Architecture

Furphy Foundry is proud to launch the new Precinct seat with 100% recycled High Density Polyethylene (HDPE) plastic panels. It’s ideal for playgrounds and schools, as well as other open space applications. HDPE is lightweight and super strong, making it a most versatile product. It’s manufactured from industrial sources, pallets and car bumpers, with little-to-zero […] More

James Hardie has partnered with Brisbane-based bespoke residential and commercial architects Michael Lineburg and Lynn Wang of Lineburg Wang on a conceptual collaboration that explores what is possible for the Australian home using a new innovation in building material: Hardie Fine Texture Cladding and its supporting range of corner and junction accessories.
Lineburg Wang’s ideas come to life with Pleated House, a conceptual extension of a pre-war Queenslander in inner-city Brisbane, which progresses ideas about contemporary living and the evolving relationship between the social rooms of the home and the exterior realm. The exterior of the extension is wrapped in Hardie Fine Texture Cladding, a pre-textured, fibre cement wall panel, and serves as a soft and stylized backdrop to the garden and its activities.
The Pleated House design concept connects a traditional timber Queenslander to the sloping terrain of a typical Brisbane backyard, creating light-filled, contemporary rooms that open onto a terraced garden. The design carefully stitches together component parts and reinforces a sense of cohesion and freedom in our domestic lives.
“The concept retains the old Queenslander and imagines the new extension as an ‘anchor’ – something that ties the house to the rolling hillside,” Lynn explains. “We wanted to ensure the contemporary architecture didn’t collide with or overwhelm the Queenslander, so it’s designed to be sensitive to and relate to the original house but also be distinct from it.”
The challenge to explore the possibilities and benefits of Hardie Fine Texture Cladding prompted Michael and Lynn to return to first principles of design. The extension comprises a double-height kitchen and living room with a mezzanine bedroom positioned to look beyond interior spaces towards framed vistas of sky and landscape. Level with the treetops, a roof terrace establishes a platform for gathering and after-dark stargazing.
“We always enjoy the challenge of exploring new products and new ways of construction – whether they be with bricks or blocks or sheet products,” says Michael. “There is a perception that sheet cladding can be one-dimensional, but we don’t think so. We wanted to demonstrate how a sense of movement can be achieved through the layering and pleating of panels and how a sense of depth can be amplified when textured surfaces combine with sunlight and shadow.”
Inspired by the surface of Hardie Fine Texture Cladding, Michael considered how to accentuate shadows using the cladding. Instead of applying it as a two-dimensional surface, the product is layered from the top down. As a result, this application offers architectural interest through varying surface dimensions and the shadows cast across the textured surface. The pleats of the exterior extension follow the sloping site downhill, creating continuity from the original dwelling and producing different levels for the eye to travel to and from. “The roof terrace over-emphasizes this cascading language with an oversized capping to the house below,” says Michael.
Hardie Fine Texture Cladding wraps the tall rooms of the extension, giving its robust form a luminescent, textural finish. “We wanted to celebrate the fact that the cladding is self-sufficient in the sense that it doesn’t rely on cover battens or stop mouldings to be waterproof,” Lynn says. “The cladding can turn a corner seamlessly and abut another sheet with a simple shiplap joint.”
The facade of Pleated House expresses the subtlety and rhythm of such panel connections. A strong datum is struck by horizontal joints establishing the pleated expression of overlapping edges – similar to the way the chamfer boards of the adjacent Queenslander overlap. “We wanted to amplify the textural quality of the cladding to create depth in the facade,” Michael says.
Hardie Fine Texture Cladding’s thin, sleek panels and lapping created a threshold between indoors and outdoors. The 8.5 millimetre panels have shiplap joints on the long edges, enabling a clean look and versatile implementation. “The varying sheet heights of Hardie Fine Texture Cladding (ranging from 2440 mm to 3600 mm) were used to manage datums of the pleats, that in turn relate back to the existing cottage and its own material datums,” says Lynn.
For Pleated House, Lineburg Wang used full-length 3600 mm panels to create a top-heavy form and a pleated, layered detail that accentuates the shadow and texture already inherent in the cladding. To promote cost efficiency and ease of construction, Lineburg Wang designed the extension to embrace the inherent qualities of Hardie Fine Texture Cladding. “The dimension of the sheet guided the size of the bespoke windows and doors,” Lynn says. “The tall window, for example, sits in the place of a 3.6 × 1.2 metre panel with the sliding door the equivalent dimension of five panels.”
To reinforce a sense of mass, windows and doors have deep, oversized reveals. This is particularly apparent on the ground floor, where the exterior wall folds inside to create a metre-deep recess. Hardie 9 mm Aluminium External Slimline Corners are integrated to achieve crisp corner junctions. “The kitchen has become a key social space – the heart of the home,” Michael says. “It is rarely the back-of-house zone it once was, so our concept focuses on the kitchen as a social room adjacent to outdoor space, offering connection to both its immediate and broader landscape.”
Pleated House is the second conceptual collaboration between James Hardie and leading Australian architects. More information about the collaborations, including the first collaboration with Sydney-based architecture firm Retallack Thompson, can be found here. More

The City of Sydney has unveiled a new laneway revitalization plan that will transform a series of Sydney’s inner-city lanes and underused spaces.
Lord mayor Clover Moore said the various laneway projects would help draw people back into the city.
“We’re giving a new lease of life to forgotten spaces in the centre of Sydney to welcome people back into the city when it’s safe to do so, and support local businesses that have been devasted by the ongoing pandemic,” she said.
There are 10 laneways earmarked for redevelopment over the next 10 years, from 2022. The council outlined the proposed projects in a statement:
Barlow Street
Between George Street and Parker Lane, Barlow Street is currently home to a temporary artwork by the artist collective Dirt Witches. It was installed in January 2021 as part of a temporary laneway art and alfresco activation program to encourage and support a return to the city centre after the 2020 lockdown. The small banksia forest has received overwhelming support from the public with more than a dozen requests to retain a permanent closure.
The extension of the George Street pedestrianisation south to Central station provides an ideal opportunity to create a permanent landscape installation in the western section of Barlow Street.
St Laurence Lane
With a new light rail stop in Rawson Place at the end of the laneway, upgrade works to St Laurence Lane and improved lighting will provide opportunities for local business and encourage people to explore the area on foot.
Curtin Place and Hamilton and Little Hunter streets
Part of the laneway running off George Street has recently been upgraded and converted to a shared zone as part of the development at 280 George Street. Together with Hamilton and Little Hunter streets, it forms a laneway network and pedestrian connections between George and Pitt streets.
Randle Lane, York Lane and Wynyard Lane
These inner-city laneways have been earmarked for revitalisation once redevelopment works around Wynyard railway station and the construction of the new Metro station at Central are complete.
Randle Lane runs next to the new Metro pedestrian portal on the eastern side of Central station and will have high pedestrian traffic in the area, while York and Wynyard lanes are next to to the upgraded development at Wynyard station.
These lanes are an opportunity to create new connections for people walking in the city centre and new opportunities for local businesses.
Underwood and Dalley streets
Located in the Quay West Quarter, development and revitalisation of these small streets will support public domain improvements throughout the precinct.
The priority plan was unanimously endorsed by council on 20 September.
“We first unveiled our laneways program in 2007 and since then 26 laneways have been brought to life with bars, restaurants, retail outlets and acclaimed art installations,” said Moore.
“Much-loved spaces such as Angel Place, Ash Street, Tank Stream Way and Penfold Lane and Hosking Place are just some of the wonderful examples of this dramatic inner-city rejuvenation.
“Now that work has finished on the light rail project, we can get to work on completing our vision for a city that is people focused and business friendly, drawing together city workers, residents, visitors, entertainers, artists and the hospitality sector.” More

The nine-storey Jewish Arts Quarter building proposed for 7 Selwyn Street, Elsternwick in Melbourne’s inner south has been granted approval, after planning minister Richard Wynne intervened to scuttle a legal challenge.
Designed by Melbourne’s Mclldowie Partners, the building will replace the double-storey brick building used by the Kadimah Jewish Cultural Centre. It will bring together the Jewish Museum of Australia and the Kadimah Jewish Cultural Centre and National Library, along with performing arts and co-working spaces.
Glen Eira council gave the proposal the green light back in September 2020 but residents concerned about the building’s height and lack of parking lodged an appeal with the Victorian Civil and Administrative Tribunal.
Before the matter could be heard, planning minster Wynne called in the matter, referring it to the government’s Priority Projects Standing Advisory Committee instead of the tribunal. Wynne told parliament he stepped in because he considered the project would provide a substantial public benefit and the appeals process “may have a substantial effect on the achievement or development of planning objectives.”

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Jewish Arts Quarter by Mclldowie Partners.

The Priority Projects Standing Advisory Committee held a roundtable discussion on the proposal in June, where the applicant and council submitted evidence in support of the proposal and objectors raised their concerns. Based on the evidence presented the committee recommended the proposal for approval, and the planning minister granted it in late August.
Joe Tigel, Jewish Arts Quarter director and president of the Kadimah Jewish Cultural Centre and National Library welcomed the approval.
“We are kvelling! – beaming with pride and joy in realizing our vision for the Jewish Arts Quarter, allowing us to move from imagination to the belief that a vibrant and dynamic new cultural destination will soon become a reality,” he said.
The new building will feature a 751-square-metre performing arts theatre occupying the three basement levels, which will be able to accommodate up to 300 patrons and 20 theatre staff. Museum exhibition space will occupy the first three floor, covering around 1,259 square metres, and c-working office spaces covring a total floor area of 1,631 sqaure metres will occupy the top five floors.
There will also be a café on level three for offce workers, a ground floor café, a shop and 30 bicycle parking spots. There will be no car parks, which was a sticking point for the development’s opponents, but the government noted the precinct was well connected to public transport and that the lack of car parks would encourage “sustainable, active transport alternatives.”
The Jewish Arts Quarter will sit adjacent to the Jewish Holocaust Centre designed by Kerstin Thompson Architects, and become part of a wider precinct featuring the Sholem Aleichem College and Classic Cinemas.
The development will be supported by a $3.5 million contribution from the Victorian government. More

The Design Institute of Australia has announced the state winners of its Graduates of the Year program.
From 173 nominations, 57 were shortlisted and 27 state winners will now progress to the national awards, to be announced in October.
The jurors include Mark Berlangieri, Jane Valentine, Dave Bickmore, Tim Phillips, Gustavo Ruckman and Nancy Beka.
The Graduate of the Year program has been mentoring students since 2005 and provides students with an opportunity to feedback from experienced designers and industry leaders.
The state winners are:
NSW / ACT
Interior Design
Isabelle Kleijn, UNSW
Interior Decoration
Ike Sonder TAFE NSW
Industrial / Product Design
Anthony Franco, UNSW
Visual Communication Design
Madison Chan, University of Technology Sydney
Fashion Design
Gisella Candi, University of Technology Sydney
Textile Design
David Ward, TAFE NSW
Queensland
Interior Design
Nadia Dubreuil QUT
Interior Decoration
Elicia Muratoglu, Torrens University Australia
Industrial / Product Design
Alexander Eviston, QUT
Visual Communication
Hannah Bryce, Griffith University
Fashion Design
Lily Mergard, QUT
Textile Design
Hannah Nam, QUT
South Australia
Interior Design
Brooke Bartolic, University of South Australia, SA
Industrial / Product Design
Shu Yun Lam, University of South Australia, SA
Visual Communication Design
Brian Bolado, University of South Australia
Victoria/Tasmania
Interior Design
Madeleine Day, Swinburne University of Technology
Industrial / Product Design
Tim Lutton, RMIT University
Interior Decoration
Joanne Odisho, RMIT University
Visual Communication Design
Erin McConnell, Swinburne University of Technology
Fashion Design
Liam Ramirez, RMIT University, VIC
Textile Design
Sophie Yencken, RMIT University
Furniture Design
Bolaji Teniola RMIT University
Western Australia
Interior Design
Angela Scarano, North Metropolitan TAFE
Industrial / Product Design
Simon Lockwood, North Metropolitan TAFE
Visual Communication Design
Anabel Cressie, North Metropolitan TAFE
Fashion Design
Hannah Altinier, North Metropolitan TAFE
Emily Cooper, Curtin University More

Australia’s pavilion at Expo 2020 Dubai, designed by Brisbane practice Bureau Proberts, will create a stylized depiction of the country’s unique landscape and dramatic skies.
Taking inspiration from historic landscape paintings, Bureau Proberts designed a cloud-like form that will hover over a folding timber terrain. “We derived great satisfaction from translating the essence of Australia — or its qualitative elements — into a built form,” said Bureau Proberts managing and creative director Liam Proberts.
“It was interesting to find that cumulus clouds appear through history in scenes of the Australian landscape. Not only is the cumulus cloud instantly recognizable on the Australian skyline, it’s also ubiquitous the world over.
“Just as a real cloud is made up of a series of droplets, our cloud structure comprises a myriad of disparate yet similar elements.
“Together, they signify the way in which Australia is home to multiple cultures that unify and enhance our nation.”

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Design of Australia’s pavilion at Expo 2020 Dubai by Bureau Proberts.

The “cloud” canopy will be fixed with a series of lights that will create a dynamic display akin to a lightning bolt from an Australian thunderstorm.
Below, the terrain will be made from cross-laminated timber, which is sustainably sourced and can be disassembled and reused.
“Sheltered by an expansive, cloud-like form, we’ve created a large, open gathering space at the heart of the pavilion,” Proberts continued. “It offers a welcoming invitation to all visitors, echoing the warm and inclusive nature of Australians.”
A VIP facility on a second story balcony will overlook the pavilion courtyard.
The pavilion will accommodate Australia’s participation in Expo 2020 Dubai, which is taking place from 1 October 2021 to 31 March 2022. More

DKO Architecture’s design for a 25-storey tower complex at 26 Mann Street, Gosford on the NSW Central Coast has been placed on public exhibit. The first stage of the $150 million Central Coast Quarter development, which comprises three towers all designed by DKO. The towers would accommodate 136 apartments and retail uses on a site […] More

The Western Australian government has released concept designs of the state’s first hospice for children. To be built on the site of the former Swanbourne Bowling Club, the facility designed by Hassell will create a home-like environment close to the beach for children and their families needing respite. It will accommodate seven beds, three family […] More