Evelyn Reynolds

Designs have been unveiled for a $150 million revitalisation of the Cadbury Chocolate Factory site in Claremont, Hobart, which would see the factory’s waterfront parklands transformed into a “chocolate experience.”
According to a media communique, the vision from tourism entrepreneur Simon Currant and Associates is to “combine wonder, indulgence and Tasmania’s rich provenance into a global benchmark attraction – a celebration of chocolate on a scale never before seen.”
Together with Art Processors – an experience design enterprise from David Walsh, founder of the Museum of Old and New Art (MONA) – Tasmanian architecture firm Cumulus Studio has shaped the creative direction of the project.

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The communique notes that their “design takes cues from the adjacent Cadbury Factory, reimagining its pipes, machines and conveyor belts into a hyperreal chocolate world.”
Centred around the factory-like “chocolate central” space, the project is set to feature a masterclass space, chocolate emporium and chocolate lounge.
According to the communique, visitors will be able to journey through an “immersive chocolate tour” designed to “celebrate Tasmania’s past, present and future” and bring “Cadbury’s 100-year Tasmanian heritage to life.”
The tour will include a cacao forest, a chocolate lab, a taste kitchen,a factory control space and a build-your-own bar, among other experience-oriented spaces.

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Founding principal of Art Processors Tony Holzner said that the project is “built on curiosity, invention and joy” and “an active sensorial experience that brings the wonder of chocolate to life, inspiring discovery and connection through generosity and hands-on fun for all ages.”
Director at Cumulus Studio Peter Walker added that the design “is an architectural embodiment of chocolate itself – rich, layered and unforgettable. It is a place where magic is not just seen, but felt, tasted and experienced in every detail.”
Each year, the attraction is forecast to welcome 550,000 visitors – the equivalent of $120 million into Tasmania’s visitor economy. Ninety-five percent of the funding for the project is intended to be secured from private investors, with the remaining “government support providing confidence for future success,” the media release notes.
The project will also include the redevelopment of the Claremont waterfront with landscaped walkways and a new ferry terminal.

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An article in The Mercury reported that plans for the development have been lodged with Glenorchy City Council and noted that Currant “is hopeful a decision on the project will be made by the end of January with construction starting next year.”
Currant commented, “Cadbury’s story runs deep in Tasmania, and by pairing that heritage with the best local produce, we will create a destination that locals are proud of and visitors will love.”
The project is slated to open in 2027. More

A new viewing platform with a distinctive curved tubular form has opened at the Loch Ard Gorge Blowhole in Port Campbell National Park in Victoria’s south-west.
According to a release from the Victorian government, the project draws upon the story of Koontapool, the Southern Right Whale, and as such is named Poombeeyt Koontapool – ‘breath of the whale’ in the Keerray Wooroong language.
Led by Denton Corker Marshall (DCM) with landscape design by McGregor Coxall and engineering by Arup, the design for the lookout was borne of a collaboration with traditional owners of the Eastern Maar Country, including artist Vicki Couzens.
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A communique from DCM notes that Couzens’s “integrated artwork embodies the breath of the Southern Right Whale, a creature central to Eastern Maar spiritual beliefs, where the blowhole itself is interpreted as the whale’s blowhole.”
At the opening of the lookout, Couzens reflected, “It’s an amazing work that incorporates our cultural songlines and stories with the principles of biomorphic design, which is designing with nature and environment.”
“The design avoids projecting over the edge, preserving the sanctity of this culturally and environmentally sensitive location,” DCM’s communique states. “The lookout embeds storytelling, ecology and equity of experience, ensuring all visitors – regardless of physical ability or cultural background — can engage meaningfully with the site.”
Director at DCM and design team lead Neil Bourne reflected, “We are proud to have led the design team on this remarkable project, in collaboration with the Eastern Maar people, to deliver an outcome that is culturally expressive yet sits comfortably in Country.”

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Described by the practice as “a sculptural insertion into the landscape,” the platform curves organically into the landscape and coastal vegetation with a shell-like form. The tubular form is sliced open at either end, meaning that the view – like the shelter itself – is revealed only upon approach.
This response to the site is intended to amplify the sensory experience of the blowhole through the sound of the waves and movement of sea spray, while also “evoking imagery of cresting waves, seashells, geological formations or a breaching whale,” DCM’s communique notes. Custom seating, inspired by whale-like barnacles, is intended to provide places of rest and yarning.
Due to the unstable geology and remoteness of the site, the lookout was constructed from fibre-reinforced polymer (FRP) – a lightweight and durable material which allowed for precision prefabrication of the lookout in modules, which were assembled together off-site, disassembled and then reassembled into the finished project on site.

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The Poombeeyt Koontapool Lookout is the third and final intervention funded under the first stage of the Shipwreck Coast masterplan, each designed by DCM. At the Twelve Apostles, the firm’s design for a cantilevered lookout developed in collaboration with the Eastern Maar Aborigional Corporation was opened in 2024. In Port Campbell, a new pedestrian bridge over Campbell’s Creek completed in 2020 adopts the principle of “treading lightly” to connect the town and national park.
According to DCM, the three projects are linked by the symbolic motif of the black and white cockatoos – the Poombeeyt Koontapool Lookout adopting a recessive, black exterior in contrast to a light interior – however, Bourne noted that they each respond “in very different ways to unique environmental and cultural qualities of their locations.”
The trilogy of projects originated from an invited design competition in 2018, with concepts shaped by guidance from Parks Victoria following engagement with traditional owners. The design team were also the proponents of the 2015 Shipwreck Coast masterplan – a strategic framework for integrating architecture that honours cultural narratives and ecological integrity across the 28 kilometres of natural coastline and hinterland surrounding the Twelve Apostles.

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The Poombeeyt Koontapool Lookout officially opened to the public on Friday 12 September. Nearby, construction is currently underway on the Twelve Apostles Visitor Experience Centre, designed by Grimshaw Architects and Aspect Studios. More

Concept images have been unveiled for a masterplanned 330-home residential neighbourhood in the regional city of Orange, New South Wales.
Named Redleaf, the project is proposed by Orange City Council and Landcom to unlock 25 hectares of council-owned land at 154 Lone Pine Avenue and 5255 Mitchell Highway for a mixed housing neighbourhood. The proposed development includes single dwellings, duplexes, townhouses and flats, as well as 20 percent affordable housing.
The proposal also accommodates shared community facilities and more than five hectares of open space and parkland.
The masterplan, designed by Oculus in collaboration with Oz Ark, Sala 4D, Mecone, Balarinji, Colliers, GHD and Cultural Capital, is centred around a blue-green corridor for recreational and ecological amenity. The masterplan report outlines three key project principles: providing housing choice, including medium-density housing as a proof of concept for regional areas; creating safe, walkable and attractive streets that connect people to homes, open spaces and public transport; and designing with nature by working with natural systems to manage water and conserve biodiversity through new parks, wetlands and tree-lined streets.
Mayor of Orange Tony Mileto said, “Redleaf is more than just a housing development – it’s a commitment to the future of Orange. This project reflects our city’s values and is something our community should be proud of.”
The proposed site – which is currently vacant aside from a structure that previously housed an emergency services helicopter hangar – sits adjacent to the suburb of Glenroi, approximately 4.4 kilometres from the Orange city centre and 3.2 kilometres from Orange Station.
According to a communique from Orange City Council, the proposal was the first to complete the rezoning process under the NSW government’s Social and Affordable Housing Rezoning Pathway, which seeks to accelerate rezoning approvals in communities with housing need.
A masterplan development application was on public exhibition until 10 September. Pending approvals, construction is expected to commence in mid-2026. More

Global architecture firm Populous, known for sports infrastructure projects, has been recognised in India by the Queensland Premier for its ongoing contribution to developing the state’s export success.
Populous has been operating in Brisbane – a city that’s also home to several stadia designed by the practice – for more than 20 years. In 2021, the firm named its Brisbane office as its Asia-Pacific headquarters.
For the last decade, Populous has also been operating in India, with 22 staff in New Delhi currently working with the Brisbane studio and the Indian government on its bid for the 2036 Olympic and Paralympic Games. The firm’s flagship Indian design project to date is the world’s largest cricket stadium, Narendra Modi Stadium, which has a 110,000-seat capacity.
A certificate of recognition for outstanding contribution to Queensland’s export success was presented to Populous director Chris Paterson by the Queensland Premier David Crisafulli at a ceremony in New Delhi earlier this month.

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“India’s love of sport and Populous’ expertise in designing the world’s best stadia and arenas mean we are a natural fit,” Paterson said. “This recognition represents more than 25 years of working across the Asia Pacific region by our team of designers, and specifically more than 10 years of collaboration between our highly skilled architects in Brisbane and India.”
Populous’ global director and co-founder, Paul Henry, added, “Our India and Brisbane offices are supporting Ahmedabad in its Olympic journey, a significant development given Brisbane’s own preparation to host the 2032 Olympics.” More

A First Nations arts and culture centre on Minjerribah/North Stradbroke Island in Queensland has opened to the public, envisioned as a space for sharing Quandamooka culture through various art forms.
Co-designed by Cox Architecture and Quandamooka people, with project inception and community engagement realised in collaboration with The Fulcrum Agency, the centre accommodates exhibition and workshop spaces, an open foyer, a yarning circle, a community Elders’ space, a cafe and a gallery shop. The client for the project is the Quandamooka Yoolooburrabee Aboriginal Corporation (QYAC).
A communique from Cox Architecture noted that the Quandamooka Arts and Culture Centre (also known as QUAMPI) is “a key project of the Queensland Government’s Minjerribah Futures program,” which supports the transition of Minjerribah “from its past economic reliance on sand mining to a new future as a leading destination for cultural and ecotourism.”
A project timeline from Cox notes that “the project has had a long gestation period, commencing in 2017” with a consultation and engagement period that spanned more than two years. In 2019, the Queensland government announced it would commit $4.5 million to the construction of the centre – then known as the Quandamooka Art, Museum and Performance Institute.
Associate director at Cox Ali Farmer stated, “Quandamooka Elders and community members have been incredibly generous in sharing their knowledge of people, place and culture with us over the last eight years.”

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According to the architectural design statement, the name QUAMPI is derived from the name of a local pearl oyster, fragments of which are embedded into walls of the centre to represent the Quandamooka people’s seagoing heritage. The centre incorporates other culturally emblematic materials, such as local timbers and rammed earth. The statement notes that rammed earth is made from layers of sand recycled from now-ceased mining operations.
The statement highlights that external spaces have been designed to support a wide range of programmed and informal activities and performances. Among them is a woven timber community Elders’ space, intended for storytelling and sharing of knowledge to small gatherings. It notes that the woven timber screen is visible from within and outside the space, ensuring light filters throughout the space across the day.

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Landscape design for the project was undertaken by RPS Landscape Architects. Documents state that the centre has two wings that frame a central performance lawn which opens to Deanbilla Bay. Additionally, planted berms conceal key public spaces from street view.
The new centre has opened to the public for the 2025 Quandamooka Festival, taking place across 13–14 September.
Read an earlier discussion piece about QUAMPI, written by Kieran Wong of The Fulcrum Agency, here. More

A search has launched today for the selection of “visionary architects” to design the new Brisbane Stadium and National Aquatic Centre, which together form the heart of the Queensland government’s $7.1 billion plan for the 2032 Olympic and Paralympic Games.
The two venues have been touted by the Games Independent Infrastructure and Coordination Authority (GIICA) as “centrepieces” within the Victoria Park precinct. As the location of the games’ opening and closing ceremonies, and athletic events, the 60,000-seat Brisbane Stadium is set to be the main Olympic venue during the games. Afterward, the venue is intended to serve as the city’s main stadium with a capacity of 63,000 seats.
To the east of Brisbane Stadium, the National Aquatic Centre is envisioned on the site of the heritage-listed Brisbane Centenary Pool. The reworked site is set to host a permanent capacity of 8,000 and 25,000 in games-mode.
In leading the development of these two projects, along with 15 other new and upgraded games venues, GIICA has said it “is seeking architects with experience delivering iconic projects to bring their bold ideas and innovation to the design of these future Brisbane landmarks.”
GIICA CEO Simon Crooks said he expected the EOI to attract submissions from some of the most renowned architects across Queensland, Australia and the world.
“Designing an Olympic and Paralympic Stadium, which then becomes a city’s major events centrepiece, is a rare opportunity and a project that architects everywhere dream of being part of,” Crooks said. “This is a truly international moment, and we must cast our net wide to get the best design complemented by cutting edge innovation in sustainability, accessibility and athlete and visitor experience.”
Crooks added that GIICA has “already been overwhelmed with interest from architects for both the [Brisbane] Stadium and the National Aquatic Centre, and this next step allows all those with a bold idea to come forward for formal consideration.”

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An EOI seeking a principal contractor for the Victoria Park precinct masterplan, and an EOI for the appointment of a lead designer for four regional venues, were each conducted in July this year.
However, just last month a First Nations group took federal legal action to seek protection of Victoria Park/Barrambin – which they describe as “one of the city’s most important First Nations sites” – against major Olympic stadium development. Despite this, GIICA is continuing with plans to locate the stadium within the Victoria Park precinct.
According to Crooks, “The stadium that hosts the opening and closing ceremonies is often one of the longest lasting memories for audiences and athletes at the games so getting a visionary design is key to the entire experience.”
The successful principal architects will partner with GIICA during the early contractor involvement (ECI) process for both venues.
The EOI is open for two weeks, closing Wednesday 24 September 2025 at 5pm. More

The Australian Design Centre (ADC) has revealed the 36 finalists for the 2025 MAKE Award, a biennial prize for innovation in Australian contemporary craft and design disciplines. It is the country’s most significant non-acquisitive prize in the field, with a $35,000 first prize and $10,000 for second place.
Now in its second iteration, the Make Award attracted 197 entries from artists, craftspeople and designer-makers nationwide. Finalists were selected for works that demonstrate innovation in technique or materials and represent an evolution in their personal practice. The selected works span a wide range of fields including ceramics, glass, jewellery, textiles, metal, furniture and fibre.

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The 36 finalists this year are Jin Ah Jo, Ash Allen, Julie Bartholomew, Roseanne Bartley, Emma Bugg, Melissa Cameron, Scott Chaseling, Vita Cochran, Kirsten Coelho, Zara Collins, Laura Deakin, Lynda Draper, Dan Elborne, Caren Elliss, Jason Fitzgerald, Neville French, Jess Hall, Kirsten Haydon, Anke Kindle, Phong Lai, Cinnamon Lee, Noel Murphy, Sharon Peoples, Nicole Polentas, Jake Rollins, Jennifer Robertson, Hugo Rucks, Jeffrey Sarmiento, Lotte Schwerdtfeger, Gabbee Stolp, Bolaji Teniola, Jane Theau, Blanche Tilden, Alice van Meurs and Sarrita King, Zoe Veness and Melinda Young.

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The winner will be announced at the exhibition’s opening night on Friday 10 October 2025 at the Australian Design Centre in Sydney. The exhibition will run until 19 November before touring to JamFactory in Adelaide from December.
This year’s judging panel includes Simone LeAmon, curator of Contemporary Design and Architecture at the National Gallery of Victoria; Brian Parkes, CEO of JamFactory; and artist Vipoo Srivilasa, who won the inaugural MAKE Award in 2023 with his ceramic work Diverse Dominion Deities.

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ADC CEO and artistic director Lisa Cahill, who also serves as a judge, praised the calibre of entries: “Innovation and a high level of skill were outstanding in the entries this year. Finalists have pushed the boundaries of material use and I am excited to see their work in the exhibition, as well as selecting the winner. More

The shortlist for the 2025 Eat Drink Design Awards has been announced, with 64 projects shortlisted across six primary categories.
Eat Drink Design Awards jury chair and editor Cassie Hansen noted that the awards offer a unique perspective for exploring the direction hospitality design is headed, while also reflecting the wider cultural and economic factors shaping the way we dine and socialise.
“In an increasingly digital world, the jury observed many compelling interiors that encourage visiting in person. Designers are exploring new and creative ways to engage audiences beyond the traditional. From immersive bars to expansive breweries, the focus has shifted toward storytelling, atmosphere and emotional connection. Designers are creating memorable, tactile experiences that resonate deeply with customers,” said Hansen.
The jury remarked, “This year, we celebrated the numerous restaurants, bars, cafes and more that broke away from tradition, making a striking impression with designs that feel bold and original.”
2025 Eat Drink Design Awards shortlist
Best Restaurant Design
Best Bar Design
Best Cafe Design
Best Hotel Design
Best Retail Design
Best Identity Design
From hundreds of entries, the Eat Drink Design Awards are shortlisted and awarded by a jury of industry leaders from the hospitality and design sectors. The 2025 jury consists of:

Callan Boys, national restaurant editor, Good Food
Jean-Paul Ghougassian, director, Ritz and Ghougassian
Jason M. Jones, founder and creative director, Entrecôte and Hopper Joint
Simone McEwan, co-founder, Nice Projects
Cassie Hansen, jury chair and editor of InteriorsAU

Winners will be announced on Wednesday 29 October 2025. The jury will also select one iconic hospitality venue from Australia or New Zealand to be inducted into the Eat Drink Design Awards Hall of Fame. Venues considered for this accolade have achieved a level of cultural significance as well as demonstrating longevity in an industry often categorized as transient.
The Eat Drink Design Awards are organized by Architecture Media (publisher of ArchitectureAu).
The Eat Drink Design Awards are endorsed by the Australian Institute of Architects and the Design Institute of Australia. More