possibly outstripping walls sporting Indigenous-themed
decal. They are a visible signal of Indigenous consultation – tick!
But despite their prevalence and contemporary role as a default
symbol of Indigeneity, they are deeply enshrouded in myth,
misinformation, misunderstanding and misapplication. You may
encounter them as a project appendix, imbued with meaning
from the sacred to the profane. While not wanting to cool down
the yarning circle fever gripping the nation, I invite designers
to integrate this feature more meaningfully and thoughtfully.
Often built at the request of Indigenous clients and stakeholders,
with the aim of facilitating positive social and cultural connections
within and between communities, yarning circles would seem full
of positivity. So, why do they tend to lack an applied understanding
of how to create appealing areas to sit and “yarn”? And why are
they often so disconnected from vibrant oral practices?
The emergence of a yarning circle in a project design tends
to occur simultaneously with Indigenous engagement. But, after
the initial meeting and discussion, human-centred design, iterative
development, empathetic accommodation, questioning and dialogue
all stop, with the result that poor built examples outnumber good
ones. It’s time to rethink this haphazard production.
Unsurprisingly, “spinning a yarn” has strong links to British
English. Australian usage of “yarn” emerged from nineteenth-
century colonial settler practices, but its everyday usage died out
before the late-twentieth century.1 Today, yarning has been indelibly
adopted into Aboriginal English to describe social oral practices
that build relationality, strengthen meaning and cement affinity
among Kin, Country and Community. However, it is important
to understand that yarning was largely devoid of any spatial
affiliation or prescription, until recently. 2
In my lived experience, yarning involved small, intimate sub
-sets of extended family in which stories were shared, information
exchanged, and matters set straight. Sometimes, it was strictly
gendered. Flexible settings accommodated yarning: in the kitchen,
around the campfire or on houses’ front or back steps.
Yarning was not formally present in institutional spaces until
the twenty-first century. The practice migrated with Indigenous
bodies into diverse educational and community organizational settings.
Here, yarning was used as a method to convey Indigenous standpoints
through storytelling, to transform teaching and research practice.3

The method espoused equality and values of respect, dismantling assumptions that shackle innovative interpretations and applications.
western pedagogy and knowledge hierarchy.4 Contemporary What can be done to make their inclusion meaningful? Here are my
Indigenous-led and intercultural scholarship continues to expand top five recommendations for anyone designing a yarning circle:
yarning in education,5 architecture, landscape, health, criminal justice
and beyond.6 This seriously vibrant elaboration, with increasingly (1) Remember that a request for a yarning circle is not a complete
complex applications, continues to outgrow its spatial cousin. brief. Instead, it’s the beginning of several conversations that
The emergence of built yarning circles paralleled the evolution should lead to an iterative design process about the feature’s
of international and national Indigenist research methods. Yarning purpose, users, location and form.
spaces disrupted western spatial power, enabling Indigenous cultural (2) Ask whether the yarning circle will facilitate Indigenous or
agency.7 Presently, yarning circles come in a variety of curvilinear intercultural communities of practice. (Segregated spaces in
shapes, sizes and names. Other design iterations include gathering multi-ethnic spaces and no-go zones need to be reconsidered.)
circles/spaces/places and meeting circles/spaces/places. Despite (3) Don’t ask what is wanted, but which communities of practice
being apparent gestures of reconciliation, many are inserted in persist. This will ensure that the feature taps into a living culture
spaces or at locations where Indigenous people are absent minorities. and is fully integrated with associated spaces and settings.
Some have become quasi-sacred zones of exclusion, set aside for (4) If the yarning circle is externally located, maximize relief from
one day a year during NAIDOC8 Week. Others exist more logically weather extremes. If it is internally situated, ensure that it is an
in Indigenous-dominated spaces, connecting users to each other easily accessible asset for diverse communities who are informed
and Country. about how and why the feature exists.
The reductive simplicity of yarning circles has resulted in (5) If a yarning circle is suggested on the fly, ask whether there might
a hyper-tradition that should inspire creative applications. Hyper- be other impactful ways to imaginatively Indigenize the space.
traditions arise from circumstances where traditions are threatened,
often emerging from histories “that did not happen.” 9 Google and Let’s replace the “ask no questions and build” approach with
ChatGPT may demystify yarning circles, making them accessible. active design inclusivity. The oral practice of yarning is about
But, as with other design tropes such as firepits and bush-tucker shared relationality. By making this the essential design goal
gardens, ease of replication has reinforced myth, shutting out of yarning spaces, we will unleash new ideas that radically
creative ideas for other Indigenous-inspired space types. reimagine gathering in different-shaped spaces and forms.
As spatialization of yarning demanded validation, invented
traditions were added to legitimize the built form as authentically — Carroll Go-Sam is an Indigenous lecturer and researcher
Indigenous. Some mistakenly associate yarning circles with traditional in the University of Queensland’s School of Architecture,
bora rings or semicircular wind breaks;10 but these spaces do not Design and Planning.
correspond in purpose, elevation, section or meaning. Windbreaks
are multipurpose spaces offering protection from cold winds, while
bora rings are ceremonial spaces. Likening a bora ring to a yarning (FOOTNOTES) (5) M. Shay, “Extending the yarning yarn:
circle is like suggesting that a law court, church and cemetery Collaborative Yarning Methodology
is a circular seat. (1) G. A. Wilkes, Stunned Mullets and for ethical Indigenist education
Two-pot Screamers: A Dictionary of research,” The Australian Journal
In 2001, I was engaged as an Indigenous consultant on the Australian Colloquialisms, 5th ed. of Indigenous Education, vol. 50,
Musgrave Park Cultural Centre in Brisbane. A client representative (Melbourne: Oxford University Press, 62–70; doi.org/10.1017/jie.2018.25.
on the project requested that the design team include an informal 2008).
outdoor yarning space. The resulting design didn’t scream “place (6) B. Poirier, J. Hedges and L.
(2) “Yarning circle,” School of Literature, Jamieson, “Walking together:
to yarn,” nor was it predetermined by circular geometry. Instead, Languages and Linguistics, ANU Relational Yarning as a mechanism
it allowed users to form different seating configurations, taking College of Arts and Social Sciences, to ensure meaningful and ethical
advantage of long, linear stairs in the shade of the existing building Australian National University, slll. Indigenous oral health research in
canopy and a tree. The client was pleased with this simple, cass.anu.edu.au/centres/andc/ Australia,” Australian and New
understated accommodation for yarning. yarning-circle (accessed 8 Zealand Journal of Public Health,
September 2023).
Similar requests occur regularly across time and place. While vol. 46, no. 3, June 2022, 354–60;
inclusive design practices are welcome, yarning circles need to doi.org/10.1111/1753-6405.13234.
(3) In 2008, Dawn Bessarab and
be related to the people and places they occupy. Some are highly Bridget Ng’andu identified 418,000 (7) L. Finlay, Building Change:
unsuited to their sites: dust-prone yarning circles adjacent to carparks references to yarning in “Yarning Architecture, Politics and Cultural
about yarning as a legitimate
and surrounded by flyblown rubbish bins are questionable. Awkward Agency (Oxford: Routledge, 2005).
method in Indigenous research,”
spatial juxtapositions make others unusable or inaccessible. Plonked International Journal of Critical (8) National Aborigines’ and Islanders’
at the entry of visitor centres or on the extreme edge of outdoor or Indigenous Studies, vol. 3, no. 1, Day Observance Committee.
indoor teaching and learning spaces, many lack sun protection. Some 2010, 37–50. On 22 August 2023,
(9) N. Alsayyad, “Editor’s note,”
are so large that an audio setup for a small rock concert is required I googled “yarning” and received
Traditional Dwellings and Settlement
just to hear across the void. Others are functionally disconnected, 20 pages of variable relevant
Review, vol. 18, no. 1, Hypertraditions:
occurrences.
appearing along meandering circulation paths, removed from nearby Tenth International Conference 15–18
trees and landscaped spaces. Too many are unimaginative circular (4) L. Rigney, “A first perspective of December 2006, Bangkok, Thailand,
arrangements of rectangular or uneven granite blocks. The ongoing Indigenous Australian participation 10–11; jstor.org/stable/23565914.
in science: Framing Indigenous
recurrence of these designs speaks to fraught cross-cultural tensions (10) P. Memmott, Gunyah, Goondie
research towards Indigenous
and tight consultation timeframes. Australian intellectual sovereignty,”
and Wurley: Aboriginal Architecture
Yarning circles are a modern invention and a highly valued Kaurna Higher Education Journal, vol.
of Australia (Melbourne: Thames
feature – and for these reasons, they need to be released from rigid and Hudson, 2022).
7, 2001, 1–13.
Are yarning circles the new decal? 15

(EXHIBITION) (REVIEWER) Dan Hill
Liam Young: Planetary Redesign
In his exploration of the kind of architecture

we might need to survive in an altered world,
Young brings subtlety and ambiguity to ideas
that are often presented in binary terms.
We would be wise to watch these jumpy artists as closely as NGV Triennial 2020. Both films suggest planetary-scale systemic
budgerigars were watched down a coalmine. When they topple responses to planetary-scale systemic challenges that we may need
from the perch, it may already be too late to run for the lift-shaft. to reach for, at least in some way. Although vividly detailed, they hover
The sky will be transformed into an uncontained cloud of intelligence artfully between ambiguity and clarity, between tomorrow and today.
… the unimaginable imagined … These are the first seismic whispers. African-American writer Samuel Delany remarked that “[There] are
Soon it will be everywhere, overheard conversations with no human very few ‘ideas’ in science fiction. The resonance between an idea
source. Soon we will all think it. And then it will happen. and a landscape is what it’s all about.”2 In a sense, Young’s films are
—Iain Sinclair 1 sketches of awkward choices rather than blueprints of material
structures. Yet the ideas resonate by being made material and
Planetary Redesign at the National Gallery of Victoria, the first major stretched over imagined landscapes.
Australian solo exhibition of filmmaker and speculative designer Liam The Great Endeavor envisions a global system of greenhouse
Young, invites us to imagine the unimaginable, to collectively explore gas extraction and storage machines, strung across oceans in
challenging possible futures, and to ask whether they are extreme international waters and powered by renewables. It depicts the kind
– or simply pragmatic. The show also reveals that Young may be one of brute-force un-civil engineering that may be required to extract
of the most intriguing Australian architects around. “Architecture,” the vast amounts of carbon we have already put into the atmosphere.
he suggested during an enthralling July 2023 lecture at Melbourne In Planet City, Young explores US biologist E. O. Wilson’s notion
School of Design, is “telling stories with and through space.” of a “Half-Earth,”3 in which half the planet is designated a human-free
The exhibition pivots around two major works: The Great nature reserve, to preserve biodiversity. Young draws out its corollary,
Endeavor, direct from its world premiere at the 2023 Venice Biennale a hyper-dense urbanization in which the world’s population lives on
of Architecture; and acclaimed Planet City, commissioned for the only 0.02 percent of the earth’s surface. (This puts today’s tiresome

YIMBY–NIMBY debates into perspective.) Young uses subdued hues Perhaps it is no coincidence that the title of The Great Endeavor
to illustrate the city at dusk, its hulking machinery. Drawing the eye, echoes that of Amitav Ghosh’s The Great Derangement.5 For Ghosh,
however, are traces of humanity, flashes of culture, as mesmeric this “derangement” includes a failure of our art and culture to prepare
slo-mo figures dance around the technologies. Young suggests that us for “a substantially altered world,” engaging instead in “modes
the city “smells of soil, hard drives and sweet fruit,” further evoking of concealment that prevented people from recognizing the realities
this interplay of culture, nature and technology. He tells me that the of their plight.” This may be broadly true, but Young, at least, is not
dancers are performing care rituals, noting that “it’s impossible to holding back from describing these “altered worlds.”
separate technology and culture. We don’t evolve out of mythology.” We might level a criticism that the “how” and “who” of global
The lovingly detailed re-embroidered Exxon Mobil and Shell systems-scale collaboration is only implicit in Young’s work. Writers
costumes, which were produced for the Planet City film with Ane like Kim Stanley Robinson, author of the novel The Ministry for the
Crabtree and exhibited here, are another symbol of this complexity. Future,6 sketch out the possible mechanics of these organizations:
They recall the argument of another Australian-via-California, Saul How would it work? Who does what? Which disciplines? But equally,
Griffith, in his book The Big Switch:4 that we cannot afford to Ministry rarely makes the lived experiences of “altered worlds” come
demonize fossil fuel companies, even as we rapidly move away from alive in a tangible sense. This is where the likes of Young step in,
them. For while we might help them locate their conscience, we will exploring a new kind of architecture, not so much in its literal
need their capital, skills and technologies for the transition. materiality and tectonics – though he does this too – but through
By using costumes, scenery, rituals and soundtracks, Young its mode of engagement.
folds a subtlety and ambiguity into what is usually a binary opposition. His use of media places Young alongside other visionary urban
He is quick to distance his films from “proposals,” firmly rejecting designers, few of whom are recognized as being in “the industry.”
any associations with works such as Danish architect Bjarke Ingels’ These include the brilliant African-American production designer
Masterplanet or the Neom atro-city planned for Saudi Arabia. He Hannah Beachler and the Brooklyn-based Nigerian visual artist
clearly has little time for their hubris, characterizing these projects Olelakan Jeyifous. The latter’s African Conservation Effort/All-
as unethical and self-serving – a form of continuing colonization. Africa Protoport installation at this year’s Venice Biennale presents
If anything, Young says, his films are intended to “corrupt our an alternate history of post-independence Africa, addressing vast
ideas about the future” rather than construct them. renewable energy infrastructures and biodiversity reserves. Beachler,
Nonetheless, these films pose a complex question: How talking about her direction for the world-building that so vividly
do we collectively organize ourselves to work at the scale of the realized the fictional city of Wakanda in the Black Panther films,
climate and biodiversity crisis? The real potency of Young’s films said: “It’s about community. It’s about family. It’s about kids. It’s
may lie not in the drawings themselves, but in what they imply. about rituals, spirituality, the things that you don’t see in normal
Rather than assemblages of matter, perhaps we should read the futurescapes.”7 While Young, Beachler and Jeyifous build richly
works as embodiments of the “dark matter” of organization, policy, textured worlds, they also draw in the audience, prompting them
law, decision-making and coordination required for us to get our to imagine hard and soft infrastructures, matter and dark matter,
shit together at planetary scale. In this, there’s a deep pragmatism by foregrounding the culture of these places.
to Young’s work. “We don’t talk about carbon removal,” he says. Young’s films – like Beachler’s and Jeyifous’s – are open,
But “it’s the only robust viable solution, if it goes hand-in-hand generative and provocative acts of cultural invention, “altered worlds”
with ending fossil fuel production.” that come alive in that shimmering resonance between landscapes
Despite all the care taken with realizing a detailed on-screen and ideas. All have an adaptive “used universe” sensibility that Young
vision, the key question in his mind is who does this, as much as invoked when he recalled William Gibson’s famous line “The street
how. Young opens our eyes to the inconvenient truth that climate finds its own uses for things” in our interview.
action is not about either citizen-led behaviour change or large-scale Recalling Sinclair’s quote from 1990, the first mention of climate
geoengineering, but probably must be about both. He believes that change in the London Review of Books, Planetary Redesign is indeed
a singular focus on individual responsibility to bear the work of carbon “the unimaginable imagined,” asking us to leave the NGV beginning
removal is not only unlikely to work, but reinforces the engineered to share “seismic whispers” and synchronize our feelings about what
individualism that produced this mess in the first place. He describes it implies, and what that might mean. It is up to all of us to find our
how “the fossil fuel industry has spent decades telling us to focus on own use for these questions.
our individual decisions whilst they continue to work at global scale.”
At the same time, acts at community scale can prepare the — Dan Hill is the director of the Melbourne School of Design
ground for large-scale systems change, and vice versa. Although at the University of Melbourne.
Planetary Redesign does not dwell on the detail of small-scale
behaviour change, Young recognizes the necessity of these multiple, Liam Young: Planetary Redesign is at The Ian Potter Centre:
nested moves. Further, the films are important in allowing us to NGV Australia until 11 February 2024.
rehearse a third position that relies on planetary technologies that
require global collaboration, but also on complex forms of folk
culture that technocrats cannot imagine.
(OPPOSITE) A still from Planet City (2020) by Liam Young, (FOOTNOTES)

commissioned by the National Gallery of Victoria,
Melbourne; purchased with funds donated (1) Iain Sinclair, “Bad News,” London (4) Saul Griffith, The Big Switch:
by Bagôt Gjergja Foundation, 2020. Review of Books, vol. 12, no. 23, Australia’s Electric Future
6 December 1990; lrb.co.uk/ (Melbourne: Black Inc, 2022).
the-paper/v12/n23/iain-sinclair/
bad-news. (5) Amitav Ghosh, The Great
Derangement: Climate Change
(2) Samuel Delany, “Letter to a Critic: and the Unthinkable (Chicago:
Popular Culture, High Art, and University of Chicago Press, 2016).
the S-F Landscape” in The
Jewel-Hinged Jaw: Notes on (6) Kim Stanley Robinson,
the Language of Science Fiction The Ministry for the Future
(New York: Dragon Press, 1977). (New York: Orbit Books, 2020).
(3) Edward O. Wilson, Half-Earth: (7) Hannah Beachler, Design in

Our Planet’s Fight for Life a Frame of Emotion (London:
(New York: Liveright Publishing Sternberg Press, 2020).
Corporation, 2016).
Liam Young: Planetary Redesign 17

(EXHIBITION) (REVIEWER) Kirsty Volz
Purpose Built: Architecture

for a Better Tomorrow
Offering different perspectives on the

future of Queensland’s built environment in
pursuit of a focused approach, Purpose Built
juxtaposes recent research with historical
material from the State Library’s collection.
Parallax is the divergent view of an object when it is seen from (BELOW) Material from the library’s archive includes
two different points in space.1 Philosophically, this divergence Design no. 75 in 99 Homes for Everyday
Queenslanders, 1939, Home Building Publishing
challenges individuals to see concepts from an unfamiliar
Company; Design no: 75, Q 728.09943 NIN, John
perspective. At the entrance to Purpose Built at the State Library Oxley Library, State Library of Queensland.
of Queensland, visitors are greeted with two options for viewing
the exhibition. One appears as a traditional exhibition entrance: (OPPOSITE) Designed and visualized by Cox Architecture,
a medium-density housing proposal responds
a wall inscribed with introductory text. The other presents a full-size
to the population size projected for 2050 with
segment of a humble, detached dwelling with a hipped roof and an “sponge city” principles that mitigate flooding.
inviting door, left ajar. This dual entry might suggest that there are
two distinct paths, one that moves forward and the other backward.
But what sometimes appears to be moving back-and-forth may,
in fact, be moving in a closed loop – like a two-stroke engine. This
exhibition presents a series of closed loops between architecture,
people, place and ecology.
Co-curated by Cameron Bruhn and Adam Jefford and developed
with research groups from the University of Queensland’s School of
Architecture, Design and Planning, the exhibition covers urban and
regional Queensland. Arranged along an axial corridor, exhibits are
each housed within one of four rooms and framed by a cinching
timber-frame stud wall that falls toward a view over Maiwar/the
Brisbane River. The corridors are lined with drawings and artefacts,
including works by émigré Karl Langer and Torbreck architects Job
and Froud. Interspersed between archival materials are video
recordings of interviews with key researchers from each project.
A connection to place and geographical context is threaded
through the exhibition design, with each room belonging to a specific
place. In Meanjin/Brisbane, the land of the Turrbal and Jagera
people, the first room considers sustainable population growth
and water-sensitive urban design in the middle-ring suburb of
Greenslopes. To the west is a detailed digital twin model of UQ’s
St Lucia campus. The coastal north displays a striking timber
structure harvested from the Fraser Coast region, land of the
Butchulla and Gubbi Gubbi people. To the north-west is Gununa/
Mornington Island, land of the Lardil (Traditional Custodians),
Yangkaal, Kaiadilt and Gangalidda people; the room looks at the value
of designing for people and place with evidence-based solutions.
The natural cooling qualities of urban water bodies in tropical
and subtropical climates is a persisting design theme in Queensland,
beginning with Karl Langer’s 1950s drawings for a proposed
(unbuilt) waterfront recreation scheme for Clontarf. Paola Leardini
collaborated with Cox Architecture and Architectus Conrad Gargett
to design medium-density housing suitable for the projected 2050
population size in middle-ring suburbs. Underpinned by water-
sensitive design (or “sponge city” principles), the proposals serve
to mitigate the impact of flooding. They include provisions for deep
planting and permeable ground surfaces, while offering public
dividend through green active transport corridors and natural
public bathing spaces. The digital twin of UQ’s St Lucia campus

presents detailed data on how floods would impact the campus that helps to keep homes cool; kitchens that are accessible and
in various scenarios. Stories from Gununa express the rich cultural designed to meet the needs of residents; not providing carports
and social history of water and the natural systems that inform life or extra toilets for residents who do not require these spaces.
on the island. Through a 1:1-scale lounge room, complete with mattresses on the
Queensland’s economic history is closely tied to the production floor, exhibition visitors can experience how resourceful families
of timber and the construction of an identifiable housing type: must be when only one room of their house is airconditioned.
the timber-and-tin Queenslander. In his video interview, Gavin Carroll Go-Sam’s work on Gununa encapsulates the exhibition’s
Bannerman, the director of Queensland Memory at the State Library title by demonstrating that evidence-based design and architecture
of Queensland, describes how Queenslanders are primarily occupied are genuinely fit for purpose and have the potential to impact people’s
at their peripheries – on the verandah. Led by Kim Baber, a group of lives in profoundly positive ways. In her video interview, Go-Sam
researchers designed a diaphanous structure expressing the filtered explains that her early experiences of architecture taught her that
light of Queensland’s iconic verandahs. Constructed from native “only people with incredible assets have access to architecture.”
species from plantations located on the edge of the region and She is driven by the desire to provide access to well-designed,
managed by the Fraser Coast Regional Council, it represents a simple sustainable and livable spaces for everyone – a purpose that should
architectural proposition that demonstrates methods for working surely unify our profession. What excites me about this exhibition
in closed-loop systems and reducing waste. The plantations are is that it communicates to the public the true value of our profession,
irrigated by re-used grey and black water that would otherwise be providing insights into how good design can improve the way we
pumped into the ocean. The structure was fabricated in such a way all live. Because it offers what is perhaps an unfamiliar perspective
as to use the whole timber to minimize waste, with the young veneers and a new vantage point, I hope that it will transform the way that
stripped from the timbers, laminated and fabricated into sculptural its visitors view architecture.
connections using robotic milling.
Circularity and waste minimization are unifying themes for the — Kirsty Volz is a co-director of Toussaint and Volz, and a lecturer
exhibition. The digital twin model captures accurate data about in architecture at the Queensland University of Technology.
how buildings are used. UQ researcher Fred Fialho Leandro Alves
Teixeira explains that this technology is valuable in understanding Purpose Built: Architecture for a Better Tomorrow is at the SLQ Gallery,
user behaviour and preventing wastage. Water-sensitive urban design State Library of Queensland until 14 April 2024.
creates landscapes that can filter and capture water in a way that
manages seasonal fluctuations. Research on Gununa that involves
listening to lived experience is advancing our understanding of what (FOOTNOTES)
people need from housing. It turns out that simple strategies can (1) Parallax was first brought to my attention when Slavoj Žižek spoke
improve housing quality while also reducing waste: landscaping at the 2009 National Architecture Conference, curated by Terroir.
Purpose Built: Architecture for a Better Tomorrow 19

National
Architecture
Awards
2023
21
National Architecture Awards 2023
Jury chair overview
The themes evident in the collection of

71 projects shortlisted for the 2023 National
Awards were collaboration, sustainability (social and
environmental), and “an overwhelming appreciation
for the built environment” – no matter how large
or small the project. Congratulations to the practices
with winning and commended projects, each of
which has its own unique story of conception,
design and construction.

Chairing the National Awards jury at the end of your term as National
President of the Australian Institute of Architects has become more
than just a time-honoured tradition. The responsibility of considering
all projects awarded by their respective chapter programs through
a national lens presents a once-in-a-lifetime opportunity to exper-
ience the remarkable work of one’s peers. While some query the
environmental cost of visiting projects across the country, others
struggle with the idea of making decisions without experiencing
each project. There is no single answer to this quandary, but I can
now attest to the immense honour of being trusted to be part of the
jury, and to take this journey on behalf of the Institute and its members.
I was joined on the 2023 National Awards jury by Shaneen Fantin,
William Smart, Stephanie Kitingan and Scott Burchell. I am indebted
to them all for the generosity with which they gave of their time,
varied expertise, good humour and friendship. When we first gathered
in Naarm on the lands of the Kulin nation, we were meeting for the
first time. Now, just a few months later, we have journeyed across
Australia together, covering approximately 18,000 kilometres via
14 flights and eight people movers. The days started with the sun and
ended well after dark. We travelled to every state and territory, visiting
68 projects in person and three virtually, and we acknowledge with
gratitude the many beautiful and varied Countries we saw. We juggled
families, practices and lives, all in the name of celebrating the best
work of our profession over the past 12 months. None of this would
have been possible without the extraordinary efforts of the unendingly
professional Abbey Czudek. A huge thank you also to Rob Henry
for keeping us on track when Abbey had to step out.
As much as it is about visiting the projects, the jury tour is about
meeting and hearing from the architects and clients who brought
the work to life. From the smallest of works to the largest, it was
remarkable to hear the story behind each project. The common
themes were those of collaboration, sustainability (both social
and environmental), and an overwhelming appreciation for the
built environment. We have reached a time where we can no longer
dismiss even the smallest project as unimportant or unworthy of our
attention. From the resourcefulness of a store shed, to the exploration
of what a space needs to act as a classroom, library or laboratory,
the ingenuity and imagination displayed in creating place have been
inspiring, to say the least.
As the jury tour draws to a close, we have 20 national
commendations, 15 national awards and 12 “named” awards –
the highest honour in a category. I hope colleagues find the same
level of inspiration in the projects on these pages as the jury did
in awarding them.
Beyond the awe I feel at the level of work our profession has
produced through a period of sustained difficulty, I am left with
a lasting impression of all the people behind the built environment
we tend to take for granted. Collaboration is to be found in every
project, be it between client and architect, a multitude of architects,
or all areas of the built environment together. The sharing of ideas,
ways of life, and methods of working were a joy to behold, and I give
my heartfelt thanks to all whom we met on this wondrous journey.
– Shannon Battisson, Jury Chair, 2023 National Architecture Awards
The jury, left to right Stephanie Kitingan FRAIA, architect and director at Placement
Studio; William Smart FRAIA, creative director and owner at Smart Design Studio;
Shannon Battisson (chair), immediate past national president of the Australian Institute
of Architects, director of architecture at The Mill Architecture and Design; Scott Burchell,
director at Comb Construction; Shaneen Fantin FRAIA, director at People Oriented
Design (POD); Photograph Nathan Harradine-Hale/@collectionsfromhim
National Architecture Awards 2023 23

Public Architecture (COUNTRY) Darumbal
(LOCATION) Rockhampton, Queensland
(SIR ZELMAN COWEN AWARD)
Rockhampton Museum
of Art by Conrad Gargett,
Clare Design (lead design
architects) and Brian
Hooper Architect
(JURY CITATION)
The Rockhampton Museum of Art is founded on principles stone, together with the building’s confident form, complements
of sustainability, public engagement, respect for heritage and Rockhampton’s historic architecture. The design is contemporary,
international-standard gallery spaces. It’s a true public building, refined and elegant with a beautiful simplicity both inside and out.
giving back to Rockhampton much more than might be expected Well-loved by the community, the museum is bringing immeasurable
from a gallery. cultural and economic benefits to Rockhampton.
A three-storey verandah links the riverfront Quay Street
to the rear laneways, revealing views to the gracious neighbouring — Rockhampton Museum of Art was reviewed by Cameron Bruhn
Customs House. Parallel to this new, tall and covered laneway is the in Architecture Australia May/June 2022. See architectureau.com/
articles/rockhampton-museum-of-art.
building’s glazed gallery spine and foyer, which connects all floors of
the museum and becomes the main circulation element, orientating Architect Conrad Gargett, Clare Design (lead design architects) and Brian Hooper
the visitor. It is punctuated by a ground-floor cafe that informally Architect; Project team Lindsay Clare, Kerry Clare, Brian Hooper, David Oliver, David Gole,
invites people into the gallery, unlike a more intimidating traditional Lawrence Toaldo, Luke Blake, Edward Armstrong, Weng-Lin Hung, Michael Booth, Craig
gallery or museum model. This planning move creates a porous Slattery, Philip Baigent, Nerida Bruyers, Andrew Campbell, Katharina Nieberler-Walker,
Renee Farah, Luke Acreman, Salman Muhammad, Ian Mitchell, Sian Murphy, Harm
ground plane that provides independent access to retail and public
Hollander, Jody Nunan; Builder Woollam Constructions; Structural engineer JS2;
amenities and accommodates frequent functions and events. Electrical engineer Anderson Consulting Engineers; Mechanical engineer and energy
The tall, column-free exhibition spaces are flexible, efficiency NDY; Civil consultant Calibre; Hydraulic consultant MRP; Town planner
independently accessed and engineered to attract international Gideon Genade; Certifier Formiga 1; Gallery consultants Michael Barnett, William Fleming;
exhibitions, as well as showcasing creative works by the local Acoustic and waste TTM Group; Fire engineering NDY, Omnii; ESD consultant Flux;
community. The planning’s rigour extends to the finer details, Quantity surveyor RLB; Facade Inhabit; Photographer John Gollings
such as integration of services. Externally, the building is defined
by slender bronze columns and local rough-sawn stone. This

Public Architecture
(NATIONAL AWARD) (JURY CITATION)
Art Gallery of NSW,

Sydney Modern at the Art Gallery of NSW is both simple and
complex. From afar, it reads as a series of canted and warped
Sydney Modern building

pavilions that overlap and cascade from the original Walter Liberty
Vernon sandstone monument down the hill toward the harbour.
by SANAA (lead consultant)

These simple rectangular forms complement the original building
and its various additions, reframing the site as a campus of buildings
and Architectus (executive

connected by its garden setting and newly formed courtyard spaces.
As you move into and through the building, its spatial complexity
architect)
and unconventionality become evident. Floors and ceilings swoop
and fall, revealing views to the park and the harbour as well as other
parts of the building. The journey is non-linear and invites the visitor
to explore the spaces in between as well as the galleries themselves.
(COUNTRY) Gadigal The galleries are tall, wide and column-free, reading as individual
(LOCATION) Sydney, New South Wales boxes from inside and out. In between these boxes, public spaces
serve as a means of orientation, albeit within dynamic angles and
extraordinary volumes. Via a variety of lifts, escalators and stairs, the
visitor finds their own way to the unforgettable Tank Room. Entered
via a steel spiral stair, one has the impression of falling into the room.
Light, open and inviting, the Sydney Modern building masters
the art of spatial complexity with calmness. It will no doubt get even
better with time as it nestles into its extraordinary landscape setting.
— Art Gallery of NSW, Sydney Modern building was reviewed by Sandra Kaji-O'Grady
in Architecture Australia March/April 2023. See architectureau.com/articles/
sydney-modern-by-sanaa.
Architect SANAA (lead consultant), Architectus (executive architect); Project team

Kazuyo Sejima, Ryue Nishizawa, Yumiko Yamada, Asano Yagi, Soo Kim, Katagiri Hiroaki,
Ray Brown, Stephen Long, Luke Johnson, Rodd Perey, John Jeffrey, John Whatmore,
Lian Cronje, David Drinkwater, Manuela Silva, Vatsala Shahi, Tim Juckes, Samuel Morris,
Adriana Alvarez, Sean Lacy, David Ho, Jonathan Dalbert, Anthony Kerr, Troy Cook,
Nicholas Elias, Shawn Li, Andrew Chaplin, Hui Zhu, Hope Dryden, Lewis Jones, Jennifer
Strilakos, Heba ElSaid; Builder Richard Crookes Constructions; Structural engineer Arup;
Facade engineer Surface Design; Landscape architect McGregor Coxall and GGN;
Acoustic, hydraulic, fire and civil engineer Arup; Mechanical engineer Steensen Varming;
Building certification and accessibility Group DLA; Photographer Iwan Baan

Melbourne Holocaust
A holocaust museum’s content is sensitive, and the building’s
design must be approached in the right way. Here, the method
Museum by Kerstin
is one of absolute consistency, from the strong cohesive urban
form to the exhibition spaces and their connecting circulation areas.
Thompson Architects
The street facade is made from glass and clay bricks woven
together, expressing the functions within and culminating in a large
lantern. The new building is cast snugly over the existing heritage
facade, and the two elements work beautifully together. Their
(COUNTRY) Boonwurrung combination yields a building that has gravitas and humanity,
(LOCATION) Elsternwick, Victoria and it represents an innovative approach to the integration
of heritage fabric. Courtyards, terraces and skylights bring light
into the building’s depths. These gestures skilfully integrate
opportunities for landscape and sculpture throughout.
Internally, the exhibition spaces and function rooms are
connected by a timber-lined common space that extends the full
length of the building. Natural light floods in from the glass-block
facade and the large skylight above. This simple, warm space is
a comforting adjunct to the immersive exhibition spaces, which
are at times confronting. The details are rigorous and pared back,
granting a calm order and elegance. From outside to within,
this building is perfectly positioned as a sophisticated and
appropriate place to tell the stories of the Jewish community.
— Melbourne Holocaust Museum will be reviewed in an upcoming issue

of Architecture Australia.
Architect Kerstin Thompson Architects; Project team Kerstin Thompson, Kelley Mackay,
Claire Humphreys, Tobias Pond, Anne-Claire Deville, Martin Allen, Hilary Sleigh, Jasmine
Placentino, Tamsin O’Reilly, Sophia Nicholaou, Karina Piper, Ben Pakulsky, Scott Diener,
Lauren Garner, Paul Lau, Thomas Huntingford, Leonard Meister; Builder McCorkell
Constructions; Project manager DPPS Projects; Civil and structural engineer Adams
Consulting Engineers; Services consultant Cundall; Building surveyor PLP; Land surveyor
Hellier McFarland; Landscape consultant Tract; Traffic consultant One Mile Grid; Heritage
consultant Bryce Raworth Conservation and Heritage; Acoustic consultant Cundall;
Town planner SJB Planning; Fire engineer Focused Fire Engineering; Quantity surveyor
Napier and Blakely; Waste management Leigh Consulting; Facade engineer Inhabit;
DDA consultant Before Compliance; Wayfinding/signage consultant Pop and Pac;
Exhibition designer Thylacine; Memorial designer Jolson Architecture and Interiors;
Security consultant Michelson Protech Security, CSG Security, M.I.P. Security (Israel);
Photographer Derek Swalwell

Public Architecture
(NATIONAL COMMENDATION)
Dove Lake Viewing Shelter

by Cumulus Studio
(COUNTRY) Big River Nation
(LOCATION) Cradle Mountain, Tasmania
(JURY CITATION)
Dove Lake Viewing Shelter is confident and deliberate. Erupting
from the earth like a glacial formation, its canted, textured concrete
soffits and walls are embedded in its rocky, mossy landscape. The
procession toward the lake is dramatic and pared-back, providing
the essential level of amenity and information to the visitor. This
elimination of superfluous services and creature comforts is the
building’s great success, and it culminates in a palpable sense of
joy upon arrival at the dramatic window overlooking Dove Lake.
Seen from the lake, the building appears beautifully nestled
into its landscape; low and subdued, it exhibits a true sense
of belonging in this extraordinary location.
Architect Cumulus Studio; Project team Peter Walker, Luke Waldron, Edwina Brisbane,
Chi Chee Goh, Elizabeth Walsh, Rosella Sciurti, Jason Licht, Andrew Grimsdale;
Builder Vos Construction and Joinery; Landscape architect Playstreet; Interpretation
and wayfinding Futago; Town planning and community consultation ERA Planning and
Environment; Structural, hydraulic and civil engineer Aldanmark; Mechanical and fire
engineering COVA; Electrical engineer Pitt and Sherry; Building surveyor Green Building
Surveying; Lighting design Stantec; Acoustic engineer Noise Vibration Consulting (NVC);
Quantity surveyor WT Partnership; Access consultant Michael Small Consulting;
Safety consultant Aware 365; Photographer Anjie Blair
(NATIONAL COMMENDATION) (JURY CITATION)
Bendigo Law Courts

This building rethinks the cornerstone of society that is the law court.
Externally, it is simultaneously welcoming and formidable. Internally,
by Wardle
it delicately balances the seriousness of its purpose with a sense
of familiarity and comfort.
Views to Bendigo permeate through the public areas and
natural light floods into the circulation areas and court rooms alike,
(COUNTRY) Dja Dja Wurrung bringing dignity to spaces that are commonly heavy and intimidating.
(LOCATION) Bendigo, Victoria These connections to landscape, alongside a connection to Country,
are embedded in all parts of the project and were clearly integral
to the design process. Local artwork, materials and craft deepen
the building’s links to site visually and through the stories told.
It’s an exemplar judicial building that could only be in Bendigo.
Architect Wardle; Project team John Wardle, Meaghan Dwyer, Kah-Fai Lee, Megan
Darbyshire, William Rogers, James Loder, Sharon Crabb, David Churcher, Barry Hayes,
Allan Burrows, Jeff Arnold, Ariani Anwar, Patrick Bullen, Michael McMahon, Alan Ting,
Kristina Levenko, Stefan Mee, Adam Kolsrud, Stuart Mann, Nicola Bowman, Stephanie
Pahnis, Maya Borjesson, Anna Caish; Builder Kane Nicholson Joint Venture (KNJV);
Structural and civil engineer, traffic and pedestrian modelling WSP; Services consultant
Introba; Landscape consultant Aspect Studios; Acoustic consultant Marshall Day
Acoustics; Heritage consultant RBA Architects and Conservation Consultants; Planning
Urbis; Facade Meinhardt Bonacci; Access consultant Morris Goding Access Consulting
(MGAC); Wayfinding Buro North; Archaeological and Indigenous consultant Andrew Long
and Associates; Building surveyor PLP; Peer review Bower Architects; Threat analysis
Arup; Photographer Tim Griffith

Educational Architecture (COUNTRY) Whadjuk
(LOCATION) Murdoch, Western Australia
(DARYL JACKSON AWARD)
Boola Katitjin by Lyons

with Silver Thomas Hanley,
The Fulcrum Agency and
Officer Woods Architects
(JURY CITATION)
Boola Katitjin is a bold and transformative addition to Murdoch
University’s Perth campus on Noongar Country. Its name – in
Noongar language, Boola Katitjin means “many facets and many
levels of learning” – aptly captures the layering and flexibility that
this building offers. The project is a successful collaboration between
Lyons and Silver Thomas Hanley, Officer Woods, The Fulcrum Agency
and Aspect Studios. It is no easy feat to bring together many design
minds and achieve a clear solution, but Boola Katitjin is an exemplar.
The structure is a 180-metre-long bridge that traverses
13 metres in height over three levels, from the campus’s well-loved
Bush Court to the north down to the adjacent Harry Butler Institute
and southern carpark. It forms a new, grand southern entry to the
campus, providing universal access to students, visitors and staff
and creating a beautiful three-storey verandah space to the west
that links to the grand plaza on the northern side of the building.
The building section and language nod to the campus buildings
designed by eminent Western Australian architect Gus Ferguson,
while the structure is a showcase for sustainability. It is the
largest mass-engineered timber building in Western Australia and,
embedded with technology optimized for student learning, is 6-Star
Green Star-certified. The ends of the building are activated with a
kiosk and student central area that draw people in and through. Each
level offers digitally immersive learning spaces, computer labs,
teaching and staff spaces and breakout spaces – all with easy access
and views of the external environment.
Boola Katitjin successfully integrates its design brief in a solution
that is striking, elegant, flexible, inclusive and certainly of its place.
— Boola Katitjin was reviewed by Simon Pendal in Architecture Australia

September/October 2023. See architectureau.com/articles/boola-katitjin.
Architect Lyons with Silver Thomas Hanley, The Fulcrum Agency and Officer Woods
Architects; Builder Multiplex; Structural and civil engineer Aurecon; Services consultant
NDY; Landscape consultant Aspect Studios; Facade engineer Inhabit; Building surveyor
Resolve Group; Disability access O’Brien Harrop; Waste management Encycle; Signage
and wayfinding Buro North; Project manager DCWC; Cost consultant RLB; Town planner
Planning Solutions; Photographer John Gollings

Educational Architecture
Cranbrook School –
Cranbrook School’s Bellevue Hill campus redevelopment by
Architectus cleverly offers spaces and services back to the public
Hordern Oval Precinct

while integrating new buildings into the existing oval and historic
terraces of the site. The large expanse of Hordern Oval overlooks
Redevelopment
Rose Bay and simultaneously conceals the new Murray Rose Aquatic
and Fitness Centre and extensive carparking beneath the playing
by Architectus
field. Hugging the road with a bold curve, the aquatic centre is open
to external club use and offers an exciting entry from South Head
Road in a form reminiscent of a sandstone cliff.
The new building is tucked into the hillside and integrates the
(COUNTRY) Gadigal site across several levels from the oval to the beautifully detailed
(LOCATION) Bellevue Hill, New South Wales timber chapel at the uppermost level. The external facade is moder-
ated with vertical planes and vaults that offer shade to its north face.
As it steps up the site, the section peels back, creating a series of
terraces that connect the inside learning areas to views across the
oval. The internal spaces, such as the great hall and the music room,
are designed with a level of care rarely seen in school environments
and can elevate the aspirations of the students and teachers.
Architect Architectus; Project team Ray Brown, Luke Johnson, Charlie Viney,
John Whatmore, John Jeffrey, Michael Qian, Lewis Jones, Gary Henighen, Marina
Carroll, Kellee Frith, Francisco Espinosa, Selina Ermel, Kevin Mak, Patricia Bondin,
Joanna Ahtypis, Donal Merrigan, Xavier Pratt, David Hoad; Builder Richard Crookes
Constructions; Civil consultant AECOM; Architect in association AN plus A; Landscape
architect Arcadia; ESD, fire engineer, sports field design and structural consultant Arup;
Kitchen design Cini Little Australia; Geotechnical Douglas Partners; Mechanical DCA
Consulting; Project manager EPM Projects; Wayfinding and signage design Extrablack;
Facade design Inhabit; Electrical design, level 3 design and vertical transportation
Northrop; Planning Urbis; Hydraulics, fire Warren Smith Consulting Engineers;
Photographer Brett Boardman

Inveresk Library,
Inveresk Library is an engaging and playful addition to the University
of Tasmania’s campus in Launceston by Wardle. The library’s bold
University of Tasmania
aluminium exterior illuminates, creating a veil-like effect that is both
enticing and enigmatic. The manipulation of the shed forms in plan
by Wardle
and section cleverly respects the industrial heritage of the area,
with the south-facing sawtooth roofs capturing consistent light for
the library’s interior. The location of the building within the precinct
establishes a pedestrian/cycle link and sightlines back to Launceston
(COUNTRY) Stoney Creek Nation city centre, connecting the library to both the city and the university.
(LOCATION) Inveresk, Tasmania Set over three levels, the library has a dynamic glulam timber
structure with inset acoustic panels. It offers warm and welcoming
quiet study spaces, meeting spaces and classrooms, a student
kitchenette and a cafe to activate the street edge. The design of the
spaces is intentionally flexible and independent of the building rhythm
and structure, to allow for changes in use and program in the future.
The design process included engagement with the university’s
Tasmanian Aboriginal Reference Group. The final design includes:
an Elders’ space that honours the Riawunna collection of artefacts;
artworks by local Indigenous artists; and guardian stones located
at specific locations at the entry and throughout the precinct.
— Inveresk Library was discussed in a review of University of Tasmania, Inveresk

Campus by Katelin Butler in Architecture Australia September/October 2023.
See architectureau.com/articles/university-of-tasmania-inveresk-campus.
Architect Wardle; Project team John Wardle, Minnie Cade, James Loder, Manuel
Canestrini, Nick Roberts, Amanda Moore, Ellie McFee, Adrian Bonaventura, Thomas
Proctor, Barry Hayes; Builder Vos Construction and Joinery; Services and ESD consultant
Introba (formerly Umow Lai); Structural and civil engineer Gandy and Roberts; Landscape
consultant Aspect Studios; Acoustic consultant Marshall Day Acoustics; Accessibility
consultant Equality Building; Geotechnical engineer Geo-Environmental Solutions;
Signage and wayfinding Studio Semaphore; Building surveyor Lee Tyers Building
Surveyors; Fire engineer Castellan Consulting; Facade engineer WSP; Services
consultant Engineering Solutions Tasmania; Photographer Anjie Blair

Educational Architecture
Research School of The Research School of Physics Stage 1 Building by Hassell is

an exciting and extremely well-executed celebration of science
Physics Stage 1 Building, at the Australian National University. It balances a complex technical
brief with an innovative structural, servicing and formal solution
Australian National to create laboratories that are on display to scholars and visitors
(the “ballroom concept”); and work and teaching spaces that
University by Hassell are light-filled, inviting and collaborative.

The formal organization and alignment of the building is well
considered within the context of the ANU campus. The building
is broken down lengthways into three long fingers to reduce its
(COUNTRY) Ngunnawal and Ngambri scale and to respect the existing figure-ground of the Cockcroft
(LOCATION) Acton, Australian Capital Territory and Oliphant buildings. A love of physics is evident throughout
the building, from the waves in the acoustic timber wall treatment
and the external shading fins to the randomized patterns of seats
in the main lecture hall. A spectacular lake view adds to the effect.
Architect Hassell; Project team Mark Roehrs, Mark Craig, Rohan Patil, Ben Wilson,
George Hsieh, Peter Hastings, Emma Ludwig, Yann Frampton, Michael Copeland, Vinh
Hua, Scott Segal, Troy King, Roseanna Blackie, Polina Radchenko, Samantha Barry, Keith
Hayes, Hanna Bauer, Jeff Wen, Matthew Todd, Lucy Corones, Sophie Kebbell; Builder
Hindmarsh; Structural, civil and facade Taylor Thomson Whitting; Mechanical, electrical,
communications, security, lab gases, dry fire, vertical transport and ESD Wood; Hydraulic
and wet fire Rimmington and Associates; Acoustic and vibration consultant Acoustic
Studio; Building certification and DDA CBS Canberra; Fire engineer Warringtonfire;
Dangerous goods CETEC; Signage and wayfinding ID Labs; Quantity surveyor Rider
Levett Bucknall; Landscape architecture Hassell; Photographer John Gollings
Cannon Hill Anglican

Cannon Hill Anglican College D-Block by Reddog Architects
in association with Blueline Architecture is a smaller contender
College D-Block by
in the education category, but its joy, connection to site, delight
in form and detailing, and student experience shone through.
Reddog Architects
The development of D-block provides a critical link in the
school’s masterplan, joining the senior and middle schools while
in association with
also creating a striking entry. The project exhibits beautiful materiality
in its light, sinuous brickwork and its colour palette, creating a series
Blueline Architecture
of exciting spatial experiences for students and staff. The dining
hall, undercroft and circulation spaces connect seamlessly with
the outdoor areas and existing bush setting, fulfilling a key priority
for the client. The result is a long, two-storey building synonymous
(COUNTRY) Turrbal and Jagera with Queensland schools, but deconstructed, carefully sited, and
(LOCATION) Cannon Hill, Queensland crafted from brick and concrete to create a new and engaging
architectural character for the campus.
Architect Reddog Architects in association with Blueline Architecture; Project team

Paul Worroll, Jason Walters, Emma Healy, Simon Depczynski, Russell Peters, Anna
Zervoudakis, Erene Niyonsaba; Builder Rohrig; Structural engineer Bligh Tanner;
Building certifier McKenzie Group; Engineer JHA Consulting; Electrical consultant
Ashburner Francis; Landscape consultant JFP Urban Consultants; Hydraulic consultant
Aqualogical Plumbing Design Solutions; Photographer Christopher Frederick Jones

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Commercial Architecture (COUNTRY) Taungurung
(LOCATION) Mansfield, Victoria
(HARRY SEIDLER AWARD)
Delatite Cellar Door

by Lucy Clemenger
Architects
(JURY CITATION)
A set of wide, processional stairs leads to a monolithic building on top
of a ridge at Delatite, a winery in the foothills of the Victorian Alps.
But the Delatite Cellar Door has a kind of architectural alchemy.
The building feels grand until you get close, when it becomes
something more human-scaled and welcoming. Although it feels
substantial, its footprint is relatively small. And although made
from modest materials, it feels precious. Altogether, it forms
something that is greater than the sum of its parts.
Restrained, understated and sophisticated (in all the right ways),
the building’s well-proportioned modernist forms, made from timber
and eco-brick, frame views of the organic vineyard and Mount Buller
beyond. Walls extend beyond the building to frame gravel courtyards
and lawn platforms, connecting the winery to its farmland setting
and the existing farm buildings.
The palette of materials and refinement of details is more akin
to a residential than a commercial building. Pivoting around a long
bar made from concrete, steel and tiles is a collection of bright
restaurant and bar spaces. The wine display, created from angled
concrete blocks and plate steel, anchors this space. A fireplace,
intimate lighting and timber furniture further help to create an
environment where one wants to linger, to eat and, of course,
to drink wine. It’s the perfect union of place, product,
architecture and owners.
Architect Lucy Clemenger Architects; Project team Lucy Clemenger, Tilde Sheppart,
Aykiz Gokmen, Lily Nie; Builder Easton; Structural engineer The O’Neill Group; Building
surveyor Alpine Building Permits; Quantity surveyor DBQS; Energy assessor Enrate;
Photographer Derek Swalwell

(GROUND FLOOR KEY)
1 Wood store
2 Catherine’s Court
19 3 Vivienne’s Courtyard
4 Entry
5 Tasting and retail
6 Donald’s Den
7 Museum wall
8 Office
15
23 9 Freezer
1 2 10
11
22 10 Coolroom
18 9 11 Polly’s Kitchen
12 13
17
8 12 Dry store
7
13 Dining
14 14 David’s Deck
3 4 5 15 Roddie’s Lookout
16 6
21 16 Electric vehicle chargers
17 VIP entry
18 Marquee site
19 Labyrinth
20 Fire pit
20 21 Event lawns
22 Terrace
23 Service road
Ground floor
0 5 10 m
1:750
Section
1:750 0 5 10 m

Commercial Architecture
JCB Studio by Jackson

This site in inner-suburban Melbourne, slated for redevelopment,
has been given a new lease of life. On an extraordinarily low budget,
Clements Burrows
the existing warehouse has been adapted to create an architect’s
dream studio that complements its urban context. The glass facade
and integrated corner cafe engage with the busy street and draw the
public into the building. To the rear lane, galvanized steel cladding,
(COUNTRY) Wurundjeri steel universal beams and slim timber-framed windows lend a sense
(LOCATION) Richmond, Victoria of international-style modernism. On the garage doors below, local
graffiti tags have been embraced, embedding the building even
further into its gritty setting.
Design for reuse and disassembly is highly considered.
Raw materials – including galvanized sheeting, plywood, linoleum
and unfinished LVL beams (proudly stamped with their details) –
are harmoniously combined to create a warm, gutsy interior, filled
with energy and light. The naturally ventilated space also collects
rainwater, and it generates and stores its own energy via a rooftop
solar farm. This is a thoroughly rigorous project that never fails
to consider its robustness, commodity or ability to delight.
Architect Jackson Clements Burrows; Project team John Clements, Tim Jackson,
Graham Burrows, Chris Botterill, Alison Palmer, Tess Wrigley, Chloe Hinchliffe, William
Christian, Adelle Mackey, Akiko Bamba, Ben Pitman, Eulalie Trinca, Mathew George;
Builder BD Projects, Leeda Projects; Electrical and fire safety ADP Consulting; Building
services Griepink and Ward Air Conditioning; Building surveyor Reddo Building Surveyors;
AV consultant AVI Technology; Communications Dataline; Lighting consultant Light
Project; Fire engineer Gincat Fire Safety Engineering; Photographer Shannon McGrath

Poly Centre 210 George

Street by Grimshaw
(COUNTRY) Gadigal
(LOCATION) Sydney, New South Wales
(JURY CITATION)
Poly Centre perfectly melts into its dense urban setting, as though
it was always meant to be there. Instead of the traditional format
of narrow tower over wide podium, the design employs a tripartite
arrangement, breaking the podium, tower and core into three distinct
vertical elements. The podium, with its double-height vaulted spaces
formed from splayed concrete cantilever beams, is spatially dynamic.
The flawless glass tower and adjacent ribbed-concrete core are
brought to the ground, accentuating their slim, curved forms and
defining the project as a fine-scale boutique building. The internal
areas are rigorously detailed and resolved, from the luxurious
modernist foyer to the efficient side-core floor plates.
Architect Grimshaw; Project team Andrew Cortese, Wayne Henkel, Tiffany Allan, Louise
Jarvis, Amalia Mayor, Jeff Morgan, Patricia Salgado, Tessa Dobbs, Xi Li, Namaste Burrell,
Aleksandra Mlynczak, Ajeng Warddhana, Raquel Rodorigo, Michael Janeke; Builder
Besix Watpac; Structural engineer, civil and ESD consultant WSP; Electrical consultant
Simpson Kotzman; Hydraulic consultant, fire engineer and vertical transportation Arup;
Town planner Urbis; Project manager TSA Management; Accessibility consultant Morris
Goding Access Consulting (MGAC); Acoustic consultant Acoustic Logic; BCA/PCA
B M and G; Environmental consultant (contamination) EIS; Geotechnical engineer
JK Geotechnics; Quantity surveyor Rider Levett Bucknall; Traffic Transport and Traffic
Planning Association; Waste management TTM; Mechanical New Edge Group;
Public art consultant UAP; Artist Janet Laurence; Photographer Peter Bennetts
Yirranma Place
In Yirranma Place, the architect has sensitively woven a fitout for
the Paul Ramsay Foundation into the heritage-listed former First
by SJB
Church of Christ Scientist building in Darlinghurst. The distinction
between new and old is clear, and the language for the new works
is diverse yet coherent.
Vaulted forms, rich textures and bold colours successfully
(COUNTRY) Gadigal transform the interwar Beaux Arts interiors into joyous spaces
(LOCATION) Darlinghurst, New South Wales befitting of the charitable organization they now house. Integrating
lifts, fire stairs and a basement carpark into this heritage structure
was no doubt a challenging project. But designing for disassembly
and holding the new structures off existing walls has resulted in many
beautiful moments and surprises. This “loose fit” allows the building’s
original volume to be read distinctly from the newly inserted parts.
Architect SJB; Project team Adam Haddow, Sevda Cetin, Yvonne Cai, Stefanie
Hughes, Charlotte Wilson, Angela Chun, Simone Rego, Zhenyu Liu, Daniel Gullen,
Charlie Cummins, Stewart Cowan, Ashleigh Elliot, Howe Law, Nemanja Stanar,
Alex Gilmore-Johnstone; Builder Mainbrace Constructions; Heritage consultant
NBRS; Wayfinding Garbett; Landscape consultant Black Beetle; AV Consultant
POMT; Photographer Anson Smart

Interior Architecture (COUNTRY) Gadigal
(EMIL SODERSTEN AWARD)
Sydney Opera House

Concert Hall Renewal
by ARM Architecture
(JURY CITATION)
Overhauling the interior of the World-Heritage-listed Sydney
Opera House Concert Hall might be considered one of the most
daunting briefs of an architect’s career. It’s no secret that the hall
has faced acoustic challenges ever since it opened, and the vastly
increased variety of performances has presented significant
additional challenges for the delivery of world-class acoustics
within a timeframe that is sustainable for the Opera House program.
Additionally, equitable access (for both patrons and performers)
has always been problematic, with the harbour-facing spaces only
accessible via long staircases, and toilet access often requiring
assistance. Now, bronzed tunnels, sliced through the grand side
stairs with absolute precision, lead to new glass elevators that
enable equitable access to the iconic northern foyer for the first time.
Mechanical interventions in the Concert Hall, including drop-
down acoustic curtains and sound ledges, have been handled with
great restraint, and the wave-form timber acoustic panelling feels
perfectly at home. Every possible fragment of original building fabric
has been re-used. If (then) Prince Charles once decried the proposed
extension to London’s National Gallery a “monstrous carbuncle on
the face of a much-loved and elegant friend,” ARM Architecture
has managed to perform the most flattering of facelifts for this
grand dame. “The House” feels ready for its next 50 years.
— Sydney Opera House Concert Hall Renewal was reviewed by Andrew Andersons
in Architecture Australia January/February 2023. See architectureau.com/
articles/sydney-opera-house-concert-hall-renewal-by-arm-architecture.
Architect ARM Architecture; Project team Mark Raggatt, Howard Raggatt, Andrew
Hayne, Peter Bickle, Stuart Webber, Justin Fagnani, Andrea Wilson, Paul Buckley,
Aaron Robinson, Leo Carson, Rocio Batlle, Mario Posala, Daniel Lazarow; Builder
Taylor Construction; Town planner Keylan Consulting; Quantity surveyor Rider Levett
Bucknall; Mechanical and electrical services engineer Steensen Varming; Fire services
and hydraulic engineer Warren Smith Consulting Engineers; Building surveyor Group
DLA; Acoustic engineer Muller-BBM; Heritage consultant Design 5 Architects; Theatre
planning Schuler Shook; Programming Mace; Vertical transport Norman Disney and
Young; Access consultant Laccess; Photographer Chris Bennett

Interior Architecture
Bass Coast Farmhouse

A clifftop on the Bass Coast is a challenging environment; when
the wind howls down this way, you want to nestle in out of the
by Wardle
weather. Bass Coast Farmhouse unashamedly braces itself against
its surroundings, with the interior providing a delightfully warming and
welcoming counterpoint. The front door opens into a deep, coir-mat-
floored mudroom complete with handbasin. At this point, what seems
(COUNTRY) Boonwurrung from the outside to be a simple, modern interpretation of an Australian
(LOCATION) Bass Coast, Victoria shed reveals itself as a complex courtyard house, with the courtyard
dropping away alongside the natural slope of the terrain.
A glazed and shuttered cloister takes you (right) to the bedroom
wing, or (left) to the kitchen, dining and lounge, which cantilever off
the slope below. A covered bridge completes the circuit, connecting
the lounge back to the main bed suite on terra firma. Acres of spotted
gum line the facade, while judiciously placed windows bathe the
interior – lined with veneered plywood – in a warm light. The house
brims with superbly original detail, from custom pieces of furniture,
to mechanically operated shutters (complete with kinetic motors),
to exquisitely simple balustrades.
— Bass Coast Farmhouse was reviewed by Rachel Hurst in Houses 149.

See architectureau.com/articles/bass-coast-farmhouse.
Architect Wardle; Project team John Wardle, Diego Bekinschtein, Megan Fraser,
Andrew Wong, Luca Vezzosi, Adrian Bonaventura, Maya Borjesson, Chloë Lanser;
Structural engineer and civil consultant OPS Engineers; Building services Griepink
and Ward Air Conditioning, Nissl Eichert Heating; Electrical consultant Burra Electrical;
ESD consultant Greensphere; Geotechnical and bushfire consultant Ark Angel; Building
surveyor SWA; Quantity surveyor Prowse Quantity Surveyors; Landscape consultant
Jo Henry Landscape Design; Landscape contractor The Sustainable Landscape
Company; Land surveyor Beveridge Williams; Photographer Trevor Mein

Art Gallery of NSW,

Sydney Modern building,
Gallery Shop
by Akin Atelier
(COUNTRY) Gadigal
(JURY CITATION)
Traditionally, the gift shop in an art gallery is a recessive space through
which you exit. Akin Atelier’s insertion of an intriguing visual jewel that
feels like an objet d’art in and of itself is a triumph at the Art Gallery
of NSW. A single material – a translucent, stratified resin – composes
the perimeter wall, the external visual display and the retail shelving,
all in one. From the outside, this vast, continuous vitrine obscures
the book covers on display just enough to coax you closer for a look.
Polished on the outside for maximum reflection, the resin, which
was developed with surfboard designer Hayden Cox, is frosted
on the inside to provide a sense of enclosure. Extensive material
research and prototyping has produced something truly unique
in place of what is so often an anticlimactic ending to a gallery visit.
— Art Gallery of NSW, Sydney Modern building was reviewed by Sandra Kaji-O’Grady
in Architecture Australia March/April 2023. See architectureau.com/articles/
sydney-modern-by-sanaa.
Project Art Gallery of NSW, Sydney Modern building, Gallery Shop Suburb Sydney,
New South Wales Country Gadigal Architect Akin Atelier; Project team Kelvin Ho,
Alexandra Holman; Builder EMAC Constructions; Multidisciplinary designer Hayden Cox;
Engineer Arup; Photographer Rory Gardiner
“Every possible fragment of original

building fabric has been re-used.”
2023 National Architecture Awards Jury
on Sydney Opera House Concert Hall Renewal
by ARM Architecture

Residential Architecture – Houses (New) (COUNTRY) Gadigal
(LOCATION) Surry Hills,
New South Wales
(ROBIN BOYD AWARD)
19 Waterloo
Street by SJB
(JURY CITATION)
At a time when our country faces a once-in-a-generation housing
crisis, we are in dire need of new approaches. Most importantly,
perhaps, we need to move beyond the Australian tradition of the
four-bedroom, standalone house being our only residential offering.
By casting off the tired notion of what a city home looks like, we’re
left at liberty to create homes in the spaces in between and, in so
doing, to create homes that are highly functional, whimsical and
utterly full of joy both inside and out.
19 Waterloo Street is a spectacular example of a new approach
to urban infill. Constructed on the 30 square metres left between a
new mixed-use building (a studio apartment and commercial tenancy)
and an existing factory, the home shows how hard architecture can
work, even on a small footprint. From the moment it comes into view,
the home announces itself as something different. Full of colour, the
facade disguises the program within, allowing an element of privacy
balanced by a sense of generosity to the public street. All the
required elements of home are present, with each opening off
the central stair. Entry, workspace, kitchen, living and bedroom all
have their own character and charm. Each is also light and radiates
an overwhelming impression of space and connection to greenery
that is not easily achieved within such a hard, industrial fabric. The
culmination of the upwards journey is a rooftop garden that provides
that final, much-loved element of the Australian home. No function
was jettisoned in the small footprint, and the space is successful as
a home for two, or as a space to welcome gatherings.
The construction was powered by solar panels on the adjoining
building, and the chosen materials include those rejected by others
as imperfect. Although it is not observable (beyond the dwelling’s
interior quietness), the design is built to a high level of thermal
performance and airtightness. The final building presents a space
full of joy and life that provides its inhabitants with the ultimate
in efficient, healthy housing.
— 19 Waterloo Street was reviewed by Anthony St John Parsons in Architecture Australia

July/August 2023. See architectureau.com/articles/19-waterloo-street-by-sjb.
Architect SJB; Project team Adam Haddow, Stewart Cowan; Builder Promena Projects;
Mechanical, electrical and hydraulic engineer Centric Engineers; Structural engineer
Van der Meer Consultants; Landscape architect Dangar Barin Smith; Town planner SJB
Planning; Brick supplier Krause Bricks; Photographer Anson Smart

Residential Architecture – Houses (New)
Spring Creek
Tucked in among working farmland, Spring Creek Road Farm
House looks, from a distance, like a piece of farm infrastructure.
Road Farm House

But as you get closer, it becomes apparent that something else
entirely is at play. Sitting on a modest, off-grid footprint, this home
by Architect Brew Koch

is a lesson in providing just enough: just enough space, just enough
comfort, just enough light, and – with its carefully curated views –
just enough aspect. In one direction, farmland and sky; in another,
a pocket of native forest; and westward, a virgin patch of reforestation
(COUNTRY) Wadawurrung that one imagines will soon be a wildlife corridor. This calm and
(LOCATION) Bannockburn, Victoria beautifully simple house represents a triumph of economy of
materials and finishes. Details that could easily look unfinished –
cement sheeting, unsupported openings, stud walls naked at the
ends – do not.
The architect/client worked closely with the builder,
who clearly accepted the challenge with alacrity. From the beautiful
screw layouts, to the gutter/spitter gracefully discharging to the water
tank, to the myriad of carefully crafted junctions, you can feel the love
at every turn.
Architect Architect Brew Koch; Project team Peter Brew, Simone Koch; Builder G. D.
Property and Construction; Building surveyor Akritidis Group Building Consultants;
Structural engineer T D and C; Photographer Thurston Empson

Merricks Farmhouse offers a different take on the rural shed
Merricks Farmhouse vernacular. It may share its concrete-block walls and metal roof
with the cow sheds down the road … but that’s where it ends.
by Michael Lumby Nestling into the slope, the house’s long, low glazing is almost
invisible beneath the deep eaves. Extending out into the garden,
with Nielsen Jenkins the concrete walls topped in succulents are reminiscent
of a moss-covered ruin.
The entry sequence takes you into a large, sheltered courtyard,
(COUNTRY) Boonwurrung but rather than a rectangle of manicured garden, you find a pond
(LOCATION) Merricks, Victoria with giant stepping stones leading you through superb native
plantings. The surrounding rooms all take great advantage of this
supremely calm space: four beautifully modest bedrooms at the rear,
the main bedroom suite on the “view side” of the house, a sunken
lounge, and a kitchen and dining area that also enjoy the benefit
of the courtyard dining area. Here, the black timber ceilings soar
to concealed skylights before dropping down to the hall/bedroom
height, where the view is intensely compressed.
The pool – a partially sunken concrete water tank – is a beautiful
spot to cool off in summer. The landscaping flows in and out, blurring
the boundaries at every turn.
— Merricks Farmhouse was reviewed by Cameron Bruhn in Houses 151.

See architectureau.com/articles/merricks-farm-house-by-michael-
lumby-with-nielsen-jenkins.
Architect Michael Lumby with Nielsen Jenkins; Project team Lachlan Nielsen,
Michael Lumby, Morgan Jenkins; Builder Atma Builders; Structural engineer
Westera Partners, Perrett Simpson; Photographer Tom Ross

Residential Architecture – Houses (New)
Mossy Point House

by Edition Office
(COUNTRY) Yuin
(LOCATION) Mossy Point, New South Wales
(JURY CITATION)
Mossy Point House is a bold offering within the much-loved enclave
on the New South Wales South Coast. Nestled among the eucalypts,
the house provides a strong form to the street, allowing for both
privacy within, and opportunities for connection with passers-by.
The geometry of the internal spaces is a delightful surprise – but
more than this, it creates a strong program for the modest dwelling.
Relationships between the inhabitants and the neighbours
have been strongly interrogated to avoid overlooking, and the use
of retreat and outlook is masterful. The interior palette is warm and
encourages a slower pace of life appropriate to the clients’ intention
for the house to be a place to retire. The design makes the most of the
natural slope of the site to soften the building’s overall form; the house
appears single-storey from the street, with its lower-floor guest
and storage spaces deftly hidden from view. The finished product
is generous to both its inhabitants and its neighbours, and it will
only settle further into its bush setting over time.
Architect Edition Office; Project team Kim Bridgland, Aaron Roberts, Karl Buck,
Laura McConaghy; Builder Smith and Primmer; Structural engineer Geoff Metzler
and Associates; Landscape consultant Florian Wild; Photographer Rory Gardiner
“By casting off the tired notion of what a city

home looks like, we’re left at liberty to create
homes that are highly functional, whimsical
and utterly full of joy, both inside and out.”
on 19 Waterloo Street by SJB

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www.bravataustralia.com.au
Residential Architecture – (COUNTRY) Wurundjeri
Houses (Alterations and Additions) (LOCATION) Fitzroy, Victoria
(ELEANOR CULLIS-HILL AWARD) (JURY CITATION)

Architecture Architecture strives to create homes of physical
Sunday by
and psychological wellbeing, providing a diversity of spaces so
that occupants can always find a place of comfort: social spaces
and private spaces, generous spaces and intimate spaces, spaces
to gather and spaces to retreat. With Sunday, the practice has
Architecture
masterfully met this aim.
On entering the sweet, unassuming house, you are instantly
aware that this home is something different. Even on a wet and
wintery day, light, texture and material warmth draw you in.
Architecture
With space enough for two, the dwelling offers a delicate intimacy
where the rituals of daily life are celebrated. Everywhere you look,
there is something to delight. Miraculously, the central courtyard
offers complete protection and privacy from overlooking neighbours.
Every room offers light, greenery and outlook. When the urge
to gather presents, the house easily welcomes guests, with spaces
showing a delightful ability to adapt and flex. You can easily imagine
long summer evenings there, with windows and doors flung open
and the sound of merriment floating between rooms. Occupying
a site of only 175 square metres, the home presents a depth and
variety of spaces: a wonderful achievement.
— Sunday was reviewed by Michael Macleod in Houses 151.

See architectureau.com/articles/sunday-by-architecture-architecture.
Architect Architecture Architecture; Project team Michael Roper, Nick James,

Angus Hamilton, Daria Selleck; Builder Grenville Architectural Construction;
Photographer Tom Ross

(GROUND FLOOR KEY)
8 5 6
1 Porch
7
2 Guest bedroom/studio 3 2
9 4
3 Kitchen 1
4 Dining
5 Daybed
6 Lounge
7 Courtyard
8 Garden Ground floor
0 1 2 5 10 m
9 Main bedroom 1:400
Sections
0 1 2 5 10 m
1:400

Residential Architecture – (JURY CITATION)
Houses (Alterations and Additions) Balmain House is an example of a carefully considered residential
extension to a tired existing dwelling. Pushing back on the initial
client brief for a full demolition, Saha has reused the existing cottage
and dovetailed it into the new addition with impeccable clarity.
(NATIONAL AWARD) The house is reorientated by augmenting existing window openings,
Balmain House taking advantage of the warming properties of the sun. This desirable
aspect, thwarted in the original layout, is now unfurled; the existing
by Saha “concrete garden” is replaced by formal and informal landscaping that
interfaces with the addition. Sliding doors peel back to expose and
blur boundaries between interior and exterior, further distinguishing
the garden as a central feature of the space. Old and new are
(COUNTRY) Wangal
integrated through a series of level changes that circle and hover
(LOCATION) Balmain, New South Wales
over generous landscaped areas, while delicate steel awnings run
along the perimeter, unifying the dwelling.
Where some additions can feel like an abrasive adjunct to
their existing context, Balmain House manages to weave a distinct
contemporary aesthetic into the traditional cottage vernacular
with ease.
— Balmain House was reviewed by Casey Bryant in Houses 154.

See architectureau.com/articles/balmain-house-by-saha.
Architect Saha; Project team Sascha Solar-March; Builder Keith March Constructions;
ESD consultant Atelier Ten; Structural engineer Partridge; Photographer Saskia Wilson

Harriet’s House by
So: Architecture
(COUNTRY) Stoney Creek Nation
(LOCATION) Launceston, Tasmania
(JURY CITATION)
Harriet’s House is the result of a collaboration between client
and architect that was allowed to permeate over many years.
The existing Georgian cottage, much-loved but dark and inward-
focused, has been granted an exciting new chapter characterized
by materiality, volume and delicate green outlook. Bold choices
were made to introduce both a delightfully high, vaulted ceiling
and a steeply sloped garden with a delicate steel stair; the two
elements feed off each other to create a remarkable space that will
only grow more beautiful with each passing year. The considered
use of skylights draws light deep into the footprint without the
previous overlooking from higher-set neighbours, and the new
material palette introduces a sense of joy and surprise that only
complements the original cottage.
— Harriet’s House was reviewed by Stuart King in Houses 152.

See architectureau.com/articles/harriets-house-by-so-architecture.
Architect Studio of Architecture; Project team Alex Nielsen, Elizabeth Walsh;

Builder Anstie Constructions; Structural engineer and hydraulic consultant
Aldanmark Consulting Engineers; Landscape consultant Playstreet, Jonathan Hearn
Landscape Design and Construction; Building surveyor Green Building Surveying;
Photographer Sean Fennessy
North Perth House by

North Perth House is a display of quiet whimsy; the addition boasts
a delightful array of playful elements, creating interest in the everyday,
Simon Pendal Architect

seemingly mundane characteristics of the domicile. Tapered columns
circuit a deep verandah, their asymmetrical shape establishing
a dynamic interplay between garden and deck; rounded window
scribes take on a new expression as they abruptly terminate; subtle
(COUNTRY) Whadjuk curves in the kitchen serve to soften and blend with the hardworking
(LOCATION) North Perth, Western Australia ancillary rooms. The resourcefulness and ingenuity in detail nimbly
fly above the limitations of a tight budget. The outcome is a series
of responses and careful moves that coalesce on the site to produce
a meaningful space for a growing family.
— North Perth House was reviewed by Leonie Matthews in Houses 151.

See architectureau.com/articles/north-perth-house-by-simon-pendal.
Architect Simon Pendal Architect; Project team Simon Pendal, Valerie Schönjahn;
Builder Element Builders; Structural engineer Forth Consulting; Landscape consultant
Banksia and Lime; Cost consultant Rebecca Hunn; Photographer Robert Frith

Residential Architecture – Multiple Housing (COUNTRY) Wurundjeri
(LOCATION) Brunswick, Victoria
(FREDERICK ROMBERG AWARD)
Nightingale Village
by Architecture Architecture,
Austin Maynard Architects,
Breathe, Clare Cousins
Architects, Hayball and
Kennedy Nolan
(JURY CITATION)
The much-awarded Nightingale projects may have their roots all the buildings in the Village are as different as you’d expect from
in Northern Europe, but they’re now very much a part of the local a group of normally competing architects who are suddenly on the
scene. The “triple-bottom-line” multiple-housing typology, where the same side. These differences lend the owners the ability to, in effect,
architect is also the developer, has been so successful in Melbourne all play the same sport, but for different teams. We will need a variety
that the waiting list for apartments in these developments remains of typologies to solve our housing crisis, and while Nightingale
in the hundreds. provides one, it lays the groundwork for many more.
One question for Nightingale Housing to move forward was
how it could be upscaled without losing the small-scale, bespoke — Nightingale Village was reviewed by Alexis Kalagas in Architecture Australia
ethic. In Nightingale Village in Melbourne’s inner-north, we see March/April 2023. See architectureau.com/articles/nightingale-village.
something of a grand experiment: take six architects and give Architect Architecture Architecture, Austin Maynard Architects, Breathe, Clare Cousins
them the same brief and parameters, and one large, shared site Architects, Hayball and Kennedy Nolan; Project team Nick James, Michael Roper,
with a shared street between, and see what it can become. Daria Selleck, Mark Austin, Andrew Maynard, Mark Stranan, Jeremy McLeod, Madeline
This might imply that the result is rooted in chance, which was Sewall, Frances McLennan, Bettina Robinson, Fairley Batch, Bonnie Herring, Ali Galbraith,
most certainly not the case. A carefully curated group of some Emily McBain, Giles Freeman, Marie Penny, Mark Ng, Patricia Bozyk, Renee Eleni Agudelo,
Sarah Mealey, Shannon Furness, Clare Cousins, Oliver Duff, Tara Ward, Candice Chan,
of the country’s best designers assembled to draw from the hits
Laura Norris-Hones, Luc Baldi, Rob Stent, Bianca Hung, James Luxton, Gianni Iacobaccio,
(and misses) of the Nightingales that have gone before to create Robert Mosca, Yuyen Low, Saifee Akil, Ela Rajapackiyam, Patrick Kennedy, Rachel Nolan,
an urban village. All the familiar elements are there: no personal Michael Macleod, Victoria Reeves, Elizabeth Campbell, Tamara Veltre, Oliver Monk;
car-parking spaces but enough spots for share-cars; great passive Builder Hacer Group; Urban planner Hansen Partnerships; Quantity surveyor WT
design; no airconditioning; shared laundries; minimal interior finishes; Partnerships; Engineer WSP; Building surveyor Steve Watson and Partners; Access
a location close to multiple public transport routes; and instant consultant Access Studio; ESD consultant WSP, Umow Lai; Wayfinding Olax; Arborist
Tree Logic; Traffic GTA Consultants; Waste management Leigh Design; Landscape and
community buy-in. What the Village adds (apart from economies
urban design Openwork; Landscape consultant Amanda Oliver Gardens, Eckersley
of scale that further benefit the owner rather than the developer) Garden Architecture; Project manager Fontic; Urban design Breathe, Andy Fergus; ESD
is a heightened sense of community. Despite their holistic similarities, consultant Hip V Hype Sustainability; Photographer Tom Ross

Residential Architecture – Multiple Housing
Turner Avenue Homes

by Push and David Pennisi
(COUNTRY) Turrbal and Jagera
(LOCATION) New Farm, Queensland
(JURY CITATION)
Turner Avenue Homes is a finely executed example of the missing-
middle housing strategy applied sensitively in a Brisbane suburb
with distinct neighbourhood character. The private development
comprises a single residence, which is respectful to the street,
and three attached dwellings at the rear that overlook a beautifully
designed, shared garden. Light and ventilation are cleverly integrated
into the houses through layered courtyard spaces that also provide
each dwelling with privacy and retreat. Pedestrian and vehicle access
are thoughtfully resolved via a pergola link to the street, making
wayfinding clear and taking cars underground. The materiality
and craft in Turner Avenue Homes is exceptional, and the carefully
resolved concept, integrated landscape and sympathetic architectural
design make this an exceptional development.
Architect Push and David Pennisi; Project team Anna Chamberlin, Paul William Curran,
David Pennisi; Builder Eurocom Projects; Structural engineer Bligh Tanner; Town planner
Place Design Group; Photographer Jennifer Hillhouse

Occupying a prime spot on the edge of the University of Western
Forrest Hall by KHA Australia’s college precinct and sitting on a bend of Derbarl
Yerrigan (Swan River), Forest Hall provides short- to medium-term
(Kerry Hill Architects) accommodation for visiting postdoctoral students, researchers and
academics. Designed to support the university’s goal of being in the
top 50 research universities in the world by 2050, the accommodation
(COUNTRY) Whadjuk is broken into two blocks. The first block provides studios and one-
(LOCATION) Crawley, Western Australia and two-bedroom accommodation for singles and young families,
while the second provides short-stay accommodation for visiting
academics in a hotel style that is cleverly cross-funded, with members
of the public able to book available rooms to ensure efficient usage.
The street presence is a stone-clad delight, alternating between open
corridors with vine-covered cables and naturally ventilated walkways.
Architect KHA (Kerry Hill Architects); Project team Dean Adams, Lucy Bothwell,
Jack Bradshaw, Amma Bunting, Simon Cundy, Lucy Dennis, Gertjan Groen, Anna Hii,
Kerry Hill, Patrick Kosky, Lee Kheng Teoh, Lena Lena, Maricel Marbus, Seán McGivern,
Lan Nguyen, Kendall Onn, Levi Phillips, Jasmine Pummer, Nicholas Putrasia, Gaia
Sebastiani, Christopher Shaw, Ashley Stucken, Emily Sullivan, Stejara Timis, Jacintha
Walker, Chloe Siinmaa; Builder Jaxon Construction (stage 1), ADCO (stage 2); Landscape
consultant Plan-E; Structural engineer BPA; Services consultant Link Engineering,
SGK; Electrical consultant BEST Consultants, IQEC; Building surveyor Resolve Group;
Project manager IPS; Acoustic consultant Herring Storer; Hydraulic consultant HDA;
Fire engineer Strategic Fire Consulting; Traffic consultant Jacobs; ESD consultant
Stantec; Photographer Nicholas Putrasia

Habitat on Juers is an innovative, human-centred solution to social
Habitat on Juers and affordable housing on a deep site in the southern Brisbane city
of Logan. The project incorporates 16 accessible and adaptable
by Refresh Studio dwellings, conceived as a village-like development close to public
transport, schools and shops. The clever spatial planning keeps the
for Architecture cars to the side of the site, separate from the units. This enables
generous and activated shared courtyards with barbecue areas
and play equipment, without disregarding the need for private entries
(COUNTRY) Turrbal and Jagera and drying courts. The language of the architecture is engaging,
(LOCATION) Kingston, Queensland while the scale and character remain sympathetic to the context.
Slightly offset, the staggered units are constructed from black and
white lightweight mass timber and anchored by brick fire walls and
entry courtyard bases. This layering of spaces and materials, and the
integration of communal landscaped areas, creates non-institutional
forms and an interesting visual rhythm that gives each dwelling a
unique identity. Habitat on Juers pushes the envelope on typical
housing typologies and is a role model in demonstrating good social
and affordable housing design for the Australian context.
Architect Refresh Studio for Architecture; Project team Erhard Rathmayr, Llewellyn
Griggs, Monika Obrist; Builder Bryant Building Contractors; Structural engineer
NGS Engineers; Fire engineer Holmes Fire; User research and human-centred design
consultant Public Research and Design; Landscape consultant Laudink; Hydraulic
consultant H Design; ESD consultant Integreco Consulting; Photographer Scott Burrows
“In Nightingale Village, we see something

of a grand experiment: take six architects
and give them the same brief and parameters,
and one large, shared site, and see what
it can become.”
2023 National Architecture Awards Jury on Nightingale Village
by Architecture Architecture, Austin Maynard Architects, Breathe,
Clare Cousins Architects, Hayball and Kennedy Nolan

Sustainable Architecture (COUNTRY) Wurundjeri
(DAVID OPPENHEIM AWARD)
Nightingale Village by
Architecture Architecture,
Austin Maynard Architects,
Breathe, Clare Cousins
Kennedy Nolan
(JURY CITATION)
Nightingale Village is a testament to the power of collaboration. The success of this project on so many levels can be traced
Working with a community-focused approach, an alliance back to the open collaboration between highly skilled individual
of architects set about creating a new village precinct within architecture studios. The development demonstrates the merit of
an established suburb and former industrial zone. Their intent sharing information, and the social and environmental benefits of
was to create a fossil-fuel-free development in a central location, a design that considers more than the residents alone.
providing long-term homes for a diverse community. The result
is a playful, lively and clearly much-loved series of buildings, — Nightingale Village was reviewed by Alexis Kalagas in Architecture Australia
each with its own character but sharing a common vision. March/April 2023. See architectureau.com/articles/nightingale-village.
Six buildings house 203 homes and eight commercial tenancies, Architect Architecture Architecture, Austin Maynard Architects, Breathe, Clare Cousins
allowing for residents to mix and for community and village culture Architects, Hayball and Kennedy Nolan; Project team Nick James, Michael Roper, Daria
to grow. A reductionist approach was employed from the outset, Selleck, Mark Austin, Andrew Maynard, Mark Stranan, Jeremy McLeod, Madeline Sewall,
with all homes having only the essential spaces. Functions that can Frances McLennan, Bettina Robinson, Fairley Batch, Bonnie Herring, Ali Galbraith, Emily
be shared are used as opportunities to bring people together, with McBain, Giles Freeman, Marie Penny, Mark Ng, Patricia Bozyk, Renee Eleni Agudelo,
Sarah Mealey, Shannon Furness, Clare Cousins, Oliver Duff, Tara Ward, Candice Chan,
buildings offering combined laundry spaces and rooftop gardens.
Laura Norris-Hones, Luc Baldi, Rob Stent, Bianca Hung, James Luxton, Gianni Iacobaccio,
This allows smaller footprints for individual units and an overall Robert Mosca, Yuyen Low, Saifee Akil, Ela Rajapackiyam, Patrick Kennedy, Rachel Nolan,
reduction in building size. The village is gas-free and operates with Michael Macleod, Victoria Reeves, Elizabeth Campbell, Tamara Veltre, Oliver Monk;
a shared energy network that draws from one substation connected Builder Hacer Group; Urban planner Hansen Partnerships; Quantity surveyor WT
to rooftop solar across the buildings. Power, internet, water and Partnerships; Engineer WSP; Building surveyor Steve Watson and Partners; Access
sewerage link to the site via a single point, and an innovative system consultant Access Studio; ESD consultant WSP, Umow Lai; Wayfinding Olax; Arborist
Tree Logic; Traffic GTA Consultants; Waste management Leigh Design; Landscape and
allows residential toilets to be run with recycled water. All irrigation
urban design Openwork; Landscape consultant Amanda Oliver Gardens, Eckersley
is fed by rainwater harvested on site. Reliance on the single car for Garden Architecture; Project manager Fontic; Urban design Breathe, Andy Fergus; ESD
transport has been reconsidered, with parking provided for bikes consultant Hip V Hype Sustainability; Photographer Tom Ross
and share-cars only; it will be interesting to see whether this
influences residents’ transport habits over the years to come.

Sustainable Architecture (JURY CITATION)
Housing general teaching and study areas, Boola Katitjin sets out
to create a new face for Murdoch University. In addition to providing
a much-needed connection between the newly established southern
arrival point and the spiritual heart of the campus, Bush Court, the
(NATIONAL AWARD)
building also aims to create an equitable path of travel across the
Boola Katitjin by Lyons 13 vertical metres between them. With sustainability front and centre
of the design, this building straddles the two levels with the feel of
with Silver Thomas Hanley, an oversized timber warehouse for learning.
Designed to embrace the often-harsh Perth climate and also
The Fulcrum Agency and protect from it, Boola Katitjin offers a generous covered space for
open-air ceremonial events that were not possible before now.
Officer Woods Architects On the building’s inviting northern facade, modular bays are clearly
evidenced through the expressed CLT structure. This structure,
which gives the building a warm, barn-like feel, reduces the project’s
(COUNTRY) Whadjuk overall embodied carbon by 55 percent compared to equivalent
(LOCATION) Murdoch, Western Australia concrete buildings. Informal student areas use a mixed-mode
ventilation system (with natural ventilation used most of the time),
and the massive gable roof incorporates industrial-scale renewable
energy production via a 450-kilowatt solar system. Combined with
low-energy systems, these measures have reduced the building’s
operational energy footprint by approximately 90 percent (compared
to a reference building) and gained it 6-Star Green Star certification.
Boola Katitjin tests some original ideas in environmental
and social sustainability; it will be interesting to see how staff and
students respond to and interact with these in the years to come.
— Boola Katitjin was reviewed by Simon Pendal in Architecture Australia

September/October 2023. See architectureau.com/articles/boola-katitjin.
Architect Lyons with Silver Thomas Hanley, The Fulcrum Agency and Officer Woods
Architects; Builder Multiplex; Structural and civil engineer Aurecon; Services consultant
NDY; Landscape consultant Aspect Studios; Facade engineer Inhabit; Building surveyor
Resolve Group; Disability access O’Brien Harrop; Waste management Encycle; Signage
and wayfinding Buro North; Project manager DCWC; Cost consultant RLB; Town planner
Planning Solutions; Photographer Lyons

Lane Cove House

by Saha
(COUNTRY) Cammerraygal
(LOCATION) Lane Cove, New South Wales
(JURY CITATION)
Lane Cove House is a commendable example of adaptive reuse
and a living model of successful multigenerational living. A new
upper floor sits comfortably in its setting, allowing the original
ground floor to retain its creature comforts for its existing inhabitants.
Accessible to the existing dwelling and the streetscape, the addition
complements the programmatic order of its original counterpart.
Internal courtyards draw in views and break down the structure’s
overall mass. The outcome is a space that feels generous, not just
to the inhabitants but to the street.
Architect Saha; Builder Keith March Constructions; Project team Sascha Solar-March;
ESD consultant Atelier Ten; Structural engineer Partridge; Photographer Saskia Wilson
Delivering Bent Glass with Excellence

R
BENT GLASS
SOLUTIONS
Digital Site Measures for Bent Glass Projects
Project: Sonata Apartments

Photo: Incredible Group
Perth: 9468 2722
Sydney: 8011 1831
Brisbane: 3175 0501
: glasshape.com : info@glasshape.com Melbourne: 9099 0200

Heritage (COUNTRY) Gadigal
(LACHLAN MACQUARIE AWARD)
Sydney Opera House

Concert Hall Renewal
by ARM Architecture
(JURY CITATION)
In its fiftieth-anniversary year, the Sydney Opera House is arguably
one of Australia’s most recognizable pieces of architecture and
our only modern building on the UNESCO World Heritage List.
To undertake a major renovation and update of its world-famous
Concert Hall was no small endeavour. ARM Architecture has
completed this seminal work with a confident and considered hand.
The combination of painstakingly recrafted timbers and new fuchsia
colouring, which nods to the original interiors designed by Peter Hall,
is nothing short of awe-inspiring.
The design team spared no time or effort in their exploration
of the right method for every surface. Working extensively through
onsite exploration, and with exhaustive modelling to trial, test and
retest, they have given the Concert Hall and its adjoining spaces
new life within a vastly improved functional framework. Switching
easily and speedily between modes, from symphony orchestra
to rock concert, the hall makes music and performance of all kinds
available to more people than ever before. The adjoining tunnel
and accessibility changes also improve equity, with the lift offering
a breathtaking journey between floors.
Existing timbers, gently cut by hand to ensure protection,
are complemented by new materials that avoid mimicry, ensuring
a seamless experience. Every detail – from the user journey
to instrument movement and acoustic performance – has been
investigated at length, and the final result is a piece of architecture
that the country can be proud to call our own. This is truly a space
worthy of international recognition.
— Sydney Opera House Concert Hall Renewal was reviewed by Andrew Andersons
in Architecture Australia January/February 2023. See architectureau.com/
articles/sydney-opera-house-concert-hall-renewal-by-arm-architecture.
Architect ARM Architecture; Project team Mark Raggatt, Howard Raggatt, Andrew
Hayne, Peter Bickle, Stuart Webber, Justin Fagnani, Andrea Wilson, Paul Buckley,
Aaron Robinson, Leo Carson, Rocio Batlle, Mario Posala, Daniel Lazarow; Builder Taylor
Construction; Town planner Keylan Consulting; Quantity surveyor Rider Levett Bucknall;
Mechanical and electrical services engineer Steensen Varming; Fire services and
hydraulic engineer Warren Smith Consulting Engineers; Building surveyor Group DLA;
Acoustic engineer Muller-BBM; Heritage consultant Design 5 Architects; Theatre
planning Schuler Shook; Programming Mace; Vertical transport Norman Disney and
Young; Access consultant Laccess; Photographers Chris Bennett, Daniel Boud

Heritage (JURY CITATION)
The University of Melbourne Student Precinct, with its array
of heritage elements, has been transformed into a bubbling hub
catering for its transient student community. The key activation
strategy was to create a seamless ground plane by removing
(NATIONAL AWARD) the elevated plaza (a later incongruous addition to the tertiary
University of Melbourne urban fabric). This process has revealed defunct basement levels
and unearthed opportunities for a new interface with the
Student Precinct university’s internal streets.

The revitalized ground plane is anchored not only by the physical
by Lyons with Koning connectivity of the new and refurbished buildings and their respective
levels, but also by a poetically ingrained, Indigenous-led conception
Eizenberg Architecture, of place. Embedded in the meandering pathways and newly found
vistas lies the site’s story of water. Each building weaves and traces
NMBW Architecture Studio, new desire lines to what will be the apogee of the development,
a new home for the Melbourne Institute for Indigenous Development,
Greenaway Architects, Murrup Barak (due for completion in 2026).

Each incision into the heritage fabric is highly considered
Architects EAT, Aspect in application yet monumental in consequence. From the trans-
formation of the closed basement of the Frank Tate (Building 189)
Studios and Glas Urban into an outward-facing multipurpose space, to the subtle yet
playful conversation between old and new brick in Building 1888,
to the revealing of the basement of the Eastern Resource Centre,
each expression breathes new life into the precinct, bringing together
(COUNTRY) Wurundjeri
its rich history and reconnecting it to a unique story of Country.
(LOCATION) Parkville, Victoria
— University of Melbourne Student Precinct was reviewed by Rachel Hurst
in Architecture Australia May/June 2023. See architectureau.com/articles/
university-of-melbourne-student-precinct-project.
Architect Lyons with Koning Eizenberg Architecture, NMBW Architecture

Studio, Greenaway Architects, Architects EAT, Aspect Studios and Glas Urban;
Builder Kane Constructions; Project manager DCWC; Cost consultant Slattery;
Structural engineer and waste consultant Irwin Consult, WSP; Services consultant
Lucid; Building surveyor McKenzie Group; ESD consultant Aurecon; Facade engineer
BCG; Fire engineer Dobbs Doherty; Theatre planning Schuler Shook; Acoustic
consultant Marshall Day Acoustics; Landscape consultant Aspect Studios, Glas Urban;
Wayfinding Aspect Urban, Public; Heritage consultant Lovell Chen; Traffic engineer
GTA Traffic; Photographer Peter Bennetts

Thomas Dixon Centre

At the Queensland Ballet’s Thomas Dixon Centre, Conrad Gargett
has demonstrated commendable skill to fuse an existing heritage
by Conrad Gargett
entity to its contemporary division. These two masses act as a caliper
to a heritage bunker, serving to funnel visitors into the reclaimed
space between the buildings. This procession through seemingly
liminal territory is activated by a series of framed windows that
(COUNTRY) Turrbal and Jagera reveal the inner workings of the ballet tradition, generating a bustling
(LOCATION) West End, Queensland atmosphere upon arrival. A playful yet highly considered assimilation
of materiality speaks to the Queensland Ballet and its ideals, while
the programmatic efficiency of the spaces sets the stage for an
ever-evolving conversation with the centre’s inhabitants and users,
visitors and volunteers.
Architect, landscape consultant Conrad Gargett; Project team David Gole,

Tamarind Taylor, Phoebe Thomas, Simon Boundy, Craig Sargeant; Builder Hansen
Yuncken (main contract), Hutchinsons (early works); Structural and civil engineer
Bligh Tanner; Building services engineer Xburo; Signage and wayfinding Dot Dash;
Certifier Knisco; Town planner Saunders Havill; Fire engineer Warringtonfire; Acoustic
consultant Trinity Consultants; WELL certification ADP; Quantity surveyor DCWC;
Traffic engineer MRCagney; Access consultant Architecture and Access;
Photographer Christopher Frederick Jones
“Each incision into the heritage fabric

is highly considered in application
yet monumental in consequence.”
2023 National Architecture Awards Jury on University of Melbourne Student Precinct
by Lyons with Koning Eizenberg Architecture, NMBW Architecture Studio,
Greenaway Architects, Architects EAT, Aspect Studios and Glas Urban

Urban Design (COUNTRY) Wurundjeri
(LOCATION) Parkville, Victoria
(WALTER BURLEY GRIFFIN AWARD)
University of Melbourne
Student Precinct by Lyons with
Koning Eizenberg Architecture,
NMBW Architecture Studio,
Greenaway Architects,
Architects EAT, Aspect
Studios and Glas Urban
(JURY CITATION)
University of Melbourne Student Precinct brings clarity, connection, toward the future Murrup Barak Centre, and the main court space
fun and inclusion to a previously congested area of the Parkville is activated by the adjacent student pavilion, student services and
campus. Through its diversity of architecture, activation across a performing arts centre. There is activation, transparency and
many levels, material playfulness and co-creation with First Nations overlook at many levels through balconies, walkways and glazed
peoples and the student community, it acts as a vehicle for seating areas.
collaboration and reconciliation. The student precinct demonstrates the power of collaborative
The precinct encompasses six new and refurbished buildings processes across the community, the university and the profession
within a landscape that has been returned to its original datum. to create an exceptional, inclusive, playful and culturally respectful
The removal of the elevated concrete plaza covering the central urban design experience for the University of Melbourne and Parkville.
area enables an accessible ground plane across the site and a
network of gathering spaces that signify reconnection with Country — University of Melbourne Student Precinct was reviewed by Rachel Hurst in Architecture
– including the water and eel narratives that run through the precinct. Australia May/June 2023. See architectureau.com/articles/university-of-melbourne-
student-precinct-project.
Speakers from 45 First Nations language groups were consulted on
this project, and their voices are present in the spaces created. Architect Lyons with Koning Eizenberg Architecture, NMBW Architecture Studio,
The outdoor spaces are made welcoming and soft in an Greenaway Architects, Architects EAT, Aspect Studios and Glas Urban; Builder Kane
otherwise hard-edged urban environment through curved terraces, Constructions; Project manager DCWC; Cost consultant Slattery; Structural engineer
mudstone, brick pavers, timber and native plantings, and the external and waste consultant Irwin Consult, WSP; Services consultant Lucid; Building surveyor
McKenzie Group; ESD consultant Aurecon; Facade engineer BCG; Fire engineer Dobbs
amphitheatre and terracing provide a new framing for the existing
Doherty; Theatre planning Schuler Shook; Acoustic consultant Marshall Day Acoustics;
heritage buildings on the site. Building 189 has been repurposed Landscape consultant Aspect Studios, Glas Urban; Wayfinding Aspect Urban, Public;
as an engaging market hall, and the other heritage buildings have Heritage consultant Lovell Chen; Traffic engineer GTA Traffic; Photographer Peter Bennetts
had excess fabric removed to allow for new courtyards and circulation
spaces. The result respects and activates these buildings in ways
aligned with the purpose of the student precinct.
The diagram and wayfinding for the precinct is exceptionally
clear, given the array of architectural styles contributing to its
character. A clear north–south spine runs from Monash Road

Urban Design (JURY CITATION)
Herston Quarter Redevelopment Stage 1 and 2 by Hassell
successfully navigates a steep, complex site that contains heritage
buildings and the remnants of an old quarry – and is entangled with
busy roads to the east and south. The project maximizes the site’s
(NATIONAL AWARD) best qualities and draws the public into the precinct and heritage
Herston Quarter centre via a grand gesture: the “Spanish Steps” and glass lift, which
link the train station and Victoria Park to the south with the crown of
Redevelopment Stage 1 the hill and the site’s north.
The redevelopment carefully stitches together a mix of health
and 2 by Hassell facilities (existing and new), student accommodation and facilities,
health research institutes, commercial space and green public
space in a way that is elegant, comfortable and appropriate for
south-east Queensland. The heritage buildings are enhanced by
(COUNTRY) Turrbal and Jagera
sensitive landscaping and cleverly reformed forecourt spaces
(LOCATION) Herston, Queensland
that improve their amenity and accessibility.
The diversity of uses on the site calls for varied entries and
permeability for different people. This is achieved by internally
linking the health precinct buildings separate to the student
accommodation precinct, allowing a choice of public pathways
through the development depending on the user’s needs.
Herston Quarter has reclaimed a part of Brisbane that has
long felt inaccessible and given it back to its neighbourhood.
Its new address, transport, amenity, connectivity and landscape
are greatly improved through this project.
— Herston Quarter Redevelopment Stage 1 (STARS) was reviewed by Catherin Bull

in Landscape Architecture Australia 173. See architectureau.com/articles/
surgical-treatment-and-rehabilitation-service-stars.
Architect Hassell; Project team Kevin Lloyd, Adam Davies, Daniel Kallis, Kirsten
Thompson, Tarek Barclay, Stephen Watson, Simone Wise, Riley Flanigan; Builder
Watpac (STARS), Hutchinson Builders (heritage core); Lady Remington building
refurbishment Nettleton Tribe; Edith Cavell building refurbishment Elevation
Architecture; Photographer Scott Burrows

Nightingale Village by Architecture

Architecture, Austin Maynard Architects,
Breathe, Clare Cousins Architects,
Hayball, Kennedy Nolan, Openwork
and Andy Fergus
(COUNTRY) Wurundjeri
(JURY CITATION)
The success of Nightingale Village in the urban design category Architect Architecture Architecture, Austin Maynard Architects, Breathe, Clare Cousins
is a result of the innovation embedded in the model, which has Architects, Hayball, Kennedy Nolan, Openwork and Andy Fergus; Project team Nick
James, Michael Roper, Daria Selleck, Mark Austin, Andrew Maynard, Mark Stranan,
created a fossil-fuel-free precinct in a central location that provides
Jeremy McLeod, Madeline Sewall, Frances McLennan, Bettina Robinson, Fairley Batch,
long-term homes for a diverse community. However, it is also reliant Bonnie Herring, Ali Galbraith, Emily McBain, Giles Freeman, Marie Penny, Mark Ng,
on a few key moves: shared basements for cars and shared services Patricia Bozyk, Renee Eleni Agudelo, Sarah Mealey, Shannon Furness, Clare Cousins,
that support the entire site; a vegetated buffer to the bike track and Oliver Duff, Tara Ward, Candice Chan, Laura Norris-Jones, Luc Baldi, Rob Stent,
train line along the western side; the closure of Duckett Street to Bianca Hung, James Luxton, Gianni Iacobaccio, Robert Mosca, Yuyuen Low, Saifee Akil,
cars, giving it back to the public and the landscape; and buildings Ela Rajapackiyam, Patrick Kennedy, Rachel Nolan, Michael Macleod, Victoria Reeves,
Elizabeth Campbell, Tamara Veltre, Oliver Monk; Builder Hacer Group; Urban planner
that allow for passive surveillance, incidental encounter and natural
Hansen Partnerships; Quantity surveyor WT Partnerships; Engineer WSP; Building
ventilation to the street. surveyor Steve Watson and Partners; Access consultant Access Studio; ESD consultant
At street level, Nightingale Village has produced an urban WSP, Umow Lai; Wayfinding Olax; Arborist Tree Logic; Traffic GTA Consultants; Waste
environment that is car-free and pedestrian friendly, that offers management Leigh Design; Landscape and urban design Openwork; Landscape
community-oriented outdoor space, and that is activated by consultant Amanda Oliver Gardens, Eckersley Garden Architecture; Project manager
commercial tenancies. This is further enriched by the development’s Fontic; Urban design Breathe, Andy Fergus; ESD consultant Hip V Hype Sustainability;
Photographer Tom Ross
(agreeable) argument of architects, which has produced a delightful
array of multi-residential housing that makes the streetscape diverse
and intriguing.
— Nightingale Village was reviewed by Alexis Kalagas in Architecture Australia

March/April 2023. See architectureau.com/articles/nightingale-village.

Dairy Road is the first stage of an ambitious reimagining of an
Dairy Road by Craig industrial precinct – the first of its kind in Canberra. An adaptive
reuse of existing buildings, the development aims to create
Tan Architects a new community and commercial heart. In time, this heart will
be a bridge to a new residential estate to the south of the site.
The edges of the development have been designed
(COUNTRY) Ngunnawal collaboratively by Oculus and Pezo von Ellrichshausen to remove
(LOCATION) Fyshwick, Australian Capital Territory existing carparks and asphalt, and to integrate native landscape,
shade, seating areas and undefined non-commercial public spaces
for exploration and contemplation. The relationship between
the commercial uses and the outdoor spaces creates an active
and playful precinct edge that successfully reinterprets what an
industrial estate might be.
The warehouses have been repurposed through the intro-
duction of an eclectic and dynamic range of bespoke commercial
uses – a brewery, a yoga studio, co-working spaces, maker spaces
and eateries – creating a diverse ecology of working opportunities.
— Dairy Road was reviewed by Philip Vivian in Architecture Australia

September/October 2023. See architectureau.com/articles/dairy-road.
Architect Craig Tan Architects; Project team Tess Williamson, Stephanie Bott,
Jack Monte, Tamara Glick, Diem Le, Craig Tan; Builder Collie Projects, Nikias Diamond,
Manteena Group; Hydraulic consultant Pinnacle Design Consulting (formerly Plumb
Design); Landscape architect Oculus, Jane Irwin Landscape Architecture; Structural
engineer WSP; Civil consultant Rossarden Design; Land surveyor Veris; Services
engineer AECOM; Photographer U_P

International Architecture (LOCATION) Paris, France
(JØRN UTZON AWARD)
Paris Apartment
by Wood Marsh
Architecture
(JURY CITATION)
Paris Apartment is the respectful yet extraordinary restoration
of a seventeenth-century apartment originally owned by prominent
French architect Jules Hardouin-Mansart, who designed the
Grand Trianon at the Palace of Versailles. For Wood Marsh and
Paris Apartment’s client, this was an opportunity to showcase their
appreciation of history, contemporary art and modern architecture.
Before the restoration, the apartment bore little resemblance
to its original design. However, through careful historic research,
analysis of a neighbouring apartment in the building and extensive
engagement with French authorities, Wood Marsh was able
to determine key original elements and details and navigate
a design solution that respected its historical significance.
The original wall panelling and delicate in-situ artwork were
carefully repaired, and modern services were cleverly concealed
behind traditional mouldings. These integrated services enable
sublime, pared-back interiors without compromising on contemporary
amenities. Original colours from the artwork informed the new
salmon palette for the dining room, while crisp white and black were
used to accentuate the original panelling and remnant decorations,
and to provide an appropriate backdrop for the client’s exceptional
art collection. All new insertions of joinery and furniture are spare,
monochromatically aligned with each space and beautifully detailed.
Paris Apartment is exceptional not only because it is a beautiful
balance between modern and historic design, but because of the
design research and management process the architects managed
to navigate with the French government from Australia during
COVID. By all accounts, the work is celebrated and loved by both
the client and the French authorities as a masterpiece of restoration
and interior design.
Architect Wood Marsh Architecture; Project team Roger Wood, Randal Marsh,
Marco Zerbi; Builder Wito; Local architect Renaissance les architects; Restoration
Arcanes; Services consultant C-Tek Ingénierie; Structural engineer Element Structure;
Art consultant Murray White Room; Photographer Tommaso Sartori

boulevar
d Beaum
rue des Tournelles
archais
Site plan Floor plan

0 1 2 5m
Not to scale 1:400

Small Project Architecture (COUNTRY) Wurundjeri
(LOCATION) East Melbourne, Victoria
(NICHOLAS MURCUTT AWARD)
Victorian Family
Violence Memorial
by Muir and Openwork
(JURY CITATION)
Victorian Family Violence Memorial is a gentle gesture
in solidarity. It straddles two fulcrums: it is a place for the individual
or for a group to gather in support, grief or remembrance. This duality
in function takes shape as a moulding of the earth, guiding visitors
into the heart and then out again. Splitting the ground plane, the level
changes create an inconspicuous amphitheatre, and a place to sit
in reflection under the canopy of an existing tree.
The monument holds the earth as if to bear the weight of
the subject matter, delicately balanced in a moment in time. Steel
buttresses appear to vanish into a point of darkness, their pared-back
filigree personifying the immeasurable number of victims. A poetic
expression of what we see and what we don’t see, the work manifests
a sculptural gracefulness where every touchpoint has meaning.
Landscape serves as a living reminder of the reason for
gathering in this place, with purple flowers alluding to the global
movement to end family violence. Country is embodied by a smoking
vessel; the burnt embers and ashes are captured and fall back
to earth in a continual gesture of blessing.
With elegant simplicity, this monument holds space as a place
to be still and to remember.
— Victorian Family Violence Memorial was reviewed by Georgia Birks in Architecture

Australia September/October 2022. See architectureau.com/articles/victorian-family-
violence-memorial.
Architect Muir and Openwork; Project team Alessandro Castiglioni, Amy Muir,
Liz Herbert, Marijke Davey, Mark Jacques, Toby McElwaine; Builder Multipro Civil
Construction; Indigenous Advisor Sarah Lynn Rees; Structural engineer WSP; Irrigation
consultant Tenburren Irrigation; Lived-experience stakeholder Victim Survivors’ Advisory
Council; Traditional Custodians and cultural advisor Wurundjeri Woi-wurrung Cultural
Heritage Aboriginal Corporation, Boon Wurrung Foundation, Bunurong Land Council
Aboriginal Corporation; “Taken Not Given” memorial stakeholder Forced Adoption
Practices and artist Anne Ross; Consultant Department of Premier and Cabinet,
Office for Women, City of Melbourne; Photographer Peter Bennetts

Small Project Architecture (JURY CITATION)
Although lengthy in name, University of Queensland
Cricket Club Maintenance Shed is solid and determined in stature.
Together, Lineburg Wang and Steve Hunt Architect have demo-
nstrated ingenuity in detail as a means of uncovering budgetary
(NATIONAL AWARD)
efficiencies. The building houses a storage shed with a makeshift
University of Queensland office and changeroom facilities; a landscaped buffer breaks
up these public and private zones.
Cricket Club Maintenance The need to cut costs as a result of rising construction
prices and material supply constraints meant that the architects
Shed by Lineburg Wang had to rework the original design, removing structural steel and
using concrete block piers instead. The shed is ornamented by the
with Steve Hunt Architect reimagined possibilities of the humble masonry block. The outcome
is a pavilion that sits proudly in the landscape, situating itself
as a beacon for the local university and cricket community.
(COUNTRY) Turrbal and Jagera One of the hallmarks of good design is the ability to take
(LOCATION) St Lucia, Queensland a rudimentary material and achieve texture, embellishment,
detail and structure, all in one. This shed is a wonderful example
of this dexterity, displayed in a delightful way.
— University of Queensland Cricket Club Maintenance Shed will be reviewed

in a future issue of Architecture Australia.
Architect Lineburg Wang with Steve Hunt Architect; Project team Michael Lineburg,
Lynn Wang, Steve Hunt, Chris Kotmel; Builder Xenia Constructions; Structural engineer
Ingineered; Hydraulic consultant Neil Blair and Associates; Blocklayer Armstrong
Bricklaying; Photographer David Chatfield

Postal Hall by Trower

Falvo Architects
(COUNTRY) Whadjuk
(LOCATION) Perth, Western Australia
(JURY CITATION)
Tasked with activating a thoroughfare shared by several stakeholders
in Perth’s State Buildings complex, Trower Falvo Architects explored
the possibilities of a demountable structure. The Postal Hall bookshop
achieves a complex juggling act: to be not only a place that supports
the adjacent tenancies, but also a destination in itself. Adaptable,
removable and functional, the insertion integrates seamlessly into
the larger postal hall locale.
The project’s proportions and scale have been meticulously
calculated; the units slot together with ease and the shop can be
demounted when the space is needed for large events. An example
of the value of prototyping and research, Postal Hall truly reinvigorates
its surrounding space.
Architect Trower Falvo Architects; Project team Dayne Trower, Simona Falvo,
Alessio Fini; Builder Frontline Interiors; Photographer Ben Hosking
Dimensions X / Farm Stay

As construction costs surge to an all-time high, leaving much of
Australia feeling defeated, architects are charged with the task
by Peter Stutchbury
of providing cost-effective solutions that still manage to achieve
a level of design detail and whimsy. In Dimensions X / Farmstay,
Architecture
Peter Stutchbury Architecture showcases the possibilities of
prefabrication for small-footprint construction, complete with
formidable environmental credentials and running costs of next
to nothing. Working hard yet sitting beautifully within its context
(COUNTRY) Wonnarua and not scrimping on quality, this project is a sustainable and
(LOCATION) Broke, New South Wales economical corrective to the current state of the building industry.
— Dimensions X / Farm Stay was discussed by Tobias Horrocks in Houses 155.
Architect Peter Stutchbury Architecture; Project team Alejo de Achaval,

Peter Stutchbury, Emilie Winter; Builder Dimensions X, Hinton Homes, Jarrah Wells
Design and Form; CLT manufacturer Xlam; Structural engineer GZ Consulting Engineers;
Door and window manufacturer Species Australia; Carpenter and joiner Damien Reitsma
Woodwork; Electrical consultant Page 1 Electrical; Footing engineer Surefoot Footings;
Solar system design and installation Smart Consult; Trailer manufacturer Silverwood
Trailers NSW; Canvas manufacturer E. H. Brett and sons; CNC machining and fabrication
Plastek Engineering; Electrical consultant Mark Staunton; Roofing Scholz Roofing;
ESD consultant Eco Logical Design; Photographer Alejo de Achaval

Steel Architecture
(NATIONAL COLORBOND® AWARD) (JURY CITATION)

In recent years, the backstreets of Barwon Heads on Victoria’s
AB House Bellarine Peninsula have become something of a proving
ground for adventurous architecture. Beach houses often provide
by Office Mi–Ji the right mix of freedom and ambition to allow relatively modest
budgets to shine. They need to be robust enough to deal with sun,
wind, sand and salt, but they also need to be adaptable enough
(COUNTRY) Wadawurrung to accommodate guests, with spaces that enable people to come
(LOCATION) Barwon Heads, Victoria together as well as to retreat. A perfect example, AB House achieves
this with the addition of a guest “wing” at the rear, connected
via an inset central deck.
Striking a wonderful balance between embracing the honest
use of simple materials and providing modern amenity, this is a
grown-up fibro beach shack. Faced with a flood-prone site requiring
an elevated floor plate, the architect has taken maximum advantage
of the benefits of steel to design a graceful, lightweight structure that
sits confidently above the landscape. Small-format corrugated steel
is interwoven with corrugated fibreglass, all framed in an exposed
galvanized frame. The result is a consistent, familiar language that
still feels innovative. Internally, the galvanized upper-floor frame
is pulled back to allow light to wash down the walls and the upstairs
bedroom to float above.
— AB House was reviewed by Alexa Kempton in Houses 149.

See architectureau.com/articles/ab-house-by-office-mi-ji.
Architect Office Mi–Ji; Project team Millie Anderson, Jimmy Carter; Builder David Webb
Building Solutions; Structural engineer Keith Long and Associates; Building surveyor
PLP Building Surveyors and Consultants; Town planner Sincock Planning; ESD consultant
Greencheck; Photographer Ben Hosking

Tucked at the end of a battleaxe block in Perth sits a wholly
Celilo Springs unexpected little pavilion. The traditional driveway access has
been given over to planting and the block amenity is significantly
by Western Architecture enhanced by the lack of a carport and turning circle. The natural
watercourse flowing beneath the gully has been harnessed via
Studio a free-flowing natural spring, transforming a damp “problem site”
into a verdant slice of bushland that is brimming with native wildlife
and generous to its neighbours.
(COUNTRY) Whadjuk Judicious use of steel has allowed an almost column-free,
(LOCATION) Mount Lawley, Western Australia glazed “verandah in a garden” on a very modest budget. The roof
structure, including operable lights, is much like a tent; this innovative
structural design has allowed the whole structure to be erected with
one small crane in a single day, even on a site with challenging access.
The project is enhanced by the steel structure, which allows it to rest
effortlessly within the newly re-established bush setting.
— Celilo Springs House was reviewed by Rachael Bernstone in Houses 151.

See architectureau.com/articles/celilo-springs-by-western-architecture-studio.
Architect Western Architecture Studio; Builder Andrew Boyne; Structural engineer

Forth Consulting; Services consultant Froster Engineering; Civil consultant Peritas
Group; Steel fabricator/designer Steelane; ESD consultant Ecorate WA; Lighting
consultant Corsa Lighting; Landscape consultant Pierre Quesnel; Interior landscape
consultant Claire Greenhill; Historian Erica Boyne; Photographer Peter Bennetts
“Beach houses often provide the right

mix of freedom and ambition to allow
relatively modest budgets to shine.”
on AB House by Office Mi–Ji

Enduring Architecture
(NATIONAL AWARD)
Brambuk: The National

Park and Cultural Centre
by Gregory Burgess
Architects
(COUNTRY) Jadawadjali and Djab Wurrung
(LOCATION) Halls Gap, Victoria
(JURY CITATION)
Brambuk sits within Gariwerd (Grampians) National Park,
which is the home of the Jadawadjali and Djab Wurrung peoples.
Completed in 1990 and constructed from local materials, the
building is embedded in Country. Approached via a slow walk
past ancient wood canoes, carved trees and a croaking billabong,
it crouches low and is surrounded by an endemic garden of medicinal
and edible plants. As we walk, an emu flashes past – an important
ancestor checking who is here, who is visiting.
We acknowledge and congratulate the Jadawadjali and Djab
Wurrung peoples for creating a centre for cultural activities, meetings,
learning and gathering that they have embraced and maintained for
more than 30 years. We acknowledge and show deep respect to
Gregory Burgess, the architect who worked in partnership with the
Traditional Custodians and the community to make the project from
the ground up. The centre’s development was led by a collaboration
involving the Winda-Mara Aboriginal Corporation, the Goolum
Goolum Aboriginal Co-operative, the Framlingham Aboriginal
Trust, the Kerrup-Jmara Aboriginal Elders Corporation, and
the Gunditjmara Aboriginal Cooperative.
Burgess camped on site with Countrymen and women to
develop the first sketches and concepts, with deep engagement
and participation from the local Indigenous community continuing
throughout the entire process. Many of the materials in the building
– from the stone making the floor, walls and hearth, to the large
timber posts and radially sawn timber – were sourced regionally.
Brambuk was built of Country and has become of Country.
The experience of Brambuk is very personal – everyone will
see and experience something different, whether it is Brambuk or
Bunjil (two great ancestors of the region), the five clans embedded
in the plan, the rock formations of Gariwerd, or something else.
This is what makes Brambuk an exceptional place and piece
of architecture. As with all timeless places, it gives you what
you need at the time you visit it.
Brambuk was awarded the Sir Zelman Cowan Award for
Public Architecture in 1990, and it is correct that it should be
honoured with the Enduring Architecture Award, 33 years on.
Architect Gregory Burgess Architects; Project team Gregory Burgess, David Mayes,
Deborah Fisher, Simon Harvey, Des Cullen, Peter Ryan, Anthony Capsalis, Ian Khoo;
Project manager Alan Simpson; Building foreman Jim Bell; Structural and civil engineer
Peter Yttrup; Colour consultant Guy Walker; Photographer Trevor Mein

Australian
Interior Design
Awards 2024
Entries Open
13 November
Closing
16 February
Proud supporters Presenting partners

Emerging Architect Prize (NATIONAL WINNER)
Ben Peake
(JURY CITATION)
Ben Peake has been awarded the 2023 Australian Institute of
Architects’ National Emerging Architect Prize. Peake’s impact
on the practice of Carter Williamson Architects, where he is the
design director, has been profound. He has been instrumental in
steering award-winning projects, nurturing young architects, and
advocating for gender and diversity equity. The firm itself received
the New South Wales chapter’s Best in Practice Prize in 2021.
Peake’s dedication extends beyond the firm. He’s been an
ongoing advocate for positive change in the profession through
his involvement with the Institute. His roles on the New South Wales
Gender Equity Transformation Team and the National Committee for
Gender Equity express his commitment to diversity. He’s also taken
a lead position in the Architects Champions of Change initiative,
promoting inclusivity in the profession.
Neither are Peake’s contributions limited to the profession;
he has actively shared his knowledge as a tutor and been selected
for the Byera Hadley Travelling Scholarship and the Dulux Study
Tour. Notably, he led the Save Our Sirius movement, successfully
preserving a significant building against development forces
in Sydney. Sirius (2017), of which Peake is a co-author,
stands as a testament to his achievements.
Peake’s leadership style encompasses design excellence
(BELOW LEFT) As project lead for Carter Williamson’s first public alongside a profound sense of social responsibility, demonstrating
project, Woodcroft Neighbourhood Centre (2019), architectural practice as citizenship. He has not only shaped
Peake helped to design a civic building to projects but also embraced the ethical dimensions of architecture.
galvanize a culturally diverse community in The jury commends his accomplishments and eagerly anticipates
Western Sydney. Photograph: Brett Boardman.
his future contributions.
(BELOW RIGHT) Peake led the Save Our Sirius movement to
protect the community and building in The Rocks. Jury, left to right Stuart Tanner FRAIA (chair), Australian Institute of Architects National
The book Sirius (Piper Press, 2017), of which he is President, Tanner Architects; Dino Vrynios RAIA, 2021 National Emerging Architect Prize
a co-author, documents the successful campaign. winner, Das Studio; Tiffany Liew RAIA, National EmAGN President, Architecture AND

ENDORSED BY
Shortlist
2023 National
Awards Shortlist
(PUBLIC ARCHITECTURE) Rockhampton Museum of Art Cannon Hill Anglican (COMMERCIAL

by Conrad Gargett, Clare Design College D-Block ARCHITECTURE)
Art Gallery of NSW, (lead design architects) by Reddog Architects
Sydney Modern building and Brian Hooper Architect in association with Brindabella
by SANAA (lead consultant) and Darumbal Country Blueline Architecture by Bates Smart
Architectus (executive architect) Rockhampton, Queensland Turrbal and Jagera Country Ngunnawal Country
Gadigal Country Cannon Hill, Queensland Canberra Airport,
Sydney, New South Wales Thomas Dixon Centre Australian Capital Territory
by Conrad Gargett Centre for Higher
Bendigo Law Courts Turrbal and Jagera Country Education Studies Delatite Cellar Door
by Wardle West End, Queensland by Fieldwork and by Lucy Clemenger Architects
Dja Dja Wurrung Country Brand Architects Taungurung Country
Bendigo, Victoria Warrnambool Library Wurundjeri Country Mansfield, Victoria
and Learning Centre South Yarra, Victoria
Bondi Pavilion Restoration by Kosloff Architecture Heritage Lanes, 80 Ann Street
and Conservation Gunditjmara (Dhauwurd Cranbrook School, Hordern by Woods Bagot
by Tonkin Zulaikha Greer Wurrung) Country Oval Precinct Redevelopment Turrbal and Jagera Country
Architects Warrnambool, Victoria by Architectus Brisbane City, Queensland
Bidjigal, Birrabirragal Gadigal Country
and Gadigal Country Bellevue Hill, New South Wales JCB Studio
Bondi Beach, New South Wales (EDUCATIONAL by Jackson Clements Burrows
ARCHITECTURE) Inveresk Library, Wurundjeri Country
Dove Lake Viewing Shelter University of Tasmania Richmond, Victoria
by Cumulus Studio Boola Katitjin by Wardle
Big River Nation by Lyons with Silver Thomas Stoney Creek Nation Larrakeyah NorForce
Cradle Mountain, Tasmania Hanley, The Fulcrum Agency Inveresk, Tasmania by BVN
and Officer Woods Architects Larrakia Country
Dynamic Destination Project Whadjuk Country Macleod College Darwin City, Northern Territory
by Cox Architecture Murdoch, Western Australia by Kennedy Nolan
and Cultivar Architecture Wurundjeri Country Monarto Safari Park
Koa Country Box Hill North Primary School Macleod, Victoria Visitor Centre
Winton, Queensland by Sibling Architecture by Intro with Studio Gram
Wurundjeri Country Research School of Physics Ngarrindjeri Country
Melbourne Holocaust Museum Box Hill North, Victoria Stage 1 Building, Australian Monarto, South Australia
by Kerstin Thompson Architects National University
Boonwurrung Country by Hassell Parliament Square Hobart
Elsternwick, Victoria Ngunnawal Country by FJC Studio
Acton, Australian (formerly FJMT Studio)
Capital Territory muwinina Country
Hobart, Tasmania

Poly Centre 210 George Street Mossy Point House Kerr Street Residences Sydney Opera House
by Grimshaw by Edition Office by Kerstin Thompson Architects Concert Hall Renewal
Gadigal Country Yuin Country Wurundjeri Country by ARM Architecture
Sydney, New South Wales Mossy Point, New South Wales Fitzroy, Victoria Gadigal Country
Sydney, New South Wales
QVS Stafford Vet Hospital Spring Creek Road Farm House Nightingale Village
by Vokes and Peters by Architect Brew Koch by Architecture Architecture, The Estate
Turrbal and Jagera Country Wadawurrung Country Austin Maynard Architects, by Luke Moloney Architecture
Stafford, Queensland Bannockburn, Victoria Breathe, Clare Cousins Country New South Wales
Yirranma Place Triptych Kennedy Nolan Thomas Dixon Centre
by SJB by Room 11 Wurundjeri Country by Conrad Gargett
Gadigal Country Paredarerme Country Brunswick, Victoria Turrbal and Jagera Country
Darlinghurst, New South Wales Koonya, Tasmania West End, Queensland
Turner Avenue Homes
by Push and David Pennisi University of Melbourne
(INTERIOR ARCHITECTURE) (RESIDENTIAL ARCHITECTURE Turrbal and Jagera Country Student Precinct
– HOUSES – ALTERATIONS New Farm, Queensland by Lyons with Koning
Art Gallery of NSW, Sydney AND ADDITIONS) Eizenberg Architecture, NMBW
Modern building, Gallery Shop Architecture Studio, Greenaway
by Akin Atelier Armadale House (SUSTAINABLE Architects, Architects EAT,
Gadigal Country by Neeson Murcutt Neille ARCHITECTURE) Aspect Studios and Glas Urban
Sydney, New South Wales Wurundjeri Country Wurundjeri Country
Armadale, Victoria ANMF House Parkville, Victoria
Bass Coast Farmhouse by Bayley Ward
by Wardle Balmain House Wurundjeri Country
Boonwurrung Country by Saha North Melbourne, Victoria (URBAN DESIGN)
Bass Coast, Victoria Wangal Country
Balmain, New South Wales Boola Katitjin Dairy Road
Billabong House by Lyons with Silver Thomas by Craig Tan Architects
by Architects Ink Harriet’s House Hanley, The Fulcrum Agency Ngunnawal Country
Kaurna Country by SO: Architecture and Officer Woods Architects Fyshwick, Australian
Saint Peters, South Australia Stoney Creek Nation Whadjuk Country Capital Territory
Launceston, Tasmania Murdoch, Western Australia
Sydney Opera House Herston Quarter
Concert Hall Renewal Lane Cove House Lane Cove House Redevelopment Stage 1 and 2
by ARM Architecture by Saha by Saha by Hassell
Gadigal Country Cammerraygal Country Cammerraygal Country Turrbal and Jagera Country
Sydney, New South Wales Lane Cove, New South Wales Lane Cove, New South Wales Herston, Queensland
Three Springs North Perth House Narrabundahaus Nightingale Village

Architectural Interiors by Simon Pendal Architect by Envelope Architecture by Architecture Architecture,
by KGA Architecture Whadjuk Country Ngunnawal Country Austin Maynard Architects,
Boonwurrung Country North Perth, Western Australia Narrabundah, Australian Breathe, Clare Cousins Architects,
Victoria Capital Territory Hayball, Kennedy Nolan,
Sunday Openwork and Andy Fergus
by Architecture Architecture Nightingale Village Wurundjeri Country
(RESIDENTIAL ARCHITECTURE Wurundjeri Country by Architecture Architecture, Brunswick, Victoria
– HOUSES – NEW) Fitzroy, Victoria Austin Maynard Architects,
Breathe, Clare Cousins Parliament Square Hobart
Merricks Farmhouse Architects, Hayball and by FJC Studio
by Michael Lumby (RESIDENTIAL ARCHITECTURE Kennedy Nolan (formerly FJMT Studio)
with Nielsen Jenkins – MULTIPLE HOUSING) Wurundjeri Country muwinina Country
Boonwurrung Country Brunswick, Victoria Hobart, Tasmania
Merricks, Victoria Forrest Hall
by KHA (Kerry Hill Architects) University of Melbourne
19 Waterloo Street Whadjuk Country (HERITAGE) Student Precinct
by SJB Crawley, Western Australia by Lyons with Koning
Gadigal Country Bondi Pavilion Restoration Eizenberg Architecture, NMBW
Surry Hills, New South Wales Habitat on Juers and Conservation Architecture Studio, Greenaway
by Refresh Studio by Tonkin Zulaikha Greer Architects, Architects EAT,
Blok Stafford Heights for Architecture Architects Aspect Studios and Glas Urban
by Blok Modular with Turrbal and Jagera Country Bidjigal, Birrabirragal Wurundjeri Country
Vokes and Peters Kingston, Queensland and Gadigal Country Parkville, Victoria
Turrbal and Jagera Country Bondi Beach, New South Wales
Stafford Heights, Queensland Iglu Summer Hill
by Bates Smart Parliament Square
Celilo Springs Gadigal and Wangal Country by Design 5 Architects, FJC
by Western Architecture Studio Summer Hill, New South Wales Studio (formerly FJMT Studio),
Whadjuk Country JPDC and Years Months Days
Mount Lawley, Western Australia muwinina Country
Hobart, Tasmania
National Awards 2023 83

(INTERNATIONAL (COLORBOND® AWARD FOR
ARCHITECTURE) STEEL ARCHITECTURE)
Paris Apartment AB House

by Wood Marsh by Office Mi—Ji
75004 Paris, France Wadawurrung Country
Barwon Heads, Victoria
The Park Santa Monica
by Koning Eizenberg Celilo Springs
Architecture by Western Architecture Studio
Santa Monica, United States Whadjuk Country
Mount Lawley, Western Australia
The Ritz-Carlton Maldives
by KHA Thomas Dixon Centre
North Malé Atoll, Maldives by Conrad Gargett
Turrbal and Jagera Country
West End, Queensland
(SMALL PROJECT
ARCHITECTURE)
(ENDURING ARCHITECTURE)
Dimensions X / Farm Stay
by Peter Stutchbury Architecture Brambuk: The National Park
Wonnarua Country and Cultural Centre
Broke, New South Wales by Gregory Burgess Architects
Jadawadjali and Djab
Mona Vale Beach Amenities Wurrung Country
and Lifeguard Facility Halls Gap, Victoria
by Warren and Mahoney
Garigal Country Olympic Park Station
Mona Vale, New South Wales by Hassell, Ken Maher,
Rodney Uren, Geoff Crowe,
Postal Hall Robin McInnes, William Smart,
by Trower Falvo Architects Andrew Cortese, John Woodman,
Whadjuk Country Mano Ponnambalam, Vanessa
Perth, Western Australia Yee, Adrian Gotlieb, Michelle
McSharry, Chris Thomas
Victorian Family and Ross de la Motte
Violence Memorial Wangal Country
by Muir and Openwork Homebush, New South Wales
Wurundjeri Country
East Melbourne, Victoria Sir Kingsford Smith Memorial
by Noel Robinson Architects
The University of Queensland Turrbal and Jagera Country
Cricket Club Maintenance Shed Brisbane Airport, Queensland
by Lineburg Wang
with Steve Hunt Architect The Chancery,
Turrbal and Jagera Country Government House
St Lucia, Queensland by Pegrum/Ciolek
Architects (Roger Pegrum)
Ngunnawal Country
Yarralumla, Australian
Capital Territory
“The Rockhampton Museum of Art

is … a true public building, giving back
to Rockhampton much more than
might be expected from a gallery.”
2023 National Architecture Awards Jury on Rockhampton Museum of Art
by Conrad Gargett, Clare Design (lead design architects) and Brian Hooper Architect

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(2003 GOLD MEDAL TRIBUTE) (WRITER) Philip Goad
Maggie Edmond
The Australian Institute of

Architects has awarded the 2003
Gold Medal, originally awarded to
Peter Corrigan alone, to Maggie
Edmond and Peter Corrigan.
When the 2003 Gold Medal was awarded to Melbourne

architect Peter Corrigan in honour of three decades of work,
the citation opened with a note from Corrigan acknowledging
the enormous contribution to the work by his partner in life and
practice, Maggie Edmond.
Twenty years later, the Institute asked the 2023 Gold
Medal Jury to consider whether there had been an oversight
in acknowledging only one member of the duo whose longstan-
ding collaboration was responsible for the practice of Edmond
and Corrigan. The jury was undivided in its conclusion that
the work celebrated in the 2003 Gold Medal was that
of the partnership.
It is with great pleasure that the 2003 Gold Medal
is awarded to Maggie Edmond and Peter Corrigan for a
collaboration that presented some of the most innovative
and inspiring voices to the Australian architectural scene.
Here, Philip Goad pays tribute to Edmond.
— Shannon Battisson on behalf of the 2023 Gold Medal Jury

In the history of Australian architecture, there have been many
partnerships of note, some of them personal as well as professional.
One thinks, for example, of Marion Mahony and Walter Burley Griffin,
and of Malcolm Moir and Heather Sutherland in Canberra; of John
and Phyllis Murphy, and of Peter and Dione McIntyre in Melbourne;
of Bill and Ruth Lucas in Sydney; and of many others past, present
and still to be documented. In 1975, one of these partnerships
of “significant others” was formed by Maggie Edmond and Peter
Corrigan.1 It was a partnership that would, over the next three
decades, shift architectural thinking locally, nationally and even
internationally – sometimes controversially.
It was Edmond and Corrigan’s series of buildings for the Catholic
community at Keysborough in outer-suburban Melbourne that first
made architectural headlines nationally. 2 Their new church, parish
centre, childcare centre and school used the everyday language,
forms and materials of the suburbs, signalling an alternative to
traditional notions of Catholic worship and educational buildings.
The Keysborough Church of the Resurrection (1977) was the first
building to be completed. It was a larrikin cry from the suburbs
and a pivotal moment in the contemporary debate between the
prevalent regional modernism and an emerging postmodernism.
Over the following decades, Edmond and Corrigan went on
to win numerous high-profile awards, including 35 state and four
national awards in the Royal Australian Institute of Architects’ awards
program, as well as three Victorian Architecture Medals. In 1982, the
practice received the National ACI Architecture Award “for the most
outstanding contribution to the development of architectural theory
expressed in completed buildings having particular relevance and
significance to the Australian regional context.”3 The firm’s work was
exhibited internationally in 1982 at the Paris Architecture Biennale
and in 1991, 1999, 2002 and 2010 at the Venice Architecture Biennale.
Edmond and Corrigan had individual and very different
architectural experiences before they joined forces. While Corrigan’s
career trajectory is well known through his studies at Yale and exper-
ience working in the United States for figures including Kevin Roche
and Paul Rudolph, Edmond’s is distinguished by her early
connections to community-building, activism and recognition of the
intrinsic value of the historic Australian city. (These qualities would
emerge in the practice’s work after 1975.) Winsome Callister’s
compilation of the pair’s design works before 1975 indicates that
Edmond was involved in more than twice as many design commi-
ssions as Corrigan.4
Born Margaret Suchestow, the daughter of a Viennese father
and an Australian mother, Maggie Edmond studied architecture at
the University of Melbourne, graduating in 1969. She was a brilliant,
prize-winning student, known for her outstanding renderings. Her
design thesis was for a high school and community centre and,
as Conrad Hamann has noted, “its urban sense was very strong.”5
In contrast to Corrigan’s connections to actors and set designs
associated with the Australian Performing Group (APG) based at
the Pram Factory theatre in Carlton, Edmond worked with other local
theatre groups, mainly through the Melbourne Secondary Teachers’
College, designing costumes for the Gilbert and Sullivan Society
productions. She worked briefly in Sydney on the giant polygonal
Hyatt Kingsgate Hotel in Kings Cross, then in Melbourne for Meldrum
Burrows Architects in a special design team, analysing plot ratios,
setbacks and design options for development. At Yuncken Freeman
(1973–4), she sketched and documented every streetscape for the
firm’s groundbreaking study of South Melbourne buildings that led
to widespread preservation strategies adopted by the Ministry of
Housing. Edmond joined the Brookes Crescent Action Committee
and the Fitzroy Residents’ Association, and she became involved
(OPPOSITE) Designed by Alan Kueh, the cover of Architecture
in community-based campaigns against demolition – and for
Australia March/April 2003 (Gold Medal) showed
Edmond and Corrigan’s Academic Centre and
conservation – within the central city.
St Mary’s College alongside portraits of Peter Edmond and Corrigan’s first published projects were the
and Maggie. Centennial Pavilion in Edinburgh Gardens (1977) and Patford House
(1975, designed with Maggie’s first husband, landscape architect
(ABOVE, TOP) Edmond and Corrigan’s Keysborough Church of
the Resurrection (1977) marks a pivotal moment Robin Edmond), both in Melbourne’s Fitzroy. These designs were
in the history of Australian architecture. developed solely by Edmond. From the firm’s establishment, she
Photograph: John Gollings. handled, managed and presented most of its significant work,
including award-winning projects such as Dandenong College
(ABOVE) Designs for residences such as Merli House
(1984) offered inherent spatial flexibility and of TAFE Stage 3 (1985–88) and the Building 8 Extension, RMIT
integrated landscape with architecture. University (1990–94). She also designed a considerable and
Photograph: Dianna Snape. significant collection of residential alterations and additions
2003 Gold Medal Tribute: Maggie Edmond 87

across inner Melbourne. One of Edmond’s favourite projects (ABOVE) From the practice’s establishment, Edmond
was the Northcote Amphitheatre (1986), a stunning 460-seat bush managed and presented most of its significant
theatre beside the Yarra River modelled on Edmond’s studies of work, including the Building 8 Extension at RMIT
University (1990–94). Photograph: John Gollings.
the ancient Greek theatre at Epidaurus (c. 400 BCE). Using recycled
bluestone pitchers from inner-city gutters and laneways, the project (OPPOSITE) The Northcote Amphitheatre (1986), modelled
was built by unemployed workers who received training in stone- on Edmond’s studies of the ancient Greek theatre
at Epidaurus, was one of her favourite projects.
cutting. It has perfect acoustics and has recently been added
Photograph: Dianna Snape.
to the Victorian Heritage Register.
During his lifetime, Corrigan gave significantly to broader society
through education and radical theatre set design. Edmond has been
an outstanding contributor to the architecture profession and the
community in a different way. Since 1977, she has consistently served
on numerous committees for the Australian Institute of Architects’
Victorian Chapter, and as a juror and jury chair for awards programs.
In 2012, she was chair of the Victorian Chapter’s Melbourne Prize.
She was involved with the teaching of design and was a regular design
critic at Melbourne University’s school of architecture. She was also
an assessor in the architecture department for RMIT University’s
postgraduate research program. She served on the Zoological Board
of Victoria (1982–89), the City of Melbourne Aesthetics Advisory
Panel (1985–89), the Victorian Design Advisory Panel (2003–04),
the Urban Design Advisory Panel (2004–05) and the Tribunal Panel
of the Architects Registration Board of Victoria (2006–). She was
an influential contributor to Deakin University, sitting on its council
(1999–2011), acting as deputy chancellor (2003–07) and chairing
its Campus Planning Committee for eight years (2003–11) during
a period of great development and expansion. Edmond was awarded
life fellowship by the Australian Institute of Architects in 2001
and was elected to the Institute’s National Council In 2012.
Working in the office of Edmond and Corrigan in the early
1980s and again in the late 1980s, it was clear to me that theirs
was a special partnership in every sense of the word. Corrigan
could be fickle, brilliant and fiery; Edmond was utterly professional,
pinpoint perceptive and stubbornly steely. They did not always
agree, but somehow managed to balance aesthetic, professional
and personal tensions in a way that only underscored the importance

of the work being done. And without Edmond, some things would
just never have been done.
Over more than three decades, the office of Edmond and
Corrigan was a key training ground for many young Melbourne
architects. In my time alone, these included Geoff Barton, Michael
Markham, Sean Godsell, Lindsay Davis, Antony DiMase, Adrian
Page, Peter Malatt, Marc Dixon, Nigel Bertram, and a host of others
who seemed to come and go over the years – as I did. Through all
of this, Edmond was a reassuring counter to Corrigan’s mercurial
disposition. It was never dull.
Peter Corrigan was awarded the 2003 Australian Institute of
Architects’ Gold Medal. The retrospective granting of this award to
Maggie Edmond is utterly fitting. She has never sought the limelight
or played to the crowd. Instead, she quietly appeared to assume a
supporting role – but this was never the case. While Corrigan often
took a lead design role, the pair always collaborated, and resoundingly
so as each project rumbled its way to completion. From the very
beginning of the firm’s life, its name made this clear. The inclusion
of Edmond’s image on the front cover of the 2003 Gold Medal issue
of Architecture Australia 6 further served to underline this fact.
Twenty years later, this is a moment for celebration. Brava, Maggie!
— Philip Goad is Chair of Architecture, Redmond Barry

Distinguished Professor, and Co-Director of the Australian
Centre for Architectural History, Urban and Cultural Heritage
(ACAHUCH) at the University of Melbourne.
(FOOTNOTES)
(1) The idea of “significant others” is defined and explored in Whitney Chadwick and
Isabelle de Courtivron (eds), Significant Others: Creativity and Intimate Partnership
(London: Thames and Hudson, 1993), 7–13.
(2) Richard Munday, “Passion in the suburbs,” Architecture Australia,

vol. 66, no. 1, Feb/Mar 1977, 52–61.
(3) Peter Johnson, “National Awards for Architecture,” Architecture Australia,

vol. 71, no. 6, December 1982, 2.
(4) Winsome Callister, “Appendix 6: Selected Buildings List – Early work: Edmond,” in
Conrad Hamann, Cities of Hope: Australian architecture and design by Edmond and
Corrigan, 1962–1992 (Melbourne: Oxford University Press, 1993), 165–6.
(5) Conrad Hamann, Cities of Hope: Australian Architecture and Design by Edmond
and Corrigan, 1962–1992 (Melbourne: Oxford University Press, 1993), 27.
(6) Architecture Australia, vol. 92, no. 2, March/April 2003.
2003 Gold Medal Tribute: Maggie Edmond 89

(2023 A. S. HOOK ADDRESS) (WRITER) Kerstin Thompson
A legacy for everyday dignity
In her A. S. Hook Address, Kerstin

Thompson reflects on the foundations
of her work and practice, including the
value of the go-between, the importance
of clarity of intent, and the celebration
of “why here is not the same as there.”
When David Chipperfield was awarded the Pritzker Prize earlier (BELOW) “Home,” says Thompson, is anywhere someone
this year, Katie Wagner observed that significant awards have feels supported in their purpose by space.
the potential to change architectural discourse. Here, I reflect, Photograph: House at Hanging Rock (2014),
Sharyn Cairns.
through six fundamental questions, on how my practice may
have impacted on Australian architecture, both as a built legacy (OPPOSITE) Thompson urges architects to seize development
and as a way of practising. applications as opportunities to demonstrate
design quality and advocate for regulatory
change, as KTA did at Kerr Street Residences
What home? (2022). Photograph: Derek Swalwell.
Consider two homes. First: House at Hanging Rock. An architect-
designed, bespoke home, an aggregate of a family’s choices,
reflecting their aspirations, preferences, needs. The occupants
exercised choice of home and architecture. Second: my cousin’s
office in Frankfurt, Germany. Also architect-designed, and now
a makeshift home for Ukrainian families. What was once a desk is
now a kitchen, of sorts, for here the occupants have been allocated
a home, making do with a given architecture and relying on each
other and their things.
What is the difference between these two spaces? How is
each a home? I’m fascinated by architecture’s role in the formation
of “home.” I define “home” as anywhere that someone feels sup-
ported in their purpose by space, whether momentary or ongoing.
The design of Hanging Rock House – its orientation to the landscape
– contributes to the inhabitants’ wellbeing. There’s a primal pleasure
and comfort to feeling the sun on one’s back. And when we visited
Frankfurt, I could see that for the Ukrainian woman, the opportunity
to cook borsch and host our meal at her makeshift table allowed her
to achieve a semblance of home. The garden view was a bonus;
the safety, essential.
I think a lot about this reckoning of architecture’s limits when we
design housing, whether public or private. What can architecture do?
What do people do with the architecture given to them? This question
is a summary of my faith in architecture to make a difference, but also
a challenging of its capacities, a humility around its impact. It cannot
stand in for life. A conceit. Homes are a combination of built form and
daily habits. We have to practise space, and “practising” suggests
something ongoing, never finished.
Like the Ukrainian woman in Frankfurt, my mother and
grandmother started new lives in another country. Having lost
everything other than the contents of a suitcase, my grandmother
became determinedly unmaterial in her new home. In contrast,
my mother focused on home-making – home-building, home-filling,
home-arranging gave her great comfort and security. For many
migrants who had an incomplete formal education, DIY building

Through walking a lot, I experienced the value of building less
as object and more as definer of street and public space. I also learnt
about broken promises: the drawing’s promise versus the actuality.
As I traipsed beyond the easy charms of the centro historico to the
periferia, the distinctive shadows of Rossi’s Gallaratese housing
sketches were nowhere to be found in Milan’s famous fog. Insight
gleaned. Why, as architects, do we resist the preconditions of the
situation we’re given to work with – the “here”?
How was I to use my training and inheritance of a global
discipline, with all its richness and restriction, in ways irreducibly local
and specific? In Melbourne, architect and educator Peter Corrigan
helped to expand the grammar of architecture to speak a dialect
inflected by the here. Edmond and Corrigan’s fire stations became
a key reference in how to counter “suburban” as a generic condition
by adapting modest, repeat types of civic buildings to dignify the
everyday and the ordinary. Here was an architecture that spoke
of its situation, describing why “here” is not the same as “there.”
This imperative accounts for Kerstin Thompson Architects’ (KTA)
avoidance of a signature style. Each building is an index of its situation
through form, material and character. This is most explicit in our work
for Victoria Police: same program, different site. The architecture
dignifies each place and celebrates why it is distinct.
Similarly, Napier Street Housing exploits “neighbourhood
character” to yield a hybrid of cottages and warehouses endemic
to Fitzroy’s typologies and materiality, and Northcote High School’s
Performing Arts and VCE Centre adds to the network of red-brick
public school architecture that underpins Melbourne’s suburbs.
In this way, architecture can elevate the everyday, celebrate why
here is not there, and act as a fundamental locator.
What history?
“What here?” inevitably leads to “what history?” I cannot contemplate
heritage without interrogating our histories, re-evaluating who and
what constitutes them. As architects, we’re obliged to re-examine
work was one means of financial mobility. Together with my uncle, our understanding of emplaced heritage and the ways in which we
my mother renovated houses – I visited a lot of sites after school. We might productively work with it. A lot of our work involves existing
also moved a lot, so I witnessed her setting up home overnight. Her buildings and sensitive cultural contexts. In fact, every project is a
skill may partly account for my keen interest in architecture as a form heritage project, as we’re always starting from a set of preconditions,
of home-making – or of providing the space for others to home-make. occupations, existences, hauntings. This is counter to the modernist
Architects are involved in housing provision at the extremes: preoccupation with tabula rasa. A much richer experience of place is
at one end, the highly bespoke single dwelling, and at the other, possible through revealing and engaging with the multiple moments
the off-the-shelf multiresidential development. This presents of a site’s life.
a conundrum for me. In light of Australia’s housing crisis, I feel Architecture is the bearer of individual and collective memory.
compelled to focus our distinctly architectural design intelligence Sound, smell, touch and sight trigger memories and associations
toward the generic home of multiresidential. Housing has consid- formed with the library of spaces and cities that we carry within.
erable urban, suburban and ecological consequences for the way W. G. Sebald writes: “Places seem to me to have some kind of
we shape our communities. In volume alone, it forms most current memory, in that they activate memory in those who look at them.” 1
construction activity. The dwelling is part of the street, which forms Or in those who smell them. Post-occupancy anecdotes of The
the suburb, which forms the city. The quality of each matters within Stables, Victorian College of the Arts – an adaptive re-use of
the greater composite of the neighbourhood. Melbourne’s former Mounted Police Branch Stables and Riding
Arguably, the aspect most instrumental in determining School – included a student complaint that she could smell the
architectural quality is the typology, embedded in the building’s horse piss. How lucky. During an early site visit, I was struck by the
bones. Establishing dwelling type, subdivision patterns, interfaces distinctive smell coupled with the softness of sound on a ground
with street and neighbours, and mutual benefit between public, of sawdust and sand that gently held the horses’ footfall.
private and common space, the bones become the architect’s most Equally able to hold memory are the impure, tinkered-with and
critical intervention. As we necessarily live closer together, this kind adapted forms of, say, a Victorian terrace turned postwar European
of strategic input can have a profound impact on the quality of our migrant special. Webb Street House was KTA’s earliest exploration
cities. The development application, in particular, is the opportunity of migrant architectures in inner Melbourne. This is “heritage” within
to demonstrate this kind of design leadership and to advocate the informality of the everyday, rather than a formal reverence for the
for regulatory change flexible enough to support innovation. “monument.”
But how do we approach change? What do we retain? Whose
What here? change or moment is most valuable, and how many moments
Much of my architectural education in the late 1980s focused on can co-exist? Typically, change is necessitated by obsolescence:
a European history. Introduced to some of the twentieth century’s redundancy triggered by the end of a prior use, by regulatory
leading lights, I leaned toward Asplund, Häring, Scharoun, Barragán, and building performance upgrades, or when a new relationship
Melnikov, Shinohara. I felt a humanity, a modesty, at the core of their is required with the surrounds. Our first consideration is whether
architectures that I wished to emulate. we can reuse what exists rather than rebuild, with the aim being
At the end of third-year, I spent seven months working in the to minimize physical change while unlocking a site’s potential
Milan studio of Matteo Thun. Bottom of the office hierarchy, I learnt, for new uses and life. We then ask what, if any, degree of change
through some interesting projects, the value of design thinking to the building’s fabric is optimal.
across disciplines and scales. Aldo Rossi’s same-form-different-scale Thinking through a spectrum of change allows us to engage
scenarios – from Alessi coffee pot to Teatro del Mondo – captured with a coexistence of layers: to calibrate the degree of change of use
this. This context piqued my own interest in cross-disciplinary relative to the change of fabric, offering an alternative to the binary
practice, particularly landscape and architecture. of new and old. At Sacred Heart, Abbotsford Convent, for example,
2023 A. S. Hook Address 91

the quadrangle – once a place of confinement, enforced exercise the colours and textures of Australian plants. The architecture forms
and detention – has undergone a major change of use, becoming charged interstitial space, territories and pathways.
a space of openness and connection, events and entertainment, I’ve long been interested in forging interstitial spaces – those
with only a bare minimum of physical change. In contrast, continuity that relate and connect – through clustering architecture’s figure
of use at Town Hall Broadmeadows required considerable physical to establish loose, in-between space or grading conditions along
change. The closed north facade was opened to transform the a spectrum. Bundanon Art Museum and Bridge exemplifies this.
building’s connection with the surrounding precinct, while key With a clear, transdisciplinary design intent, a spectrum (from buried
interior details were retained as a repository of community memories. to bridged) aligns function and user comfort with climatic, ecological
Pertinent to substantive new works with heritage is the and topographic conditions. Through an array of spaces, climate
desired relationship between the existing and the new. A light variation is harnessed for visitor delight and connection with place.
touch or a heavy hand? Like and unlike? Peer-to-peer? Lyceum Club To feel climate is a way to connect with Country, to be here. Bundanon
embodies respect for, not deference to, Ellison Harvie’s 1959 base. reappraises landscape as dynamic system rather than mere visual
Two distinct moments interweave and overlap, both drawn from a prospect or passive setting for built form. Resilient buildings,
modernist repertoire. Melbourne Holocaust Museum rejects the landscapes and infrastructure support the flows of fire, water and
convention of setting back from heritage fabric and instead treats all living things in a regional context, complementing millennia of
a remainder of the built heritage as a museum artefact, embedded care for Country by the Wodi Wodi people.
within the new brick facade as a cornerstone of the future.
In The Architecture of the City, Rossi invokes “permanence” What architect?
with regards to the historic artefact – “a past we are still experien- When I started KTA, in 1994, I had a hunch that practice could
cing” – as either “propellor” or “pathology”. 2 Our challenge is to rethink certain myths foundational to some of architecture’s most
find a balance between reverence for an exemplar and change celebrated figures. I thank my RMIT educators for being conscious
for a vital, lived future within a broader urban system. Queen and of these myths and helping our generation to challenge how we
Collins exemplifies urban vitality over death, as well as the impact conceptualized and talked about space. For example, to question:
of the strategic edit. Its doorways unlock the site, integrating it buildings as supposedly active, in relation to landscapes as passive;
with the flows and networks of the city. the role of “the Architect” as in control, uncompromising, without
Future legacy should be a central asset of the initial design. doubts; and why women were absent – or at least unacknowledged –
Leave good bones, adaptable bones, for uses may change but in architecture’s history.
resilient built form can serve new purposes, hold new lives. Of The limited number of women role models was clear,
existing buildings, we must ask whether a new build could match especially in terms of visible, explicit design leadership. More
its quality, life expectancy and material longevity, not to mention its common were whispered stories of a quieter, behind-the-scenes
cultural memory. I challenge the appallingly low expectations we woman in a husband-and-wife partnership: Marion Mahony,
have for buildings to endure. As Andrew Nimmo, then president of for example. The assumption was that the woman squeezed her
the NSW Chapter of the Australian Institute of Architects, said in practice in between her children’s lives, which she would be largely
relation to the Sydney Stadium debacle: “When our major public responsible for – leaving her husband’s professional commitments
buildings don’t last 30 years, we have a real problem.”3 uninterrupted. This was not for me. I wondered how to become
a voice to be reckoned with, how to combine practice leadership
What landscape? and family. There was a price: being present in the industry
In 1993, I walked the 80-kilometre Lurujarri Heritage Trail along meant being less present at home. No, you can’t have it all.
the coast of north-western Australia, the Country of Paddy Roe, I have been asked questions and received ample advice,
his ancestors and the Goolarabooloo community. It was formative often well-meaning but with massive blind spots. Most recently,
and I learnt two major lessons. The first was about what constitutes at a talk in Copenhagen where two of the three speakers were
architecture. Our camps – an architecture of sorts – allowed me women, the two of us were asked how we juggled practice and
to observe how we form place through our practices and activities. children. My response was that this question be asked of our male
At one camp, alongside paperbarks and a dry riverbed, the women speaker, too. Male colleagues who asked me, “Why stop at one
prepared tucker among eskies, fold-up tables and a fire pit within a child’?” fell silent when I enquired how often they dropped off,
sandy hollow. When kids ran too close, the women yelled, “Get out of picked up, worked from home, worked part-time, cooked dinner
the kitchen!” Of course, this was a kitchen. Architecture without walls. and so on. I note that my partner well and truly shared parenting
This was a fine counter to my architectural training, with and running the home.
its insistence on physical structures as evidence of occupation. In the early days of KTA, there were only two of us in the
Architecture is but a strand of our attachment to place. A landscape practice, and we became pregnant at the same time. I recall my
that we as architects might describe as “empty” is in fact full – of anxiety at an imagined lament about women architects and the
meaning, of stories. Only our cultural illiteracy stops us from reading it. impact of their fertility on project delivery. I also recall breastfeeding
The second lesson came through walking. Richard, our guide, my three-week-old in the profoundly insalubrious institutional glow
would account for his Country with stories held in place: reading of a VCAT hearing room – I didn’t want to let down our only client.
Country. Walking every day, sometimes for up to 14 hours, you I’m glad for changes in workplace conditions and the parental leave
appreciate the ground you might otherwise take for granted, noticing we’ve implemented at KTA.
the minutest of variations: tracks of creatures, subtle shifts in the But how to present – to ourselves, and to the world? Others
ground’s resistance underfoot, its dryness or wetness, its geology, were keen to position this novelty of the “woman architect.” There have
vegetation and plant communities, and so on. It holds clues to an been dubious requests and behaviour – including from clients and
ecological thinking – “eco-tones” as gradients of ecology – that consultants – that, frankly, male colleagues would never be subjected
challenges the arrogance of settlement patterns that attempt to to. Refusing to put up with bad behaviour and bullying, and standing up
separate natural systems with their drawn lines and title boundaries. for what we do and its value – especially the value of design – was a
This deeply impacted my understanding of landscape as a system. cardinal early lesson. If I gave away design, what next?
Walking shifted my appreciation of landscape to a performative, The individual house formed the beginnings of KTA and its
cultural and ecological one. recognition. It could have been the entire practice. But, fearing
At House at Lake Connewarre, this thinking directed the being pigeonholed, I pursued a wide scope of project type and scale.
arrangement of plantings and built form within an ecological banding, Time spent teaching in parallel to time on site prepared me for the
from hinterland to lake’s edge. Here, architecture is a consequence challenges of civic practice. I became a “pracademic,” moving
of site organization led by an ecology and, importantly, accounts for between academy and industry, design studio and site, intentions
its impact beyond the boundaries. A house was catalyst for ecolo- and actualities.
gical repair. I began teaching in 1990 at RMIT. The opportunity to create and
The Royal Botanic Gardens Visitors’ Centre, Cranbourne also lead a studio program meant articulating and pursuing a position, and
understood the building within an extended system. It challenged developing a set of interests and preoccupations. These informed my
architecture’s role relative to landscape, becoming a background to teaching and, to this day, my practice. This process was formative in

finding my own voice and way of being an architect, and reinforced
my belief that industry and academy, practice and speculation, are
mutually supportive and enriching endeavours. It honed my skills in
defining clarity of intent and pursuing this through the messy,
imperfect, negotiated and contingent process that is practice.
Balancing the ideal and the actual comes into play relentlessly
on site. I started work at Robinson Chen, a fine practice with a parallel
building company. With non-existent CAD skills, I was pretty useless
in the office. But I’d done lot of hospitality work and I could organize.
Chen noticed this skill, after I organized the Christmas party, and
asked what I might be best suited to in the practice.
“Site work,” I said.
I took on the role of go-between, moving back and forth
from building site to architect’s office. Early morning was site
time – figuring out, measuring up with the foreman, meeting with
subcontractors – then afternoons were back in office, sketching
axonometrics of rain-head and gutter details and faxing them
through for quotes. I learnt to be aware of the logistics of building,
the constraints and systems of materials and labour, and, as it
happened, the misfit between a large renderer’s girth and a tall,
skinny skylight. I learnt about buildability in parallel with drawing;
how architecture, and the lines we define it by, can direct, fru-
strate or align with construction; and how to work productively
with these. (The answer? Be poetic and practical.)
If these professional experiences influenced my approach,
what of the personal? Like almost half of all Australians, I have a
parent born elsewhere. My mother – a displaced Sudeten German –
came to Australia by boat in 1958. Fifth-generation Australian born,
my father had a country-town childhood. So, I’m a hybrid of this
Euro–Australian heritage and character – and also of a self-taught,
bolshie, DIY mother and a university-educated, intellectually curious,
surgically precise father. He was also a teacher and a beautiful drawer
of anatomy, from whom I learnt diagramming, to challenge conven-
tions and to improvise. I benefitted from a stable educational and
economic upbringing, but grew up with some instability through
their separation. To the latter I attribute my soft skills: diplomacy,
negotiation and endeavouring to understand differing positions.
The go-between.
My propensity to use bricks might be accounted for by Mum’s
family’s brickmaking history, and the places I experienced as a child
might have influenced my work. I thought I’d been conceived in a
Robin Boyd building – the Black Dolphin Motel in Merimbula, to be
specific. This was architecturally very romantic to me, so when my
mother told me it was not true, I was disappointed. But it prompted
me to speculate on my affinity for Boyd’s architecture – it was both
viscerally personal and rationally professional. I had stayed at the
Black Dolphin once, as a three-year old; then, as a teenager, I waited
tables one summer under the beautiful, blackened beams of its
dining hall.
Through feeling the spirit of Boyd’s structure, I think I absorbed
some early lessons in living. The buildings we inhabit become
embedded in us and can influence the spatial repertoire we play
(TOP) To ensure that the community could continue using out through our work. I realize that I sometimes re-create an aspect
Town Hall Broadmeadows (2019), KTA combined of a feeling of space conjured from distant memory. Architecture is
edits, additions and conservation moves that enabled a culmination of this overlap of childhood spatial experience and
old forms to hold new uses. Photograph: Dan Preston.
formal architectural education.
(MIDDLE) At Warrandyte Police Station (2007), the luxurious Negative spatial memories also inform my practice, including
glazed green brick facade references the proud public spaces that have felt distinctly unsafe, such as a blind corner
environmentalism of this greenbelt Melbourne
or a public toilet. (What woman hasn’t kicked open the toilet door
community. Photograph: Patrick Bingham-Hall.
to check that it’s all clear?) The Jock Comini Reserve Amenities,
(BOTTOM) While walking the Lurujarri Heritage Trail in 1993, beside the highway in rural Victoria, resolve blind corners, provide
Thompson reflected on ways we form place with our self-contained suites and allow for unexpected joy from ample
practices and activities. Sketch: Kerstin Thompson.
natural light.
That said, we need to be aware of the risk of drawing uncritically
upon our own individual experience, especially when the profession
of architecture has been largely exclusive – lacking in gender and
cultural diversity. Perhaps empathy allows us to draw upon our own
experiences without presuming to project our world views onto others.
Understanding, sharing and anticipating the feelings of another
is fundamental to making humane architecture. Empathy stems
both from what we know about another’s position or experience and
from our own experience. A different depth of empathy, perhaps, is
embodied knowing. An architect requires kinaesthetic empathy – the
ability to put themselves in a future space, in all its qualities, as well
2023 A. S. Hook Address 93

(BELOW) Designing seven kilometres of sound wall
for the Hallam Bypass (2003) reorientated
the practice toward civic and infrastructure
projects. Photograph: Kerstin Thompson.
as in the shoes of another. I’m cautious about claims that a woman thriving people + thriving practice = better buildings
architect will do certain types of buildings. I do not ascribe a gender and a more resilient profession
to our buildings. But I do, increasingly, acknowledge where my own
experience – including as a woman – has enabled me to bring different Foundational to KTA are the beliefs that design quality and business
insights and solutions to design. This is a case for expanding who acumen are not mutually exclusive; that a rigorous design culture
practises architecture. can also be a supportive workplace; and that an architect can show
strength and sensitivity, clarity of leadership and keen listening.
What legacy? Together, these principles enable buildings and landscapes to have
In our field, legacy is contingent upon leadership. Leadership, to me, integrity and conceptual clarity, to be gentle yet strong, and to be
is the accommodation of differences, conflicts and contingencies both subtle and transformative.
with intent. Leadership is not linear or autonomous, nor is it a single Finally an acknowledgement of “firsts”: those people who
flash of genius by one individual. Rather, it is a flocking, a multiplicity entrusted me and my team, early on, without the degree of evidence
of relations, connections, adjacencies; an openness to the input of often demanded for selection; who provided projects and opportuni-
others and to the gradual alignment of multiple bodies over the duration ties that presented a significant turning point in my own, and in KTA’s,
of a project toward its eventual coalescence into a coherent form. It is trajectory. Because without the firsts, there will be no practices. I hope
finding a rightness of fit between project variables and spatial model. to enable firsts for others, to practise intergenerational generosity –
Design leadership is also prioritization, filtering, distillation and essential for our profession to thrive.
refinement. Always underpinned by intent, it allows for clarity while
remaining open. This is a constructive alternative to the approach that — Kerstin Thompson
is mythologized in the heroic figure of the twentieth-century architect:
bullish, resolute, didactic, unyielding in the face of others’ desires. This is an abridged version of the presentation given by Kerstin Thompson to each
To design without dogma, yet to accommodate with intent, is quite chapter of the Australian Institute of Architects during her 2023 Gold Medal Tour.
The full Melbourne presentation is available at youtube.com/watch?v=pWPo6gVu1As.
distinct from compromise, which generally necessitates abandoning
intent. It is an especially useful orientation for the messy, negotiated
process that is architecting, especially in the public sector, on ordi- (FOOTNOTES)
nary buildings where innovating in the face of compliance and other
(1) W. G. Sebald, Austerlitz (Munich: C. Hanser, 2001).
prescriptive standards is a hallmark of anyone serious. It creates the
prospect of a legacy for everyday dignity. (2) Aldo Rossi, The Architecture of the City (Cambridge, Massachusetts: MIT Press, 1982).
I’ve sought to affirm an approach to architecture that combines (3) Andrew Nimmo (then NSW Chapter President), “Architects question plans to
practice with education, advocacy and research; and that fosters demolish stadiums,” Australian Institute of Architects, 29 November 2017;
a stimulating, supportive workplace culture that links design and architecture.com.au/archives/news_media_articles/architects-question-plans-
business as mutually supportive endeavours. With the right condi- demolish-stadiums (accessed 12 September 2023).
tions in place – especially the right level of fees – practice can reap
the benefits of proper resourcing:

“The Australian Institute of Architects is proud to be a founder and
owner of NATSPEC and continues to endorse the NATSPEC National
Building Specification. NATSPEC, a not-for-profit organisation,
maintains the national and comprehensive master specification
on behalf of the Australian industry, with input from many of the
Institute’s members, and reflects the latest national regulations and
standards. NATSPEC’s regularly updated information reduces the risk
of expensive litigation for designers and improves the communication
with builders.”
Australian Institute of Architects
“An architectural practice should have, amongst other things, three

fundamental project control documents: its Integrated Management Manual,
the National Construction Code and NATSPEC.”
Tony Kemeny, Director, Gran Associates Australia
“NATSPEC is an integral part of my practice’s construction documentation

process and one that we trust to achieve the quality we require.”
David Hillam, Australian Institute of Architects Chair, WA Practice Committee
“The quality and productivity of the building and construction industry is

enhanced by the work of the National Building Specification (NATSPEC).”
Denita Wawn, Chief Executive Officer, Master Builders Australia
“NATSPEC is very important because it is a common language and what

it does is, it creates a whole specification database for the elements we’re
proposing to build. Essentially working through NATSPEC, it provides you
with a full gamut of opportunities that you can potentially face so it acts as
an aide-mémoire as well as working through the documentation.”
David Sutherland, Fender Katsalidis Architects
“Building surveyors gain significant confidence when a project has

utilised a National Building Specification published by NATSPEC.”
Troy Olds, National President, Australian Institute of Building Surveyors
National Building Specification

From $320 per annum
For more information visit www.natspec.com.au

(IN MEMORY) (WRITER) David Karotkin
Vale Pat Pinder

7 September 1938 –
2 July 2023
A leader who sought to help others

achieve their goals, Pat Pinder will be
remembered as an educator and a mentor
with an honest and effective architectural
style, says David Karotkin.
The Western Australian architectural community lost an industry Beyond practice, Pinder gave back to the profession in many
stalwart with the passing of Patrick (Pat) Pinder. ways. He was a chapter councillor at the Australian Institute of
Pinder was born and raised in regional New South Wales Architects, including a term as WA chapter president; an examiner
before moving to Adelaide to study architecture. The country for the Architects Board of Western Australia architectural practice
character established in his formative years remained with him examinations; an assessor on the Architects Accreditation Council
all his life. He had an adventurous, open and positive personality – of Australia; a member of the Building Disputes Tribunal; a senior
traits that defined both his personal and his professional life. sessional member of the State Administrative Tribunal; a member
The various interests that Pinder developed in his youth of the WA Builders’ Registration Board; and a member of the City of
remained passions for his entire life. He played rugby, raced South Perth Design Advisory Committee.
motorbikes and cars, collected and restored classic MGs, and Pinder had a longstanding interest in architectural education.
constructed and flew large-scale, sophisticated model aircraft. As a representative of the Australian Institute of Architects, he was
As time passed, and rugby and motorcycle racing were no longer responsible for establishing and running the Practice of Architecture
feasible, he transitioned to yacht-racing. In every pursuit, Pinder Learning Series (PALS) program, which assisted graduates seeking
strove to achieve new goals and helped others to achieve theirs. registration. He also served as chair of the Institute’s National
He was a natural leader who ended up on multiple committees, Education Committee and oversaw the development of a new
often as president or chair. procedure for architecture program accreditation.
After graduating from the University of Adelaide, Pinder After retiring from practice, Pinder’s commitment to education
stayed in South Australia to start his career at Hassell McConnell continued. He was involved in revising the curriculum for the
and Partners. His talent and leadership qualities soon saw him rise professional practice stream of Curtin University’s architecture
to principal in the firm. Pinder’s South Australian legacy includes program, in which he participated for several years as a teacher
the highly awarded Adelaide Festival Centre, for which he was and a tutor.
project architect working alongside future Australian Institute of In recognition of his outstanding contributions to the profession,
Architects Gold Medallist John Morphett. This was a project that Pinder was awarded a life fellowship of the Royal Australian Institute
Pinder often talked about with pride. Happily, he was able to attend of Architects in 2006, and he was the recipient of the 2016 Architects
the building’s fiftieth anniversary celebrations in June 2023, just Board of Western Australia Award.
weeks before his passing. In 1995, when Pinder merged his practice with that of Grayam
In 1977, Pinder travelled to Western Australia to establish a Sandover, he took on the role of mentor to his expanded architectural
Perth office for Hassell and Partners. When Hassell elected to close staff, providing expert guidance and opportunities for professional
its Perth office in 1984, Pinder decided to stay in WA to set up his growth. Peter Giangiulio and I were among the young architects
own firm, Pinder Architects. In 1995, Pinder Architects merged with under his tutelage; together, as co-owners of Carabiner (formerly
Sandover Architects to form Sandover Pinder (now Carabiner). Sandover Pinder), we are proud to continue the legacy of Pat and
Pinder retired from practice in 2000. Grayam’s practice. Pinder’s oft-repeated approach to business was
Pinder’s architectural style reflected his character: no frills, straight to the point: “Do a good job, make some money, and have
honest and effective. It was a modernist approach honed at Hassell fun.” This approach defined the office culture established in 1995
and nurtured in his own practice in Perth. As a mentor to his teams and continues to this day.
of emerging architects, he guided rather than directed; the practice’s Job done, Pat. Rest in peace.
projects demonstrated a modernist DNA overlaid with the personality
of its younger project leaders. Many of those Pinder mentored have — David Karotkin is the managing director of Carabiner.
gone on to establish their own successful practices.

(IN MEMORY) (WRITER) Richard Leplastrier
Vale Peter Myers

4 October 1941 –
24 April 2023
Richard Leplastrier remembers his

friend of six decades as a brilliant
writer and critic, a provocative
designer and a thoughtful teacher
whose ideas continue to have an
“unshakable resonance” in Australia.
So sad about Peter Myers’ death – such a brilliant mind, such by us and fired into lime for the walls of the colony; his description
an ethical man, such an acute and drily-humoured observer of the of bream being lured in close by shells containing remnants of flesh
passing scene. He always saw behind things, whether it was an as the earliest fish farming; his incisive study of 1920s Blacktown
underlying idea in architecture or art, or characters on the day-to-day and how the gift of two eucalypt seedlings to each new household
stage of life – rogues or heroes, thugs or cops, especially those like in the first subdivision gave rise to today’s vast tree canopy. The threat
detective inspector Ray “Gunner” Kelly or detective sergeant Frank to this canopy from the permissible granny-flat policy seeded Peter’s
“Bumper” Farrell of New South Wales Police. Or well-known horse thinking about the replacement of existing outmoded bungalows
trainer Bart Cummings with his brushback hairdo, looking like he with a medium-density system occupying their footprints, and ties
was doing 60 knots in a stiff westerly, mixing with the fans after in to his Third City proposal.
winning yet another Melbourne Cup. How we both used to laugh Peter made many provocative suggestions, including the
while opening fresh plump Sydney rock oysters and drinking ice-cold brilliant photographic essay on Top End Indigenous camp housing
Coopers. You see, Peter had the common touch and was a lover and social structure called “Room to Move,” which was part
of the everyday. And yet … and yet, behind those craggy eyebrows of a submission to the Senate Committee. His designs included
lurked an intellect as sharp and as polished as the sushi master’s the vaulted Ngaripuluwamigi Nguiu “Keeping Place” for the Tiwi
hand-forged knife breaking down the bluefin belly. people on Bathurst Island; a beautiful resuscitation of the octagonal
Peter William Bennett Myers occupied many worlds. I know woolshed near Uralla, New South Wales; and the Walker Street social
little about his childhood, except that he loved his mother Helena housing in Waterloo. He was responsible for the exhibition of Utzon’s
for her strength and respected his father William for his intelligence proposed approach to the Opera House, which went from the city
and bravery in his role as a reconnaissance aerial photographer in laneways through Circular Quay and around the waterfront to the
World War II. Peter went to Mosman High School, while his sister House. (The government told Utzon to mind his own business by
Judy attended North Sydney Girls High. He obtained his Leaving sticking to his site!) What a body of work Myers has made. And
Certificate from North Sydney Technical High School and graduated that is but a tithe of it. It would be remiss not to make a suggestion
in architecture from the University of New South Wales. Having at this point – that we must make an inventory of these precious
been employed by some of the best practices in Sydney, he applied works and publish them with a sense of continuity, with all the
for work with Jørn Utzon as the shells of the Sydney Opera House personal stories interwoven. And there are many.
opened like flowers before entranced citizens. I joined Utzon’s Peter was a great teacher. His students loved him. His cultural
studio at the same time and so began our friendship, which knowledge was such that he was able to teach by precedents that
lasted for six decades. went back through centuries – and this, of course, also informed
By the time the conservative state government’s disgraceful his small, far-reaching and fine-grained practice. He was a truculent
behavior forced Utzon’s departure from the job and the country, character who stood for no nonsense. He enjoyed his privacy and
his brilliance had changed not only the face of the city but also the didn’t always let friends know when he moved (which was often).
direction of our lives. It drew us very close. The injustices suffered For the last 20 or so years, he disappeared into the South Island
by Utzon prompted Peter, and the rest of us who had had the pleasure of Aotearoa with Catherine, his dear companion, who finally brought
of working with the Great Dane, to flee the country, refusing to work him back to Sydney when his health was failing. He died quietly with
for the architectural assassins. Catherine by his side and with the constant companionship of his
Returning to Australia in about 1970, after working in London with sons, Hugh and Ralph. His end in the city to which he belonged was
well-known architect Patrick Hodgkinson on a radical housing project harboured in love and family recalibration. How we will miss him.
known as the Brunswick Centre, Peter set up as a sole practitioner.
In a piece that is quintessentially Myers, titled “Brunswick Centre” — Richard Leplastrier, architect
and published by Drawing Matter, he brilliantly describes a series
of incidents around Hodgkinson’s project.1 Over his years in private
practice and through teaching, Peter’s serious essays, commentaries,
criticisms and designs were published in many different spheres. (FOOTNOTES)
They are difficult to track down. But their resonance is unshakable. (1) Peter Myers, “Brunswick Centre,” Drawing Matter,
They include his views on the first city of Sydney being the 5 December 2016, drawingmatter.org/peter-myers
monumental platform middens of the Gadigal people, destroyed (accessed 18 May 2023).
Vale Peter Myers 97

(IN MEMORY) (WRITER) Mat Hinds
Vale Ken Latona

13 November 1949 –
30 May 2023
The work of Ken Latona opened up

the eco-tourism economy in Tasmania,
offered hikers a sense of communal
isolation in extraordinary landscapes,
and stimulated contemporary Tasmanian
architectural practice, writes Mat Hinds.
A reclusive yet highly influential figure in Tasmanian and Australian This sense of enclosure is ultimately expressed in Bay of Fires
architecture culture, Ken Latona was born in 1949 in Sydney. Atten- Lodge (1999), Latona’s last significant eco-tourism project. Located on
ding Sydney Boys High School before enrolling in the University of Tasmania’s north-east coast in a breathtaking landscape of immense
Sydney’s architecture program, he never intended to be anything cultural significance, it is an eidetic twinned-pavilion parti. Separate
other than an architect. He completed his master’s, receiving a degree communal and sleeping “verandahs” slip through the delicate coastal
in both architecture and town planning, in 1975. Significantly, Latona ecology, while an open-air enfilade between the two pavilions holds
was part of the early generation of students who were taught by a magnetic vista across the Tasman Sea. Walls of reversed exposed
then-mid-career architects Glenn Murcutt and Richard Leplastrier. hardwood framing are economically lined with tongue-and-groove
This period reinforced much of the disposition of his architectural boards of local hardwood that simultaneously act as an internal wall
work and thinking. lining and a weathering skin. Described by critic Rory Spence as
After graduation, from 1976, Latona commenced a series of “sublime camping,” the lodge nurtures a memorable and fragile sense
regional surveys of significant Tasmanian colonial properties for of phenomenological shelter.
the National Trust. This introduction to the archetypal colonial Latona’s detailing – deliberate, rigorous and economical – offers
landscape of Van Diemen’s Land was a pivotal moment in Latona’s clues to the way his work fosters togetherness and community. In its
life and practice. Something of the Georgian austerity, economy earliest iteration, the Bay of Fires Lodge had no mirrors; shower water
and ordered spatial planning strongly resonated with the principles was pumped and warmed through roof-mounted evacuated tubes.
he sought to engage in his work. He was also strongly influenced The architecture presents a kind of Miesian exactitude, brought into
by the experiential frontier offered by the Tasmanian landscape. relation with Tasmanian shack culture. The experience of staying there
A romantic sense of “edge-of-the-world” isolation, and the pastoral is not an encounter with the confidence of the work; rather, the work
idyll, backgrounded Latona’s later Tasmanian enterprise and career. offers self-deprecating, unpretentious focus on the circumstance of
There was, he expressed, an architectural dialogue to be had being communally isolated in a delicate place.
between “idea and location.” 1 For much of his Tasmanian life, Latona also maintained a private
In 1984, the Tasmanian state government released an expression architecture practice in New South Wales. Significantly, his alterations
of interest for the commercial operation of guided walks along the and additions to a Woollahra worker’s cottage received the Robin
60-kilometre Overland Track. Latona made a submission with town Boyd Award in 1996.
planner Joan Masterman and Paddy Pallin guide Mark Fowler; the Most of Latona’s Tasmanian work was self-commissioned (a
bid was successful, and the team was contracted to construct and common tendency of mainland architects who work in the tight and
operate four cabins to accommodate small walking groups in the unpredictable Tasmanian context). Notwithstanding this autonomy,
inclement and unforgiving but magnificent terrain. After a ridiculous, Latona had a broad impact on the spatial traditions of contemporary
contract-imposed, four-month winter construction period, the first Tasmanian practice. He knew how lucky he was to practise in this
guests – a New Zealand family – were welcomed to Cradle Mountain manner: realizing architecture that, by his own admission, could no
Huts in 1987. By the close of the first season, 80 guests had been longer be proposed on either compliance or environmental grounds.
accommodated. A first in ecological tourism, Latona and Masterman’s Much of his attitude was spatially misunderstood and overcapitalized,
shared effort irrevocably changed not just Tasmania’s but Australia’s a trajectory that he personally lamented. His fundamentally simple
tourism landscape. The Cradle Mountain Huts Walk remains an idea – carefully guided access into shared environmental isolation –
incredibly successful model that exploded the common trope of was accented by rigorously executed architectural experiences. These
experiential tourism, opening up an entire sector and market identity works emphasize a sense of the privilege of being together, with family
for the “eco-tourism” economy in Australia. and friends, in paradise.
In 1992, the second Latona/Masterman collaboration focussed Latona is survived by his wife Sabrina, his daughter Sally, his
on the coastal condition at secluded Friendly Beaches Lodge (also stepdaughter Isabella, and five grandchildren.
known as the Invisible Lodge because it could not be seen from the
beach). A series of carefully sited pavilions accessed by elevated — Mat Hinds is a Tasmanian-based architect and co-founder,
boardwalks, Friendly Beaches Lodge further refined the typology of with Poppy Taylor, of Taylor and Hinds Architects.
spare seasonal accommodation. In a region climatically different to
the Highlands, the design’s enveloping materiality, subtle volumetric (FOOTNOTES)
shifts and sense of social form consolidate Latona’s principle of bare
(1) Ken Latona’s jury chair statement for the 1997 Australian Institute of Architects
shelter, partially holding visitors in “rooms” of surrounding melaleuca Awards Program, quoted by Norma Calder, in Tasmanian Year Book, 1998,
groves. The lodge received the 2018 Enduring Architecture Award “Architecture: The Profession”; abs.gov.au/ausstats/abs@.
from the Institute’s Tasmanian chapter. nfs/7d12b0f6763c78caca25 (accessed 11 September 2023).

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2023 National

Architecture Australia Nov / Dec 2023

(FOREWORD) (2023 NATIONAL ARCHITECTURE AWARDS)

08 Advocating, celebrating, 22 Jury chair overview

(REFLECTION) 30 Educational Architecture

16 Liam Young: Planetary Redesign 66 Urban Design

(2003 GOLD MEDAL TRIBUTE) 78 Enduring Architecture

90 A legacy for everyday dignity

96 Vale Pat Pinder

97 Vale Peter Myers

98 Vale Ken Latona (COVER IMAGE) 19 Waterloo Street by SJB

Words by Mat Hinds (PHOTOGRAPHER) Anson Smart

— Stuart Tanner, National President,

08 Architecture Australia Nov / Dec 2023

Because great architecture isn’t just designed. It’s designed together.

Fielders is a proud partner of the

our built environment

This issue of Architecture Australia celebrates the 2023 National

— Katelin Butler, Editorial Director,

In Architecture Australia, vol. 102, no. 1, January/February 2013, a review of

10 Architecture Australia Nov / Dec 2023

the programmed recipes to your taste. smeg.com/au/smegconnect

Anson Smart Carroll Go-Sam Dan Hill

(WRITER, PAGE 16)

Shannon Battisson Philip Goad Kerstin Thompson

12 Architecture Australia Nov / Dec 2023

Here’s to the architects of tomorrow, and the designs

Lysaght is a proud partner of the

COLORBOND®, LYSAGHT® and ® product names are registered

INSPIRATION TO BUILD BETTER

Are yarning circles

With requests for yarning circles

Yarning circles have been popping up in architectural and landscape

14 Architecture Australia Nov / Dec 2023

Are yarning circles the new decal? 15

Liam Young: Planetary Redesign

In his exploration of the kind of architecture

16 Architecture Australia Nov / Dec 2023

(OPPOSITE) A still from Planet City (2020) by Liam Young, (FOOTNOTES)

(3) Edward O. Wilson, Half-Earth: (7) Hannah Beachler, Design in

Liam Young: Planetary Redesign 17

Purpose Built: Architecture

Offering different perspectives on the

18 Architecture Australia Nov / Dec 2023

Purpose Built: Architecture for a Better Tomorrow 19

Jury chair overview

The themes evident in the collection of

22 Architecture Australia Nov / Dec 2023

– Shannon Battisson, Jury Chair, 2023 National Architecture Awards

National Architecture Awards 2023 23

(SIR ZELMAN COWEN AWARD)

24 Architecture Australia Nov / Dec 2023

(NATIONAL AWARD) (JURY CITATION)

Art Gallery of NSW,

Sydney Modern building

by SANAA (lead consultant)

and Architectus (executive

Architect SANAA (lead consultant), Architectus (executive architect); Project team

26 Architecture Australia Nov / Dec 2023

— Melbourne Holocaust Museum will be reviewed in an upcoming issue

National Architecture Awards 2023 27

Dove Lake Viewing Shelter

(NATIONAL COMMENDATION) (JURY CITATION)