ANGELO CANDALEPAS works and projects | online sample PREVIEW

ANGELO CANDALEPAS WORKS AND PROJECTS

AMAG SQUARE BOOKS COLLECTION portray one to several timeless works, with the utmost care and attention to detail. All elements are carefully taken care, presenting the most minimal layout.

Each title incorporates high quality photographs, technical drawings, critical essays, and, in some cases, first-hand drawings by the author.

Production process considers premium papers, offset printing, and a hand made spine sewn in plain sight to guarantee an opening of 180 degrees and simultaneously assure an absolutely perfect binding during handle.

The collection is published in English, with a run number of 1000 numbered copies per title.

DSB 03 ANGELO CANDALEPAS WORKS AND PROJECTS

ANGELO CANDALEPAS WORKS AND PROJECTS

ANGELO CANDALEPAS WORKS AND PROJECTS

CONVERSATION BETWEEN ANGELO CANDALEPAS AND GLENN MURCUTT

GLENN MURCUTT We’ve known one another for decades, haven’t we?

ANGELO CANDALEPAS The first conversation I had with you was at the University of Technology, Sydney. I had just spent some time looking at your drawings, and I remember that I thought it was such a wonderful thing to meet you. So, I mustered up a lot of courage, and came up and talked to you, and I thought “he’s perfect, like a person”, and you were very nice. And you offered this wonderful generosity of time, I couldn’t believe you spent so much time talking to me.

GM This went very well. And following that, Angelo had kept in contact with me several times, he had invited me to join him going to musical concerts because we both love classical music. We used to go to the Opera House.

AC When it was open.

GM When it was open. And we continued for as long as we could…

GM And so, there are many things we share that had been significant in our friendship that goes just beyond architecture. But, you know, in working together we’ve discovered another aspect in our life, that we will be working on something and Angelo would be putting something forward or I’ll be putting something forward and we get to the given point that might be just an issue of how that finishes. And each of us will do this thing and we will both say “this!”. We finish the very same thing. Isn’t that amazing?

AC It’s bizarre!

AC We come from a different place. We come from a place where aesthetics is an ethical pursuit. And now it’s an unfamiliar consideration to say that. People would think that’s not an appropriate thing to say, but we understand it in a sense, and it’s not because we’re either old fashioned, or anachronistic, or we’re out of date. It really has to do with knowledge. It really has to do with a deeper understanding, love and affection for the entirety of architectural history that we both have. And in knowing that, I think we have also been very decided about what it is that is possible.

GM It’s about understanding spatial integrity, this is very important. Structure, construction, prospect, refuge, materiality, colour, light, sunlight, wind, air, all of these things that are inclusive and we both care about.

AC It’s about understanding design to be a life force.

GM Yes. So, it’s not about this new discipline in this profession which is about facadism, that is just a discipline in itself. It’s become such a poor period, in my view, in our profession. Whereas if you look at nature, you look at animals, you look at humans, you look at all living things, and you look at the integrity within the nature and the forces; you understand these forces, and you start to bring them to your way of thinking and saying: “look, this is a leaf, a eucalyptus leaf”, it is so different to a plain tree leaf of the United European. Our leaf is subjected to different climatic conditions and as such has developed the wet sclerophyll and the dry sclerophyll leaf system which is the heart of the leaf. And that leaf often turns away and towards the sun, there is a logic to it. There is an integration of that logic to its beauty, is the integration of the rational and the poetic. That’s what I love; it’s to see how, when something becomes organic in a very wonderful and integrated way you look at it and say “that feels really wonderful”. When that happens you know it don’t you?

THE SURRY SURRY HILLS, SYDNEY, AUSTRALIA 2019

“I had wanted to create a building which would offer something to the walking Sydney-sider; an urban building that was made with humans in mind; a building that was able to offer a smile to people as they walk toward the city and an even bigger smile to them as they walk away.”

Angelo Candalepas 2019 Fronting a major arterial road in Surry Hills, on the fringe of the city, this medium density development of 24 new apartments makes a strong and considered contribution to the streetscape. It is an appropriate scale to its surrounding urban context, exhibiting a limited palette of materials. These considerations contributed to the rare decision made by authorities to remove the two heritage (contributory) buildings to make way for this exciting project.

Designed in close collaboration with clients Oscar and Camilla Done this thoughtfully detailed and well-planned project provides consistent and uncompromised amenity throughout. It successfully answers design challenges, whilst prioritising principles of environmentally sustainable building design.

Creative solutions have been sought to address noise and sun, shielding and protecting its inhabitants whilst offering light and efficient ventilation.

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The street-facing façades are well articulated and form a rhythm with the use of recesses and expressed material junctions, promoting a play of shadow and light. Concrete and glass block are the main materials used for the façade whilst the ceramic tiles, screens, aluminium framing and glass have been carefully selected for the smaller façade elements; refining the architectural language and humanising the appearance of the harder materials.

With the help of changing light conditions, the glittering tapestry of turquoise and tangerine coloured ceramic tiles animates the distinctive Elizabeth Street façade, refreshing and re-energising a once neglected part of our city. New retail spaces at ground level inject life onto the streetscape, making it a priority once more.

Inside, unexpected private sanctuaries and hidden oases are offered by the presence of intimate internal courtyards and communal areas. As a catalyst for social interaction, they are sanctuaries of attractive and inviting spaces that reveal themselves to the residents and neighbouring properties with modesty.

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Powercoated aluminium EA 100 Cleat fix to u/side slab to SE reqs.

Concrete wall below shown dotted Powercoated aluminium louvre profile to façade eng details Powercoated continuous aluminium flatbar welded to rear of screen

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01. Countersunk fixing to SE reqs.

02. Nom. 6mm THK AL PLATE welded top & bottom; all weldments ground smooth. powercoat (Dulux electro range) 03. AL box frame behind shown dashed 04. Nom. 10mm THK AL GUSSET PLATE to sill. SE to confirm reqs.

05. 3mm THK PERFORATED & FOLDED AL SHEET powercoat 06. Screen stopper 07. Nom. 75x50mm AL box frame to reqs. powercoat 08. Nom. 50x50mm AL FRAME to SE reqs. powercoat 09. Brio or similar heavy duty top hung sliding hardware 10. Gusset plate to top 11. Nom. 6mm THK AL PLATE BRAKE pressed single folded sheet with thight radius corners powercoat 12. 10mm diam. rod welded to rear of gusset plate & chemset to CN. 13. Nom. 20mm THK spacer 14. 3mm THK perforated & folded AL sheet powercoat, open area: 62%

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BOTANY ROAD ZETLAND, SYDNEY, AUSTRALIA 2021

Botany Road is composed of two multi-residential projects offering generous interiors that utilise space and maximise on natural light. Running parallel to one another, they vary in scale, material, composition, orientation and density.

The form of the façade has been influenced by the client’s Cretan heritage and the geometry of Cretan antiquity and craft. The geometrical themes symbolically stitch the two sides of the street together which enhance the expectation of ‘change’ and interest. That said, all precedents that are espoused here also engender an element of consistency and repetition; in the tradition of row-housing. The ‘repetition’ sought, is designed to not be oppressive; rather the aim is to enable the possibility of a ‘variegated’ façade for both sides of the street.

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The north-facing brick façade on Sonny Leonard Street has to do with an understanding of ‘bay windows’ enabling diagonal vistas down the street.

The long view directed down the street by way of the planning the precast bay windows is thereby a further ‘privacy’ device to bedrooms that are opposite. The treatment of precast panels for this entire façade provides architectural ‘repetition’ and enables a strong formal approach to the construction of the building proposed.

The subtle variation in colour of the cream face brickwork enhances the tonal play of light and shadow being created across the façade. The angled bay windows of solid brickwork at the upper levels contrast against the ‘hit and miss’ brickwork of the lower levels which in turn create shading screens for the privacy and enjoyment of the residents looking onto the street.

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Painted in-situ concrete slab Dry pressed face brick Plasterboard lining Aluminium framed glazing suite Timber floor finish + Acoustic underlay Suspended plasterboard ceiling

LEE HOUSE WATSON’S BAY, SYDNEY, AUSTRALIA 2021

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This is a reimagining of the traditional Watson’s Bay fisherman’s cottage. Responding to the heritage of the area, there is a recasting of a derelict fisherman’s cottage into a contemporary home of permanence.

Whilst modest in size, the building provides all the needs to its inhabitants with a minimum of fuss, provides a sense of calm repose. Considerations of light, material, and form were key in developing the interior, which is ordered by a central off-form concrete barrier. The architectural expression from the street would at first glance appears wholly

traditional, and in fact could be read as a restoration of an original building. A gradual evolution into contemporary materials and forms along the sides of the building develops into a wholly expression toward the rear.

From the interior a carefully considered sequence of spaces leads to an external landscaped patio from where the architecture of concrete, timber and steel characterise the building’s nature as an offering to those who will inhabit this work in the next few generations.

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CHURCH OF THE LIVING GOD HURSTVILLE, SYDNEY, AUSTRALIA 2021

The built form is a response to the building’s use as a place of worship in conjunction with residential apartments.

There is an attempt to present a building of significant public use and mass to the street. The notion of bulk is reduced with a horizontal composition of concrete lines. In this way, what is offered is something considered appropriate and consistent to the context as to scale. It is also something that remains apart from this same context.

The punctuation of few but large window openings enables a predominance of mass to represent the key character of the form at the street. This enables simplicity; a ‘quiet façade’ in the context of the complex residential facades at the street.

This aesthetical contrast is suited to the mixed-use but also enables the appropriate punctuation at the street of a simpler, ‘visually quieter’ proposal when compared to the adjacent forms.

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In the context of form, the material composition and construction methodology play a significant role and this affects the sense of proportion in the streetscape also.

The east and west façades incorporate highly articulated materiality and careful manipulation of form through subtle extrusion of the service cores. The southern façade incorporates an open landscaped courtyard which allows light into the centre of the building. The entire composition is designed to present as a mass which is a singular public building.

The interior sequence is arrived to develop calm and elevate the worshipper’s sense of repose and quietness.

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Exposed type SB5 PFC Exposed type SB6 outriggers Raked FC sheet lined eaves Sarking INS2 Window type 27 steel plate framed slot. Paint finish Zincalume vent cowl to mech exhaust Cast in reglet to receive over flashing Struct PFC 150 dia. Half-round gutter Fielders fascia purlin type E 150x150 MS angle cleats to support aluminum screen 25OUB shown dotted beyond SRNM3 Window W29 type 18 18 THK MDF sill & reveal linings 50 dia. Aluminum CHS screen Wall cavity space 100 dia. Zincalume DP SC1 struct columns lined in PBD to achieve FRL 120/120/120 Steel purlins at max 1200 CTS PMF INS4 + Sarking Concealed type SB6 outriggers T1 Roof truss Acoustic panels Raked concrete roof beyond Window type 27 Edge of angled PBD lined wall PBD lined recess gap Concealed MS framed truss 35 mm furring channel 13 mm thick PBD wall lining 20 mm plywood backing board Stretched fabric cover panel Concealed array speaker 76 mm thick steel stud frame 130H letters Steel plate edge profile paint finish 60H letters Timber edging to profile Air supply and/or return. Air duct plenum box behind VGF4 Group 2 fire retardant wall panels Particleboard floor lining Fully concealed MS frame to dais Stone edging Step down in slab beyond Line of column beyond Insulation under floor heating to section

DETAIL A

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Exposed type SB5 PFC Exposed type SB6 outriggers Raked FC sheet lined eaves INS4 + Sarking Struct type SB2 Beam Cast in reglet to receive over flashing T1 roof truss Furring channel Steel stud SRNJ4 Window W26 type 17 Ritek wall beyond supporting roof structure Custom made plywood/hardwood desk Elec./data void Suspended acoustic panel lined ceiling Concealed MS framed truss structure Line of column beyond Step down in slab beyond Insulation under floor heating to section Acoustic operable wall

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THE CASTLE SYDNEY, AUSTRALIA 2021

Located in the heart of Sydney, 116 Bathurst Street (The Castle) is a 37-storey mixed-use tower combining residential, hotel and retail space. The tower’s simple architectural form emerges from an intricate structure that sensitively cantilevers over the 142-year-old, heritage-listed, Porter House. The tower sits atop a podium, composed of elements that acknowledge the local character, reflecting a sense of craftsmanship that stems from the site’s history.

The podium is composed of arches and apses, a uniform and simple expression that contributes to a sense of urban activation at street-level. It includes an art installations designed in collaboration with

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artist Maria Fernanda Cardoso. In contrast, the tower is defined by vertical proportions, providing a memorable juxtaposition between the old and new.

The supporting cantilever offers shelter to the public domain of the laneway eleven storeys below.

The tower, being repetitive in nature, is read as a singular compositional expression; the sense of scale being read from street-level, therefore provides depth at the street.

Crowning the top of the tower is a roof garden occupying five levels of stepped gardens, framing the sky with curved concrete elements.

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Interior Wall type 4J with insulation to basix requirements Vapour proof barrier Pre-cast concrete panel water sealed Concrete edge below Clear anodized aluminium panel fixed with expressed ss cap head fixings Clear anodized aluminium “nose” extrusion Existing awning Flange to extend to edge of dome Projection of curtain pelmet above Set flush P26 angle Pre finished mdf window sill Window reveal in pre-finished mdf, concealed fixed Flexible silicone joint in colour to match paint surfaces FT-01 glazing system casement sash FT-01 clear anodized aluminium panel with expressed ss cap head fixings Projection of concrete above (edge of dome) Edge rebate Grey silicon Clear anodized aluminium capral tee section profile 110L x 50H Internal wall 4i Set flush P26 angle Vapour proof barrier Fire rated hebel panel Fire seal to end of hebel panel and inside “nose” extrusion Clear anodized aluminium “nose” extrusion Wall type 4J Caulk and fire seal Backing rod & caulking 5mm pencil round edge Off form concrete Concrete sealer

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ROYAL FAR WEST MANLY, SYDNEY, AUSTRALIA Due for completion 2024 (Collaboration with Glenn Murcutt)

For every sound urban proposition, there is a need to understand the landscape first. The most memorable places connect people to their land and they do so with great subtlety and without complication.

Manly is an ancient place of land meeting water and its archaic nature has been understood by its occupants for thousands of years. More recently, the connection between that which has been developed within its abundant nature has been usurped by the now-familiar desire for personalising view and aspect.

We have sought to provide an example where there can be seen a connection between the everyday human uses of spaces to the landscape in which they are set. Sunlight, orientation, the ground’s topography, the beach and the ocean are all considered as relevant prompts to the outcomes presented in the plan.

Open space and built form is therefore judged to be balanced with the architecture proposed and such that the spaces between buildings offer an awareness of the broadness of the landscape; the latent beauty of nature in a way that arrests people’s connection with it.

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The buildings on South Steyne deliver a horizontal view outward from the centre and across the surface of the ocean and its flanking peninsulas. From outside the proposal there is welcoming of the public eye into the development. The Wentworth Avenue entry to the development presents an opportunity for delivery of ‘space’ as a theme. Subtly, such a space is designed to draw people into the site.

Wentworth Avenue also presents the street-form in an historical context belying which exists a powerful parallel series of spaces as would be another pedestrian street; thus forming an internal uninterrupted line-of-vision from west to east within the entire development; enabling a constant connection to the infinite horizon over the ocean-view.

The proposal therefore takes prompts from the site and delivers a project which is imagined as a project that connects people to the landscape. It does so through its spaces and forms in every opportunity that has been able to be harvested. And such opportunities have sat dormant until discovered through our observations and our designs.

Glenn Murcutt and Angelo Candalepas

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ABOUT THE PROJECTS AND THE AUTHOR

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THE SURRY

LEE HOUSE

DESIGN DIRECTOR Angelo Candalepas PROJECT ARCHITECTS Jeremy Loblay - Principal Lachlan Seegers - Associate Jemima Retallack - Associate Alberto Bettoni Joanna Latoska LOCATION Surry Hills, Sydney, Australia PROJECT DATE 2019 SIZE 2,355 sq.m PROJECT TYPE Multi-Residential CLIENT Oscar and Camilla Done (Cadmium) PHOTOGRAPHY © Rory Gardiner

DESIGN DIRECTOR Angelo Candalepas PROJECT ARCHITECTS Jason Williams – Principal Jeremy Loblay - Senior Associate Marty Bowen - Associate Rachel Yabsley - Associate James Van Geffen Jemima Retallack LOCATION Watson’s Bay, Sydney, Australia PROJECT DATE 2021 SIZE 180 sq.m PROJECT TYPE Residential CLIENT Sheridan Lee PHOTOGRAPHY © Rory Gardiner

BOTANY ROAD DESIGN DIRECTOR Angelo Candalepas PROJECT ARCHITECTS Jeremy Loblay - Principal Tom Vandenberg – Senior Associate Stefan Meissner – Senior Associate Anita Morandini Rasmus Lund LOCATION Zetland, Sydney, Australia PROJECT DATE 2021 SIZE 21,400 sq.m PROJECT TYPE Multi-Residential CLIENT Lateral Estate PHOTOGRAPHY © Rory Gardiner

CHURCH OF THE LIVING GOD DESIGN DIRECTOR Angelo Candalepas PROJECT ARCHITECT Peter Kouvelas - Principal Jeremy Loblay - Principal Joanna Latoska - Documentation Zhen Dai - Documentation LOCATION Hurstville, Sydney, Australia PROJECT DATE 2021 SIZE 1505 sq.m PROJECT TYPE Residential / Religious mixed use CLIENT Mr Sam Witheridge PHOTOGRAPHY © Rory Gardiner

THE CASTLE PROJECT DESIGN TEAM Competition – Stage 1 (2013) Angelo Candalepas - Director Rafaello Roselli Fernando Torres Nina Fett Competition – Stage 2 (2013) Angelo Candalepas - Director Jemima Retallack - Associate Rafaello Roselli Fernando Torres Nina Fett Design Development (2014-2017) Angelo Candalepas - Director Evan Pearson - Principal Alex Dircks - Associate Nichole Darke - Associate Nathan Kong James van Geffen John Evans Lewis Evans Construction Documentation (2016-19) Angelo Candalepas - Director Sergio Azevedo - Senior Associate Evan Pearson - Principal Peter Kouvelas - Principal Jason Williams - Principal Adrian Curtin - Principal Jeremy Loblay - Senior Associate Martin Christensen - Senior Associate Lachlan Seegers - Associate Jemima Retallack - Associate Joanna Latoska Luke Farrugia Gareth Jenkins Santiago van Arcken Pedro Nascimento Joseph Larkings Aliki George Samantha Da Silva Katrina Chu Luiz Maia Carl Tappin Jarrod Hinwood Nathan Kong Silvia Fernandez Marta Sniegowska Lazslo Kotvan Paul Lopez Angela Mantas Interiors Detailing (2018-19) Angelo Candalepas - Director Vesna Kocovic Shelby Kueber Nathan Kong

Construction Phase (2018-present) Angelo Candalepas - Director Jason Williams - Principal Peter Kouvelas - Principal Martin Christensen- Senior Associate Michelle Nurman Shelby Kueber Sheli Baracluff Carl Tappin LOCATION Sydney, Australia PROJECT DATE 2021 SIZE Hotel = 5,885 sq.m Residential = 11,600 sq.m Commercial = 1,180 sq.m PROJECT TYPE Commercial / Residential CLIENT United Development Sydney PHOTOGRAPHY © Rory Gardiner

ROYAL FAR WEST DESIGN DIRECTORS Angelo Candalepas and Glenn Murcutt PROJECT ARCHITECTS Evan Pearson – Principal Marty Bowen - Associate LOCATION Manly, Sydney, Australia PROJECT DATE Due for completion 2024 SIZE Commercial - 3,129 sq.m Residential - 8,648 sq.m Accommodation – 1,704 sq.m Existing building – 3,498 sq.m PROJECT TYPE Charity Offices / Residential / Respite Accommodation CLIENT Ms Lindsay Cane

Glenn Murcutt, in full Glenn Marcus Murcutt, Australian architect noted for designing innovative climate-sensitive private houses, was born in July 25, 1936, London, England. He was awarded the Pritzker Prize in 2002.

Murcutt was born in London while his Australian parents were en route to the 1936 Olympic Games in Berlin.

His father found success as a gold prospector in New Guinea, and Murcutt spent the first five years of his life there. The family’s home was constructed of corrugated iron and set on top of stilts to keep out water and animals; the design of this house, and of other houses built by his father, would later inform many of Murcutt’s own choices as an architect of houses and other small-scale buildings.

After earning a degree in architecture from the University of New South Wales Technical College in 1961, Murcutt spent eight years with a Sydney architectural firm before founding his own practice. In 1970 Murcutt began a nineyear stint as a design tutor at the University of Sydney.

After teaching at the University of New South Wales in 1985 and at the University of Melbourne from 1989 to 1997, he embarked on a series of visiting professorships at universities in the United States, Papua New Guinea, Finland, and Denmark.

Murcutt came to feel that buildings should be able to respond to changes in conditions: “Buildings should open and close and modify and remodify and blinds should turn and open and close, open a little bit without complication. They should do all these things. That is a part of architecture for me, the resolution of levels of light that we desire, the resolution of the wind that we wish for, the modification of the climate as we want it. All this makes a building live.”

Murcutt’s buildings reflect his desire to maintain harmony with the environment. His houses often feature corrugated iron with the ribs laid horizontally, creating a linearity that he felt responded to the landscape instead of competing with it. As a result of his sense of a building’s functionality, few of his designs called for air-conditioning. In projects such as the Magney House (1984), Moruya, New South Wales, the flow of air is controlled through the implementation of slatted roofs, screens, and blinds, while wide eaves provide shelter from the sun. Other eco-conscious features include the V-shaped roof, which collects rainwater for reuse.

Murcutt spent most of his career designing homes in Australia—including, in New South Wales, the SimpsonLee House (1993), Mount Wilson; the Walsh House (2005), Kangaroo Valley; and the Donaldson House (2017; later the Palm Beach House), Sydney. However, he also built a number of public spaces. These include the Kempsey Museum and Visitor Information Centre (1982), South Kempsey, and the Arthur and Yvonne Boyd Education Centre (1999), an artist and student retreat near Nowra (both in New South Wales), as well as the Australian Islamic Centre (2016), Melbourne.

In 2021 Murcutt was awarded the prestigious Praemium Imperiale for architecture by the Japan Art Association.

Angelo Candalepas was born in Sydney and graduated from the University of Technology Sydney (UTS) in 1992. As an apprentice architect, he assisted Colin Madigan at Edwards Madigan Torzillo Briggs, the architects of the National Gallery of Australia and the High Court of Australia. He later worked under the guidance of Graham Jahn at Jahn Associates, where he was appointed associate in 1993.

In 1994, he established his own architecture studio, which in its first year of practice, won the International Design Competition for Housing in Pyrmont. The project was the recipient of several accolades. In the following five years Angelo won and was shortlisted for several national and international competitions including being the runner-up in the 1998 International Architecture Competition for the National Museum of Australia.

In 1999, Angelo established Candalepas Associates.

Since then, the company under his leadership has won a significant number of awards, including the Australian Institute of Architects (AIA) Sulman Medal for Public Architecture in 2009 and 2018, the Frederick Romberg Award for Residential Architecture - Multiple Housing in 2011, the Harry Seidler Award for Commercial Architecture in 2016 and the Aaron Bolot Award for Residential Architecture - Multiple Housing in 2011, 2013, 2017 and 2019. In 2016, he was awarded the NSW Premier’s Prize for Architecture.

Angelo’s honouring of the great architectural influences of Kahn, Scarpa, Corbusier and the more local work of Murcutt and Madigan, has seen his work develop into becoming a personal stamp upon the Australian landscape; one which attempts to support ancient values within a contemporary practice.

Over the years, Angelo has been an advocate of contemporary architecture on projects such as the Cameron Offices, Canberra and the Queensland Art Gallery. He collaborated in a consultive role with Colin Madigan on the National Gallery of Australia (NGA) between 2000 and 2010. In that role, he and Madigan advised the NGA on the building fabric and future master planning in order to protect important contemporary heritage for future generations. Angelo’s work has been acknowledged in Australian and international exhibitions, journals and books.

In 2009, 10 x 10_3 (Phaidon Press, New York) described Candalepas Associates as one of the 100 most interesting emerging architecture offices in the world.

Nationally, Angelo’s work has been published in MMXX: Two Decades of Architecture in Australia (Thames and Hudson, Australia), Architecture in Detail No. 1, Angelo Candalepas Australian Islamic Mission (URO Publications, Australia), The Apartment House and The Terrace House (Thames and Hudson, Australia) and The Encyclopaedia of Australian Architecture (Cambridge University Press, New York). Internationally, his work has featured in The Architecture Review (EMAP Publishing, London), Frame Magazine (Frame Magazine, Amsterdam) and AIT Magazine (Alexander Koch Publishing House, Germany).

Since 1996, Angelo has lectured regularly at various universities across Australia including UTS and the University of New South Wales (UNSW) in Sydney, as well as universities in Newcastle, Queensland and Tasmania. In 2003, he was appointed Visiting Professor of Architecture at UNSW and since then has taught architectural design and theory for the final year of the Master of Architecture course at UTS until 2017 when he moved to his alma mater The University of Technology Sydney where he is currently teaching.

Angelo has spoken at various national industry events, including the National Architecture Conference in Sydney (2000) and Melbourne (2007), Australia and international architecture forums in Auckland, New Zealand; Monterrey, Mexico; Mumbai, India and Athens, Greece.

In 2010, Angelo was nominated President of the Australian Architecture Association and in 2011, Head Creative Director of the National Conference for the Australian Institute of Architects. In 2011, he was also appointed Head Curator for the ‘International Series Lectures’ run by the AIA. Between 2008 and 2012, he was appointed by the Premier of the NSW State Government as an expert on the Design Excellence Review Panel for ‘Barangaroo’ and has sat on various advisory panels for the City of Sydney on other significant projects. In 2019, Angelo was appointed as a nationally elected Councillor for the AIA. In 2019, Angelo was made a Life Fellow of the Australian Institute of Architects. In 2020, he was presented with the University of Technology Alumni Award for Design, Architecture and Building, recognising his commitment to the profession.

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AMAG

COLLECTION

SQUARE BOOKS

VOLUME

DSB 03

TITLE

Angelo Candalepas Works and Projects

1ST PUBLICATION

April 2022

EDITOR

Ana Leal

EDITORIAL TEAM

Carolina Feijó Filipa Figueiredo Ferreira João Soares Tomás Lobo

ISBN

978-989-53330-0-4

LEGAL DEPOSIT

469159/20

PRINTING

www.lusoimpress.com

RUN NUMBER

1000 numered copies

OWNER

AMAG publisher

VAT NUMBER

513 818 367

CONTACTS

hello@amagpublisher.com

FOLLOW US AT

@amagpublisher www.amagpublisher.com

ANGELO CANDALEPAS Angelo Candalepas and Associates is a rare company that has produced a wide array of projects with diversity in scale and typology. Projects ranging from religious buildings to public parks, individual houses to large multi-residential developments have been produced by the firm.

In twenty years’ practice the firm has been the recipient of over 30 awards in architecture and almost every project the firm has completed has been published or awarded State or National Architecture Prizes including; the Sulman Medal (twice), The Frederick Romberg and Seidler National Awards in Architecture, the Aaron Bolot Award (numerous times), and the Premier’s Award. The success of the firm is closely related to the direct engagement undertaken by Director Angelo Candalepas in every stage of the procurement of work.

The firm is committed to core tenets of traditional professionalism, excellence in the technical and scientific examination as well as the more abstract ideas of design. In this way, it is a comprehensive firm with a generalist position on its engagement with the pursuit of Architecture.