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Australian playground suppliers For Park, Rhino Play, Play Works, and Play On have come together to launch a new network called the Play Collective (Play Co). The new network will provide architects and designers with access to industry experts in custom play equipment for local government, education, commercial venues and landscape design projects. The collective […] More
What would you expect from the personal home of an architectural great? Polished refinement, grandeur, a perfect floor plan? You won’t find these at the Aalto House. This is not the work of a senior starchitect, but rather the creation of two enthusiastic young Finnish designers, Alvar and Aino Aalto, who were keen to test their beliefs within the constraints of early-career means.
At this cosy residence in the Helsinki suburb of Munkkiniemi, you’ll find occasional curtains in place of doors, quirkily scaled stairs that test the possibilities of brick and timber dimensions, and custom-made joinery (much of which was added years later, a pattern many on a budget will sympathize with). But you’ll also find some passion projects – including a lifelong obsession with custom-made door handles, furniture and lights – designed for both human ergonomics and delight. This was Aino and Alvar’s home and office; a place for living, working and learning-by-doing. The building is resoundingly warm and tactile, with exposed natural timber, brick and textiles celebrated against areas of white. Even the white surfaces express the subtle materiality of timber panelling, bagged brick or expressed ceiling sheet joints. The home was clearly designed with the satisfaction of the human senses and psyche in mind.
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Image:
Maija Holma, courtesy of the Alvar Aalto Foundation
When I visited, I noticed the walls had a woven texture and realized it was simply fabric, held up by a few timber battens and nails. As a younger designer – almost exactly the same age as Alvar was when this home was built – I often struggle with how to achieve warmth and texture in a home on a plasterboard budget. Discovering details such as these long-lasting, textile-covered walls felt almost like receiving a secret wink from the Aaltos. I was both charmed and relieved by the details that don’t quite work, the things that are misaligned or look like an afterthought. The building seemed to say to me: “Hold on to the big ideas passionately and explore enthusiastically, and leave the rest to the delight of the imperfect.”
Alvar Aalto would have been 125 in 2023. This milestone underscores how ahead of its time the home and office were. With its generous connection to nature and light, and suggestions of a floor plan starting to open up, the design applies an International Style to a site-specific context. Looking at the Aalto House’s textural collage of box forms facing the street, I smirked, thinking of the many project homes of today that are still (poorly) aspiring to re-create the same ideas as this almost-90-year-old home and studio.
You should always jump at the chance to visit an architect’s own home. But don’t expect glitz and glamour; few architects prioritize this. Go instead to see a built time capsule of how they believe life can – and should – be lived.
Sarah Lebner is one of five winners of the 2023 Australian Institute of Architects’ Dulux Study Tour, which travelled to Helsinki, Lisbon, Vals, Zürich and Venice.
alvaraalto.fi/en More
City of Melbourne councillors have unanimously approved the revised Design Competition Guidelines, following a period of community engagement.
The revised guidelines, prepared by the council’s City Design Studio, promote design competitions as an alternative method of procurement that prioritizes good design and provides a pathway to design excellence.
“Our ambition with the design competition guidelines is to live up to and innovate upon the ideals of other world-class cities around the globe where we have seen design competition used effectively to promote creativity and better design,” said acting lord mayor Nicholas Reece, in moving the motion to approve the guidelines at the council’s Future Melbourne Committee on 5 December.
Design competitions have been used successfully in Victoria on major state government-led projects, as well as in other Australian cities and around the world.
In the City of Sydney, 62 percent of design competition projects have won design awards between 2000 and 2017.
“Ultimately the guidelines seek to influence the diversity of practices designing project across the municipality, to drive innovation, to prioritize holistic and site responsive design that balances public and private interests and enable investment and growth in the design talent pool of emerging small and medium sized practices,” Reece continued.
The guidelines outline clear and transparent processes for all participants, with two or three stage competition structures of varying options for anonymous or non-anonymous judging.
The council also resolved to asked the management team to identify potential City of Melbourne projects that may be suitable for design competitions.
“We need to lead by example,” said councillor Rohan Leppert. “There are many ideas but lets pool those ideas together, come up with a shortlist and see how we can really demonstrate that not only do these design competitions guidelines work but they are of extraordinary benefit to whoever the proponent is.
“Once we’ve demonstrated success, that is when we can see if this scheme can be embedded in a more general way in private development as well.”
Design competitions will be completely voluntary, but the council hopes it can encourage the private sector to adopt them as a procurement method. More
The Design Institute of Australia (DIA) has announced Ryan Russell, co-founder and director of architecture and design firm Russell and George, will be taking over the role of chair and president.
Russell’s appointment as the next DIA chair was announced during the organization’s AGM on November 2, 2023. He is set to assume the position at the next DIA AGM on October 31, 2024. As part of the role, Russell will serve as president and lead the National Advisory Council (NAC).
The DIA commented on the appointment in a comminque, which stated that Russell’s “experience as a designer has crossed the fields of architecture and interior design, industrial design, theatre and exhibition design. He has worked on projects as small as the design of a door handle up to the size of skyscrapers, across five continents. In 2007, he won the National Interior Design Award for Emerging Practice, and in 2010 he merged his business with Byron George, creating Russell and George.”
“Described as a strategist, futurist and entrepreneur in the industry, he now ventures into the fields of information technology, augmented and virtual reality and software development. He greatly assisted DIA national office in the transformation of its digital platforms and has a good understanding of the organisation.”
Russell’s most recognizable works are perhaps his interior commercial projects, with projects for Aésop, Ishizuka, Medibank, Society and Yakimono some of his most well known.
Current and outgoing president, Gavin Campbell said Russell was a fitting replacement for leading the DIA forward as he recognizes the “value of design, designers and the contribution the profession makes to a better Australia. He has been part of this process, and will continue the critical work as we move forward as a design community on a journey of advocacy and promotion of all design disciplines.”
Russell expressed his enthusiasm for working with DIA members, the board and the NAC to promote the progression of the design industry.
“Our design industry is at a turning point. I believe that our connections across the different design disciplines makes us stronger together, allowing us to shape our future as a collective within the broader social, economic and cultural contexts we are all experiencing,” Russell said. More
The Living Future Institute of Australia (LFIA) has announced the winners of its ‘Illumanate’ Living Building Challenge Design Competition, with many of the awarded recipients emphasizing circular economy and nature-based design at the heart of their submissions.
The 2023 competition challenged designers in the built environment industry to reimagine a heritage-listed 1970s building in Melbourne’s Sunshine North, making it more environmentally friendly with an ability to self sustain and generate its own energy. The site is part of Development Victoria’s sustainable mixed-use plan.
The LFIA reported a 94 percent increase in the number of entries for 2023, when compared with the first competition, held in 2016. LFIA CEO Laura Hamilton-O’Hara commented said they were delighted by both the number and quality of this year’s entries. “It certainly made the judging a challenge. Thank you to all the teams for the amount of time and care put into your entry. To see the building come to life in many unique, regenerative and imaginative ways was inspiring,” she said.
This year’s jury comprised Bohemia Hookham of Lendlease, Claire Martin of Oculus, Kai Chen of Lovell Chen, Kelvin Walsh of Brimbank City Council, Penny Forrest of Development Victoria, Roger Nelson of Roger Nelson, Stefan Preuss of the Office of the Victorian Government Architect, Tim Miller of Development Victoria and Yuyuen Leow of Hayball.
The jury assessed 33 entries across three categories Professional, Student and People’s Choice, resulting in three schemes recognized in each category.
Professional category:
The winner of the professional category was a scheme by Includesign and Mine the Sky, with a team comprising Dr. Angelica Rojas, Marco Cubillos, Dr Dominique Hes, Elena Pereyra, Aimee Mehan, and Alexander Arboleda.
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The winning scheme by Includesign and Mine the Sky. Image:
Includesign and Mine the Sky
“This project created a narrative that moves between the two creeks on site, drawing from the traditional practices of the Kurung-jang-balluk people who would have rested here, feasted here, hunted here, and told their stories here. The design highlights the potential for residents and visitors to rediscover the relationship of caring for place and each other,” the jury commented.
Category runners up include Ordinary Extra Ordinary by Andrew O’Donnell of Allford Hall Monaghan Morris and It Takes a Village by Arup with team members Richard Stokes, Amil Alhasan, Nick Birmingham, Elly Russell, and Joan Ko.
Student Category:
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Chon Kei Lam won the Student category for their project Breathe on the Land. Image:
Chon Kei Lam
Chon Kei Lam from the University of Melbourne was named the winner of the student category for their project “Breathe on the Land.”
In awarding Lam, the jury said “This project aimed to reintroduce the word ‘nature’ to the site, through using the surrounding remnant grassland as an opportunity to reimagine the future life of living on grassland. Lam states that “in the contemporary world, there exists a clear boundary between human and nature. ‘Nature’ is often referred to as plants or animals from which we exclude ourselves.”
Category runners up include Luma Cooking Hub by Chukang Liang, University of Melbourne, and a scheme by Alina Walizade, University of Melbourne.
People’s Choice:
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Resonance by Arkee Studio. Image:
Arkee Studio
Arkee Studio was awarded the People’s Choice Award for their project Resonance. The team comprised Rean Zhuo, Dino Delotavo, Zilin Zhou, Yu Tian, and Hao Chen.
“This project combined heritage preservation and sustainability to create a thriving community hub called The Sunshine Hub [S-Hive]. This innovative project embodies the vision of evolving into a cherished community hub that resonates with significance for individuals today and for generations to come,” the jury remarked. More
The Koorie Heritage Trust (KHT) has announced the grand reopening of its expanded First Peoples arts and cultural centre in the newly renovated Birrarung Building in Melbourne’s Federation Square.
The revamped centre, boasting new exhibition galleries, a larger space for permanent display items, as well as improved areas for community and educational programs, will reopen on 9 December 2023. Shop KHT has also undergone renovation works, and will be permanently located in the Crossbar Building, with frontage to Fed Square’s piazza.
The project involved expanding the KHT’s presence from two floors to three, in the building formerly known as Yarra. Designed by Lyons, Greenaway Architects and Architecture Associates, the project has provided the organization with an additional 600-square-metres.
KHT stated the project was highly collaborative, with First Nations people engaged regularly throughout design and construction phases “to develop a considered and beautiful plan for the building interior design and fit-out reflecting Country and place that responds in a culturally sensitive way to both organizational and First Peoples community needs and values.”
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The project involved expanding the KHT’s presence in the establishment from two floors to three. Image:
James Henry
KHT CEO, Tom Mosby said the expansion not only marks a significant milestone for the organization but the wider Indigenous community. “Occupying all three levels of the Birrarung Building is such an important step for us, as we can now offer a seamless whole of building experience that is reflective of First Peoples connection to Country and culture. The additional space means that we are able to present more of our permanent collection, provide more opportunities for Koorie artists to exhibit their work and offer more public programs. It is a beautiful space that I am immensely proud of and I welcome everyone to KHT,” he said.
“I am also delighted that our building (formerly Yarra Building) will now be known as the Birrarung Building. This change signifies the importance of place in the spirit of reconciliation.”
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The revamped centre boasts new exhibition galleries, a larger space for permanent display items, as well as improved areas for community and educational programs. Image:
James Henry
The Koorie Art Show will be the first exhibition to be launched in the new building, with the event to showcase works from more than 100 First Nations artists across a range of disciplines.
The renovation was made possible with support from Indigenous Land and Sea Corporation, (ILSC); the Aboriginal Community Infrastructure Program, (ACIP); and Federation Square through the Melbourne Arts Precinct Corporation (MAP Co). More
The University of Technology Sydney has revealed the winning design for the first comprehensive Indigenous residential college in Australia.
Designed by Greenaway Architects, Warren and Mahoney and Oculus, the National First Nations College will be built on Gadigal and on Harris Street in inner-Sydney’s Ultimo, adjacent to the Dr Chau Chak Wing building designed by Frank Gehry.
The college will accommodate more than 250 students in studio, single and multiple-bedroom units with communal kitchens and dining areas. It will also include communal spaces and neighbourhood amenities, a central precinct space for informal gatherings, cultural events and smoking ceremonies, an arts centre with public art and performance spaces, a student art studio and music room, as well as a multi-purpose room, media room, quiet study areas, meeting rooms, office spaces, student support spaces.
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UTS National First Nations College by Greenaway Architects, Warren and Mahoney and Oculus. Image:
Greenaway Architects, Warren and Mahoney and Oculus
UTS first announced its plans to create an Indigenous residential college in December 2018 and a national design competition was launched in December 2022.
UTS said parts of the design competition brief was prepared by an Indigenous Australian architect, and each of the six shortlisted teams included an Aboriginal and/or Torres Strait Islander architect or designer as a cultural design lead.
“Because the college will be a place where Indigenous people feel at home and hosts to our non-Indigenous colleagues, it’s critical that we not just ensure the design process is Indigenous-led, but that it also incorporates cultural values and physical features that are important to Indigenous students,” said Robynne Quiggin, UTS Pro-Vice-Chancellor (Indigenous Leadership and Engagement).
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UTS National First Nations College by Greenaway Architects, Warren and Mahoney and Oculus. Image:
Greenaway Architects, Warren and Mahoney and Oculus
The winning team’s design has been lauded for its connection to Country translated into the built environment. The building will embody architectural and design excellence and promote caring for Country. It will also strongly acknowledge Traditional Custodians and local communities.
“We’re building on the deep legacy of Indigenous knowledge in order to come up with a new model of a what a First Nations college is in the 21st century,” said Jefa Greenaway, a Wailwan and Kamilaroi architect and cultural design lead of the winning team. “We’ve sought to really infuse the legacy and history of Indigenous people, trailblazers, warriors who have come before, so we’re not starting from a clean slate. We’re acknowledging not only the deeper history, but also the more recent histories around Aboriginal activism and the College’s proximity to places like Redfern, which were very much an incubator for Indigenous activism and civil rights.”
Simon Topliss, principal at Warren and Mahoney, added,“The design expresses Indigenous culture through its form and function, and supports a new generation of Aboriginal and Torres Strait Island leaders to build culture, community and pride.”
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UTS National First Nations College by Greenaway Architects, Warren and Mahoney and Oculus. Image:
Greenaway Architects, Warren and Mahoney and Oculus
The project will include extensive native gardens and landscape features. “Our team’s deep collaboration was always embedded in Country and committed to a people-focused approach setting out to enrich the student experience and celebrate the power of Country in a contemporary urban context,” said Bob Earl, founding partner of Oculus.
The college aims to increase the number of Indigenous students accessing higher education and is in keeping with the university’s philosophy for Indigenous self-determination.
“The National First Nations College will raise the bar on efforts to increase Indigenous participation, retention and success in higher education, and help to remove a major barrier by providing access to cost-covered, culturally informed and enriched accommodation,” said UTS vice-chancellor Andrew Parfitt.
“It will not only address the student-housing gap, but also make a strong contribution to the national identity and Indigenous employment growth in Australia.” More
Australian multidisciplinary design firm SJB has claimed three awards at this year’s Inside World Festival of Interiors as part of the World Architecture Festival in Singapore.
19 Waterloo Street won both the Interior of the Year and the Residential Single Dwelling Award. The jury praised the modestly-sized residence for being “like a wardrobe for the architect himself to live in … not only a building or an interior but a pocket-sized tour de force.” The Tetris-like plan comprises seven internal floors and the façade is dotted with 15 openings onto the street—a design approach that the judges felt “generated a satisfying alignment and play of light.”
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19 Waterloo Street by SJB. Image:
Anson Smart
Adam Haddow, SJB’s director and the co-owner of 19 Waterloo Street, describes the project as an “exercise in how one can take a postage stamp site of 29 square metres and do more with less while achieving all the amenity of a ‘big house.’”
Writing in Architecture Australia, Anthony St John Parsons said: “The planning of the house is a wonderful interplay of varying levels, with seven different floors in total, all cantilevered around a slender central stair. The house stands no taller than its three-storey neighbours, and all seven levels are contained within the 12-metre height limit imposed on the build by the City of Sydney.”
Parsons goes on to highlight the designer-owner’s clever solution to size and zoning restrictions: “At just 69 square metres in total, with two bathrooms and 1.5 bedrooms (the study is occasionally used as a bedroom by a teenage niece), 19 Waterloo Street would, if it were an apartment, fail to meet the guidelines set by the New South Wales Department of Planning and Environment’s Apartment Design Guide. However, this is a case of knowing the rules in order to bend them. Haddow’s in-depth knowledge of the state policy has enabled him to skirt the precise numerical requirements in a creative manner, furthering the argument that while the policy has raised the general standard of apartments, it has suppressed any design excellence or push for new ideas from which dense apartment buildings might benefit.”
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19 Waterloo Street by SJB. Image:
Anson Smart
The residence’s awards recognition highlights the challenges inherent in designing for dense urban sites while reinforcing the big potential of small spaces. In this case, giving its owners a shop, a self-contained flat and a home all in one.
“I’m always in awe of the calibre of projects presented at WAF and Inside, so to have received not just one, but three awards feels pretty surreal. I’m so proud of the work we do at SJB, and I’m incredibly honoured to lead a team that’s producing such exciting, forward-thinking projects that are not only beautiful but actively working to solve real-world issues,” Haddow said.
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19 Waterloo Street by SJB. Image:
Anson Smart
19 Waterloo Street was selected by a jury of global design experts comprising Nigel Coates, Nigel Coates Studio; Mark Dytham, Klein Dytham Architects; Ingrid van der Heijden, Civic architects; Friedrich Ludewig, ACME and Anna Xu, Dyson.
SJB’s third win at the World Architecture Festival was for their Eucalyptusdom exhibition, awarded in the Temporary/Meanwhile Use category.
Presented at the Powerhouse Museum site in Ultimo in 2021, Eucalyptusdom showcased 400 objects from the museum’s collection, in addition to 17 works that were newly commissioned for the event. The exhibition space was designed by SJB in collaboration with Australian Institute of Architects’ Gold Medal recipient Richard Leplastrier, and 3D spatial designer Vania Contreras. More
