Evelyn Reynolds

Themed “How new is now?” the 2021 Asia Pacific Architecture Festival explores the cyclic nature of the world and looks to the past for design solution for contemporary challenges.
Held in Brisbane and online, the two-week program of events includes exhibitions, symposia, workshops and installation that explore the role of architecture in the culture, sustainability and economy of the Asia Pacific region. Here, we round up five of the program’s highlights.

This exhibition at the Museum of Brisbane explores the how revolutionary ideas of the Weimar Republic in Germany influenced art, design and architecture in Brisbane through migrant and refugee contributions to Australian life and art history in the inter-war period.

Curated by Andrew McNamara and designed by Speculative Architecture, the exhibition features original artworks as well as vibrant creations that demonstrate the impacts of the Bauhaus movement and explore the legacy of its ideas.

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How new is not now: A John Gollings photographic exhibition.
Image: John Gollings

Architectural photographer takes a different perspective on the festival theme through this exhibition of ancient buildings, made from brick, stone and timber. “What is new [in architecture] is gratuitous shape making with fragile materials like glass, metal and concrete, a lifespan determined by economics and an aesthetic of immediate gratification rather than timeless verity,” John says.
On 20 March, John will also be teaching a half-day architectural photography masterclass.

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Five Mile Radius: Waste Terrazzo

Brisbane design studio Five Mile Radius created Waste Terrazzo, a concrete surface material made entirely from construction waste. In fact, it’s the only concrete surface made from 100% waste material in Australia.
In this workshop, Five Mile Radius will guide you though their production process and you can also design and make your own keepsake using Waste Terrazzo.
Also, look out for Five Mile Radius in the April issue of House magazine, on sale 1 April.

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The Queensland Cultural Centre: Then, now and new.

The Queensland Cultural Centre, designed by Robin Gibson, is an iconic precinct in Brisbane and a new theatre, designed by Blight Rayner and Snøhetta is currently being constructed. Michael Rayner, Ruth Woods and Deborah van der Plaat will come together in this virtual event to discuss the evolution of the precinct.

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Inform/Reform: Housing in the Liveable City.

Presented by The Singapore University of Technology and Design, this virtual panel discussion asks, “can a work-from-home city still be an innovative city?”
The COVID-19 pandemic has transformed our homes into primary workplaces, but what is the long term effect on the design of urban housing and town planning in the future? The discussion will also cover topics of mobility and resilience. More

Twenty years ago today, Australia’s prime minister John Howard officially opened the nation’s newest cultural institution, the National Museum of Australia, on the land of the Ngunnawal people.
Designed by iconoclastic Melbourne firm ARM Architecture, the museum was described in Architecture Australia at the time as “garrulous, colourful and melodramatic,” in a review by John Macarthur that straddles the line between praise and scepticism.
In his speech at the opening, PM Howard said that of all the important buildings in Canberra, “none I believe in time will have as great an impact as this National Museum.”

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National Museum of Australia by ARM Architecture.

What he didn’t mention was that prior to the opening his government had been railing against a particular design feature of the building that stood behind him. ARM had surreptitiously plastered the word “sorry” in brail across the colourful facade – a pointed attack on the government’s refusal to apologize on behalf of the government for the horrors of the stolen generation. Unfortunately, the secret message was discovered by a hawk-eyed engineer. At the government’s insistence, some of the offending brail was covered over with silver discs, but as ARM’s Howard Raggett revealed in the lead-up to this anniversary, not all of the brail was covered up. “I don’t know that anyone checked up on us, and we may not have been as thorough as we should’ve been,” he told the ABC.

This act of defiance is apt for an architecture practice that, in designing the National Museum of Australia, sought to radically challenge the concept of what a national museum could be, and to offer a sharp, humanist critique of Australia’s history – in the midst of the “history wars.”
Describing the way the architects conceived of history, Raggett wrote at the time, “We liked to think that the story of Australia is not one, but many tangled together. Not an authorised version but a puzzling confluence; not merely the resolution of difference but its wholehearted embrace.”
The design of the museum was based on two “big architectural ideas”: the Boolean string, meant to signify the tangled nature of Australian history, and the jigsaw puzzle, meant to convey that the museum was conceptually unfinished.

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National Museum of Australia by ARM Architecture.

The building is designed to appear to be the centre of a knot, with trailing ropes or strips extending from the building, symbolically bringing together different stories. A central garden, the Garden of Australian Dreams (GOAD) designed by Richard Well (Room 4.1.3), evokes a range of different cartographies. In a Landscape Architecture Australia piece reflecting on the legacy of this garden in 2020, Anna Chauvel wrote, “The static nature and materiality of the GOAD means it has not been able to respond to our nations’ evolving and maturing attitudes and values. Instead, its physicality captures, in perpetuity, the ideas, beliefs and values that existed at the time of its design – which were, in fact, in themselves, unfinished business.”

Unsurprisingly, the museum itself has also divided opinion from its inception, both for its architecture and its presentation of history. Art historians have called it “as puerile as it is ugly” while the Daily Telegraph slammed it for its “sneering ridicule for white Australia.”
ARM received awards for public and interior architecture at the ACT Architecture awards, but was snubbed by the national awards.
In his AA review, John Macarthur wrote, “No one seeing the National Museum of Australia can doubt the architects’ skill and determination, but many will doubt their wisdom, taste and professional comportment.”
He also noted, however, that the architects had “managed to say something about the national story and achieved what few today think possible or desirable – a ‘high’ architecture of figurative meaning.”
If a 2018 masterplan that calls for the museum to be extended out into Lake Burley Griffin is realized, then the musem will no doubt continue to be a magnet for controversy and debate. More

Sydney Theatre Company has reopened its facilities at the Walsh Bay wharves after a $60 million redevelopment designed by Hassell.
The project was undertaken to modernize the theatre spaces in wharves 1 and 2 with flexible seating arrangements and improved access across the facility.
Housed in historic timber wool stores, the buildings were first transformed into theatres in 1984 by architect Vivian Fraser in association with the NSW Government Architect J. Thomson. The project was jointly awarded the Sulman Medal in 1985, and in 2008 it won the 25 Year Award for Enduring Architecture.

The latest renewal project also included the return of the Theatre Bar at the End of the Wharf which has views of the harbour; the addition of Neilson Family Gallery, a multi-purpose space overlooking the bar; improved backstage areas for artists including dressing rooms, rehearsal rooms, breakout spaces, music/vocal coaching rooms and recording booth, a dedicated wing room and increased ceiling height in the workshop, which allows larger sets to be built on site.

The renewal allows the company to house the entire theatre-making process under one roof.

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The redeveloped Sydney Theatre Company by Hassell.
Image: Brett Boardman
Glenn Scott, Hassell principal, said, “The Hassell team is honoured to have worked with STC over the last eight years from the initial briefing phase helping develop the ‘all-under-one-roof’ philosophy, through detailed design and construction to witness its successful reopening. The STC Wharf Renewal Project is a rare, culturally important, heritage project that is a huge responsibility for a design team to work on – we are delighted with the outcome, and proud that STC can continue their ground-breaking theatre at The Wharf well into the future.”

The consultant team also included Charcoalblue (theatre consultant), Tropman and Tropman Architects (heritage architect), Arup (building services, fire engineering, sustainable design), Taylor Thomson Whitting (engineer) and MBM (quantity surveyor).
The first performance in the redeveloped theatre will be Playing Beatie Bow. Sydney Theatre Company is first venue to play to return to 100 percent audience capacity since the pandemic shutdowns.
The redevelopment project is part of $139 million project to redevelop the Walsh Bay Arts Precinct, designed by Tonkin Zulaikha Greer, which includes upgraded spaces for the Australian Theatre for Young People and Bangarra Dance Company, a new 450-seat auditorium for the Australian Chamber Orchestra, and a new waterfront square between two piers. The NSW government announced its completition in December 2020. More

Cox Architecture has made some adjustments to its design for the build-to-rent tower at 210 Brunswick Street, adding more apartments, removing car parks and changing the podium facade to brick to complement a neighbouring Art Deco building.
A development application to amend the approved tower design is before the City of Brisbane. The updated design retains the original 25-storeys but adds a rooftop communal recreation space and resort-style pool, bringing the amount of communal area per apartment from 2.4 square metres to 5.9 square metres. The number of apartments would go from 312 to 323, with 21 of the one-bedroom apartments to now include a multi-purpose room.

In planning documents, the architects describe how the design is informed by the Atkinson and McLay designed McWhirters Building across the street, with its sweeping curved awning, crafted brickwork expression and decorative ceramic detailing.

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210 Brunswick Street build-to-rent tower by Cox Architecture.

“The response is orchestrated through a contemporary, highly crafted, brickwork podium whereby the detailing and fine grain scale of the brick contributes to the creation of a humanised streetscape in keeping with the richness of the McWhirters building,” the architects state.
“Referencing the sweeping curved awning of the McWhirters building the proposal mirrors this curved geometry to celebrate the prominence and visibility of its corner position. The expression of the new awning moves away from the Art deco expression of the past to present a fine, streamlined, bronze coloured, metal soffit to the street to allow maximum visibility through to the double height glazed lobby spaces of the building.”

Above the podium, the tower has been designed in a “tripartite arrangement” of three volumes as a means of reducing the tower’s bulk.
Vertical apertures or recesses in the building facades run between the forms to separate them into three clearly legible masses.
“The smooth, glassy, curved midsection references the adjacent FV towers whilst the bookends seek to contrast by expressing the sunshading elements recognising the buildings orientation and solar aspect,” state the architects.
The 210 Brunswick tower is one of a number of build-to-rent towers in the works being supported by a Queensland government pilot program aimed at delivering suitable housing close to the CBD. Around a quarter of the units in the building will be classified as affordable housing, with the government subsiding rent.
Subject to approvals, developer Frasers Property expects construction to kick off in late 2021. More

The New Entrants category in the annual Think Brick Awards celebrates the work of up-and-coming architects.
Now in its 15th year, the Think Brick Awards program recognize architectural excellence in the use of brick, block, pavers and roof tiles.
The New Entrants award is open to architects who have never entered the Think Brick Awards before. The winner will take home a $10,000 cash prize – part of the $60,000 prize pool. Architects and architecture practices entering the for the first time in any of the five main categories will automatically be placed into the running for the New Entrant Award.

The five main award categories are:
Horbury Hunt Commercial Award – commercial built projects that exemplify outstanding craftsmanship and innovation through the use of clay face brick and pavers
Horbury Hunt Residential Award – residential built projects that exemplify outstanding craftsmanship and innovation through the use of clay face brick and pavers
Kevin Borland Masonry Award (in association with CMAA) – concrete masonry in commercial and residential architectural design.
Bruce Mackenzie Landscape Award (in association with CMAA) – clay brick and concrete masonry in landscape design
Robin Dods Roof Tile Excellence Award (in association with ARTA) – commercial and residential built projects that exemplify outstanding craftsmanship and innovation through the use of concrete and terracotta roof tiles
Think Brick CEO Elizabeth McIntyre says, “Every year I am delighted to see the way architects evolve their design concepts and work alongside manufacturers to push the limits of the raw materials and re-imagine the buildings that make up the tapestry of our unique country.”

Entries close Wednesday 31 March 2021. For further information, head here

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Sub-Zero and Wolf has launched a new design hub and showroom in Sydney’s Surry Hills designed by Adele Bates.
Showing off the design possibilities of the Sub-Zero and Wolf range, the space is intended to inspire architects and designers, as well as consumers.
“The location and the building itself were critical to the design of the showroom,” said Sub-Zero and Wolf’s Australian managing director, Andrew Mumford. “Heritage elements were so important to perfectly complement the heritage of the Sub-Zeroand Wolf story. Designer Adele Bates interpreted the brief so effectively, creating an inspirational space for consumers andthe design community that differentiates and highlights the diverse Sub-Zero and Wolf design styles.”

The showroom is zoned into two distinct spaces. Upon entry, visitors are welcomed into an open-plan retail space housing the extensive range of Sub-Zero and Wolf appliances.

An inconspicuous fluted glass door to the rear of the showroom provides a portal to the demonstration kitchen and dining area. The darker tone of this inviting, functional space creates a soothing, sophisticated atmosphere and marks a distinct shift from the bright retail showroom.
Brushed brass, timber and mirror give the space an identity more akin to restaurant and bar design. The dining area doubles as a meeting space for the showroom, with a custom designed long dining table and a concealed prep kitchen. The demonstration area is dominated by the extensive form of the kitchen island, overhung by custom rangehoods featuring bespoke brass metalwork.
For further information, head here. More

GHD Woodhead will design three new railway stations along the Gold Coast’s “glitter strip,” the Queensland government has announced.
The architecture firm, together with its parent engineering consultant company GHD, has been awarded the design contract for Pimpama, Merrimac and Helensvale North stations, which are being delivered in conjunction with Cross River Rail.
The state government allocated $120 million for the stations in 2019. As GHD Woodhead moves forward with detailed design, the government has released a concept image of the new Pimpama train station.

“GHD will refine the existing concept designs for each station, producing detailed designs, documentation and approvals ready for construction,” said transport minister Mark Bailey.
“As part of the detailed design phase, additional studies will be undertaken including construction methodology, noise modelling, flood modelling and flora and fauna studies.

“Community feedback and input is being considered as part of the detailed design phase and there will be another opportunity for public consultation on the updated designs later this year, with nearby communities to be notified well in advance.”
The stations are expected to be operational in time for Cross River Rail’s opening in 2025.

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Construction is underway for a 20-storey office tower designed by Woods Bagot that proponents say will help rejuvenate Adelaide’s Pirie Street.
Located on the corner of Pirie Street and Freemasons Lane, the tower will deliver around 30,000 square metres of commercial office space, along with outdoor terraces on the rooftop, a wellness centre, and end-of-trip facilities plus retail and hospitality tenancies on the ground floor.
Woods Bagot’s design sees the podium divided into three “blocks,” with each block’s scale and materiality informed by the streetscape and adjacent buildings. In particular, the design seeks to respond to the architectural language of the “People’s Palace” at 87–95 Pirie Street, a French Renaissance-style building designed by G. R. Johnson in 1878 for the local German Club, which served as Salvation Army accommodation until 1979.

“The building’s bold form has been broken down and articulated through close analysis of existing site conditions and analysis of adjacent buildings,” states the architect.

“A transparent facade, generous ground-level setback, outdoor dining and landscaping provides opportunities for public to dwell. Through transparency and continuity of finishes, [the] public are invited to enter the building via Pirie street and Freemasons lane.”
Aspect Studios is the project’s landscape architect.

Above the podium, the tower rises as a seamless glass block. According to the architect, “A purposeful and restrained approach has informed the design of the tower component, with repetition of angled glass panels creating an elegant and sophisticated design aesthetic.”
The site of the tower, at 83 Pirie Street, was once home to the Planet Nightclub, which stood empty for 16 years before its demolition. South Australia’s Department of Planning, Transport and Infrastructure is expected to lease 18,500 square metres of office space in the tower, taking up the majority of the floors. More