eI ii hi ed Hel | ESolser Ni) / aU NE EY i reat a , il \\ ’PARTNERING FOR SOLUTIONS SAVE THE DATE 27 February - 2 March 2011 Melbourne Convention & Exhibition Centre GREENCITIES.ORG.AU Green Cities 2011 brings you the future of sustainable buildings and communities. Join us to be inspired and challenge your existing knowledge of green building. + Be stimulated by environmental debates + Explore concepts of liveablity, economic prosperity and governance in designing sustainable communities + Hear from innovators who push the green building envelope + Participate in site tours of the latest green buildings. + Discuss the definition of Design Excellence in sustainable context SeEENe S CITIES=Architectural Review Australia ARCHITECTURAL REVIEW WOULD LIKE TO CONGRATULATE THE OVERALL WINNER HILTON SOUTH WHARF BY WOODS BAGOT AND NH ARCHITECTURE ON THEIR WELLDESERVED WIN FOR 2010o Cees ; wes STO poet) i evvrene 4 ever Cy Scere alCONTENTS #8 REGULAR FEATURES 010 Edict DESIGNWALL, Text: Maiti Ward (044 One tn Watch: CODA Sein BOOK REVIEWS 050 Pres Fates In St, Morss Pasinrsip, BENT Architecture 012 ook Round-Up (O14 A Place inthe Sun REGULAR COLUMNS, Text: Maiti Ward 108 “Technology Ligh On, but No One's Home Text: Ras Fortmeyer COMPETITIONS 110 BIN Building information Modeling (016 “The Boral Design Award 2010 in Ereraday Practice Text: Tone Whetler Text: Domi Holer (034 Open Agenda 112 EDU: Obsersatory Texts Amore Burke “Texts Diego Raines Lovering 114. ESD: Green Blingand Gadgets EXHIBITIONS & EVENTS “Texts Tone Whaler 022 Formso Forms Text Anuradha Chatterse PRODUCTS & TECHNOLOGY (026. Design ‘Trinias Emergent Cities 118. Focus: Handscsping Text: Start Harrison Tent: Torben Dan 122 Posalio INTERVIEWS & FEATURES 126 Platform (020 Angerview: Takaharu Tezuks Test Stuart Harrison, Cite Philips NEWSFEED. (028 nervicw: Romaldo Giurgals Text: Mit Ward 128 News, Events 8 Competitions Text Carey Lyon, Karl Fender, Leon vt OPINION Sch, Lindsey and Kerry Clare, Marcus Trimble, Philip Cos, andes Kaj O'Grady 130. Lae Word: Richard Roger’ The Architects om Tple R ano Text: David Newstin 102 Life Cycle: Presid Text; Hannah Levi Cover: Henley Street Residence by JCB Architect. Photo by Jl GollingsATN\OSPHERE® © Infinitely Variable Facades * Environmentally Sustainable Design * Efficient Installation * Simple to Retrofit group @ 1800 635 947 | 0800 285 837 / wwwlockercomau | www.lockernz.co.n2 aiCONTENTS "8 PROJECTS (056. Garden House Anew hoxse by Durbach Block plans alle patch of Arcadia on hillside in Suburban Syd. Architect: Durbac Block Architects Text: David Newstin Photography: Brett Boardman, Peter Bonnets (064, White Howse, Peabrn An extended if on influences ranging across carly moderna archtectre et and ‘nema, a new howe in inner subvrban “Melbourne serves a celebration of or tcletic contemporary culture Areitects Nera Road Architectures pH arcitcs Text: Leon va Scaik Photography: Joln Gollings 070 Queankesan Rational and ye raw and cements, Bats Samat Governmene Service Centre in (Queanbeyan provides ting new civic heart for this township on che ede of New South Wale’ rugged Monaro Pans. ‘Architects Bates Smart Teste Maiti Ward Photography: Trane Branigan 078 Hamilton Coartyand House CGeaeme Gun has spenc mach of his long andillsrions carer exploring the oursyard house typology: Buca a ie time's worth of earing accrued chrough architectural practice in the cy be appli ‘Sucesfll ina heritage conten inthe ovntry? Hers, together with practice purtnee Sophie Dying, Gana etaras to the eral township where he was bora and raised 0 inject litle bit of eonersporary anchiccare inc this quietly conservative omumaniey in egal Victoria, Arelitecte Gun Dying Architecture ‘and Urban Design Tt: Reno Rize Phozegraphy Aaron Tester 086 An infu ofseachangers shaving a radical impact on the cule and physical ‘make-up of Australia’s coastal rouns. A new project by Melbourne practic Jackson Clements Burrows offers the promise that alin change, however, is always such bal hing. Architects Jackson Clements Burrows Architects “Texts Marty Hook Photography: Jol Gollings 094 Humbug sic pase or avo have a geiely prsdctve dale with archiecrre? A ew residence in Mornington Peninsula by Kell Daish expotes the possibilies ofa parinersip been the disciplines, where anc serves as more than just decorative applique ‘Arehitect: Kebbel! Dah Texts Maiti Ward Photograph: Sona Mangispane& COMFORT FOR TECHNICAL INFORMATION & SPECIFIER SUPPORT, Sere ee nett nee teeter SAWSoo ar Architectural Review Australia EDITORIAL text Mata Ware After esablshing his own practice in 1935, crook Louis Kahn close to 20 years e0 fully eealise his fist major commission, an at gallery for a cen ko slso happened te he his employer ac the cime, Yale University. Antoni Gaudi devoted the last 15 years of his life to the design of the Sagrada Faralis. His wost on the project began Jn 1883, and by opsimistc estimates construction will be somplete hy 2026, 143 years might seem a long ime For project pass fom design developmen ehrough che fed of consracion for some, bute pales in comparison 10 the length of tie spent on realising another cathedral of rote, England's York Minster, which rook leisuely 252 year. In the wodd of achiecture, then, 10 years i not ‘generally what you would think of as long or particularly gnome pein of ime "This iss i AR's last for the year and ou lst sue foe che decade. To mark the occashon, AR has conducted 3 retrospective of sorts, aking 3 host of critics and ‘pinion leaders from around the country for thee ake fo the most noteworthy developmen within Australian -sciecure an design vison king docgn and buenaet ‘eter Rona a pain oleh Meda Py La Aa 13084813529 "u2Derar St Soh Metre, Hs 2c (2 08 49 FX 98 AD achicecure in the past 10 years. As you would expect, thie respontes are electic and sometimes conteaictony, fonly a handful of chem identify specie buildings as of particular relevance, The combined impression these fesponses give, however, is tha thas been an unusually hectic dceade forthe discipline. From the more concrete developments the appointment of 4 government architect to each of Australis states, the exablshment of the Green Building Couseil of Australia and che mainsteeam audoption of environmentally sstainable design principles) to the more abstract the convergence of architecture and engineering, the détente between the proponents of a “Migalarchitecave and their analogue predecessors) the ‘te thing this exercie makes clears that while nay be a shore ana fairy arbitrary ani of measure, the pase decade has been avery significant one indeed foe achicetue in Ausra Tehas been privilege and forthe moss pat plessare to be able co document i and were looking forward 0 seeing what the new decade wil bring. See you nex year, enmToRat ‘eerurasaransineh cemau vratwacenerecom a Syaney Ear Syreyreracama Seatereranerocon ay ProouerioN or Ene supscretions = Seaman Soa AoveRtisino Fanentariew coma ‘Steyn *Slestmertecom as uisuns Moneng et Pat eran fallamecsarn conn Sesion Manager Sore Data racerUstralla Pty Ltd, 2/ 19-21 Bourke Road, Alexandria, trays, bathtubs, whirl and wel Catalogue? For more information please contact Duravit Bathroor ia, nfo@au.duravt.com, Phone 1300389089, Fax 1300289098, plate b er, NSW, Austoe BOOK ROUND-UP vs australandesigcevien om/Beaks THE NEW MATHEMATICS (OF ARCHITECTURE AAs the executive architect on the Sagrada Familia projec, Mark Burr has been apg digital eh nologies to very eel resis for more than two deciles, Over the past 10 years, hoteves, his project has een foined by 2 slew of revolatonary buildings thar owe much of their success to digital technology. The New Mathematics of Archiectre is compendium of many of these Drojees~ ics not, however, a cel bration of digital design pr se. The book's cone premise is that these technologies hae Faiitatd een rection between architecture and mathemati, which, more 9 than this notion of "he digital” (a prob lematicextchll the bes of ies) dens and unis che cree, very ‘fesncive direction thea procs bepraese, An iconic dion for « technology hat in many respeste pus even more distance between the designer andthe numbers at pay behind the wall: Possibly. Bat inthe practices of Foster» Pareners and ‘others, the language of macematics iseommonplaceoncemoreand there iso doube a deeper understanding ofits principles diving inovacion inthe bull environment Asa peiner to the contemporary application of iathemtic in architecture and 38 the dicpline moves beyond the now ‘essentially meaningless pigeonhole ‘ofthe det’ thie sa timely work Jane Burry and Mark Burry ‘Thames 8 Hudson 2010 HB 665pp NO BOUNDARIES [No Bowndariee documents 4 culy remarkable Singapocean devel- ‘opment ~ the conversion of one Family's colonial vila and grounds into 2 complex of seven individual houses, unbounded by vals, by seven separate emerging Singapo fean architects Av Kengo Kuna eseribes in his intodcton t0 the hook, sits communal sensibli and in the shared ambiion ofthe reams involved, the project repce= Sens 2 genuine alternative (0 the Suburban model that has dom hated resdental development for mos ofthe past century. Fach house ie unique and yet respecte of es neighbours. The combined impres ‘Sion ofthe complex iy remarkably, ‘one of coherence, thanks ino stall part to the approach taken by the frasteplannes, K2LD Architects, Which employed. “Game Theory” fad other tacts to ensace dslague And, where necessary, compromise Ieeween the practices involved. A subele but effective. landscaping ‘saegy by Tierra Design preserving tauch of the at's exiting veptar tion and cantons soot the project imits hiscory, while also reinforcing its unigy- A Garden City mode for the 21st century? Perhaps, but ce tainly-an ineiguing experiment at the ver las and well worth a tea. Peso 2010 Hi 1609p ARCHITECTURE ON DISPLAY BENNALE OF ARCHITECTURE Architecture has troubled sel tionship to exhibions, co dispy, tvith much writen on the subject “how do you go about the exhib tion of something without actwally tring able to show the physi thing iselP Despite this hand-wringing, pechaps the most important event fn acttectue elt eaendar fs the Venice Bona of Architects, 4 be-amnaal show famous as much foritsostenaous spectacle afr its teadionlly ech brew of ides. This handy somes as mach of srpise (the dnunetare Berseen thoy and reality often being more pronounced than the dicomnese presented by the challenge of representing something thar, heaven forbid, ise actully there. eho is surping hows, ts the co-athor ofthis ile Aaron owyientites the lack of histori cal record ofthe Binal, epeclly ‘ven i obvious importance for the ‘kscipline exhibition to}, Archi tecture on Display goes some way towards ling this acuna. Asa series fines wih he surviving Bet ale decors Ricky Bard, Aaron esky, Massimiliano Fuksas ec ec) albocthe challenges ofthe BienaleS those simple but inceiby vliable cxercies hat makes. you wonder thy nome had thought of before Aaron Levy and Wile Menking Arita Asocaton 2010, ‘1 2089p f PLAIN SPACE. Plan Space begins with a quote by Amencan writer Raymond Carver = "Tes dfn co he simple.” John Pawson isthe paeramlias of Bish ‘einai and thi rerapective of his work goes osome lengths to give tm impresion of jase how labored the process of developing his exa site eductionscanbe. Alison Mortis, the autos, spent 10 year nthe Pawson office a an in-house writer embedded’, you could say) and hi the vic inthe bookish cally hes (Plain Space is noticeably face fom any of Paeson's writin), she isaiivee Burif his work sas ‘mucha vanity publication astheaest trchitectaral monograph ii none theless a superbly well prepared one in keping wich her subjece mate, “Morris proses pared back, elegant anal elective, and, (a8 you would hope after a decade spent taling he subject from atelier, to airport, to buding site and back again, insightful As ico be expected from Phaidon, the book is well designed and crated and i quite a lovely object in ad of ise The aehiee tural work itself, ofcourse, which includes everthing from Pawson's tary residential design forthe writer Brace Chatwin (a 4Sm2 sea "a Place ta hang your hat” as Chatwin Aescribed it) this Monastery at Nowy Dur Bohemia, makes being simple ook all 00 ex. ‘Alison Morss Phaidon 2010 HE 240ppflooring design . for a better environment pobtor australis or gliloncom av email salestpoblorcom au tel 1800777625 project Zera Shoes Retail Stores, New Zealand designer Dasign Environments installer Auckland Carpet Co Lid praduetPoliflor'Expona Desig’ plankin Aged Elm POLYFLOR’ots ‘A Place i the Sum as all che erp Pings of your typical architectra coffee thle book ~ a. compe dum of atracsey photographed, contemporary rekentialeojec pleasantly peesented in a hardback Format om crisp, glossy whitepaper. “The eect fodder for those spies tional consumers hungry for prety Pictures of architectural objects they Will more than likly never be able to alfoed, you migh say. There is {tke aspect to this book, however, that clerates i above the alot of faily one-dimensional architecrure tes ha ends 0 clog up the bok stores romed Christan tne ‘Stuart Haron, the author of A Place in the Sun, i former Melbourne editoe foe Architectural Review Anatrala aad remains a regular conerbutor to this magaine. He ie also & corhoat of Melbourne ado show The Architects, Harrison’ eis, foe this magazine and ese srhere, is naked by an opewaniced sen, Fefresbingly fre from ideologies! prejudice, He has writen authoracively on everything from Gow Architects to ARM, and this eclectic and wide-ranging east i eocted inthe selection of Projects presented here. "Thiet not to say however, that che book owsa'thave an agenda oor. ‘As Hhrrison describes, his ambition for A Place inthe Su was tha the tle serve as a0 inwroduction to a fsely basic architectural pin ciple, which unforunacely many nonrarcites rowadays (thanks to the largely uncomested dominance ofthe AC unicin contemporary hou ing models are ignorant of ~oienaton. ‘The overarching concer ofthe book, thes, how archtetire responder site notin roman tic or aesthetic ease, but rom the Yeey pragmatic pespective of climate. The projects festured ate Al located in ether Auwrala or New Zealand, fn while as resuleheloval conditions rfeted A PLACE IN THE SUN A PLACE IN THE in the hook vary widely (even within these two countries, after all, extreme comeasts in land geography are the nonm rather than the exception} this diversity has been wel-handled ‘with a novel bur coherene approach that groups Projects according oltieade. The eader then be they from Welingron oe Wesdonga, sim sickly Inolate a sleton of ease studies that ae loosely relevant wo thei particular ack ofthe woods. The ok’ sregth as 3 resource of design seats is reinforced by the consistent eeatment given 0 architectural plans all of which have been aligned. to ensure that thie noah points ace towards the top ofthe page lesan importane detail fora ie cexplcy concerned with design for climate, of indeed any book that purpaets to document archi tectral work, but one tha often overlooked by Jublchers more conceraed with ethan bull ings han wih explaining them. From the perspective of explanation, Har rons weting 00 does 4 goo jab of desceibing the key elements of rhe Festred works, an i particule thir satis with respect orienta tion. The language used issimple and concise, and by ara large fre from the archispea that tends to dominate 8 lot of architectural commentary, even that clearly geared ata nom Professional audience. Boe Hf his fie’ inended audiene is broad, peehaps moze consumer than ro fessional, thats noe 10 say there inne something of value in ie for the architects too, There is plenty ofthe usual glamourous esidental work to be found her, eye-candy for the consumer and I dare say peofessional both ~ Joba Wardle, Donovan Hilland McBride Chalet Ryan al feature. Buc there is abo ‘ery ealthy contingent of emersing actices represented, with supeeb ew work which, tothe Best of my Knowledge, seems t0 be i many «ass previously unpublished) fom young talenss such as Fitt De Felice, Breathe, Nest and Tee Studios, among many ober. 1A Place inthe Sur is coer table book, and if the purported sles of ts predecesoe and (eo quote the dustjacket) “companion tie” A Place inthe Country are anything to go by it wll be another surefire unicshifer for Thames &¢ dion. Buti ic services a demand for architec: tural escapist isalso a hind of proselyising by stealth, While many who purchase i might never beable to afford che best hoaxes documented within, the principles chese buildings embody tv perecdy ainabe. In wervcing « consumer ‘demand for fantasies of more stylish homes and lites, this ttle mht al help ro restea more demanding and beteesnformed coms Inthe context of Austalia’s mule-bilion dolar hous ing industry, the vast majority of which i foreign terain tothe archcecrral professional, his can only bea good thing. a Matti Word is the manoging editor of Architectural Review Australia and founding ‘itor of SstalianDesignReviewcom,“IN THE SEARCH FOR A FLEXIBLE AND ROBUST PAVING SOLUTION, URBANSTONE HAS ALLOWED US TO CATER FOR VARIED USES.” rior Associate, Sharon Mackay ike so many leading architects landscape architects, urban planners, engeieers, developers and commercial landscapers before her; is eve in her praise of service-qualty-mox UrbanStone offrs"The results a cohesive space, with a subtle more contact your nearest out 19583 7377 Perth 08 9417 y at wwwurbanstone.comau HASSE: the incompar palette that is activated by the people who use it!"To find ‘Adelaide 08 8332 2622 Brisbane 07 3890 5062 Melbourn: and Sydney 02 9757 4644 or vst our comprehensive website 4THE BORAL DESIGN AWARD 2010 tec Tene Wheater ote Boral’s Design Award competition proved to be a tough nut to crack for many entrants this year. Juror Tone Wheeler gives us his take on why so many of the submissions struggled with this complex, challenging and forward-looking briet Architects entercompeitons fora widenmumberof reasons a release fom day-to-day caval atest bl fr ideas oe found in commissioned work indlging cen less designs a team boning exer: ig testing ew presentation eciques; and not Teast the cachet and cash that a win ring ‘All ofthese could be seen inthe 95 profes sional and 25 student entries tothe Boral Design dora desrbed inthe brief e compesitin for "a detached residential dvellng ona compact site ‘ofthe future... with Moor area of 125m". Every fenury required ot only a plan and section fora Fesoled desig, but also high quality 3D renders ‘Asa res, lot of energy and commitment went into che enres and while much of ie wis ou standing, nt al ft eas well cred. le woud seem thae many entrants ventured heallong into the proces, fred upon the posits for une ssraned ereativiy when a Bit of resteane would have serve them beter “The Sydney-born architect John Andrews, vwho won several big overseas competion 0 Kick stare a great carer once sai hat yu should real the bie, read it agai, and again, and then ser it aside and stare designing, For the judges it ‘would appear that many contestants only istened torte last pare of tha adic. Te nate of this ‘competion has practical ais ror tasks for Asall house, exible fora fru extended family igen alin 25m?) ona steepand nareow awkward fe wich sree access a oth ends. The compe tion brie has vo starting poinshatexstin very architectural project purpose and place. And ie seeks a thied‘P the protoype, a design that igen aeTMH Ee ROC ied Innovation in Design. Ss laut eb es atone ou carerabenc ate ge ‘age o patos indy Raman See, Rr Bo Pare le re re ih 28 mates pte overe le windousanddons Sachi lca! Fai ras ben esd does not ose fe msamum VOC te Oni Camezund eta pty te Goon Bung Conc ot Aaa pric ‘ecommerce ‘ae Dog Cora nents ra lt To tnd out more, call 1300 733 078 or iit ; wunw.hunterdouglascommercal.com.au HunterDouglasCommercial o ae © yp 0 ee SF) penetra 0oe It i 5s embosls both a response othe exigencies ofthe Iie and site but ako addrents sonce mee versal ess These definitive practical qualities, rather than some vague abstraction that les atthe heart of many “ideas” competion, are further amplied inthe fe judging eiteri eight beside thelist of prizes ignore them at your peri) couple were Sbvious: use Boral products and make sure the ‘onstruction i viable, That should have been esy for eveyone: Boral make stuff for almost every biofearrene construction, and the judges wl ut 4 good section some slack if not every junction resolved. But there ia tap ia 3D visalation, vith is emphasis on surface rather than arma tors, that many fell for. A complete absence of onscructon logic in 4 competion sponsored by ‘ eonsrucion materials rm consigns the entyt0 the plein she come very ary inthe morning of day's judging Thre is only 50 much malin es sls that appears to support upper Hlooes (in the absence of anychingso mundane sa column, that you can look at before the accond oes kicks The other thee criteria are moce eral but more subjective: design innovation, susainab andadaptablefexble spaces, What sue uiesall twee? Size. Big houses are much easier eo design than small, so thas whece the innovation will stat in getting more ou of less. Sassinllity x no longer about whacking green bling all over the box. I's mare findamentl han that, but say the student were the slowest avoid the gadget trap. Sustainability i architecture snow i eo key areas he footprint ofthe projet ad itsabiicy toadaptto future changes ther in use orin tech mology. That future Aes, the chi cite, wwasthe onethar was eascaddressd inthe design, Although the quale ofthe rhetone wa often igh fand inthe entry from Michael Mackham, both insighealand humorous) Soitcomes downsize anndsustainbility: ging the most out the est inns of ferent ways tothe fare ‘On the Basis of site alone the judges could ‘exclude half the eneiess many wets jst too big. NNorthae we grthe ruler ut-the abe ones were ‘obvious at fst glance anda second look would discard chose with too many rooms on far r00 many levels Bat smalls didn't engender ex itysined the major lacuna in even te bestenres vas plan thatthe judges could relly imagine Ing usd in Lots of diferent ways. Rooms haa rigid names, moc infriatingly numbers, that indicated dedicated se (dningsleping) ataging) rather than possibis. Some, suchas the second place inne, had diagrams that prom ied move than they delivered inthe actual howe And some suggested flesiblity through physical aidiion (and, ncredlousi deletions Hike thar’. going happen, which mightereumvencthe sie Timiessions, bur ony im away hae spine the spi ofthe program. ‘oie would seem the purpose’ part ofthe bret veas undercooked, ba what about place’? The ie Titus ite hal ceesin odd characteris, leading to some amsng contortion in form, no let 3 couple of rowers, bu the elma was implied it ould be anywhere you nominate. Sally, rom 3 ‘Stanable pint of view mot entreseither dda nominate the locale (0 You assumed ie was inthe authoc’ home town, which was sometimes at ‘ds withthe design) oe they ignored climate a | form-makeralopeher, We wren looking for 4 NacHERS report ~ we ase wanted the home co Took like ic would be comforabl in summer aad inte. Confroa the set by all means, bat not the occupants. Speaking of which who says cs, ‘that have been the runaton of the sreecape in suburbia, are vial feature in che future? Why oot {exible room onthe eet that could heaving, room, fat or home office that inerats withthe pases by, and another room at the reas, which (an store scar une such tea the esi ee that its beer ved as another oom ofthe house fa fa or he third generation, of workshop or extra Iedeoom) with the small electric cat on 2 share hss up the ster. ‘Ant lly 2 word om presentation, which roveshow astonishing endeingolshave become Inthe handeof mostarcheets Phoogaphc elm senneimes tls you too uc jut like magazine shot, the furniture sem foo important andthe peoplearea distraction fom the architectural ide. Like Hoe rs lain And maybe ome just ell you all 10 quickly that ‘eal building and noetoo manykdeas The entries that reveal the thought proces, through bite sized text and simple bur informative diagrams, aways ota second look: Bigger ain't beter So why the winners? The winning scheme by Aidan Morphy and. Aaron Peters (Caw Rayner Archivcs/Kerry Hill Archtets} is modest and eight and the jugs all wanted ro move in Perhaps not as fexble as we wold like, and € ded the car nse without eallygxining ben efit on the street, but i packed just a litle more punch cha all he others, Second pace, ro the ‘lightly named Whatever Stato lee me ess, (Gen Y?) had more rhetoric and a beer diagsar, bur nea etter howe The central cura has some clever ideas about adapting to the weather find use, bt the harshness of he forms extersly and somecradityinplaningintemaly eethe win ‘er throught thefival post Theseadent winners ‘morecanventonal, bi then so weresl the stdent tri which onl reinforced the prejudice some fof useld char the public’ bali thar youth has al ‘he answers inisplaced at east when comes to achitecere Tea cough and complex gto make a small hous, inwaed and ourward looking, that can adres a numberof differen funcions, and serve 54 prototype for fatare narrow allotments. No fone quite ned i bu rakes a fll day of great femterainment and argument to get five opinion sted judges to agree. The choices are ours ily, bur the epor above is just one interpretation ‘Tone Wheeler isan architect, euthor, ctucator and comultat with an abiding Imterst m oerovmentlarbitscare ad tnctaimable design. Tome founded the architec: tural practice Environa Studia 20 year ago and bas designed individual and malt housing projects, commercial dings and aban design hemes, all with a strong emphosis om socal tnd environmental concernsAs far back as we can remember, we’ve always been ahead of the others. Ph re has been designing and manufac vanced lighting PHILIPS control systems for over twenty years... by any mei old master Exp sn, ually and proven releblty matter, and thats why you choose Philips Dyeulte dynalite T To learn more cll Phips Dyalte on 1300 $54 178 or vst dynalite-online.com sense and simplicity— INTERVIEW — TAKAHARU TEZUKA Recently in Australia for RMIT's Affirmative Architecture symposium, Japanese architect Takaharu Tezuka speaks with Stuart Harrison and Christine Philips about the people-centred approach that has brought his practice international renown nevi Star Hae photographySTUART HARRISON Takahar, you spoke his ‘morning a the symposium about your amaz ing body of work, and in particular his idea of the ooktop asa space fl of potetal for soil imeraetion and play, where architecture ean happen How di you develop this inerest? TTAKAHARU TEZUKA Well, wherever you bay 2 propery, always sky come with he property. “Theres no property without sy, 90 we thowght ies quite aniceresting idea vo use the roof. And albo, unl we designed a rot house, we ddn"t know tha our use of rot ts effective Foe the city. In Tokyo itis very crowded congested, 30 ies qui hard to have exeeral life, but always the oottop is fre, And usually the rooftop is cccopied with cr conditioning unt fx Tokyo, bri you remeve chem, we can have uit nice sky all he time, That the nly way to access the sky in Tokyo, SH The strategy worked very cscs in the Roof House orginally, but the really amazing thing is that's evlved into a use on pee Tailings, such as your very famous hindergar- ten. Doe the potential of the roof chan when ‘you go from a house a public building? “TT Wel it does change, and we haveto have ‘more safes but yet thik our dea would be he same. Many peope say public bilings should be iferent fom stall houses, bur think isthe same. Even if you were dasgning a sirpor its hetero stare thinking ofthe human bing and already we made some proposals about skyserap- fs with nice rooftops CHRISTINE PHILLIPS Your work has obvi: ‘ly Become very Famous Has this become Tmiaion all Are you dig al of your eens now want eoafop spaces inal thi projecs? LTT Wel noe ver Some cients are asking for incenal space with big sliding doos, bur I muse say that we're building kindof style, and many people are aniog what kindof tle ro want hex. Ido’ ike so change mys. These days archiceecare media are asking architets to do di ferent kind of things, just ike asking magician to pick up a rabbit or pigeons ot rom the hs. But oking back athe history of achiectare, ood architects always ry to do the same things thoughout thei iene, andes oe easy to per fect one stl. Tm quite happy to perfect my on style throughout my life I'm noe eying to change ig but environment and he request rom soxiety wellchange my style And way within 20 years we may do orally iferen kinds of things, but ‘wane keep some continuity in my thinking CP Lehi your practice, while it does havea particular se, alo very mach about an at fade rowards human bchavioar and the human body and how wemavein architecture. Do you think his hasbeen something that dere’ een 2 lack of atenton rin contemporary architec? ITs vee dficle to ericsecontemporaey archieeture I espct Zaha Hadid I espect “Toyo lo, becsie this kind of new yo make incecesting shapes is wey important to stare the Many people say public buildings, should be different from small houses, but | think it's the same. Even if you were designing an airport, it's better to start thinking of the human being “This iterview was originally conducted For The Aechivc tri show on Me Bourne's RRR — 00 wwe ongau/peo- sram/the-archvects forme, new er of architecture, and if you don't have that kind of people, we don’t hae evolution, Buryee, Pm noc interested in chat kindof PS, becase theyre diferent. [think its very inpor tant to design architecture for normal people, becsise a special architete i required in only ALemall percentage ofthe city or country And T want co design for everybos. Fr example, always Vay U wane to design aca, bu U dont ‘wane to design with Feat or Lamborghini ‘waneto design Citroen, ano design for Fat, want co design fr CP Standard cars? {TT yes, Toyra. I wantco design standard ‘or beoneae that sw ch stronger eff on tosin wane to change the sos SH What strikes mein that poole like Zaha Hadid oe Wolf Pri, thei work i very complex ‘oe frmly rade But your work fr me seems to be more radical because of the way in which ie acesally does ngage with people and ordinari- ns ad uses conventional thing ke esing a heights and roofs and stiri a radial way. Do om 38a chiaking, and my ogi any be racic, Bt maybe Tam yng 60 te basc becatse our oman bing has ben the sme, After hundreds of thousands of years we havesame eyes, use the same hands. And even it pera time machin so bring Roman people co this period, che people wil ejoy the sare kind of space and kind of architecture. So instead of tepng something Fhave never ee, 'm eg Find out which hs the timeless quality. SH jue wane co mention the kindergarten in particular, ecause isso widely known and fo moesfal, Have other arhitets,or has the government built more schools tha fofow chat ‘odel clotly with a coniauous rool garden on ic Has the bulding been coped? ITE Tknow that many people ied, bat its very Uifcule because you need certain size to copy thar idea. The kindergarten has 640 childeen, and there ae only ew bigger Kindergartens in Japan and they've got enough buildings. And ifyou have just only 100 children heres no way co make elipical building because dhe courtyard i sing be very small doesnt make any seme Are you going to have only three-mete wide strip around the coureyaed? Bac think our idea of endescvelation is econ quite poplar, [SH Ana tha rings oto this idea of where ideas ome from in your work and how ideas form, (Originally twas the clears who ston the root that became th inspiration forthe projet. Is that hw you managed to make ch successful humanitarian archieerare? {TT Fis ofall, you have to know thatthe cient, isdiferene rom ser, We ty to understand the users, And hen you design a hoepital usally you talk tothe owner ofthe hosp, and we talk tothe patene firs, When I design kindergarten, I talk co chien Tha isthe Key tit artext Ana Cates An exhibition of innovative residential buildings from the last 50 years unearths a hidden history of architectural experimentation in Australia FROM FORM TO FORMLESS Exploring Non Linear Space Over Five Decades “That space isnot 2 sate entity experienced by 4 searionary occupant and hae space pants rein simultaneous ad relative mos well-known and key premise of architectural and hhlosophical modernity. The exhibition From oem to Fores: Exploring Non-Linear Space for ive Decades, Customs House Sydney (16 Sep tember ~ 17 October 2010), curated by Patek Keane, is a brit historiographical take on this theme nthe Asraian context showeasingrarely published and unpublished local bile works, The srorks fstered in tht exhibition evidence the “quest for dynamic space through dhe exploration ‘oF nomortogonal gsometrie, fostering 3 well as xing fom new methods of abscation. From Foem to Fores is prposefulexhibi tion Keane's curatorial agenda tems to ell "spratonocorecta common mispercepcion that Price to the advent of the contemporary digital ‘Stones, Australian (and prt enry Sydney archiecrre was overrhelingly the produc ofa modernist, or regional Sensibility thr proscribed non-othogonal geom ‘ery or overly seulperal form. Thin especialy pertinent given that these projects for the most Par hil fromm New South Wales, che supposed Stronghold of a particularly conservative stain ‘of Avsralian modern. The exhibition is also the stare of an ingicy that is underpinned by self conscious search for historical precuesors, trhich demensae thatthe interest in id paces is tied not excosvely tothe recent technological advances in dtl technology a circumstantial iynidcorlate ernie, ‘and pragmati rites), burt the innate desire fea sensory experience. These desires af mani fest in the Featured projects ax hey aetempe the untealsale, pushing the boundaries of echnolo- ses available ac the ime. The exhibition opens up the posliyof writing aoe) history of 20s sentry Ans nyhile providing an anchor fe the emergent wave ods ally minded architect. iam archer modern The curatorial and insttional context i imporantintheconcepion andartculstion ofany xhibision. Keane own professional aesomplih ‘ment anlinteesin he fel of digi archiectare ‘oriented towards the experimental. His practic, Fnter Architecture, is interested in exploring 3 edefiton of fonnal language and construction techniques, a well as atchtecrural materials and spatial experince, evidence of which can be ten in cent schemes lke the Invite Hose, Cluster House, and Ribbon House, This finds alignment with Castoms House Sydney, which has become increasingly ative, visible, andimpoe tant inthe stimulation of architectural discourse, providing patronage to the artis, architects, and lets who demonstrate penchant For an the sill co depeta new ambition for the lute From Form to Formles Features works that demonstracedisictive mindset and accomplish ‘ments. Bul inthe 1960s in New South Wales, the Ul Pili House by Hugh Bukrich undertakes sreofcght organisation of programmes, which is intended co dynamically absorb the occupants 1 domestic if and link them tothe suround: ings Stan Symonds’ News South Wales prices, Schuchard House on Bartle Boulevare, Seaforth (1968), Boromia Lane House, and Kywong Road House were envisioned as a kind of habitable senlpere, where carilineae plans and cros see tons provide a sense of depth and changeabity in the spatial experience. Cowea Place Howse, alo known as Apollo Gate, Crom, New South Wale [19731 by Rein ts the exploration of fee form mn ch fiques and ow orthogonal spatial arrangement Farell House, Vaucluse, New South Wales (1993) by Hary Siler and Acsocites emp) does, pinwheel arangerent of spaces along 2 ‘ere circular taiease which allows a dynamic frganination of the sntriog and the teardrop ‘outer form enables an ative experience ofthe si. rounding. ‘Chris Bowse/LAVA Plastic Hose is made of reyeled PET surfaces based on non-linear pattems observable in nature, which becomeSy Sn simuleancously suface, strvctre, and space North Bondi Suef Life Saving Club, North Bondi, New South Wales (fortheoming) by Durhach Block ses fluid cirulacion,curvilin ‘eae urs into the facade, and angular windows to provides socal reading of private building ‘on public land, and rounded edges to evoke the translucent luminosity and steeamlined form ‘of ea cumbled glass. The Qantas Airbus A380 intetoe sled with natlinenr geometries, but isresolved and purposeful ndeivering comfort, durability, and the experience of expansiveness and weightlessness. Keane’ curation ofthe exhibition is consine ing in conten. The featured projects engage with homlinear geometries an spaces, sme evslene ing he crosing over and sharing of imaginations Ann technologies between space travel aviation, fn architec, and most projects pas she lim its of constuction, spacial depth, programmatic ‘organisation, and thresholds. The use of non-ae ‘Bopanel georecistneerexlecively oral at itisalways connected inhabiation and contest. However, Keane curation is confronted with a diffouty char would characterise any curated ‘exhibicon, espeilly an architecture exhibition With a historiographical ambiion. Architectural prices marid to the compeling ed forthe oval wn the innovative, Aa dhe corto proc ‘ss entails not ony sleton bur also de section, the embeded assumprion chat buildings outside (ofthis osuvte ae state orthogonal and norma tiveisimplousible, Thiscould have been overcome by disabling the interchangeably of che nono thogonsl and dhe experimental. Furthermoe, the stodogeaphical anion that is announced in the ete ofthe exhibition remains largely wns: ported by an expected quanty of projets and a Septh of discussion. Is being all cape: ‘ous, an outcome of connoiseurship rather chan that of rigorous hisorieal excavation. Nori standing these minor diiculies, the eahbiion i The crafting of From Focm ro Forms hy ‘tan display) iscaeflly considered. Thelayoat followsanun-self conscious spiral movement. The wiser mores from the corer of Coto Hawes Red Room, where they pick-up the cate, rowardeand around the four centrally placed free standing ‘benches, which present models, photos And texts, The spr movement i continued athe ‘storie prompted to move in an antclockwise rection along the edges of the oom, examin ing the lage wall-mounted phoros of buildings by Symonds, before being led cowards the Media “Wall, Through a composition of moving and sill, images models and phorographs) and text, the “Media Wall skill e-peesets and eecapiulates the exhib inthe Red Room, The spiral move: iment tha begins atthe outer eoener of the Red Room culminates ae the Media Wal lang the ste quite icing from the eal of absorption tothespace ofspecelation. This daly expected fn aniseed in an exibition seng, Avnumber of architectural cursors, eis, and theorists have noted that architecture exhib ons are practice distin fom other exhibitions asthey are marked by absence, The objets on die pay ave not the buildings but representations of balding. From Fors to ormles sermons hs tap through thigh quality matimoval displays, ‘which involve not only architectural representa Sons but also iacrative displays, videos, moving sills and tex, thereby encouraging 2 malin ory experienc In addition the exhibition noe “overcurated’ The commentary bythe curator contained which maintains the voice ofthe par ‘eipating practices, Sach an appeoach makes the eshiision less overs and most importa, ame fable to icerpreie practices of vistors. Ambiuslycuaedandskilfullyexrcuced, From Form wo Fords lan mde pcan cxcre ‘on by bringing fc ser known projects famed ‘within he thought provoking heme experimen Son, non-nearyand dynami pues aF Dr Anuradha Chateree sam architect, scadewtc and writer based at the Univer of New South WalesCee eee tacts Se eee cee er re es iene Ree tha een Se eta ome coat Certo ' KALDEWEI CR RE Europe's No.4 for bathsoe EMERGENT CITIES UNLIMITED: ASIA PACIFIC DESIGN TRIENNIAL 2010 imagery Cd Lim, Stat Hasson ‘A workshop at the recent Unlimited: Designing for the Asia Pacific brought some of the world's most accomplished design thinkers together under one roof - but didn’t quite live up to the very pragmatic, action-oriented goals established by its participants. “Design Thinking” was the catchy of the inaugural enn vent Unlimited: Designing for the Asa Pcie, held in Beihane in early October 2010. A series of exhibitions sympenia Key ‘ore lexares and workshops were themed around ground Approaches, working in the developing world, and the role af design tell Thebighiotheevenr was the keynotelectre (and other appearances) of Bunker Roy, the isprational comm nity entepreneur tho in 1972 formed the Barefoot Cilge in “Toni, India ~ ter becoming Solar engineering traning and Fabrication centre. Roy worked ourcar he mosteapable people in india were women, particulary grandmochers he deveribed ‘nen, infact, as “uneainable"), who raat the college and ther 0 on tain others. Roy has spread village-ased solar lec YS VIR F Op A, YS tefcation around che world, working with Himited means but sccomplching move than many welhmeaning but cowdy ister rational agencies and bodies could ever hope to. He i not a Aesigner, an his approach sone of ean do” common sense that ‘comes out of local tadons an silly making fora genuinely sustainable ourcome ‘One ofthe two-day workshops, Emergent Cities, encom sed lectures by C} Lim of Stadio 8 in London, as wel asa Symposium fearing shorter presentations from fuucis Oliver Freeman (who then conducted the workahop,jlanne Schule loaning editor of Grifich REVIEW}, Mark Ingram (CEO of Business for Millenium Development - B4MD), Bunker Rox, “Marie So dieectoe, Ventures in Development, Hong Kong) andPaul Bennet (IDF). Allspoke of interaction with che develo ing word ~ ranging fom the more patralic and basnes model-bised approaches tothe selt-mpowerment model of Roy: A lot of ths, ike mach of he Festiva, was poy and ease stu cient. The design works that were displayed were often nothenuifil which refcredthe overall objectives of theca ‘ors the promotion of design as solcon rather than fashion, (CJ Lim isa vison-make, and uses drawings a8 2 propo sional device, book trough exely investigations to his more recent largescale masterplans in Asi and Europe. n these schemes, the model isthe Smarr’, where basic human needs, Such as food security, ae considered fst. They are, bower, strongly authored schemes hey Ink ike desig’ and he has fouaht asine an obsession with Furopean modes, paroclsey in China. His work was a well placed catalyst in the middle of the Emergent Cites workshop, which sont involved Aastral- jan pracetoners working on senaro-based strategies for are Astalian ets. Lim’ highly aracive designs addressed the concept of urban food production, and skill combined comet with losenes ands human emphasis that is ie in thiskind of work Hiscapablitesin his regard might tem rm hisunderstndingofwo cultures Malayian-born bucbased in Landon, Lin's work sable to look beyond arhitectre nt the broader conditions of income, tration and sustainability, and ines way hi work was cenral to the ideas bihind the este and he workehop, Mosteitesin the Asia Pact eon, including Beisbane “emergent cities’ undergoing apd change. The workshop tonk roused approach, with discussion ables working on differ tntthemes of nate, "scien, politics’ *conomics, ‘cular an ‘technology. On day one, patcpants were asked to on Siderthe driving ores relating these very broad topics, hich produced considerable overlap (they ended to be each others forces). From this, major ses were identified and expanded ‘om leading to 2030 scenarios the “embraced uncertainty", ‘th alternating emphases om optimism and pessimism. These tended rhe verbal desrptons ofa wor that has responded roclimate change ether well or badly. Collar cosiderations indudd resource depleion and ether forces linked co human paterns~ mainly population growth and agsing. urban form And other soil tends. Both days ofthe workshop were ince seried with provocations” frm diferent participants which {etup debate and elped breakup the format. “The second day of the workshop simed to be more design led, withthe ulimate objective of 2 design strategy t0 be presented back to the partiipans. The outcomes cut ac10s5 the original themes ad ranged fom redesigning the Australian politcal system to enable eter longterm state thinking, to proposals for tee regonal universes to encourage inland population rowsh, liked with thescemingly unattainable ease Df fast interciy rail, Another group sought so encourage rte lemonsration projets and indanrynked research, a ell tsembedding media farther into the evaluation process, The ‘woday workshop, pos day 20 long, brought no Focus the rle of longterm statey and theme based scenario pln hing, often to far agreement wich the design professionals, “Throughout the woekshop, I kep thinking back to Roy's dex ues of ation, of making stand exporting hismethod ouside Fria trough doing, and of saving lielboods, ‘Atopic tha eame up during the workshop was globalism? anu, spatially the complacency thatsuroundsclimae change tn Australia ~despite widely eld acceptance within the comma nity that chimatechange exists eal action has yr come, With respect the ltely consequences ofthis ination, we are living ina pleasant cate of deni I Indi, the effects of loblisaion havebeen more virulent wth mock more dies impactinterms of economic upheaval and che desuction of eaditonalsoxil syscems. Bunker’ proposals were nous about solaeletrifed ville building water erage and promoting handicrafts he hasanurban vision o0,and the vilageis ar the hear In his view the iy so he answer at allemergent or not So what is design thinking? The main festival esi sion housed within the State Library of Queensland, "Make Change’, was designed and installed by March Stadio and curated by Fleur Watson, and provided some excellent ideas on how design thinking ean be applied to shape the Asia Paci postvely The space was filled wth a sere of large sect of -Reneric white pape, laser cut and hung eo produce srics of dlomes and arches. Beewee these, 12 soll engaged regional projects were also suspended, a6 well a6 the message, “More ‘han how someching looks or functions, ies to do with systems and the way we appeoach problems.” Ie was a great temporary Space, and in keeping with che festival it was wel erated and broad int aspietion. a Stuart Harrison isan architect, writer and Ieture at RMIT. ‘His book on imovative Anataian and New Zealand houses, Alace in the Sun (Thames ad Heo, 2010), hae as em teleased wer— INTERVIEW — ROMALDO GIURGOLA cee This year marks the 90th birthday of Romaldo Giurgola, architect of Parliament House. To honour the occasion, an exhibition of his architectural drawings was held in Canberra, where AR met with Giurgola to discuss his hopes, and his concerns, for the future of Australia’s cities. photon apy Cour[MALT WARD An exibition of your drawings has jastopenc at Parliament Hows. Drawing becoming fess commonplace nowadays in archi seatre, so Pd be interested ro know what roe has played ia your practice? ROMALDO GIURGOLA We have ro ayposte ‘oF peatice nowadays. On is involved very muck in the presentation of buildings, buildings that are there for publ, to which the architect ‘anforeaately becomes a servant ina way A building Become piece of merchandise rd therefore che eventual for oft become sal ble form. Then there ae the practioners that, nthe Famous phrase of Le Corbin ely de ‘ate themselves to the "patent search”. There ate ‘otso many of them, but they are there; seating from Glen Mire, al ther such as Lindsay sind Keer Clare, Richard Johnson, who did shat ‘eaurifl building ere recently _MUV You've hada incredible carcr, with AIA Gold Medals inthe United Sats and here In ‘our opening essay to Luminous Simplicity, ‘St Patricks monograph, you mentioned that ‘ur motivations when you began work ws an architect were to empiical and then gradually over the course of your caret, thee’ heen this hilt towards an understanding of architecsre that allows fo difference; plait architecture, Txppose. Buta the same time, you! venever ven up striving fr, at you describe i, “a lage ‘teucrute that fers comprehensive process for building”. There com tobe to competing procescs at work onthe one hand yu have this ‘este for order, which synmtry pays a pati, tnd onthe other hand, dere’ aa bins haan fam and respect for eomplesty and cultural ‘aration. How have you managed recoil hve ewo forces? [RG Ws ot that {ecole ther really bute happens ina wa, perhaps because have an eclectic temperament sometimes, whichis Characteristic of our mes too nother words, fefeting on our changing condition and xo on, leads ton eclectic response. But hope there ‘moc only that The seach formes the search for the appeoprate answer certain problem, where the sic results dependent om the Snswer tothe particular problem. Thatis why have spoken ote of content in architecture think content has offen heen excluded in favour ‘oF making form, bu form in els nohing— form s the instrament of communication, but you have co have something communicate, snd unfortunately we have buen dealing i form san aesthetic exercise ro noenl for long time. In archterare i's very fc odo that you probably can in punting andthe acer at, because you can sep ertain principles for sehich the form becomes an inmate part. But in architecture, many of ou pincpes come from the feof people. Making building for me sto make a thorough study of why the building has ro-exis ofthe peopl behind it _ALW Whichis a nice segue to my next ques ‘ion, eich yo talked in your esay the St Patek’ monograph ofan architecture ofa pos: sible acre, addresing more significant ela ‘and spiral comnetions with human neds and ‘values. With this in mind, do you think that we're ‘on the ight wack in Aust? [RG Wie may be, hecause ther are ot of young peopl wh fel very strongly abo that an also because we arein a place satis totally diferen to Europe, and even America. We are Tike piece of Asia. Nil Fergusson has spoken of ‘theendof an epoch andthe collapse of Prope nd the Unie States, and he says we are icky in Astrala because we aren the sphere of another kindof empire, which would be Chins snd sath cast Asa and sofort, ty shah ly Membr! Wesay culture is always generated grad ally throagh the consistency ofa certain pace ow co del withthe environment, your ain ‘of thought, your aspirations in etn the world ‘here iis abl eal cha you seein the ‘States and Europe and so forth, bur here che inualicyis mach es chan othe places, Fe 8 Ine like Scandinavia nd pote here rom 3 social seanpoin, Bcatse agin, we deal df cauly with the uhan envicoament, and ou sense ‘of community is elatively nee ‘Bcc born from a smal place from where people can tlk ro each other, fnothing ‘dee ad lolcexch othe inthe eye In Caer when they sy we have to ave cary they ask somebody from Sydneyto hea consult. They should ask someone from hee, Bases only inthis way that you gradually build a cukare MW Whar do you thinks the biggest challenge ng architects today? [EG One thing tha neds ro be reastsedithe relation to soviet: This wl always bea prea upation for achitets, ofcourse. The modern movement created 3 dhoey about it bat this alo came an almost meanings standard the house fr everybods which isthe same bos for crerybody [laughs] Buc our challenges are mach ‘astey much mote comprehensive —how we Inmeniae wha the envconment sin trea of both the ety and the country how we make the sesleat which man isa participant and an nds Pensale but not dominacing element of ace. 1 fel very strongly about that. Even in his project [Parkament Howse) Lie desperately otc all ingo the rap of making agri bailing, 1m not a parcuarly religious person, but [amuse say that for the Se Parick’ Cathal swe laboured for seven years became fom the inning they didnt know where to go. A the“Yi ft Crh dre dt diese ance ‘Sf Rome ad We erly Gti ie fr Caen 1980- renew — Rosin aps ‘egnning, following the ir inthe heritage church che cleat said maybe we should select a ‘ews fr the cathedral where the basing, ‘where the commanity i: And then there was the [storia option ~ 0 coniaue to have the cathe dra located inthe place where they had the Bist church. So wedging i and worked with eer, And eventually we all atrived at the conclusion ‘thar che histone place was the most imporant ‘one foe dhe Cathe, chat peopl would 30 there because cher isa precedent So we bul he new ure incocprating the old chapel inchar place. ‘And now ie very succesful people come tothe church not only from the community, but From cererywhere, The project happened because there ‘was good motivation for doing You cannor do something simply asa busines eansation, MW You've spoken ofarchitetarein that regard as ing erated cllectively and but coleivly, fora colecve purpose. RG Absolstely. _MIC Where do you sete role thearchietin regard to that proces? EG Gersinly he oe of slucdatinghis ak ad then no being aad ofcollaboesng intensively ‘wh people to havea project whereever body i bepart fis cha pose, Archtectre Jranar buts porvular art 8 pair can say, Hf oa ike you ake ifyou dow like 1 Lean do something ee” An architects nor inthis podsion; an architect han a work with the lie other people to ge the ighe sensicity to the nature ofa problem. S very much buiee in collaborative work. For his bulding [Parliament House), we all had» wondecl relationship, feo he builder union othe parliamentarians. vasa ver seca time because everybody wanted this bulding there ws this pessre ‘on the design of making money with he projet. MW What drew you 1 extablish your home ere in Caer? [RG We finshed Pariament Hows, and be frank, found myself na wonderfl place. Thad 2 wonderfal experene. le was the greats thing {hac Pd done in my iff nothing ese i ie Ilsyghsl- teas born in fay a pene mos of my cate working and teachingin America, bu found that belonged here. ALB? You'e been herein Canberra now for more than ewe anda half decades. How do you fel the sig has evolved ove ha ine? ‘EG Unfortunately lve in tha peviod where serybody was disoriented in a sense from the conomy and then the city was pit, Before self somernment the ACT, the ty was pare ofthe goverment, and then it became anoe independent enti. The local government had tony tosurvive fancally as much 28 could, and hey started to bul this pce of ereat- ing evenue forthe iy andthe kept bing ann building a conessto thi are the seit ‘conservatives in Canberra that wan to defend ‘every li inch of het from developmen. the ety fe changes and you have wo acepe that Something has ro happen. What should happen ‘another thing, but you cannot defend some thing jst Beaune of he Grif egy. Gein said wonderful ching: tha this sa mode or 2 democratic city. Leake ethac he was thinking in cerms of Frank Loyd Wright and Chicago in the each 1900, So by taking a position ike that, nobody listens very closely to these people. Thar anarchconservative poston ~they iy, "You Should ui there cause herve you don’ have the view of he Psfiament fom eran sdtanc.” Buc you walk 10 meees aay and the view changes [Laughs So char postion is more angers than the people that fake ation. Ba sal believe that they have tobe carefl about increasing density, about whar char means. The row house isan important model. Why can't we ‘Siedown and design whats proper for this pce? MLW You mentioned in your Sr Roy Grounds ‘Memorial Lecture in 1983 cere was thi rue ‘ofthe city becoming more and mare spraw- ing, which secaing mote and more problems. “Twenty-five yeas on, we've had avast amount ‘of spral, particularly in Melbourne and Sydney. Tes become very problematic, and obviously one ‘ofthe salutions tha aechiteste ae talking about {sdensiey. You saying that deny of acetal form ie bad ides, but you yourell vein a Roy Grounds aparement, which you referenced inthat etre. BGI ve incsrpsrtment, ys, witha beset- fal view: Bucyou ee ie depends how it’s done, because when an architec ays deni cher ae various ways of thinking about wharit means big aparemens, small row houses. We have ‘think here of what density means in erm of ‘Canberra. The problem also is what the devel: ‘oper means whea heals of densi, cause sovernments can be very weak, So we have co be ‘very careful when we pronounce a statement ike ‘tha, "an increase in density”. For them iemeans ‘the big buildings cha you se around, bur we don't havea plan planning every imporant, buechey have wo planning fies Bere with no power and not enough profesional sal. Ws morthac deny the aed for density, but for ‘every place there should be a parsiular density MLW tn the course of your cates, have there Been ‘any disappointments all RG We hada peojectin Seattle, Pd never worked fora develope an the First ie that we ‘worked Tor a developer, goin rouble [laughs “We spenc years doing a prec that was fora omploc building inthe cig ane again, Twos ‘eying to make a building open enough ro be receiving people ea and he wanted inead to tse every itech avaiable fom the ground up. Feould’e sand it because doing thar was tlk creating overshadowing far other strocters ‘That wasa ral dsappoinement, Bu there was another diappoinement char was eventually Successful ina way, which asthe compe ‘on we won for beadguaeers forthe Amerisan Instn of Architects n Washington There ‘was an old building, and we designed a crear alin ih pecially eomfigured las walls that reflected his heritage building. Ie easa very nce thing. When we ven o present the projec © the Commission in Washington, i was rejected besa twas t0 modern for their taste = don't know wh. There were assy some {00d architects in chat Commission Skidmore ‘Owings and Mersl was there, but chey did't like i, We did ive dferent design sages for thar projet an eventually we resigned the comfieson, and we bcate Fanos fe that Ilaughs}~ our fame is aot a result of being great sehincts, but becese we resigned a maior commission! Another disappoinament I had was ‘hac we were commissioned for an addition 0, the Kimbell Museum in Texas, We were engaged fora frst design stage to expand and complete ‘his building by Lous Kahn, bur our design feopoal gt everybody against t~arin and _ALW Kahn of cours war a friend of yours? [RG Yes. And knew the original design which head completed for the Museum, which was never fly cmstrcted We didn’ do anything special in our design proposal jst acl tended what he was doing. The image was very strange that people make in thei nds becanse since Kahrs building was unfinished in that way, people think cacti precious in tha form, when {in face Louis Kahn iene odo a much ig se building Bur because the Kimball Masur Image was crsalsed inco wha they sa in ‘particular way dda go eheough ews a Usppoiniment. _MIW’So what as boon the mos defining moment of your eaeer? [RG Link would say i was this ulin [Partiamenc House] becavse have never been so delighted by the generosity ofthe people involved Ie wae a choral effre around the dea fof making this place bea culmination ofthe city plan. wh you coal have his ind of fore Sometime in life; I wish everybody could have this experience... a Maiti Ward isthe managing editor of. Archiecural Review Ansareal flame the hearth of australia Tach freploce « mati wva.realtiome.comou now thatsobs SPECULATIVE ARCHITECTURE RECOVERING A VALUE PROPOSITION “The speculative haunts all systems of production, threatens them with the destruction of their order and with collapse. It continues to appear to all orthodoxies as artifice, black magic, from inert recent picked up then ght magazine to read an arte abouea wellknown Australian Architect’ project for his happy ‘tints. The project in quescion was a howe erent jst out ‘ie Sydney, bur what struck me about the sory was ao the Architecture (hich was neo modern, predictable, nic) bu the Absence of any trace of meaning inthe ineriew-hased com- mentary, Granted, an in-ight magazine ight entercinment and pretends nothing moe, the audience, dseractedand gene And yet the obsequiousfamiirty ofthe architect’ comments serack me a 30 hollow they coal only be urerstoed a a pe verse agen to commit o nohing tha might make the reader ‘think anything a he projec yond whar was conseyed by the accompanying moody photographs. The prose as fight and Shade, capturing views, tening to che client, material selection and llestye ~ words that bothered noe because oftheir rele vance to architecture, but becuse oftheir active avoidance of ny specificity or commitment oan acta ides. The ext old not be safe in chat i was incapable of being undeesood a5. anything bucche most absolutely generalised noon of rchites= tent; ved up for poyolr nerpion Hike the food urea ‘few pages o, and therefore inthe context of this parilar architectural commission, with is particularities, personales {nd opportuntcs, absolutely meaningless Teslised of sore the the architee ws aking not abou hisideas, bu the absence of them; or, perhaps more worryingly, his professional and commercial responsibilty not co speak of the. On another recen occasion, Iwas reminded by avery con- siderate professional colleague that speaking out asa practice {asin palling icumstances ach he recent development ‘proposals for Sydney's Barangaeoo), pus jobs and fais at Fiskandshouldhe profesional avoided. Thisisa point of wew that not only males me weep for our dip, bu undermines the very premise of professional ing, Mes are dangerous, ‘they can beheld against you, an te oficial ine in che in-fight arse, a wih all mass media, mast be wo keep things simple, inotensive, neutral. We would ll agree neural he absence ‘ofan agenda, isthe antithesis ofdsin eeellnce and as Roby Boyd rcognsedin 1950, rakesacerttinconfdencerocreatthe abdience a iteligent, «recogni that has been forthcoming oo rarely in recent Ausalian architecture and media history which is to be unveiled, because it is somehow effective...” Mom Maball and Ae Serbert editors, Junk Jet Te made me think again about ies postions and. agendas in archivceure, and why in. Aus tala i seems co be so dificult torspeak ofsuch things ‘Open Agenda is.@ response tojuscthisdtfiuly and wascre- sted afer many conversations with colleagues and those not inde enough have Forgoten the vale tothe rofssion ofthe ‘unconventional Ieisbased on he proposition hac thereis ample talene and a song dest foe a distinctly Australian discussion cf coircrarercal arelibctere that is teed of fore ond {clear means of nancial sport note to arcane Anstalian Research Cou formats or iitutional orrestness. fora where che agenda sterally lft ope coe writen by the pa Tcipans, where riksarea condion ofentry, and wher polemic snd bias is openly encouraged. To borow the words of Bersard Rudofsky in 1965, Open Agenda is conceived of a «neces: sey escape from the “narrow world of ei and commercial Architecture” and "a point of departure foe the exploration of te archiesural pres” ‘Why would che be useful here and now? With the recent Venice Biennale’ speculative futures with any number of archi recurs compestions up snd running about the fare of the buile environment, why would another be necessary? Simply ut, Open Agenda is noc a competition about buldngs. Iisa feet about architecture ints chest and mca expanded def nition, rom forms of drawing o domains of work, from forms ff practice tone sites of contestation Fr che ther 10 percent fof the profession for whom architecture is discipline equi: ing inclecealenguiy a prt ofthe development of our ose professional domain, and for whom prety no-modern bil Ings are, angel enough, less than satisfying, Open Agenda isa space erated where otber forms of architectural work are alloted to exis doesnot reeset the profession, exter it tecks to challenge our pre-vonceeions of what architec i and isnot, and more importantly wha its capable of doing. “The relatively recent ground swell of youthful architectural culture marks a impresive moment worth recognising in ou Astralian daipin. Thanks 0 nee forms of mein combined ‘nth 2 geneatonal confidence, and motiated bya general die Sstsfiction with guarded exablishent psions generation ‘of young professonalsand rent graduate isflening tight co pros simply through establishing is own discourse, We mightNeal Cmte trimers of this year’ Open Nats compete, speculate that there ae several causes ofthis groundsweh fram {weariness of exablshed and pole poscions on sustainably, 2 lack of ison in mannered thd generation moderism, and the relentless campaign ofthe wos forms of atchiecural ed ‘ation beng mounted aginst the dsciphine by baaererelty TV personalities area few chat come quickly ro min ‘What ie importan i tha frm blogs to Pecha Kucha, fom sexietes both veleappoinced and spontaneous, action and words are forming a conversation in Austealian architecture thac replaces with enthusiasm and opeimism cece bateeness ‘of conventional wisdom. Ife ikea momene where the dooes have been ezacked open 4 touch, and another possibilty for achiectare ants insttronal structures juste os In 2010, ts inaugural year Open Agenda hs seen a raft of ideas emerge dvough ets fom alos alsttes. The ais were chosen by the advisory pane for she aigue positioning nd capacity animate adebateaboutarehitectute,ts alts relevance it fare. The inaugural winersseissuesofachitec- tural presentation agian arial ecological infrastructures, an the rules of urban morphovogy were lai hare for public abuse. sues ofeontext processand representation overlap and tussle with each othe as they ate reba in these spec inves- "igadons, rom the ground up. “The competion however constructed 2 2 rasa means of ppucingideasintoaconested space surrounded by an avdenee on three sides (lecture, plication, exhibition). Open Agenda ds ‘ot take its audience co be simple bur genuinely movivated to ‘cam the complete of ides that do wat make perfect whole. Inthssenseche agenda ofthe competion isnotso open tale provocation lea This the other taditon af architecture that ia yore have ite Kiso property ecorded sen up it the for ‘ofrmagsznes like Pamphlet Arcisctre, and Junk ein projects Teor Exenne-Louis Boule? Tank of 1785 co Perfect Acts of Architecture, wo manitestoes fom The Futurists co Architecture ‘Mist Barn ~ minor incursions into oer forms of architects ‘work influential wel beyond their modest means, “The competition as much asthe enties in iarea risk aken in the nteest of developing an architectural discussion ouside ‘of conventional wislom,a value proposition thai dificult co fr in nk averse insitcional contents. Asa compestion for ‘Ausrlan rcene graduates ic offers a possible miror eo che faure ofthe profession, Even 2, wl be deemed ieelevant by many, andl gnored by mat, bt the vale of laning notions that dessbilise our own discourse is not only a selfevident ‘nvestnentin developing new and necessary forms of discourse, bur disciplinary sueviel isin. a ‘OPEN AGENDA isanannual competition inated in 2010 by the School of Architecture atthe University of Technolgy, Sydney med a encouraging speculative architectural research and design. Open wo recent architectural graduates, hee proposals were ‘elected rom an open national competition and awarded sed funding fo farther development ar an exhibition at Cantos Hoaxe it Sydney from 20 October 2010 co 30 January 2011. Open Agenda Vl 1, a publication onthe works is planned for ecleaeinJanoary 2011 to coincide withthe launch of Open Agenda 201 |. The poblicecture fom the winners was eld ac UTS on the 27th October 2010. The inaugural wining proposals were "The Architecture Deawing Project” by Byron Kinaied and sraby Bennet‘) Human Habitat’ by James Gardnee and ‘CityBREEDER' by David (Dave) Pram and lain (Max) Maxwell Supermanoverre)oe A DECADE OF AUSTRALIAN ARCHITECTURE ‘The 2000s have been tumultuous years —hostto terrorism, climate change, the rise of digital society, and an economic boom followed by an economic bust of truly global scale and affect. Unsurprisingly, it has been a turbulent time for architecture, oo, at times both decadent and conservative. ‘Tomark the elose ofthis decade, and in an attempt to come to terms with what, if anything, it has meant for the discipline, AR has asked a host of leading practitioners and critics from around the country to identify three projects or tendencies from the past 10 years they believe have had a pos practice and production of architecture in Australia. Their comments follow: an appropriately diverse and ecleetic response to the complexity and contradiction that has marked the beginning of the new millennium. ive influence on theCCAREY LYON Director, Lyons Architects (Only six or seven years ago, the political laeacape for design swas moribund, with only the NSW government architect hold Jngtherorch (having done so for 190 yeas). Since hen, Wester ‘Ausalis followed by Queensland, Vieweia, Tasmania, the [ACT and now South Australia, have all exabished equivalent positions appropriate to each poliseal eed and jrndction ~ 4 numberof chem reporting drety tothe respective premier ‘or cabinet. The value ofthis ‘projet co the local and national rchicetureculeares inestimable; rom small words in the right ‘arse front row seats othe hig shows. Another 10 years ofthis “ongoing projet and the effect should be profound, sustaasiir touiTy ‘The construction sector aapeation to sustainability as an indus Lay project, and arches eadersip through design, hasbeen ekg shoe of staggering ~ from sideshow to instream lesthana decade. The Green Sar rating scheme did teven exit untl 2002, and already no seltrespecing developer o gover ‘ment agen cn advoats ores tham five ates wthow ooking parsimonious or chris, Whether is enough o save the work, fr whether architecture can rest deeming ita mee envio mental stems, isa key play spac forthe coming decade ego eoces iy svONEY “The profession looks into Sydney’ architectural same way the national ult looks into NSW polities with mistate of espect for its teaons, abjet fascination and hor- ror, Yer this at odds with che work ofa numberof signin architectural practices working inthe ety. So what makes for sucess archtecoral design culture a a form of cltual Drojet? Perhaps the diagnosis thatthe political culture is ‘uciendy contagious and the architectural clare cannot be Jmmne, otha he pine needs pve consent a treatment beforeitcan be effective. Recent appointments tothe local faeul= ‘iesand schools of architecture give hope for resusciation. KARL FENDER National President, the Australian Institute of Architects/Director, Fender Katsaidis Architects EUREKA TOME ENR KATSALIOIS ARCHITECTS ‘Within Australia, and during this period of community sol- searching with respect tour stainable fatre, the exploration ‘of new reside eypologes has become increasingly relevant In this vironment, Eurcka Tower in Melbourne’ Southbank Precinct stands ab testimony ta road section ofthe comms nity embracing higher densi, high-rise aparanent living, once ‘0 maligned, The potential to reduce our individal carbon footprints, and indeed our physical footpins on the plant, s benchmarked hy this prise, which provides S80 aparemene homes on only a hal hectare wihin the innerctypresint, "The project was marketed in 1999, when aparcment ving was ies lative infancy within Melbourne. However despite boing extreme at 92 screys high, is offer of logan lifestyle, safety, versal community minimisation of while dependence and masimisacion of amenigy vas readily committed to. This highly awarded building has hecomea Melbourne landmark, and swell regarded invernationally. ths helped enrich Australia's ‘epuation asa nation concerned with the ailevironment, ts tainabliy and design excellence STATE GOVERNMENT ARCHITECTS “The propagation of sustainable ces is underpinned by the ned for excellence in when and archiecsral drign. Mach of the recess facilitation in this repad ies squarely within the prow ince of state and territory governments, and any assistance chey can garner is compeling, Accordingly, the recent achievement ‘oF flute of state government architect postions throgghout Aseraia isa grea step forward inthe advancement of ou bil. "The government architect and thee tears provide strategic inhouse advice other ovemments about matters of architec tre, ran design and heritage protection, The relevance of their advocacy work relating co the importance of good design to make and maintain excellence in living places and urban ‘tiga cumot be waderetinated "The state government architects exchange ides and expe ences theoagh the GANA alliance (Goveramene Archives [Network Australia, which alo ike the Australian Insite of Architects, support the eration of the next sep: common ‘wealth goverment architest poston RECONCILIATION We cannot imagine that the descendants of people hose genius and resence maintained a eulture bere through $0,000 years ‘or more, through cataclysmic changes to the climate and em ‘ronment, and who then survived too centuries of dispossession tnd abuse, wil be devied thir place inthe moders Ausrakion ation.” ~ Prime Minister Daal Keating, Redlers Address, 1992. The Vitorian Chapter ofthe Austelin Isine of Architees has acknowledge he need for implementing a proces towards econiiaton, party and healing, by posing + Reconciliation ‘Action Pan forthe pofesion, ining its cational facies ceCurrently there exes ony 10, lle exeremely talented, indi ‘enous architects throwghoue Ausra, The Insite secks £0 change thi ig op Accordingly this inate will aclitate new pathways for Aboriginal and Tore Stat Islander pele to inerate thie history knowledge and skills within oth the architectural pro fesion and throughout the consrution industry generally nites and understanding mp LEON VAN SCHAIK Professor af Architecture (innovation chair), RMIT 120 URE AND FOPULAK uae Raymond Chandler made the arcicectralcealcy of 1940s Loe Angeles 2 perona in hs poplar books. Shane Maloney 1994 began to make Melbourne a player in his tion, mood reached through "the anne of shade” of Royal hod ws Finny in places “On che south oe by the cs Parade In 2 mbank ofthe Yar squatted he long lo ump ofthe asin 12005, Peter Temple wrote “Cashin looked away athe water ‘ning down the huge plate glass window. Two buered figures outside were ring Bngertpn avon the tear making way nes” His Tat (2009) describes the housing in che rom Reach Road, Brighton architectre te now part ofthe poplar ule, ‘iy ina ergp ertigue, Christos Ts Hen FioEaLosY This decade saw the fist glimmerings 0 ‘opposed to an ideological) understanding ‘sal change in our arcicctaral culture. In Melbourne Masters Architcre — an exhiboon at TaeaWssra Nosenm of Art November 2004 February 2005 —Tiralled ate polar analysis sn empirical (as ini and ge Seu Cont House the sesond, and Allan Powells TarsWarra Museum of Arc the third Berween thee were arrayed, begining with h est pole las MeDougall (ARM), Metre Charles Ryan, Lyons Shane Murra, Kenia Thompson aad Tom Kovae. Heading towards the ase poe were lean Rijaves, Wood Marsh nd Jon Wardle. Fascinating, the comtintim kee ipping, with a new the work ofthe ims. Thisteinforced he sia action that characterises tic: Edmond and Corrgan’s Newnan Design practice has emerged a key esearch mode, embrace the UK andl Ausland by thei respective professional bodies. Having pioneered the approach here in Melbourne with the peactices of ARM, Allan Powel, con, in 1987-88, ic was gratifying to ave new ground broken Teri, using eet ral caprured every pater renders) bet ‘he directors and sat asthey designed tei entry forthe ragehas vn Archives competition, M3 analysed cir ways of designing a complex mater given ther deliberately Rat onganisational that revealed Simeon’ tracked his influences theoagh the weraculars of North Melbouene and Noreh Kay eracing their arefactsl implica tions int his own architetureof delay tithen designed LINDSAY AND KERRY CLARE Directors, Clare Design {HE PROBLEMATIC AE OFTHE eONC Alehough there has been number i ststhathave hada "pone info acer that some of Austra (in atempting co be orginal and iconic) have had a influence and eepecussion contextually and environmentally aware project. We bieve these projects aresublypavingche way fora good future Fr our tk enironcent, There isan went need foe archiecrore to contribute t the famework and character of our commie, ‘While we recognise the need or symbolism a times, we don't need more meaningless bg bang or blo architect think chat cher is growing revgniion andunderstandingchat MARCUS TRIMBLE Director, Supercolassal KET AND PLAN UTERACY Thisdocade asscen real estacerecastascotertsinment. A decade lie text tings wth he occasional prestige’ property that was afforded «hal page ad Tay they ae in glossy booklets on websites and ace eevsed, Real estate agentshave pioneered strategy of photography and post Summer of perfec skies, while he agents’ smlngheads ine ‘While cis coramifcation of architectose is bemoaned, the upside i thatthe population is now far more erate in the language of buildings Crit every propery sisted on domabrcoman and other cal este sites with t-cale floor plans andassuch the int base for architecture has boenexposed fo th mont bie of wckiocoal tools toa degree proves pulation fo us forte. realestate agents ae educating the Every Tucday since 2004, Sion Knot, Staet Harrison, Rex Hide and, more eventy, Christine Philips host The Architecton Melbourne publi ado station Triple R. The typical show features news and events from the word of architectre ala viewilscsson with local or international architec. Tes loal rai, but iteratonal syndication through po casting meas that thas a global adence, The sien of the Shows that brings broad appeal toarchitecrurl nenderydelv tring an iteligentdacussion on the built envionment to an incredibly wide audience. The wide audience doesnot mean that are dsarmingy frank and det with thei entiqe of he built ‘vionment. They alk about architecture ina plin spoken way hac i accessible forthe general listener and particule enough fchiscrare within the profession. sePe 6s nis near imposible to dewalih stata tite apartment bul ing. Without 100 percent owners consent, the only option open ‘he Supreme Court, Given this reali, eis clear tha the sata aparunent buildings tha do ger bul need tobe of good stock. In 2002, the Nev South Wales State Environmental Pan ning Policy €8~Design Quay of Residential lar Development (SEPP65) was adopted. spoltestha for an apartment build ing of thee or more ‘ta ere of eign ality principles that mst be consi ‘red and pts in place sign review pane’ ro review relevant spplcations The resto his has been a clea improvement inthe over all quality of apartment buildings in New South Wales, This improvement extends beyond the immediate benefit of an increase in thoughtfully designed buildings, to creating 2 fat aparament buildings make the pitch co inrease much needed bigher density developments in suburban centres and along eal coridors 4 more palatable prospect eo che local consti, ral, with 2 drecom towards sculptural oe soll icone ‘ono the previous edi chat fem should Follow function fo the last century. Archivecture ofthis genre his ite regard for Purpose, materials or envionment ands refletive of Fetish foe bin arstiindalgence that cries for atenton, rather than the dese ‘ocomplement andadd to che quale ofthe environment. How ten tsthe approach of many young designers who hanker sre many examplesof his Melbotre anthe ashion has reached Sydney. Hopefully it willbe as sh iced, This approach has demonstrated self wll of The most notable change in Awstralan architecture in the of utaieable principle, with more ineliget approach tthe incorporation ofboth passive and active energy systems within x builing.Theve have yet find anaesthetic ther than bengThe CH2 building in Melbourne a demonstration por Trdg, Ki noble cHor and has had the dsied eee of rmarketingo the architectural community that her is mon ‘nd decerminaion, environment natives can be achieved. In turban oe aesthetic terms, iequaly lla story that there stich todotohamanine his approach. Soil and oteraspiatons ae deserving THE ENGINEER AND THE ARCATECT ‘ANEW RELATIONSHIP GGoodwil Bridge Besbane, Kulp Pedestrian and Cyle Bridge Brisbane, Helix Bridge Marina Bay Singapore and Yarra Park Pedestrian Bridge Melbourne have shown thechange nengincer and architect elationships Architects are now wed more exten to engineers The reason is mosey twofold: the education of gineering students indesign anda new aciude owards arch tert given thee ably to "place make’, eaing stroctures nto ano architectural opinion against a project that doesnot conbute tothe city or recognise the iaues of cy rn, texture, waterfront amenity, plc verses private space, sale, bak, connectivity and any ‘question the role of government in bringing in named versa architect to msoure the public of solutions, despite rigorous asessment by Autralian archtetal opinion pointing the tray brings to the Australian arciectoral and planning tnvironment anew self-confidence, considering the dssrous Solutions beng offered by overseas architects, FEDERATION SQUARE MELBOURNE, LAB ARCHITECTURE STUDIO From winning an international competion in 1997 go com Pleson in 2002, Feeraton Square aroused in the local a ontadicory mix of jealous; disdain, enthusiasms, censorship and adiiraton. From obvious deb co Daniel Lieskind (ts withthe iew ofa hasoric building Federa m Square ws a source of controversy. Everyone was talking about architecture! Look pasts ofhe-moment facade and it is oppure thet is concn is dept informed by Kaori fxample of Kevin Lynch's ive elements of good urban form, adits plaza as supporced indeed, generated urban fe Severs lending achitees and academics sa it would never work and silo he architects an apology.a BEING = IW AND ARUP 1e should ceallybe nicknamed the watershed, 2 this uiling marks the taming point in what hal some a eos com ‘ersstion among achtets about the vale of so-called dig chitcrure.Inydne especialy char dncssionsathoschold- ing on oa regionally infected modernism concerned wth place and materiality patched against younger architects dreaming of comely complex and digallyprodiced architecures ‘The Warercbe confused this stand off and muddled is terms = witness Chris Bote and Peter Seurchbuy, sharing the stage in 2007, each espousing the beauty of “nate” and "race All the iiss thar had, unl hen, been levelled athe dial fa away. For sag, ic was bul, Ke didn’t lok like bl. Moreover the Watercube is materially innovative, stractaraly smmatialy deve, symbolialy appropriate, place specific nvionmentally acne and mult authored WOMEN n ARCHITECTURE Kerstin Thompson, Casandra Fahey, Clare Cousins, Hannah Tribe, Polly Brstows Alice Hampson, Catherine Lasen, Aaa bel Laks Rachel Neeson, Camila Block, Marika Newstupns, Zahava Elenber, Rachel Nolan, ill Gamer, Kare Hislop, Dan ‘elle Pint, Stephanie Sith, Antik Houle, Wile Fer, Sally Drapes, Fons Winzar, Debbie Ryan, Caroline Case, Penny Collins, ingr Richards, Jennifer Hocking, Emma Wil Abbie Galvin, Georgi Singleton, Emil Fox, Meaghan Dwyer lose Atkinson, Rowena Mash, Laura Harding, Rosemary Iburne, Lasinda MeLean, Rosena Hockin Janet MeGas, Shel ley Penn, Jenner Cali et My asc nomination a group whose fei has en ro work ima context where ther genders emarkable~ 3 generation of female archieces now in thir tires and fori, who in he past 10 years have won awards and erica acim for prac ‘oes hey havele, co-directed ot within which they have hada senior design ele These ae architects who, in addition to che {evelopment of sgniicane body of work, have ben ear called on to speak for women to give gender balance 0 juries, matte and talk et, and genealyenake our poofesion !npese more diverse than statistics ell sii. Rather han be ‘srmualgeolyabowt this atenion and adional burden these ely turned che conversation back roche urban and architectural ambitions in thir work, Their contusion toarchitectore has ben icvaleable for the next generation ad ‘heircombined presence has dramatically changed the cular of four profession forthe beter, THE ARCHITECTS ON TRIPLER Stuart Harrison, Simon Knot, Christine Philips and Rory Hyde SOUTH BANK REDEVELO>MENT, BRISBANE Ibsbane’s eceere-engagement with public architecture had its catalyst with dhe development ofthe Robin Gibson-designed South Bank cultural precince towards the start ofthe decade CCompeesions were held for both he new Gallery of Modem Art tuilding (GoMA ) andthe reworking he exiting State Libary of Queensland (SLQ). Donovan Fills exceptional SLQ mas ‘ges 0 do what many projects only ey to idelivers genecontemporary public space, lacing the boundaries herween indooe and outdoog, and achieves porosiy in both its archi tecture and tne with «strong civic presence tha isnot overly ‘onamental. The temperedand screened achitectare fest devel ‘oped by Donovan Hil it houses was ssesallytransered to insittional work. This project has infnced the quality of the bil environment in Brisbane, with subsequent projects by Donovan Hilandohersseckingoraisethe at. The neighbour ing GoM comple by Azchicects with Kerry and Lindsay Clare follows « more eaditional path, but also ade othe psn, 2s di thme earlier connacvigyimronements with the Grand ‘Abou walkway (DCM, 1997 tive tem ased Kp Pesesran and Cycle Bridge (Cos, 2009). The pesnct ae cwoved nto ane of atonal sgnicance, ‘sed as model for urban design and poble architecture ‘snd mre eecedy dhe inno EDERATIN SOUARE 4 ARWTECTURE STUDIO Federation Sguate (2002 possibly Melbourne's retest pb: leaner. The result ofa major open architecaral competion in 1997 thar acacted enees fom around the globe (egretably the ia competition ofits kinda have been held in Melbourne) Lab Arahiteture Sui’ design is significa cular cont Iron eo the ety niily mee with critiim from both the public and com secutive heritage advocates alike, and then pica cumoi Following the change to Labor government, Feeration Square has provided the city with much-needed, exceptional public space and a centralised culeral precinct. Tt ha recomected people with he Yarea River and is exible outdo pace chat hostseverything fom srening major sporting stv 0 et ang festival evens, and is also justa place "hang out. After ‘omplesion, the sie of decorative ‘shard? buildings sueround ing the plaza also gave Melharsians a taste of the innovative public and instittionalbuldings that were soon to come from ‘ther prstices in the following decade Ie ied debace abou has helped futheran understanding and terest arciectre in the wer public eal, ary architecture among the public, and his debate aur (ver the past 10 years RMIT has built on the succesful ach recrral program started in the 196Ds and 7Ds to develop an incenational epatation aa leading design choo Prationes suchas RMIT" profesor Mark Bitry have worked athe lead ing edge of computing, technology and design international, while the architece schoo as cootinued to grow it teal aed ational credentials. One of the great seceses of RMIT has ben its ability tontazatethe academy with the pression, not justin erms ofa to atact he bee pacttoners 0 teach within ranks, but lato have tone sme top architects and designers come back an lea through impressive and Poneering postgraduate program. This symbiotic rlconship Wil eoninie wo evich and develop dhe archtetural eure of Melbourne for many years ro come. RMIT’ building program has championed cutingredge design and given several smal Melbourne architecture practices thee fist large-scale peoeets from which many have gone onto grow ino lage scale national frm. The raates rom RMIT continue to extablish archite: tural practices that operite at the forefront of design practice and the institution continues to engage and stimulate desian thinking athe highest ees es difiule vo imagine a entity thar has alfeted and contributed more to the architectural cul turein Australi than RMIT Architects,TCH ONE To W DESIGN WALL CODA text Bath George po sph Bo Wong STUDIO Unlike many of their contemporaries, on graduation the directors of Perth- based architects CODA Studio resisted the temptation of work in foreign parts. Instead, they turned their passion for Perth into a local practice. A shart 10 years on, that commitment has paid dividends, as CODA has grown from a small, multi-disciplinary collective into a firm of 17 with an enviable portfolio of public and private works {In 1999, CODA featured in an article in Mom ment cae "20 for 2000” as a studio to watch, ‘And hee itis again. Afer a decade of purported emergence’ husband and wife tam Kiran Wong and Emma Willamson se thee practice as having merged several times over. From their Mealtc ied disciplines, che duo have ered thee practice "hough sere of phase changes, andi the pro ss established a dsineve langage and eared a HOLDING GROUND Williamson refers gute regulary tothe impor: tance of “holding your nerve", and his theme DoF rohustness of seadfatesy, i something hae resonates with several aspecs of CODA’ pac tices commitment ro Perth cs somewhat brave ny into the Geld of architecture and the formal langage ofits work 0 its name, (On graduation, whe many of thee peers headed ce or onercis, Williamson and Wong estab lished CODA in is fst guise ~ asa collecive ants and desgnes, many of whom were tmigrants who care forest n Perth witha shared tsteem andl opimis forthe place. ary work twas consistent with the molissiplinarynatare fit ceam graphics, publ ae and roxieed in cllaboracon Having gone ov alone with imited praca experience, seal aehitectuel work came fest from family and friends, then family of frends and fends of fry and was bolstered by se regards as having provided CODA with a clarity rrpode and an ably 1 be deliberate in th selection oft projects eines stare fom fconth ie an indiation of CODAs eesliene Since then c has amassed a series of residential works and hs mone ecenly‘reerserge inthe public real,DELIGHTFUL RATIONALISM: ROBUSTNESS, HUMBLENESS, PLIANCY, HUMOUR In he fist hall ofits decade of practic, CODA developed a language that at once bral and playfl The bulky quality of is work sates i i opposition co architectures of surface, ofthe stuck Rates favour the sberative slid, and Wong oles lovely description of CODAS ‘esign proces as mass form plied by tion. "We have, because we'e marred, aloe time to alk coach othe, ‘work alot with phyial models ani the model then starts 0 respond to tha pshing and palling ofthe discussion.” Wit and humour enter CODAs procs through colour and texture. Exempliying thi pairing of mars an play Howse SB in Freman al ofthe ime! We fl, a staunch masonry box incised with large hued mosaic tes. “Many people came and sd how “Femante chat se fy” remarks Wong, "Ther i lt of discussion about what the here age ofthe place and whether ifs canine toa Indeed, discs sof heritage cll ro mind very dltferene language eo chat of Howse SB i sala tan altemate history ofthe place of the shopfronts, borestained garden walls and Dovic Columed Californian bungalows of Fremandes South Terrace. Feeling they had provided werk hae wont agains the grin of Fremansles conser ative design guidelines, Wong and Willamson were almost afrontd eo gamer approval from their rnghbours. "Ie fel ike «confortable ftom that street and in that neighbourhood, which Think says Wong. “Ie bi ike wen we did oar oun hoe, We were expecting thi ie Feacton, anal people were ke ‘oh yeahs quite like that? We ried relly hard tobe controversial? ‘On papes th ‘WK may lok a ltl ikea nest weatherboard box, bur as Wilhamson explains, Ie ikea bil bard They did not look ac the colours when they approved this.” Wong describes CODAS language as "somewhere berween 2 deightl rationalism and a kind of wiey beualism", and this seams ape. A preoceupaion with he plan, a penchant for the heavy (even the clumsy, eas fof endarance anda sense of humour defines ts work, Willamson and Wong believe that Perth manus a certain quality of humble ite architecture, and joke aboot specify and appropriateness to place arising from the impor sib of eansposing a foreign project into Pet ‘They porea scenario it which a precedent peeet right be nominated as “the bible” for a parti Taescheme, bur which, once it hasbeen sgueered through the layers of constraint posed by cent, site, climate and code, doesn't stand a chance of Ting revgnisable, The delight they take inthis assur lows in ransaton spar ofthe fondness the pair have for their bomerown, secing oppor tunity in and projects lke House SB make palpable CODAY desire ro operate meaningily tvithin the west and specular, elevation of ce house, HouseDESIGN WALL GENEROSITY AND USEFULNESS A saunch bliin architecture’ responsibility co be useful to sxiryunderisthe more recent shift in CODAS work, and is thied phase aa seu Te was only afer ascring a body of work that Wong and Willamson fel they could consider what theie practice might be. Over the past four Jes, CODA begat to move away fom reside tal project (gtite «Feat when i required tering clients away during the economic downcorn again this theme of “holding your nerve") and into the els of urban infrastructure and hows ing. Irs this change of emphasis that brings ws 0 the studio’ current form asa team of 17, and © its re-emergence’ inthe public sphere. They sein this vs a demand for architecture o become secondary to need, become eng Tingeney and love abi of contra Twoof CODsurban projects ae growing side by side on Neweasl Sree in Northridge: Founda ‘bon Housing (a compestion wia for CODA and the new Women’s Health Services building. The later maintains tei interest in the subtractive solid, ar brick bulk hind «neat, gazed ed thopiront. A thin horizon separates two ypes Of brickwork ~ running bond below and a bas Keeweave pattern above while thin metal skins deepen the window incisions in dhe east wall and timber vertices sem 0 acknowiedge the presene fof ewo litle residual sottages to the building’ ‘west has a fama presence in is setting and 2 retrained dialogue with: Northbridge’ ight esta stony Willison refers an “unappreciated eg hitetur in Peth the brutal worksIMPORTANT WARNINGE @ | A Who's behind the warranty. of=imiimleR Velen b=\=10, ee eg ee er tele) eo ee ee to een ee) ee eee eee eee eee te ete eect Ne ene oe er eee teeter eg Bee Ue tri kena Urals inhi tate Seen eee erent tet) Perea oreeri Zincalume Col: rbond Galvaspanote ONE To WATCH DESIGN WALL Wong describes CODA’s language as “somewhere between a delightful rationalism and a kind of witty brutalism.” of she 60s and 70s. They bon high regard the civic quality of the buildings of firms like Cam ton Chisholm & Nicol and Brand Deskin & hay from this period, and this ithe language that seems tobe employed abi ite more whist fallin CODA public works Tn a residential context, Williamson rats albout geneity eceing the projects dough surprise of ofleriag the cine something anes ‘ested in thei experience of the bling ad the Importance of projecting youself into the scheme roughout the design proces. More lial CODA extend their services 0 chientele For svhom archer seul, ne just posable to commisio. They have aken on several pro bono ‘works in which they see themaclves facies ‘eather chan designers. For Wiliamson, their horse then project was “a high ive moment for ce st dio. A design build project on the tinge of Pet, ie provides forthe srexement of abused horses ‘he Palmerston Drug and Alcohol Rehabilason Farm The barn was ered by CODA staff, vo mtr and siden of the fare over the course fof ree weekends Coo i offered in eerst (0 ‘he human resdens ofthe scheme, but ile ess sincerely ets colour equine inabiants WEIGHING UP (CODA carly beginnings sil resonate, 2s Wong ecogaises in the practie’s work a kindof opp0e tune naivety. He refers to Neuteings Riedie ‘concept of axnes as viet; whereby “Lines Enforce ingenuity”, and sees CODA as risk ready sd willing to vente into tama terse. A ‘vin in the Think Brick competition las eae sae ‘hem immerse themscves inthe iden of she brik, 2 tue chat led them to experiment with and even ‘make thie own hic (the CODA brick il be shed in an upcoming affordable howsing scheme for 108 aparaments in South Reach). You ge the sense that such forays are attendant to that ‘naivety ~ that nerve and would nt be possible swthoue Wong and Williamson fel char CODA frase ‘exectory will bein keeping withthe balance of pablic and private work i i currently undertake fig, and appreciate he challenge tha is pred ‘th the expansion ofits projet base. Now taking fowan ueban design projec ia Kununures, Wong reflects on the otherness ofthe pice andthe way i which che language that they have become audepe ac employing is thrown by the shi incon Strain Yt the mission an the themes endure; and alter thre distinct modes of practice playing oun line more than a decade, we're sill watching a Beth George is lcturer at Curtin Univeristy She completed ber PHD, ‘Scouring the thin cys am icetigaton into Perth through the ‘medion of mapping’ at RMIT in 2009 aed is a ‘conauthor of Procaring Inovative Architecture (Routledge, 2010,australian design review » Increasingly there is a discrepancy between the acceleration of culture and the continuing slowness of architecture. “ — REM KOOLHAAS ARCHITECTURE... FAST. Peer Cen eraBASE CAMP DESIGN WALL com tecipnallarhietreMade from 75% natural and é te ana pine eseeeer ena Did you know cerca that a vinyl floor Zecca ay can be 75% natural Seen e eee and renewable? ater Erte ietnt @ Tarkett 2 oesDESIGN WALL HINTERLAND HOUSE ARCHITECT'S STATEMENT Arvving at Hinerland Hows isastaringexperi- and abundant wildlife. The design ia fragmented dy ro nent between caters nd and encounter theniche, It should be clean, fresh, simp We provide cost effective website builds and training so your team are in control of updating content on a day to day basis CLARE GREIG digital@niche.com.au | wiw.niche.com.au | +61 3 9948 4945Zz: HEAD FOR THE = HILL GREEN ROOFthe kingspan collection. inspired by Insulated PanelsGARDEN OF . EARTHLY DELIGHT Anew house by Ourbach Block plants a little patch of Arcadia on a hillside in suburban Sydney,Archit Stateme Garden Hous is built on a wider than normal sc in an almost Tacan part of Syne. Established garden surround tracious houses with generous vrandas and tional fooflacs and materials. The hous is sited co hug the sloping ear boundary orienting the nothers se and anew garden with established tres. The house sa simple L-shaped plan, both containing and xtending into the stepping garda. An intceal garden court Ishin in he depeh ofthe plan, bridging heen the Hoare nd inverting the in of inside and outside, Goverod by 3 te covenant, the root parapet lines Red and strigh ct floor contain the private pace ofthe house, wth slightly compressed floor to cling height. These private spaces ave presse and figured opening inthe coninvous brick facade The mass ofthe ist lor rests onthe ighest support systems, improbably hovering ver the ground level The underside ofthis looping faad fs, adi light and views eo the ground flor public rooms theoush The brick facade is given afabric-lke quality through its pater, texture and treatment. The eds of shadows ae igh corrugated by the peters, while strong sanlight fickers cinematicalyon the surface cheough the day. The woven brick surface contrasts withthe glazed set render ofthe round flor. Designed asa serie of archipelagos, che garden ‘vill eventual fully enclose and tits and imple this projectReview: Garden House ih th tral ord “ome aoa Spring has arvved justin ime for my vs othe Gaeden House, Cirocumale clouds hurry acres a psychedelic blue sky. Plants seem co limb ou of the soil fre my ees ees hover. Dogs foi in the ras. The lavender i pungent Like Palladian vil, the Garden Howse sits at the top of rie, levationstztched cron the ‘widehofa double block. Ithasa satly disposition In keeping with is aluene suburban surounds. Rerwen street and house theres fata sandstone reesning wall, then a sloping expanse of garden. (Gomerete wll wind down from the hose ena ing an undulating fight of sears before fing inwo'agatchouse. The house behind is modernise in appearance, and the gate unexpectedly whi sical overgrown witha vine like partern of sel cucu, Architect Nil Durch of Sydney prac tice Duhach Block, greets me athe gate. Dressed in shy be shire marmocnted by bis trader halo of fy white hai he looks ready 0 float ico the the. iesa very formidable looking house frm the stron” says Darhach a we ascend the sens "Ie slmostlicea forrest doesn give mach ay.” Tneresingly, at thar precise moment Lam tink ing theexac oppose, With the exception of thei Droga Aparement (1997) =glinging roo eel visible from passing city rans ~ Durbach Blok houses tendo be alma invisible tothe publi thei living spaces secretly unfalding. The Garden House's comparatively expose, While vacant or ‘my inspection, i eaey to imagine the home over ‘unin Sommer with poo-bombing teenagers, the parentsscckingrefage on tei uprtaie bale all ‘ofthis visible fom the pavement. A few saplings have ye to grow thick enough wo offer rf. “The pla of the Garden Howse isan L-ahape, with communal spaces on the ground oor and besdcooms above." isthe most simpe plan we've ver done,” sys Dutbach, “bathe scton gute complex.” Weapped in 3 bic skis, the upper Story straddles «concrete and gas plinth Sel ‘irutssupporteheorerhanging volume sndenclose 1 ground Noor veranda, The anti gravitational ttfect of placing an opagjue mas above earl ene hase eas ky Hass, Darach Boek design foeprefabecatd dvelingcompany Happy Haus A seulprurallickobjectsuroundedy landscape, the Garden Howe alsa has och common wich Infinity Howse, che architect’ winningenry inthe resent 2010 About Face competition, Draped in 2 brickwork ribbon, Infinity House proposes an brant form for projet housing suburbanWhile the Garden Houscis he lates in longline bespoke Durhach Blck residences, ii cle into low-eost and mas-predced housing are spilling over ino the architect other work, Ind, Darbach ches Le Corbaser’ Maitons Jao at [NeilysirSeine asa key reference, Desig fora fatherandsonandconsetctedbetwcen 1954-1986, the Maisons Jaoul were bul to modular dimen Sons and on limited budget ami rgal posteae cmon, The hoces have a ev bratlat quay inkecping with Le Corbasir Indian projects, but are much cauder than the white ender and sooth lines of is cakes French houses, 1LeCorbusierhasalaysexetdinflunse over Durbach Black. Those earlier French houses Vila Sten, Villa Savoye ~ have surfaced time afer tien projects rom eeir Darling Point House (199) to the extraordinary cit op Hol rman House 2004), Here, he atemp ro emulate the crudy ofthe Maisons Jul eepresents ay pethaps encouraged bythe tied fazade of Durbach Block's Reni Src building (2009) It was the Fst vie we've used brick,” explains Durbach We asked the brickies to make it rough.” In tally the normally mesiclous brikies failed to ‘atny the archiec instructions, To achieve the Alsied eect, Durbach resorted wo recyled bricks and a fllsale pote that puiceacngy enn ergy. Resting brick on concrete, he acy inveresthe logic of the Maisons Jao. Reminiscent of che arched portals in Pallaio’ Villa Poiana, 2 Pairofcompacarcespanstatesthe hous’ ng tres facing gad, ‘On entering the howe, the fst thing chat catches my eye the glint of a cstom-designed heentershelving the work o lel ahne tee apnSo rich is the house with o curves and sculp incisions, with detail and incident, that tis practically an architectural ecosystem in its own right Fant rel space through a fisire between the overkanging ‘opper soreyand the lower sorey wal. The over hang is perodialy cu way to admieviews ofthe sky. Occupying he hinge in he L-shaped plan, he Ickes isthe te of rams ert inter Here, avoid tothe level above creates a complex lnzesction hereon plaster walls and as. Behind the kitchen, an ineral yer inaceessible coursed yard contains a minature jungle thar cst een Tighe into the ous’ predominantly white ini Ate farend of he round Boor. aap pools ot long the house's northem boundary The house's upper level tems with memora ble elements and spaces. The top seiewel is ‘enclosed in. sloped plaster hood, which ii tm punctured by 2 rectangular green aperture. “I's 8 ile bic of Firming” says Durbach, and indeed fe ic 2-miiaturied segment of Le’ Corbusier's posthumously bul chapel, En rou to che master Bedroom, a corridor spans Berween che Lash inter ral courtyard andthe glssalled void downto the kitchen, Windows from the master bedroom overlook a row of overited Povinil aye dwell ings. you squine, cold be che French Riv However, the balcony banda keys us back into place sguigling suagessvly athe vantage point from which Sydney Harbour can be glimpsed ‘Containing panes of sarousy texan trans Iucent latin one dtcton, and coloured glass in the ote, exiled clerstory window animates the long passagenay that leads tothe secondary ecdeooms. With i ina foam and rainbow assy the clerestory reminds me of Roy Grounds Iprerenovation) Nai the end of the pase il Gallery @ stu descends through Vitoria, At separated by the garden, the house consiates am ongated loop. [nd myself retracing my sep themselves in cinematic equnce asl pass Achiet are responsible for ashe percent ‘oF Australian homes, Wehavelangeyheen exladed from the growrh af the suburbs and fom the deve ‘opment of afordable housing. Durbach Block's fom into cheap and mateproduend residential