Floating Sauna Derby by Licht Architecture

Floating Sauna Derby by Licht Architecture

On a lake, in a small North East Tasmanian town, floats a sauna. Floating sauna designed by Licht Architecture.

The town of Derby was a booming Tin mining town from the 1870’s – 1940’s, then for decades it became almost a ghost town, is now home to Tasmania’s world-class mountain biking trails. The sauna floats on Brisei’s Hole, more affectionately known as Lake Derby which was formed through mining activities.

The project is made up of two shed-like pavilions floating on a pontoon, connected to the shore by a small pedestrian bridge. One pavilion is a changeroom, the second is the sauna.

The concept was influenced by fixed parameters of the pontoon and glazing size, both items of which were predetermined. The design process tested numerous form options however kept returning to the simplicity of the two gables and the simplicity of the contrasting materials and the play of light and shadow.

Leaving your shoes on the shore and crossing a small bridge, guests can store their bikes and get changed before soaking in the heat of the timber-lined sauna.

Taking cues from Derby’s contrasting history of boom and bust (then, fortunately, boom again) two black and white gable sheds sit quietly against the dramatic backdrop of quarry cliffs and rainforest.

The huge quarry cliffs to the North of the site block direct sunlight to the sauna until mid-morning creating dramatic contrasting cliff face shadow and light with the high sun peeking its way through the wattles and lighting up the ever-present fog on the lake.

The material choice reflects its function. The dark recessive burnt larch offers solitude and privacy for the sauna. In contrast, a light-filled changing pavilion casts subtle silhouettes of the users within against the Ampelite cladding.

The design concept Of Floating Sauna Project

The design concept focussed on the sensory experience and progression of privacy and containment.

– Leaving the land, the first transition is from land to water.

– The timber batten fence and gate provide a physical barrier, once within the perimeter the user feels like they’ve entered ‘their own space’ separated from visible public tracks.

– The changeroom offers enclosure and shelter from the elements and privacy to undress. Once changed, users can sit in the sun looking at the lake, protected by a roof overhead but semi-hidden behind a white slatted screen – passing riders are visible and water lapping against the pontoon is audible.

– The sauna takes you to another world – solitude, and reflection. Inside the sauna, it’s quiet and the change in temperature insists on relaxation. Everything beside and behind is removed and your focus is solely on the lake. Here, visitors experience an escape from their high-intensity mountain biking adventures.

– Finally, visitors can choose to take the plunge into the brisk Lake Derby waters.
The buildings float together in the landscape, offering a unique opportunity for isolation and relaxation. A floating sauna is a place of stillness and recovery – immerse yourself in the landscape, take a plunge, and re-center yourself.

Architects: Licht Architecture
Area: 45 m²
Year: 2020
Photographs: Anjie Blair
Lead Architect: Jason Licht

written by : Hana Abdel
20 July 2022
published in: archdaily.com

Gallery of Floating Sauna Project by Licht Architecture

Lasting Focus – Glen Iris House by Luke Fry Architecture and Interior Design

Lasting Focus – Glen Iris House by Luke Fry Architecture and Interior Design

A place to gather, Glen Iris House is expanded from its previous self into a series of connected and generous zones. Luke Fry Architecture and Interior Design focuses on creating a time wearing and classical approach, ensuring a sense of legacy endures beyond its current owners and for generations to come.

Located in its namesake, Glen Iris House sees the opening of the family home to be a conduit for connection. Having previously downsized as part of their retirement, the want to create a space for their grandchildren to visit and enjoy inspired the move back into a more generous home.

Building from an existing structure, the addition and renovation allows the residence to spill even further into the landscape in the form of a living pavilion to the rear. Although connected through a glazed link structure, the addition sits removed from the original home and as a destination of its own. As an immersed element amidst the landscape, the addition is surrounded by a changing natural scene, animated by the seasons.

Luke Fry Architecture and Interior Design overlays restraint and a contemporary crispness in conceiving the new, which subtly connects to the existing.

Glen Iris House sees a new structure sit unobtrusively behind the old. In preserving the original streetscape, the existing character and its connection to the surrounding context remained, with the new acting as its own private sanctuary for its owners. In aligning along the southern edge, openings are directed towards the north to bring in natural light throughout the day and provide opportunities for solar gain. The outdoor and landscaped space is a main attraction for the owners and a place to engage with their grandchildren; the nudging of the form into the garden, near the pool, signals this connection.

Internally, softly sweeping gestures buffer otherwise hard edges and allow a flow of movement between zones and inside and out. Custom joinery and inbuilt fireplace elements are connected through a common language of form and similar lines, with elevated detailing and finishes to ensure the longevity of the spaces. Integrating expressive green marble with a similar toned green within the joinery, the kitchen is its own focal point and a celebration of both colour and materiality, which then influences the carpet selection. As a nod to the surrounding garden, the new both positions itself within the natural and is inspired by it.
Glen Iris House beautifully balances soft and hard, using natural veining and clear, open connections between inside and out to reinforce the importance of togetherness. Luke Fry Architecture and Interior Design honours the charm of the existing home, carefully ensuring the coming chapters are well prepared for.

Words by Bronwyn Marshall
Architecture by Luke Fry Architecture and Interior Design
Photography by Derek Swalwell
Build by Glyde Construction
Interior Design by Luke Fry Architecture and Interior Design
Styling by Jess Kneebone
Landscape Design Greenbits

written by :Bronwyn Marshall
15 July 2022
published in: thelocalproject.com.au

Gallery of Glen Iris House by Luke Fry Architecture

Defined by Detail – Bodel by Workroom

Surrounded by the historic factories and warehouses that characterise North Melbourne, a new building by Workroom slots in seamlessly, belying its residential nature. Carefully considered details – from the macro scale right down to the finest of nuances – define the success of Bodel, which seamlessly integrates form and function. Here, detail is elevated to create a sense of purpose, with everything right down to the ZETR electrical fixtures having an integral role to play in this deeply considered and finely-honed new home.

Creative Director of Workroom John Bornas explains that in response to the surrounding urban environment, the intention was for the home “to have its own identity but feel like it had always been there – as if an existing warehouse had been converted to a residence.”

This approach began with an exploration of form, space and material, and resulted in a building that references the local vernacular. The interior is minimalistic, with clean lines and open spaces. John describes a “strong emphasis on material detailing and lighting [that] allowed us to create a rich yet pared-back interior.”

He explains that this created more space to showcase “material choices and brought texture and depth to each space.”

For Workroom, the use of materials that contribute holistically to the design was crucial. Referencing the initial concept of the warehouse conversion, “the materials are kept deliberately raw and minimal, creating an immediate tactile warmth that allows you to experience the building on multiple levels. It goes beyond the visual, creating a direct connection with the fabric of the building.”

These robust materials, such as the cast concrete walls and ceiling and the thick black window frames, establish a sense of solidity in the light-filled open-plan spaces. This is then offset by the more fluid and gentle elements, like the gracefully curving spiral of the steel staircase and the Verde Alpi marble kitchen island bench with gentle eddies and currents that seem to swirl beneath its smooth and glassy surface.

A key element that serves as a gentle, curved touchpoint is the electrical outlets and switches specified throughout Bodel – the 12 surface-mounted series by ZETR. These fixtures, with their effortless curves and the subtle shadow line created by the 2.9-millimetre profile, are able to bring a sense of softness to the concrete walls they sit against. “

For us, the ZETR 12 range is about detail,” says John. “It married perfectly with our intentions for the space and continues our ethos of rigorous detailing at every level.” Designed by ZETR to be a purposeful choice, 12 applies the company’s core design philosophy of refined, minimal curves to this surface mount series, in a simplified format.

ZETR 12 ensures no compromise on the greater design concept need be made for the sake of practicality.

ZETR 12 ensures no compromise on the greater design concept need be made for the sake of practicality. The clients – two of whom also happen to be the creators of design studio Spy Studio – specified the use of ZETR for this project.

Mary Spy of Spy Studio explains that in addition to the elegance of the range and its capacity to visually harmonise with the interior aesthetic, ZETR 12 also offered practical benefits. “Being a pre-cast [concrete] build, there was a lot of hesitancy around placement and having switches cast in,” she says. “The fact that ZETR 12 has this little bit of tolerance for your trades, but still [delivers] the aesthetic outcome is great.”

“The 12 series expands the ZETR offering to more projects, including those with deliberate finishes such as the concrete throughout Bodel.

Understanding the importance of detail and execution when it comes to projects like this, we always welcome and encourage collaboration between ZETR and the designer, clients and trades on site.” says Garth Elliott, Founder of ZETR. Ultimately, ZETR 12 enables a sense of continuity between “idea and execution,” as John tells it.

It demonstrates that every element of a home, no matter how functional, can be intentional and elegant in its contribution to the overall concept.

For Workroom, this concept echoes the studio’s approach in general, “one of timelessness rather than fashion.” Equally, the successful application of materials and motifs within a home is about more than just a visually satisfying space. “Our design becomes an exploration of form, space and material, exploiting what each of these elements can bring to a project,” John reflects. “It’s about making a connection between the building and those who live there that is grounded in a rigorous exploration of all elements.”

At Bodel, this results in a home of distinctive presence. With each and every detail integral to the design as a whole, the project exemplifies how such attention to detail results in a cohesive, functional and satisfying lived-in space.

Words by Sarah Sivaraman
Architecture by Workroom
Photography by Dave Kulesza
Interior Design by Workroom
Interior Fixtures and Furniture, Feature Lighting Spy Studio Switches & Sockets ZETR

written by : Sarah Sivaraman
26 May 2022
published in: thelocalproject.com.au

Gallery of Bodel by Workroom - Residential Project

ODE Dermatology Clinic / Foolscap Studio

ODE Dermatology Clinic / Foolscap Studio

Foolscap Studio explained. ODE Dermatology fuses retail with hospitality-style service and hotel-inspired luxury to create a unique wellness destination. Housed in a heritage building on Melbourne’s premium Gertrude Street, a technology overhaul and sumptuous interior fit-out reflects the client’s dual medical and aesthetic philosophy: that holistic skincare should be an ‘ode to one’s self.
Establishing her very first independent clinic, medical dermatologist, Dr. Shyamalar Gunatheesan, engaged our studio to create ODE: a destination that draws on the tenets of high-end retail and hospitality to offer a holistic wellness experience.

The brief was to design a skin care clinic that didn’t feel like a sterile environment, but rather more like a luxury-inspired hotel. Our design strategy placed an emphasis on inner beauty, informing our conceptual approach: ‘Inside-out’ references the body through translucent and transformative materials, while ‘duality as a unity’ balances human with the high-tech, manifested through contemporary design insertions in a heritage context.

Despite a heritage overlay on the façade only, our studio elected to retain the entire double-brick shopfront and former residence (bar a small fiber cement board lean-to addition). This allowed us to restore original details and integrate them into a design that promotes the adaptive reuse of a Victorian building while adhering to stringent Australian regulations required for clinical treatment zones.

Planning considerations were made for a dedicated staff room and nurse’s station, sterilization facilities, and the concealment of large medical equipment within custom joinery.

Maximizing its shopfront, ODE’s reception, and retail space (renamed ‘concierge’) acts as a beacon to passersby. Glowing, reflective, and opalescent surfaces are balanced by a dramatic, light-absorbing velvet curtain that leads clients down the clinic’s ‘spine’: a specially designed side extension, topped with a leafy lightwell.

This intervention, as well as a ground floor extension to the rear, proved crucial to the functioning of the space and provided an opportunity to bring in diffused natural light and indoor greenery.

Clients await their consultations in the centrally located decompression lounge, furnished with designer pieces, soft textiles, and a lustrous, custom-designed houndstooth rug, while treatment rooms offer state-of-the-art therapies in elevated environments. A series of striking photographic prints throughout, heighten the multisensory journey.

Architects: Foolscap Studio
Area : 200 m²
Year : 2021
Photographs : Willem-Dirk du Toit
Manufacturers : Haymes Paint, InStyle, Marblo, RC+D, Warwick Fabrics, Ampelite, Apex stone, Billi, CCS, Earp Bros, Forbo, Kvadrat, Nood Co., Studio Henry Wilson, Zepel Fabrics
Builder : Ramvek

written by : Hana Abdel
23 May 2022
published in: archdaily.com

Gallery of ODE Dermatology by Foolscap Studio

Poinciana House by Nielsen Jenkins

Led by the Surrounds – Poinciana House by Nielsen Jenkins

Nestled into an immersive landscape, Poinciana House looks out toward both Toowong and Mt Coot-Tha as dual focal points. While its views are concealed from the entry, they slowly reveal themselves over a journey through the home, where portals direct views out over neighbouring rear gardens.

As both a restoration and addition effort, the original home is expanded and overlaid with a new masterplan that better interacts and engages with its site. With the landscape and the natural elements as the key focus, ensuring openings supported this conversation beyond the architecture formed an important part of the brief.

Nielson Jenkins references the surrounding and typified Queenslander homes to proposesa unique interpretation of what living in such a climate can be, pushing the boundaries on what is expected.

Dropping away to the rear, the home navigates a steeply sloping site as the form grows and reaches deeper lengthways. From street level, the form almost aligns, and from there it changes as it drops to align with the terrain. On approach, an embedded privacy reinforces a sense of enclosure for the residents, while access to private outdoor spaces act as a relief to the overall form.

Throughout, curated and differing garden areas support the built form and create moments of pause. A careful replanning of the home lowers the living level down to the ground level, to allow a better connection to the site and these various outdoor settings – responding thoughtfully to its previously disconnected location on the upper level.

Circulation is key and plays a vital role in connecting the existing with the new, as well as funnelling movement throughout the home. While the existing is opened and rearranged based on how the spaces best functioned and connected to the outdoors, the addition is intentionally narrow in form and sits along one of the existing boundaries to lessen its impact.

The rearranging also follows the existing structural grid, ensuring a decreased influence. Emphasising a sense of openness, increased ventilation ensures no mechanical cooling is needed. Binding the old and new is a shared restraint, where minimal variations in finish come together to create an idyllic calm, all within the same low maintenance sensibility.

Through a considered approach, Poinciana House comes together as a naturally focused and open home. Neilsen Jenkins takes selective elements from the traditional homes in the area and leaves other behind – ultimately paving the home’s own path in the process.

Words by Bronwyn Marshall
Architecture by Nielsen Jenkins
Photography by Tom Ross
Build by PJL Projects
Interior Design by Nielsen Jenkins

written by : Bronwyn Marshall
18 May 2022
published in: thelocalproject.com.au

Gallery of Poinciana House by Nielsen Jenkins

The Workplace of Tomorrow – nau by Cult

Australian contemporary design brand nau has recently released extended collections for both the Mega Tulip Modular Sofa System by Adam Goodrum and Nami Conference Tables by Tom Fereday. Exclusively available at Cult, both collections speak to a sense of curiosity and elegance within the modern workplace.

Exuding a coalescence of work and home, nau’s Mega Tulip Modular Sofa System and Nami Conference Tables bring with them a refreshing intrigue, imbuing the workplace with a refined sense of luxury. From considered materials to flexible design, each piece works hard to reinvent the traditional office space.

Designed with the modern workspace in mind, the Mega Tulip is an extension of Adam Goodrum’s original Fat Tulip – a reinvention of the traditional club chair. The Mega Tulip features the similar organic curves of its original predecessor but is interpreted for office space.

With the ability to wind its way through a plethora of workplace interiors, the Mega Tulip offers comfortable spaces for individual or group work, meetings or even casual areas for relaxing.

The distinct comfortability of the modular system echoes that of seating traditionally found in residential settings – it is this seamless transition from home to work that aids in making the return to the office that much more enticing.

The Mega Tulip modular system allows for an unlimited number of compilations that can fit in an array of diverse spaces, giving workplaces the ability to select independent sofas and armchairs, straight or curved segments, including high back booths, depending on their needs.

All modules allow workers the ability to focus on solo work, open spaces for team meetings or interactions with co-workers, as well as incorporating much needed privacy.
Handcrafted in New South Wales, the Nami Conference Tables by Tom Fereday combine both functionality and craftsmanship, creating the ideal platform for team meetings in both casual and professional settings.

The Conference Tables are available in both customisable High and Low options, designed to suit an array of commercial environments.

Seamlessly fitting within the office space, the Conference Tables are designed to endure. Meaning ‘wave’ in Japanese, the Nami collection reinforces a sense of elegant timelessness – the Conference Tables are an extension of the authentic approach to both design and material.

Crafted from sustainably certified solid timber, the directional grain details featured throughout are achieved through expert craftmanship and considered attention to detail.

Exclusively available through Cult in Australia, New Zealand and Singapore, the latest additions to nau offer workplaces contemporary designs with Australian sensibilities. Both the Mega Tulip Modular Sofa System by Adam Goodrum and the Nami Conference Tables by Tom Fereday work to inspire and revive the traditional workplace.

Words by Brett Winchester
Images Courtesy of Cult

written by : Paula Pintos
16 May 2022
published in: thelocalproject.com.au

Gallery of The Workplace of Tomorrow – nau by Cult

The Bakery by Anna Carin Design Studio

The Bakery by Anna Carin Design Studio

Returning to its origins, The Bakery expresses a utilitarian charm as a nod to its past where a focus on such handcrafted elements was heralded. Anna Carin Design Studio draws attention to the beauty of the handmade and brings a curated approach in layering the old with the new.

Through adaptive reuse, The Bakery is transformed from its industrial past into a newly conceived residence, capturing its previous chapters through a layered approach interpreted through a contemporary lens.

Located in Newtown, the space has had multiple previous lives, as both a corner shop and then later as a commercial bakery, dating back to the early 20th century. The reconfiguration allows the spaces to work as an intimate home, while its lofted heights and volumes ensure a connection to its past remains.

The brief included the need encourage birds and bees into the garden settings and help pollinate the other plantings in the process. With such a conscientious and considered base, Anna Carin Design Studio combines contrast and familiar materiality to compose the welcoming series of spaces.

Built by Pamment Projects, The Bakery, at its core, is an honouring of what has come before. The restored interior fabric plays an important role in the narrative of the space and adds to the texture of the new.

Reflective of the Weiner Werkstatte movement of the early 1900s, the wide-ranging use of handcrafted elements is expressed throughout coexists with the contemporary gestures. As metalwork and woodwork were highly integrated into architecture at the time, they also become an artistic expression of industrial production.

More delicate disciplines such as ceramics and graphic art (in the form of botanical wallpaper) also form part of the story of the space, adding differing layers in the process.

As a potter and ceramist herself, the owner wanted to make sure her own personal imprint was evidenced within the home. Behind the industrial façade lies a more delicate series of spaces that allow the everyday rituals to unfold.

A combination of industrial and robust materiality is combined with more subtle and supple elements like timber and porcelain to create a sense of balance. The library and its encasing dark walls of books becomes an anchor to the lighter spaces, with little to no separation other than furniture that hints at the function of the space, ensuring the open loft-like feel is felt throughout.

Words by Bronwyn Marshall
Photography by Justin Alexander
Build by Pamment Projects
Interior Design by Anna Carin Design Studio
Landscape Design The Garden Social

written by: Bronwyn Marshall
16 May 2022
published in: thelocalproject.com.au

Imprinted by Time – The Bakery by Anna Carin Design Studio

Australian Centre for Contemporary Art (ACCA) by WoodMarsh

Australian Centre for Contemporary Art (ACCA) by Wood Marsh Architecture

Text description provided by Wood Marsh architecture. Completed in 2002, the Australian Centre for Contemporary Art (ACCA) is a multi-use facility built for the Victorian State Government in Melbourne, Australia.

The project combines the existing infrastructure of three organisations, ACCA, Chunky Move and Playbox, to create a unified major presence in the Arts precinct surrounding the existing Malthouse Theatre, which is located on the adjacent site.

The building is designed to make reference to its primary function; it is a sculpture in which to show art. The bold form and materiality of the façade is intended to create a strong presence and express with optimism, and in a frugal sense, a robust laboratory for experimentation. Those using the building are meant to feel comfortably challenged.

Referencing the past industrial occupation of the site (warehouses and foundries), the predominant vocabulary of the architecture is that of the shed; steel frame and taut metal skin.

Coupled with the single dominant cladding material (large insulated trays of Corten steel) the sculptural form simultaneously alludes to the industrial age and natural landforms.

Programmatically, ACCA has four gallery spaces off an entry foyer/function pace with service areas and office space. Chunky Move comprises two rehearsal studios and administration space, Playbox has a large set construction facility.

Openings in the external fabric are kept to a minimum to support a broad array of installations, ephemeral and digitally projected work. Pragmatically, the combined wall structure achieves the necessary thermal performance to protect art works in the event that the mechanical equipment fails.

The presence of the new entity is extended beyond the physicality of the building, by the unifying quality of its landscape. The large central courtyard with amphitheater and the outdoor exhibition space along the northern boundary work to link the complex with the existing adjacent theaters and arts precinct. This device offers increased amenity 24 hours a day to a part of the city that previously had no public open space.

Architects: Wood Marsh: Wood/Marsh PTY LTD Architecture
Year: 2002
Photographs: Gollings Photography, Derek Swalwell, Peter Bennetts

written by : Hana Abdel
16 May 2022
published in : archdaily.com

Gallery of ACCA by Wood Marsh Architecture

Flinders Horizon by Mim Design and BH Architects

Over multiple levels, Flinders Horizon reaches out from a solid anchoring to the site below, endowing the feeling of floating above the landscape while being protected from within. Located amongst the popular Mornington Peninsula, with both coastal and undulating terrain views, the focus of the home is to sit as an elevated shelter for its residents. Combining luxurious sensibilities that sit comfortably within its rural siting, the challenge was to ensure the home felt appropriate to both its place and to those who would be residing there. The raw and honest materials of the coast are used as inspiration for the robust withstanding exterior shell of the home, while the interior opens as a more delicate and softened series of layers. With architecture by BH Architects and interior design by Mim Design, the resulting home is formed from subtleties.

Calmed by the proximity to the sea, subtleties in texture create moments of interest amongst the mass of the home that might otherwise feel overwhelming.

Built by Williams Group, Flinders Horizon is named from the likeness of its long linear horizontal bands that form the architecture and allow for naturally occurring outdoor terraces to be dotted throughout the home.

The focus of views out and the expanse of glazing integrated to ensure the landscape is a key element of the home then completes the shell. In breaking down the scale of the overall mass of the home, smaller compartments and zones are created, with an emphasis on connection.

Internally, with the landscape, and between the occupants, the role of the home and the way in which movement occurs is inspired by a feeling of connection.

Curved forms bring an organic nature to the home, while also dissolving edges. A consistently palette of lightness is then carried throughout, allowing the surrounding natural elements to remain the focus.

An engagement with the surrounding natural elements is further expressed through openings that direct light and shadow throughout the day, acting as a reminder of place. The duality between open and closed, and between the more weighted elements and lighter ones, allows the home to breathe and connect with the landscape.

Words by Bronwyn Marshall
Architecture by BH Architects
Photography by Peter Clarke
Build by Williams Group
Interior Design by Mim Design Studio

written by : Bronwyn Marshall
17 May 2022
published in : thelocalproject.com.au

Gallery of Flinders Horizon Project by Mim Design and BH Architects

Kings Langley Cricket Club and Amenities by Eoghan Lewis Architects

Text description provided by Eoghan Lewis Architects. We were awarded the project as part of an invited EOI by Blacktown City Council. The brief called for a robust cricket club and amenities building that could also serve the park and broader community.

Our budget was tight, the process protracted and siting options were limited due to stormwater and sewer pipes. Functions were distributed between two adjacent pavilions, the larger housing a function room, canteen and toilets and the smaller housing ‘home’ and ‘away’ change rooms and storage. The pavilions sit side by side, addressing the oval and define an in-between space.

Experienced in-the-round, it was important to us that the pavilions have a sculptural quality and play with but also against one another. With this in mind we fought hard to resolve mechanical systems invisibly, the hit-and-miss brickwork disguising, protecting and ventilating building services.

Roof forms act as programmatic markers and poetic signifiers of what’s within, each space finding its own poetic expression in response to need, ventilation, illumination and scale.

The ‘chimneys’ allow the change rooms to breathe and dappled sunlight to enter, creating dramatic and surprising internal spaces. The relationship between pavilions becomes one of counterpoint, a game continued materially in the contrasting brickwork patterning and finish.

A raised platform cuts into the landscape, grounding the building while creating an informal grandstand of bleacher seats. Above, a generously covered terrace maximises the functional possibilities for the cricket club, acts as a brim for spectators watching a game and provides the community with a space to gather and shelter.

The building has been organised with flexibility in mind, so Council and community can access various components of the building independently as required. By necessity, the exterior had to be as tough and uncompromising as a pair of old boots, so security screens, a client requirement, have been carefully integrated and can be lowered when required.

Brick was chosen for its contextual familiarity but also for its poetic qualities and robustness. By exposing the rough face of the bolster-cut bricks we add texture and pattern. The reds and oranges inside the brick – where the clay bakes at a lower temperature – adds warmth. In this way the building’s decoration is implicit to its materiality and to the logic of the Flemish bond brickwork.

Our hope is that the building performs well, weathers beautifully and is embraced by the cricket as well as the broader community. We also hope it feels local and familiar but a little strange and exotic at the same time.