Evelyn Reynolds

A draft masterplan for Cockatoo Island has been unveiled, with the proposal seeking to attract more visitors to the UNESCO World Heritage listed site through the establishment of a hotel, artificial reefs, increased food and beverage offerings, a public swimming pool and immersive light shows.
Tyrrell Studio, with support from land managers Harbour Trust developed the draft masterplan for Sydney Harbour’s largest island, which is now on public exhibit. The planning documents propose a revitalization of the island to increase its appeal to sightseers.
Cockatoo Island, known as Wareamah in Dharug language, was historically used as incarceration. The site was listed on the UNESCO World Heritage List in 2010, yet according to the Harbour Trust, visitation rates have remained low.
Feedback collated during the consultation phase identified a desire for better accommodation including the construction of a hotel and improved camping facilities. The draft plan states hotel accommodation “remains a long-term aspiration” for the trust as it would provide a unique, heritage-laden tourism experience in the heart of Sydney Harbour. Master planning has recommended assessment of the land and current buildings on site for conversion purposes, in line with this long-term goal.
A campground, suitable for tents, currently operates on the island, however, plans suggest the camping area relocate to the west of its current location, enabling the northern apron to be transformed into communal parkland. Initial plans have also recommended broadening camping options through the addition of cabin-style accommodation. Boutique accommodation is currently at the disposal of island visitors, however the trust has proposed more houses be restored so additional boutique offerings can be made available.
In addition to the expansion of current accommodation services, high-end food and beverage outlets have been suggested. The draft master plan states “a range of new food and beverage outlets can be included from the earliest stages of reactivation, with the master plan providing spaces to accommodate leasing to, and final fit outs by, highly experienced operators.”

Circulation and accessibility around the island was highlighted as needing improvement. To address this, plans suggest the introduction of more frequent ferry services, as well as the construction of a new ferry wharf, which would be strategically positioned to provide direct access to key heritage structures such as the Convict Workshop and Fitzroy Dock. To enhance circulation, the integration of looped walkways have been put forward.
“To help navigate this complex terrain the lower loop would offer clear and easy access around the island following the original edge. To better connect to the upper loop two new lifts and two new staircases are proposed. The upper loop will circulate visitors around the island taking in the most significant convict heritage and harbour view lookouts,” the draft masterplan states.
“In the design phase, all circulation paths will be reviewed with the intention that they are inclusive and barrier free for people with disability. The draft masterplan also proposes an overall interpretive and wayfinding strategy that introduces the layers of natural and cultural heritage, and supports orientation soon after arrival.”
The draft masterplan has reflected a desire to improve access points along the northern apron slipway for small non-powered recreational vessels such as kayaks and canoes.
The activation of the island through historical and cultural activities has been underscored, with plans for immersive light and sound shows telling the story of the island’s history, site specific art commissions, event and function spaces, artificial reefs to rehabilitate biodiversity and support marine life, boat trips, new parkland with access to the water for harbour swimming, and a drained Fitzroy Dock enabling island-goers to walk inside what is Australia’s last remaining dry dock constructed by convicts.
Feedback on the draft proposal will be accepted until 13 December, 2023. The Harbour Trust has advised it anticipates the finalized masterplan will be published in 2024. More

The Naomi Milgrom Foundation has revealed it will donate the MPavilion 2022, designed by Rachaporn Choochuey of All Zone, to RMIT University with the new home for the award-winning structure to be at the university’s Brunswick campus.
All Zone, a female-led architecture studio based in Bangkok, designed the innovative three-tiered marquee with support from Melbourne-based architecture practice, Zilka Studio; engineering consultants, Tensys; and consulting firm AECOM. The temporary structure was used as the site for more than 352 free MPavilion events across a four-month period, attracting more than 350,000 visitors.
The design team chose to work with soft materials for the layered canopy, with the intention of creating a light environment. The pavilion’s form is not symmetrical, ensuring that its appearance varies from every viewpoint. The upper layer has been composed of bright-coloured fishing nets, adding a tactile quality to the structure, the middle section uses a transparent and weather-proof roofing membrane called STFE, while the lower layer was crafted from a colourful, waffle fabric.

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The pavilion’s form is not symmetrical, ensuring that its appearance differs on every approach. Image:

John Gollings

The pavilion’s new home at the campus will be strategically positioned in the heart of the central courtyard, drawing visitors in from the street.
Founder of the Naomi Milgrom Foundation, Naomi Milgrom expressed her delight at the prospect of the structure providing design students with a source of inspiration. “We hope that the pavilion’s innovative design will inspire students and visitors alike at its new permanent home. This is the seventh MPavilion gift to Victoria, and comes as we mark a decade of architectural commissions by the foundation with the opening of Pavilion 10 at the Queen Victoria Gardens on 16 November,” Milgrom said.
RMIT vice-chancellor and president, professor Alec Cameron echoed those sentiments, saying the canopy will serve not only as a motivational symbol of what can be achieved but also as a place of connection for the university community.
“MPavilion RMIT will give our students and staff a new space to come together for activities and events at our Brunswick campus, and act as a site for creative collaborations with the Merri-bek City Council and partners from the Brunswick Design District,” Cameron said.
“We are immensely grateful to Naomi Milgrom for this significant cultural gift and applaud her ongoing commitment to supporting art, design and critical discourse through the annual MPavilion program.
“RMIT is proud to have been involved in the program for many years and we look forward to MPavilion RMIT becoming another dynamic hub of creativity and conversation on campus.”
The structure has earned eight Australian and international awards and commendations. It has also been shortlisted for two accolade categories at the 2023 World Architecture Festival Awards including: Best Use of Colour and Completed Buildings – Culture.
Design director of All Zone, Rachaporn Choochuey said she is thrilled to hear the pavilion will be relocated to the university, which is “recognized globally for its focus on technology, design and enterprise,” she said. “We hope our pavilion will act as a catalyst for future students to explore and test new innovations in sustainable architecture and design.” More

The Australian Insitute of Architects has published the findings of its national Diversity and Inclusion in the Architectural Profession survey, with accumulated data revealing a perception that the field is male-dominated.
The online survey, comprising 57 questions, was commissioned by the Australian Institute of Architects for voluntary completion between 1 May and 28 May, 2023. The objective of the inquiry was to collect anonymous data and use that as a guide for improving diversity in the architectural workforce.
1,673 members and non-members responded to the survey, which was divided into three sections – demographics and diversity, inclusion, and open-ended comments. At the completion of the survey, respondents were invited to participate in confidential, virtual focus groups facilitated by an external consultant, of which 75 people put their hand up to participate in.
Five key findings were revealed as a result of the survey, including:
1. Many respondents reported the architectural profession as being “dominated by older males” and “inaccessible to those from lower socio-economic backgrounds.”
A third of respondents were aged under 35 and 56 percent of survey respondents were born outside of Australia, yet results still showed practice owners and principals were significantly more likely to be older, Australian-born males, feeding perceptions that there is more to be done to promote diversity and inclusion in the profession.

While many statements from respondents acknowledged that some progress had been made in promoting gender diversity, a great deal still flagged issues about cultural and socio-economic diversity within the profession, with particular concern for tokenistic attempts to address these issues.

2. Female respondents were “more likely to report that they combine career with caring roles” than males, as well as more likely to report that “their career was negatively impacted” by a caring role.
31 percent of female respondents combined a career in architecture with a caring role, in comparison to 6 percent of male respondents. “Females (65 percent) were more likely to report that taking parental leave has hindered their career prospects (compared to only 10 percent of males) and they were significantly more likely than men to say that accessing flexible working arrangements (24 percent) has impacted their career opportunities.”
Several concerns were raised by parents and caregivers regarding a lack of support around caring responsibilities. These included the need for consistent and flexible work arrangements, financial barriers for those working part-time, issues of bias, and the representation of mothers in leadership positions.
3. “Only 51 percent of respondents said that the architectural profession values diversity and inclusion,” however, “nearly three quarters said progress is being made in their individual workplace.”
While 73 percent of respondents agreed that their workplace promotes diversity and inclusion, only 51 percent believed that is reflected throughout the overall profession.
According to the survey, participants were more inclined to confirm that their respective workplaces were inclusive of all genders, ages, sexual orientation, abilities, religious beliefs, cultural and ethnic backgrounds, and socio-economic circumstances, than the profession as a whole.
Data showed it was uncommon for employers to have diversity and inclusion programs in the workplace. There was also a general sense that some efforts made by practices felt superficial, as the diversity and inclusion goals set by the practice did not align with the experience of workers.
4. Female respondents “were significantly less likely than male respondents to agree that the architectural profession values diversity and is inclusive of minority groups.”
While 70 percent of male respondents reported that they believed the profession is inclusive of all genders, only 44 percent of female respondents held the same belief.
Male respondents were also more likely than females to agree that the profession is inclusive of people of different cultural, racial, ethnic and socio-economic backgrounds, as well as those who have a disability, identify as LGBTIQ+ or are of Aboriginal or Torres Strait Islander heritage.
Many open-ended responses and statements in all focus groups highlighted gender inequity issues in the profession. While gender diversity progress was acknowledged, “many still expressed concerns about gender loss in the profession, lack of representation in leadership and lack of support in retaining diversity of talent.” Many also shared inappropriate stories of harassment and exclusion.
5. Respondents reported witnessing or experiencing harassment or discrimination in the workplace in the past 12 months
11 percent of respondents reported witnessing or experiencing sexual harassment, 14 percent revealed they had witnessed or experienced racial harassment and 11 percent witnessed or experienced age-based harassment in the architectural profession at some point in the past 12 months.
Female respondents and those who identify as LGBTIQ+ were more likely to say they had witnessed or experienced sexual harassment (17 percent for both respectively). Female respondents were also significantly more likely to have witnessed or experienced discrimination in hiring, promotion or development opportunities than other groups.
Questions relating to discrimination and harassment were frequently raised in the survey and focus groups, with many responses highlighting the need for awareness training, for removal of registration barriers and improved gender diversity in leadership roles.
As to who took part in the survey, 11 per cent of respondents were sole practitioners, 18 per cent worked in a practice comprising 2-5 staff members, 27 per cent worked with between 6-20 colleagues, 16 per cent worked in practices with 21-50 staff members, and 27 per cent worked in with practices with more than 50 employees.
Institute CEO, Cameron Bruhn thanked all who participated. “For many, this would not have been an easy task, and we truly value your time and honesty,” Bruhn said.
“I would also like to thank the Institute’s National Council for commissioning this project, the work of the National Committee for Gender Equity (NCGE) for their insights, and our hardworking policy and advocacy team for their research, analysis and presentation of findings.
“A project of this nature and scale is unprecedented within the Institute’s history, and will play an important role in moving forward, towards enacting cultural changes in the architectural profession. We want architectural practices to be more representative of the communities they serve, and to be inclusive of different ways to live, work and learn.”
Where possible, the anonymous collated data was cross referenced using Australian Bureau of Statistics (ABS) Census, ABS Survey findings, Department of Treasury and Department of Health data and the Institute’s membership records. More

The Quay Quarter Tower, designed by Danish practice 3xN and executive architect BVN, has earned international recognition after being named 2023’s Best Tall Building Worldwide by the Council on Tall Buildings and Urban Habitat (CTBUH).
The 49-storey office tower, located at 50 Bridge Street in Sydney’s Circular Quay, is composed of five volumes, with each volume stacked at a slightly different angle to delineate the building into human scale “vertical villages” or hubs.

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The 49-storey office tower, located at 50 Bridge Street in Sydney’s Circular Quay, is composed of five volumes, with each volume stacked at a slightly different angle. Image:

Martin Siegner

The project involved repurposing the existing and out-of-date AMP Centre tower, built in 1976 by Peddle Thorp and Walker. Principal of BVN, Matthew Blair said “AMP Capital had an extraordinary vision to turn two city blocks at Circular Quay into liveable, inspirational and adaptable places that are knitted into the fabric of the city. The upcycling of Quay Quarter as part of this vision sets a new standard for reimagining tall buildings to sustainably develop our cities to diverse, liveable, accessible, long lasting places.”
By evading the wasteful activities of demolition and replacement, the design team managed to retain 65 per cent of the original structure such as beams and slabs, and 95 per cent of the building’s core. The project saved approximately 8,000 tonnes of embodied carbon emissions, as well as managed to achieve a 6-Star Green Star rating.
Using the existing bones to build upon, the architects prove the adaptive reuse of an ageing building can result in a beautiful, contemporary finish. The twisted Jenga-like form, composed of concrete-filled steel tubes, now optimizes views to the Sydney Harbour, while also reducing harsh heat absorption through external sunshade hoods.

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The design team managed to retain 65 per cent of the original structure such as beams and slabs, and 95 per cent of the building’s core. Image:

Aran Anderson

Internally, floors are connected by a spiral staircase. Open atrium spaces assist the wayfinding process, while also encouraging social and visual interaction between users. Communal terraces, including a rooftop terrace are positioned around the tower to create a sense of community between office employees.

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The project involved repurposing the existing and out-of-date AMP Centre tower, built in 1976 by Peddle Thorp and Walker. Image:

Aran Anderson

In addition to being crowned best worldwide, Quay Quarter was selected overall winner in six categories: Best Tall Building: Oceania, the Construction Award, the Structure Award, the Repositioning Award, and the Space Within Award.
Quay Quarter Tower was completed in early 2022 and is part of AMP Capital’s Quay Quarter Sydney precinct, which includes four other buildings designed by Studio Bright, Silvester Fuller, Carter Williamson and SJB, and landscape architecture by Aspect Studios. Quay Quarter Lanes also received the Urban Habitat Award. More

The 2023 National Architecture Awards, held at the National Gallery of Australia, has shined a spotlight on Australia’s most prestigious and respected projects of the year, with this year’s ceremony reflecting an increase in regional works.
Forty-seven distinguished projects have earned an award or commendation from a pool of more than 70 shortlisted entries. Common threads among the named projects were sustainability, adaptive reuse, collaborative design, connection to Country, and a broad community focus.

Jury chair and former Australian Institute of Architects president, Shannon Battisson said the award-winning projects can be used as a source of inspiration for Australians during a time of environmental and economic crisis.

“Australia is in the depths of a once-in-a-generation housing crisis and a climate crisis. We are in dire need of new approaches to our built environment and this year the jury were united in our desire to seek out and draw attention to the best examples of design innovation in the country. There was a shared respect for what we wanted the awards to say about the broader climate, sustainability and culture situation. Our hope was to send a message to all Australians about where our industry should be going in terms of sustainability, learning and listening to Country,” Battisson said.

This year, the jury undertook one of the biggest regional tours they have ever conducted, with 28 per cent of the winning projects located in regional Australia.

“The jury felt the importance of celebrating good architecture across the breadth of Australia. Building in the regions has a different set of complexities to building in metropolitan areas – the constraints and opportunities are different. This year, the jury made a concerted effort to visit regional projects and hear the stories of architects and their clients creating amazing projects against the odds of distance, tight budgets, material and labour shortages as a result of the pandemic, and political uncertainty. The assumption that regional projects are easier to design and execute is false. They contain their own unique set of intricacies” Battisson said.
One superlative, regional project is the Rockhampton Museum of Art by Conrad Gargett, Clare Design and Brian Hooper Architect. Described by the jury as “a true public building,” this Sir Zelman Cowen Award-winning project was praised for its “immeasurable” contribution of cultural and economic benefits to the city of Rockhampton.
The 2023 jury comprised Shannon Battisson, Shaneen Fantin, William Smart, Stephanie Kitingan and Scott Burchell. You can read the jury chair’s overview here.
During the ceremony, the Australian Institute of Architects also awarded the 2003 Gold Medal, originally awarded to Peter Corrigan alone, to Maggie Edmond and Peter Corrigan. You can read Philip Goad’s tribute to Edmond here.
The winners are:

Public Architecture
The Sir Zelman Cowen Award
Rockhampton Museum of Art – Conrad Gargett, Clare Design and Brian Hooper Architects

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The Sir Zelman Cowen Award for Public Architecture: Rockhampton Museum of Art by Conrad Gargett, Clare Design and Brian Hooper Architects. Image:

John Gollings

National Awards
Art Gallery of NSW, Sydney Modern building – SANAA and Architectus
Melbourne Holocaust Museum – Kerstin Thompson Architects
National Commendations
Bendigo Law Courts – Wardle
Dove Lake Viewing Shelter – Cumulus Studio
Residential Architecture – Houses (New)
The Robin Boyd Award
19 Waterloo Street – SJB

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The Robin Boyd Award for Residential Architecture – Houses (New): 19 Waterloo Street by SJB. Image:

Anson Smart

National Awards
Merricks Farmhouse – Michael Lumby with Nielsen Jenkins
Spring Creek Road Farm House – Architect Brew Koch
National Commendation
Mossy Point House – Edition Office
Residential Architecture – Houses (Alterations and Additions)
The Eleanor Cullis-Hill Award
Sunday – Architecture Architecture

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The Eleanor Cullis-Hill Award for Residential Architecture – Houses (Alterations and Additions): Sunday by Architecture Architecture. Image:

Tom Ross

National Award
Balmain House – Saha
National Commendations
Harriet’s House – SO Architecture
North Perth House – Simon Pendal Architect
Residential Architecture – Multiple Housing
The Frederick Romberg Award
Nightingale Village – Hayball and Breathe and Architecture Architecture and Austin Maynard Architects and Clare Cousins Architects and Kennedy Nolan

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The Frederick Romberg Award for Residential Architecture – Multiple Housing: Nightingale Village by Hayball and Breathe and Architecture Architecture and Austin Maynard Architects and Clare Cousins Architects and Kennedy Nolan. Image:

Tom Ross

National Commendations
Forrest Hall – KHA (Kerry Hill Architects)
Habitat on Juers – Refresh Studio for Architecture
Turner Avenue Homes – Push and David Pennisi
Educational Architecture
The Daryl Jackson Award
Boola Katitjin – Lyons with Silver Thomas Hanley, Officer Woods, The Fulcrum Agency and Aspect Studios

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The Daryl Jackson Award for Educational Architecture: Boola Katitjin by Lyons with Silver Thomas Hanley, Officer Woods, The Fulcrum Agency and Aspect Studios. Image: Lyons

National Awards
Cranbrook School, Hordern Oval Precinct Redevelopment – Architectus
Inveresk Library, University of Tasmania – Wardle
National Commendations
Cannon Hill Anglican College, D-Block – Reddog Architects in association with Blueline Architecture
Research School of Physics Stage 1 Building, Australian National University – Hassell
Commercial Architecture
The Harry Seidler Award
Delatite Cellar Door – Lucy Clemenger Architects

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The Harry Seidler Award for Commercial Architecture: Delatite Cellar Door by Lucy Clemenger Architects. Image:

Derek Swalwell

National Award
JCB Studio – Jackson Clements Burrows
National Commendations
Poly Centre 210 George Street – Grimshaw
Yirranma Place – SJB
Interior Architecture
The Emil Sodersten Award
Sydney Opera House Concert Hall Renewal – ARM Architecture

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The Emil Sodersten Award for Interior Architecture: Sydney Opera House Concert Hall Renewal by ARM Architecture. Image:

Chris Bennett

National Award
Bass Coast Farmhouse – Wardle
National Commendation
Art Gallery of NSW, Sydney Modern building, Gallery Shop – Akin Atelier
Heritage Architecture
The Lachlan Macquarie Award
Sydney Opera House Concert Hall Renewal – ARM Architecture
National Award
University of Melbourne Student Precinct – Lyons with Koning Eizenberg Architecture, NMBW Architecture Studio, Greenaway Architects, Architects EAT, Aspect Studios and Glas Urban
National Commendation
Thomas Dixon Centre – Conrad Gargett
Small Project Architecture
The Nicholas Murcutt Award
Victorian Family Violence Memorial – Muir and Openwork

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The Nicholas Murcutt Award for Small Project Architecture: Victorian Family Violence Memorial by Muir and Openwork. Image:

Peter Bennetts

National Award
The University of Queensland Cricket Club Maintenance Shed – Lineburg Wang with Steve Hunt Architect
National Commendations
Dimensions X / Farm Stay – Peter Stutchbury Architecture
Postal Hall – Trower Falvo Architects with Alessio Fini
Urban Design
The Walter Burley Griffin Award
University of Melbourne Student Precinct – Lyons with Koning Eizenberg Architecture, NMBW Architecture Studio, Greenaway Architects, Architects EAT, Aspect Studios and Glas Urban

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The Walter Burley Griffin Award for Urban Design: University of Melbourne Student Precinct by Lyons with Koning Eizenberg Architecture, NMBW Architecture Studio, Greenaway Architects, Architects EAT, Aspect Studios and Glas Urban. Image:

Peter Bennetts

National Award
Herston Quarter Redevelopment Stage 1 and 2 – Hassell
National Commendations
Dairy Road – Craig Tan Architects
Nightingale Village – Hayball and Breathe and Architecture Architecture and Austin Maynard Architects and Clare Cousins Architects and Kennedy Nolan and Openwork and Andy Fergus
Sustainable Architecture
The David Oppenheim Award
Nightingale Village – Hayball and Breathe and Architecture architecture and Austin Maynard Architects and Clare Cousins Architects and Kennedy Nolan and Openwork and Andy Fergus
National Award
Boola Katitjin – Lyons with Silver Thomas Hanley, Officer Woods, The Fulcrum Agency and Aspect Studios
National Commendation
Lane Cove House – Saha
International Architecture
The Jorn Utzon Award
Paris Apartment – Wood Marsh

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The Jorn Utzon Award for International Architecture: Paris Apartment by Wood Marsh. Image:

Tommaso Sartori

Colorbond Award for Steel in Architecture
AB House – Office Mi—Ji
National Commendation
Celilo Springs – Western Architecture Studio
Enduring Architecture
Brambuk: The National Park and Cultural Centre – Gregory Burgess Architects
National Emerging Architect Prize
Ben Peake More

Australian research studio, Monash Urban Lab presented an exhibition at the 2023 Seoul Biennale of Architecture and Urbanism, which was held between September 1 and October 29. Monash Urban Lab was one of three Australian research labs to present within the Global Studios section. The exhibition, titled Ground Melbourne, responded to the biennale theme of […] More

The Royal Institute of British Architects is now accepting submissions for the RIBA International Prize, with the institute on the hunt for superlative projects of social significance.
Established in 2015, the RIBA International Prize is a biennial accolade awarded to a building that demonstrates visionary thinking, originality and excellence of execution, and that makes a distinct contribution to its users, surrounding environment and communities.
Registered architects from anywhere in the world are eligible to enter. There are no restrictions on building size, typology or budget; however, projects must be environmentally and economically sustainable while also providing social value, and projects based in the UK are not able to apply.
RIBA president Muyiwa Oki said the awards celebrate and recognize buildings that boldly push design boundaries, embrace sustainable technologies and drive meaningful change.
“We want to uncover the world’s most ambitious and impactful projects that provide robust solutions to social and environmental issues faced by communities across the globe,” Oki said.
In June 2024, in the lead-up to the disclosure of the winning project, RIBA will present approximately 20 buildings with RIBA International Awards for Excellence. One emerging practice – having operated for 10 years or less – will also be acknowledged with the International Emerging Architect Award.

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Children Village, Brazil, by Aleph Zero and Rosenbaum, was awarded the RIBA International Prize in 2018. Image:

Leonardo Finotti

The winner of the latest RIBA International Prize in 2021 was the Friendship Hospital in Satkhira, Bangladesh, designed by Khashef Chowdury and Urbana. Selected from a shortlist of three outstanding entries, the design team was praised for the delivery of a low-cost yet visually appealing community hospital, the social value of the project, the response to challenging environmental conditions, and the use of local and traditional crafted materials.
Preceding winners include Aleph Zero and Rosenbaum in 2018 for Children Village in northern Brazil, and Grafton Architects in 2016 for the Universidad de Ingeniería y Tecnología in Lima, Peru.

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UTEC, Universidad de Ingeniería y Tecnología, Peru, by Grafton Architects, was awarded the RIBA International Prize in 2016. Image:

Iwan Baan

Entries for the RIBA International Prize 2024 are open until 17:00 GMT on 7 December 2023. Any lodged projects must have been completed between December 2018 and December 2022, and have been in functional use for at least one year – enabling the jury to review performance data.
Every shortlisted project will be visited by a group of international design experts.
The international prize winner will be announced in November 2024. To find out more, visit here. More