Wood Marsh Completes Lonsdale Links Golf Clubhouse With Curved Blade Walls In Melbourne Australia

Lonsdale Links Golf Clubhouse by Wood Marsh

Melbourne-based architecture firm Wood Marsh has completed a clubhouse with curved blade walls and inverted zinc roof in Melbourne, Australia.
Named Lonsdale Links, the project responds to the gently undulating terrain of the adjacent golf course and prehistoric Australian coastlands, Lonsdale Links has been conceived as “a reminiscent of a relic in the landscape”.

The program of clubhouse includes the golfers’ lounge, restaurant, commercial kitchen, pro shop, multi-purpose space, members change rooms, kiosk and supporting amenities. Inside, the studio divided into zones programmatic requirements for efficient use.
The contours and softened shapes of the clubhouse connect with the site and as a natural extension, its design is intentionally considered in the round, encircled by the links golf course. Positioned on the crest of a hill, the building can be experienced from various sightlines, emerging above the trees as golfers navigate the course.

In response to its coastal conditions and the prevailing winds that come off of Bass Strait, the building is firmly anchored to its site.

Instilling extreme robustness, the structure is grounded by a series of curved blade walls embedded in the landscape, finished in a highly textured render. Expansive dark laminated timber beams radiate from the spine of the building emphasising the non-rectilinear form.

The natural tonality is influenced by warm colours native to the rural setting, particularly the bronze glazing which reflects the evening light. The finishes have a raw weathered quality that creates a sense of permanence in its coastal context.

The entry experience is created in the interstitial space between two monumental, rendered arching blade walls, concealing the building’s mass and distinct views upon approach. The sculptural qualities of the blades, and gently sloping inverted zinc roof, converge to draw visitors through the threshold. Four circular orange lights punctuate the walls to further activate the portal.
Beyond the entry walls, a timber-lined corridor gradually leads guests to the restaurant or the golfers’ lounge, containing expansive, framed views towards Lake Victoria, the golf course, and the rural coastal landscape beyond.

The structural elements of the building are a continuous expression internally and combine with the interior finishes to create a contemporary interpretation of the clubhouse typology. A central dry-stack stone fireplace features as the focal point to the lounge, from which the laminated timber beams and folding acoustic ceiling radiate in a sweeping profile.
Vibrant green carpets provide a visual connection to the fairway and a playful addition of colour to the naturalistic material palette. Flexibility is offered to the operation of the lounge and restaurant by way of an oversized timber-clad door, which serves to combine or separate both spaces as required.
Lonsdale Links is both a destination and a sculpture within the landscape overlooking the premier golf course and rural views beyond Lake Victoria.

Its unique positioning and architectural execution have attracted increased membership and greater community interface.

  • Photographs: Willem-Dirk du Toit
  • Architect: Wood Marsh
  • Country: Australia

written by : Wood Marsh
30 Jun 2021
published in : worldarchitecture.org

Gallery of Lonsdale Links Golf Clubhouse by Wood Marsh

Green light given for South Australian Sports Institute HQ

Green light given for South Australian Sports Institute HQ

The South Australian Government has announced that the South Australian Sports Institute HQ concept, designed by Studio Nine Architects, has received funding to the tune of $49 million.

Tasked with a brief from the Office for Recreation Sports and Racing (ORSR) to create a space with a focus on community, activation, and connection, creating a new iconic gateway for the city of Adelaide, Studio Nine devised a new combined SASI and ORSR high-performance precinct, situated between the existing Netball SA Stadium and SA Athletics Stadium in Mile End. This is the first time in 39-years that the South Australian Sports Institute (SASI) will have its own purpose-designed facility.

The building form and footprint draws inspiration from the strength of the bicep muscle and tendons, stretching out to connect and activate the neighbouring sites.

The façade takes a modular approach with the panels intended to be prefabricated off site. Applied in a sweeping gesture that follows the curve of the building, the depth of the panels offers articulation and sun protection. At pedestrian level the façade engages with the ground plain, activating the frontage. Sweeping up, a bridge forms a link from the existing Netball SA Stadium across to SA Athletics Stadium, with the previously disused passage now a key aspect of the unified precinct.

Visible and accessible from the main road, the facility improves the precincts’ connection to the city and the broader community through new bus stops and bike paths.  

The Institute will include a strength and conditioning gym that accommodates multiple sports, a specially designed indoor court with smart technology sport-specific ergometer training zones and an environment chamber for simulated heat, humidity and altitude stress training.
The new HQ will help SASI achieve its target of contributing at least 10 per cent of Australia’s team medals at Olympics and Paralympics and will attract national and international training camps and elite programs.

The HQ is expected to commence construction in 2022 to mid-2023.

written by : Jarrod Reedie
1 Jul 2021
published in : architectureanddesign.com.au

Sunshine Beach House . Teeland Architects

Sunshine Beach House is a contemporary home inspired by the sun, surf, sand, and waves. The house has been designed for a young family of surfers with an active beach lifestyle. The ground floor kitchen and living areas open onto the garden and pool. The family can move seamlessly from house to garden, pool to the beach, and back again.

First look at proposed Crows Nest metro tower

First look at proposed Crows Nest metro tower

A state-significant development application has been submitted for the first of three towers to be built above Crows Nest metro station on Sydney’s lower North Shore.

Designed by Woods Bagot as part of the Crows Nest Design Consortium, the tower at Site C of the over-station development will be the smallest of the towers at nine storeys, compared to the 17- and 21-storey towers planned for sites B and A, respectively. Providing 3,100 square metres of office space across seven levels, it will sit above the eastern entry for the metro station, facing the intersection of Clarke and Hume streets.

Across all sites, the station’s built form will read as a modestly scaled two-storey brick-clad structure, responding to the material character of the surrounding area.

The tower at Site C will seek to extend this “resolute and sculptural” materiality vertically.

“The brick base is extruded to the envelope to form a simple rectangular prism compatible with the scale of similar brick buildings in Crows Nest,” state the architects.


“The brick envelope is spliced to create portals evocative of the vertical rhythm of the Blue Gum High Forest… The brick portals are designed to visually ‘clasp’ an assemblage of glazed modules both flush and variably projecting to animate the façade whilst providing a sense of tangible occupancy linked to street life.”

These projecting bay windows will also offer interesting views of the street from the offices. The architects note that the building has been configured with the core distributed along the northern party wall to optimize access for natural light and outlook to local streets, Hume Park and the village beyond.

Though much of the rooftop will be given over to the plantroom functions – since the metro station prevents the provision of a basement plantroom – there will be landscaped rooftop along the west, south and eastern perimeters open to building tenants. The rooftop will incorporate raised landscaped planters below brick-lined portals with three integrated seating alcoves.

Along with Woods Bagot, the Crows Nest Design Consortium includes Oculus, SMEC, Robert Bird and NDY.

The detailed design and construction application for the tower is on public exhibit until 19 July.

NSW planning minster Rob Stokes approved concept designs and building envelopes for all three towers in December 2020.

written by : ArchitectureAU Editorial
22 jun 2021
published in : architectureau.com

Studio Bright Extends Ruckers Hill House With Inverted Roman Aqueduct In Northcote

Studio Bright Extends Ruckers Hill House With Inverted Roman Aqueduct In Northcote

Melbourne-based architecture firm Studio Bright has extended an old house with new living spaces in a separate rear-garden pavilion that can be accessed with an inverted Roman aqueduct featuring a small pool at the bottom.

Studio Bright, previously known as MAKE Architecture, has restored the Ruckers Hill House on a prominent, corner sited Edwardian on the crest of Ruckers Hill, Northcote, Australia.

 

A bridge-like, colonnaded addition, made of inverted Roman brick, creates an intimate atmosphere and tranquil spaces on each side of the house: one side has an open, sun-filled pool, other side offer a cozy garden.
The architects placed a new addition at the back of this site that allows a sun-filled pool and garden, and to form a streetscape expression akin to a garden pavilion. They wanted to create a contemporary and street-tough addition, but evoking a little bit Edwardian spirit.
The studio calls the new addition as “pavilion”, and the new pavilion expands the nuanced living possibilities.

They placed all rooms that can be configured for the specialized interests of particular family members, while each room offering possibilities for temporal changes.
“For example, the living room is a music space with a heavy curtain ready to be drawn across to present impromptu theatre, steps forming the stage edge,” said Studio Bright.

“On the upper floor, two multipurpose spaces house a library, lounge, guest room and study.”

The link that allows this rearward displacement spans the site bridge-like, almost an inverted Roman aqueduct with its water at the bottom.

The architects said that “its spatial use is unclear yet full of possibility: poolside chaise, veranda to a garden, even at times an indoor cricket pitch.”
As the studio explains, “to the long side-street edge, new stepped levels help mediate the street, working the balance between defending internal privacy and yet sharing inner workings and the pleasures of the spilling over garden.”

The architects used powder-colored brick to adapt to the existing houses in the street. Inside, rounded walls and curtains complement the spaces which give a sense of flowing and lightness.
Wooden panels are used in kitchen and dining spaces, while reddish-colored and greenish palette used in bathrooms create a sharp contrast with other materials and textures.

The bridge-like pathway made of inverted Roman brick creates a beautiful play of light and shadow inside.

Project name: Ruckers Hill House

Architects: Studio Bright

Location: Northcote, Australia.

Date: 2019

All images © Rory Gardiner

All drawings © Studio Bright

Country: Australia

written by : Studio Bright
7 Mar 2021
published in : worldarchitecture.org

Studio Bright Extends Ruckers Hill House With Inverted Roman Aqueduct In Northcote

Wood Marsh Completes Monolithic Crystalline Church Street Building In Australia

600 Church Street Building by Wood Marsh

Wood Marsh has completed a commercial building at 600 Church Street in Australia.
Named Church Street, the new commercial building, sitting in contrast to the industrial grit of Cremorne, reinforces its corner allotment, boldly ascending as a monolithic crystalline glass formation.

The building’s outer skin is wrapped with a glass shell creating ambiguous interplay with scale. Inspired by “the area’s raw and textured industrial past”, the futuristic form and materiality offer a contrast with its surrounds, accentuating the building’s refined and polished nature.
The building’s program contains retail and hospitality at ground level, and office tenancies above, leading upward to a roof terrace. The inclining and reclining façade elements deliberately obscure the floor plates they intersect with and act to obfuscate one’s sense of the building’s scale.

Secondary to the building’s form is the unexpected fine articulation at the ground level where the building intercepts an adjacent laneway.

A palette of multi-coloured panels arranged in a concertina pattern picks up on the angles of the facade and connects conceptually to the brilliant refractions within a gemstone. The installation casts reflective light on the narrow pathway, invigorating an otherwise mundane laneway and providing a level of passive surveillance when illuminated at night.

The measured angling of glazing at ground level limits distracting reflections and the overhang over the footpath functions as a street-level awning. The building entry is defined by the glazed façade lifting to reveal a concrete background.

The external materiality is echoed in the lobby with bright blue mirror extending throughout the double-height space. Spherical glass pendants suspended at varying heights feature as a dramatic installation whilst also providing a sense of spatial intimacy.
“Church Street aims to bring an enhanced level of amenity to the workplace,” said Wood Marsh.

“The building features a first of its kind multi-level bike stacker system and enhanced change rooms, to genuinely promote cycling as an alternative mode of transport. With landscaping by TCL, the roof is a social space encouraging connection between staff while offering visual connection to the city skyline,” added the studio.

As the faceted glass bands ascend, the subtle shift in tonality responds to a gradual progression from the building’s industrial base, upward toward the sky.

The tonal transition occurs at a height approximate to that of the surrounding suburban buildings. Above, the glazing is lighter and the building further set back. In the resulting interstitial space, a balcony encircles the building for use by the Level 4 tenancy.

Church Street positions its eight stories as an abstract sculptural object offering both contrast and balance to its unique industrial setting.

600 Church Street Building Project Details

  • Project: Church Street
  • Architect: Wood Marsh
  • Location: Australia
  • Date: 2021
  • Images: Willem-Dirk du Toit
  • All drawings: Wood Marsh

written by : Wood Marsh
7 jun 2021
published in : worldarchitecture.org

Wood Marsh Completes Monolithic Crystalline Church Street Building

Heritage snub for modernist pavilion and amphitheatre

Heritage snub for modernist Fairfield pavilion and amphitheatre

The executive director of Heritage Victoria Steven Avery has recommended that a modernist pavilion, kiosk and amphitheatre in Melbourne’s Fairfield Park should not be added to the state heritage register, despited their direct association with award-winning Melbourne architects.

The Northcote Amphitheatre was designed by Maggie Edmond for Northcote City Council in 1985. The 460-seat semi-circular amphitheatre is arranged around 10-metre diameter stage and is designed to meet the surrounding parkland.
A pavilion designed by Paul Couch was built in the late 1980s to support theatrical activities at the park, and included performance change rooms, a theatrical set building workshop, public toilets and public barbecue area on the rooftop, which is shaded by gazebo with cube-shaped light box on top. The pavilion was designed to be covered in greenery and blend into landscape.

In 2019, the City of Yarra announced plans to demolish a significant portion of the pavilion to make way for a larger storage shed, and received nine objections to the plan.

The council’s own heritage advisor recommended against the partial demolish, but the council ignored that advice, promoting a petition from architecture practice Kennedy Nolan.

University of Melbourne chair of architecture professor Philip Goad made a submission to the council in which he described the pavilion as a “rare, non-residential work by the highly regarded Paul Couch [and an example of his] long-held interest in tilt-slab precast concrete panel construction system that is often a defining feature of his better-known residential works.”

“Couch has been a pioneer in using tilt-slab concrete panels in small-scale settings,” he said.

“In my opinion there is definitely a case for, at the very least, listing the pavilion structure and workshop/change rooms together with the bluestone amphitheatre as being of local heritage.”
Heritage Victoria’s executive director noted that “The Fairfield Pavilion exemplifies Couch’s preferred style of tilt-slab concrete construction used to great effect in
small-scale settings,” however, he dismissed the significance of the architect.

“Couch’s contribution cannot be said to be strong or influential, or of the order of other architects and firms recognised under Criterion H such as Harry Seidler, Robin Boyd, Peter Macintyre, and Edmond and Corrigan.”

He also dismissed the significance of the amphitheatre in relation to the life work of Maggie Edmond. “Although the amphitheatre is Maggie Edmond’s favourite work, it represents an unusual mid-career community commission, rather than demonstrating an architecturally notable point in her design oeuvre and contribution to the discipline.”

The executive director’s recommendation has been published on the Heritage Council of Victoria’s website and submissions can be made to the council until 21 June.

written by : ArchitectureAU Editorial
7 Mar 2021
published in : architectureau.com

World’s Largest Natural Marine Observatory Takes the Shape of a Whale

World's Largest Natural Marine Observatory the Shape of a Whale by Baca Architects

Baca Architects have set out to build the world’s largest natural marine observatory in Australia. Taking the form a whale emerging from the water, the project will be built at the end of the Busselton Jetty. Baca was appointed by marine contractor Subcon as Lead Architects for the new project. Called the Australian Underwater Discovery Centre (AUDC), the design will include an underwater trail and dining experience.

The $30 million project will take guests through a landscaped sequence from their moment of arrival. Bustleton Jetty Chairman Barry House says: “This is as authentic as it gets, because people are in the tank and the fish are looking in. By adding underwater dining, underwater sculptures, marine art and other features, this project will enhance Bustleton Jetty’s 155-year-old experience.”

The marine research center will promote clean oceans and feature public interaction with a research and laboratory to educate people about climate change. Chairman House goes on to say that, “This is an exciting stage of the project, to get feedback on the design that will be a catalyst for drawing people to Western Australia from all over the world, especially those who love the ocean.”

Subcon: Blue Solutions is a marine contracting company specializing in building offshore windfarm and artificial reefs, and they are joined by CoreMarine Engineering. Construction for the AUDC aims to start in the middle of next year, with the center open by December 2022. Bustleton Jetty managers are aiming for more than 200,000 new visitors in 2023 bringing the total to more than 900,000.

written by : Eric Baldwin
15 Apr 2021
published in : archdaily.com

Gallery of the Largest Natural Marine Observatory in World

Wood Marsh’s Alumuna Residences

wood marsh alumuna residences
wood marsh alumuna residences

Alumuna Residences by Wood Marsh Architecture

Wood Marsh has completed Alumuna Residences that feature bronze, folded mirrored glass façade in Port Melbourne, Australia. Named Alumuna Residences, the residences are situated on a challenging L-shaped site and are activating its dual street frontage to the adjacent neighbourhood.

The design of the residences creates “a sculptural and dynamic façade” reflecting composed glimpses of the neighbouring context. As the architects explained, ideas of visual abstraction created through a singular material and its interplay with light, offer a multitude of experiences along the streetscape.

With the majority of the building’s form contained inboard, the approach is to achieve as much movement as possible on the two narrow facades – one on Johnston Street and the other on Rouse Street.

The project takes cues from ideas of kinetic sculptures and the facades present as a dramatic concertina whose appearance is constantly changing through the day.

The two façades are monochromatic studies in natural materials; concrete, timber, black steel and bronze mirrored glass. Book-matched by recessed timber cladding flanking the ground and penthouse level, the glass building appears to float between.

wood marsh architectural project

Across the four apartment levels, the glazed façades subtly angle back and forth to create a play with reflectivity and refraction, with sightlines from outside distorted and intentionally obscured.
Entering through the natural timber-clad ground level, residents are welcomed into an immersive and atmospheric lobby. The deliberately theatrical sense of entry references the concertina of the façade and immediately draws the focus deeper into the building.

alumuna residences project by wood marsh

The custom abstract art installation along the primary linear wall adds a sense of texture in its form and depth through the patina of its dark bronze materiality and the warm glow of the amber accent lighting. The bronze carries through the foyer, creating a sense of transition leading to the apartments.

Counteracting the dynamism of the facade, the peaceful interior experience is emphasised by curving details that support movement through space. 

wood marsh alumuna residences

Natural materiality continues inward, with marble kitchen bench elements sitting sculpturally upon light timber flooring. Highly detailed joinery and storage offer concealment of supporting elements, emphasising a sense of refinement within.

Sitting above the boutique apartments is the Penthouse, finished in an elevated palette of darker timber and natural stone finishes.

  • Project name: Alumuna Residences
  • Architects: Wood Marsh
  • Location: Port Melbourne, Australia.
  • Date: 2020
  • All images © Willem-Dirk du Toit
  • All drawings © Wood Marsh

written by : Wood Marsh
13 May 2021
published in : worldarchitecture.org

Gallery of Alumuna Residences by Wood Marsh

wood marsh alumuna residences
wood marsh alumuna residences
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alumuna residences project by wood marsh
wood marsh architectural project
wood marsh alumuna residences
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Concrete artistry: The Surry

Concrete artistry: The Surry

In high-density Surry Hills, The Surry apartment block continues a pattern of renewal in this part of inner Sydney as well as an architectural pattern immediately discernible as Candalepas Associates’ work: rigorous, disciplined design with a surprising touch that lends a welcome sense of joy and artistry.

Off-form concrete has become Candalepas Associates’ signature. Usually smooth in finish, it is a brave move in a country like Australia, which is not known for the quality of its off-form work. Many – probably most – of the examples of smooth off-form that you see around town have been touched up with a skim coat or cement paint to hide the bubbles, blotches and other blemishes that are the hallmark of our local product. However, Candalepas Associates seems to have discovered how to get it right.

In many respects, The Surry apartment block in Sydney’s Surry Hills is a typical Candalepas project. They are usually easy to pick – and not just because they employ off-form concrete or because they are consistently fine examples of architecture; the work is always very rigorous and disciplined. But, as well, each project includes a surprising touch that, although not easily explained in a functional or practical sense, adds to the joy and artistry of the work. Angelo Candalepas is a disciple of beauty and romance who is prone to bouts of poetry and classical piano, and it seems important to him that, in the practice’s work, there is always something of the sublime or idiosyncratic to lift us above the mundane. Sometimes, the work veers into austerity – but then a touch of colour, the warmth of timber, or another element of craftsmanship brings back a human feel. All the work appeals to our senses, responding directly to the scale and movement of the body.

In its bones, Candalepas Associates’ work is classically European and would happily reside somewhere in one of the nations fronting the Mediterranean. It is designed to age gracefully and assumes that it will be around for many years. Materiality is at the core and is expressed deliberately as a major part of the aesthetic.

In 1995, Candalepas Associates won a national design competition for what became known as the Pyrmont Point Apartments (completed in 1998) in Sydney. Drawing on the architecture of traditional Greek villages, it is a heavily rusticated and expressive building that was a significant departure from the standard developer-driven unit designs of the time. This project not only set up Candalepas for 25 years of apartment design evolution; I believe it also had an influence on the expectations and quality of the commercial apartment market going forward. It was probably this building that introduced the external sliding/folding shutter that has become a must-have for modern apartments, just as spa baths and bidets once were.

Architects: Teeland Architects
Area: 300 m²
Year: 2020
Photographs: Emma Bourne
Manufacturers: Miele, Astra Walker, FLOS
Architect: David Teeland, Kim Jong Sook
Country: Australia

The Surry continues the pattern of renewal of this old rag-trade quarter of inner Sydney, where existing warehouses have been transformed into New York-style loft apartments, while underutilized sites are cleared for new multiresidential buildings that squeeze out every square centimetre of developable space. On the whole, the transformation has been positive and this is now a desirable place to live for the young and mobile as well as a few stylish downsizers.
The Surry exemplifies urbane city planning, with the building form reinforcing the street edge and an internal courtyard carved out to create an L-shaped plan that maximizes light and cross-ventilation to the apartments. The street level is activated by commercial tenancies facing busy Elizabeth Street. The apartments’ entry and foyer is tucked around the corner in quieter Butt Street, where an impressively scaled steel security door leads into an austere lobby of concrete and terrazzo that steals southern light from the courtyard above.

Above the commercial tenancies, on one side of the “L,” are four levels of studio, two- and three-bedroom units. In the two-storey, two-bedroom crossover units on the other part of the “L,” facing Butt Street, the bedrooms on both the north and south facades have access to natural light.

The Elizabeth Street elevation has a stepping profile that turns to the best view: north along Elizabeth Street and toward the city skyline. The divisions nicely mimic the scale and rhythm of the typical Sydney terrace house rows that once occupied this part of Elizabeth Street. The balconies include triangular blades clad in turquoise and tangerine ceramic tiles (the surprising touch), and a large, flat, timber leaning rail that lifts them above the ordinary.

Along the northern facade, to Butt Street, light is introduced at high level with glass bricks (in a nod to the warehouse architecture that once made up much of this suburb). In the tight matrix of apartments looking at each other across narrow streets, sliding screens and blinds are an important device to maintain privacy. The screens showcase the architect’s careful approach to bespoke detailing.
These are very compact inner-city apartments where the maximum number of residences and bedrooms possible within the envelope controls has been realized. In less skilful hands, the development could easily have been claustrophobic and overworked. Perhaps a couple of the two-bedroom Butt Street apartments are a little squeezy, and the three-bedroom apartments might have been better left as two, but it gets all the basics right: good orientation, good natural light, good cross-ventilation (only the studio apartments are single orientation), good privacy, good acoustics. And this is ultimately why these dwellings are successful and very livable.

A communal roof terrace caps off the building, with the same long views to the city horizon, and facilities that mean the space will be used (barbecue, sink, toilet and landscaping). It has a welcome sense of openness that balances the tightly planned apartments below.

The interior design of The Surry, by Lawless and Meyerson, is respectful, with a reserved palette in varying tones of white, black and grey. It leaves room for the inhabitants to personalize their spaces as they see fit.
The play of light on walls that have deep reveals, bending forms and stepping profiles enlivens the grey concrete that could be relentless if left flat and undetailed. Candalepas understands the craft of making in-situ concrete buildings – the reality of form joints and tie bolts, the opportunities for texture – as well as the limitations of a material that you only get one go at. The practice also utilizes the finer scaled detailing of timber rails and screens, sliding aluminium panels and ceramic tiles to counter the larger expanses of raw concrete.

In Sydney, the importance of densification – and doing it right – cannot be overemphasized. The days of low-density greenfield development in an ever-expanding city footprint are not sustainable and should be behind us. Apart from Potts Point and Elizabeth Bay, there are few traditional examples of high-quality, high-density apartment neighbourhoods in Sydney. What we see in Potts Point, in particular, is a coherent and dignified streetscape where each building responds to the street alignment and respects the adjoining building, so that access to natural light, ventilation and privacy is secured and views are shared around. In this typology, the fundamentals of light, ventilation, privacy and acoustics determine the success of the development. The rest is really just style.

This high-quality urbanism is now spreading to Surry Hills and The Surry provides exactly the sort of template for infill development that local councils and the state government should be promoting.

written by : Andrew Nimmo
7 Mar 2021
published in : architectureau.com

Gallery of The Surry Apartment Project

NSW government announces two new metro stations

NSW government announces two new metro stations

The NSW government has revealed the location for two new metro stations for the Sydney Metro West line in the city centre and at Pyrmont.

Requiring the compulsory acquisition of 11 commercial buildings in the CBD and two in Pyrmont, the stations will be positioned to cut travel times and offer greater choice of transport in the city, the government said.

“There will now be four stations in the CBD, allowing people to change trains, to go to any destination they want to go and to really make sure that we don’t have those crowds that you see often in the existing stations,” premier Gladys Berejiklian said at a press conference.

A station will be built at Hunter Street in the CBD, with entrances on the corner of Hunter and George streets and Bligh and O’Connell streets, and the Pyrmont station will be built between Pyrmont Bridge Road and Union Street, on land currently belonging to the Star casino. A spokesperson for the casino told the Sydney Morning Herald the compulsory acquisition its property risks derailing its plans for a 140-metre hotel tower at the site.
The Metro West project will link the CBD to Parramatta and Westmead, and is expected to be completed by 2030.

Transport Minister Andrew Constance said the line would transform transport options in the city.

“If you look at some of the travel time savings, this is going to be phenomenal,” he said. Less than 15 minutes between the heart of the city and Sydney Olympic Park; four minutes from Parramatta to Sydney Olympic park.”

In regards to the property acquisitions, Constance told reporters that they would involve commercial, not residential buildings.

“We will be assigning managers to each of those individual commercial tenants and business owners to help through this process but I want to thank them and acknowledge that they’re going to be sacrificing so much for the rest of the state, this is a big project,” he said.

written by :  ArchitectureAU Editorial
13 May 2021
published in : architectureau.com