Evelyn Reynolds

A state significant development application that proposes the establishment of two residential towers in Chatswood, Sydney, is on public exhibition.
The application proposes the construction of two residential towers, one rising to 33 storeys and the other to 23, at 38–42 Anderson Street, 3 McIntosh Street and 2 Day Street. Collectively, they would accommodate 258 apartments, including 56 allocated to affordable housing.
Carter Williamson Architects with Land and Form landscape architecture studio won an invited design competition for the project in 2024. While the winning scheme has since undergone revisions – most notably a simplification of facade materials – the character of the original design has been maintained through a similar massing and colour palette.
The design concept draws inspiration from a mature angophora tree, around which the development wraps around and from which it takes its name (the Angophora). The exterior colour palette references the tree’s distinctive pink-hued bark.

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According to the plans, the taller of the towers has been strategically located along Anderson Street to optimise city views to the south and extend the existing urban street wall. A non-residential brick podium that connects the towers provides commercial and retail offerings at the base and communal open spaces on top.
Each tower has a dedicated residential entrance, accompanied by a non-residential podium entry on Day Street.
The application is on public exhibition until 19 June 2025. More

A Victorian architect has been awarded an eight-week residency in Italy to pursue interdisciplinary research, develop their practice and build international connections.
Lisa Garner has been awarded the 2025–26 Alastair Swayn Foundation–RMIT Architecture Affiliated Fellowship. As part of the fellowship, Garner will engage in interdisciplinary research at the American Academy, an American institution in Rome that accommodates independent studies and advanced research in fine arts and humanities.
Garner is an architect and director of Lian, an emerging architecture practice focused on rethinking how housing can be more sustainable, adaptable and community centred. Garner and Andrej Vodstrcil co-founded the practice following the success of their winning entry in the Victorian Government’s Future Homes competition in 2020. Since then, she has led a range of projects, including a series of pattern book apartment designs for the state government, an eight-storey Nightingale Housing development, and various residential renovations and small-scale commercial projects.
Over the course of the eight-week fellowship, Garner will undertake a research project titled Abitare insieme – Living together – Learning from Italy: Multigenerational Housing for Australia. Her project will explore Italy’s multigenerational housing traditions through, both historical and contemporary. The research will primarily focus on spatial configurations, adaptive reuse and incremental expansion strategies that enable homes to evolve over generations, as well as the policy and economic models that support these housing typologies.
The research findings will help inform how similar design approaches might be adapted for use in an Australian context.
“This fellowship is an exciting chance to learn from housing traditions in Italy that place family, adaptability, and care at their core. I look forward to exploring how these ideas might inform more flexible and supportive housing in Australia,” Garner said.
The Alastair Swayn Foundation and RMIT University, the 2025–26 Alastair Swayn Foundation-RMIT Architecture Affiliated Fellowship is offered to one successful applicant each year. Early and mid-career architects, landscape architects and design professionals from across Australia are eligible for the fellowship. More

Two Australian architects have been announced as recipients of the 2025 Marten Bequest Scholarship, a program that supports young artists to undertake research in their field of expertise through interstate and international travel.
Architects Nicole Larkin from New South Wales and Lauren Crockett from Victoria, along with five professionals from other creative disciplines, have been awarded travelling scholarships worth $50,000 each.
Larkin is a registered architect and principal of Nicole Larkin Coastal Architecture and Design in the Illawarra on Dharawal land. Best known for her research project, The Wild Edge: A Survey of Ocean Pools in NSW, Nicole is an awarded and published architect with a practice focusing on Coastal Design and Planning in Australia.
Crockett is an architect, educator and researcher whose practice centres on materiality, sensory design and spatial culture. She has contributed to civic, educational and public space projects as an associate at Sibling Architecture, as well as taught design studios at RMIT University focusing on material literacy, sensory engagement and low-carbon futures.
With the support of the grant, Larkin will undertake travel-based research to investigate the challenges facing Australia’s coastline and explore innovative international projects that grapple with sea level rise.
“The pull of the ocean has a strong effect on Australians. More than 80 percent of us live on the edge of the continent. The fellowship is a chance to be at the forefront of adaptive design and development for our coast in the face of sea live rise – and, in the case of NSW, east coast lows,” said Larkin.

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The Marten Bequest Scholarship will take Crockett across Europe to undertake an intensive period of research and professional development. Her project will explore how architecture can transition from extractive, disposable models toward regenerative practices that prioritise material life cycles, stewardship and collective care.
“Receiving the Marten Bequest has given me a rare chance to pause and reflect on the kind of architect I want to be, and the future I hope to contribute to. This project allows me to work more closely with materials, communities, and construction itself, to better understand how we might build in ways that are able to endure over time. I’m deeply grateful to Creative Australia for this opportunity,” said Crockett.
The Marten Bequest Travelling Scholarships is a charitable trust established through the will of the late John Chisholm Marten (1908–1966). Marten, a passionate advocate of the arts, established the scholarships to provide financial assistance to young Australian artists for travel-based research, enabling them to deepen their practice and advance their careers.
In 2025, the Marten Bequest Scholarships provided financial support to creative professionals in the fields of architecture, ballet, prose, sculpture and singing. In 2026, the scholarships will support professionals in acting, instrumental music, painting and poetry disciplines. More

The future of the concrete-walled MPavilion 10, designed by Japanese architect and 1995 Pritzker Prize laureate Tadao Ando and executed by Australian Sean Godsell, remains unclear. A community-led “Preserve the Pavilion” campaign advocating for the temporary pavilion to remain in Melbourne’s Queen Victoria Gardens beyond its slated removal at the end of June 2025 has received over 2,000 signatures, including those of Pritzker Prize laureates and acclaimed Australian and international architects.
An initiative of the Naomi Milgrim Foundation (NMF) with support from the City of Melbourne and Victorian government, the annual MPavilion is described by the foundation as “Australia’s leading design commission.” Each year, the foundation tasks “an outstanding architect to design a temporary pavilion,” which, following its five-month summer program, is “gifted to the state of Victoria,” the foundation notes.

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The Ando-designed tenth iteration of the pavilion opened in November 2023 and has remained beyond the program’s customary summer period thanks to a City of Melbourne approval that extended its life until 30 June 2025. The April 2024 motion, put forward by the NMF to the Future Melbourne Committee, received unanimous support from council members.
“It’s the only piece of [Ando’s] architecture that’s in Australia, so that in itself is remarkable and deserving of extension of its presence in our city,” then-lord mayor Sally Capp commented at the time.
Now, as the extended removal date approaches, the initiative Preserve the Pavilion is calling for Ando’s work to remain in Queen Victoria Gardens. The group’s website claims that the pavilion’s concrete construction means it “is not possible” for it to be relocated, and that removal will “result in the demolition of the structure.”
The initiative’s open letter has gained support from Pritzker Prize winning architects Álvaro Siza (1992 laureate), Jean Nouvel (2008 laureate), Eduardo Souto de Moura (2011 laureate), and Kazuyo Sejima and Ryue Nishizawa of SANAA (2010 laureates), as well internationally acclaimed architects John Pawson, Kengo Kuma, Manuel Aires Mateus and Patrik Schumacher, among others.
In a personal letter of support, Siza commented, “As it happens with all projects by Tadao Ando, this project shows a quality that cannot be erased.”
MPavilion comissioner Naomi Milgrom also supports retaining the pavilion. “In keeping with the project’s decade-long legacy – and as Tadao Ando’s only work in the Southern Hemisphere – we hope this pavilion can remain for an extended period as a gift to all Melburnians,” she said.
Architects of past MPavilions David Gianotten of OMA (MPavilion 4, 2017) and Rachaporn Choochuey of All Zone (MPavilion 9, 2022), as well as Australian Institute of Architects gold medallists Peter Stutchbury and John Denton, have signed the campaign’s open letter. A communique from the campaign’s organisers also notes that the NMF has received many letters in support of the pavilion remaining in place for longer, including from Institute CEO Cameron Bruhn, and current Victorian chapter president and national president-elect David Wagner.

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Questions remain about whether the current site will be found appropriate for the pavilion, which was intended to be disassembled and relocated to a permanent home. Despite recommending support for the pavilion’s extension at the time of the 2024 approval, a report by City of Melbourne general manager of infrastructure and amenity Rick Kwasek raised concerns around the safety, security, maintenance and accessibility of the building. It noted that the design is not consistent with best-practice gender equity place principles, that it is susceptible to graffiti, and that the walled nature of the pavilion “precludes through views and movements across the site,” presenting “potential risks to the structure [and] public safety.”
It also claimed that Queen Victoria Gardens is “a fragile environment, not designed to accommodate permanent structures and regular activation for events or large gatherings” and that granting “the extension could be viewed as opening the door for further advocacy on permanent retention.” Despite this, it was noted at the Future Melbourne Committee’s approval meeting that the “NMF have confirmed that the request applies to one year only.”
The NMF, which is accountable for the dismantling and repurposing of the pavilion at the end of its life, has also been responsible for the maintenance and security of the pavilion during the one-year extension.
Architectural critic Paul Walker’s December 2023 review of the pavilion for ArchitectureAu expressed some doubts about the project’s eco-credibility. He observed that “at the press launch of the new pavilion, when asked about this issue [of sustainability], Godsell reasonably responded that the concrete used in the building was as ‘green’ as could be.” On the issue of recycalbility, Walker pointed out that the walls “could be crushed to be used as aggregate in … more concrete.”

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The City of Melbourne is set to convene to decide the pavilion’s future, though the date of the meeting is yet to be confirmed.
The open letter can be accessed online. More

The 2025 Serpentine Pavilion, designed by Bangladeshi architect and educator Marina Tabassum and her firm Marina Tabassum Architects, opens to the public on 6 June.
The pavilion, titled A Capsule in Time, is located at the Serpentine South Gallery in London. Inspired by an arched garden canopy, the pavilion’s form resembles a capsule with its mass divided into four portions and an open-air courtyard positioned at the centre. One of the sections is kinetic and can slide to connect or disconnect with the neighbouring elements, effectively transforming the pavilion into a different space.
According to a communique published by Serpentine, the design harnesses light as a way to enhance the qualities of the space. A timber and translucent facade gently diffuses natural light throughout the pavilion. “Tabassum’s Pavilion, like much of Tabassum’s previous projects, considers the threshold between inside and outside, the tactility of material, lightness and darkness, height and volume.”

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In the courtyard stands a semi-mature ginkgo tree, around which the pavilion has been built. Serpentine stated that the ginkgo was selected because the species is “showing tolerance to climate change and contributes to a diverse treescape in Kensington Gardens.” Serpentine confirmed that the tree will be replanted in the park after the Pavilion’s exhibition.
Tabassum’s pavilion marks the 25th year of the Serpentine Pavilion commission.
The pavilion will be open to the public from 6 June 2025 until 26 October 2025. More

An Australian artist and researcher has been awarded the Silver Lion at the 2025 Venice Architecture Biennale. Alongside fellow academic Vladan Joler, Kate Crawford received the prestigious prize for a large-scale visual manifesto installation that explores the relationship between technology and power across the past five centuries.
Spanning more than 24 metres long and 3 metres high, Calculating Empires: A Genealogy of Technology and Power Since 1500 “charts a global history of control — from colonial expansion and militarisation to automation and artificial intelligence — revealing how the legacies of empire continue to shape today’s digital infrastructures,” a release from the artists reads.

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“The work begins in the year 1500, tracing how global trade routes, scientific instruments and systems of classification enabled the rise of European imperial power. These systems — cataloguing, extraction and enclosure — laid the groundwork for the concentrated power and technological structures that define the twenty-first century,” the communique adds.
The work’s authors have eschewed a linear history, instead presenting their research in what they described as a “visual tapestry: a richly detailed, multi-layered map that invites audiences to see the present through the lens of the past.” Thousands of hand-drawn illustrations and original texts are woven into the work, which was created over five years.
The installation was unveiled at the opening weekend in the Venice Arsenale, having initially debuted at Milan’s Fondazione Prada in 2023. Prior to the work’s exhibition in the biennale, it had been adapted into site-specific presentations at various global institutions, including KW Institute, Rijksmuseum Twenthe, Kunsthalle Wien, Mori Art Museum and Jeu de Paume.

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Reflecting on the work’s current presentation at the Venice Architecture Biennale, Crawford noted, “It’s very fitting to show this work in the historic Arsenale, once a military factory and a site of early mass production to build galleys. This latest iteration of Calculating Empires was adapted specifically to reflect Venetian history and it invites audiences to explore how the infrastructures of empire endure within today’s technological systems. The project reveals how technological power is never neutral, but always entangled with political, economic, and environmental forces.”
Chief executive of presentation partner Powerhouse Sydney Lisa Havilah said, “Kate Crawford and Vladan Joler’s work challenged how we understand technology’s role in shaping the world. It exemplifies the critical, cross-disciplinary practice Powerhouse supports.”
The Sydney institution will exhibit a version of Calculating Empires as part of an international tour. Dates are yet to be announced. More

Deco Australia’s aluminium cladding system, DecoClad, has met the requirements of Australian Standard AS 4284, confirming its compliance with the weatherproofing provisions of the National Construction Code (NCC).
The test, carried out by independent testing agency Azuma Design, evaluated the performance of the system under simulated extreme weather conditions. A full facade assembly, including DecoClad boards, accessories, and a window unit, was mounted in a purpose-built test rig and subjected to structural loading and water penetration trials. These included static and dynamic pressure water penetration tests ranging from 750 Pa to 1500 Pa, as well as simulated cyclonic wind loads of up to 2500 Pa – equivalent to wind speeds of approximately 160 kilometres per hour.The testing followed verification methods outlined in Section F3V1 of the NCC. It assessed the system’s ability to prevent water ingress and maintain structural integrity under significant environmental stress, such as wind-driven rain and pressure differentials.
“Passing this weatherproof testing demonstrates that our DecoClad aluminium cladding not only delivers modern, architectural appeal but also provides the safety and durability today’s building facades demand,” said Richard Hamber, General Manager at Deco Australia.“It also provides designers, architects and builders peace of mind that they are specifying and building with a cladding product that fully complies to the National Construction Code.”The results support DecoClad’s suitability for use in applications where weatherproofing and code compliance are critical performance factors in facade design. More