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    Newcastle uni launches design competition for social hub

    The University of Newcastle has launched a competition for the design of a new landmark building in the centre of Newcastle.
    The building will house the university’s new social hub for alumni and the wider community of the city and region.
    The building will be situated at the corner of King and Auckland Streets, opposite Newcastle Civic Park. The site is 624 square metres and has a height limit of 20 metres.
    The competition is open to teams with a practising architects registered in Australia. If selected, teams must include or appoint a member who is registered with NSW Architects Registration Board and act as the nominated architect for the project.

    The jury comprises Michael Keniger (estate design director, University of Newcastle and jury chair), Abbie Galvin (NSW Government Architect), Rebecca Hazell (director of ddvancement, Office of Alumni and Philanthropy, University of Newcastle), Brian Jones (program director, Organisational Change team and former director, Infrastructure and Facilities Services, University of Newcastle), Razali Rahman (executive chairman, Peremba Group and University of Newcastle alumnus), SueAnne Ware (head of school, School of Architecture and Built Environment, University of Newcastle).

    Registrations for the competition will close on 2 December. The first stage – the expression of interest phase – closes 16 December and the winner to be announced on 14 May 2021. To register, click here.

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    Rome Tracks Down the Man Behind All That Graffiti. No, It’s Not Banksy.

    AdvertisementContinue reading the main storySupported byContinue reading the main storyRome Tracks Down the Man Behind All That Graffiti. No, It’s Not Banksy.The tagger known as Geco is not as famous as the British provocateur, but he has made a name for himself in Italy.Graffiti in Rome that reads “Geco gives you wings.”Credit…Marilla Sicilia/Mondadori Portfolio, via Getty ImagesNov. 14, 2020ROME — The post on the Rome mayor’s Facebook page was triumphant: The police had tracked down a man “once considered uncatchable,” she said in announcing that after a yearlong investigation, the authorities had discovered the real identity of the elusive tagger known only as Geco.For years, his moniker in blocky letters has marked countless Roman subway stations and bridges, abandoned buildings and schools, parks and galleries. Stickers with his name have been affixed to innumerable street signs, lamp posts and news stands.“He has soiled hundreds of walls and buildings in Rome and other European cities, which had to be cleaned using public funds,” the mayor, Virginia Raggi, wrote on social media this week. She posted a photo of “hundreds of spray paint cans, thousands of stickers,” and other tricks of the trade that she said investigators had confiscated from the apartment of Rome’s most-wanted graffiti painter.The city authorities did not disclose Geco’s real name. But Italian news outlets identified him, without saying how they had obtained the name. And they gave few personal details about the man, who is thought to be in his late 20s and originally from Rome. His lawyer would not confirm his real name.Geco is not nearly as well-known as Banksy, the world’s most famous artist-provocateur, whose real identity remains a secret. But he has made a name for himself in Rome, where his tags seemed to be everywhere, while his true identity — in the spirit of his more famous counterpart — was kept a secret.Paulo von Vacano, a publisher and expert in contemporary urban art, said tagging “is something brutal, archaic,” adding: “You tag your name to show that you are king of the street. In the context of what he did, he did it very well.”Geco fueled his fame by tagging a perilously tall railway tower and by climbing to the roof of a municipal food market to leave an unusually verbose message: “Geco ti mette le ali,” or ‘Geco gives you wings.”While most Romans would concur that the Italian capital could use a good cleanup, including its graffiti, many grumbled that the city — and the mayor — had much bigger problems to contend with, from the ever-present scourge of potholes to infrequent garbage collection, not to mention the economic toll of the coronavirus pandemic.“He has soiled hundreds of walls and buildings in Rome and other European cities, which had to be cleaned using public funds,” Mayor Virginia Raggi, center, wrote on social media this week.Credit…Riccardo Antimiani/EPA, via Shutterstock“A writer treated like a mafioso,” a lawmaker for the center-left Democratic Party, Matteo Orfini, wrote on Twitter. “Reading and interpreting a city only through the lens of decorum and security can’t be the solution. In fact, it’s a (not small) part of the problem.”At least one “Free Geco” tag appeared on a city wall. But actually, he has not been arrested.Geco’s lawyer, Domenico Melillo, himself a graffiti writer turned street artist known as Frode, said the investigation was still in a preliminary phase and his client had not been formally charged.“Everything has to be verified,” he said.If Geco is charged with defacing public or private property and found to be a repeat offender, he could face up to two years in prison and fines.But Mr. Melillo dismissed the mayor’s Facebook post as little more than political propaganda which violated his client’s right to secrecy during the preliminary investigation. Mayors have understood that cracking down on graffiti has become a way to forge a political consensus, he said, adding, “They want to show that they’re doing something.”Through his lawyer, Geco declined to be interviewed.The Geco sting was carried out by an 18-month-old environmental police task force that works directly for the mayor’s office. It acted on numerous complaints by Ms. Raggi as well as the city’s infrastructure commissioner and an association for one of Rome’s biggest parks. They claimed damage to city property as well as various other buildings and green spaces.It was rumored that Geco had landed in the cross hairs of the mayor because he had mistakenly tagged what he thought was an abandoned building that turned out to be a Secret Service hide-out.The mayor’s office said Geco had also operated in other European countries, above all Portugal, where he had caused thousands of euros in damages in Lisbon.Some might argue that Rome had expanded its urban art scene thanks to his tags. When it comes to graffiti, there has always been a fine line between vandalism and creative genius, said Mr. von Vacano, the urban art expert.Many grumbled that Rome had much bigger problems to contend with, including the ever-present scourge of potholes and infrequent garbage collection.Credit…Giuseppe Lami/EPA, via ShutterstockMany celebrated contemporary artists, including Jean-Michel Basquiat and Keith Haring, began their careers as taggers. And countless street painters have achieved fame, and market value, from Banksy to Blu, another celebrated — and anonymous — Italian artist.Geco has never strayed from his roots as a tagger. In an interview on a Portuguese website, he defined himself as a high-volume bomber who wanted to “spread my name more than having a super-developed aesthetic.” He said his top priority was quantity, adding, “Quality comes later.”“He is pure,” Mr. von Vacano said. “He is everywhere, a free spirit, and like all street artists of his kind, he works in lawlessness. He does not interact with the art system.”While Ms. Raggi was celebrating the supposed downfall of one street painter, another was being celebrated at Rome’s municipal Gallery of Modern Art, with a retrospective of the American Shepard Fairey. The show, “3 decades of dissent” is now closed because of the coronavirus.And for a campaign launched last November to teach Roman schoolchildren to keep their city clean, Ms. Raggi hired a well known graphic artist to draw her as a manga comic figure. (In one, the mayor is shown frowning upon a graffiti writer.)Not long after, the artist, Mario Improta, known as Marione, was fired from the campaign after he posted a vignette on social media depicting the European Union as the Nazi concentration camp Auschwitz.“It’s clear that not everyone likes graffiti and it’s legitimate that someone can be annoyed that someone has tagged his house. But it’s a leap to think of a writer as a criminal,” said Andrea Cegna, the author of a book on graffiti.To praise the Banksys or the Harings, he said, you have to accept the contradictory part, the illegal part.“Because as is true of everything that is aesthetic, everything that has to do with taste,” Mr. Cegna said, “there is no right or wrong.”AdvertisementContinue reading the main story More

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    John Wardle Architects to transform Sydney office tower

    A 31-storey office tower built in 1988 in Haymarket, Sydney, will be transformed into an “enlivened contemporary workplace” for the tech sector under plans prepared by John Wardle Architects.
    The $70 million renovation of the 477 Pitt Street tower will see the entire tower re-clad to address safety concerns about existing cladding which has been failing and falling from the building.
    The existing building is described as a monlithic form with little building identity that “lands heavily on the corner of Pitt and Barlow Streets.”

    The design will create a new building identity and more legible arrival sequence and an active frontage on Pitt Street.
    New double-height façade glazing is proposed on Pitt Street and Barlow Streets, “providing direct visibility into the inner workings of the transformed ground floor lobby, verandah and sitting room spaces.”
    A coffee pod will operate under the verandah providing tenants and the public an opportunity for social gathering and informal working.

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    477 Pitt Street by John Wardle Architects.

    Three heritage buildings on the whole-block site will also be repaired and re-purposed, with John Wardle Architects working with NBRS Heritage Consultants to ensure the response is sensitive.
    The locally listed Australian Gaslight Co building, originally a showroom for new gas appliances, is to be re-purposed as an event space, while the former Presbyterian Manse and Fire Engine House will be restored with new warm shell interiors to suit food and beverage tenancies.
    A new landscape edge to the site is also proposed to provide greening and acoustic buffering from Pitt Street.
    The proposal is being considered by the City of Sydney and is recommended for approval.

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    Decision delayed on commercial tower at Adelaide Festival Plaza

    South Australia’s State Commission Assessment Panel has deferred its decision on proposed changes to Walker Corporation’s tower development adjacent to Adelaide Festival Plaza after concerns were raised over the heritage impact on the adjacent Parliament House building.
    The latest proposal, designed by JPW Architects, is the fourth variation on a scheme that was approved in November 2016 with a design by Bates Smart. It calls for minor changes to the design and internal configuration of the 27-level office tower, the inclusion of a new pedestrian walkway and the extension of the retail pavilion to the east.

    Government planners are largely in support of the changes, but Heritage SA has raised objections to the extension of the retail component, with principal conservation architect Peter Wells objecting to the encroachment into the curtilage of Parliament House.
    “I consider that a fundamental formal quality is lost in the proposed misalignment of Parliament House and the eastern retail edge, diminishing both the setting of the heritage building and the urban design response,” he writes in his assessment.

    Despite these heritage concerns, the report to the assessment panel recommended approval of the development. But the panel voted to defer its decision on 11 November, to allow for a reassessment of the eastern retail pavilion.
    For its part, JPW Architects states that the proposed variation “refines and enriches the site planning and building design principles established by the current [approved scheme], creating a more cohesive relationship between the new and old buildings in the precinct, and a more integrated and permeable public realm.”

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    Festival Plaza development by JPW Architects.

    The design of the office tower retains its visually simple expression of stacked boxes, with only subtle changes to texture and form and texture, including “changing the alignment of some of the tower facades so that they reflect different parts of the sky”; “changing the angle of expressed fins across the facades so that they still provide shading, but also reflect light at different angles so that the block forms making up the tower are distinct”; and “reinforcing a horizontal expression across the northern frontage to Festival Square, with a distinctive podium facade type within the Commercial Tower Podium.”

    The foyer of the office building will also be expanded to create two lobbies, with a high-rise lobby at ground level and a low-rise lobby at level one.

    Heritage SA and the state’s government architect found that the amendments to the external form of the tower and podium improved their visual relationship with the surrounding heritage context and contributed to a more balanced overall visual expression.
    The government architect said the two lobby spaces gave the building a strong sense of address, while the stepped composition presented an effectively contrasting expression.
    The state government is also funding the redevelopement of the adjacent Adelaide Festival Plaza designed by ARM Architecture and Taylor Cullity Lethlean. The government announced a further $31.2 million for the project in this week’s budget, bringing the overall price tag to $214 million. More

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    Works underway at site of FJMT’s Liverpool Civic Plaza

    Demolition works have begun at the site of the proposed Liverpool Civic Plaza, designed by FJMT, as the council submits its development application for the project.
    Jointly developed by Liverpool City Council and Built, the project is “one of the most significant projects in our city’s history,” said Liverpool mayor Wendy Waller.
    “Liverpool Civic Place will anchor and activate the southern end of the Liverpool city centre, providing new public spaces, community facilities and job opportunities for our growing city.

    The project will be located at a prominent corner of Scott and Macquarie streets. It will be delivered in two stages: first, the council offices, council chambers, a childcare facility, a new library and community hub, civic plaza and car parking; second, the office spaces and a nine-storey hotel and student accommodation building.
    “Liverpool Civic Place is part of more than $1 billion worth of major mixed-use developments in the pipeline for the Liverpool city centre, aided by Council’s 2018 rezoning to mixed-use development,” Waller said.

    “Council is also paving the way to a greener, more vibrant and active city centre through our 10-year Public Domain Master Plan, which will see more street trees, public art, furniture, and wider footpaths implemented to improve amenity and accessibility while helping foster an 18-hour economy.”
    “Liverpool has emerged as Sydney’s Third CBD and Council is proud to play a part in transforming Liverpool into a city of opportunity.”
    Liverpool City Council has committed $195 million to deliver the council buildings, while Built will cover the commercial costs of the remaining stages of the project.
    Demolition and excavation works are expected to finish in mid-2021. A development application for the first phase of the project has been lodged and will go on public exhibition later in November. More

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    Rising to the challenge: Architeam Awards winners announced

    Architeam Cooperative has announced the winners of its 2020 Architeam Awards, which recognize the work of small architecture practices.
    “As is true for many businesses, 2020 has been a tough year for architects,” says ArchiTeam CEO, Phoebe La Gerche-Wijsman, “but our members are uniquely placed to respond and adapt to these times. With Victorian members being affected by state-wide lockdowns, even getting photography together for this year’s entries was a massive task. Despite this, the 2020 ArchiTeam awards received an outstanding 130 entries, and our members rose to the challenge to create a whole new concept in exhibition design.”

    The 130 entries across five primary categories were judged by a jury comprising chair Kate Fitzgerald (Whispering), Norman Day (Norman Day + Associates), Kate Fitzpatrick (Auhaus), Tamsin O’Neil (Green Magazine), John Ellway (John Ellway Architect), Andy Fergus and Rachel Neeson (Neeson Murcutt and Neille).

    The winners are:
    ArchiTeam Medal
    Davison Street – Archier
    Residential New
    Winners

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    The Good Life House by MRTN Architects
    Image: via Architeam
    The Good Life House – MRTN Architects
    Two Sheds – Dreamer
    Commendations
    Davison Street – Archier
    Edgars Creek House – Breathe Architecture
    Kensington House – Fowler and Ward
    Alterations and Additions
    Winner

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    Brunswick Lean-to by Blair Smith Architecture.
    Image: Tom Ross
    Brunswick Lean-to – Blair Smith Architecture
    Commendations
    Hampden Road House – Archier
    Warehouse Greenhouse – Breathe Architecture
    Commercial
    Winner

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    Parks Victoria by Archier and Harrison and White.
    Image: Peter Bennetts
    Parks Victoria – Archier and Harrison and White
    Commendations
    Uro Workshop – Architecture Architecture
    Where House? – EM Architects
    Community
    Winner

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    Yarra Pools by Wowowa Architecture.
    Image: Wowowa
    Yarra Pools – Wowowa Architecture
    Commendation
    Arkadia – Breathe Architecture and DKO Architecture
    Unbuilt
    Winner

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    St Andrews Square by Moloney Architects.
    Image: Moloney Architects
    St Andrews Square – Moloney Architects
    Commendation
    Dead End House – Kuzman Architecture
    Yarra Pools – Wowowa Architecture
    Contribution
    Winner
    Talina Edwards – Talina Edwards
    Commendation
    Architects Declare movement – Australian Architects Declare
    Brickworks Materiality Award
    Merri Creek – Wowowa Architecture
    Passive House Award
    Passive House Trophy – Qutaibah Al-Atafi in collaboration with local textile artist Inneka Moorhouse
    Sustainability Medal
    Architects Declare movement – Talina Edwards
    Small Project Medal
    Small Grand Apartment – Tsai Design
    People’s Choice Award
    Colour Shingle – Krisna Cheung Architects More

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    Works imminent for Hobart’s riverside sporting precinct

    The design team behind Hobart’s Museum of Old and New Art will create a $200 million masterplan to transform an underutilized, ex-industrial site on the Derwent River into a sports and recreation centre.
    Lead architecture practice Fender Katsalidis and its collaborators Oculus and Ireneinc hope to elevate Tasmania’s reputation for delivering sport and recreation activities by creating a dedicated and considered precinct.
    “The goal is to cultivate a vibrant and engaging district that prioritizes pedestrian movement and activity through designed landscaped areas, integrated infrastructure, and connectivity within the site,” said Nicky Drobis, director of Fender Katsalidis.

    “Being in a prime location, the site needs renewal and investment that effectively responds to a lot of different and complex requirements which we are realising in the new precinct masterplan.”

    “The masterplan will deliver something new to the area, improving its functionality and connections for other sites such as Mona and the city, while alleviating congestion along the highway.”

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    Masterplan for Wilkinsons Point precinct by Fender Katsalidis and Oculus.

    The project will be located on a 15-hectare site at Wilkinsons Point in Glenorchy, currently home the Derwent Entertainment Centre, which will be refurbished to create a multipurpose venue that will serve as the home base for Hobart’s basketball team, the Jack Jumpers. The venue will also host shows, performances and other sporting events.
    The precinct will include elite performance facilities, informal recreational opportunities, connections to a surrounding network of open spaces and trails, mixed-use capabilities such as waterfront dining, a hotel, sports-focused retail, as well as indoor recreation facilities such as basketball, soccer, gymnastics, rock climbing, indoor skydiving, indoor skiing and a kids play centre.

    The masterplan will also link the proposed buildings with landscaping that will protect the facilities from the natural elements while also enhancing its river setting. It will retain as much of the existing vegetation as much as possible.
    “Our masterplan seeks to consistently activate this site, far beyond its current use, and transform the peninsula into a state-of-the-art sports and entertainment precinct that has both social and economic benefit,” Drobis said.
    Developer LK Property Group, who first brought the project to council in 2019, will begin demolishing the interior of the Derwent Entertainment Centre within a month. Renovation works are due to begin in 2021. More

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    Lahznimmo to design expanded facility for Powerhouse collection

    Lahznimmo Architects will lead the design of a $30 million expansion of the Museums Discovery Centre site at Castle Hill in north-west Sydney, providing more space for the Powerhouse collection and creating more opportunities for public access.
    The project will see the construction of a new public-facing building, Building J, which will facilitate increased public education programs, workshops, talks, exhibitions and events.
    Owned and operated by the Museum of Applied Arts and Sciences (MAAS), the Museums Discovery Centre currently comprises six buildings, five of which are primarily for storage and one, Building E, which is accessible to visitors. In the year 2017-2018, 17,481 people visited the site. The Australian Museum and Sydney Living Museums also maintain collection storage and conservation facilities on the site.

    The architects say in planning documents that Building J will provide an important new public interface with Showground Road, with the curtilage designed to integrate with the immediate surroundings, complementing the adjacent TAFE site and to providing a permeable landscaped setting along Showground Road.

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    Building J at Museums Discovery Centre, designed by Lahznimmo Architects.

    “Whilst industrial in nature, it will recognize its public/civic role, and will announce the presence of the Powerhouse within the area,” the design statement read. “The overall form will be simple, minimizing expressive elements and articulation.”
    The building’s façade will be formed of two key materials, corrugated aluminium, and corrugated precast concrete, with the façade “tilting, folding, peeling” to create openings. “The entries are marked by civic-scaled folds in the facade, tilting inward to lead visitors and staff into the building,” state the architects. “As the facade continues to the north, the facade peeling is limited to allow more controlled views into working areas such as the conservation laboratory.”

    The ground plane will be designed to feel like a continuous public accessible plane, and have strong indoor/outdoor connections.
    The landscape architect Aspect Studio envisions a diverse planting palette of understorey and ground cover species, which will improve the bare ground of the existing site, “creating and connecting to existing fragmented habitat areas.”
    The expansion of the Museums Discovery Centre is part of the wider renewal of the Museum of Applied Arts and Sciences, which includes the new Powerhouse Parramatta.
    A state-significant development application for the project is on public exhibition until 1 December. More