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    Gilad Ritz and Jean-Paul Ghougassian’s five favourite design objects

    Gilad Ritz and Jean-Paul Ghougassian of Melbourne-based practice Ritz and Ghougassian established their architecture and interior design studio in 2015, specializing in clean forms influenced by a reductionist philosophy. Striving to achieve more with less in their restrained design approach, Ritz and Ghougassian create spaces that have a considered materiality and a sense of volume and lightness, as well as an intimate relationship with their immediate contexts.
    The duo said their five favourite objects were unified by two themes: they all “enveloped space and contained volume”, and they shared “patina and haptic qualities”.
    Unjour shallow mug by Yumiko Iihoshi Porcelain
    Gilad Ritz: Its fine porcelain edge tucks under my top lip while the broad surface of its exterior shell rests across the bottom of my mouth, and I gently receive a dose of warm liquid.
    This Yumiko Iihoshi Porcelain-designed Unjour shallow coffee cup I use each morning requires mention. Nothing could be more intimate than putting something to one’s lips. This also forms my morning ritual.

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    Unjour après midi shallow cup by Yumiko Iihoshi Porcelain, shown in colour “rainy gray”. Image:

    Courtesy of Yumiko Iihoshi Porcelain

    David Mellor spoon
    GR: I hold the metal in my hand; its long, flat handle is weighted and cold to the touch, with rounded, tapered edges. Fine line markings relay light upwards along the length of it, flashing and disappearing into the void of the convex vessel.
    The spoon, designed as part of David Mellor’s Minimal stainless steel cutlery set, is a favourite of mine. Its heavy, metal surface and reduced appearance align with my design sensibility. Many meals can simply be consumed with a spoon.

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    Spoon from the David Mellor Minimal stainless steel cutlery collection. Image:

    Courtesy of David Mellor

    Richard Sapper Tizio light
    Jean-Paul Ghougassian: Metallic, angled and counterbalanced, the Tizio (designed by Richard Sapper) is an architectural expression. The light itself has sentimental value to me: it was a hand-me-down from my father, and in turn, it lights up my work as it did his. Its halogen light is hot, unlike the LEDs in the remake, and it warms the surface beneath it.

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    Richard Sapper Tizio light. Image:

    Courtesy of Richard Sapper Design

    Funnel planter by Anchor Ceramics
    JPG: Our Anchor Funnel Planter earthenware pot is a studio favourite: speckled, glazed, and of-the-earth. Each pot is different and unique, reflective of the hand that throws the clay. I enjoy the versatility of the object: it can both contain soil and receive water to sustain plant life, but – equally beautiful – it can contain emptiness and nothingness.

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    Anchor funnel planter. Image:

    Courtesy of Anchor

    Studio table, designed by Ritz and Ghougassian and made by Adrian Hall of H and F Custom Joinery
    GR + JPG: Our studio table – solid blackbutt timber glued together to create a smooth, flat, planar surface. Its timber grain is clean and very linear for a eucalyptus hardwood. Its legs are planar too, intersecting one another at 90°. Each timber strip was picked to match its neighbour. Every meeting we’ve had in the office occurs here. The table has developed a patina, a layer of time across its surface. It has the handprints of carpenters, builders, designers and clients adhered to its surface.

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    Blackbutt timber table in the Ritz and Ghougassian Toorak studio. Image:

    Tom Ross More

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    Pritzker Prize-winning architect dies aged 91

    Pritzker Prize-winning Japanese architect Arata Isozaki has passed away at his home on the prefecture of Okinawa, aged 91.
    Isozaki died on 28 December 2022 of “natural causes,” a statement from his office read. A private funeral service was held for close relatives only.
    Isozaki was born in Oita, Japan, in 1931, and studied architecture and engineering at the University of Tokyo, graduating in 1954 before completing his doctoral program at the same university in 1961. He maintained that his path to architecture was deeply influenced by the destruction he witnessed in the Hiroshima bombings during World War II, when he was just 14 years old.
    “My first experience of architecture was the void of architecture, and I began to consider how people might rebuild their homes and cities,” Isozaki said during his Pritzker Prize acceptance speech in 2019. The 46th recipient of the prestigious prize, Isozaki was also awarded the RIBA Royal Gold Medal in 1986 and the Leone d’Oro at the Venice Architectural Biennale in 1996.
    Isozaki leaves behind a six-decade career in architecture, with more than 100 buildings to his name across Asia, Europe, North America, the Middle East and Australia, including the Museum of Contemporary Art in Los Angeles (1986), Kitakyushu Central Library in Fukuoka (1974), and Ark Nova with artist Anish Kapoor (2013).
    His style “defies categorization,” the Pritzker jury said, embracing the avant-garde and frequently challenging the status quo. His buildings, written works, exhibitions and lectures have had a notable impact on the industry across both the East and the West, and he is often cited as the first Japanese architect to forge a deep and lasting relationship between the two cultures.
    The 2019 jury described Isozaki as “a versatile, influential, and truly international architect.” More

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    Winning design for North Sydney tower unveiled

    Em Be Ce has won the invited design excellence competition for a 27-storey mixed-use development on Sydney’s Lower North Shore. To be located at 3–5 Help Street in Chatswood, the project will form the southern edge of a cluster of towers in the area. A two-storey podium will accommodate 2,000 square metres of commercial and […] More

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    Former Adelaide gasworks to become inner-city ‘village’

    The former Brompton Gasworks in Adelaide’s inner-west is set to be redeveloped into a new “village”, with the adaptive reuse of the old gasworks structures.
    Melbourne and Adelaide-based practice Forum is the architect and urban design consultant leading the project, which will create a “vibrant, inner-city destination that mixes the past with the future, blending history, sustainability and community,” said Forum director Ed Mitchell.
    The site, 5.81 hectares of long-dormant gasworks, will eventually accommodate 1,200 residents across 800 new homes (200 townhouses and 600 apartments), 15 percent of which will be affordable housing delivered through not-for-profit housing providers.
    The former gasworks structures including a chimney stack and heritage quarter, will be transfromed into new bars, restaurants, cafes, commercial office space, and a 120-room hotel.

    The village will provide around 1.5 hectares of publicly accessible open space for recreation and entertainment opportunities, covering more than 25 percent of the total area of the site.
    South Australian housing minister Nick Champion said the project would unlock much-needed housing supply for Adelaide’s western suburbs.
    Successful tenderer MAB will invest close to half a billion dollars over the life of the project to deliver the vision for the gasworks site, expected to take 12 years to complete.
    The Brompton Gasworks previously received a bid from Adelaide Football Club as the site of its new headquarters, which was rejected in favour of the masterplanned village proposed by MAB.
    According to an Aecom consulting appraisal, MAB’s proposal “more closely aligns” with the planning and design code, creating the greatest diversity for housing product and the best response to existing heritage structures.
    The new precinct will be gas free, with all-electric homes powered by 100 percent renewable energy. Brompton Gasworks is targeting a 6-star Green Star rating, representing global leadership in environmentally sustainable practices. Remedial works to the site is expected to begin in 2023. More

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    Extension to Central Sydney tower approved

    The City of Sydney has approved a development application for a podium extension of an existing office tower in Sydney’s CBD after a proposal was submitted for an addition designed by FJMT. The vision for the existing modernist tower – fronting Elizabeth, Park and Castlereagh streets in the city centre and opposite Hyde Park – […] More

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    National Gallery of Australia celebrates 40th anniversary with new book

    The National Gallery of Australia is launching a book, celebrating one of the nation’s “most remarkable buildings”.
    Published in the year of the NGAs 40th anniversary, Vision: Art, Architecture and the National Gallery of Australia is an examination of the gallery building, which is a “bold combination of the sculptural and the functional”.
    Designed by architect Col Madigan of Edwards Madigan Torzillo and Briggs, the NGA was completed in 1981 before it was officially opened by Queen Elizabeth II in 1982.
    The large Brutalist edifice, with sweeping brush-hammered concrete surfaces and soaring cathedral-style ceilings, it is one of Australia’s most recognisable buildings today.
    Vision includes essays by architectural historian Philip Goad, alongside previously unseen images from the gallery’s photographic archive.
    “Understanding the complex evolution of this now heritage‑listed building reveals its unique place in Australian architecture, and among art galleries both in Australia and internationally,” said Goad.

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    Perspective drawing of the original entry sequence to the National Gallery. National Gallery Research Library and Archives, artist: Davis Bité. Image:

    Courtesy of EMTB Architects

    “Now is the time to recognise the building for what it is, and celebrate the ambition of its creation, dare to uncover its bones and revel in its concrete presence and retrieve its vision.”
    Photos include works of Australian photographers David Moore and Max Dupain, interspersed with drawings and plans, that chart the conception of the building – its design, construction and aftermath – from 1970s until present day.
    National Gallery director Nick Mitzevich said the book is “a celebration of this significant building in the history of Australian architecture”, exploring the building in its entirety, from its founding on Ngunnawal and Ngambri Country to its status today as a world-renowned gallery.
    Vision is published by Black Inc. and designed by John Warwiccker, and features an introduction by Bruce Johnson McLean, with reflections from National Gallery curators Lucina Ward and Simeran Maxwell.
    The book follows the 2012 publication of Falls the Shadow: From Idea to Reality, The National Gallery of Australia by Uro Publications. More

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    ‘Banksy of Borovsk,’ a Russian Muralist, Wages His Own War

    An 84-year-old artist, defying Moscow’s crackdown on dissent, wants his country to acknowledge misdeeds both past and present.An 84-year-old artist was standing in front of one of the many murals he has painted in his provincial hometown one recent day when a group of young women passed by. They had traveled some 60 miles from Moscow just to see his latest work, and they tittered at the encounter.“This is so cool,” said one. “You are the main attraction of town.”The artist, Vladimir A. Ovchinnikov, has long covered the walls of the town with pastoral scenes, portraits of poets and daily life, in the process earning himself a reputation as the “Banksy of Borovsk.” But it is his political art that is now attracting attention. At a time when dissent is being crushed across Russia, Mr. Ovchinnikov has been painting murals protesting the invasion of Ukraine.It is a comparison he does not appreciate. Unlike the mysterious British-based street artist, Mr. Ovchinnikov works for all to see. And where a politically charged new Banksy offering may be cause for sensation, Mr. Ovchinnikov’s murals are not always welcomed — at least, not by the authorities.“I draw doves, they paint over them,” he said.Mr. Ovchinnikov is a rare dissident in Russia, where public criticism of the war can land people in jail or exile. He said his age and his family history offered a modicum of protection, even though he has been fined, questioned by the authorities and pelted with snowballs.“I am different from the majority of people: I’m almost 85 years old, and I’ve got nothing to lose,” he said. “If you are of working age, you can lose your job, and they will pick you up faster. I, an old man, seem to be treated differently.”Borovsk, Russia, where Mr. Ovchinnikov lives.Nanna Heitmann for The New York TimesMr. Ovchinnikov repairing an old painting of a couple reading.Nanna Heitmann for The New York TimesHe also said his own history — he did not meet his father until age 11 because his father had spent 10 years in a gulag, and his grandfather and uncle were killed by the state — drove him to denounce violence and war. Upon his retirement as an engineer in Moscow, he settled in his father’s house in Borovsk. His father had chosen the town because as a former political prisoner, he was forced to live at least 60 miles away from the capital.For his service as the town’s public conscience, Mr. Ovchinnikov has repeatedly clashed with local officials. Amid the domestic crackdown that has accompanied the war, he has been playing a cat-and-mouse game with the authorities. Many of Mr. Ovchinnikov’s murals are covered over within days or weeks.Across from the town’s voenkomat, or military commissariat, the cream-colored walls on Lenin Street are smeared haphazardly with gobs of white paint. Underneath, Mr. Ovchinnikov said, is his painting of a girl wearing the blue and yellow of Ukraine as three missiles fly overhead. Underneath, in large, bold letters: “Stop this!!!”The State of the WarAid for Ukraine: In the latest attempt to buoy Ukraine through a brutal winter, international leaders have announced around 1 billion euros to repair the country’s infrastructure.Avoiding Questions: President Vladimir V. Putin will not hold his annual December news conference. The move comes as Russia’s economy falters and follows a series of military setbacks in Ukraine.Splintered Loyalties: The town of Sviatohirsk, in Ukraine’s east, is divided by where people’s allegiances lie: with Moscow or Kyiv.Brittney Griner’s Release: By detaining the athlete, the Kremlin weaponized pain and got the United States to turn over a convicted arms dealer. Can the same tactic work in the war?After painting over the graffiti, the authorities turned their attention to Mr. Ovchinnikov, fining him 35,000 rubles, about $560, and accusing him of “discrediting the Russian armed forces.”“A fine for the fact that I want peace,” Mr. Ovchinnikov said. “I’m discrediting our military. How disgraceful.”His supporters sent donations to help him cover the fine.Nearby, in the town’s small central park, Mr. Ovchinnikov pointed to a statue of Lenin. It is not unlike those standing in practically every Russian town to this day. “That’s our leader,” he said sarcastically. The statue, he noted with a wry smile, is pointing straight at the voenkomat.In 2014, when Russia annexed Crimea and fomented separatist movements in eastern Ukraine, Mr. Ovchinnikov drew a Ukrainian flag on the statue’s pedestal. “I didn’t have time to write ‘Glory to Ukraine,’” he said. “They came and picked me up right away.”A World War II memorial in Borovsk. On its back, Mr. Ovchinnikov erected his own memorial dedicated to the repressed.Nanna Heitmann for The New York TimesAn antiwar painting by Mr. Ovchinnikov that had been vandalized.Nanna Heitmann for The New York TimesRussia under Vladimir V. Putin has sought to airbrush its history.It prefers, for example, to portray Joseph Stalin as the leader who led the Soviet Union to victory in World War II, and minimize the scale of the crimes the state under his rule committed against its own people. Memorial, a human rights organization that won the Nobel Peace Prize this year for its work chronicling political repression, has been dismantled.In Borovsk, where he moved after retiring from his career as an engineer, Mr. Ovchinnikov is fighting a lonely battle to keep the memory alive.Tucked behind Lenin in the park is a vandalized black stone, a monument to the those who were repressed during the Stalin era. Mr. Ovchinnikov had campaigned for it — but he is the one who vandalized it. He had wanted the memorial to include the names of all those from Borovsk who had been repressed.“I wrote ‘trampled and forgotten,’ and higher on the rock, ‘return their names,’” he said, referring to the idea that he was restoring dignity to the victims, who are currently a nameless and uncounted mass.That, too, was covered up with paint.Nearby, at the center of the park, stands a memorial to those who defended the Soviet Union during World War II. On its large back wall in 2019, Mr. Ovchinnikov erected his own memorial, one dedicated to the repressed. He painted a huge banner with portraits of people who had been shot. “Executed Future,” he called it.“I wrote down the names of only those shot,” he said. “There are 186 of them. But those who met their end in the camps — I should have added them.”As he walked to the front of the memorial, he paused to examine the list of names of the soldiers who died during the war.“For every 100 people who died on the battlefields, 170 were shot by our authorities,” Mr. Ovchinnikov said. “Yes, they have something to hide. But I think that the only reason they don’t want people to know about the scale is that they don’t want people to know what our government is capable of doing.”Farther down the street, he took a piece of charcoal from his pocket and traced four numbers faintly visible under a fresh coat of paint: 1937, the year that Stalin’s repression peaked. “The fact we’re trying to forget our tragedy, our repression, is one of the reasons for what is happening in Ukraine now,” he said.Mr. Ovchinnikov with one of his antiwar paintings that was covered over by the authorities.Nanna Heitmann for The New York TimesMr. Ovchinnikov painted a dove underneath signs near a store entrance.Nanna Heitmann for The New York TimesMany people feel uncomfortable when confronted with the painful history — and present — and do not welcome Mr. Ovchinnikov’s art.In the town’s central market, an older man pulling a cart stopped in front of a mural of his that was commissioned by the local butcher. It showed an artist holding a large goblet in front of a still life with meat.“If I had my wall defaced like this, I would paint over it,” the man told Mr. Ovchinnikov gruffly.Other residents who appreciate his apolitical art but back the war are rankled by his support for Ukraine.“It was not right to draw that,” said Aleksei, 32, pointing to a mural with sunflowers and another one next to it called “Nostalgia,” which featured a Russian woman and a Ukrainian woman holding hands. “Nostalgia” had been vandalized: The Ukrainian woman’s eyes had been gouged out.“Ukraine is not on our side but against us, and we don’t need Ukraine to exist,” said Aleksei, who declined to give his surname. “They started the war. We didn’t start the war.”Last month, Mr. Ovchinnikov was pelted with snowballs when he was updating some antiwar graffiti by the main road.“First I wrote ‘Z: madness,’” he said, referring to the letter that has become a symbol of support for the invasion. “They painted over it. Then I wrote ‘Z: Shame.’ They painted over it. Then I wrote ‘Z: Fiasco.’”That was in November. Soon after, a major from the intelligence services came to his home to question him.“With the inscription, I had the goal of conveying to the population and guests of the city of Borovsk that the special military operation is a failure and that it must be stopped,” he wrote in his official statement, using the Kremlin’s euphemism for the war.“I do not repent for what I have done. I do not feel my guilt. I had to do what I did.”“I draw doves, they paint over them,” Mr. Ovchinnikov said about the authorities.Nanna Heitmann for The New York Times More

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    Rone collaborates with GH Commercial on new immersive exhibition

    Melbourne street artist Rone has taken over the iconic Flinders Street Station in a new, immersive installation.
    On until 23 April 2023, the ambitious building takeover called “Time” sees eleven rooms across the hidden upper levels and ballroom of Flinders Street Station transformed into a mid-century time capsule.
    Time honours the blue-collar workers of industrial post-WWII-era Melbourne, who passed through the station each day to work in nearby factories, offices and shops throughout the city. Rone used photo references from across the decades to piece together a vision for each room – a typing pool, a library, an art room, classroom and more.
    “There is so much detail in each room you could never see it all in one visit,” said Rone. “The aim is for audiences to be unsure where the artwork ends and where the original building starts. I like the idea that someone could walk in here and think, ‘He’s just done a painting on a wall,’ and that everything else they see is a legitimate, original part of the building. And perhaps they’ll think it’s kind of disrespectful that I’ve done that, that I’ve disturbed this space,” he continued.
    “For me, that’s the ultimate end-goal – it means it has worked.”

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    The Newsagency, Time exhibition, Flinders Street Station. Image: Rone

    Rone worked with sound composer Nick Batterham, set builder director Callum Preston, set decorator Carly Spooner as well as a team of more than 120 people to bring the exhibition to life.
    Rone also worked with Godrey Hirst and GH Commercial on the flooring selection seen within the exhibition. Rone and GH Commercial had previously worked together on Rone in Geelong (2021) and GH Commercial did not hesitate to collaborate again on this huge project. Using GH Commercial’s Designer Jet technology, Rone was able to achieve the pattern, colour and texture desired to represent the spirit of Melbourne’s industrial past.
    “For literally years we were working on this project in secret. I did want to reach out to Godfrey Hirst but I was too scared to promise anything, because I knew as soon as I started telling anyone, it’s going to fall over. And so slowly and slowly, we kept persisting on this project and it eventually came to life,” Rone said.
    “We’re so grateful to have had their support for this project. We somewhat destroyed some of their brand new product so that it felt authentic and part of the building – and they were very good about it.” More