Architecture

The Victorian government has announced a ten-year plan that would see more than 5,800 hectares of greenfield sites across Melbourne and regional Victoria transformed into industrial land. According to the government’s media release, their vision is “to create jobs, attract investment, and give business the certainty it needs to grow.”
Minister for Planning Sonya Kilkenny commented, “We’re unlocking the land we need for the industries that power our economy – from freight and logistics to advanced manufacturing. This 10-year plan is about backing industry, backing jobs, and backing Victoria’s economy for the long-haul.”
The ten-year plan establishes a timeline for the release and rezoning of what the government describes as the state’s “most valuable tracts of industrial land,” in particular, the northern and western growth corridors of Melbourne and regional Victoria. Sites currently targeted include Merrifield North, Derrimut Fields, Altona North and Hastings, along with the regional precincts of Ballarat, Bendigo, Parwan and Avalon.
In addition, the government is accelerating rezoning by allowing parts of unzoned precincts to be fast-tracked if the required planning and infrastructure is already in place.
According to their vision, the state’s industrial land will need to cater for increased demand in warehouses and distribution centres, resulting from e-commerce and increased productivity from advanced manufacturing, automation and AI.
“AI is booming and data centres are the foundation of the digital economy. Availability of well-located and serviced industrial land in Melbourne is essential to support sector growth, offering ready access to skilled workers and proximity to clients advanced education and research services. The Victorian government is working to ensure that the energy and water needs of the sector can be sustainably met,” the plan reads.
In addition to ensuring industrial precincts are “powered sustainably by renewable energy”, the government’s emphasis is on “creat[ing] welcoming environments for workers and visitors. This includes high quality design and landscaping, public spaces and walking paths, wayfinding signage, lighting and security, and natural light integration into work spaces.”
The government expects the plan to unlock approximately $9.5 billion in new investment once fully developed.
Minister for Economic Growth Danny Pearson said, “This plan gives business confidence, cuts delays, and backs the people who build things, make things and move things – creating jobs and keeping Victoria’s economy strong.” More

Plans for a Wardle-designed commercial development on the edge of Hobart’s CBD are currently being exhibited via the City of Hobart’s major planning applications portal.
The proposal seeks to replace an existing locksmith’s building on a corner lot at 240–244 Murray Street with a new, five-storey building, which includes a flexible ground floor suited to a showroom or hospitality use, complete with end-of-trip facilities, three storeys of commercial office space above, and a fifth-floor roof terrace and meeting room.
According to the architect’s statement, “The building pays homage to Hobart’s history through its design, subtly referencing the Hobart union marches, ensuring the project contributes not only to the economic but also the cultural fabric of the city.”

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At the ground floor, the proposal adopts a rhythmic arrangement of concrete “marching columns” that nod to the city’s history of unionisation, which, according to the architect’s statement, originated with craft-based workers in the 1830s and ultimately led to the eight-hour workday that was secured by the city’s stonemasons in 1856. These columns are designed to anchor the corner of the site while giving pedestrians clear sightlines through the glazed ground floor envelope.
Above, a raked form tapers down toward the cluster of heritage red-brick dwellings on the site’s southern side. The proposal’s rippled precast concrete envelope, punctured with shrouded portal windows, draws inspiration from the character of the adjacent streets, along with the forms of protest banners historically displayed during union marches.

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At the roof terrace, the design of the building again nods to the city’s waterfront as a gathering point for early union marches, with key openings providing glimpses of the bay along with curated views of Kunanyi/Mount Wellington. On this level, the proposed landscaping aims to integrate Palawa knowledge of Indigenous flora, with native grasses and ground covers, as well as small banksia trees.
The advertised plans can be viewed online until 6 November. More

Managing director and principal at Billard Leece Partnership (BLP) Tara Veldman has been named the inaugural recipient of the Australian Health Design Council (AHDC) Gold Medal. The medal is awarded to nominees who demonstrate visionary leadership, a commitment to excellence and a significant contribution to the healthcare design industry.
Veldman possesses more than 20 years’ experience in healthcare design and was instrumental in growing BLP’s Sydney office from a solo operation in 2011 to a team of 70 professionals today. She became managing director of the national business in 2020.
A media release from BLP notes that “under [Veldman’s] leadership, BLP has pioneered ‘translational design’ – a collaborative methodology that brings together architects, researchers, clinicians, and patients to create healing environments grounded in rigorous evidence and deep empathy. This approach integrates environmental psychology, patient feedback, and cutting-edge research into every stage of the design process.”

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“I’m deeply honoured to receive this inaugural award,” said Veldman. “This recognition reflects the incredible work of our entire BLP team and our valued collaborators – the clinicians, patients, stakeholders and communities who partner with us to reimagine what healthcare environments can be. Together, we’re proving that thoughtful, evidence-based design has the power to heal.”
The judging committee comprised Kate Copeland, chair of the AHDC; Ron Billard of Ron Billard Consulting; Alex Belcastro of Northwest Healthcare REIT; Warren Kerr of Hames Sharley and committee member of the ADHC; and Isabelle Mansour of Mott MacDonald and secretary and events lead of the ADHC.
They commented, “Tara has made an invaluable and lasting contribution to healthcare design through her visionary leadership, compassion, and commitment to excellence. Her leadership on major projects in Australia has set new benchmarks for care.
“While her influence is strongest at the facility level, she also contributes as a thought leader and mentor, sharing knowledge and inspiring emerging designers, thereby shaping the future of healthcare design through both practice and professional development.” More

Architectural practices DKO and Aileen Sage have unveiled plans for the redevelopment of five historic warehouses on Sydney’s Wentworth Avenue, led by Willow Development Group.
The Edwardian warehouses at 4–22 Wentworth Avenue date from 1911 and are protected by a local heritage listing. Currently, the buildings are occupied by various retail and commercial tenancies.
According to a media communique, DKO and Aileen Sage’s proposal, which was selected following a design excellence competition, involves an adaptive reuse strategy that “balances heritage conservation with contemporary intervention, using the existing built fabric as a framework for innovative spatial and architectural expression.”

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With the designers’ aim being to reinforce the project’s urban and cultural relevance, their approach has been shaped by five core principles: expressing each warehouse’s individual character, streamlining circulation to connect the five buildings, designing for diverse tenancies, articulating a cohesive tower form and sensitively adapting the site’s heritage.
According to the media communique, the designers have worked with heritage consultant Jean Rice to utilise and retain as much of the existing building fabric as possible. At the same time, energy efficiencies have been designed into the redevelopment. These include 100 percent electrical services and solar PV harvesting, rainwater harvesting, and waste diversion.
DKO director of architecture and growth Rupert Reed reflected, “The heritage fabric of the site has always guided our design. This project is about cohesion – not just between buildings, but between disciplines, ideas and histories.
Rice added, “This was a true collaboration – one built on listening. The outcome is richer for the way stories of the site informed design decisions.”

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The proposal introduces a new commercial tower above the corner building at 4–6 Wentworth Avenue, envisioned as a prism-like form. Next door, at 8 Wentworth Avenue, a top-lit, glazed atrium space is designed to draw light deep into the site. This space is envisioned with lush landscaping and a spiral staircase.
According to director at Aileen Sage Amelia Holliday, “New works will balance cohesion and diversity through artful additions and sensitive heritage adaptations.” The proposal includes restoration of the warehouses’ current shopfronts with a contemporary language of detailed steel work in bold colours.
In terms of landscaping, landscape architect Dangar Barin Smith has developed a biophilic strategy for the development across sunken gardens, rooftop terraces and landscaped communal spaces that employ a palette of mostly Indigenous plants.

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The proposal has received development approval and is expected to commence construction in mid-late 2026.
Director of the Willow Development Group Michael Skala commented, “We feel incredibly privileged to be able to put our mark on Surry Hills and look forward to delivering a new calibre of workspace for Sydney and a new benchmark for commercial city fringe stock. This project will go further than just paying homage to its heritage, integrating the existing historic buildings into the landmark finished product that DKO and Aileen Sage have meticulously designed.” More

The Australian Design Centre (ADC) has announced it will cease operations by 30 June 2026 unless urgent alternative funding is secured, marking the potential end of a 61-year legacy supporting Australia’s craft and design community.
The decision follows confirmation that both the Federal Government (through Creative Australia) and the NSW Government (through Create NSW) will discontinue adequate operational funding from the 2025–26 financial year. Create NSW recently awarded ADC $150,000 per year for two years—a figure $350,000 short of the minimum $500,000 annual base required to sustain operations.
ADC board chair Elizabeth Espinosa said the volunteer board had “considered all other options” but could not see a viable path forward without renewed funding.
“Without core operational support to pay staff and cover administrative costs, we have no other choice but to cease operations by 30 June,” she said. “This means that NSW will be the only state or territory in Australia without an organisation dedicated to craft and design practice.”
The closure would have widespread repercussions for artists and audiences. ADC currently provides opportunities for around 1,000 artists each year, and its exhibitions attract up to 350,000 visitors annually. Exhibition programming in Sydney will end in February 2026, followed by the closure of the Object Shop in March 2026. Touring exhibitions will continue as scheduled until mid-2026.
ADC CEO and artistic director Lisa Cahill described the decision as “devastating,” highlighting a lack of transparency in recent funding decisions.
“Despite being recommended for funding by peer assessors, ADC no longer receives four-year funding from state and federal agencies. Clearly, craft and design are not a priority,” she said.
Founded in 1964, ADC has long been a vital platform for contemporary makers and designers, supported by the City of Sydney through its gallery space on William Street and by private philanthropy.
The board is now appealing for $350,000 per year in additional funding from government, corporate or private sources to keep ADC open beyond 2026. Enquiries or offers of support can be directed to Lisa Cahill at (02) 9361 4555 or lisa@australiandesigncentre.com More

An award-winning Paddington townhouse, designed by late Sydney architect Ken Woolley as a home for him and his wife, has been added to the New South Wales State Heritage Register.
Known as the Woolley Townhouse or Paddington House, the residence at 8A Cooper Street was completed in 1980 and served as the home of Woolley and his wife, Virginia Braden Woolley, for seven years. It is the third and final residence that Woolley designed for personal use.
From the street, the house appears as a walled compound, but from the rear garden, a dramatic round tower soars the full height of the three-storey structure. The house is regarded as a love letter to Woolley’s wife, its sinuous form inspired by her love of the grand piano and her dream of becoming a concert pianist.
In August 2025, the Heritage Council of NSW announced the house was under consideration for state heritage listing, describing it as “an early demonstration of his [Woolley’s] capacity to combine postmodern characteristics with Sydney School design.” As a result of this process, the council has granted the listing, recognising the project as “an outstanding example of postmodern domestic design” and “a testament to Woolley’s enduring legacy.”
Sally Barnes, chair of the Heritage Council of NSW, said the heritage listing ensures the conservation and proper recognition of the townhouse’s beauty and distinct character.
“From office towers to civic squares, churches to townhouses, Ken Woolley’s range was extraordinary. His talent is on full display in the home he created for Virginia,” said Barnes.
“Beyond its eye-catching design lies a story of love and creativity. I hope this listing inspires architects – both emerging and established – to look beyond the drafting table and think outside the box when imagining their project.”
In a 2020 Revisited article for Houses, Peter Salhani spoke with Ken Woolley’s eldest daughter, Anna Woolley, who shared fond memories of the home. “The bedrooms had a cosy cubby-house feel to them. They weren’t big, but you felt incredibly safe. There was nothing at all showy about the house but it was very interesting. That’s a reflection of Dad’s quiet nature and his brilliant attention to detail,” Anna said. More

Bates Smart and Richards and Spence’s proposal for a three-tower development for Aria Property Group in South Brisbane has been greenlit for development by Brisbane City Council. According to Bates Smart director Mathieu le Sueur, it is the first project to be approved under Brisbane City Council’s new height limits for the suburb.
Across three towers ranging in height from 24 to 50 storeys, the project will deliver 678 new dwellings, a 216-room hotel and 21,000 square metres of retail space. Over the past few years, the architects had developed several iterations of the proposal, including one with three 12-storey towers and another featuring a single 17-storey tower.

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At almost 7,300 square metres, the consolidated site at 164 Melbourne Street has three street frontages, with two heritage-listed places at either corner. These include the former Bond’s Sweets Factory, a 1951 Art Deco building at the Manning Street corner, and Malouf’s fruit shop and residence, built in 1913, at the Edmonstone Street corner.
The approved development will involve the restoration and retrofit of these two buildings into retail and hospitality tenancies. In addition, small-scale high-street retail will be located along the site’s edges. A network of pedestrian laneways, which includes a “dry route” between unflooded evacuation points in times of flooding ­– will permeate the podium, leading to a central “urban meadow” and amphitheatre, as well as various other courtyards and further retail and dining.

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Le Sueur said the project “represents an evolution of density and ground plane activation in the South Brisbane neighbourhood.”
Co-founder of Richards and Spence Ingrid Richards added, “By incorporating publicly accessible private spaces throughout the precinct, residents and visitors alike are offered places for relaxation, recreation, and connection.”
“The masterplan balances density with generosity – increased height enabling an enriched ground plane of activity and openness, where a network of laneways, vibrant landscaping, public art, and retail together create a layered and adaptable public realm,” she added.

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The architectural language of the podium draws on that of the heritage buildings, with a contemporary brick facade designed to provide a flexible framework as well as a fine-grain street character. Above, the tower forms are designed to be articulated with ventilated corridors, planted facades and climate-appropriate shading devices. The towers will each host a series of communal recreation spaces and rooftop amenities, including a suite of pools, private and shared dining spaces, hot and cold spas, saunas, a gym, a half-court, a multi-purpose room, a cinema, and treatment areas.
In Richard’s words, “Melbourne and Manning demonstrate the capacity for a private commission to deliver public value.” More

Big Glow by Studio Truly Truly
Constructed from non-woven wool and plant- based compostable fibre, Big Glow is both a sculptural light and acoustic feature. Designed and manufactured in Victoria, the panels are formed under heat and the soft wadding is transformed into translucent panels, which create a diffuse glow. Visit website.
Acerbis Lokum tables by Sabine Marcelis
Crafted with smoky blown glass, the Lokum collection by Dutch designer Sabine Marcelis evokes ethereal charm. Tables are available in square or rectangular forms and two tonal finishes, each piece reflecting the designer’s refined control of material transparency and minimalist design. Visit website.

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Gelato portable lamp by Carlo Nason
Originally a 1960s wired table lamp, Gelato is now a cordless, dimmable LED light reimagined by Carlo Nason and Established and Sons. Charged via magnetic USB-C, it combines coloured blown glass with haptic dimming and comes in four finishes: Spritz (pictured), Mint, Azure and Smoke. Visit website.

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Lola sun lounger by Alta × Stephen Baker
The Lola sun lounger is a collaborative piece by Alta Interiors and Melbourne-based artist Stephen Baker. Inspired by a painting from Baker’s personal collection, the piece blurs the line between utility and art. Lola features a UV powdercoated aluminum frame that ensures durability while remaining lightweight. Visit website.

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Neva Fade carpet from Tsar Carpets
Neva Fade by Tsar Carpets features a horizontal gradient with an earthy tonality that shifts from deep brown to grey. Hand-tufted from New Zealand wool and tencel, the 7–9 millimetre pile combines loop and cut textures. Sizing and colour personalisation is also available to complement any room. Visit website.

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Collette lounge chair by Adam Goodrum
Collette, meaning “collar” in French, is a chair distinguished by its prominent collared back, with a form that evokes the elegance of traditional Vietnamese script. Crafted from ash timber in a range of stains, it features a meticu- lously upholstered leather seat. The range is designed by Adam Goodrum for District Eight. Visit website.

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Twill Table from Design By Them
The Twill Table features colour-matched powdercoated aluminium legs and flint-finished laminate tops with a rounded-square silhouette. Conceived by Australian design duo Gibson Karlo for Design By Them, the table is available in rust red, pale eucalypt, soft white, silk grey and black. Visit website.

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Class Collection by Sebastian Herkner
Inspired by the classic lamppost, the Class Collection of outdoor lights features fluted glass tubes set in black aluminium shafts. Designed by Sebastian Herkner for Vibia, they emit a diffuse, ambient glow. The timeless form reinterprets twentieth-century design with updated materials and soft illumination. Visit website.

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Anni Oat Floor Rug from Baya Living
The Anni Oat Floor Rug comprises a hand- tufted 100 percent wool base with alternating cut and loop pile to create tactile linework. Its neutral tonality, plush 18 mm pile and offset linear texture deliver warmth and bring a sense of understated luxury to all contemporary interiors. Visit website.

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Loden Collection by Vico Magistretti
Initially produced by Gavina in 1961, Vico Magistretti’s Loden armchair and sofa have been reissued by Kettal. The timber frame, curved armrests and upholstered seat recall the restrained elegance of the ’60s. The name and material reference Magistretti’s fondness for Loden wool and its cultural cachet. Visit website.

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