‘Unapologetic’ HOTA gallery opens on the Gold Coast

‘Unapologetic’ HOTA gallery opens on the Gold Coast

A $60.5 million art gallery designed by ARM Architecture, the centrepiece of the Gold Coast’s cultural precinct, opened to the public on 8 May.

The vibrantly coloured building on the banks of the Nerang River is the third element in the Home of the Arts (HOTA) precinct, masterplanned by ARM and German landscape architecture firm Topotek 1. It follows an outdoor stage and a pedestrian bridge.

The gallery has more than 2,000 square metres of exhibition space across six levels, giving it the capacity to host international touring exhibitions as well as smaller and temporary exhibitions. It also has a dedicated children’s gallery and a rooftop bar with views across Surfers Paradise.

HOTA gallery overtakes the Art Gallery of Ballarat as Australia’s largest regional gallery.

Gold Coast mayor Tom Tate told the Australian Financial Review the brief to the architects was for a new building that reflects the personality of the city.
“It had to be fun – first and foremost – and make people think, ‘what is that?’ And the last thing, be unapologetic. It’s the ‘have-a-go’ spirit of the Gold Coast,” he said.

ARM’s design for the building is based on a voronoi pattern, a design motif used throughout the precinct, which can be seen at the HOTA outdoor stage.

Voronoi is a geometric shape found throughout nature in various patterns including cracked mud, animal skins and bubbles.

The voronoi pattern on the facades of the HOTA Gallery is expressed through multiple block colours. The Gold Coast council describes the gallery as a “cultural beacon” and a “must-see destination for residents and visitors.”

Alongside its exhibition spaces, the building also accommodates 1,000 square metres of storage space for the $32 million City Collection that consists of more than 4,400 artworks. ARM included a Juliet balcony in the building’s design, which allows visitors to see into the storage space.

The inaugural exhibition at HOTA Gallery features 19 new commissions by emerging and established artists and collectives, each with a connection to the Gold Coast.

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

‘Unapologetic’ HOTA gallery opens on the Gold Coast

A $60.5 million art gallery designed by ARM Architecture, the centrepiece of the Gold Coast’s cultural precinct, opened to the public on 8 May.

default

Clinton Murray Architects Completes Levo’s House In Hawthorn, Australia

Clinton Murray Architects Completes Levo’s House In Hawthorn, Australia

Victoria-based architecture studio Clinton Murray Architects has completed a private residence that allows the passersby to see through and into the building from the street in Hawthorn, Australia.
Called Levo’s House, the 300-square-metre house was designed to create an entirely new way of living for clients.

While the ground floor entirely offers privacy, seclusion and retreat, the upper floor is visible from the street with its folded roof structure.

The architects placed living areas on first floor living to offer a window into their lives.” We’ve witnessed people stopping to chat to our clients, a pleasant contrast to the barriers other properties present to the street,” said Clinton Murray Architects.

“We studied and referenced key planning controls to arrive at our design solution.”
The key design component of the project is its ‘pitched roof’ and it had an adaptable triangular geometry of the site into a folded y roof that reads as lightly as possible.

“We worked closely with an extraordinarily creative (old school!) engineer from Canberra Ken Murtagh to create a roof that mystifies!,” added the studio.
According to the architects, the project’s site was a difficult site – small and triangular – in a difficult street in terms of heritage and highfalutin.

However, the architects used the strict planning guidelines to their advantage and honoured their clients desire to live in the treetops but retreat at night to their private world at ground level.
From street level, the house is marked with concrete planes and slabs, while irregularly-designed pitched roof gives a clue to show what kind of program elements take place on the upper level. It is almost a separate structure from the ground level.

On the first plan, the architects placed a deck, living areas, kitchen, dining, study, pantry, lift and dining pod. When visitors see the house from the park level, the upper structure looks like it is floating with closed modules.

Levo’s House Project Details

  • Project name: Levo’s House
  • Architects: Clinton Murray Architects
  • Location: Hawthorn, Australia
  • Size: 300m2
  • Date: 2020
  • All images © Peter Bennetts
  • All drawings © Clinton Murray Architects

written by : Clinton Murray Architects
5 May 2021
published in : worldarchitecture.org

Gallery of Levo’s House by Clinton Murray Architects

Make Architects Adds Copper-Clad Staircase To A New Boutique Office In Haymarket

Make Architects Adds Copper-Clad Staircase To A New Boutique Office In Haymarket

Make Architects has added a copper-clad staircase to a new boutique office in Haymarket, Australia.
Named Haymarket Boutique Office, the 413-square-metre office space was converted from a former chocolate factory in the Haymarket district of Sydney, Australia.

Combining old and new elements elegantly in the interiors, a copper-clad staircase acts as the main element of design, which connects the ground, first, and second floors.
It entirely appears as a polished copper box with the stair inserted; at the first floor the copper transitions to glass and steel to maximise light. A tucked-away lift serves all floors, including the mezzanine.

The original building was built in the early 1900s, in this transformation, the architects are inspired by the character of the building and they have retained as much of the original fabric of the three-storey building as possible, by maintaining the steel beams, timber flooring, exposed brickwork and original hoists.

However, they used new materials in the interiors such as copper, concrete and terrazzo – all sourced from within Australia – were chosen to contrast with the old.
The studio painted the brick facade, and a new copper and steel portal door formed the main entrance.

They replaced the original roller shutter entrance with a bespoke double-height reeded glass and steel door that slides up vertically to sit behind an asymmetrical reeded glass window above, allowing the entrance lobby to open out and engage with the street.
“When shut, the glass becomes a warmly illuminated lightbox at night,” as the studio explained.

Upon entering, the building opens up from the portal door and narrow laneway into a double-height, naturally lit entrance space that highlights the original brick and timber ceiling hoists.
Taking details from its historic past as a former factory, the ground floor had an extremely high ceiling so the studio has added a new mezzanine level to increase the lettable floor space.
The mezzanine is visible from the lobby below by a full-height reeded glass window which floods the space with natural daylight but also provides animation from the movement of people.

The mezzanine level has also its own dedicated stair in painted folded steel connecting to the ground floor. “As the copper box extends upwards the materials change into steel and glass for the movement and light to be visible through the building,” added the studio.
“A lift has been installed to connect all floors including the mezzanine but is tucked away to encourage tenants to use the stairs.”

The studio kept the office floorplates minimal, exposed brick walls have been left, and they only painted white where needed with subtle wall and hanging lights highlighting the structure.

They sued new engineered oak floorboards on the first and second floors, which enable the original boards to form the exposed ceilings below.
“Where new openings have been formed for circulation, the existing timber structure has been reclaimed and repurposed throughout the building as ceiling panels or to reinforce the structure,” the studio explained in it project description.
Make Architects was founded by Ken Shuttleworth in 2004. Make Architects has offices in London, Hong Kong and Sydney. Make Architects recently completed a retail space with 110m-long vaulted passageway in Melbourne.

Haymarket Boutique Office Project Details

  • Project name: Haymarket Boutique Office
  • Architects: Make Architects
  • Location: Sydney, Australia
  • Size: 413m2
  • Date: 2021
  • All images © Martin Mischkulnig
  • All drawings © Make Architects

written by : Australia Architecture News
18 Mar 2021
published in : worldarchitecture.org

Gallery of Haymarket Boutique Office by Make Architects

SANAA’s Sydney Modern Expansion Moves Forward And Is Scheduled To Complete In 2022

SANAA's Sydney Modern Expansion Moves Forward And Is Scheduled To Complete In 2022

New details and updates have been shared by Michael Brand, Director of Art Gallery of New South Wales on SANAA’s major Sydney Modern expansion project which is currently under construction in Sydney.
SANAA’s major transformation, named Sydney Modern Project, will create a public art garden next to the existing Gallery as well as learning studios, a special studio for multimedia works and a rooftop art terrace, overlooking Sydney Harbour in the city.

The Sydney Modern Project is the first project of Pritzker Prize-winning architects SANAA built in Australia once complete. As the construction is well underway despite the pandemic, the building is scheduled for completion in 2022.

Michael Brand has shared details as part of the Art Gallery of New South Wales’ 150th anniversary celebrations in collaboration with the Sydney Opera House to mark the annual Badu Gili festival of First Nations Culture.

“While we work to complete our expanded art museum campus through the Sydney Modern Project that will see First Nations art displayed front and centre, we are proud to share some of our collection highlights with the world on the sails of the Sydney Opera House,” Brand said.

The Art Gallery of New South Wales’ Sydney Modern Project is an important transformation of one of Australia’s pre-eminent art museums: a new standalone building will almost double the Gallery’s exhibition space, revitalise its much-loved late-19th-century neo-classical building, and create a new public art garden and civic space for Sydney.

The Sydney Modern Project will give prominence to Aboriginal and Torres Strait Islander art, as well as revitalising the Gallery’s much-loved existing building with its unrivalled collection of Australian art from the early 19th-century to the present.

For more than half a century, the Gallery has been at the forefront of collecting, displaying and interpreting historic and contemporary Aboriginal and Torres Strait Islander art, and in engaging directly with artists and their communities.

SANAA’s new building will sit in contrast to the Gallery’s 19th-century neo-classical building. Conceived as light, transparent and open to its surroundings, SANAA’s building responds to the site’s topography with a series of pavilions that cascade towards Sydney Harbour with spectacular views.

The expansion will almost double the Gallery’s total exhibition space, from 9,000 to 16,000 square meters and will feature galleries specifically designed to accommodate art of the 21st century.

From the time of its founding in 1871, the Gallery has collected and worked with the artists of its time from both Australia and abroad, a commitment that will remain central to the transformed art museum.

SANAA’s design is comprised of a series of interlocking pavilions that step down towards Sydney Harbour. The pavilions sit low and lightly on the site, following the natural topography of the land.

The museum highlighted that “approximately 70% of the new gallery is being constructed above existing structures – the land bridge built in 1999 and the concrete roof over two decommissioned WWII naval oil tanks built in the early 1940s.”

“Adaptive re-use of the tanks will enable public access to a significant State asset for the first time.”

The design delivers much-needed gallery space while respecting and enhancing public use of the surrounding landscape, retaining and celebrating significant trees and improving the accessibility of the cultural precinct.

The new building also comprises art research and education spaces, multipurpose spaces, shop, food and beverage facilities, and visitor amenities.

The $344 million (AUD) project will include 40,000-square-metre gallery space (new and existing building), 16,000-square-metre exhibition space (new and existing building), 960-square-metre dedicated gallery to showcase Aboriginal and Torres Strait Islander art.

The project will increase the total number of trees on the site with the Gallery planting more than double the number of trees that have been removed for construction. Significant landscape design will use endemic ecological planting (Sydney Sandstone Woodland) and reinstate historic species associated with the ‘Governor’s Domain’, more in keeping with the site’s original flora.

The external facade material of the pavilions of natural limestone in warm tones and two sweeping internal walls of rammed earth in the new building are sympathetic to the sandstone facade of the existing building and parkland setting of The Domain.

In May 2015, SANAA won an international competition to expand the Art Gallery of New South Wales. SANAA revealed new images for the expansion of the Art Gallery of New South Wales in 2017. The firm also shared a set of revised images in 2020.

SANAA was founded by Kazuyo Sejima and Ryue Nishizawa in 1995 in Tokyo. Kazuyo Sejima and Ryue Nishizawa were chosen as the 2010 Laureates of the Pritzker Architecture Prize.

SANAA’s major works include the 21st Century Museum of Contemporary Art (Kanazawa, Japan), New Museum in New York, Rolex Learning Center, EPFL in Lausanne, Switzerland, Louvre-Lens in Lens, France, Grace Farms in Connecticut.

written by : Art Gallery of New South Wales
23 Apr 2021
published in : worldarchitecture.org

Gallery of SANAA's Sydney Modern Expansion Moves Forward

bdvqksqg8agnsw_smp_oiltankgallery

Brisbane Gabba could be redeveloped for 2032 Olympics

Brisbane Gabba could be redeveloped for 2032 Olympics

Brisbane’s Gabba stadium will be transformed to become the main stadium of the 2032 Olympic and Paralympic Games should the city win the hosting rights, the state’s premier has revealed.

Populous, which designed the last major upgrade to the stadium in 2020, has produced concept deigns for the redeveloped stadium, which would increase its capacity to 50,000 from the current 42,000.

Premier Annastacia Palaszczuk told media the existing stadium would be “essentially demolished” and a new one built, at a cost of around $1 billion.

“The Gabba has been home to our sport since 1895,” she said. “A home for the 2032 Olympic Paralympic Games could be its crowning glory.

Populous director Chris Paterson said the Gabba was extraordinarily well located, being close to the CBD and transport options.

“Brisbane already boasts the world’s best rectangular stadium in Suncorp Stadium,” he said.

“This is an opportunity to complement it with the best round field stadium right in the centre of the city.”
The premier said the stadium, formally known as the Brisbane Cricket Ground, was an ideal choice for redevelopment as it was already the city’s main stadium for AFL, cricket and other events. It will also have its own Cross River Rail station competed by the time the of the 2032 Olympics.

The redevelopment would also include a new pedestrian plaza linking the stadium to the Cross River Rail station, which is currently under construction.

The Premier said the pedestrian plaza could become central hub for the games in its own right.

“I can see the river lined with people watching big screens all taking part in the fun and excitement of the games,” she said.

“There’s South Bank leading to West End which is connected to Roma Street via the Kurilpa Bridge with a new bridge under construction for the new Queen’s Wharf development.

“There are city cats offering even more options for transport.

“All of this is infrastructure we already have.”

The Gabba, which takes its name from its suburb, Woolloongabba, hosted its first game of cricket in December 1896. Along with cricket, it was home to greyhound racing until 1993, when work began to turn it into a “state-of-the-art” stadium, designed by Daryl Jackson, which has since also hosted AFL team the Bears, which later became Lions.

The premier has also said that the mooted Brisbane Live precinct could become the home of swimming for the games.

written by : ArchitectureAU Editorial

20 Apr 2021

published in : architectureau.com

 

Sunshine Beach House/Teeland Architects

Sunshine Beach House by Teeland Architects

Text description provided by 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.

Bedrooms and bathrooms are located on the more private upper level. A refined material palette of local hardwood and white sand cement reflect the character of the local beach environment and coastal landscape. On a practical level, the materials employed are robust in nature, to withstand sand, salt, and water coming off the ocean and little feet.

Contemporary interpretations of the traditional Queenslander metal window hoods and hardwood screens have been used to provide protection from the hot sun and summer rains.

Our architecture practice is enamoured with the beauty of the beach and ocean. The delightful balance of repetition and variation found in the waves and sand dunes are echoed in the design of the house.

Sunshine Beach Project Details

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

written by : Paula Pintos
7 Mar 2021
published in : archdaily.com

Gaalery of Sunshine Beach House / Teeland Architects

Secret sanctuary Malvern Garden House

Malvern Garden House by Taylor Knights

Malvern Garden is a ‘modernist relic’ of concrete and glass forms the heart of this renovated 1930s heritage home by Taylor Knights, where sanctuary means lush gardens and open, airy spaces secreted away in a busy Melbourne suburb.

The way we live our lives has changed considerably over the past century, yet our cultural notions of the “home” have remained broadly the same: a refuge for ourselves and our families and a repository for the objects that we value that represents elements of who we are. The concept of the home as a refuge dates back at least to the Victorian era, with a growing awareness that individuals and their children needed protection from the chaotic metropolis. The advent of modernism at the turn of the twentieth century, however, introduced a contradictory tendency, that of prospect: the home became a place from which occupants could apprehend the world and connect with nature.

Designed by Taylor Knights, this elegant renovation of a 1930s heritage home in a leafy pocket of Melbourne is at the intersection of these two competing inclinations: it is a sanctuary, hidden from the street with a multitude of different spaces to inhabit, and it is a glazed pavilion that dissolves into a lush garden, saturated with light and air.

Positioned on a steeply sloping site that falls from west to east, the original house was comprised of a series of cellular rooms with a discrete kitchen at the east end, high above the garden below. The brief for this young professional couple and their (soon-to-be) three children was to reposition the living areas to provide better connection to the garden beyond and to update the heritage fabric to suit the demands of a modern, growing family. The bedrooms upstairs – remnant of a 1980s renovation – were to be reconfigured, with new bathrooms and ceilings to take advantage of the volume within the existing attic space.

The lower ground was to be updated to accommodate visiting family members and friends in a manner that provided them with privacy and separation from the rest of the house. A home office would be accommodated within the mix, enabling both parents to work part time or work from home as required.

The key design strategy was to reposition the kitchen and dining areas in a new pavilion-like structure at the north-western corner of the site. Projecting out from the highest point of the land, the addition could open directly onto the garden at grade and benefit from an abundance of eastern and northern light over the course of the day. Formally, the pavilion appears almost as a modernist relic – a glazed volume sandwiched between two off-form concrete slabs, with native grasses shimmering over a concrete parapet. Stepped ziggurat mouldings in the opposing cast concrete corners of the pavilion conjure references to Venetian modernist Carlo Scarpa, while a deep aperture in the concrete ceiling of the kitchen nods to Le Corbusier’s late modernist experiments with béton brut.

Simultaneously, the pavilion responds directly to the language and geometry of the existing heritage house, referencing its corbelled brick eaves and the heavy, textural and crafted quality of its brick and render facade. Heavy and light, textural and abstract, the pavilion represents tendencies toward both the notions of “refuge” and “prospect,” which can be modified though the opening or closing of the pavilion’s glazed corner.

In both the formal composition and materiality of the house, a tendency towards reduction is paired with careful detailing. A single fixed pane of glazing adjacent the pavilion illuminates the living space with northern light, and provides an elegant transition between the new and existing structures, allowing the pavilion to be read against the field of Marseilles terracotta tiles on the existing roof. Internally, concrete, American oak, steel and glass predominate, complemented with neutral terrazzo and marble. Taylor Knights was at pains to provide material consistency throughout the house, using American oak boards as formwork for the pavilion’s concrete ceiling, for instance, in a textural echo of the adjacent living room’s timber ceiling.

According to director James Taylor, the landscape is conceived of with equal importance, spatially and experientially, to the architecture throughout their projects. At Malvern Garden House, much of the magic lies in the relationship between the two. From the first step through the front door, the visitor is greeted by a view out onto lush and varied vegetation. Landscape architect Ben Scott has provided a scheme of zoned planting that offers a birch forest canopy to the ground floor windows, a fern garden to the lower ground and a dichondra-covered terrace at the upper level. A galvanized steel platform hovers in-between, providing a permeable place to sit among the tree tops and native grasses, while a whimsical steel slide offers a fast way to make your way to the bottom. Internally, window seats in the kitchen and children’s playroom orient themselves to the yard and allow the inhabitants to sit out “in” the garden from within, and a concealed courtyard that opens onto the main ensuite provides a bathing experience among the ferns. Carefully considered and deliberately executed, this thoughtful renovation provides a sanctuary that facilitates respectful engagement with the natural world.

Products and materials

Roofing

Lysaght Klip-Lok 700 Hi-Strength cladding in Colorbond ‘Shale Grey’; off-form concrete

External walls

Austral Bricks 140-millimetre 150 Series standard grey block; off-form concrete

Internal walls

Austral Bricks 140-millimetre 150 Series standard grey block

Windows

Vitrocsa double glazing; custom steel windows by Tescher Forge

Doors

Custom steel and glass doors by Tescher Forge

Flooring

Existing Tasmanian oak floors; Hanson Construction Materials concrete

Lighting

Douglas and Bec Y Chandelier 04 in ‘Blackened Brass’; Allied Maker Aperture Sconce in ‘Blackened Brass’ with glass in ‘Opal’; Apparatus Cloud 19 Chandelier from Criteria; Rakumba Capital pendant by Archier from Cafe Culture and Insitu; Great Dane Caché Pendant; LPA Lighting and Energy Solutions Visi downlights; Ambience Lighting Flow adjustable downlights; Artefact Industries T-Mini adjustable track lights; Flos UT Spot lights from Euroluce

Kitchen

Miele integrated dishwasher, built-in fridge-freezers and microwave oven; Ilve 90- centimetre Quadra Series cooker with teppanyaki plate from E and S; Qasair Albany rangehood from Condari; Hisense stainless steel bar fridge; LG microwave oven; Oliveri sinks from E and S; Gessi Oxygene gooseneck kitchen mixers from Abey; Phoenix Tapware Vivid Slimline sink mixer

Bathrooms

Apaiser Sublime freestanding bath and Lotus basins; Kaldewei Vaio Dual Oval bath from Reece; Corian Serenity basins; Catalano Sfera toilet suites and Vitra Moetropole under-counter basin from Rogerseller; Astra Walker Icon tapware and accessories in ‘Charcoal Bronze’; Stormtech 100 Range linear drainage systems

Heating and cooling

Panasonic bulkhead units; Hydrotherm Hydronic hydronic heating

External elements

Bamstone bluestone paving; custom concrete barbecue by Hungry Wolf Studio; Webforge aluminium grating; custom stainless steel slide by Allplay Equipment Australia

Other

Custom bed, ensuite vanity and dining table by Made by Morgen

Malvern Garden House Project Details

  • Project: Malvern Garden House
  • Architect: Taylor Knights
  • Project Team: Peter Knights, James Taylor, Julie Sloane
  • Consultants: Builder Dimpat
    Engineer Co-Struct
    Joiner Luna Joinery
    Landscape architect Ben Scott Garden Design
  • Aboriginal Nation: Malvern Garden House is built on land for which the Traditional Owners have not yet been recognized.
  • Site Details: Location Malvern,  Melbourne,  Vic,  Australia
    Site type Suburban
    Site area 928 m2
    Building area 550 m2
  • Project Details: Status Built
    Completion date 2019
    Design, documentation 8 months
    Construction 13 months
    Category Residential
    Type Alts and adds

written by :  Marnie Morieson
19 Mar 2021
published in : architectureau.com

Gallery of Malvern Garden House

Corporate hotel tower proposed for Brisbane’s southern CBD

44 roma hotel brisbane cbd
44 roma hotel brisbane cbd

Corporate hotel tower proposed for Brisbane’s southern CBD

A 26-storey hotel tower would be built on a 40-square-metre site at the southern end of the Brisbane CBD under a proposal before council.
Designed by Buchan with landscape architecture by Arcadia, the development at 44 Roma Street is being pitched as “a unique corporate traveller hotel” development that would help revitalize this “abandoned” corner of the city.

hotel brisbane cbd

The hotel would include 212 hotel suites along with a ground floor restaurant and bar. It would be close to Queen Street Mall and the proposed Brisbane Live precinct.

The design calls for the building to be built to the boundary on all four sides, contravening council setback rules. The proposed height also exceeds planning limits.

But Buchan argues the tower’s design excellence and features that break up the mass of the building would mitigate any issues.

44 roma hotel project

 

    These include significant landscape indents and setbacks on Turbot Street and the eastern boundary facing the Pullman Hotel.

“The design and architecture also endeavour to ‘breakdown’ the mass by splitting the building into quadrants,” the architects note in planning documents.

“The quadrants are then further emphasized with two split level horizontal landscape edges. By splitting the building, it mitigates an overall box look and articulates the face elegantly without compromising elegance and efficiency.”

The ground plane has been designed to be open and inclusive, with the underpass of Turbot street envisioned as a place for exhibitions and food truck events

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

Gallery of 44 Roma Hotel at Brisbane CBD

44 roma hotel project
44 roma hotel brisbane cbd
hotel brisbane cbd
44 roma hotel

Australian wins competition for Californian landmark

Australian wins competition for Californian landmark

  A Western Australian architecture firm has won an international competition to design an architectural landmark for Silicon Valley in California.

Smar Architecture Studio’s design – selected from a pool of 963 submissions from 72 countries – will see 500 dynamic rods erected on the Arena Green at Guadalupe Park and Gardens in San José. Forming a tower that will soar to 200 feet (61 metres), the rods will sway in the wind, giving a dramatic visual effect while also generating enough power to light up the structure.

 Dubbed “Breeze of Innovation,” the kinetic structure will incorporate multiple levels of walkways and a dramatic viewing platform at its top.

“Silicon Valley is not about replicating the past; it’s about shaping the future,” said Smar founding partner Fernando Jerez. “Our goal from the beginning was to capture the ever-changing magic of Silicon Valley while also creating a deep connection with the San José community.”

    Jon Ball, board chair of Urban Confluence Silicon Valley, said the design was destined to have a profound impact on the local community. “We are extremely excited to announce ‘Breeze of Innovation’ as the winner of our design competition,” he said. “This entry stood out because of its elegant and sophisticated visual style, representing Silicon Valley through vibrant motion and singular grace on an imposing scale.

    Jon Ball, board chair of Urban Confluence Silicon Valley, said the design was destined to have a profound impact on the local community. “We are extremely excited to announce ‘Breeze of Innovation’ as the winner of our design competition,” he said. “This entry stood out because of its elegant and sophisticated visual style, representing Silicon Valley through vibrant motion and singular grace on an imposing scale.

    Jon Ball, board chair of Urban Confluence Silicon Valley, said the design was destined to have a profound impact on the local community. “We are extremely excited to announce ‘Breeze of Innovation’ as the winner of our design competition,” he said. “This entry stood out because of its elegant and sophisticated visual style, representing Silicon Valley through vibrant motion and singular grace on an imposing scale.

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

Australian wins competition for Californian landmark

    A Western Australian architecture firm has won an international competition to design an architectural landmark for Silicon Valley in California.

Bates Smart’s ‘civic landmark’ for Green Square

Bates Smart’s ‘civic landmark’ for Green Square

    Bates Smart has won a City of Sydney Design Excellence competition with its design for an office building in Green Square that offers a contemporary interpretation of the industrial sawtooth roof form.

The practice’s director Philip Vivian said the 28,570-sqaure-metre commercial development would respond to Green Square’s physical, social and historic contexts.

“The design creates the civic landmark entry that Green Square needs,” he said. “The city fringe location, alongside the connection to Green Square’s train station, provides a unique opportunity to create a fringe precinct that invigorates its context and sets the precedent for the workplace of the future.”

The design competition jury said the design had an “interesting built form, particularly due to the splayed rooftop and height.”

   The jury unanimously selected Bates Smart’s scheme, which they said provided the best response and was capable of achieving design excellence.

The building has been conceived as two volumes, with a through-site link connecting to an adjoining pocket park, creating a smooth public domain transition from the Green Square train station.

This space will be home to cafes and retail tenancies and will be defined by arched forms, chosen to celebrate the area’s industrial history.

Inside, the volumes house two workplace neighbourhoods with individual identities, connected via a naturally ventilated timber “social heart” that encourages connectivity and collaboration.

    Vivian noted that commercial city-fringe developments are increasingly important to the future of work in Sydney, as they allow for a greater focus on workplace wellbeing and can integrate with the surrounding urban context.

“This development in Green Square will weave together public space, retail, workplace and transport to create an exciting, holistic, shared place. It will meet growing expectations on commercial space and more importantly, serve the needs of the people as Green Square continues to grow,” he said.

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

Bates Smart’s ‘civic landmark’ for Green Square

    Bates Smart has won a City of Sydney Design Excellence competition with its design for an office building in Green Square that offers a contemporary interpretation of the industrial sawtooth roof form.