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    in Street Art

    À Paris, on pêche, on poste, et on relâche

    AdvertisementContinue reading the main storySupported byContinue reading the main storyÀ Paris, on pêche, on poste, et on relâcheUne nouvelle génération de pêcheurs s’empare des berges de la Seine et une tradition centenaire se mue en véritable culture underground.La Seine a longtemps été le terrain de jeu de pêcheurs âgés issus des classes populaires, de retraités tuant le temps sur les bords du fleuve. Mais aujourd’hui, une génération plus jeune et diverse vient bouleverser ce tableau.Credit…Andrea Mantovani pour The New York TimesJan. 11, 2021, 12:01 a.m. ETRead in EnglishPARIS – Une brise hivernale souffle sur la Seine. Eliot Malherbe, un jeune Parisien de 19 ans, tire une canne à pêche de son fourreau, plante un poisson en plastique pailleté sur son hameçon et jette la ligne à l’eau.Son ami Kacim Machline, un étudiant en art, 22 ans, ne tarde pas à le rejoindre. Mais avant, il ajoute la dernière touche au poisson vert zébré qu’il a peint à la bombe sur un mur en béton à quelques pas du spot de pêche, dans un ancien quartier industriel désormais rénové près du Jardin des Plantes sur la Rive Gauche.La Seine a longtemps été le terrain de jeu de pêcheurs âgés issus des classes populaires, de retraités tuant le temps au bord du fleuve. Mais aujourd’hui, une génération plus jeune et diverse est venue bouleverser ce tableau.Nombre de ces jeunes pêcheurs ont été attirés sur les quais de la ville par la promesse qu’ils leur réservaient de nouvelles aventures. Les skateurs profitent déjà de cet espace dégagé, qui offre également aux graffeurs des coins avec peu de passage pour peindre leurs fresques, la nuit, à l’abri des regards.Pour un œil profane, la pêche ne semble pas pouvoir offrir une exaltation semblable. Pourtant, Manuel Obadia-Wills — un ancien graffeur et skateur désormais converti à la pêche pendant son temps libre — affirme le contraire.Kacim Machline peint un graffiti avant de se mettre à pêcher.Credit…Andrea Mantovani pour The New York Times“Il y a un ‘thrill’, un côté addictif, un côté répétitif pour arriver au moment de grâce”, explique l’homme de 40 ans. “En skateboard, c’est la figure parfaite. En graffiti, c’est la montée d’adrénaline dans un endroit où tu n’avais pas le droit d’aller. En pêche, c’est le plus beau poisson.”Comme le skateboard et le graffiti, la pêche en Seine outrepasse parfois la frontière de la légalité. Beaucoup de passionnés sortent pêcher après le travail ou les cours — même si la pêche de nuit est interdite en France depuis 1669, y compris pendant l’hiver.Pendant la période officielle d’ouverture de la pêche, de mai à janvier, les jeunes adeptes se retrouvent sur les spots incontournables — près des péniches amarrées sur des kilomètres le long du fleuve qui servent de refuge aux poissons, ou au bord du Canal Saint-Martin ou du Canal de l’Ourcq, là où l’eau est plus calme et plus chaude que celle de la Seine.À la recherche de coins inexplorés, certains s’aventurent dans des lieux interdits au public – comme le “tunnel”. C’est ainsi que les pêcheurs appellent le canal souterrain qui court sur plus d’un kilomètre sous une voûte de pierre depuis la place de la Bastille. La mairie en a récemment fermé l’entrée pour interdire tout passage aux piétons.Le “tunnel” est un canal souterrain de plus d’un kilomètre de long depuis la place de la Bastille.Credit…Andrea Mantovani pour The New York TimesCela fait des siècles qu’on trouve des Parisiens amateurs de pêche au pied de Notre-Dame ou de la Tour Eiffel. Ces jeunes-ci sont les héritiers de cette tradition, mais ils l’ont mise au goût du jour avec leurs propres règles et leurs codes.Désormais, une belle prise n’est plus synonyme de repas en famille ou entre amis. Au lieu de cela, les pêcheurs postent sur les réseaux sociaux des gros plans des perches, sandres, silures et autres espèces attrapées dans le fleuve — avant de les relâcher.“La pêche est un sport et les poissons sont nos partenaires de jeu, c’est pour ça qu’on les relâche”, explique Grégoire Auffret, accroupi sur un parapet du Quai Anatole France sur la berge opposée au Jardin des Tuileries. “On ne va jamais demander à un joueur de tennis de manger sa balle”, ajoute le jeune homme de 21 ans.Pour tromper le poisson, la jeune génération remplace les appâts naturels comme les vers — que les retraités coiffés de bérets privilégient encore — par des appâts artificiels en plastique. Le poisson n’avale pas le leurre, et les pêcheurs peuvent le ferrer par le cartilage de sa bouche, en le blessant le moins possible.Ces nouvelles pratiques visent à protéger la biodiversité de plus en plus importante de la Seine. Dans les années 1970, il ne restait que trois espèces de poissons dans le fleuve. Après des décennies de politiques d’assainissement de l’eau, on en compte désormais plus de trente – même si les sacs plastiques, les déchets industriels et, dernièrement, les trottinettes électriques avec des batteries au lithium polluent encore le fleuve.“Le milieu s’améliore constamment et le coronavirus a accentué le phénomène” en offrant un environnement plus calme aux poissons, explique Bill François, un océanographe. Il ajoute que les bateaux pour touristes n’ont quasiment pas navigué sur la Seine cette année. Pendant l’été, “on a constaté une très bonne reproduction.”Kacine Machline exhibe la perche qu’il vient de pêcher dans le Bassin de l’Arsenal, l’embouchure du Canal Saint-Martin sur la Seine.Credit…Andrea Mantovani pour The New York TimesSelon Thierry Paquot, philosophe de la ville et enseignant à l’Institut d’urbanisme de Paris, les pêcheurs urbains s’inscrivent dans un élan général qui pousse les citadins partout en France à se rapprocher de la nature.“Il y a un faisceau de nouvelles pratiques qui vont dans le même sens, comme l’agriculture urbaine”, dit-il.Il ajoute qu’une génération de jeunes adultes, confrontés à la précarité économique grandissante, trouve un sens de la communauté dans la tradition de la pêche, désormais transformée par leur conscience écologique et le recours aux nouvelles technologies pour partager leur passion.La Fédération de Pêche de Paris et de sa région compte 8500 membres détenteurs d’une carte de pêche annuelle coûtant 100 euros. Si on y ajoute ceux qui achètent occasionnellement une carte journalière à 12 euros et ceux qui pêchent illégalement, il y aurait plus de 30 000 pêcheurs dans la capitale, d’après les propriétaires de magasins de pêche.“Le nombre de pêcheurs reste assez stable, mais maintenant on voit clairement qu’il y a plus de jeunes que de gens d’un certain âge”, explique Marcelo D’Amore, qui a commencé à vendre des articles de pêche à Paris il y a trente ans dans une chaîne de magasins de sports. Il est désormais propriétaire du magasin “Giga-pêche” — ouvert en 2016 dans le 12ème arrondissement.L’engouement du jeune public pour la pêche à Paris n’est pas passé inaperçu auprès des entrepreneurs. Fred Miessner a découvert cette tendance au début des années 2000 et l’a surnommée le “street-fishing”. Avec son associé, ce pêcheur passionné a lancé French Touch Fishing, une entreprise de distribution d’articles de pêche, et Big Fish 1983, une collection de vêtements pour pêcheurs urbains avec des bonnets, des T-shirt à imprimés et des lunettes de soleil polarisées.Fred Miessner, à droite, avec son associé William Fichard, devant les bureaux de French Touch Fishing et Big Fish 1983, leurs entreprises d’articles et de vêtements pour pêcheur urbains.Credit…Andrea Mantovani pour The New York Times“On ne se reconnaissait pas dans les anciens codes”, explique M. Miessner. “On n’était pas en bottes en plastique, en treillis militaire ou en maillot Tour de France. On pêchait, et puis on pouvait aller en soirée avec des potes sans changer d’habits.”French Touch Fishing et d’autres marques sponsorisent des jeunes pêcheurs, qui deviennent des influenceurs sur les réseaux sociaux pour leur communauté. M. Machline, l’étudiant en art, reçoit l’équivalent de plusieurs centaines d’euros par an de la part de son sponsor en échange de publications faisant mention de la marque à ses 4000 abonnés sur Instagram.Mais certaines traditions restent inchangées, même à l’ère des réseaux sociaux. S’il est devenu essentiel de publier une photo de son plus beau poisson de la journée, les pêcheurs cachent toujours la localisation exacte de leurs prises pour éloigner les “crabbers” — surnom donné à ceux qui repèrent les bons spots de pêche grâce aux photos.Et bien sûr, se vanter de la taille de sa prise reste aussi de rigueur.Après une journée à parcourir les berges dans le froid de décembre, M. Machline finit par attraper une perche potelée de quarante centimètres dans le Bassin de l’Arsenal, le port de plaisance à l’embouchure du Canal Saint-Martin sur la Seine, près de la Place de la Bastille. M. Malherbe, son ami, immortalise l’instant avec son téléphone portable, avant que le poisson ne soit rejeté à l’eau.“Je tends toujours les bras devant moi”, sourit fièrement M. Machline. “Comme ça, le poisson a l’air plus gros sur la photo.”Une leçon de pêche organisée pour les enfants par l’école Naturlish sur le Canal Saint-Denis.Credit…Andrea Mantovani pour The New York TimesAdvertisementContinue reading the main story More

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    in Architecture

    Three Sydney schools to be upgraded

    Three Sydney schools will receive upgrades together worth $290 million, after the New South Wales government gave the projects the green light.
    The Architectus-designed $250 million overhaul of Chatswood Public School and Chatswood High School will deliver more than 150 new and refurbished teaching spaces along with dedicated performing arts spaces, new sport and recreational facilities and new libraries.
    Education minister Sarah Mitchell said the school upgrades would transform the teaching and learning experiences for students and staff.

    “Upgrades to Chatswood Public School will include up to 53 classrooms with special programs and support classrooms while Chatswood High School will include up to 123 classrooms with special support classrooms,” she said.
    The character for each of the Chatswood schools is distinct. Architectus describes how Chatswood Public School on Pacific Highway will have a fine-grain urban character with brick and sandstone, while Chatswood High School on Centennial Avenue will embrace its natural bush setting.

    Meanwhile, the $40 million upgrade to Darlington Public School, designed by FJMT, will deliver 19 teaching spaces, a special programs room, canteen and a library.
    FJMT’s design reponds to the existing character of the school, which “sits at the nexus between the fine grain of the Darlington terrace houses and the large scale of the University of Sydney.”
    “The urban response to the site is to continue the dominant street alignment of the terrace houses which characterise the surrounding context,” the design report states.
    “The rhythm of the existing buildings that characterises the suburb of Darlington has been maintained, where the new development draws reference from the surrounding context and key buildings.”

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    ‘Over-scaled’ Waterfront Brisbane development approved

    The $2.1 billion Waterfront Brisbane office development designed by FJMT and Arkhefield has been given approval to be built on the Brisbane river, next to the Harry Seidler-designed buildings Riparian Plaza and Riverside Centre.
    Brisbane City Council and developer Dexus announced the approval for the controversial two-tower project at Eagle Street Pier at a press conference just days before Christmas 2020.
    Deputy mayor Krista Adams said the Eagle Street Pier precinct would be revived to include new public realm and a new riverwalk as part of the development.

    “This approval follows six months of working with the applicant on their plans to enhance the existing riverside destination and deliver a better experience for residents and visitors,” she said.
    “The Eagle Street Pier precinct was established as a dining precinct more than 30 years ago and this refresh will ensure it continues to provide dining, entertainment and spectacular riverside experiences for future generations.”

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    Waterfront Brisbane by FJMT and Arkhefield.

    Included in the scheme are two towers of 49 and 43 floors along with approximately 9,000 square metres of riverside public open space and a new 280-metre riverwalk connecting Waterfront Place to the Riparian Plaza. The riverwalk will be funded by the council and delivered by Dexus, with construction set to begin in 2022.
    The previously included private pontoon to the north has been removed and replaced with a new publicly accessible, shaded space.
    The approval comes despite opposition from residents of the Riparian Plaza, and a scathing assessment of the proposed design from Penelope Seidler, director of Harry Seidler and Associates and wife to the late Harry Seidler.

    In a letter to the council in 2020 Seidler said she was “horrified” by the proposal which would “obviously have a detrimental impact on the iconic Brisbane waterfront.”
    “Waterfront Brisbane appears as an over-scaled wall of glass positioned without any regard to the established principles respected in the design of all other towers to their mutual benefit and to the benefit of this part of Brisbane,” she wrote. “The proposed design seems to turn its back in disrespect of Brisbane: ‘if you are not on our waterfront, you don’t exist’. The building shape forms a wall separating the city from the river.”

    In a design statement submitted to council in October, FJMT and Arkhefield describe how the design has been updated to better suit the river-front location, in response to council comments. “The architectural expression of the podium elements has moved away from vertical surfaces with façade operability, towards a more horizontal expression with continuous landscaped edges,” the architects state. “Deep overhangs provide increased shading and multiple opportunities for occupied outdoor terraces. The architectural expression has moved toward a more subtropical language that extends the Riverwalk vertically though the podium levels. The expression is of a multi layered edge condition populated by inhabited and welcoming landscaped spaces to stop and gather.” More

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    in Street Art

    First Inventory of Damage to U.S. Capitol Building Released

    #masthead-section-label, #masthead-bar-one { display: none }The Presidential TransitionliveLatest UpdatesCalls for Impeachment25th Amendment ExplainedTrump Officials ResignHow Mob Stormed CapitolAdvertisementContinue reading the main storySupported byContinue reading the main storyFirst Inventory of Damage to U.S. Capitol Building ReleasedThe damage was largely limited to broken glass, busted doors and graffiti, the report said.Capitol Police surveyed the damage to an entrance to the U.S. Capitol building on Thursday, a day after a mob of Trump supporters broke in and vandalized the building.Credit…Jason Andrew for The New York TimesJan. 8, 2021, 6:07 p.m. ETThe office of the Architect of the Capitol in Washington, the office that preserves and maintains the building’s art and architecture, released Friday the first inventory of the damage sustained during Wednesday’s riot.Damage to the interior of the building was largely limited to broken glass, busted doors and graffiti, the report said, though it noted that statues, murals and historic benches displayed the residue of various pepper sprays, tear gas and fire extinguishers deployed by both rioters and law enforcement personnel. They will need to be carefully cleaned and conserved, the report said.Outside the building, two bronze light fixtures designed in the late 19th century by Frederick Law Olmsted, the American landscape architect, and that illuminate the grounds at night, were broken. The report also noted graffiti on the west side of the building near stands which are being constructed for the inauguration of Joseph R. Biden Jr. later this month.The Rotunda doors of the U.S. Capitol building sustained damage after rioters broke in on Wednesday. Credit…Jonathan Ernst/ReutersRioters who stormed the U.S. Capitol building on Wednesday afteroon overturned tables and smashed windows, but left the singular artwork intact.Credit…Andrew Harnik/Associated PressNo major artworks were reported damaged, despite the violent demonstrations inside the building by Trump supporters that took the Capitol Police nearly four hours to quell. A mob broke into rooms on the south side of the Capitol (including House Speaker Nancy Pelosi’s office), smashed windows and then marched through the National Statuary Hall, waving American, Confederate and “Trump Is My President” flags.Vandals in red “Make America Great Again” hats, many of whom photographed and recorded themselves, wreaked havoc in Congressional offices and the Rotunda. One man crammed a framed photo of the Dalai Lama into his backpack, while another smoked marijuana in a room with maps of Oregon on the wall. A 19th-century marble bust of former President Zachary Taylor was defaced with a red substance that looked like blood.Workers cleaned up broken glass and debris inside the U.S. Capitol building on Thursday.Credit…Brendan Smialowski/Agence France-Presse — Getty ImagesBut the large-scale, 18-foot paintings by Trumbull and other artists that depict scenes from the republic’s founding in the Rotunda, and the dozens of statues that fill the National Statuary Hall to the south that filled the background of many of the rioters’ photos, all appear to have escaped damage.The office noted on Thursday that many of its employees had worked through the night to clean up the trash, glass and other debris that littered the building and begin repair work.“Wednesday was a difficult day for our campus,” the architect of the Capitol, J. Brett Blanton, said in a statement. “As the Architect of the Capitol mission calls us to serve, preserve and inspire, it was particularly hard to watch the scene unfold.”AdvertisementContinue reading the main story More

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    in Architecture

    National Gallery of Victoria unveils ‘spectacular’ second Triennial exhibition

    The National Gallery of Victoria has unveiled its much-anticipated Triennial exhibition, which features 86 projects from more than 100 artists, designers and collectives from more than 30 countries.
    The exhibition includes more than 30 new major commissions, including architectural commissions by Australian and international architects and designers.
    BTVV (Switzerland and Finland) were invited to create an installation after their whimsical Swiss national pavilion won the Golden Lion Award at the 2018 Venice Architecture Biennale. Like the Swiss pavilion, the Triennial installation plays with scale and perception.

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    Walls 4 Sale: near new and supersized by BTVV.
    Image: Sean Fennessy
    “BTVV are an architecture studio that takes issue with architecture,” said Simone LeAmon, curator of contemporary design and architecture at NGV. They are critiquing their own discipline from within.
    “For this commission, they came to Melbourne and they witnessed what we’re all witnessing which is the building boom, and they took particular interest in the language of selling off the plan.”

    The studio made particular note of the distorted wide angle perspectives in renderings of apartments and the over emphasis on kitchen appliances in real estate.

    “They’ve taken what they see as being a very insincere language of visualizing and representing real estate and they have built it,” LeAmon explained. “So you will walk through doors that are oversized, you will encounter appliances which make you feel like Alice in Wonderland. It is quite a surreal experience.”
    The studio also plays on the speculative development market with a tongue-in-cheek proposal to construct an apartment tower over the Roy Grounds designed NGV International building.
    Japanese architect Kengo Kuma collaborated with Melbourne artist Geoffrey Nees on a timber pavilion made from trees that had died during the Millennium drought at the Royal Botanic Gardens.

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    Botanical Pavilion by Kengo Kuma and Geoffrey Nees.
    Image: Tom Ross
    “When an arborist deems a tree unsafe sometimes that tree needs to be felled and that timber is very precious,” LeAmon said. Some of the trees pre-date European colonization. “If you walk inside the pavilion, you will encounter timber from all these trees and the smell is quite extraordinary.”
    The pavilion is built using a traditional Japanese technique where interlocking pieces are held together only by tension and gravity.
    LA-based Australian architect Liam Young created a 15-minute animated film installation that proposes that in the future, the entire world’s population would live together in a single densely packed city.

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    Planet City by Liam Young.
    Image: Tom Ross
    “The provocation is we do this to let the rest of planet to return to its former state. This is a speculative design. It suggests we need to think differently about how we live in the future, how we design our cities, how we even live together as human beings,” LeAmon said.
    Other new commissions include the transformation of the NGV Gallery Kitchen by English architect Adam Nathaniel Furman and Australian studio Sibling Architecture. The installation draw on influences from the boudoir, the salon and the nightclub to create a space with “flamboyant scenography and décor.” It is intended to be an inclusive space that is “especially welcoming to those who may not feel comfortable or safe in the public realm.”

    The mammoth Triennial exhibition is underpinned by four themes: illumination, reflection, conservation, and speculation. The artworks – some of which have been several years in the making and others created in the COVID-19 pandemic lockdowns – explore some of the most pressing issues of today, including isolation, conservation and climate change.
    Other artworks in the exhibition includes the world’s first quantum artwork – a 100 square metre screen depicting a speculative work by Turkish artist Refik Anadol, made using artificial intelligence and quantum computing.
    The exhibition is open from 19 December 2020 until 18 April 2021 and entry is free.
    “There couldn’t be a better way to welcome Victorians back to the NGV – the people’s gallery – than with the spectacular second NGV Triennial,” said Victorian premier Daniel Andrews.
    In unveiling the exhibition, Andrews also announced a $20 million donation from the Ian Potter Foundation towards the development of the proposed NGV Contemporary. More

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    Pyrmont strategy clears path for controversial Star tower

    The NSW government’s final strategy for the Pyrmont peninsula clears the way for the controversial Star hotel development, with a 110-metre tower allowed at the northern end of the casino site and a 140-metre tower approved for the southern end.
    The decision to allow the development follows a prolonged battle over the proposed tower development, with state government MPs trading blows with the government’s own planning department and the City of Sydney over its appropriateness. The original 180-metre tower, designed by FJMT, was recommended for rejection by the planning department and was ultimately axed by the Independent Planning Commission. When the government announced a planning strategy overhaul for the area in July it was criticized for aiming to resurrect the controversial development; in September, Star Casino announced its intention to build two towers, instead of one.

    The release of the final Pyrmont Peninsula Place Strategy means the casino can now prepare a development application. Planning minister Rob Stokes said the strategy would provide more certainty and clarity regarding the future of the CBD’s western gateway.
    “We’ve listened to community and business feedback and have adapted the plan so that Pyrmont remains a prosperous and unique part of Sydney,” he said.
    “Striking a balance in planning is never easy and the unique geography and history of Pyrmont’s settlement pattern provided a particular challenge. Our fundamental task was to encourage economic development while enlivening the peninsula, boosting jobs and providing for more quality public open spaces for everyone to enjoy.”

    The strategy also confirms that a new Sydney Metro station will be built in Pyrmont as well as a new active transport link from Blackwattle Bay to the Fish Market Light Rail Station.
    It also calls for a “low-line” (modelled on New York’s High Line) beneath the Anzac Bridge pylons and Western Distributor overpass, comprising a ribbon of public, recreational space. Wentworth Park greyhound track land and the temporary pop-up school will also be transformed into publicly accessible open space.

    “Our plan will unlock public access to Sydney’s foreshore from Blackwattle Bay to Woollomooloo Bay [which hasn’t been accessible] since the 1800s,” said Stokes.
    “The pandemic has shown us the importance of public space and this strategy provides hectares more open space, uninterrupted foreshore and plenty of community infrastructure to support new and existing development.”
    Building heights will be allowed of up to 170 metres at Harbourside, while at Blackwattle Bay, 156 metres will be the maximum.
    The Department of Planning, Industry and Environment will now prepare masterplans for the Pyrmont Peninsula’s seven sub-precincts: Pirrama, Darling Island, Blackwattle Bay, Tumbalong Park, Wentworth Park, Pyrmont Village and Ultimo. More

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    Pavilion made with oyster shells wins Barangaroo design competition

    A design that envisions a “democratic gathering space under a landscape canopy” has won the NSW government’s design competition for a new public pavilion at Watermans Cove, Barangaroo.
    Behind the winning design in the national Pier Pavilion competition is architect Jessica Spresser, of the eponymous Brisbane studio Spresser, who worked in conjunction with fellow architect Peter Besley and Arup. The teams’s design was selected out of 170 entrants and five shortlisted designs announced in September.

    “Personally, this means a great deal as a young Australian architect and I thank Infrastructure NSW for putting together this competition,” Spresser said.
    The competition jury praised the design for its timeless appeal and a symbiotic relationship to the surroundings. The pavilion design includes a green rooftop garden and 123 columns built using white “oyster concrete” from local Sydney rock oyster shells.

    “The pavilion is designed as a democratic gathering space under a landscape canopy and will act as a meeting place, a site for events, a memorable part of the city and an oasis of tranquillity.”

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    The Pier Pavilion winning design by Jessica Spresser in conjunction with Peter Besley and Arup.

    With the winner selected, the design will undergo refinement before Infrastructure NSW lodges a development application for construction. Once built, the pavilion will be open year-round and will be used for a broad range of programmed events.
    “Jessica’s design is sophisticated and iconic, celebrating the natural elements of land, sea and sky that compose the site,” said planning minister Ron Stokes.
    “Our vision for Barangaroo has been to ensure that more than half of the area was dedicated public space. Seeing the potential of how the area will look, through the eyes of talented architects, is a thrill for me as minister for public spaces.”

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    Brisbane tower proposal reminiscent of the Queenslander

    A 12-storey apartment building dubbed the “Trellis” for its framework of criss-crossing structural columns, deep balconies and pronounced slab edges will be built at 20-24 Edmondstone Street, South Brisbane, under plans before council.
    In its design for the tower, Rothelowman has sought to challenge the traditional podium-tower composition, by removing the podium altogether.
    Instead, the tower is raised on large columns reminiscent of the stilts of a Queenslander and the ground plane is given over to landscape and pedestrians.

    “The columns from the Trellis overhead hold the street edge giving order and dignity to Edmonstone Street,” state the architects in planning documents.

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    Trellis tower at 20-24 Edmondstone Street, South Brisbane, designed by Rothelowman.

    “Passive design principles inform a layered facade where the horizontal shading projections and balustrade assembly allows for full height openings to living areas. This along with naturally ventilated corridors celebrate the liveability of the Brisbane environment.”

    RPS is the landscape architect for the project, in which landscape takes priority throughout. The ground floor lobby becomes a conservatory as part of a “curated landscaped interior experience…where the enclosure dissolves and allows the forest to take centre stage.”
    The development also includes a landscaped rooftop shaded by a generous pergola structure with 360-degree views. A 65kw rooftop solar system and associated battery storage is anticipated to offset around half of common area power usage for the residents.
    Developed by Aria Property Group, the tower will house 110 apartments, including 66 two-bedroom apartments and 44 three-bedroom.

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