Architecture

When it comes to contemporary architecture in Copenhagen, everything starts and ends with the city as an instrument for a better quality of life. During the first leg of the Dulux Study Tour 2025, discussion between the winners consistently circled back to the very Danish idea that architecture must return to the public what it takes, offering value in exchange for space and presence.
Any conversation about Copenhagen would be incomplete without acknowledging Jan Gehl, a Danish architect whose influence on the city’s urban planning has been profound. His written works, Life Between Buildings (1971) and Cities for People (2010), have significantly shaped a contemporary Copenhagen that prioritises pedestrians and cyclists over cars, along with opportunities for social interaction through the provision of public space. In 1962, his theory that vehicles were dehumanising the city and fostering social isolation was put to the test when the city’s main street, Strøget, was pedestrianised as an experiment. The outcome was deemed a success after data demonstrated a significant increase in foot traffic, leading to the explosion of people-centric projects that we see today.

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During a visit to Lundgaard and Tranberg Arkitekter’s practice, architect and CEO Peter Thorsen shared that at their firm, there is an emphasis on thinking beyond the building program to create architecture that contributes to broader society. Reflecting on the Royal Danish Playhouse project, he explained, “Far more people will pass by the playhouse than purchase a ticket to attend a performance. And that is why the public space element is the most important part of the project.” Consequently, their approach for the project was to include a waterfront promenade that could serve as both an everyday space and, when necessary, as an outdoor event venue. Publicly-oriented thinking also shaped their design for the circular Tietgen Dormitory, where private rooms are arranged on the perimeter and shared common spaces face toward a central courtyard. Though the two projects differ greatly in scale, both emphasise the role of architecture in enhancing social connection.
One of the five tour winners, Gumji Kang, stated that her favourite project from the Copenhagen tour was the city itself: “just the whole orchestration of how everyone [in the industry] inputs into the overall growth and the development of the city. It really goes back to this idea of humble architecture. Everyone’s a bit unfussy and it seems like they are saying, yes, we could make really beautiful buildings, but we also don’t need to have really fussy, beautiful buildings; they can just be quietly beautiful. As long as they’re doing well at the street level,” said Kang.

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While Copenhagen is frequently held up as the global benchmark for urban planning, it’s clear that no city has all the answers when it comes to the most successful architectural outcomes, and Australia, in its own way, offers many advantages that Copenhagen doesn’t, proving that context matters.
Tour recipients Marni Reti and Nicholas Souksamrane observed that, in the portion of Copenhagen they explored, there appeared to be a lack of multicultural representation in the architectural landscape, especially when compared to cities like Sydney and Melbourne, where entire neighbourhoods reflect diverse cultural identities. They both acknowledged, however, that this observation was based on only a small glimpse of the city.
“That’s not to say that multiculturalism doesn’t exist here, because it does and we’ve seen signs of it. But it does seem that multicultural evidence is largely absent from the architecture and in the built environment,” said Reti. “There’s nothing wrong with that, and maybe that’s how Copenhagen wants it, but there is a cohesiveness to the city. And something that came across in the practice visits, to me, was that there is a Danish architectural setting or character that people seem to be trying to hold on to.”
Souksamrane echoed these sentiments, noting that Copenhagen’s architecture seemed to reflect a more culturally unified architectural identity in contrast to Australia, which wears its cultural layers more openly. “In Australia, you can see the grit and the mix of culture, and sometimes it is quite a beautiful thing to see, whereas over here [in Copenhagen], everything blends in perfectly,” he said.

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In conversation with one another, tour participants also remarked that while the contemporary buildings they had visited made a strong and positive contribution at street level – thanks to plazas, harbourfront promenades and other external spaces – the buildings themselves often didn’t always stand out in terms of aesthetics or functionality. In some instances, the internal spaces felt underwhelming in comparison to the attention given to the external environment.
Certainly, architectural beauty and magnificence still exist, as exemplified in Grundtvigs Kirke, a sacred space that was completed in 1921 and took 19 years to construct from a single, handmade material: pale yellow Danish clay bricks. Legend has it that every detail was carefully inspected by the architect P. V. Jensen-Klint, who designed the church, and later by his son Kaare Klint, following P. V. Jensen-Klint’s passing. The tour participants unanimously expressed their admiration for the project’s impeccable attention to detail. While the building may not be particularly old in the context of Denmark, it predates many of the sites visited by the tour, most of which were built in the 2000s–2010s. The admiration the tour participants felt for this particular project, compared to some of the newer projects, may highlight a broader shift in society and the times from fine craftsmanship and aesthetic detail toward sustainability and public benefit.

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Sustainability is inevitably part of any conversation about Copenhagen. Kang shared how impressed she was by the way material considerations underpin every stage of design thinking, not only in emerging studios but also among well-established practices. Across the board, architects spoke about working consciously with materials, whether by preserving and reusing what already exists, sourcing locally, or investing resources in research for the development of new materials. A standout example was Thoravej 29 by Pihlmann Architects, a former factory now serving as an arts space. The project repurposed more than 90 percent of the materials found on site, setting a high bar for adaptive reuse.

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Kang reflected on the frequent justification that Denmark’s small population makes systemic change more achievable. “I know that everyone keeps saying that ‘Denmark is a small country and there aren’t that many of them’ and that’s why they can make these changes when it comes to materials and sustainability,” she said. “But Australia doesn’t have a huge population either – it’s just that we’re geographically dispersed. I feel like we need to stop making excuses and just do it.”
Tour participant Kate Shepherd pointed out that Denmark’s success isn’t due to unlimited resources either. “They were able to source the manufacturing of materials locally,” she said. “It’s not like they have an abundance of trees or an abundance of people to make this happen. They’ve found companies within Denmark that can recycle and reuse materials.”
Adair Winder is travelling with the 2025 Dulux Study Tour. Follow #2025DuluxStudyTour on social media and the blog. More

The Greater Metropolitan Cemeteries Trust (GMCT) has broken ground on Harkness Memorial Park in Melton, 50 kilometres north-west of Melbourne’s CBD. According to a release from GMCT, the project is the largest cemetery to be developed in Victoria in over 100 years.
The project has been developed by a consortium, with Aspect Studios as primary design consultant, Architectus as architect and WSP leading engineering and services. A masterplan for the 128-hectare site was developed by Architectus, Aurecon, McGregor Coxall and Greenshoot Consulting in 2023 after they won an international design competition for the project in 2021.
Chair of GMCT Michael Doery reflected, “It’s the realisation of a vision that has been many years in the making. This moment represents the foundation of something much bigger.”
“This is not a one-off project or infrastructure build, it’s a legacy in the making,” he said. “We’re proud to be creating this place not just for the community—but with the community.” More

Deco Australia has introduced five new finishes to its DecoWood timber-look powdercoat range, extending the palette of its widely specified aluminium architectural products. This latest expansion caters to the growing preference for lighter, more natural timber tones and urban-inspired aesthetics in contemporary design.
The new finishes, Linen Shore, Aspen Drift, Honey Ember, Wheatfield, and Barn Oak, have been developed to complement varying architectural designs and material palettes. Each finish presents a distinct interpretation of timber, offering nuanced textures and colour variations designed for both interior and exterior applications.

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Linen Shore features soft, neutral tones drawn from coastal environments, while Aspen Drift offers an earthy, understated brown with a subtle grain. Honey Ember presents a golden amber hue, characterised by a delicate and tactile grain finish. Wheatfield captures the warmth of open fields, while Barn Oak, the darkest of the new additions, echoes the robust appearance of weathered timber found in rural Australian architecture, with a rich tone and pronounced grain structure.
These finishes are intended to integrate with existing DecoWood offerings such as Curly Birch and Coastal Spotted Gum, allowing for increased design flexibility across residential and commercial projects. The new range is available across Deco’s aluminium profiles, including external cladding, battens, and DecoDeck decking systems, with slip-resistant options also offered.

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All new finishes have been subjected to rigorous testing, including 1000 hours of Acidic Salt Spray exposure and over 2000 hours of QUV accelerated weathering, and conform to the Qualicoat Seaside specification for architectural-grade powder coatings. More

Brisbane City Council has approved the adaptive reuse of a historic fabrication shed and a new riverside pavilion at the Bulimba Barracks site in the city’s east.
Designed by global architecture practice Buchan, the buildings are the first stage of a master planned community envisioned for the 21-hectare site, which was purchased by the Shayher Group from the Department of Defence in 2020. A proposed medium-density residential complex is intended to follow.
Buchan senior associate and project lead Lynn Van Dievoort said, “The new neighbourhood will integrate with the surrounding residential areas, opening up opportunities for connectivity and access to the riverfront and creating a new destination.”
The fabrication shed, which Buchan notes dates to World War II, is intended to form the heart of the precinct. Van Dievoort noted the importance of respecting the shed’s heritage. “The idea is to celebrate the existing building and give it a new life,” she commented.
Facing the river to the north, the shed’s main entry will be punctuated by a new awning attached to the existing facade. Buchan has proposed to glaze this elevation, noting in a media release that this treatment “reveals the internal timber roof trusses and delivers light to the interior.”
The west side of the shed is envisioned by the architecture practice as “a lively hospitality zone and community gathering space” with an entry to the shed’s internal food, beverage and retail tenancies. A boutique supermarket at the southern end is intended to service the growing residential precinct.
Materially, Buchan has looked to use weatherboard, metal and flatsheet cladding in keeping with the original shed. The practice notes that “where possible, materials will be salvaged and re-used, including barn-style doors and structural timbers.”

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A landscaped pedestrian laneway will link the shed to the river and to a proposed multi-residential complex to the east. According to Buchan’s communique, the laneway will be a place to “host community gardens, play spaces and public art, with the potential for markets and events.”
Within the riverfront parkland, which is undergoing development to become a riverside walk, Buchan has also proposed a new pavilion whose perforated roof is inspired by a tree canopy. The pavilion is intended to be completed in two stages, accommodating a sales office in the short term and expanding later to become a cafe or restaurant.

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Van Dievoort noted that despite its proximity to the water, the site has been inaccessible because of the Barracks.
“The development will open up the riverfront and provide a new offering to locals and visitors alike,” she said. “High amenity, climate-responsive neighbourhoods attuned to Brisbane’s climate and way of life provide a great model for contemporary living as we move towards a higher-density city.” More

Australia’s exhibition at the twenty-fourth Milan Triennale, commissioned by Monash University, has opened today under the event’s theme Inequality. Creatives from Monash Art, Design and Architecture have responded with an exhibit titled Australia: Land Use Inequality, which the university says seeks “to reveal how Melbourne’s focus on housing growth has led to environmental neglect.”
Representing Australia at the exhibition are Monash Urban Lab’s professor Louise Wright, associate professor Catherine Murphy and professor Nigel Bertram, alongside creatives Eugene Perepletchikov and Ziga Testen, and Baracco and Wright Architects’ Mauro Baracco. They are assisted by Qing Yu and Nicole Formaran.

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The team’s exhibition features large-scale video works that aim to highlight the environmental toll of Australia’s sprawling urban footprint, which includes damage to habitats, biodiverse ecosystems and culturally significant First Nations sites.
Reflecting on the impetus for Australia’s exhibit, Wright commented, “In recent years, a significant population increase, tax policies and inflation has led to a housing supply and affordability crisis in Melbourne. To address this crisis, large supplies of land continue to be rezoned on the city’s edge for low-rise housing that can be delivered quickly.”
“These lands hold ecological values essential for the life of vegetation, animals, birds and insects endemic to Australia, and some under threat of extinction,” she continued. “Yet despite the critical need to protect this non-human life, inefficient land use continues.” More

Works have begun on the NSW state government’s $309 million redevelopment of Penrith Stadium. The project is aimed at transforming the existing precinct into a modern venue for sport, recreation and entertainment.
Designs by Populous and Tyrell Studio received planning approval from the Department of Planning, Housing and Infrastructure in December last year. Following a competitive tendering process, John Holland has been appointed as lead contractor for the stadium redevelopment.
In a recent media communique, the state government commented that “Penrith Stadium will be one of Australia’s premium suburban stadiums.” They intend for the multipurpose venue to support the growth of rugby league, rubgy union and football in Western Sydney, while also attracting new sporting events to the area.
In addition to its function as a sporting venue, the upgraded stadium will be able to accommodate up to ten concerts, with 30,000-person capacity, every year. A collection of smaller spaces will be available for private events, such as meetings, conferences and functions.

Accessibility, safety and comfort are prioritised in the new stadium design, which triples the number of wheelchair accessible seating, and doubles the number of female bathrooms and changerooms as compared with the existing stadium. The redevelopment is also aimed at providing improved wayfinding, security and technology.
Additional food and beverage outlets, and enhanced amenities will be included in the stadium upgrade in order to reduce queues. Next to the stadium, the training field will be remodelled to create open community spaces with multipurpose courts, child-friendly areas and improved landscaping.

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Infrastructure NSW head of projects Bruno Zinghini said, “We look forward to seeing the positive impact this project will have on the region, providing a new social and entertainment hub that will support more families moving into new homes being rolled out by the NSW government in Western Sydney.”
Preliminary works began in October 2024 and are nearing completion, ready for demolition. The upgraded stadium is anticipated to open its doors in 2027. More

The Premier of Tasmania is inviting “bold, transformational ideas” for the repurposing of the Treasury Building Complex in Hobart, for which a Registration of Interest (ROI) process has been recently launched.
Treasurer Guy Barnett said the repurposing of the Treasury Complex presents a unique opportunity in the heart of Hobart.
“We have seen the amazing development at Parliament Square and the Tasman, which has not only preserved the heritage characteristics of the buildings but is now home to […] hospitality offerings, accessible to Tasmanians and visitors to enjoy.
“It is time that the [Treasury Complex] buildings were brought back to life, creating a new space for us all to discover,” Barnett said.
The Treasury Complex, which was constructed between 1824 and 1957, comprises eight interconnected and adjoining civic buildings that are registered on the Tasmanian Heritage Register. The complex has a floor area of more than 8,200 square metres and a net lettable area of just under 5,100 square metres. It is currently under the custodianship of the Department of Treasury and Finance.
A release from the Treasurer’s office notes that the complex “is ripe for a suitable development which can stimulate investment, growth and confidence in the state right throughout the design, construction and operational stages as well as create more jobs and economic activity within Southern Tasmania.”
An Expressions of Interest (EOI) process for the complex was first initiated in 2018, however the attempt was abandoned due to the shifting government priorities resulting from the COVID-19 pandemic.
The newly launched ROI process is the first stage of three stages of work to be undertaken. For this stage, interested proponents as well as community members are invited to share their vision for the complex.
According to the Treasury Complex website, “proponents are encouraged to suggest innovative delivery models and imaginative future uses. […] This could include, but is not limited to, leasing, selling, refurbishing or repurposing the complex.”
The Tasmanian government notes that visions to repurpose the complex should:

“Deliver a long-term sustainable outcome that conserves and protects the history and heritage of place.
Ensure that the site continues to connect with and complement its surroundings.
Consider innovative and adaptive future uses.
Consider opportunities for enhanced accessibility for the Tasmanian community.”

The premier’s office anticipates that the ROI will be followed by an EOI phase and then an invitation to tender towards the end of 2025.
The Treasury Complex website notes that the Department of Treasury and Finance “will review proponents’ proposals for their capabilities to deliver a project such as this, how closely the proposals meet the vision and objectives for the site; and to what extent the future uses proposed are commercially sustainable.”
More information on the project and the steps to undertake the ROI process can be found online. More

Australia’s exhibition at the nineteenth International Architecture Exhibition has opened today in the Venice Giardini as part of the Venice Architecture Biennale Vernissage. Titled Home, the exhibition design is authored by an all-First Nations team and focuses on finding commonalities between cultures through shared meanings of “home.”
The installation features a curved rammed earth wall and bench seat that wrap a circular, sand-filled ceremonial space at the centre of the pavilion. Lining the perimeter of the space, a plaster-cast “living cloak” bears the textural imprints of its fabrication.

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A release from the Australian Institute of Architects, which commissioned the project, notes that the design encapsulates “a serene and highly sensory domain […] inspired by the vast, beautifully storied natural terrains of the Australian continent.” The release adds that “the exhibition explores the relationship of Country with the oldest continuous living culture in the world.”
For the design and construction of the exhibition, the three appointed creative directors – Dr Michael Mossman, Emily McDaniel and Jack Gillmer-Lilley – collaborated with an extended creative sphere of First Nations practitioners, including Kaylie Salvatori, Clarence Slockee, Elle Davidson and Bradley Kerr.
Through the process of creating Home in Venice, the directors aimed to demonstrate the power of a collaborative design approach to Australian architecture rooted in First Nations yarning. They noted that their vision of Home “presents a design approach that has been gathering momentum that Indigenises the built environment through moments and locations between cultures.”
“For Home, guests will share their stories to cultivate a deeper sense of agency, custodianship and reciprocity,” the directors said. “This will contribute to the evolution of living environments that continually regenerate ways of being, knowing and doing through the activation of inclusive dialogue and relationships.”

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Australia’s exhibition at this year’s Venice Architecture Biennale is the first since the 2023 Australian Indigenous Voice Referendum. With their installation, the directors have aimed to pursue further opportunities for dialogue between Indigenous and non-Indigenous people.
According to the Institute’s release, the yarning process at the heart of the creative directors’ approach to Home highlights a culturally inclusive practice that breaks down hierarchies to allow all voices to be heard.
The installation brought together 125 architecture and design students from 11 universities to participate in making the exhibit. The students were united under a learning program led by hosted by the University of Sydney School of Architecture, Design and Planning, and led by Mossman and Davidson, in what the Institute has called “the largest school of architecture collaboration in Australia.”
Students were tasked with designing “living belongings” – objects that articulated their deep reflections of home – that visitors are invited to interact with.

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Co-creative director Emily McDaniel commented, “Home is a generous and timely offering to the Venice Architecture Biennale that will welcome visitors as active contributors and participants.”
The Australia Pavilion at the Venice Architecture Biennale is open to the public from Saturday 10 May to Sunday 23 November 2025. More