Evelyn Reynolds

Populous and Stewart Architecture have been appointed to deliver the reference design and design brief for the most significant update of the Australian Institute of Sport (AIS) in Canberra since it opened in 1981, more than four decades ago.
The two architecture firms will be joined by Ngurra Advisory, guiding Indigenous consultation, and Arcadia Landscape Architecture, responsible for the landscape design.
The AIS Podium Project, commissioned by the Australian Sports Commission (ASC), involves the construction of three new buildings for use by athletes training for Olympic, Paralympic and Commonwealth Games, as well as other world championship events. The project includes a multi-storey accommodation building for more than 200 athletes, an indoor sports dome for all-weather training, and a high performance training and testing centre to be established at the 163-acre campus in Canberra’s northern suburb of Bruce.
According to a communique from the architects, the brief from ASC calls for buildings that meet high environmental standards, use passive design strategies and allow for future adaptability.
Practice principal of Stewart Architecture Marcus Graham said the firms’ aim is to deliver inclusive, efficient facilities that work together as a cohesive campus. The communique notes that the campus will be designed to accommodate users of all ages and abilities, from young to mature athletes, along with coaches and support staff.

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Aside from an upgrade to the multipurpose AIS Arena in 2024, the campus has seen little change since it was first built. Director and senior principal at Populous Al Baxter noted that when the AIS first opened in the 1980s, it set a global benchmark for high-performance sport.
“The model was replicated by countries around the world … As we head to the Brisbane Games in 2032, these works will ensure a new legacy and long-term value for Australia and its athletes,” said Baxter.
The reference design and design brief are expected to be finalised in 2025, with the infrastructure anticipated to be delivered in time for key sporting events, including the Los Angeles 2028 Olympics, the 2030 Commonwealth Games and Brisbane 2032.
The final design will be shaped by consultation with athletes and will require approval from the National Capital Authority. More

Managing director and principal at Billard Leece Partnership (BLP) Tara Veldman has been named the inaugural recipient of the Australian Health Design Council (AHDC) Gold Medal. The medal is awarded to nominees who demonstrate visionary leadership, a commitment to excellence and a significant contribution to the healthcare design industry.
Veldman possesses more than 20 years’ experience in healthcare design and was instrumental in growing BLP’s Sydney office from a solo operation in 2011 to a team of 70 professionals today. She became managing director of the national business in 2020.
A media release from BLP notes that “under [Veldman’s] leadership, BLP has pioneered ‘translational design’ – a collaborative methodology that brings together architects, researchers, clinicians, and patients to create healing environments grounded in rigorous evidence and deep empathy. This approach integrates environmental psychology, patient feedback, and cutting-edge research into every stage of the design process.”

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“I’m deeply honoured to receive this inaugural award,” said Veldman. “This recognition reflects the incredible work of our entire BLP team and our valued collaborators – the clinicians, patients, stakeholders and communities who partner with us to reimagine what healthcare environments can be. Together, we’re proving that thoughtful, evidence-based design has the power to heal.”
The judging committee comprised Kate Copeland, chair of the AHDC; Ron Billard of Ron Billard Consulting; Alex Belcastro of Northwest Healthcare REIT; Warren Kerr of Hames Sharley and committee member of the ADHC; and Isabelle Mansour of Mott MacDonald and secretary and events lead of the ADHC.
They commented, “Tara has made an invaluable and lasting contribution to healthcare design through her visionary leadership, compassion, and commitment to excellence. Her leadership on major projects in Australia has set new benchmarks for care.
“While her influence is strongest at the facility level, she also contributes as a thought leader and mentor, sharing knowledge and inspiring emerging designers, thereby shaping the future of healthcare design through both practice and professional development.” More

Architectural practices DKO and Aileen Sage have unveiled plans for the redevelopment of five historic warehouses on Sydney’s Wentworth Avenue, led by Willow Development Group.
The Edwardian warehouses at 4–22 Wentworth Avenue date from 1911 and are protected by a local heritage listing. Currently, the buildings are occupied by various retail and commercial tenancies.
According to a media communique, DKO and Aileen Sage’s proposal, which was selected following a design excellence competition, involves an adaptive reuse strategy that “balances heritage conservation with contemporary intervention, using the existing built fabric as a framework for innovative spatial and architectural expression.”

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With the designers’ aim being to reinforce the project’s urban and cultural relevance, their approach has been shaped by five core principles: expressing each warehouse’s individual character, streamlining circulation to connect the five buildings, designing for diverse tenancies, articulating a cohesive tower form and sensitively adapting the site’s heritage.
According to the media communique, the designers have worked with heritage consultant Jean Rice to utilise and retain as much of the existing building fabric as possible. At the same time, energy efficiencies have been designed into the redevelopment. These include 100 percent electrical services and solar PV harvesting, rainwater harvesting, and waste diversion.
DKO director of architecture and growth Rupert Reed reflected, “The heritage fabric of the site has always guided our design. This project is about cohesion – not just between buildings, but between disciplines, ideas and histories.
Rice added, “This was a true collaboration – one built on listening. The outcome is richer for the way stories of the site informed design decisions.”

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The proposal introduces a new commercial tower above the corner building at 4–6 Wentworth Avenue, envisioned as a prism-like form. Next door, at 8 Wentworth Avenue, a top-lit, glazed atrium space is designed to draw light deep into the site. This space is envisioned with lush landscaping and a spiral staircase.
According to director at Aileen Sage Amelia Holliday, “New works will balance cohesion and diversity through artful additions and sensitive heritage adaptations.” The proposal includes restoration of the warehouses’ current shopfronts with a contemporary language of detailed steel work in bold colours.
In terms of landscaping, landscape architect Dangar Barin Smith has developed a biophilic strategy for the development across sunken gardens, rooftop terraces and landscaped communal spaces that employ a palette of mostly Indigenous plants.

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The proposal has received development approval and is expected to commence construction in mid-late 2026.
Director of the Willow Development Group Michael Skala commented, “We feel incredibly privileged to be able to put our mark on Surry Hills and look forward to delivering a new calibre of workspace for Sydney and a new benchmark for commercial city fringe stock. This project will go further than just paying homage to its heritage, integrating the existing historic buildings into the landmark finished product that DKO and Aileen Sage have meticulously designed.” More

The Australian Design Centre (ADC) has announced it will cease operations by 30 June 2026 unless urgent alternative funding is secured, marking the potential end of a 61-year legacy supporting Australia’s craft and design community.
The decision follows confirmation that both the Federal Government (through Creative Australia) and the NSW Government (through Create NSW) will discontinue adequate operational funding from the 2025–26 financial year. Create NSW recently awarded ADC $150,000 per year for two years—a figure $350,000 short of the minimum $500,000 annual base required to sustain operations.
ADC board chair Elizabeth Espinosa said the volunteer board had “considered all other options” but could not see a viable path forward without renewed funding.
“Without core operational support to pay staff and cover administrative costs, we have no other choice but to cease operations by 30 June,” she said. “This means that NSW will be the only state or territory in Australia without an organisation dedicated to craft and design practice.”
The closure would have widespread repercussions for artists and audiences. ADC currently provides opportunities for around 1,000 artists each year, and its exhibitions attract up to 350,000 visitors annually. Exhibition programming in Sydney will end in February 2026, followed by the closure of the Object Shop in March 2026. Touring exhibitions will continue as scheduled until mid-2026.
ADC CEO and artistic director Lisa Cahill described the decision as “devastating,” highlighting a lack of transparency in recent funding decisions.
“Despite being recommended for funding by peer assessors, ADC no longer receives four-year funding from state and federal agencies. Clearly, craft and design are not a priority,” she said.
Founded in 1964, ADC has long been a vital platform for contemporary makers and designers, supported by the City of Sydney through its gallery space on William Street and by private philanthropy.
The board is now appealing for $350,000 per year in additional funding from government, corporate or private sources to keep ADC open beyond 2026. Enquiries or offers of support can be directed to Lisa Cahill at (02) 9361 4555 or lisa@australiandesigncentre.com More

An award-winning Paddington townhouse, designed by late Sydney architect Ken Woolley as a home for him and his wife, has been added to the New South Wales State Heritage Register.
Known as the Woolley Townhouse or Paddington House, the residence at 8A Cooper Street was completed in 1980 and served as the home of Woolley and his wife, Virginia Braden Woolley, for seven years. It is the third and final residence that Woolley designed for personal use.
From the street, the house appears as a walled compound, but from the rear garden, a dramatic round tower soars the full height of the three-storey structure. The house is regarded as a love letter to Woolley’s wife, its sinuous form inspired by her love of the grand piano and her dream of becoming a concert pianist.
In August 2025, the Heritage Council of NSW announced the house was under consideration for state heritage listing, describing it as “an early demonstration of his [Woolley’s] capacity to combine postmodern characteristics with Sydney School design.” As a result of this process, the council has granted the listing, recognising the project as “an outstanding example of postmodern domestic design” and “a testament to Woolley’s enduring legacy.”
Sally Barnes, chair of the Heritage Council of NSW, said the heritage listing ensures the conservation and proper recognition of the townhouse’s beauty and distinct character.
“From office towers to civic squares, churches to townhouses, Ken Woolley’s range was extraordinary. His talent is on full display in the home he created for Virginia,” said Barnes.
“Beyond its eye-catching design lies a story of love and creativity. I hope this listing inspires architects – both emerging and established – to look beyond the drafting table and think outside the box when imagining their project.”
In a 2020 Revisited article for Houses, Peter Salhani spoke with Ken Woolley’s eldest daughter, Anna Woolley, who shared fond memories of the home. “The bedrooms had a cosy cubby-house feel to them. They weren’t big, but you felt incredibly safe. There was nothing at all showy about the house but it was very interesting. That’s a reflection of Dad’s quiet nature and his brilliant attention to detail,” Anna said. More

Bates Smart and Richards and Spence’s proposal for a three-tower development for Aria Property Group in South Brisbane has been greenlit for development by Brisbane City Council. According to Bates Smart director Mathieu le Sueur, it is the first project to be approved under Brisbane City Council’s new height limits for the suburb.
Across three towers ranging in height from 24 to 50 storeys, the project will deliver 678 new dwellings, a 216-room hotel and 21,000 square metres of retail space. Over the past few years, the architects had developed several iterations of the proposal, including one with three 12-storey towers and another featuring a single 17-storey tower.

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At almost 7,300 square metres, the consolidated site at 164 Melbourne Street has three street frontages, with two heritage-listed places at either corner. These include the former Bond’s Sweets Factory, a 1951 Art Deco building at the Manning Street corner, and Malouf’s fruit shop and residence, built in 1913, at the Edmonstone Street corner.
The approved development will involve the restoration and retrofit of these two buildings into retail and hospitality tenancies. In addition, small-scale high-street retail will be located along the site’s edges. A network of pedestrian laneways, which includes a “dry route” between unflooded evacuation points in times of flooding ­– will permeate the podium, leading to a central “urban meadow” and amphitheatre, as well as various other courtyards and further retail and dining.

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Le Sueur said the project “represents an evolution of density and ground plane activation in the South Brisbane neighbourhood.”
Co-founder of Richards and Spence Ingrid Richards added, “By incorporating publicly accessible private spaces throughout the precinct, residents and visitors alike are offered places for relaxation, recreation, and connection.”
“The masterplan balances density with generosity – increased height enabling an enriched ground plane of activity and openness, where a network of laneways, vibrant landscaping, public art, and retail together create a layered and adaptable public realm,” she added.

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The architectural language of the podium draws on that of the heritage buildings, with a contemporary brick facade designed to provide a flexible framework as well as a fine-grain street character. Above, the tower forms are designed to be articulated with ventilated corridors, planted facades and climate-appropriate shading devices. The towers will each host a series of communal recreation spaces and rooftop amenities, including a suite of pools, private and shared dining spaces, hot and cold spas, saunas, a gym, a half-court, a multi-purpose room, a cinema, and treatment areas.
In Richard’s words, “Melbourne and Manning demonstrate the capacity for a private commission to deliver public value.” More

Big Glow by Studio Truly Truly
Constructed from non-woven wool and plant- based compostable fibre, Big Glow is both a sculptural light and acoustic feature. Designed and manufactured in Victoria, the panels are formed under heat and the soft wadding is transformed into translucent panels, which create a diffuse glow. Visit website.
Acerbis Lokum tables by Sabine Marcelis
Crafted with smoky blown glass, the Lokum collection by Dutch designer Sabine Marcelis evokes ethereal charm. Tables are available in square or rectangular forms and two tonal finishes, each piece reflecting the designer’s refined control of material transparency and minimalist design. Visit website.

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Gelato portable lamp by Carlo Nason
Originally a 1960s wired table lamp, Gelato is now a cordless, dimmable LED light reimagined by Carlo Nason and Established and Sons. Charged via magnetic USB-C, it combines coloured blown glass with haptic dimming and comes in four finishes: Spritz (pictured), Mint, Azure and Smoke. Visit website.

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Lola sun lounger by Alta × Stephen Baker
The Lola sun lounger is a collaborative piece by Alta Interiors and Melbourne-based artist Stephen Baker. Inspired by a painting from Baker’s personal collection, the piece blurs the line between utility and art. Lola features a UV powdercoated aluminum frame that ensures durability while remaining lightweight. Visit website.

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Neva Fade carpet from Tsar Carpets
Neva Fade by Tsar Carpets features a horizontal gradient with an earthy tonality that shifts from deep brown to grey. Hand-tufted from New Zealand wool and tencel, the 7–9 millimetre pile combines loop and cut textures. Sizing and colour personalisation is also available to complement any room. Visit website.

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Collette lounge chair by Adam Goodrum
Collette, meaning “collar” in French, is a chair distinguished by its prominent collared back, with a form that evokes the elegance of traditional Vietnamese script. Crafted from ash timber in a range of stains, it features a meticu- lously upholstered leather seat. The range is designed by Adam Goodrum for District Eight. Visit website.

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Twill Table from Design By Them
The Twill Table features colour-matched powdercoated aluminium legs and flint-finished laminate tops with a rounded-square silhouette. Conceived by Australian design duo Gibson Karlo for Design By Them, the table is available in rust red, pale eucalypt, soft white, silk grey and black. Visit website.

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Class Collection by Sebastian Herkner
Inspired by the classic lamppost, the Class Collection of outdoor lights features fluted glass tubes set in black aluminium shafts. Designed by Sebastian Herkner for Vibia, they emit a diffuse, ambient glow. The timeless form reinterprets twentieth-century design with updated materials and soft illumination. Visit website.

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Anni Oat Floor Rug from Baya Living
The Anni Oat Floor Rug comprises a hand- tufted 100 percent wool base with alternating cut and loop pile to create tactile linework. Its neutral tonality, plush 18 mm pile and offset linear texture deliver warmth and bring a sense of understated luxury to all contemporary interiors. Visit website.

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Loden Collection by Vico Magistretti
Initially produced by Gavina in 1961, Vico Magistretti’s Loden armchair and sofa have been reissued by Kettal. The timber frame, curved armrests and upholstered seat recall the restrained elegance of the ’60s. The name and material reference Magistretti’s fondness for Loden wool and its cultural cachet. Visit website.

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A state significant development application has been lodged for a $2.2 billion masterplanned community featuring eight residential towers in Sydney’s Inner West.
The proposal would deliver 1,336 new homes across towers ranging from six to 37 storeys on a 3.14-hectare site at 1 King St, Concord West, adjacent to the Concord West Train Station. Currently occupied by a single large warehouse, the site was identified for redevelopment in the NSW Department of Planning’s Parramatta Road Corridor Urban Transformation Strategy.
Named Concord Central, the project is being developed by Billbergia and joint venture partner Metrics Credit Partners, and was masterplanned and designed by executive architect Group GSA with additional architecture by Fitzpatrick and Partners, Carter Williamson and Lachlan Seegers Architect, and landscape architecture by McGregor Coxall.
According to a communique from Group GSA, the public domain is set to be activated with retail outlets, a supermarket, food and beverage offerings, medical facilities and a childcare centre at ground level. The plans also accommodate 8,750 square metres of open space, including a 4,130-square-metre central park and a green network that runs through the community. Play areas, community gardens and 316-metre pedestrian and cycle link also form part of the proposal.

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The community is divided into three neighbourhood precincts. The Station Precinct, designed by Group GSA and Lachlan Seegers Architect, comprises three towers atop a podium that contains the majority of food and beverage outlets, as well as the childcare centre. The Park Neighbourhood, featuring three buildings designed by Fitzpatrick and Partners, accommodates communal and wellness spaces alongside the central park. The Urban Edge, designed by Carter Williamson, offers terrace-style apartments across two buildings.
Group GSA director Lisa-Maree Carrigan said the design was guided by ideals of connection and community. She commented, “We’ve created a series of human-scaled streets and open spaces that link residents directly to transport, green space and the daily amenities that make neighbourhood life vibrant and enjoyable.”
Chairman and director of design at McGregor Coxall Philip Coxall echoed those sentiments, stating, “The landscape stitches the site into the wider community with green links, vibrant pedestrian-friendly streets, parklands and kids’ play, creating an open space for all. Water is captured and infiltrated on-site, supporting a palette of native plants and a canopy of shade trees that create places for people and support the local ecology.”

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The project is being delivered under the Housing Delivery Authority’s Alternative Design Excellence Strategy, a design competition exemption pathway for declared state significant developments aimed at accelerating housing. The proposal was reviewed through a Project-Specific Design Review Panel in line with Government Architect NSW guidelines for involving both emerging and established practices in state significant developments.
The plans for Concord Central have been lodged with the Department of Planning, Housing and Infrastructure and are expected to go on exhibition shortly. According to Billbergia, construction could commence as early as the second half of 2026, with completion of the first buildings slated for 2029. More