Architecture

A new resource has consolidated a century’s worth of architectural registrations and nearly four decades of architectural graduations in Australia, marking the first time this information has been made publicly accessible.
Released by Parlour, this resource is known as the Parlour Data Bank. The database contains detailed spreadsheets on architectural registrations at the state level, as well as between genders, from 1924 to 2024. Additionally, the spreadsheets provide a snapshot of architectural graduations between states and genders from 1987 to 2023.
The findings show that women were registered as architects across the entire century, with the proportion of women architects dramatically increasing over the past twenty years. The data also shows that a continuous record of registration data has not always been kept, as can be seen in the years 2000–2004.

In 1924, Australia had 12 registered women and 1,197 men architects. In 1974, fifty years later, there were 275 women architects and 5,591 men architects registered in Australia, which equates to an increase of 263 women and 4,394 men architects between 1924–1974. In 2024 – the most recent registration year recorded – there were 5,543 women architects and 12,013 men architects registered in Australia.
The number of both domestic and international architectural graduates in Australia has also seen a marked increase. In 1987, there were 147 women and 309 men graduates. By 2023, women represented a larger proportion of architectural graduates, with a total of 2,105 women graduates compared to 2,066 men graduates.
The data has been meticulously gathered and cross-checked by architect, researcher and educator Gill Matthewson and her team over 13 years. The datasets build upon earlier efforts by Julie Willis, who collected data on registered architects from 1924 to the mid-1990s, and Paula Whitman and her colleagues, who compiled similar information in the early 2000s.
Matthewson commenced the data collection – with architectural researcher Kirsty Volz – as part of her PhD, which focused on the research project “Equity and Diversity in the Australian Architecture Profession: Women, Work and Leadership (2011–2014).” Led by Dr Naomi Stead, one of the aims of the research project was to map the participation of women in architecture, a responsibility that Matthewson undertook, resulting in the most comprehensive data on registration within the profession at that time.
To access the full data or read more about the data sources, visit the Parlour website. The majority of the data sources primarily view gender as a binary concept. More recent data from some state architectural boards now encompass a broader spectrum of gender identities. More

Entries are open for the 2025 Australian Good Design Awards – a program celebrating design projects that positively impact people, place and planet.
The Australian Good Design Awards features 30 awards subcategories encompassed within 13 overarching design discipline categories. These overarching categories include Built Environment; Communication Design; Concept Design; Design Research; Design Strategy; Digital Design; Engineering Design; Fashion Impact; Next Gen (Under 30s); Policy Design; Product Design; Service Design, and Social Impact.
Within the Built Environment category are four subcategories, including:

Architectural Design: Open to commercial architecture, public architecture and residential architecture projects
Installation Design: Including exhibition design, temporary installation design and experiential design projects
Interior Design: This subcategory encompasses commercial interior, public interior and residential interior projects
Place Design: Open to urban design, landscape architecture, public spaces, precinct design and city planning projects.

The 2024 awards program saw Hurlstone Memorial Reserve Community Centre by Sam Crawford Architects win the Architectural Design division, Glenthorne National Park – Ityamaiitpinna Yarta Nature Playground by TCL, Karl Winda Tefler and Tikana Tefler, and PPA (Architecture) win the Place Design subcategory, and Hidden: Seven Children Saved at Melbourne Holocaust Museum ­by Art Processors win the Installation Design section.
The deadline for entries is 2 May 2025. Judging will take place between May–July, followed by an awards ceremony on 17 October at ICC Sydney. To find out more about the program, visit the Australian Good Design Awards website. More

Melbourne Design Week returns on May 15-25, 2025, with an 11-day program including more than 350 events, exhibitions, talks, and installations showcasing a range of groundbreaking works from both emerging designers and well-established professionals.

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One of the standout features of this year’s festival is 100 Lights, an immersive exhibition held at North Melbourne’s Meat Market Stables. Staged by Friends & Associates, this stunning display will feature lighting designs from over 100 artists, designers, and makers, including Adam Goodrum, Ross Gardam and Tantri Mustika. The exhibition will create a glowing environment, allowing visitors to experience the beauty and innovation of contemporary lighting design.
Another significant exhibition, Siblings Architecture’s Deep Calm, will delve into how architecture can cater to neurodivergent audiences. This exhibition, the result of a year-long research project, will include designs like weighted sofas and tactile rugs, aimed at creating calming environments for individuals with autism spectrum disorder.
Another highlight will be Catch: Tales of First Nations fishing through the Artbank Collection, spotlighting the design ingenuity and legacy of First Nations designers, including Aunty Kim Wandin.

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The festival will also highlight the careers of two Australian designers. Volker Haug, a decorative lighting designer from Stuttgart, Germany, will present a retrospective of his 20-year career in Australia with an exhibition titled 20 Years of Volker Haug Studios. The showcase will trace the evolution of Haug’s design philosophy, blending functionality with artistic expression.
Trent Jansen, renowned for his design anthropology approach, will also celebrate his two-decade milestone with the exhibition Trent Jansen: Two Decades of Design Anthropology. Jansen’s journey from repurposing road signs into furniture to collaborating with First Nations makers will be featured, highlighting his contributions to innovative Australian design.
A significant theme of this year’s festival is the exploration of sustainable design practices. A New Normal, an exhibition at the Boyd Baker House in Bacchus Marsh, will present innovative ideas aimed at making Melbourne a self-sufficient city by 2030, featuring designs and policy recommendations by 12 Melbourne architects.
In addition to the design exhibitions, the Melbourne Art Book Fair (May 15–17) will feature more than 100 publishers from across the Asia-Pacific region, along with pop-up talks and workshops. The festival’s theme of ‘Design the World You Want’ invites all participants to reflect on how their work shapes the future, making Melbourne Design Week a must-see event for design enthusiasts and industry professionals alike.
The full program and bookings will be available online from mid- April 2025 at the Melbourne Design Week website. More

Tasmania’s Parks and Wildlife Service (PWS) has unveiled the developed designs for their Next Iconic Walk proposal in the state’s Tyndall Range. The updates follow feedback from community consultation sessions held throughout 2021–2024.
Starting at Lake Plimsoll, the three-day walking track heads south to Lake Margaret via campgrounds at Lake Huntley and Lake Mary. Designed by Jaws Architecture, the trail’s new architecture and infrastructure includes communal huts with shared bunk rooms, private pods and tent platforms for camping at each of the two overnight locations on the hike.

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The final designs cater for a maximum of 44 walkers each day, with 12 in two-person pods, 22 in four- to six-person bunk rooms and 10 camping on single- and double-bed tent platforms. Jaws Architects’ design also includes a walk departure gateway – a shuttle bus turnaround and small under cover shelter area with amenities for walkers commencing the hike.

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In response to community feedback, the PWS note in their media communique that there has “been an extensive number of considerations during the development of the overnight node concepts.”
The updates include refinement of the project’s sustainability through maximising renewable energy, locating the project near natural water to ensure adequate supply in a bushfire event, capturing fly-out black water, managing grey and storm water on-site, and reducing ongoing maintenance requirements. Further sustainability initiatives include orienting buildings with respect for prevailing winds, bushfire threat and solar gains, and consolidating building footprint and overnight accommodation in two nodes rather than three.

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Additionally, the PWS claim that the updated designs have reduced visual impact in their “form, size, scale, location, orientation, colours and consideration of surrounding natural features.” The release notes that “improved thermal performance, heating, ventilation, insulation and building health” have been prioritised alongside refinement of the project’s “materials, costs and construction method, with a focus on pre-fabrication off-site and fly-in construction.”
The designs are set to be included in the Environmental Impact Statement (EIS), which is currently being finalised. The EIS will be submitted for public consultation as part of the Reserve Activity Assessment (RAA) process and the council Development Application (DA) process. The project will also need to be approved by the Parliamentary Standing Committee on Public Works, which includes a period of public comment and review of the final plans.

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The PWS expect these periods of public comment to occur during mid-2025. Construction is anticipated to commence in the summer of 2025–2026 with the trail complete and open to visitors by summer 2028–2029. More

Plus Architecture has received development approval for a boutique hotel project in Orange, New South Wales. Located opposite the town’s train station, the six-storey hotel proposal includes 117 serviced apartments, conference facilities, a restaurant, swimming pool and rooftop communal garden, as well as retail spaces.
According to a communique from the practice, “The development will transform a heritage site at the southeastern gateway of Orange’s town centre into a contemporary hospitality destination that celebrates the region’s character.”

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Plus has sought to integrate the existing building’s facade with the hotel’s dual street frontages through a masonry interpretation of the retained fabric. Above, the architecture is contrastingly lighter, with the articulation of the building’s balconies referencing traditional verandahs. Ensuring each room benefits from a private balcony with views across Orange has been central to Plus’s approach in prioritising the guest experience.
Drawing inspiration from Orange’s industrial roots and wine industry, the project’s materiality comprises earthy tones, textural brickwork, fine-grain detailing and profiled bronze columns. The building is crowned by a mansard roof that aims to harmonise with the town’s skyline.
On the ground plane, a new public laneway articulated with two-storey arched brick gateways cuts through the block. According to Plus, “this thoroughfare enhances urban connectivity while providing an intimate setting for local events.”

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Plus note that “the design incorporates passive design elements, energy-efficient systems, and Building Management System optimisation. Additional features include photovoltaic panels, LED lighting, water-sensitive design and native landscaping.”
The practice has sought to aligning with Orange City Council’s Future City Project and masterplan objectives. In the words of Plus director Rido Pin, “In regional centres like Orange, we see incredible opportunities to design spaces that support local aspirations while attracting visitors who want to experience authentic Australian destinations.”
Pin further added, “This project shows how thoughtful design can create spaces that bring people together. We envision the hotel as more than accommodation – it will be a destination where Orange’s lively culture, arts and culinary scene can flourish.” More

With ten offices across Australia and New Zealand, Plus Architecture have chosen to expand to the country’s capital by establishing a new location in Canberra. According to a communique from Plus, the decision marks “significant expansion of the firm’s regional presence.”
Plus Architecture director Sumedh Kataria noted that the expansion into Canberra reflects the city’s emergence as a knowledge capital and a hub for innovation. With this new location, the practice aspires “to deliver exceptional architectural outcomes that align with Canberra’s vision as a progressive, sustainable and innovative city,” Kataria said.
According to Plus, “the studio’s establishment aligns with Canberra’s economic development priorities, which emphasise sustainable infrastructure and climate resilience in building design. The ACT Government’s commitment to net zero emissions by 2045 presents unique opportunities for innovative architectural solutions.”

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Returning to his hometown, Paul De Sailly will lead the new studio, bringing 20 years of experience working across Sydney, Melbourne, Brisbane and London. His appointment builds on a long-standing relationship with Plus Architecture, having joined the Melbourne studio in 2008.
Reflecting on the city’s evolution, De Sailly said, “Canberra is experiencing an exciting period of growth and transformation, particularly with an influx of young professionals seeking both career opportunities and lifestyle benefits. The city now offers a sophisticated urban experience while maintaining its unique character as our nation’s capital. Having grown up here, I’ve witnessed this evolution firsthand.”
Plus Architecture’s Canberra studio will work across a diverse range of sectors including build-to-rent and medium-density residential developments, hotel and hospitality projects, mixed-use developments, commercial office spaces, and civic and institutional architecture. More

Perth Design Week 2025 features more than 75 events and activities, each highlighting a range of design firms and disciplines. One program highlight is a conversation between architects Joel Benichou from Spacemrkt and Archive Office, alongside Craig Nener from Grotto Studio, who will together explore the evolution of Australian home design, touching on both historical influences and innovative advancements. Titled Pre-Designed Homes: A New Vision Rooted in Tradition, this discussion will additionally introduce Benichou and Nener’s new initiative, Project_Home, which aims to redefine housing with a focus on efficiency and creativity. Another highlight is a tour of a zero-waste retail space designed by Foolscap Studio, which will feature restored historical furniture from Cultivated, as well as recycled timber pieces from Mark Tuckey.

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Australian designer Dean Toepfer is bringing his evocative design vision to Melbourne with his first solo exhibition, Death and Life, presented by Useful Objects. The show features a new collection of objects, lighting, and mirrors crafted from reclaimed synthetic silk parachutes, materials that Toepfer transforms into striking, functional sculptures. The exhibition explores the life cycles of materials and their potential for reinvention. Parachute silk, once used to save lives in freefall, is now a discarded waste product. Toepfer breathes new life into this once-vital fabric, using it to create luminous pieces that blend art and function. Each object is imbued with a sense of narrative – inviting reflection on the history of its material and the people it once served. This exhibition is running until 5 April 2025.

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The Regional Architecture Association presents a three-day event between 20–22 March that considers Canberra’s progression as a regional centre to its current status as the nation’s capital. Curated by co-creative directors Hal Guida of Guida Moseley Brown and Regional Architecture Association president Tim Lee, the event will examine the city’s planning journey and the growing pains that have been experienced along the way. Featured speakers include: Julian Raxworthy, landscape architect and academic; Nikos Kalogeropoulos, director of property developer Molonglo; Rob Stefanic, formerly Department of Parliamentary Services for the Parliament of Australia; Adam Wigg, lecturer of architecture at the University of Canberra; Joanna Nelson, architect and founder of Joanna Nelson Architect, and Thurston Empson, architectural photographer.

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On 27 March, audiences will have the opportunity to hear from architects as they share the defining moments that have shaped their lives and careers in architecture. Established in Germany, the Architects, not Architecture (AnA) event series has shared the personal journeys of architects for more than a decade, hosting 75 events across 12 countries. Featured speakers at this particular event include Abbie Galvin, NSW government architect; Emma Williamson, government architect of Western Australia, and John Choi, founding partner at Chrofi.

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An empowering example of championing women in the built environment, the architectural scope of an addition to an 1880 gothic revival bank in South Melbourne is now complete.
The project stands out as it was led entirely by an all-female team. Titled BVIA on Bank, the project was commissioned by Anne Michaels, the director of the female-led developer She Built. Michaels engaged Melbourne practice Agius Scorpo Architects to design an addition that replaces a 1970s extension. The brief was to design a commercial office building that was glamorous and contemporary, but that did not detract attention from the bank, which was designed by 19th century firm Terry and Oakden.
The seven-storey addition that now sits adjacent to the bank features inscribed concrete, curved glass and copper-coloured elements on its facade. In contrast, the now-demolished 1970s addition replicated the material and colour palette of the 1880 bank facade. The 1970s portion was setback considerably from the street, while the new addition sits parallel to the bank, greeting passersby with an activated street frontage and a ground floor hospitality offering.
“We were very mindful of how these buildings would engage with each other,” said Agius Scorpo director Claire Scorpo. “Our focus was on creating a form that would complement the bank rather than compete with it – creating a companion building, rather than something separate and unrelated.”
“While the bank is detailed and angular with strong contrasts in tone and materiality, we designed the addition to be softer, with no sharp edges and a continuous, fabric-like pattern rather than an articulation of floor plates.”
One of the key strategies for visually tying the two structures together was to incorporate a large oculus on the facade as a playful scale-up of the ox-eye motif found on the bank’s facade, visually tying the two structures together.

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The design has allowed for the establishment of a courtyard between the two buildings, connecting elements of both buildings physically and conceptually and adding to the activated experience of the buildings.
“Our client has had a deep connection to this place since childhood […]. She was passionate about bringing back a sense of pride and glamour to this part of South Melbourne, building upon the existing businesses across the street and helping to reinvigorate the area. The project was designed with this in mind, aiming to encourage activation through its programmatic mix.
“Hospitality on the ground floor and offices above encouraged a steady daytime presence, contributing to the economic and social vibrancy of the neighborhood. The intention was for this building to create a ripple effect, supporting surrounding businesses and fostering a renewed sense of care and community.”
Scorpo reflected that being part of a project that was facilitated by an all-female team was an incredible experience.
“From the outset, there was a strong sense of commitment and investment from everyone involved. Women often hesitate to put themselves forward, but this project created space for individuals to step up and be recognised. Our approach was genuinely collaborative and open, with many people remarking on the unique dynamic that emerged from this way of working.”
“This shows that when given opportunities, women can step into leadership roles and thrive. It’s a reminder that representation matters and that an inclusive industry creates richer, more thoughtful and more engaged outcomes for the wider public. We all bring different life experiences and perspectives, and the broader the team, the richer the outcome.”
Beyond delivering the addition, the design team was also involved in upgrading parts of the heritage building. This included reactivating the first-floor rooms – frequently treated as underutilised storage spaces – and improving accessibility throughout the space.
The internal fitout of office floors is currently being undertaken by tenants. More