Mexican architect Tatiana Bilbao will create a large-scale installation at the National Gallery of Victoria inspired by an 18th century communal laundry. The installation is the inaugural commission in the Mecca x NGV Women in Design series aimed at showcasing the work of internationally renowned female designers and architects. Bilbao’s installation, titled La ropa sucia […] More
AFL team the Adelaide Crows have revealed plans to redevelop Thebarton Oval in the western suburbs of Adelaide, designed by urban design and architecture practice City Collective. The club announced it has selected the site as the location of their new headquarters, following a previous attempt to secure the former Brompton Gasworks site, which was […] More
The City of Sydney has unanimously endorsed controls that require new buildings and major developments to be net-zero in energy use by 2026. Effective from January 2023, the controls will require new developments to reduce emissions through increased energy efficiency, onsite renewable energy production, and offsite renewable energy procurement. New hotels, offices, shopping centres and […] More
The Australian Institute of Architects has launched a new graduate research scholarship in recognition of individuals whose research aims to enhances the value of the profession. The Robert Caulfield Graduate Research Scholarship will be awarded annually by the Victorian chapter of the Institute to the most compelling proposal that seeks to critically investigate a subject […] More
Using the photographic genre, Louise Whelan documented the construction and evolution of Peter Stutchbury’s Indian Head House in Sydney’s Avalon Beach.
Indian Head House is a robust home made from in-situ concrete with delicate blue gum joinery and panoramic views over the headlands of the Northern Beaches. Stutchbury architecture has won numerous awards for its unity, clarity and rigour, and his own private residence is no exception.
An upcoming exhibition at the Manly Art Gallery and Museum offers visitors rare, behind-the-scenes take on the private processes of a renowned architect and the construction of his own family home. A fellow Avalon Beach resident, Whelan observed the action over four years while Stutchbury was living onsite in a tent among the activity of his team of industrial designers, fabricators, woodworkers, fellow architects and family.
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First ‘smoking’ inside Indian Head House, within the internal courtyard. Left to right: Jarrah Wells, Andy Minter and Architect Peter Stutchbury. Image:
Louise Whelan
A portrait and documentary photographer, Whelan created an intimate, “real-time” and narrative-based account of the making of a home, in a marked departure from a conventional traditions of architectural photography.
Her artistic practice draws inspiration from an interest in the aesthetics of memory, with photographic works that are often complemented with the oral history discipline. Whelan has a strong interest in cultural memory and the value of the archive, with much of her own works housed within the state and national libraries. Whelan felt that Stutchbury’s private residence could be a “cultural asset” worth preserving in our collective imagination.
“I describe the house as generous. It has aspects of discovery in it; it makes you aware of your senses and it’s generous in its storytelling,” she said. Whelan draws attention to the strategically positioned square openings in the cement walls that provide a privileged snatch of the headland and let in sacred moments of sunlight.
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A well-considered square opening window in the front room of the house. This photo was taken during the construction, and there was no roof structure at this stage. 2016. Image:
Louise Whelan
“It has these square, 20-centimetre apertures that are a gift in the house – particularly for a photographer – that serve as a frame for the headland,” she said.
The house plays with these contrasts of hard and soft. Situated on a north-facing site, the light interacts with the surface in curious ways throughout the day.
“In the morning, it gets the direct, strong sunlight as it breaks the horizon and pours into the front room,” Whelan said. “By contrast, in the afternoon, it offers warm light radiating around the house from the internal courtyard – the heart of the building. That light is so soft, it wraps around the skin and hard surfaces, like a soft cloak.”
Whelan said that Stutchbury’s architecture along with maker Jeffery Broadfield’s woodwork “never shies away from ancestral responsibilities”.
“In one part of the house, there are these wooden stairs with brass plates on the side. As they were being installed, they were missing something, and Jeffrey had this piece of 10,000-year-old petrified wood that he inlayed into these stairs; everything has a story to it,” she said.
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Kitchen table looking into an internal Courtyard with walls adorned with the artwork by Lin Utzon, daughter of Danish architect Jorn Utzon. 2022. Image:
Louise Whelan
Elsewhere, the craftsmanship is evident from the tongue-and-groove blue gum joinery to the carefully considered viewpoints. In what Whelan describes as the heart of the home, the interior open-air courtyard walls are adorned with artwork by Lin Utzon, daughter of Danish architect Jørn Utzon, in a textured tile, cement and slate mural.
Whelan said that at golden hour, the ban-saw dust from construction activities acted as a light diffuser on the building site, casting a cinematic haze when salt air meshed with floating fine-wood particles. “I got to know the site intimately; I got to know the light, and where to place myself in certain times of the day,” she said.
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During the inlay of the stairs, ban-saw dust acted as a light diffuser during golden hour.
The stairs were completed with a 10,000-year-old piece of petrified wood, sourced by maker Jeffrey Broadfield, that was once a living Murray Redwood tree. 2017. Image:
Louise Whelan
As her four-year project drew to a close, Whelan experienced the complicated sentiment of satisfaction tinged with sadness when the home had taken its form.
“I was missing the open site as it started to close down and there more obvious signs of occupation by Pete and his family,” said Whelan. “That’s when Fernanda [Stutchbury, Peter’s wife and fellow architect] said to me, ‘That’s what happens to an architect’,” she said, describing the experience of relinquishing co-authorship of a project to the client. “I experienced that,” Whelan said.
Louise Whelan’s photographs and film will be on exhibition from 2 September to 16 October at Manly Art Gallery and Museum. More
The Victorian government has shortlisted three architecture and construction consortia vying to deliver the $294 million Geelong Convention and Exhibition Centre (GCEC), in what it is describing as one of the “biggest and most anticipated developments” to take place in regional Victoria this year. The GCEC will be delivered as a public-private partnership set to […] More
The Australian Capital Territory government has released the designs of the proposed Canberra Institute of Technology at Woden Town Centre designed by Gray Puksand. The practice was appointed to design a 22,500-square-metre Woden campus as part of the Lendlease Building consortium in May 2022. The campus will include a suite of new facilities, including smart […] More
Construction works have begun on a new $16 million visitors centre designed by Troppo Architects at Flinders Chase National Park on South Australia’s Kangaroo Island.
The former visitors centre collapsed during the 2019-2020 bushfires, the largest in the island’s history, which also destroyed 96 percent of the Flinders Case National Park and the adjoining Ravine des Casoars Wilderness Protection Area.
The new centre is located nine kilometres from the original, which was deemed unsuitable in the wake of the devastation. The new building has been conceived as a series of lightweight pavilion structures, recessive in character, to prioritize a connection to the outdoors.
The visitors centre will be made from bushfire-resistant timber and rammed earth sourced from existing nearby sites. Local laterite gravels and surface limestone, along with charred eucalypt from bushfire clearance along park fire tracks, will add a uniquely “local texture”, the architects said.
The new centre will sit perched on a curated landscape, surrounded by wastewater treatment zones, rainwater storage tanks, and a colonnade roofed by solar panels, as well as a richly forested creekline and public picnic areas.
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The new centre will sit perched on a curated landscape, surrounded by wastewater treatment zones, rainwater storage tanks, and a colonnade roofed by solar panels. Image:
Troppo Architects
“The site demands autonomous servicing,” Troppo Architects said, “and water will be harvested and stored [onsite] with solar panel arrays extending catchment capability, as well as powering a containerized battery.” Walkways and shelters around the national park will also help to collect rainwater, while onsite wetlands will help to filter waste and stormwater.
Adopting best environmentally sustainable design (ESD) practise, gas has been entirely omitted from the site. Electric vehicle charging ports have been included in the visitors’ carpark, while the building design has adopted low-power strategies for heating, cooling, and lighting.
“Low embodied energy is a primary tenet in the development of the centre’s architectural and siteworks strategy, and is generally concrete-free and lightweight, using sustainably sourced timbers and materials and fitments of Australian manufacture,” said Troppo.
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Render of visitors centre staffroom deck. Image:
Troppo Architects
The centre will maximize the benefits of the site; facing due north, it will use passive design principles for lighting, sun-shading and cross-ventilation.
“The space will draw in winter sun and with appropriate summer shading and deliver high levels of ventilation, even when heating and cooling modes are activated,” said Troppo. Once operational, the building is designed to generate and store its own power and will be entirely self-sufficient in terms of water usage.
Harbouring a strong connection to the area, Troppo Architects previously worked on Platypus Waterholes on Kangaroo Island in the wake of the 2010 bushfires in Flinders Chase National Park. A series of small structures comprising platforms, shelters and lookouts, the walkway was made from low-maintenance, durable and sustainable materials and allows visitors to safely engage with the unique ecological landscape.
Kangaroo Island’s tourism industry contributes $140 million to the state’s economy annually, the SA government said, and rebuilding the visitors centre marks an important step in the island’s bushfire recovery. The University of Adelaide is contributing $2 million to the rebuild of research facilities at the centre, as conservation groups, research partners and commercial tour operators are expected to use the centre’s event space.
Construction is expected to be complete in 2024. More
