Evelyn Reynolds

The Federal Court of Australia has ruled that ARM Architecture and its former managing director Anthony (“Tony”) John Allen attempted to rig bids in a tender for Charles Darwin University’s $250 million education and community precinct project.
The court ordered the practice to pay a $900,000 penalty to the Commonwealth and contribute a further $20,000 to the Australian Competition and Consumer Commission (ACCC) to offset the civil proceedings’ cost. Allen was ordered to pay a $75,000 penalty to the Commonwealth and contribute a further $5,000 to the ACCC, again to offset the proceedings’ cost.
ARM was also ordered to establish a Competition Compliance program. Its requirements include employing a compliance advisor, appointing a compliance officer within its directors or senior managers, and undertaking regular staff training.
Additionally, Allen was ordered to publish “an educative notice” on the Architects Registration Board of Victoria website “as a warning to other professionals.”
ARM Architecture had completed a first-phase concept design, which was unveiled in June 2020, for a Charles Darwin University project.
“I had known, since ARM tendered for that work, that there would be a separate tender process for the second phase of that project,” Allen wrote in his educative notice.
On 24 September 2020, Charles Darwin University released the second request for tender.
Allen then sent an email to representatives at eight other firms, saying, “Please do not submit a tender as we are relying very heavily on continuing with this project to keep our practice alive throughout the remainder of this strange and difficult COVID time.”
The eight practices were part of the Ambassador group of the Victorian Large Practice Forum, which is facilitated by the Australian Institute of Architects. The group comprises the largest firms in the Large Practice Forum.
On 25 September 2020, ARM received responses from two practices, each confirming that it would not submit a tender. Four days later, Allen sent a second email to the group asking the remaining practices to “let us know of your intentions.”
The ACCC launched an investigation into the conduct of ARM and Allen, and in September 2022, it formally launched civil proceedings in the Federal Court of Australia.
ARM Architecture admitted to the Federal Court that it had attempted to engage in cartel conduct when those emails were sent. Allen also admitted that he had attempted to induce the eight other firms to make an arrangement with ARM Architecture that, although it had not been his intention, constituted bid rigging.
On 13 April 2023, the court found that ARM and Allen “attempted to contravene section 45AJ of the Competition and Consumer Act 2010 […] by attempting to make arrangements or arrive at understandings containing a cartel provision.”
Allen said in his educative notice that he had never set out to contravene the law. “It did not occur to me when I sent the first and second emails that I was doing anything wrong,” he wrote.
“I made a very serious mistake by attempting to induce the other firms to engage in bid-rigging, and this has had serious consequences for me.”
“I have lost my position, my reputation, and my involvement in a profession that I love, my conduct will be permanently on the public record.”
“I have not worked as an architect since, and do not expect that I will ever do so again.”
“Do not do what I did. Learn from my mistakes. Whatever pressure you may be under, and whatever motivation you may have, do not attempt to induce others to engage in cartel conduct.”
ACCC chair Gina Cass-Gottlieb said, “This judgment should serve as a strong reminder for everyone, including professionals and professional services firms, that bid rigging is against the law, no matter what industry you are in.
“When a business attempts to rig a bid or form a cartel, they harm competition by unfairly seeking to advance their interests over those of its customers. When they do so on a public project, they are also doing so at the expense of the public purse.” More

Cox Architecture has designed a 930-bed student housing facility for Brisbane CBD. To be located at 240 Margaret Street, the project is set to “inject a high-density accommodation offering into this burgeoning precinct of the city,” the architects said in a development application for the project. The tower will also accommodate a range of common […] More

A development application has been submitted for the expansion of Castle Towers, a shopping centre in Sydney’s north-west. The project will create a mixed-use precinct, dubbed “The Village,” with a three-storey retail space, a new hotel designed by Woods Bagot with more than 200 rooms, and 12-storey office tower designed by BVN that will accommodate […] More

Major construction has begun on a $54.5 million multi-level sports facility in Melbourne. Design by Co.Op Studio, the Fitzroy Gasworks Sports Centre will be Australia’s first multi-use vertical indoor sports centre. The facility will cater to a range of local sporting clubs with four multipurpose highball courts, a multipurpose futsal court, a gymnasium, a cafe […] More

Southern Grampians Shire Council in Victoria’s Western District has signed a partnership agreement with Melbourne School of Design, which will advise the council on its New Hamilton Gallery project.
In November 2022, the council endorsed plans to create an “iconic,” nationally significant new gallery building on Brown Street in the centre of Hamilton: the site of the existing Hamilton Gallery.
The University of Melbourne’s Rory Hyde, Alan Pert, Dan Hill and Melinda Heron will be the key advisers to assist the council in developing a design brief and tender for the project.
“We see this project as an opportunity for Hamilton to be a national leader in regional art galleries where [the] council will have the chance to create something which is truly exciting, inclusive and ambitious,” Hyde said.
The existing gallery was built 60 years ago and has reached capacity; more than 90 percent of its collection is in permanent storage. The aging building is no longer fit for purpose due to inadequate climate controls and mounting maintenance costs.
The council is seeking a new building with appropriately sized exhibition spaces, current museum-standard temperature and humidity controls, and enhanced visitor services to attract tourists to the town.
Denton Corker Marshall completed a masterplan and business case for the council in 2018.
Southern Grampians Shire Council mayor David Robertson said the design brief is one of the most important stages of the project.
“This piece of work is crucial in ensuring the new building matches the quality and importance of our incredible collection. The design brief sets the agenda for years ahead, through design, construction and operation,” he said.
The new gallery building is part of a larger CBD revitalization project for Hamilton.
“It’s really special to have such high-calibre experts advising on this project,” Robertson said.
“This partnership will guide us in developing a new gallery that will allow us to host nationally and internationally significant exhibitions, provide viewing and interactive opportunities for the entire Southern Grampians community, as well as providing appropriate storage for our collection of over 9,000 objects.” More

The second half of the twentieth century saw unprecedented transformation of our cities. Modernist ideas of architecture and planning swept aside thousands of years of tradition and collective knowledge, wiping the slate clean in the name of progress and profit. Sydney suffered devastatingly under this wave, losing much of its recent and Indigenous history.
In the 1970s, the first rumblings of concern over the destruction of Sydney’s built heritage were given voice through local community groups and, later, union bans that successfully saved many historic buildings and neighbourhoods. The 1980s saw “facadism” as a concession between heritage and development. This kept the street front as an acknowledgement of the past, but nothing of the interior – a position that clearly implied that architecture was of value to society, but interiors? Bah!

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In what was once a dark, gloomy and restrained interior, new building work is light and bright. Image:

Anson Smart

The re-opening of the Queen Victoria Building in 1986 heralded a new appreciation for the importance of interior heritage as an integral component of adaptive reuse. Since that time, it is possible to trace a clear evolution in the design approach to adaptive reuse in Sydney. The ’90s and 2000s focused on reimagining the city’s industrial heritage – with Tonkin Zulaikha Greer Architects as its most recognized exponent – and now that designers are more comfortable and confident with adaptive reuse, landmark projects like Yirranma Place by SJB are representing a new and very promising phase.
Yirranma Place had its first incarnation in 1927 as a place of worship. Samuel Thorp designed the church in a sedate, neoclassical manner. Politely fitting in with the urban context of Darlinghurst, it became, over the years, a neighbourhood landmark. Its next reincarnation, in 2012, was by Bates Smart, who sensitively reconfigured the interior into a private residence. Ten years later, SJB has given back the space’s civic nature as the headquarters of a philanthropic foundation. The Gadigal term “yirranma” can be interpreted as “many create,” and Adam Haddow (SJB’s director of architecture) is adamant that the success of this project is attributable to the collaboration and commitment of all stakeholders. Haddow lauds the enlightened tenacity of the developer, Cornerstone, who was committed to returning the site to a more civic use; the client and principal occupier, the Paul Ramsay Foundation, which drove the brief development and its social and community engagement; and, from a technical point of view, the heritage, services and accessibility consultants that allowed the shared vision to become a reality.

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A perimetral circulation zone allows for natural light to enter the workspace while providing enough distance for the old and the new architectures to hold their own. Image:

Anson Smart

Thorp’s very noble tetrastyle in antis portico was retained as the principal public entrance. However, in the spirit of the building’s new mission, the original sombre gates have been replaced by a celebratory new creation by Barkandji man Uncle Badger Bates, whose work transforms from metal into paint in a fresco- like ceiling for the portico. Whereas the gates of the church and residence were generally shut, now they are open, welcoming the community into the cafe and the event space, which doubles as a gallery showcasing the artwork of First Nations peoples. There is a clear connection between the publicly accessible parts of the space and the representation of First Nations contemporary creative arts.
The real challenge of adaptation presented itself in the former worship space – and what to do with a large, heritage-listed pipe organ. Bates Smart had resolved this by clustering residential functions around the perimeter. However, for SJB, this wasn’t a feasible option, as workplace design necessitates large floor plates. Instead, the designer installed a central two- storey structure in the place where the congregation would have sat. Haddow says he took inspiration from the strategies used by Carlo Scarpa in the Castelvecchio Museum in Verona, Italy. Elements are architecturally bold, daring to challenge at certain points and willing to embrace in others. The former preaching zone and the organ are reassigned as a large-group meeting space, as well as being open for public concerts. A perimetral circulation zone allows natural light to enter the workspace while providing enough distance for the two distinct architectures – the old and the new – to hold their own.

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The architecture of Carlo Scarpa, well known for stitching old and new together, provided inspiration for solid, timeless finishes and forms. Image:

Anson Smart

The interior detailing scheme takes its cues from Thorp’s original design: grey terrazzo floors, sandy pinks and solid timbers. Joinery items reference the organ grilles and tile set outs follow established patterns. In typical SJB style, colour is not shied away from. Dark teal is used for soft finishes such as carpets and the large swathes of velvety curtains that are needed to dampen the lively acoustics of the former worship space.
SJB’s Yirranma Place is respectful of the original design and function of the building. It does, however, refuse to be deferential. There is a confidence to the project that has faith in the ability of the current design to stand on its own – not against but side-by-side with the legacy of the past. It is unashamed of who it is and what it does, and this is what marks it as a forerunner of the next stage of Sydney’s adaptive reuse story.
Charlotte Wilson senior associate, interior design at SJB will be presenting Yirranma Place at Artichoke Night School on 10 May in Sydney. For more information and to purchase tickets, see the Design Speaks website. More

Construction has begun on the transformation of a historic wool shed site in Kensington in Melbourne’s inner north-west.
Designed by Woods Bagot, the project will transform a two-block span of large-scale red-brick warehouses, known as the Younghusband precinct, into a “village” of commercial offices and retail spaces.
The design seeks to preserve the exteriors of the warehouses and their hipped roofs.
“For generations, these buildings have been impenetrable heritage monuments that people couldn’t access. This design flings open that history for the first time, creating a community asset and modern workplace that utilizes an incredible location and the demand for authentic, contemporary office environments,” said Woods Bagot principal Peter Miglis.
“Sustainability might have been challenging to achieve for existing buildings in the past, but our approach has taken into account the retention of existing materials to reduce waste, the use of sustainable new materials where required and 100 per cent renewable energy including rooftop solar, battery storage and no gas,” Miglis said.
The first stage of the project will create 17,560 square metres of office spaces and a new town square with village-style food and beverage outlets and a laneway of retail spaces.
A new contemporary office building designed to reference surrounding silos through curved facades will form the second stage of the project. A third stage, which is not yet approved, will be a six-level building with cascading greenery and a public zone.
The Younghusband wool sheds were originally built in 1901 for wool sellers R Goldsborough Row and Co. Named after wool-broking agent Younghusband and Co., the site has been home to arts and creative businesses and was a storage facility for the Australian Ballet.
“Younghusband will create Melbourne’s largest carbon-neutral adaptive reuse precinct, reimagining and revitalizing one of the city’s largest heritage sites and creating a connected and sustainable destination for work and play,” said Brett Mason, managing director and CEO of construction and development group Built.
“With a design and construction principles guided by sustainability and heritage preservation from the ground-up, Younghusband will create an environment where the past is respected and engineered for a sustainable future,” Mason said.
Younghusband is developed by a tripartite collaboration between Built, property investment group Ivanhoé Cambridge and property investment and asset management group Irongate. More

Architectus has designed two new school buildings for a private girls’ school in Sydney’s inner west.
The buildings will create additional teaching spaces needed to accommodate senior school enrolment projections for Meriden School in Strathfield.
A new Design and Creative Arts Building will be built on the western side of the existing campus, adjacent to the auditorium, while a Social Sciences Building will be located at the eastern side of the campus, adjoining the existing senior school administration building, which will also be refurbished.

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The proposed Design and Creative Arts Building at Meriden School designed by Architectus. Image: Architectus

“The Design and Creative Arts Building aims to capture a sense of craft, sculptural form, moulded with tools that relate to the practice of arts and crafts,” the architects said in a design statement.
“The idea that the building is clay-like, moulded and crafted carefully with care in a playful and unique way is important to the building design, student activities and the overall campus experience.
“The building itself is permeable at ground level, where art studios and workshops open out onto the landscape and the learning activities spill out onto the campus grounds, activating the school ground plane. The DaCA Building materiality responds directly to the conceptual approach of a crafted building, sculptural in form.”
The facade will be made with clay-like GRC blade elements in earthy tones that complement the existing materials and textures on the campus (including red, white and brown brickwork), while the upper floors will be clad in metal.

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The proposed Design and Creative Arts Building at Meriden School designed by Architectus. Image: Architectus

The proposed Social Sciences Building will accommodate teaching and learning spaces to support a range of activities.
“The new Social Science Building presents a new face to the local community along the RedmyreRoad frontage, engaging with the streetscape and providing more setback space from the road, allowing landscape to soften this boundary condition. The Social Science Building is made up of three connected forms, responding to the existing heritage on site, and considers the existing colours and textures,” said the architects.
“The architecture emulates the principles of social gathering and creates spaces that encouragestudents to dwell, contemplate and interact in various ways, both inside and outside the building enclosures. Informal encounters between peers is envisaged in the unique and playful geometric gestures created around the building perimeter, where again architecture and nature interact in organic forms.”
A central linking volume containing the entry and circulation will act as a bridge between the old and the new.
A state significant development application for the new school buildings has been submitted to the NSW Department of Planning and Environment for assessment. More