March Studio's 'The Jane' is a 46' Pilot House cruising gaff rigged cutter, carvel planked over steam bent frames of all timber construction.
Hugging the crest of a leafy court, this seaside residence is anchored to its site by a curving earth blade wall, which wraps like a scroll of privacy across the site, balancing the house as it cantilevers dramatically outward. Indigenous landscaping of native foliage frames and filters the view of the building from the street, and the relationship between the natural environment and the built continues as a central theme throughout.
Upon entering through the monolithic blade wall, a grand staircase winds up to an open living space above. A full-height glazed rear facade allows the landscaping beyond to act as internal wallpaper, reinforcing the connection between inside and out. An expansive deck flows from this space and both connects to and floats over the site, utilising the natural rise up to the rear corner of the site. A pool area behind the deck is partially screened by a curved masonry ‘dwarf’ wall, echoing the curve of the building and providing a degree of privacy.
The residence is formed into three distinct wings, arranged around a central open-air atrium. Two of these wings accommodate bedroom and service spaces, while the third and largest wing contains the living spaces and kitchen. A rumpus room at basement level opens onto private courtyard spaces shielded from the street view.
From John Wardle Architects website:
This choreographed residence is an homage to the beautiful gardens of Ballarat.
It comprises a series of pavilions located within a landscape of varied garden types - formal, public, rambling, courtyard, and kitchen gardens. The differing gardens and landscaping provide a variety of outlooks from within the house, accentuated by changing light and seasonal coloration.
This house’s centre of gravity is the kitchen and generous central courtyard. The front pavilion is constructed of brick and overgrown with deciduous ivy which changes colour with the seasons. It reinterprets the tradition of the front hedge, so evident in the character of Ballarat.
As you sit in the dining room, the topography of the site has been altered so you sink into the site with grassed berms surrounding you. Our preoccupation with the landscape manifests itself again in the front window of the main living room which traces the outline of the lake and treeline in its frame to idealise the view.
A sitting room appears as a greenhouse with glass louvers making for a warmer interior.
This house grows with its landscape and garden surrounds.
From Iredale Pedersen Hook's website:
The Kununurra Replacement Courthouse design interprets local physical qualities to capture the uniqueness of Kununurra in a building that is dignified and welcoming. The design re-introduces the value of the regional courthouse with a civic, landmark building that will represent the local community and promote the role of the courthouse as a centre for dispute resolution.
The building is designed and organised to engage with the immediate surrounding context and distant context, this connection is both visual and physical. From a distance the building is viewed in the context of Kelly’s Knob and Hidden Valley the roof form of our building creates an immediate dialogue while creating a variety of volumes for the interior spaces. The height of the roof is also carefully controlled to relate to the immediate adjacent buildings.
TAG Architects with iredale pedersen hook architects, architects in association.
The new Faculty of Architecture, Building and Planning building at the University of Melbourne has just been completed. I photographed over a winter's day featuring hail and driving rain...conditions i'd normally eschew, if only for my own comfort but there's a wonderful quality to the frail winter light. The building will be moved into soon and I'll be back to photograph it activated.
This just realised winning competition entry was for an environment to study the future of sustainable cities and places of inhabitation at Melbourne University.
Within this building the next generation of architects, urban planners, ecologists, builders and landscape architects will learn to work in a highly connected way.
The design, a collaboration between John Wardle Architects and Boston architecture firm NADAAA is driven by the idea that the building itself becomes built pedagogy and a broader studio environment.
Burj Al Arab Dubai
Searching for Dubai images to fulful an image brief for OTTO, my New York agency I rediscovered this series of Burj Al Arab Dubai i'd photographed in 2009.
This commission for developer Orchard Piper and Art Directed by Fabio Ongarato Design involved shooting a series of late afternoon aerial images from a helicopter using a gyro stabilisation system to steady my ALPA medium format camera. The helicopter a Bell Jetranger was piloted by Ian White from the Essendon based the Helicopter Service.
Mountain Goat Brewery
The main purpose for this project was to create new offices for Cam & Dave, the two Aussie treasures responsible for creating Mountain Goat beer. We’ve enjoyed their beer & their friendship for years & jumped at the opportunity to work with them to create a new office space over the existing bar in their existing Richmond Bar & Brewery.
To celebrate the history & branding of Mountain Goat Beer (an Australian microbrewery), we decided to re-use & adapt some of the junk which was laying about at the back of the brewery.
Cartons & other packaging with redundant & replaced branding were inventoried.
Traditional mountain-forms were studied.
Mountains of redundant Goat-beer packaging were formed (as cladding over some more traditional building materials).
Stage 01 was completed in a few short weeks.
When we all get time to get onto Stage 02, the premises will be surrounded by Mountains filled with Goats.
Located in NewActon, a diverse new precinct in Canberra, Nishi Commercial is a major new development housing government departments, private offices, a cinema and cafes. The lobby, designed by March Studio, projects a unique identity through thousands of lengths of repurposed timber, blurring boundaries while directing views and movement.
A grand stair - the stage for performances as much as idle procrastination - leads up to the HotelHotel lobby and bar. In the stair the timber is heavy, grounded, a stacked agglomeration. Freed to scatter up the walls and across the ceiling, the suspended timber filters exterior light and views into and from internal spaces. Spidery, pixellated shadows are cast on the floor and bare walls.
The stair links Nishi Commercial to Nishi Residential, a multi-storey apartment building, housing two floors of hotel rooms, wrapped around a central courtyard and light well. The ground floor contains HotelHotel's lobby, reception, concierge and bar, as well as retail and hospitality tenancies.
Nan Tien Institute
Woods Bagot's underconstruction Nan Tien Temple in Wollongong NSW. Wonderful off-form tmber precast concrete panels trucked in from SA Precast. www.woodsbagot.com
From Fiona Dunin Architects:
The site is a single storey terrace on a small 5m wide block in the inner city of Melbourne. The brief was to create new Living and Dining spaces, relocate the existing kitchen and bathrooms and improve access to natural light in the main living and main bedroom areas. The existing Victorian eastern end of the house containing 2 bedrooms was to remain and be refurbished.
The functional requirements of the client were simple. The only particular requirement was to find a place in the design for 3 tapestries of houses that her mother had made.
Our design strategy is always to celebrate the particularities of the project, so while exploring the tradition of tapestry and stitching techniques, the concept of stitching the new house form to the old established the design approach.
The timber beams form the thread which stitches the new living room to the existing house, then beyond to the western courtyard. The timber beams at the northern point converge into a large timber column, reminiscent of a bobbin thread. Within the courtyard a mirror is positioned strategically at the end of the threads to extend the space and create a sense of unravelling (while concealing the services of the building). The timber threads twist over the western façade to provide added shading to the Living area which will soon be overgrown over by greenery.
Melbourne’s inner-north has a distinct European feel of community living. Small houses compel people towards local parks and curbside gardens, blurring the threshold between public and private. The Engawa House in North Fitzroy, embraces this atmosphere, as the dynamic and historical patchwork of the surrounding context becomes part of each living space.
A full facing northern wing, mixing a combination of single and double storey forms, attaches itself to the front rooms of the existing house. The simple orientation takes advantage of the full range of views from the mezzanine, whilst being sympathetic to it’s elevational context. The living, dining and bedroom/ensuite skirt a large and long courtyard garden, maximizing sustainable performance, and offering northern light into each new program.
This design was structured around the concept of “Engawa”, referring to an exterior hallway on the side of a traditional Japanese dwelling. This space, offers a transition between the yielding comfort of the grassed courtyard, and the polished concrete floor of the interior.
This addition minimises the projects overall footprint compared with the previous plan, but maximises the site’s potential whilst enhancing visual and auditory connection between the family.
From MRTN Architects:
On the fringe of Melbourne’s inner suburbs, this new family home sits in an established residential street of Victorian villas and Californian bungalows. From the footpath, the Fairfield Hacienda with its angled roof fits into the landscape of single-level homes, effortlessly picking up the street’s original pattern of hipped and gabled roof forms. A closer look however, reveals that this new house sits unusually behind a sunny, walled courtyard. This room without a roof, except for a sheltering courtyard tree, is an extension of the living and dining spaces that open onto it.
As with our commitment to ensure the Fairfield Hacienda preserves the flow of the streetscape, we’ve applied a similar fluidity to the concrete walls of the courtyard, which continue without interruption throughout the house’s main living areas. These walls remain unchanged except for the patina. Outside they are rough and weathered, but become polished and honed once inside. The space is covered with an undulating canopy of cedar, a warm blanket of timber.
From here, the more private areas of the house unfurl. The bedrooms are folded around an enclosed garden, a green lung that provides light and air into the centre of the house.
And yet, of all the wonderful and carefully considered materials that make up this home, one element could not be bought and affixed prior to moving in. It is, quite simply, time. As the Fairfield Hacienda and its occupants settle into the street, creepers and greenery will gradually claim the courtyard walls. A canopy will grow into a dappled roof and in the central garden, plants will provide convenient screening for the children from the parents.
Once this final element has taken root, Fairfield Hacienda will have achieved what its occupants wanted. A feeling of permanence. To create a home and become a part of the street and its ongoing history.
From Woods Bagot:
One of three design firms appointed to create a learning space in a vacant Brutalist library building at Macquarie University, Woods Bagot undertook an extensive student consultation process, including a web-based survey, workshops and interactive presentations.
Woods Bagot’s interior design response used this student feedback as the key driver of the design of MUSE – or the Macquarie University Spatial Experience – the unique name and brand was part of the Woods Bagot pitch and ultimately was used for the entire project.
To meet the needs of a next-generation student, Woods Bagot designed a dynamic space that facilitates a technologically enabled, fluid mode of social learning and collaboration with walls and lighting running on tracks. The transformable space uses recycled desk tops to give them a new life, re-invigorating the existing building with new life and purpose.
The space encourages serendipitous encounters with an aesthetic that draws on raw and recycled materials from the industrial and natural world, including hundreds of old desks repurposed as moveable screens.
This mutable, temporary education environment is designed to enhance students’ educational, social, intellectual and cultural experience of studying at Macquarie University.
MUSE also features spaces designed by Bennett Trimble and NBRS+ Partners, as well as a student connect zone designed by BNMH.
From Jean-Paul Rollo Architects:
This modern apartment, for a writer and his wife, is located at the edge of the Melbourne CBD, on a streetscape of Victorian terraces, in close proximity of the Carlton Gardens.
It is a purposeful expression of ideas of how the couple wish to live in their later years. It is about an intensive investigation of space management, of reconstructed space and how you use it. It is an exercise in understated luxury.
The building is a three storey tilt-panel concrete box from the early 1990s. It comprises a street level commercial tenancy and two apartments. The apartment occupies the middle level and has access to a large rooftop terrace providing views over the city and the Carlton roofscape.
East facing windows and balconies look directly into the canopy of a large plane tree. An internal north facing court drags northern light and sunshine into the apartment.
A decision was made early to strip the existing apartment back to its bare concrete fabric and start over with a brand new reconstruction of the spaces to be inhabited. The discovery of large structural concrete beams meant that in the spaces between ceiling heights were raised to three metres, adding to the sense of space and intense clarity required by the owners.
The material palette is restricted and rich: travertine slabs left unfilled and ungrouted for floors throughout and wall surfaces in bathrooms; white carrara marble for benchtops and American oak joinery. The travertine floors and walls were placed precisely in a grid that defines the entire space.
A large freestanding joinery element of American oak "inserted" beneath the concrete beams is employed as the main generator of the plan. The result is a column-free space divided only by the timber box. The box contains, to one side, kitchen cabinetry and storage, then wraps along one side of a wide hallway and helps enclose a walk-in robe and an ensuite bathroom. The oak box "floats" 20mm over the floor, as does the white carrara kitchen bench, which extends into the apartment's courtyard and was constructed as if to appear to have been carved from a single block of marble.
The two bedrooms are separated by a screen wall of full height sliding panels to help enclose or open the spaces as required. A three metre tall pivot door also helps enclose the second bedroom. A large library, of walnut, and a 4.8 m marble-topped storage unit were specially designed for the apartment.
iredale pedersen hook
From Iredale Pedersen Hook:
The room to the interior, the room to the garden, the room to the horizon, the room to the sky, the room to the interior explores what existed, years of layering, the art of construction, knowing what to keep, what to reveal and what to remove, knowledge gained from 13 years indulging in the past. rooms become the embodiment of a city, a microcosm of the qualities that make a great city.
the room to the garden focuses attention to the exterior at ground level, it is purposely heavy and grounded engaging with the earth, the section expands to the exterior, a series of folding screens layers the engagement.
a space of deep sensory delight, an architectural palette cleanser , transitions the ground and upper level, the eyes and nose are overpowered by the burnt and waxed plywood walls and the amber light cast by nan's 1970's sliding door.
the room to the horizon filters the suburban roof tops, the screen abstracts the exterior world, the interior is one folded space formed through a play on the one point perspective that intensifies the horizon. openable screens create a direct view framing the horizon, releasing the interior volume. the space is cooled with an interpretation of the old coolgardie safe, water is dripped down the fabric cooling the outside air. the newly restored, 1956 iwan iwanoff guthrie residence cabinet finds a new home after 15 years of storage in numerous architect's garages. the roughly painted 'i love linda' remains on the chimney, a rear window frames the distant saint mary's church.
the room to the sky creates a vertical spatial experience, unlike st mary's church our little spire opens up to the heavens.
With George Calombaris’s favourite painting as its starting point, March Studio has created a stately golden space for the new Press Club.
The Nannup Holiday house forms part of a wandering path through the landscape from Perth to Nannup. This path dialogues with the landscape of intense forrest, meandering river and rolling hills, each experience is carefully choreographed to enrich the occupancy of the house. A Jeykll and Hyde experience of the landscape is carefully controlled through oscillating vertical (forest) and horizontal (horizon) openings and the contrast of grounded and floating experiences. While the exterior dialogues with the numerous fallen trees, the interior is revealed through a sequence of 'growth rings' coded and extruded in relation to the building program.
Up early to overfly 9 Wood Marsh projects in one flight - RACV Torquay, Geelong Bypass, Weribee Mansion, Shadowfax Winery, Portsea House, Flinders House, Merricks North House, Port Phillip Winery and East Link
Ester Restaurant & Bar is located in a former loading dock of a two storey warehouse in Sydney’s Chippendale. Masterfully transformed by Anthony Gill Architects, this deceivingly simple interior pays respect to it’s semi-industrial context, resulting in a contemporary dining hot-spot with a robust and sophisticated feel. The project involved a total re-imagining of the space to create a restaurant that sat comfortably on the edge of the city. The client had specific demands for the operation, centred around the wood fired oven. The needs of the kitchen were delicately balanced with the desires for the dining room, making sure the proportions of the overall space were right. The clearly defined segregation of the restaurant and the bar were brought together through the introduction of parabolic arches, creating a new layer which unites the old and the new, and separating the served from the serviced.
Abedian School of Architecture, Bond University, Robina, Queensland
From CRAB Studio:
The building is a long, airy loft on two to three levels articulated y a series of ‘scoops’: defining structure-enclosures that can be used for casual meetings and ‘crit’ sessions. These line the central street that gently rises up the hilltop site. Advantage is taken of the east-west axis to clarify a very climate-controlled development of the north and south skins of the building.
The Abedian School of Architecture is CRAB’s second University building. As with their other work, the sociology of small, intimate groups within institutions, the value of casual overlay, the importance of the non-curricula moments – as well as a ‘sense of theatre’ runs through the project. The central ‘street’ is flanked by irregular ‘scoops’ – coves of structure that give character to the unfolding of the studios and study rooms. As befits a hot and sometimes sticky climate, the building is airy and folds over upon itself in a series of fan-like roofs and slits.
The Advanced Engineering Building (AEB) at the University of Queensland is a state-of-the-art engineering education building with flexible teaching and learning spaces.The multi-purpose building has the appropriate mix of learning, workplace and social areas. The building co-locates five key materials, science and engineering research centres and occupies a prime site overlooking the University lakes.
Hands-on learning is embraced through an engaging and collaborative education environment. Some spaces follow a 'design studio' model with well-considered learning tools that enhance the creative process.
The building integrates teaching and research laboratories in addition to large scale manufacturing and civil engineering research laboratories. It supports various hydraulic, wind, materials and structural and advanced form processing laboratories within its program. The building also aims to act as a 'live learning hub' for students who occupy the building.
AEB facilitates new teaching and learning spaces that accommodate the University's new curriculum. The building incorporates both passive and integrated sustainability initiatives with a targeted reduced energy consumption. HASSELL and Richard Kirk Architect in joint venture won the limited design competition for AEB.
Our design for the house negotiated a very steep densely forested site as well as tight planning controls. In response to such constraints, and to cater for the required generous program, the house was thought as a sequence of pavilions connected by a north-south circulation spine at their back.
This comb-like plan allowed for a sequence of independent interior spaces with large openings towards the bay and privacy from the street, while still preserving the existing trees found on site. Between the pavilions, terraces and outdoor spaces fill the gaps and bring family life close to the trees and the landscape.
The one-level East elevation – the circulation spine – consists of a continuous screen of timber battens. Concealed behind the vibrant skin of irregular geometry are small openings for cross ventilation, selected views and the main entry. Following the steep incline, the West facade is of two levels and consists of individual timber volumes with large openings towards the ocean and the bay. The site topography also presented the roof with a crucial visual role, as it can be seen when approaching the house from the street.
Almost hesitant to build in such pristine forested site, we aimed to generate a dialogue with the tones of the surrounding landscape through a careful selection of materials, which could give the house the ability to age and weather with the site. To this end, the house is entirely wrapped in Ironbark timber – vertical planking with open joints – creating an outer skin all around the building that is left to weather and oxidize alongside the bark of the surrounding trees. Similarly, the copper roof takes part in the aging process of the building towards the tones and shades of the forested hill.
Kristin Green of Kristin Green Architecture invited photographer Peter Bennetts to accompany her to La Plage du Pacifique, Vanuatu. The resulting photographs are anything but “in progress” documentation.
Green has bravely allowed Bennetts to present her work at it’s most vulnerable but revealing such strength of form that we can already imagine the finished work.
We see the bones, the inner working, the structure – the important business of architecture before the detailing of surfaces and slick styling. This is architecture at its rawest.
Bennetts’ own unique vision has captured a profound stillness in the half-completed buildings and surrounding landscape. Time has shifted to such a degree that past, present and future/birth, life and decay, merge in one. Light and form create striking compositions that, rather than a direct descriptor, are more evocative of place.
Green is also the architect responsible for the Spring Street Grocer mini-complex. To all her projects she brings a vitality, commitment to concept and a quirky sense of purpose, and this most recent collaboration with entrepreneur Con Christopoulos and photographer Peter Bennetts is no exception.
Mature trees located in the middle of the site (a Karri and two Marris) played an essential part in shaping MORQ's project. The first part of the design process was spent in investigating the requirements for retaining these trees, as well as convincing the clients of their unique presence on an otherwise anonymous site. With the support of a renowned arborist, the decision was finally made to keep the trees. As a result, the house sits in between the tree-trunks and its outline defines two open courtyards of irregular shape. These embrace the trees and the surrounding landscape, around which family life occurs.
A tall window in the dining area and a periscope-like skillion in the master bedroom, celebrate the presence of the trees from within the house, framing views of both foliage and peeling trunks. These trees, their root systems and their unstable large branches presented a challenge to the build-ability of the house. We like to think of this project as a mutually beneficial development: where the building is designed to retain the trees, while the trees visually contribute to the quality of the inner space.
To protect the integrity of the shallow root-system a matrix of steel tripod footings was used: each of them had to be dug by hand, and repositioned every time a root was encountered, resulting in an irregular structural grid. These footings also raise the house off the ground and give it a somewhat temporary look.
Any part of the house footprint overlapping the root system would result in an uneven rainwater supply to the roots, which could cause a shock to the trees. Rainwater collected on the roof is therefore taken under the house, channelled into a trickling irrigation pipes and then evenly fed to the tree roots.
Lightweight construction seemed the most appropriate response to the existing trees requirements, however straw-bales were chosen as a preferred form of insulation. This decision required all perimeter walls to be prefabricated as ladder-frames and later assembled on site. It also resulted in unusually thick perimeter walls, seldom employed in timber framed buildings.
The house was mainly constructed out of timber, whose grain and texture inform both interior and exterior spaces. Wall linings use different grades of plywood: rough sawn, painted black on the outside, and sanded, clear-treated on the inside. The floor and ceilings are also in clear-treated plywood. The roof structure is resolved with Laminated Veneer Lumber beams, which are left exposed on the inside of the ceiling.
Maryborough Railway Station is one of the most significant railway heritage assets in Australia. Its conservation has recaptured the former grandeur of the station – not only ensuring its ongoing use, but also providing a means to engender broad public support for the conservation of other parts of the Victorian rail network.
In 2002 RBA Architects and Conservation Consultants was commissioned to prepare a Conservation Management Plan for this highly significant heritage place. Conservation was completed in 2012.
RBA's key objective was to restore the protective exterior of the building so as to prevent further deterioration of fragile interior fabric. A series of complex conservation measures were implemented across a range of traditional crafts and trades including; slatework, leadwork, traditional coloured render treatments, architectural terracotta and cast iron.
Little Brick Studio
Squeezed into a tight space in inner city Melbourne, the Little Brick Studio is the second stage in a larger house renovation project. Our initial brief was to design a house that gave this family enough space to grow. With two energetic teenage boys to accommodate, the project was an exercise in squeezing suburban amenity into an urban site. Creating a discrete space has given this family a way to live in the inner city together and separately.
The 'Little Brick Studio' attempts to engage at the urban scale of the busy street (and brick buildings opposite), but is also sensitive to the smaller residential scale of the houses behind. Comprising a single garage and storage with a studio space above, the footprint of the building is minimised to reduce the spatial impact on the house and backyard. The angled roof form comes from a desire to reduce perceived mass from inside and also control garden overshadowing.
Rather than create another rear garage door turning its back on the street, the Little Brick Studio attempts to provide a positive contribution to the neighbourhood, treating it as a valued street address. The garage door is recessed and forms part of the fence language that wraps the base. The brick studio above hangs out over the street with a large window. The timber entry door gives the building a sense of address, with the projection blurring the public/private interface.
The 'Little Brick Studio' pays homage to the suburbs industrial past. The beautiful brick detailing in the area inspired the design, we wanted to make our own contribution to the brick texture of the suburb. Bricks protrude out by 90mm and slowly disappear into the wall, corners are carefully considered and brick cutting was minimised where possible.
The studio space has been designed as a flexible space that can change with family needs and takes on the idea of 'loose fit' in terms of sustainability. The space can be recycled over time depending on the owner’s needs. The large north window allows excellent sun penetration in winter and the existing plane tree provides shade protection in summer. Materials used have been selected for their durability and the thermal properties they bring. Solar access to the house and to existing properties has been carefully considered and maintained.
The initial brief asked for the provision of a space for the clients' two teenage sons but the flexible nature of the space means that it can also work as a home office, granny flat or guest room. The separate rear entry and relationship to the street also mean that the space could work well as a separate commercial or residential rental.
Waiting for the flight to Broome at Perth Airport I’m
acutely aware that fluoro-shirted, steel toe-capped boot wearing FIFO workers
outnumber polo-shirted photographers by a factor of about 1000 to 1. I grew up
in Perth, I’ve made this trip a couple of times but I’m a smart-casual outsider
to the mining boom. Instead I’m visiting the Western Kimberley Regional Prison.
For company I’ve alternated with iph’s Finn Pedersen and Adrian Iredale (shorts
and t-shirts, fetchingly accessorised with Akubra and Rip Curl hats
respectively) and TAG Architects Jurg Hunziker (who elects to go native with a
high-vis safety shirt – he vouches for its cooling properties). I visited the prison
first in the hot, hot, hot season to photograph it before it opened and later
in the wet, wet, wet season to document its first occupation by indigenous
In the rented Holden Commodore barrelling mostly east en route to Derby we slow for lumbering Brahmin cattle crossing and the crocodile infested Fitzroy River. Talk in the car turns to the Willare Bridge Roadhouse and the quality of its corned-beef sandwiches and cryo-vac beef*. I silently wonder if there’s a direct link between the fifty-metre long road trains we pass and the voluptuous beef display in the Roadhouse. The corned-beef sandwiches are good, the Roadhouse reminds me of the film ‘Wolf Creek’.
We pass the Boab Prison Tree about 7km from town. Just out of sight behind the Prison Tree is the West Kimberly Regional Prison. Some irony, but apart from featuring Boab trees and accommodating indigenous prisoners they’ve nothing in common. The West Kimberly Regional Prison (WKRP) does away with the existing paradigm of incarceration for aboriginal prisoners, tackling the many issues with visionary resolve, a sensitive and deft architecture and a deep understanding of the cultural and physical landscape of the northwest.
One of the big ideas in the project is that prisoners are allowed to have access to their families and Elders, their Lore and Culture, and that they can develop skills that will enable them to gain employment upon their release. On my second visit I saw guitar groups, sewing classes, computer laboratories, commercial cooking classes and football training.
Forty-four small-scale buildings are scattered through a bushland setting. The overall impression is one of a neatly-planned township with an overt sensitivity to the Kimberley landscape. Roof-forms fold and undulate across the site. Verandahs, breezeways and pavilions determine outdoor activity space and provide deep shading to all buildings. With mean daytime temperatures of 40° C and abject humidity I can attest to the pre-wet season climate as cruel. Cyclones frequent the region; inundating the landscape and testing structures.
Wallabies, goannas and the most amazing birdlife live in and around the community. The eighty-odd Boab trees that have been relocated within the interior landscape frame views, provide shade and give poignant meaning.
As a photographer it’s been a great privilege to accompany the architects (TAG and iredale pedersen hook in association) on these journeys, to meet the corrections officers and be overwhelmed by their commitment and understanding of the prisoners, and to meet many of the prisoners themselves and see the hope that prisoners stand to leave prison with much more than when they entered.
This is an exemplary and quietly beautiful project that does a lot of good.
*The photographer and the architects carried cryo-vac beef back to Perth.
The 2013 Australian Interior Design Awards were announced in Melbourne on 31 May. Congratulations to Leeton Pointon Architects and Alison Pye Interiors for taking both the Residential Design and Interior Design Excellence and Innovation categories.
The approach was to seamlessly integrate all elements of the interiors, architecture, furnishings, decoration and landscape into Park House. The setting was carefully considered in the design of the interior, which sits quietly with the architecture, materials and landscape of the project. Organic shapes, curved soft-plastered walls, appropriate textures and finishes, practicality and sustainability are inherent to the house, and are complemented by the artworks. The palette and detailing are restrained, and were chosen with respect to materiality. Subtle nuances differentiate each space and its use, from the more robust and relaxed approach in the kids’ living space through to more refined selections in the “good room.” Seamless transitions throughout the various interior spaces, as well as between the internal and external spaces, are always maintained. Skylights have been used to wash walls with light from above. Furniture, curtains, rugs, lighting, artwork and decorative items were selected for each space with a focus on softness in form and finish, and comfort and integrity in design. Items such as the front-door handles, glass display cabinet and tapware were custom made for the project. The aim was to create a comfortable, inviting and liveable family home.
Source: Artichoke – May 2013 (Issue – Awards Special)
Our client required an extension to an existing 80′s house. We were required to retain the bedroom wing, the pear lined pedestrian entry point, drive in forecourt and the outline of the building to this forecourt which included a double garage entry.
The design is bespoke to the lifestyle and needs of our client.
A major internal renovation to the ground floor of a terrace house in the heritage conservation area of Paddington. The internal area of the ground floor is expanded and rationalised with the introduction of a glazed roof over the existing courtyard. A continuous timber joinery element forms a multipurpose storage element to the living, dining and kitchen areas and a screening device to the entry hall. A new polished concrete slab reflects light from the new glazed void to increase interior lighting levels and forms a platform within the terrace on which the new elements are arranged.
Fabio Ongarato Design
Believe the hype! This place is a fantastical wonderland of ex-retail unreality.
Fabulous custom design features reference the building's former life as one of Sydney's most iconic retail establishments. Gothic, naughty and surreal elements suprise around every corner.
Light streams into this wonderful 1960's family home, re-invented.
Contemporary furnishings sit elegantly within warm timber lined rooms and colours complement the clients' art collection. The sexy and sophisticated powder room provides extra glamour.
Commissioned by DDB Group Melbourne, Peter Bennetts took his camera to the laneways of Melbourne and looked up to find the ‘Land of Inbetween’.
The successful marketing campaign by the City of Melbourne is part of a strategy to encourage visitors to the city to discover the unexpected secret treasures lurking in the constantly evolving laneways and alleys of Melbourne.
Peter’s images feature across the campaign including on very prominent banners throughout the city including Flinders Street Station, print advertising and a social media applications.
Burnley Living Roofs
Green infrastructure, including the installation of plants on under-utilised urban surfaces, can provide significant benefits for our cities. These green interventions can cool the urban environment, reduce energy consumption, mitigate flooding and increase habitats for biodiversity. They provide an opportunity to evolve the way we develop the built environment, to maximise existing infrastructure and lower the need for costly upgrades.
The Burnley Living Roofs at the University of Melbourne's Burnley Campus is a world-class research and teaching facility – and the first of its kind in Australia. The University has established the facility to demonstrate to the wider community how green transformations can be achieved in our cities, aspiring to lead through example.
Designed by HASSELL in close collaboration with the University's leading academic green roof technology and urban horticulture researchers, the Burnley Living Roofs provide purpose-built facilities for the University to continue their pioneering research. They also enable the University to carry on providing information and independent advice on green infrastructure technologies that is practical and deliverable in the Australian climate.
The design is unapologetically bold and captures attention. It seeks to gain exposure by attracting interest from the design community, stakeholders in sustainable development and the media to promote discussion and education on green infrastructure and living buildings.
The design process for the project involved a true collaboration with the University. Their specialist knowledge and the outcomes of their previous research projects greatly influenced the HASSELL design approach and the overall project outcome.
The Spring Street Grocer complex is a worthy finalist in the 2013 eat-drink-design awards. Enjoyment of the delicious food and drink on offer is enhanced by the bold design features which are apparent in every aspect of this of establishment. Kristin Green of KGA has given consideration to every surface, space and curvaceous shelf. Colours as bright as the organic veggies on offer pop against stone and timber fixtures. Downstairs in the cheese room, the integration of motifs continues. The more than passing reference to the Greek heritage of the owners is a whimsical and quirky delight.
A stylish new entry lobby space has been designed for the Hero Apartments by MvS Architects and Fiona Abicare in association.
Completed in 1954, the former Russell Street Telephone Exchange & Post Office designed by the Commonwealth Department of Works is a unique multi-storey CBD building; the first to be completed after WW11 and the last to express the architectural traditions of solid masonry.
Influenced by European Modernism, in particular the Amsterdam School and Scandinavian Freestyle Classicism, the interlocking unadorned mass of cream-brick features in its 2001 re-development - Hero Apartments by Nonda Katsalidis Architects - via intersecting interior vertical planes, structural plates, and green columns.
Scandinavian Freestyle develops a language of materiality in relation to the formal qualities and associated styles present within the foyers’ interior. The project developed through a process of removing temporary structures, fixtures and adorning features. Through this process the foyer is activated by natural light and the spatial and material interconnectivities of its original forms. Objects were designed to enhance aesthetic experiences and for specific functions:seating and mail retrieval, while drapery, upholstery and artwork also present a functionality.
An emphasis on the ‘complete interior’ describes the process and project’s ambitions: to develop relations between art, décor, interior architecture and utility objects and present artistic material, configured in relationship to surrounding context and history.
Brookfield Place, Perth
Brookfield Place has redefined the Perth city skyline. Located at 125 St Georges Terrace, the commercial tower is now home to BHP Billiton. As well as including a retail and food and beverage precinct, this new civic space incorporates a number of the city's most historically significant heritage buildings. It provides an exciting backdrop for bars, restaurants and cafes, along with high end shopping.
HASSELL has been actively involved in designing a public realm that is an inviting and memorable part of the city fabric. Celebrating the modern and historical nature of the site, the public realm bridges the gap between the two creating a series of spaces that compliment the nature of the surrounding built environment.
High quality paving, furniture and finishes throughout the site provide a welcoming environment for pedestrians together with trees that provide shade between the tower lobby and the heritage buildings.
The heritage courtyards connect all the lower levels of the heritage buildings into a series of high quality alfresco spaces, sheltered from the wind and sun. The podium level and ground floors of the heritage buildings are connected by a series of light-weight linking bridge elements that add to the dynamic and original quality of the space. Open plaza spaces and proposed artwork elements encourage activity and add vibrancy to the site.
A VIEW FROM THE CLOUDS
Commissioned by Piccolo and Cornwall - A view from the clouds is an interpretative art piece by photographer Peter Bennetts. From the heady heights of the clouds we asked Peter to explore the macro view afforded by simply being elevated. Melbourne didn't disappoint. This stunning point of view exposes some of the rich tecture of Melbourne - from architecture in development up to icons complete. There is nothing but an upside down outtake when looking down on this beautiful international city.
House Boone Murray
This 1920s bungalow in North Randwick has been updated to suit a young family. A 70s renovation has been carefully removed from the original house, and a new brick addition has been added. The existing house is highly decorative to the street: it is rendered and modelled with some complex corbelling and fretwork. In contrast, the sides of the house are completely utilitarian face brickwork. This face brickwork treatment has been extended into a rear-yard addition housing the living spaces of the house and connecting with the garden. Framed by irregular openings, the garden views develop a new decorative language for the rear elevation.
This apartment has been redesigned to address its incredible view north over Bronte Beach. The plan has been fully reconfigured to create a two bedroom, two bathroom flat with a generous living space and study. The materials palette takes its cues from the beach setting with a concrete floor and oak joinery.
The Australian Synchrotron is a high technology research facility that uses light as a medium for exploration and discovery. Bates Smart's design took its cues from the Synchrotron's scientific purpose, but this rational endeavour is expressed through an evocative, near-magical manipulation of light for architectural and atmospheric ends. Acrylic panels infuse the internal space with ethereal colour. Skylights meanwhile are placed around the perimeter of the building, steeping natural light through the walls and lending the building a constantly shifting, radiant translucency.
Built within one of only two 19th century timber boat sheds remaining in this part of Sydney Harbour, this apartment offers a playful but considered take on its privileged setting. The bones of the existing shed, warped and twisted with time, are left exposed to tell their story, while skylights frame spectacular views of the Harbour Bridge. Interiors, meanwhile, do their best to compete with the rarefied location. Warm timber floors, a spray of coloured tiles in the bathroom and, in a glamourously eccentric flourish, gold floors in the lower levels ensure the project has plenty of personality to offer though beyond its eye-popping views.
Anthony Gill's Paddington Terrace is really two terraces, amalgamated into a single family home. But for the rejuvenated facades facing the street, mind you, the project doesn't bear much in common with your typical terrace either. Clever planning ensures the interiors are drenched in natural light and a simple material palette of oak and bagged brickwork lends them a warm and inviting quality. A double height void in the main living area, meanwhile, creates spatial drama. It might be called a terrace, but dark and pokey it most certainly isn't.
At first glance, the key ingredient in Andrew Maynard Architects' Hill House seems like pure delight. A bright green astroturf bulge with chunky black box balanced precariously on top makes up the main extension, and could easily be read as a work of sculpture. This design though is the result of some very pragmatic considerations.
In commissioning Andrew Maynard Architects, a family of five wanted to create a long-term home from what was proving to be a dark and pokey residence. Rather than extending from the rear of the building though, which would likely block even more precious light from entering the house, the practice built a new structure on the rear boundary. This new 'addition' faces north, its cantilevered box preventing sun from entering the building during summer, while letting it flood in during winter. Its curvy form, meanwhile, has proved to be a delightful place for lounging in the sun, year-round.
In all the fuss over the art and architecture of MONA, it's often forgotten that much of what makes this private museum so special is the experience of its landscape. Landscape architecture practice Oculus has crowned the ochre, fortress-like walls of Fender Katsalidis' indisputably iconic design in fractured planes of vegetation and concrete. Carefully orchestrated to guide foot traffic through a staggered series of platforms to the museum's entrance, the spare, manmade topography of the site also provides key moments of outlook to the spectacular riparian landscape of Tasmania's Derwent River, virtually ensuring the museum leaves an indelible impression on the visitor, quite apart from the art.
With its raw finishes and robust material palette, this cafe fit-out by the young but prodigious practice Herbert & Mason would look perfectly at home tucked down a Melbourne laneway. But while Melbourne is home for Herbert & Mason, the lucky city that plays home to The Association is London. Together with the recent, award-winning Reuben Hills cafe in Sydney, and its earlier work with Gingerboy Upstairs in Melbourne, the practice is developing a strong reputation for taut, elegantly understated hospitality design.
99 Yarranabbe Road was originally designed by the architect John Athelstan Victor Nisbet. Completed in 1937, the design was directly inspired by the 1935 Sunspan Exhibition House by English modernist, Wells Coates. Coates' house was deemed quite controversial at the time, and Yarranabbe Road is an unusual example of Inter War, Functionalist Sydney architecture.
In keeping with the building's significance, Andrew Burges' alterations and additions to this house have been handled with the utmost sensitivity. To increase amenity, while preserving the footprint and masonry of the building, a distinct rooftop pavilion has been added. Internally, functions have been grouped around a rebuilt, highly sculptural stair. Despite the tight floorplates, an expansive sense of light and space has been achieved.
Following the stairs upwards, the visitor's journey eventually culminates in sweeping views of Sydney harbour from the rooftop pavilion and deck - made all the more spectacular for the preservation of the building's flowing, mid-century parapet.
Russell & George
First Melbourne, then the world.
Prolific and prodigiously talented duo Russell & George have built a huge name for themselves in Australia, thanks to their witty and inventive approach to retail and hospitality design. This fit-out for a lighting store in Rome, Italy, marks the opening of their European office and displays all of their signature verve and refinement.
Watch this space, as they say...
While Gucci is certainly not the most ostentatious of luxury brands, it's not afraid to flaunt its glamour either. The new Gucci flagship store in Sydney boasts a burnished gold facade totally in keeping with the brand's reputation for refined bling. Elegant, but hardly retiring, on the damp night of this shoot the store literally seemed to be leaking luxury into the street.
Staggered down the lush, rolling topography of Kingston, just south of Hobart in Tasmania, this high school has been designed to reflect the very latest in pedagogical thinking. Traditional classroom plans have been avoided in favour of flexible, open-plan learning environments, while the buildings have been organised with maximum connectivity in mind. Their low slung forms sit snugly in the folds of the site, to minimise impact on the surrounding environment - and to help shield their occupants from Tasmania's moody weather.
In the rural township of Mildura, architects Minifie van Schaik have turned what was a bog-standard, brick veneer bungalow into a playful celebration of fashion, food and family.
Designed for Australian celebrity chef Stefano de Pieri and family, while the previous house was unremarkable for its standard-issue, suburban architecture, the new design is anything but, boasting a plethora of bespoke, non-standard features. In the new internal courtyard, multi-hued bricks have been used to create an abstract pattern that references both nearby Lake Mungo and the eccentric colours and immaculate detail of a Paul Smith shirt. Meanwhile, visitors to the house are confronted at the entrance with a geometric pattern that gives a strong hint something more than your average suburban idyll lies behind the front door.
Wattle Avenue House was awarded an Australian Institute of Architects award for Residential Alterations and Extensions in June 2012.
Located in a side street off one of London's major retail arteries, this office building by Amanda Levete employs a unique aluminium facade system. Crafted with shipbuilding technology, it lends the building a ghostly but captivating presence, side street or no...
As you'd expect from its moniker, Tree House is a celebration of all things arboreal. Richly textured timber surfaces line much of the house's internal spaces, this organic material contrasting beautifully with the precise lines of the contemporary furniture collection contained within. A particular highlight though comes by way of a non-architectural element - the wizened but elegant peppercorn tree at the property's edge. Framed by an expansive sliding glass door, the tree is arrestingly present both outside and inside the building - the architecture quite knowingly allowing itself to be upstaged by this regal inhabitant of the site.
Dandenong, south west of Melbourne, is home to a diverse mix of cultures and communities. Unfortunately, for many years it has also had a reputation for being a down-at-heel, dormitory suburb. New government iniatives, however, are revitalising the area, the Dandenong Government Services Centre by HASSELL being just such a project.
Coda Studio Fremantle
The interior of Coda Studio's new Fremantle office is a perfect expression of this practice's sensibility and ethos. Made from ply and recycled materials, the fit-out boasts a warm and textured materiality, while vintage furniture adds an eclectic, human touch. Everything in the 300sqm-odd project is designed to be demountable, so that the materials can be readily used elsewhere if need be, reducing the potential for future waste. Remarkably, the whole fit-out was completed for AU$350k.
Emerging practice Folk Architects' Medhurst Winery cuts a plane through the Yarra Valley.
Medhurst Winery in Victoria's Yarra Valley is the first project completed by emerging practice Folk Architects.
Whilst it was their first commission, they were initially reluctant to build on the north facing slope as the programatic requirements of the brief seemed inappropriate to the scale of the site and its surroundings. The response was to sensitively insert the winery into the hill and reduce its perceived scale - A series of blade walls follow the contours of the site, and frame views to the Warramate forest, vineyard and ranges beyond.
The material palette is retrained yet surprisingly playful - the double height polycarbonate blade wall appears solid on approach, however it allows natural light into the workspace and illuminates the landscape at night.
A second concrete blade encloses an underground barrel store, disguised by a green roof and frames an elevated platform that encourages patrons to view the vineyard and the wine making process.
The muscular, slightly brutish concrete carapace of Paul Morgan Architects' NMIT Student Centre conceals a sensitive side - a 2200sqm library boasting warm and inviting, light dappled interiors. A building of both brains and brawn, it also contains a fitness centre. Unsurprisingly, it has become a huge hit with students.
Rising from the verdant forest of Hong Kong's the Peak and consisting of just 12 luxury units, Frank Gehry's first asian apartment building is an ascending spiral of floors and glass clad columns.
Minifie van Schaik's Edithvale Seaford Wetlands Discovery Centre, for Melbourne Water, is perched overlooking the Edithvale wetlands, a remnant of the once extensive and ecologically rich Carum Carrum swamp - now recognised by a RAMSAR listing for being of international significance. Children are the photographer's own!
In beautiful forest of extant Stringybark trees in Victoria’s Central Highlands rests a small cabin.
Paul Morgan Architects' initial interest was in the bleached bones of sheep and kangaroo skeletons found in forests and farms, and in the thickening of these joints, needed to carry additional loads. This interest transitioned into harnessing the natural load-bearing capacity of timber found in the region by utilizing bifurcations found in tree forks.
The advantage of these bifurcated joints - usually discarded in commercial tree logging - is their great inherent strength. The bifurcations were sourced from forest floors and farmland, and due to their age, were pre-seasoned. They were joined to straight columns with internal metal plates by a sculptor. So this ground fuel became building material. An internal column with radiating beams completed the structure, the complete triangulated system attaining great inherent strength.
Stringybark trees were removed from the site to make way for the new house. A mobile milling machine was delivered to site, and Stringybark lining boards were milled, cured on site, and then fixed internally. This resulted in a minimal carbon footprint for the sourcing and installing of the lining boards.
The design sought to achieve an almost transparent relationship with the surrounding forest, achieved through an eco-morphological transformation of ground fuel into structure.
Baker D. Chirico
Bread is a simple product, of few ingredients, traditionally displayed and sold simply. The art of a baker such as D. Chirico is to perfect a simple process and do it like few others. The results are evident in their reputation.
At the Carlton edition of Baker D. Chirico, this concept has inspired the interior, the simple purpose of which is to cool the bread fresh out of the oven, to display it naked of packaging and ready to be portioned and sold.
An undulation of CNC routed plywood forms wall and ceiling. Subtractions from the wall provide display areas for bread; the varying depths of the shelves and heights of the subtractions meticulously arranged to accommodate long baguettes, large round pagnotta, ficelle loaves and other creations. The variety and expanse of the wall allows the display to be re-arranged and altered according to mood or season.
Standing in firm counterpoint to the wave of the bread wall, the centre counter is conceived as a giant chopping board, intended to wear and patina gracefully with age and use. Scales, crumb trays, knife holders and POS terminals each have a place on this working bench, all subsumed into the simple sales concept: chop loaf, wrap and sell.
Cloud 9's office building for the new 22@ district has won the top prize at this year's World Architecture Festival. Providing a mix of large office space, space for start-ups and public space, the architect Enric Ruiz-Geli hopes for the building to it act 'as a seed for an environmental revoloution'.
Imagined as a mini city, Carrum Downs Police Station comprises of a cluster of programmatic elements each figured as an individual volume, treated materially as a building and distinguished through a particular choice of brick. Internally the variation of the colour, texture, pattern and sheen of the brick expresses each of these zones as a discrete volume and provides a means of orientation and identity, as well as offering durability. Externally the brick face presents as domestic and local, referencing the adjacent suburban condition and re-using bricks from original building that once occupied the site. The 'hit and miss' glazed brick entry tower shifts the scale of the facility from domestic to civic, and as an illuminated beacon at night, heralds the presence of the Victoria Police on the highway. Kerstin Thompson Architects
Designer Louise Campbell installs artwork for the Overlap exhibition, Den Frie Centre of Contemporary Art, Copenhagen. Going on the wall is Campbell's artwork Displacement Activity No.1 made from Pantone swatches and masking tape. The entangled Pieces: it's complicated 1-5 are from bias binding.
Concrete buttresses extrude from sloping ground. These rhythmic elements form a continuous datum upon which the first floor rests; concrete blades in an east-west orientation, which cantilever and stagger beyond the precipice of the bronze wall below. This craning assemblage hovers over an organic knoll of delicately curling asparagus fern, and shelters the entry below.
The house is a sculptural object. The brutal exterior surfaces of the forms jostling concrete blades penetrate the interior, diffusing the interior/exterior threshold and creating a series of individual rooms. The interior unfolds as it is engaged with, rooms fold into each other and are defined by layers not walls.
The interior is dissected by a 3 story void; an empty vertical room within a room. The upper and lower floors are veiled by a knitted stainless steel mesh which allows textured shadow to dance within the interior.
The basement experience embraces dark tones, rich textures, and celebrates ambient natural light. There is a strong dialogue between surfaces and object; polished monolithic black stone, raw mild steel, black leather, knitted mesh, and ‘slick’ body of black water that embodies the indoor pool.
The first floor is the clients retreat with Master bedroom, dressing room and ensuite. The Study hovers above the landscape knoll and engages with the streets’ plane trees. The contrasting light and dark furniture pallet articulate ‘her’ study from ‘his’ amongst the blade walls.
The building faces north and draws in sunlight across its breadth. The void acts as a thermal chimney, drawing fresh air through and expelling above. At its base the pond has a cooling effect. The steel mesh veil reduces direct sunlight entry.
The design affronts the general fascination with mock architectural styles, or adorned boxes with inward looking spaces and a total lack of relationship with site and environment. It engages with the notion of grandness without drawing on imitation, decoration, porticos or columns. Anti-decorative, anti-column.
Sorrento house celebrates the idea of the traditional Australian Beach holiday. A series of flexible and interconnected spaces, the house is a sensitive and deft response to environment and site.
'A HUMBLE beach house, the Sorrento House by NMBW Architecture Studio, has taken out Victoria's top residential architectural prize - the Harold Desbrowe-Annear Award.
The ''sensitive development of a sensitive coastal site'' emerged as the winner from a strong field at the Australian Institute of Architects Victorian awards.
Sorrento House, elegantly designed from an economy of materials, impressed the jury with its inventive system of dividing partitions that fold, retract, swing and slide to define social and personal spaces.
Jury chairman John Wardle of John Wardle Architects said the house's ambitions had crossed the boundaries of the site to the benefit of neighbours. Outlook, wind patterns, the structure of the landscape and the composition of building mass had been negotiated with great care, he said.'
Beach house coasts to top design prize - Philip Hopkins and Ray Edgar, The Age Saturday 25 June 2011
'Sited on the edge of a 70-metre high cliff, the plan of House Holman refers to Picasso’s painting The Bather. It contains a complex series of fluid living spaces set within a meandering perimeter that arcs, folds and stretches in response to sun, landscape and views. Living and dining areas cantilever out over the ocean, allowing dramatic views up and down the coast. The lower floor forms a base that is built from rough stone walls like an extension of the cliff below. These walls continue along the cliff edge to form a series of eccentric terraced gardens and a vase-shaped rock pool.'
This architecture and interiors series is part of an adverting campaign for Stable Properties' 'Triptych', an inspired and sustainable luxury apartment building in Melbourne's Arts Precinct. Photographed through construction and completion at one stage we scaled the then 22 story building with full kit, no operating lift, and photographed from the very top of the lift cores at dawn and dusk. The subsequent panoramic images are made up from a number of photographs stitched together to make the final panoramas. Using an ALPA cameras and the latest Leaf Aptus II 10, 56 megapixel digital back, the final image files were 3GB each allowing for the ultimate in reproduction - one usage called for 4m x 1m photographic prints!
TRIPTYCH: The Penthouse Collection features my photographs of Triptych Apartments. Commissioned by Stable Properties' Beatrice Imbert and designed by the Büro North team of Soren Luckins, Jason Mildren and David Williamson this tome is truly beautiful. Printed on silver foil with post production/colour work by Visual Thing, the book highlights the collaboration of architects Nettleton Tribe, artist Robert Owen, interior designers Carr Design, Büro North and the building's developer Stable Properties.
Working together with Fabio Ongarato Design and their team of Fabio, Maurice Lai, Katherine McQuarrie & Meg Phillips and my team of John Hamilton (as maestro retoucher), Max Schafer (intern) & Andrew Butler (digital operator) along with Chris Sherwood (pilot) we've produced an advertising and art series of images for The Capitol. The Capitol designed by architects Bates Smart is a new apartment development on Toorak and Chapel Street, South Yarra. Photographing with ALPA cameras, a Leaf Aptus II-10 (56mp) digital back, Tyler Gyro, and Bell Jetranger III one image from the series has been reproduced as 12.5m x 3m Durotrans print for The Capitol's display suite. This image is one of the largest and highest resoloution prints ever made and from a helicopter while hovering over South Yarra in the late afternoon. You can visit The Capitol display suite and see the print for yourself at 367 Chapel street from 2011 - see if you can find the A380 on final approach!
The project involved the redesign of an existing 38 sq m (400 sq feet)one bedroom apartment in a Harry Seidler Building in Potts Point. The aim was to create a space that would suit a couple with a young child. The existing joinery (not original) was demolished leaving only the masonry walls to the bathroom which remains untouched. A new joinery element was inserted to re-configure the space, addressing the issues of privacy, storage and a lack of living space inherent in an apartment of this size.
McConnell House Adelaide
One of Adelaide's finest modern homes, McConnell residence was designed and built in 1967 by Jack McConnell. McConnell was one of the founders of McConnell & Hassell Architects now HASSELL. Ably and amusedly assisted by Cameron Bruhn, the house was photographed for the revisit feature Houses® #98. In shooting for revisit we strive for for images that speak of the relationship between architecture and inhabitation.
Headquarters Sussan Sportsgirl are offices, a private art gallery, corporate dining room, boardrooms and studio. Originally three industrial buildings Headquarters Sussan Sportsgirl have been reconceived as one, reinvigorated and newly clothed in industrial glass panels, transcendent details and breathing with birch forrest heart.
Located above the William Street Train station One40 William is the first 5 Star Green Star building in Perth. The multilevel design places the highest tier on the north side to provide a natural shading system for the lower office levels. This, paired with the use of a single glazed façade, prevents excessive heat gain in summer while radiating warmth to its surrounds at night. The stepped and angled floor plan places more than 80 percent of its area within eight metres of full height external windows. This allows for minimal artificial light. In addition the landscape is irrigated using rainwater harvested on site. Featuring rooftop and surrounding gardens as well as a high proportion of fresh air circulation in the office spaces, the design has a focus on worker comfort.
A flickering flame above the Barcelona neighbourhood of Barceloneta. The new headquarters of the Gas Natural Spanish gas company by Enric Miralles and Benedetta Tagliabue (EMBT) breathtakingly defies gravity.
HASSELL's new Alibaba Headquarters is a benchmark for the modern workplace in China. It's 150,000 square metres of flexible open plan office space within a campus style layout.
The design is based on the concepts of connectivity, clarity and community. The workplace has been designed to be a positive and healthy environment to encourage informal and creative meetings throughout the complex. Hubs, internal and external streets, bridges, roof terraces and strategically placed destination points contribute to the collaborative intent. The built form and the designed spaces are integrated so that each defines the other.
The Hangzhou context has been embraced with garden networks and the sunshading screens that represent Chinese ice-pattern window screens prominent throughout the region.
Hard work and fun times with HASSELL's Jackie, Amy and Mr Yang!
Winner of the inaugural AARON BOLOT AWARD for RESIDENTIAL ARCHITECTURE – MULTIPLE HOUSING at 2010 NSW Architecture Awards.
Jury Citation:"...timeless plan that is considered at all levels. The simple and disciplined floor plan accommodates a flexible and differentiated apartment layout at each level. A rational and economic structure ensures the basement plan and foundations are simple and profound. They include a plan that does not require complex structural transfer beams. The corners of the building and every one of its junctions are well conceived, well detailed, and well executed with robustness and durability. In the rationality of this building, BVN has created a laconic and timely statement. We hope this assists in the prioritisation of orders of importance in future exclusive buildings; the plan and air and natural light are, as found here, more important than an emphasis on material inclusions, which we are thankfully spared in this clear and rigorous building."
Conceived as a formal emulation of the hip roof of the existing heritage listed residence this substantial addition to a large home seeks to provide an alternative reading of its suburban context. Distinctive but complimentary materials: copper, recycled jarrah and calacatta marble, have been employed so that the addition both references and develops the life of the architecture. Concealed from the street, the new insertion transforms the nature of the historic domestic language into a dynamic and generous articulation of form and space, suitable for the life of its new family. All in it's a great set of alterations and additions to a Hawthorn mansion. The architects are iredale pedersen hook and the interior design is by Beatrix Rowe. Photographed for Vogue Living.
PLA soldiers having their photographs taken in front of the Australian Pavilion in the days before the Shanghai World Expo 2010 opens.
From 1 May to 31 October 2010 Australia's national pavilion will showcase Australian innovation, creativity and achievement to some 7 million visitors mostly from mainland China - an average of 38,000 people on each of the 184 days of the expo.
Durbach Block Jaggers' four storey commercial building in Sydney's Kings Cross is a response to the particular character of this 'colourful' precinct. Known affectionally by locals as the 'Barcelona Building' its tiled 'Catalan' form could be seen as a benevolent angel. As a building it's an extraordinary gesture, an artwork that gives of itself whilst accommodating a commercial program of restaurant, bar and offices. In this pleasurable endeavour I was received warmly and amused by amiable locals and ably assisted by Katherin Lu.
Cubby House Fitzroy
Edwards Moore's extension and renovation of an apartment overlooks Fitzroy's iconic public swimming pool. It's an absolute cracker! The French Bulldog's name is Jimmy.
ANZ Centre Melbourne
HASSELL's new headquarters for the ANZ Bank is a 'ground-scaper' housing 6500 staff in 10 light filled stories that surround a central atrium. Bovis Lend Lease were the developer and builder of the project. It was my pleasure be joined by Ken Maher, Rob Backhouse and Harley Vincent from Hassell and Nicole Ekert from Bovis Lend Lease for a personal introduction to, and tour of, the building. Indeed it was all pleasure photographing the project until my ALPA and Leaf Digital back went for a quick swim off a floating marina as a motorboat passed by!
BKK's Corinella House sits on a peninsula in Victoria's Westernport Bay, with a view over mangroves, sand flats, sea and black swans to French Island. It's a particularly fine project, realised through that most fortuitous combination of rigorous architects, good builder and great client (also a particularly fine host!).
Melbourne Future Wheel
Collaborating with Büro North and Squint Opera we've visualised our own proposition for Melbourne's heat damaged and conceptually flawed Southern Star Big Wheel. We suggest a greek windmill inspired sci-fi future with a Wind Driven Solar Sail Powered Wheel as a hub for a new fleet of Flying Steam Powered Punk Trams which alleviate congestion in a newly greened Melbourne!
Casa da Musica Porto
Perhaps my favorite building, the Casa da Musica by Rem Koolhaas/OMA photographed for the 'Music Houses' book - the world's most remarkable buildings for musical performance. Intellectual rigor meets sensual beauty in an original form. Whilst photographing the Casa was pure pleasure I wish I'd seen more of Porto than it, the airport and my hotel.
Melbourne Rectangular Stadium is under construction on Olympic Boulevard in the 'Sports and Entertainment' precinct of inner Melbourne. Commissioned by Wallpaper* to photograph the construction for their awards edition, able intern Nils Koenning and I scaled 5 tiers of scaffold and shot the pitch with one of the stadium's geodesic panels being craned into place. The Stadium with its distinctive bio-frame structure and geodesic dome roofs was designed by Cox Architects. Rectangular stadium was awarded Wallpaper* magazine's 'Worlds best building site' in their 2010 Design Awards, you can see my finished photograph over a double page spread in Wallpaper*s February Design Awards special.
Lyons Architecture's new studio by NMBW is in an old department store in Melbourne's CBD. This masterful intervention leaves well enough alone while introducing fine detail and material concerns making for a dynamic and sustainable working environment for the whole Lyons crew.
Zaha Hadid Architects
Italy's new Modern Art Museum, the 'MAXXI' - National Museum of the XXI Century Arts by Zaha Hadid Architects. Exploring the interface between architecture, landscape and art the MAXXI is a complex, dynamic and fluid set of spaces devoted to contemporary creativity, arts and architecture. Flow form, the MAXXI is not object, it's more a field of buildings making an immersive urban environment. The intertwined galleries and stairs read as rivers and streams.
The German Pavilion for the 1929 Barcelona International Exhibition, this is the building that spawned THAT column and THOSE chairs. It was demolished in 1930 but a replica was built in the 1980's. Normally I wouldn't endorse a replica but... I photographed it again this year with the category winners and jurors of this years World Architecture Festival enjoying cocktails and canapes poolside. As you would!
Perforated House Melbourne
This is not a terrace. This is more than a facade. Kavallaris's sustainable critique of a terrace house is a contemporary dwelling for a family - his family! As well as being the cover story of AR Residential 09/City Living you can see Kavallaris's house in Mark magazine No 23/December 09-January 10.
I'm currently working on a book celebrating rush/wright associates' 10 years of innovative landscape architecture. Much of the shooting is from helicopters with a technique I've developed using gyroscopes to photograph in the low light of the late evening. Photographing from a vibrating, moving helicopter presents a challenge, particularly when sitting harnessed out of the aircraft door in the rotorwash, hand-holding a 10kg+ rig!
For 3 years I've been photographing the Melbourne Convention and Entertainment Centre and adjoining Hilton South Wharf, documenting its construction through to the building's opening. As well as the book you can see the Melbourne Convention Centre and my images in AR 109 and AA Vol 98 No 3.
Wood Marsh Architecture
The latest St Kilda Road development by developer Sunland. Balancea is a seductive multi-residential project by Wood Marsh Architecture. Buro North designed the building's graphics and signage, you can see the logo sign and beautiful screens. I was commissioned for the art series that features on 11 floors of the boutique 23 story building. At the 2009 Australian Institute of Architects Victorian Awards Balencea was awarded an Architecture Award in the Residential, Multiple Housing Category.
Naomi Stead considers the Sydney exhibition by Peter Bennetts, Recent Architecture Photography in Architecture Australia Vol.98 No.2.
These images are in the collection of the Corning Museum of Glass, Corning, New York! Publications include Monument and Artichoke magazines.
Tuvalu is a nation of eight tiny atolls in the Pacific Ocean. Look for the intersection of the equator and the date line and you'll find it. But not for long. Tuvalu's low lying atolls make it particularly vulnerable to sea level rise and the effects of climate change. I have been visiting and documenting the islands and their people since 1998.
Elenberg Fraser's second snowfield development (after Huski) is also situated in the ski resort village of Falls Creek. Saint Falls creates a new portal to the resort and has a form derived from the open wings of a Bogong Moth.
The Melbourne Recital Centre and MTC (Melbourne Theatre Company) are conjoined venues in Melbourne's Southbank Arts precinct. The Recital Centre has a form that is part packaging/part object and the MTC is all about the box...or is it?
This project scooped the awards pool for ARM at the 2009 A.I.A. Victorian Chapter Awards.
Cardigan Street House
In this wonderful renovation of a labyrinthine Victorian terrace Architect Fiona Dunin has used mirrors and planes to transform the Victorian stair into a periscope where glimpses to rooms beyond reveal beautiful details and light-filled spaces. And while mirrors create prismatic intrigue - you try and photograph them! You can learn more about Fiona and FMD Architects here.
Leeton Pointon Architects + Susi Leeton Architects won an Architecture Award for Interior Architecture at the 2009 Victorian Chapter Awards with this beautifully crafted house in Melbourne.
Herbet and Mason's travelling pavilion/shop/gallery/object for Scanlan & Theodore. After a few deft moves it will join the permanent collection at the National Gallery of Victoria. And that's a model of the pavilion on the cover of Artichoke #26 'Round Round the Table' - when it was no more than a sparkle in Matthew's eye and a well loved cardboard and foam-core representation.
Roy Grounds' Victorian Arts Centre literally pierces Melbourne's arts precinct and gives seagulls a focus to wheel around!
Dalyellup College is a new school just outside the coastal south-west city of Bunbury in Western Australia. Hassell's design is a ribbon of contemporary architectural spaces around a protected central courtyard. Dalyellup College also received an Architecture Award in the Public Architecture category of the WA Chapter AIA awards. You can see it in Monument 92 August/September 2009.
John Wardle Architects in association with Wilson Architects and GHD's new building and bridge at the University of Sydney won an Architecture Award at the 2009 NSW Architecture Awards. I'd organised the street to be cleared of traffic...and then the green VW drives by. This project was published in AR #109, BOB (Korea) and ANC (Korea).
Green Void Sydney
Green Void by LAVA is a spectacular and fun architectural installation at Customs House, Sydney.
Andrew Maynard Architects' Vader House sits behind a Victorian terrace in Melbourne's Fitzroy, a dense inner-city suburb. Everything opens/closes and turns off/on! Decking moves to reveal/conceal lawn or pool. Folding doors make the inside outside or is the outside inside? Electric glass becomes clear or opaque depending on your use of the bathroom. And the floor opens to reveal a cellar. Vader House was the homepage story on the Wallpaper* website, you can see it here.
In a sleepy Perth riverside suburb, iph's Swan Street residence serves as a shrine to everyday pleasure while giving a nod to the materials and forms of the early 20 century Arts and Crafts movement. Swan Street residence won the WA chapter of the Australian Institute of Architecture 2009 Architecture Award for Residential Architecture Alteration + Additions. Did I mention it was about 42 degrees when I shot it - phew! Swan Street was published in AR #110 'adaption'.
Rising 828 meters over the metropolis of Dubai, the world's tallest building, the Burj Khalifa, under construction in 2008.
Jean Nouvel's Torre Agbar in Barcelona, Spain. It houses the city's water company and fittingly has a geyser inspired form.
Fjäll (pronounced "fe-yall") is Swedish for mountain. Designed by Salter Architects and interiors by Hecker Phelan & Guthrie, Fjäll is ski lodge that blends rustic traditions with a contemporary designer finish. I was mostly ably assisted by Lars who's quick with a coffee but cooked us overnight turning up the thermostat because he was cold - you'd think a Dane would know...
Q1, Gold Coast
Q1 on Queensland's Gold Coast was designed and developed by Sunland Group and is Australia's highest apartment tower. I was commissioned by Sunland to mark the company's 25th anniversary with a series of new images of their milestone projects.
Peter Bennetts Photographer - Recent Work, my exhibition for the Victorian 2008 State of Design Festival was held in the empty and now demolished Abaris Print-works building, A'beckett Street, Melbourne and curated by Fleur Watson. A big thank-you to Panurban, Sunstudios, Tarrawarra and Format furniture for generously supporting the exhibition.
Critical photo essay on the sobering ugliness of the outer-suburban reality.
RMIT's New Architecture School, housed in a recycled building, expertly fitted out by NMBW.
This portrait was taken for AR while Jean Nouvel was in Melbourne. It was taken after a long lunch, involving a fair amount of red wine. While most of us might want a post-prandial sleep Jean can design a pretty fine building after a bottle of red wine.
Carpet Couch 2
It's a couch! It's carpet!! It's PHOOEY!!! (it's also the cover of Monument issue 87).
Southern Ocean Lodge
Southern Ocean Lodge, Kangaroo Island, South Australia for Wallpaper*.
This pre-fabricated cottage won the John George Knight Award for Heritage at the 2009 Victorian Architecture Awards for RBA Architects & Conservation Consultants + JAM Architects. Originally imported from Singapore in 1852-3, the restoration and conservation of this modest South Melbourne building is described by the awards' jury as an inspirational example of heritage architecture: "a revelatory intersection between history and the present".
An addition to an addition to an addition. Originally a California bungalow, this house was first given a second storey, then a new wing and now NMBW's addition which is that rare project that gives more than it takes...adding quality to the public thoroughfare, the built and natural environments, the life of the family that it houses...a timber extension that demonstrates an enormous generosity of spirit. Evocative of camping by a billabong in the outback Flinders Ranges, the landscape is by Rush/Wright Associates.
Brought to you by ARM and the letter 'K'. The house's form is the k-mart 'K' in plan and elevation.
A small project that has made big waves. PHOOEY's recycled containers house a children's activity centre in a community playground in South Melbourne, and have won awards locally, nationally and internationally.
Melbourne Winter Campaign
Client - Tourism Victoria
Campaign - Melbourne Winter, Lose Yourself
Agency - publicis mojo
Producer - Vince Tillyer
Art Director and Copy - Selina + Toby
Sculptors - Tin & Ed
Part of the new development at Digital Harbour in Melbourne's Docklands. The facade of this building by ARM produces a visual effect called the Münsterburg or Café Wall Illusion. Despite its appearance the facade panels are parallel. ARM note that the "presence of the coloured horizontal line at each floor level is essential to the illusory effect".
New Gold Mountain is a bar designed by the ever-intriguing Cassandra Complex that joyfully riffs on the opium den aesthetic of gold rush Melbourne.
This is the last project of the firm Robinson Chen and dates from 1990. In 2007 I photographed the Hildebrand House in Somers, on Victoria's Mornington Peninsula, for Monument magazine as a part of their series on Classic Houses. I was awe struck by the project and its presence nearly 20 years after its construction. It is more than a classic house, and was the precursor to a new style of Australian 'beach house' architecture.
Set in a stand of native tea-tree on the southern end of the Mornington Peninsula is Paul Morgan Architects' Cape Schanck House. The house won the Robin Boyd Award for Residential Architecture at the 2007 National RAIA Awards. I love the project's response to its slightly eerie coastal setting. That and the fact that its location is referred to by some as 'Cape Shag'.
Greg Lynn FORM
This image of 'Sheep House' was acquired by Kodak for their permanent collection of photography as an 'exemplar of architectural photography'. The beautiful and pragmatic house was designed by iredale pedersen hook and does indeed have a small flock of sheep (and Diego the donkey) that graze around the house perimeter.
Bangkok's new urban resort perched on the Thon Buri bank of the Chao Phraya River. One of Bangkok's half built ghosts of the 90's has been transformed by BARstudio into a luxurious new retreat. Photographed for Hilton.
Curves define Yve, designed by Wood Marsh and developed by Sunland Group. The continuous ribbons of the glass balconies snake around the perimeter of the building, creating effects of compression and expansion. This was one of the first projects I photographed with the full digital set up and it had some fantastically abstract moments.
Huski art series
Rather than participate in the wholesale slaughter of wildlife for taxidermy, I photographed taxidermy (and interiors) in North American ski resorts. The resulting 100cm x 100cm canvases hang throughout Huski's apartments, lobby, produce store and day spa.
Apartment hotel Huski sits amongst the snow gums in my favorite Australian mountain resort of Falls Creek. Elenberg Fraser's faceted facade was inspired by the crystalline forms of snow flakes. Best of all the Huski Produce Store serves the best coffee on the hill (and you can ski to the front door).
In the Adelaide suburb of Marion, ARM (Ashton Raggatt McDougall and Phillips Pilkington Architects in Association) have created a Cultural Centre and its surrounds formed from the word "Marion". My photographs of this project were published in AR and Domus, and one was selected as the cover of Australia Architecture and Design published by Daab. The car park image was the poster for Australia's exhibition at the 2006 Venice Architecture Bienale...which makes perching in a swaying cherry picker on a freezing night to take the shot finally worthwhile!
Jesse Judd's house is set in a eucalyptus plantation and has a stained plywood interior that seems to glow amongst the monochromatic trees.
Matej Andraž Vogrincic created the installation "When on a Winter's Night a Traveller" at the Melbourne GPO for the 2005 L'Oreal Melbourne Fashion Festival. The installation was composed of one thousand umbrellas suspended over the atrium of the GPO. At various times a cloud of mist would form over the umbrellas, obscuring the far side of the building.
Construction at QV. Where else can you see new buildings by NH, Kerstin Thompson, McBride Charles Ryan, DCM, John Wardle and Lyons on the same block?! This photograph was one of a series commissioned by AR and art directed by the legendary Peter Citroni.
The clients for this house by Wood Marsh were in the concrete business and the quality of the off-form concrete throughout is amazing. There are also wonderful traces of the construction process forever captured in some of the concrete ceiling panels. Notably the house also features a life size replica column from the Barcelona Pavilion.
Wood Marsh Architecture
The Australian Centre for Contemporary Art (ACCA) by Wood Marsh Architecture is like a Cor-ten steel Uluru and has the most interesting contemporary art exhibitions and installations in Australia. It's an uncompromising building in an uncompromising landscape and I love it.
It was a quite a privilege being commissioned to photograph one of my favourite artists, photographer Bill Henson for Monument. Photographing in Melbourne's Botanical Gardens, I used a large format 4x5" camera and colour negative film.
This house by Allan Powell Architects gives nothing away from the street but stepping inside was like immersing yourself in a brandy alexander.
TarraWarra Museum of Art is a privately funded public art gallery set in the picturesque Yarra Valley. The gallery focusses on Australian art from the mid-twentieth century to the present day and has an ever-changing roster of exhibitions. The gallery by Allan Powell Architects is not so much a building as a set of constructed interventions in the landscape, playing with concealment and revelation.
Minifie Nixon completed this building in 2001 and it is both seductive and confounding. The form is generated from an investigation of Voronoi tessellations realised in brilliant stainless steel. The architect had a little sleep on the floor while I was photographing it.