Evelyn Reynolds

This week marks the 25th anniversary of Melbourne Museum – designed by Denton Corker Marshall (DCM) – which first opened in Carlton Gardens on 21 October 2000.
Having previously been part of the State Library of Victoria, the DCM-designed museum has welcomed more than 23 million visitors and hosted hundreds of exhibitions, events and programs at its Carlton location. According to a release from the Melbourne Museum, “these experiences have helped generations of Victorians and visitors connect with the world around them and understand their place within it.”
The Carlton Gardens precinct in which the museum is sited has long been central to Victoria’s civic and cultural life, with the World Heritage-listed Royal Exhibition Building opposite having hosted the 1880 Melbourne International Exhibition and the 1888 Centennial International Exhibition, as well as the venue for the launch of Australia’s first federal parliament in 1901. Throughout its history, the site has seen various incarnations, including a WWII Royal Australian Air Force training centre and a host venue for the 1956 Melbourne Olympic Games.

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Long before this, the site served as a place of cultural gathering, learning and exchange on the lands of the Wurundjeri Woi Wurrung people of the Eastern Kulin Nation. According to a communique from Melbourne Museum, First Peoples’ knowledge remains at the core of the Melbourne Museum’s program today through collaboration with Yulendj Elders and community representatives.
“Melbourne Museum holds a unique place in the hearts of Victorians,” said CEO and director of Museums Victoria Lynley Crosswell. “For 25 years, it has been a destination for discovery, conversation and wonder — a place where science meets culture, and where stories of the past, present and future are shared under one roof.”

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According to the media release, DCM’s design for the museum, which was first unveiled in 1994, “redefined what a museum could be.”
“The design reflects a dialogue between history, nature, culture and progress. Its striking geometry, contemporary materials, and bold spatial layout represent the ambition of a new millennium, to create a public space for discovery and innovation,” the communique reads.
In his review of the museum for Architecture Australia (Jan/Feb 2001), architectural critic Paul Walker described the building as “a collection of buildings, where the landscape interpenetrates the forms and where garden and open activity space interact.”

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This idea is most potent in the design of the museum’s Forest Gallery – an outdoor space described by Melbourne Museum as “a living ecosystem that bridges the human and natural worlds.”
In Walker’s view, the building “subtly lays claim to a powerful presence by its very interaction with the landscape; the gardens themselves become inclusive to its form. It is not a forbidden and impenetrable institution entered through closed doors.” More

The winners of this year’s Australian Good Design Awards have been announced, recognising innovation across architecture, installation, interior and place design.
The Australian Good Design Award for Sustainability was awarded to First Building – Bradfield City Centre, led by the Bradfield Development Authority and NSW Public Works and realised by Hassell in collaboration with cultural research agency Djinjama. A media communique from Good Design Australia notes that “the project sets a benchmark for environmentally conscious urban infrastructure,” blending “regenerative design, cultural storytelling and cutting-edge technology [and] demonstrating how design can transform cities for people and place.” The project was also named among the best in class for the Built Environment Architectural Design category.
The Australian Design Prize was received by professor Mark Burry – a founding director of Swinburne University’s Smart Cities Research Institute. Since 1969, he has been deeply involved in the project to complete the Basílica de la Sagrada Família in Barcelona by Antoni Gaudí, applying modern tools and digital technologies to translate Gaudí’s designs into reality. According to the media communique, Burry’s “visionary work, which bridges architecture, research and city-making, has earned him the Australian Design Prize, recognising a career-long impact on the way Australians live, work and move through their cities.”
Taking out the Indigenous Design Award and Powerhouse Design Award was Footprints on Gadigal Nura – Mili Mili at Waterloo Station in Sydney, designed by Mili Mili, Nicole Monks, AG Public Art and other collaborators, which was also named the best in class for the Built Environment Place Design category. According to the media release, the project was praised for having “ delivered measurable impact across cultural, social and environmental spheres, showcasing how visionary design can elevate public infrastructure and community wellbeing.”
At Sydney Metro’s Central Station, the customer-centred design experience designed by Büro North in collaboration with Woods Bagot and John McAlsan and Partners for Laing O’Rourke Australia was prized as Best in Class for Design Research. According to the Australian Good Design Awards website, the research developed by the team “identified and validated design changes to enhance accessibility, inclusivity, and the overall customer experience across key areas of the station.”
Winners of the Best in Class Awards for the Built Environment category also included Allan Border Oval Pavilion by Archer Office for the Architectural Design subcategory, and Scholé by Taylor and Hinds Architects and Gabrielle Phillips for the Interior Design subcategory. More

Construction has commenced on the first stage of the University of New South Wales (UNSW) Canberra City campus, the tertiary institution’s second campus in the Territory.
A masterplan for the staged development, prepared by MGS Architects, Snøhetta and Turf Design Studio, was approved by the ACT government in April 2023. Once complete, the campus will facilitate education and research in areas such as defence, cybersecurity, artificial intelligence, digital engineering, and climate and public policy. It is anticipated to accommodate up to 5,000 undergraduate and postgraduate students.
The first stage of the project involves the development of two multipurpose buildings at the corner of Constitution Avenue and Coranderrk Street in Parkes, designed by Hassell. The buildings, named Parkes West and Parkes East, are each defined by a distinct character and massing.
ACT Chief Minister Andrew Barr visited the site today to mark the start of construction on the first stage, describing the campus as a key part of the ACT government’s plans to foster innovation, education and economic growth in the capital.
“It will not only deliver a campus that revitalises the eastern edge of the Canberra CBD, but also bring new employment and students – attracting about 6,000 more students and educators to Canberra,” said Barr. “Today’s sod turning is a major milestone for the project, which is a cornerstone of our city-shaping agenda – supporting urban renewal, industry collaboration and innovation in areas such as cybersecurity, defence and artificial intelligence.”
In their communique, UNSW stated the campus precinct has been designed with a strong focus on environmental sustainability, with buildings set to incorporate “low-carbon materials, energy-efficient systems and climate-responsive design.” Landscaped green spaces, pedestrian pathways and end-of-trip facilities will support vehicle-free, active transport.

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Djinjama and Ngurra Advisory provided consultation on honouring and Connecting with Country in the design.
The campus is expected to be completed in time to welcome students in early 2028. More

Expressions of interest are now being accepted for Brisbane’s Gabba Entertainment Precinct, which will include a new 17,000-seat indoor arena and a mixed-use residential hub – part of the city’s legacy plans for the 2032 Olympic and Paralympic Games.
On 9 October, the Queensland government announced that procurement is now underway and information memorandums have been released for the development of the precinct across the site of the existing Gabba stadium and its surrounds.
Earlier, in March 2025, the Queensland government announced it had abandoned its earlier plans to upgrade the Gabba stadium, opting instead to establish “a new housing and entertainment precinct over the Gabba” once the stadium demolished, along with a new 63,000-seat stadium at Victoria Park in Brisbane’s north, set to become the heart of the 2032 Games.
Located less than two kilometres from the CBD and spanning nine hectares, the Gabba Entertainment Precinct will feature a new indoor arena, housing, retail, public spaces and integrated transport infrastructure.
A state government communique noted: “The precinct will redefine how Brisbane hosts major events, concerts and sporting fixtures, while unlocking new housing and investment opportunities in one of the city’s most connected locations.

“This transformative project will position Woolloongabba as a dynamic cultural, residential and community epicentre, ensuring its golden legacy lives on well beyond the 2032 Games.”
The government communique noted the new precinct will create:

Tourism opportunities through the display of major events
Attrac investment in hospitality, retail and residential development
More housing and urban activation
A showcase of innovation and design in Brisbane’s inner south
Access and connectivity to the Cross River Rail line and CBD.

Expression of Interest for the Gabba Entertainment Precinct can be submitted until 12 January 2026. View the information memorandum here.
In September, global design firm Arup was appointed by the Queensland government to lead the masterplanning of the Victoria Park precinct, despite the Yagara Magandjin Aboriginal Corporation (YMAC) submitting an application to the federal government in August seeking permanent legal protection of the park. More

The Northern Territory government has abandoned its plans for the Aboriginal and Torres Strait Islander Art Gallery of Australia (ATSIAGA) in Mparntwe/Alice Springs after more than nine years of back of forth, citing a lack of commitment from the federal government.
The project was first announced in 2017, with the Northern Territory government pledging $69 million, and the federal government to contribute $80 million.
A statement from Northern Territory treasurer and infrastructure minister Bill Yan said they had been “left with no choice.” The communique stated that repeated attempts had been made to secure federal endorsement of the gallery in Alice Springs CBD ahead of a November deadline to begin construction.
The project has evolved through several iterations by a design team comprising BVN, Susan Dugdale and Associates (SDA), Aspect Studios and Clarsen and Clarsen. The first scheme, unveiled in July 2023 under the name the National Aboriginal Art Gallery, proposed a building with a four-level atrium to be built on Anzac Oval. The plans prompted mixed reactions, with some community members pushing for an alternative site outside the town centre.
A revised five-storey design for the National Aboriginal Art Gallery was revealed in November 2023, featuring updates to the facade and atrium. In March 2024, the Northern Territory government lodged a development application for this design.
The latest version, exhibited publicly in July 2025, proposed a scaled-back three-storey gallery – a revision that the NT government said would make the project more “affordable and achievable.” Under this scheme, the gallery was renamed the Aboriginal and Torres Strait Islander Art Gallery of Australia (ATSIAGA), with a new proposed location at the Wills Terrace car park.
Minister Yan said the nearly ten-year saga had to end, stating that despite repeated assurances, financial support from the federal government had not been secured.
“I won’t have NT taxpayers burdened with yet another project blowout and potentially significant penalties if it continues to be delayed,” he said.
According to a National Indigenous Times article, Yan’s federal counterpart, Catherine King, told the publication the “project is unable to progress” following the NT Government’s withdrawal of funding. King added that the “Commonwealth is disappointed that this project cannot go ahead.” More

The Australian Design Centre (ADC) has announced the winners of the 2025 Make Award, Australia’s most significant non-acquisitive prize celebrating innovation in contemporary craft and design. With a $35,000 first prize and $10,000 second prize, the biennial award honours excellence across disciplines including ceramics, glass, jewellery, textiles, metal, furniture and fibre.
Now in its second iteration, the 2025 Make Award attracted 197 entries from artists, craftspeople and designer-makers across the country.
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Taking out first prize was Cinnamon Lee for NOCTUA — a hybrid object that fuses jewellery and lighting. At once brooch, sculpture, lamp and performance, NOCTUA pairs the permanence of metal with the ephemerality of light. The wearable brooch component pays tribute to the unassuming Bogong moth, evoking both natural beauty and theatrical transformation.
“I am deeply honoured to receive the 2025 Make Award. This recognition holds great significance – not only as a celebration of my contribution to contemporary craft and design, but also as an acknowledgement of a long and evolving practice,” said Lee.
Second prize was awarded to South Australian designer Jake Rollins for SOFA1, a striking piece constructed from 3,744 golf balls and tensioned cord. Part of his GolfWeave series, the work uses triaxial weaving techniques to craft a sculptural, human-scale seat — an unexpected yet functional fusion of craft and engineering.

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Highly commended went to artist-jeweller Roseanne Bartley for A Poetry of Rings: The Mulga Alphabet. Working with Mulga (Acacia aneura) wood for the first time, Bartley hand-carved a series of rings that reflect cultural significance while expanding her material and technical language.
An exhibition of all 36 finalist works is now on display at the Australian Design Centre in Darlinghurst running from 10 October to 19 November 2025. More

Internationally acclaimed designer Nipa Doshi has unveiled an ambitious new body of work at NGV International, as the 2025 recipient of the Mecca x NGV Women in Design Commission. The annual series invites globally renowned designers to create groundbreaking new works for the NGV Collection, highlighting the contributions of women in contemporary design.

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Mumbai-born and London-based, Doshi is celebrated for her refined aesthetic that draws deeply on her Indian heritage. She is one half of the acclaimed Doshi Levien studio, founded in 2000 with her husband Jonathan Levien.
For this commission, Doshi presents A Room of My Own, a handcrafted, multi-dimensional cabinet inspired by kaavad – portable Indian shrines. Acting as both shrine and dressing table, the cabinet honours the women who shaped her life. Hidden within its doors are abstract portraits of influential female figures, from a 1970s Indian actress to a nurse who once cared for her.
Accompanying the cabinet is Doshi’s debut typeface, hand-painted at large scale across the gallery walls. Evoking architectural diagrams, the letters, numbers and symbols extend her spatial thinking into the graphic realm. A moving-image work animates this typeface alongside footage of the cabinet, interweaving memory, imagination and personal narrative.

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“I am truly honoured to be the recipient of this very prestigious and generous award and see it as an opportunity to create exceptional new work, bringing together all the different aspects of my design practice. The creative freedom offered by the commission allows me to make work with a strong narrative, resulting in a collectible piece that embodies my values as a woman in design,” said Doshi.
Doshi is the fourth recipient of the Mecca x NGV Women in Design Commission, Australia’s first and only initiative of its kind.
Nipa Doshi: Mecca x NGV Women in Design Commission 2025 is on display at NGV International until 1 April 2026. More

A proposal for a new $590 million mixed-use development rising from the former State Savings Bank of Victoria at 623 Collins Street in Melbourne’s CBD, opposite Southern Cross Station, has been greenlit for development.
The 42-storey tower scheme has been designed by Plus Studio for developer Sterling Global, who purchased the 2,000-square-metre amalgamed site in 2023. It includes 320 residences, half of which are two-bedroom apartments, serviced by various amenities, including a pool, gym, yoga studio and bathhouse, outdoor terraces, private lounge, dining and bar spaces, and a library and games room.

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According to a media release, the site’s two heritage-listed buildings, the 1924 State Savings Bank of Victoria and the Batman’s Hill Hotel, will be retained, restored and integrated into the development, with the original banking chamber refurbished to accommodate a future restaurant.
The proposal includes a total of 900 square metres of retail and hospitality fronting Collins and Spencer streets, as well as 2,700 square metres of office spaces across five levels.
Plus Studio director Ian Briggs said the vision for 623 Collins was to create architecture that serves both the site’s rich history and Melbourne’s future growth.
“Our design approach has been to connect the building closely with its context – a podium that contributes to the streetscape, planted terraces that articulate the transition between heritage and new, and a tower that takes its place on the skyline with clarity and restraint.”

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Interior design office Fiona Lynch has led the development of the interiors. According to the communique, “Her artful aesthetic shapes the project’s material palette, establishing a refined design language that carries from arrival through to the residences above.”
Plans for a $520 million, 42-storey hotel-and-apartment proposal on the same site, designed by architecture practice Carr, were approved for development in 2024. More