Evelyn Reynolds

The first designs have been unveiled for a new high school that will be built on a former intertidal mudflat area in Western Sydney.
Designed by Woods Bagot, the Sydney Olympic Park high school will sit on Wangal land towards the northern tip of Wentworth Point, on the southern bank of the Parramatta River. It will be delivered in two stages, the first catering to 850 students and the second expanding the student body to 1,530. Classrooms will be accommodated within a single six-storey building while a hall for sport and performance is proposed to the north of the site.
A state-significant development application has been submitted for both stages of the development. Planning documents note that there will be enough open play space within the school’s site to cater for the students in the first stage, but that there will likely need to be additional play space found once all 1,530 students are at the school. An 8,800 square metre play space is proposed next to the school, opening onto the planned four-hectare Wentworth Point Peninsula Park.

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The Sydney Olympic Park high school by Woods Bagot.

The school will be built using the Design for Manufacture and Assembly process, which means much of the building will be manufactured in a factory before being assembled on site. Two equal wings of contiguous teaching space based on a consistent structural grid and floor-to-floor height will be fitted-out with modular components.
Wood Bagot describes how the design keeps the school as low as possible to connect students to ground level while maximizing available play space and respecting the viewing corridor linking Burroway Road to the river and parklands.
A masonry base will anchor the school, “visually and physically locks the school to its site.” Above, each floor is defined by a different colour, from “translucent pale blue” to “stormy indigo”, with the colour spectrum celebrating the river and landscape, while also serving a wayfinding purpose.
“Textured, subtly reflective metal screens change in response to the shifting colours and patterns of the sky,” Woods Bagot notes.
“The composition seems at first random, but the observer will find their own meanings and connections – as we do in the clouds.”
Construction is scheduled to begin in mid 2022, with completion expected in 2023. More

South Australia’s State Commission Assessment Panel has granted planning approval to the Aboriginal Art and Culture Centre in Adelaide, clearing the way for what will be the country’s premier Aboriginal art centre.
To be built on Kaurna land, in the Lot 14 precinct at the site of the old Royal Adelaide Hospital, the major building is designed by Woods Bagot and Diller Scofidio and Renfro, with landscape architect Oculus.
The panel found the proposal to be an “interesting and innovative design” that interfaced well with North Terrace and responded positively to its setting between the Park Lands, university campuses and the CBD. “The overall development is compatible with the topography of the land and the built form interfaces well with the soft and hard landscaping surrounding the building – providing a seamless connection to the public realm,” the assessment report states.

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The view from level one of the gallery.

South Australia’s government architect Kirsteen Mackay supported the design, saying it had the potential to “create an immersive curatorial and cultural experience, and to be a place of pride, connection and belonging for the Aboriginal and Torres Strait Islander community.” However, she also recommended further design resolution and stressed the importance of the material selection for the facade, the quality of the interior spaces and the integration of the basement ramp and service areas with Bice Road.
Several conditions have been placed on the planning approval, including that the final facade design and material selections and the landscape plan be resolved in consultation with the government architect and submitted to the satisfaction of the State Planning Commission.
Woods Bagot and Diller Scofidio and Renfro originally won a design competition to design the Adelaide Contemporary art gallery at the Lot 14 site, before a change in state governments saw the brief change. The architects have developed their design for the Aboriginal Art and Culture Centre in consultation with an Aboriginal Reference Group bringing together Kaurna representatives and others from a range of Indigenous institutions and organizations. The landscape architect Oculus has also collaborated with Aboriginal landscape architect and visual artist Paul Herzich on the design.

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Woods Bagot, Diller Scofidio and Renfro and Oculus prepared a number of drawings showing the interface with Bice Road, in response to queries from the government architect.

In planning documents, the architects describe how the centre will become a showcase for all facets of Aboriginal and Torres Strait Islander art and cultures, including visual art, music, dance and theatre, spirituality, kinship and family, lore, science, technologies, engineering, language, food, medicine, environmental practice and land use.
“The­ building design originates from the Aboriginal conception of the elements that link us to place: earth, land and sky,” they note.
The lower-level exhibition spaces and terraced landscapes are designed to appear “carved from the earth” while the upper-level exhibition spaces each frame a view to the sky and natural surroundings.
“At the heart of the building, a series of structures grow from the lower-level circular gathering and flexible performance space – anchoring the upper exhibition spaces back to the ground,” reads the design statement. “A crafted metal skin pleated at ground plane, rises to form the building’s inherent structure. A series of spiralling forms elevate above ground, tilted and open – connecting Aboriginal art and culture back to the public and to Country.”
Early works are scheduled to begin in late 2021 with completion pencilled in for September 2024. More

The South Australian government has released new vision of the proposed Women’s and Children’s Hospital, designed by Woods Bagot with Bates Smart, Jacobs and UK practice BDP.
The updated design almost halves the footprint of the hospital car park in order to reduce the impact on the adjacent Park Lands. Adelaide City Council had previously rejected a proposal to build the car park within the city’s closely guarded Park Lands.
The government said the new design of the car park would enhance opportunities to enjoy the Park Lands with a new outdoor space, as well as improved pedestrian and cycling links to Port Road, North Terrace, the new Women’s and Children’s Hospital and the Royal Adelaide Hospital, as well as connecting to Bonython Park and the River Torrens Linear Park trail.
The footprint of the proposed car park has been reduced from 15,400 square metres to 8,350 square metres, while still maintaining 1,215 car parks.

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The Women’s and Children’s Hospital in Adelaide, designed by Woods Bagot with Bates Smart, Jacobs and UK practice BDP.

The government said the updated design was more sensitive to the heritage and environment of the Park Lands, “which we know are incredibly important to the Adelaide City Council, Women’s and Children’s Hospital patients, staff and visitors, and the broader South Australian community.”
The design also includes the rejuvenation of existing unused land, which will allow for increased outdoor spaces and respite for consumers and families.
“We have listened to the Adelaide City Council, the Adelaide Park Lands Authority and the general public and changed the configuration of the proposed car park to adopt a more vertical structure to minimise the building’s footprint,” a statement from the Women’s and Children’s Health Network reads.
“We believe the refined design provides better integration to the Park Lands and an improved traffic solution to pedestrians, cyclists, and vehicles.” More

A virtual pavilion exhibiting 17 of the world’s greenest buildings, including one from Australia, will be on display concurrently with the 2021 United Nations Climate Change Conference (COP26).
The Build Better Now virtual reality exhibition is designed and developed by AECOM in collaboration with exhibition designers Install Archive, as part of a collaborative project of more than 100 organizations, for which the UK Green Building Council acted as a secretariat.
“With COP26 in November, the world is ready to tackle climate change and the built environment has a crucial part to play,” said UKGBC chief executive Julie Hirigoyen. “We know why we must accelerate climate action and Build Better Now shows how we can get there. Everyone on the planet has a stake in our buildings and cities. I invite everyone to take inspiration from Build Better Now as a global showcase of pioneering solutions to climate change and hope that it supports the industry to create more sustainable buildings, places and cities of the future.”
The virtual reality exhibition includes a central pavilion surrounded by pods, each housing one of the 17 sustainable projects selected from a global international open call.
A panel of global industry leaders “selected projects that are making an immediate positive impact on the planet and people’s lives.”

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Monash Woodside Building for Technology and Design by Grimshaw in collaboration with Monash University Image:

Michael Kai

The Monash Woodside Building for Technology and Design by Grimshaw in collaboration with Monash University is the only Australian project selected for the exhibition. It is the largest Passivhaus certified building in the southern hemisphere. The building consumes 75 percent less energy than a conventional building of the same size and will contribute to carbon reduction over its lifespan.
“There has been a strong growth in the number of large-scale sustainable buildings constructed in Australia with over 3,050 Certified Green Star buildings,” said Grimshaw managing director Andrew Cortese. “The next step is to design and build new and refurbished Net Zero Carbon buildings needed to reduce the impacts of climate change, it is essential that building envelope performance is greatly improved.”

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Sara Cultural Centre, Skellefteå, Sweden, by Skellefteå Municipality, HENT AS, White Arkitekter, Florian Kosche, TK Botnia, WSP, Incoord, Martinssons AB, Derome Image:

Patrick Degerman

Other projects selected for the exhibition include Sara Cultural Centre in Sweden by White Arkitekter, which will be one of the tallest timber buildings in the world, and projects that use locally sourced natural materials such as the University of East Anglia’s The Enterprise Centre, which is made of thatch and reed, and a school in Bali made of Bamboo.

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Fountain of Circular Recovery by Make Architects.

The centrepiece of the exhibition will be a virtual installation designed by Make Architects; the “Fountain of Circular Recovery” highlights opportunities for a circular economy in the built environment, through reuse and recycling.
Alongside the exhibition, there will also be a series of events to showcase the urgent role buildings and cities can play as a solution. Globally, buildings are responsible for 40 percent of energy-related carbon emissions and the built environment will have a dedicated day during COP26.
The Build Better Now virtual pavilion will be online from 31 October to 12 November. More

Miele has partnered with architects and designers on five projects in Australia and New Zealand that demonstrate how Miele appliances can complement any aesthetic – from modern penthouse living to wholesome homestead design. Australia 108 – Carr Australia 108 – Carr. The interiors at Australia 108, the tallest apartment tower in the southern hemisphere, display […] More

Elan Plus is comprised of 17 versatile designs, demonstrating the deep understanding of materiality, design intelligence and precise execution that the Elan team is renowned for.
The furniture selection, specifications and assembly is informed by Elan founder Boris Tosic’s two decades of collaboration on complex commercial projects and luxury residential interiors.
The Elan Plus range evolved through design decisions made in the company’s impressive headquarters; Tosic’s award- winning Paramount building by The Office Space, located in Surry Hills. The boutique, serviced workspace has provided a testing ground for many of the pieces in the Elan Plus collection.
“We know from our work in commercial interiors and high-end residences that the Elan Plus collection bridges the gap between imported designer furniture and mass produced fast furniture,” said Boris Tosic. “This degree of quality and customization is generally only seen in high-end residential projects. We know there is a demand for this level of refinement, and we wanted to make it accessible to those without the budget or patience for bespoke joinery solutions.”
The backbone of the collection comprises three modular shelving systems, in solid timber (Grid) and metal (Gravitas and Morse). While they have distinct personalities, each system can be customized to achieve the desired height, width, and utility. The pieces can rest against a wall or perform as room dividers, providing endless solutions for dividing or anchoring living spaces, and display. Further customization allows customers to choose between single- or double-sided units; cabinets with solid or glass doors, a drawer insert or bar unit, and metal or glass shelves.
Complementing the shelving systems are refined side tables, in solid timber or metal, and other essential pieces for living. These include table-top trays, desk accessories and perfectly weighted exercise clubs, handcrafted from solid timber.
Luke Tosic joined his father in the business as manager of Elan’s Sydney workshop in 2019 after completing his MBA. “The experience, equipment, and capabilities of the Elan team streamlined the development process, making a furniture range a viable and ultimately logical proposition,” explains Luke. “We can have most pieces made and shipped within four weeks from order.”
The narrow production times complete a compelling Australian designed and made proposition for leading local Living Edge, set to introduce the Elan Plus collection in its showrooms in Melbourne, Sydney, Brisbane and Perth from October 2021.
Living Edge CEO Aidan Mawhinney says Elan Plus is a welcome addition to the Living Edge portfolio of authentic furniture, which currently includes big name international brands Herman Miller, Walter Knoll and Muuto.
“I’ve known Boris for a long time. Honesty and the integrity of materials are at the heart of everything Elan does. The brand follows in the tradition of great timber working cultures found in Italy, Brazil, and Denmark. The quality, appearance, and function of the fine details of commercial and home interiors has never been more important to our consumers and the thoughtful solutions provided by the Elan Plus range make it incredibly apparent where the bar has been set in the industry. We are delighted to introduce it to our customers.” More

The University of Tasmania has unveiled plans to transform its existing Sandy Bay campus into a residential and office area, as it prepares to consolidate its Hobart campus within the CBD.
A concept masterplan for the Sandy Bay campus, released for public comment, calls for 2,500 dwellings to be built across the site, along with new sporting facilities, an “innovation precinct” with offices for start-ups, five mixed-use precincts and a new “eco-tourism” attraction on Mt Elson.
The plan is being developed by University of Tasmania Properties, a wholly owned subsidiary of the university.
It divides the campus into five precincts, each designed around a 200-metre walkable radius.
To the north, closest to River Derwent, is a lifestyle and sporting precinct, which will build on the existing cricket oval and rugby ground to deliver a “regionally significant sporting precinct” that will serve the university and community sporting organisations. Apartments would be built along the north-western edge of the sporting fields.
Next to this would be the innovation and civic quarter, described as “an eclectic village where creatives live and work.” The current chemistry, engineering and geology buildings would be re-used for apartments, while the Morris Miller Library would become an “innovation hub” and the Stanley Burbury building would become a community arts centre.
Further to the south would be a peri urban neighbourhood next to a learning precinct. The hillside peri-urban setting would include townhouses, new parks a community garden and potential childcare facilities, while the learning precinct could potentially include a new vertical school at its heart.
The final precinct, nestled within the 50 hectares of retained bushland on Mt Nelson, would include houses along with a hotel, eco-tourism facilities and a children’s nature play area. The masterplan says the tourist attractions could “provide Hobart with an additional drawcard to Mona and the historic Salamanca Waterfront.”
The plan is in its early days, with detailed design and development applications still to come. University of Tasmania Properties engaged with the community through July and September in developing the masterplan. It said that the overall feedback was in support of the “shared vision” statement, which reads: “The Site will be a place that celebrates and enhances its natural assets, honours its social, cultural, and Aboriginal heritage, and looks to create an evolving, vibrant mixed-use precinct to live, work, learn and play. It will set a new standard for urban enewal in Tasmania and nurture a community that is inclusive and accessible to all, leaving a more sustainable legacy for people now and into the future.” More

A proposed six storey commercial office building on the edge of Sydney’s CBD is being spruiked as a “showcase” contemporary workplace that will support the creative and cultural industries on the city fringe.
The building, designed by Grimshaw, will be located at 9-13 Brisbane Street in Surry Hills, and will be composed of more than 2,000 square metres of office space with a cafe on the ground floor.

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9-13 Brisbane Street by Grimshaw.

The building will be arranged vertically in three distinct parts. An opaque core on the southern, “blind” side of the site, which will contain the stairs, lifts and building services, will be made from warm coloured in-situ concrete.
The middle section will be made from transparent glazing fixed to natural anodized steel to form the bulk of the workplaces.
Finally, the northern section will be the translucent edge of the building. It will contain collaborative working spaces and meeting rooms. The translucent glazing is designed to provide maximum daylight while also mediating privacy and providing a canvas for public art.
The three elements will be separated by recessed operable louvres which will promote cross ventilation in the east and west facades.

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9-13 Brisbane Street by Grimshaw.

A 66-square-metre landscaped roof terrace will crown the building and provide outdoor amenities for the building’s occupants.
“The rooftop is envisaged as a place where the building occupants can gather and socialize,” the architects said in a development application.
“Generous access to natural light and passive ventilation ensures these cultures will thrive. The concept of biophilia, which is increasingly recognized as a key consideration in the design and development of 21st century buildings has been incorporated. The idea of including nature into contemporary buildings through biophilic design, is built upon the premise that investing in a person’s health and well-being brings significant benefits in performance and productivity.”
The proposal also aims to be net zero carbon. “9-13 Brisbane Street [will] emerge as the exemplar boutique office building of its neighborhood. Renewing life within the Surry Hills by providing a unique workplace to the creative/tech tenants. [It] forms a vital anchor in the new ecosystem and will be a catalyst for further renewal.” More