THE ARCHITECT_WA 2024

The Architect Work.

Rest. Play.

Edition

2024

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The Australian Institute of Architects is the peak body for architecture in Australia representing over 14,500 members globally, committed to raising design standards and positively shaping the places where we live, work and meet.

The Architect is the official publication of the Australian Institute of Architects – WA Chapter. This WA 2024 edition focuses on West Australian homes and community spaces designed by West Australian architects.

Kedela wer kalyakoorl ngalak Wadjak boodjak yaak.

Today and always, we stand on the traditional land of the Whadjuk Noongar people.

IN THIS ISSUE

AHA STUDIO

vittinoAshe ARCHITECTS

TROWER FALVO ARCHITECTS WITH ALESSIO FINI

LYONS WITH SILVER THOMAS HANLEY, OFFICER WOODS, THE FULCRUM AGENCY AND ASPECT STUDIOS

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FOREWORD

CELILO SPRINGS WESTERN ARCHITECTURE STUDIO

CLIFTON & CENTRAL MJA STUDIO WITH CAPA STUDIO

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POSTAL HALL BOOKSHOP TROWER FALVO ARCHITECTS WITH ALESSIO FINI

FROM THE EDITOR

FARRIER LANE HOUSE MDC ARCHITECTS

NOMA RESIDENCES PLUS ARCHITECTURE

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HIS MAJESTY'S THEATRE BALCONY RECONSTRUCTION GRIFFITHS ARCHITECTS

TANOA vittinoAshe ARCHITECTS

BASSENDEAN HOTEL WOODS BAGOT

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DEEPWATER HOUSE AHA STUDIO

SONNY’S DESIGN THEORY

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CONTRIBUTORS 12

PROJECTS

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BOOLA KATITJIN LYONS WITH SILVER THOMAS HANLEY, OFFICER WOODS, THE FULCRUM AGENCY AND ASPECT STUDIOS

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IN THIS ISSUE 80

82

88

98

Medium-density housing

By Sandy Anghie

Housing affordability: Two good rooms

By Trent Woods

Architects&Co.

By Jonathan Speer

The architecture of Iwan Iwanoff

By Warren Anderson

Bigger does not always mean better value

By Michelle Blakeley

ARCHITECT AT WORK

ISSUES

OPINION

PRACTICE PROFILE

ENDURING WORK

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Kate Hislop

By Reinette Roux

CREDITS Editor Jonathan Speer Managing Editor Emma Adams Editorial Panel Sandy Anghie Emma Adams Reinette Roux Jonathan Speer Matthew Sabransky Plans + Drawing Preparation Lee Yang Yang Magazine Design www.publiccreative.com.au Masthead Design www.studiofield.com.au Printing Advance Press

Publisher Institute of Architects WA Chapter 33 Broadway Nedlands WA 6009 T: (08) 6324 3100 architecture.com.au @architects_wa

Advertising Enquiries wa@architecture.com.au editor@thearchitectwa.com Editorial Enquiries editor@thearchitectwa.com

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Important Disclaimer: The views expressed in this publication are those of the individual authors and do not necessarily reflect the position of the Australian Institute of Architects. Material should also be seen as general comment and not intended as advice on any particular matter.

No reader should act or fail to act on the basis of any material contained herein. Readers should consult professional advisors. The Australian Institute of Architects, its officers, the editor and authors expressly disclaim all and any liability to any persons whatsoever in respect of anything done or omitted to be done by any such persons in reliance whether in whole or in part upon any of the contents of this publication. All photographs are by the respective contributor unless otherwise noted.

ISSN: 2653-1445

Cover Image Deepwater House by AHA Studio Photograph: Robert Frith Supporting Patrons Living Edge Midland Brick Mondoluce Hillam Architects This publication has been manufactured responsibly under ISO 14001 environmental management certification and Forest Stewardship Council certification FSC® Mix Certified paper.

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PROJECT TYPE

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PROJECT

mondoluce.au

FOREWORD

From environment responsive homes to Murdoch University’s state-of-the-art Boola Katajin, the projects covered in this edition all have one thing in common – they are focused on high quality, sustainable design.

With the built environment accounting for about 39% of global emissions, in building construction and operation, architects have a significant role to play in emissions reduction targets. And architects are fundamentally ahead of the game.

When it comes to sustainability, architects are already working beyond mandatory requirements. Clifton & Central by MJA Studio and CAPA Studio is just one example, an award-winning multi-residential project with over 7-star NatHERS ratings. Celilo Springs House by Andrew Boyne is another example. At just 120 sqm this beautiful hand-crafted home is half the size of the average Australian home and addresses broader agendas including neighbourhood generosity and biodiversity.

Welcome to our latest edition of The Architect magazine. As always, the magazine showcases the incredible contribution that West Australian architects make in shaping our state with a diverse range of innovative projects.

The Australian Institute of Architects is committed to advocating for more sustainable design and supporting members on their sustainability journey. A focus in recent months has been on the Medium Density Code. I have written about the code for this edition.

Thank you to everyone involved in creating this latest edition of the magazine – the architects and the writers. Like a lot of the work of the Institute, the magazine relies on volunteers, kindly volunteering their time and talent to help us promote West Australian architects and architecture.

Congratulations in particular to Jonathan Speer who took over as editor this year. Also, a volunteer, Jonathan worked tirelessly with managing editor Emma Adams from the Institute’s national team to put this edition together. Thank you also to our graphic designer, Peter McDonald, for his work.

We hope this edition of The Architect provides you with inspiration and that you enjoy our stories, with their varied styles and points of view. It’s just a sample of the incredible work that architects do and the contribution we make as a profession to the people who occupy our buildings, and to the communities in which they are located.

As you know, everywhere you look, walking down a city or suburban street, everything around you has been designed. The buildings, the streetscapes, the landscape. It’s the quality of that design, and the quality of the construction, that determines your experience.

Sandy Anghie WA President Australian Institute of Architects

FOREWORD

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FROM THE EDITOR

From the winner of the 2023 George Temple Poole Award, Boola Katitjin, a magnificent mass timber building at Murdoch University designed by Lyons, Silver Thomas Hanley, Officer Woods Architects, and The Fulcrum Agency, to the beautifully detailed urban “tent” of Celilo Springs by Western Architecture Studio, nestled amid endemic trees, to the small jewel of the ephemeral Postal Hall by Trower Falvo Architects with Alessio Fini, these are some of the spaces where we create, recharge and enjoy ourselves.

Sandy Anghie, in her piece welcoming the introduction of the Government’s new Medium Density Code, outlines how these design considerations will improve the design quality of urban infill, provide more housing diversity, and improve the operational performance of homes. While Trent Woods looks at how connection to nature through good design, a core tenet of the Medium Density Code, would have a direct and tangible affect on our daily life.

Welcome to this double issue of The Architect, my first as editor. The projects in this edition highlight the places in which we work, rest and play.

Particularly pertinent in these times of tighter belts, Michelle Blakeley, analyses how “good design, thermal performance and more efficient use of space” can deliver a smaller, more affordable house and help change the expectation of what “home” means.

All the stories in this edition have been written by architects and writers who have volunteered their time, passion and intelligence in advocating for West Australian designers and architects; your work is very much appreciated. Thanks must also go to our graphic designer Peter McDonald of Public Creative for his exquisite work. And thanks very much to the stellar efforts of the crack editorial panel.

We hope you enjoy this edition of the magazine, whether at work, rest, or play.

Jonathan Speer Editor

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FROM THE EDITOR

Photograph by Dion Robeson

Let clay bricks fire your imagination Midland Brick has proudly been helping create some of this state’s most innovative and enduring buildings for over 75 years.

We work closely with architects and builders to reliably meet all needs, including developing custom colours, sizes, shapes and textures.

Our bricks are made in WA from the finest clay there is.

Let’s work together to build something great.

CONTRIBUTORS

Sandy Anghie

Sandy has experience across diverse fields, combining architecture and planning with legal, finance, commercial and governance skills. She is the WA Chapter President of the Australian Institute of Architects.

Emma is the editorial and publishing lead at the Australian Institute of Architects. She is a contributing editor, architectural writer, and researcher with experience in literary archives.

Emma Adams

Reinette Roux

Jonathan Speer

Matthew Sabransky

Warren Andersen

Ryan Berut

Michelle Blakeley

Marinda Ergovic

Phil Griffiths

Dr Emil E Jonescu

Edmund Limadinata

Craig Nener

Stefan Oh

Domenic Trimboli

Warren is author of a soon to be released book – ‘The Studio of Iwanoff’, a comprehensive review of the art and architecture of architect Iwan Iwanoff in Western Australia, featuring works from 1950 to 1986.

Emil is an accomplished architect and researcher leading design innovation and community advancement at Hames Sharley, Australia.

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Ryan is a practising architect at MJA studio and contributor to the Hearing Architecture podcast.

Ed is a graduate of architecture with an interest for small living and the public realm.

Reinette is the industry engagement lead at the Australian Institute of Architects in Melbourne.

Her keen interest in the sustainability of architecture and development stems from a background as an architect working across multiresidential projects in WA.

Michelle leads her own architecture practice developing more efficient living spaces and is founder of My Home housing delivery for people who are homeless or at risk of homelessness.

Craig is the director of GROTTO Studio and an educator at UWA and Curtin University. With hands-on experience with industryleading projects both in Australia and internationally, he is a passionate advocate for making architectural beauty and function accessible to all.

CONTRIBUTORS

This is Jonathan’s first time out as editor. He’s excited that this magazine serves as a voice advocating for architecture, that has a meaningful, daily impact on us all.

Marinda has worked professionally in both London and Perth and now collaborates at MJA Studio. Marinda is currently researching the relationships between people and buildings using geodesy and physics theory.

Starting his career as a graphic designer, Stefan stumbled into architecture at a later age. After working both locally and in Norway, he now works with Philip Stejskal Architecture.

Matthew is currently completing his studies in architecture having moved from a career in Biomedicine. He hopes to use his passion for research to improve interaction with the built environment.

Director of Griffiths Architects, Philip is practice principal. He combines a close day-to-day involvement in design with his primary responsibilities for the strategic direction of the practice.

Domenic is an architect, and a PhD student and academic in the areas of architecture and urban planning at The University of Melbourne.

CONTRIBUTORS

Trevor Wong

Trevor is an architect at Hames Sharley who has worked on a variety of projects spanning urban planning, commercial, industrial, retail, residential, and mixed-use developments.

Trent Woods

Trent is an architect and founding director of Officer Woods Architects, a practice established with Jennie Officer. The built work of Officer Woods has been published and awarded at both state and national level.

Lee Yang Yang

Yang Yang is the recent Emerging Architect WA winner and EmAGN WA co-chair. He is described by his friends as a super nerd architect - now currently at Woods Bagot.

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CELILO SPRINGS

WESTERN ARCHITECTURE STUDIO

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PROJECT TYPE

PROJECT TYPE

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WORDS: RYAN BERUT PHOTOGRAPHY: PETER BENNETTS AND NICHOLAS PUTRASIA

Nestled into the heritage neighbourhood of Mount Lawley, Celilo Springs by architect and owner-builder Andrew Boyne is a uniquely crafted home that works to enhance the character of suburban Western Australian homes.

Located in Mount Lawley, the site slopes eight metres from the street front to the rear boundary. The area functions as a groundwater catchment with a number of naturally occurring springs located on the site. Andrew's initial focus was on understanding groundwater movement and identifying these springs and dry zones, predominantly along the northern edge. The house was then placed in the dry eastern corner, with a path along the north for access to the battle-axe lot. The constant sound of water flowing through underground concrete pipework can be heard by listening to a stormwater pit at the site's lowest level.

Celilo Springs embodies the dynamic and transient nature of water in how its presence changes in relation to the ground. Descending on the site, the house takes on a subterranean quality as it is pressed against a large limestone retaining wall. From the main yard and entry to the house, the dwelling sits within the landscape.

Outdoor landscaping elements seamlessly continue into the main living space, working to blur the thresholds of internal and external spaces. Viewing the dwelling from the bottom of the site, the structure takes on a new treehouse-like quality as it sits above the surrounding canopy.

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CELILO SPRINGS / WESTERN ARCHITECTURE STUDIO

HIGHAM ROAD HOUSE / PHILIP STEJSKAL ARCHITECTURE

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Andrew’s partner Erica explains how Western Australia's material culture is defined by its economy, improvisation and a DIY mentality.

This can be seen throughout Andrew and Erica’s home, where commonly found objects such as concrete stormwater pipes have been repurposed as landscaping elements, structural columns and even as a pantry. The collection of native plants is grown from seeds that Andrew and Erica have gathered throughout different regions of the state.

The same approach is brought into the home with deep red jarrah cabinetry, a freestanding pot-belly wood burner and timber framed glazing. The floor is made of reclaimed Wandoo timber from the old Subiaco Market pavilion. Wandoo is twice as strong as jarrah and was a popular and readily available timber up until the mid-twentieth century. Andrew and Erica recall how it took over an hour to pin down and lay four of the timber boards.

The reclaimed finishes, combined with the physical efforts of Andrew and his family in building the new house, imbue the home with a living memory that surpasses the house's lifespan and echoes the interior quality of older West Australian homes.

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The home has been designed to perform in the West Australian climate. Windows are located to allow for natural cross ventilation, the building has been orientated to the north for maximum daylight access and the tent-like roof structure acts as a thermal chimney.

The house is designed with low thermal mass, high-quality materials including infrared reflective ceiling and low emissivity glazing. This approach worked against the norm of building with high thermalmass products such as brick and concrete, which radiate heat in summer. Andrew explains, the house can be left during the day, and when the family returns, it takes only moments to cool the house.

Andrew explains that despite our best effort at “greening-up" our neighbourhoods over the past decade, there is still a detachment from homes to the natural environments. Celilo Springs is a home built with an empathy to our natural environment and inspires people to look further than the suburban context of our dwellings. The home is a response to the enduring natural conditions of our land and pushes us to further question what natural landscape we all inhabit.

CELILO SPRINGS / WESTERN ARCHITECTURE STUDIO

CELILO SPRINGS / WESTERN ARCHITECTURE STUDIO PHOTOGRAPHERS Peter Bennetts and Nicholas Putrasia ARCHITECT www.wastudio.net Email: andrew@wastudio.net instagram.com/western_architecture_studio DESIGN TEAM Andrew Boyne KEY CONSULTANTS Structural Engineering: Forth Engineering / ESD: Geotechnical / Landscape: Andrew Boyne / Mechanical: Froster Engineering BUILDER Erica and Andrew Boyne (Owner Builder) / Completion date: 2022 SITE 11A Pakenham Street, Mount Lawley / Sqm site: 655 sqm / Sqm build: 125 sqm SUSTAINABILITY Key sustainability measures / Low embodied carbon (local and recycled materials) / Low operational energy / Small footprint / Passive stack ventilation / Targeted thermal mass in low-thermal mass strategy / Infrared reflectivity heating / Indirect evaporative air conditioning in displacement arrangement / 300 species of WA native plants / Canopy restoration / Water filtration reed beds KEY SUPPLIERS Floors: Recycled Wandoo recovered from Subiaco Markets / Lighting: Corsa Lighting and Unios / Furniture: Vitra / Windows and doors: Goff and Jackson / Exterior cladding: Bluescope Redcor weathering steel / Ceiling: Alpolic; Network Architectural / Air conditioning: Climate Wizard CW-3 – Seeley International CELILO SPRINGS / WESTERN ARCHITECTURE STUDIO

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FARRIER LANE HOUSE MDC ARCHITECTS

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PROJECT TYPE

PROJECT TYPE

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WORDS: CRAIG NENER PHOTOGRAPHY: DION ROBESON

Farrier Lane House stands as an exemplary model for affordable, sustainable, and well-designed homes.

This abode is more than just a personal residence for architect Matt Delroy-Carr, the director of MDC Architects; it's a manifesto, a challenge to the norms, and a tangible illustration of what he believes good architecture should symbolise.

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This interview with Matt came in the wake of news that the State Government had deferred the new Medium-Density Code indefinitely.

At a time when large volume builders exert pressure to preserve the status quo, Matt's practice shines brightly, propelling his belief that exceptional design need not be expensive but can indeed be an asset to the economy, environment, and human wellbeing.

Set on a lot that was once someone's backyard, the house is meticulously positioned to respect its local environment. Sixty per cent of the site is dedicated to landscaping, with rainwater thoughtfully directed to replenish the aquifer. Citrus trees thrive on the south side, while native gardens adorn the north. This modest three-bedroom home, nestled by a laneway and at the foot of a large neighbouring gum tree, integrates humbly with its natural surroundings. This embodies one of Matt's core design beliefs: that good architecture should only ever enhance the natural environment.

FARRIER LANE HOUSE / MDC ARCHITECTS

PROJECT / ARCHITECT

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Farrier Lane House reflects Matt's ethos of resourcefulness, climate adaptation, and an authentic and scientific use of materials. The concrete slab on the ground floor and brick walls both serve as thermal mass elements, key to the home's passive solar performance. The upper floor combines reverse brick veneer, heavily insulated lightweight framing, and reflective Zincalume sheeting to fend off the harsh summer sun from the east and west.

These thoughtful choices highlight a well-informed architectural science that harmonises with the context's built aesthetic.

Spatially, the home is organised into three structural bays, anchored by a robust central wall housing the stairs and utilities.

With living areas downstairs and bedrooms above, the layout is as functional as it is playful. Features such as cubby rooms for children, hatches for air circulation, and connecting doors between bedrooms enhance both connectivity and airflow. Elements like exposed salvaged floor joists, tumbled repurposed bricks, and painted low-cost maxi bricks resonate with Matt's pursuit of authenticity in structure and materials, echoing the architectural heritage of the Australian shed, while married to a considered approach to thermal performance.

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The home's form and function are guided by passive solar design principles. Its north-facing orientation and single-room depth allow for ample sun penetration in winter, reaching the entire ground floor through expansive double void windows. This thoughtful orientation and design contribute to a natural warmth and cooling effect, significantly reducing the need for artificial temperature control throughout the year.

Matt Delroy-Carr is an architect of both thought and action. His scientific approach to design dovetails with his reverence for Australian heritage and the natural landscape. His dedication transcends mere talk, manifesting in a home that genuinely embodies his ethos.

In a city like Perth, where the need for better housing is clear but often unheeded, Matt is diligently working to bring about change.

Living by the principles he passionately advocates by creating Farrier Lane House. More than just a home, it's a replicable example of what thoughtful, sustainable design can achieve. Offering a tangible solution and a pathway for others, it serves as a practical demonstration and a reminder to all of us that we can think, build, and live more sustainably.

FARRIER LANE HOUSE / MDC ARCHITECTS

FARRIER LANE HOUSE / MDC ARCHITECTS PHOTOGRAPHER Dion Robeson ARCHITECT www.mdcarchitects.com.au Email: info@mdcarchitects.com.au instagram.com/matt_mdcarchitects DESIGN TEAM Matt Delroy-Carr, Brian Donnelly, James Rietveld KEY CONSULTANTS Structural Engineering: WA Structural / ESD: Fini Sustainability / Geotechnical: NA / Landscape: Stuart Pullyblank / Life Cycle Assessment: Cerclos (formerly Etool) BUILDER Bruce Construction Design / Completion date: October 2022 SITE Farrier Lane, White Gum Valley / Sqm site: 317 sqm / Sqm build: 145 sqm (footprint: 90 sqm) SUSTAINABILITY NatHERS rating: 7.2 Stars / Key sustainability measures: Life cycle assessment / Etool gold rating / Carbon negative 368 kg CO2e per year per occupant / 60% permeable landscape area 25% tree canopy coverage at maturity KEY SUPPLIERS Cabinetwork: Brightwood Design / Floors: Natural Cork Flooring, installed by Campbell Cork Floors / Lighting: BOSS Illumination / Bathrooms: Reece Plumbing Fremantle / Furniture: Bloc 3-seater sofa by LaForma / Windows and Doors: Kohlen Joinery, CWS / Timber cladding: Iron Ash, Worldwide Timber Traders / Corrugated Metal: galvanised, Revolution roofing / Bricks: Brickworks Jamison tumbled / Structural sub-floor: Supafloor, Built-It-Eco

FARRIER LANE HOUSE / MDC ARCHITECTS

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TANOA

VITTINOASHE ARCHITECTS

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PROJECT TYPE

PROJECT TYPE

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PROJECT / ARCHITECT

WORDS: STEFAN OH PHOTOGRAPHY: ROBERT FRITH

Originally one half of a duplex built in the 1960s, Tanoa was lovingly restored in the early 2000s by local architect, Gerard McCann. With the ever-increasing demands of a family with teenagers, the current occupants simply required more space in which to grow. vittinoAshe were approached to respect as much of the existing residence as possible, while adding new spaces for the family to be both together and apart.

Winner of the 2023 Peter Overman award, Tanoa is the embodiment of quiet, thoughtful architecture, implemented with refined restraint and sensitivity.

The main interventions include three new spaces: two external garden rooms and an additional living space above. The upper level is the primary new addition to the home. It becomes a new multifunctional space, able to host a range of collective or solitary activities, from sewing to yoga, movie nights or clocking some overtime. Clever design enables this through pivoting joinery and a concealed timber slider that tucks away the workspaces when it’s time to unplug. Access to the upper level is also purposeful, via a dedicated external spiral stair. This separation not only creates a meaningful break from the existing home but compels a direct engagement with the outside environment.

Frequent, gentle reminders of the home’s history and place are layered throughout the project. A local Whadjuk advisor was engaged early in the design process to elucidate the site’s pre-colonial context.

The area was popular not only for its paperbark trees, but also for its proximity to the beach. Nestled in the leeward side of the dunal system of the Swan Coastal Plain, the natural topography provides great protection from the gusty coastal winds, making it a once popular Noongar location for camping and fishing.

TANOA / vittinoAshe

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This concept became a guiding principle for Tanoa. It allowed vittinoAshe to unshackle themselves from a typical response expected from such a coastal location, where ocean views are paramount above all else. Tanoa rejects this impulse, with the upper addition turning its back to the ocean to prioritise spaces for comfort and security. The resulting upper mass is then delicately placed into the existing roofline, as if it were gently lowered from above.

With much of the addition becoming nestled within the existing roof, perceived height is greatly reduced from the street, softening neighbourhood impact. Tanoa then becomes an understated addition, defined more by its striking, restrained aesthetic than an otherwise haughty, insistent massing that’s so commonly discordant with its surroundings.

A reminder of this roofline intersection is expressed in the interior cladding, with the stained oak ceiling panels descending the walls to create a datum that cleverly references the line of the existing roof. It becomes a differential high-water mark where old meets new, with a concealed strip of lighting further demarcating this line at night.

The warm timber tones also serve as a strong reference to the native paperbark trees, as well as the client’s Tasmanian heritage.

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On the ground floor, two new garden rooms connect inside with out, extending the existing ground floor living area to the north and south.

The southern addition provides the family with a more secluded area to relax by the pool, hidden away from the street. A more active space was also required, where the family can socialise and hang out. As a result, a new linking patio to the north weaves all elements together, effectively becoming a new heart for the home. Considered landscaping and planters provide effective privacy when desired, while not precluding spontaneous neighbourly interaction.

Ultimately Tanoa is a modest and thoughtful inclusion to a leafy coastal suburb that’s known for its unnecessarily large and opulent houses. vittinoAshe deftly balances the client brief with history of place and a sensitive site response to create a charming addition to a home that aptly celebrates small-footprint living.

TANOA / vittinoAshe

TANOA / vittinoAshe ARCHITECTS PHOTOGRAPHER Rob Frith ARCHITECT www.vittinoAshe.com.au Email: contact@vittinoAshe.com.auh instagram.com/vittinoashe DESIGN TEAM Marco Vittino, Katherine Ashe, Michelle Kar KEY CONSULTANTS Structural Engineering: Forth Consulting Pty Ltd / ESD: The Study, Tristan Stanley Carey / Wadjuk Advisor: Brendan Moore BUILDER Nash Consolidated Services / Completion date: March 2022 SITE 9 Andrews Place, Cottesloe / Sqm site: 637 sqm / Sqm build: 44 sqm (new addition) and 162 sqm (existing) SUSTAINABILITY Key sustainability measures: Orientation / PV array / Battery storage integrated with EV KEY SUPPLIERS Cabinetwork: Timbacraft Furniture / Floors: Osmo oil on Tasmainian Oak / Lighting: Alti Lighting / Bathrooms: Reece / Furniture: Cult, Jardin / Windows and Doors: AWS / Exterior cladding: James Hardie, Axon

TANOA / vittinoAshe

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DEEPWATER HOUSE AHA STUDIO

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PROJECT TYPE

PROJECT TYPE

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WORDS: DOMENIC TRIMBOLI PHOTOGRAPHY: ROBERT FRITH

Deepwater House by AHA Studio references the nearby location at which the Djarlgarra /Canning River is at its deepest; but it is perhaps better understood as a metaphor of an architecture borne from a deeper critical engagement with its place among Perth’s Swan Coastal Plain.

Unlike the immense diversity of native undergrowth found in this region, the relatively low trees are more commonly identifiable by their grey-brown trunks and gnarled forms, totemic to a life spent growing in sweeping winds, intense sun, and sandy soils. So, even if it starkly contrasts much of the larger suburban homes in the area, it is an awareness of these sorts of trees and their response to the environment that in turn make greater intuitive sense of Deepwater’s low-slung pitched roofs and single-storey volumes.

Keep looking and you also start to notice the angled grey concrete breezeblock walls extending out from the bedrooms to shield the harsh sun, the roof prizing itself open just enough to let a soft light into the living spaces and those long overhangs providing the shade of a branch sweeping down towards the ground.

Concrete blocks do of course occupy something of a storied place amid the history of Perth’s architectural language and the front facade of this house is undoubtedly reminiscent of many MidCentury homes found in suburbs throughout the city. In this instance, however, the client had largely developed a passion for Modernist and notably Brutalist architecture as well as concrete-based construction from their upbringing in Indonesia, which had its own Mid-Century vernacular. Subsequently, Deepwater has become the latest creation of what is now part of three explorations in concrete-block housing done by AHA Studio architect, Andrew Hagemann.

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DEEPWATER HOUSE / AHA STUDIO

PROJECT / ARCHITECT

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Programmatically, the slender L-shaped planning of the home also comprises of three parts stepping down the undulating site as it makes its way towards the river beyond. The front entry level is the first of these spatial areas and incorporates a children’s music room subtly angled parallel to the river shoreline and something not often seen, let alone prominent in an inner suburban home, a mud room.

However, the position of this room was always intended to reflect both a humble utility and its integrity to real life’s daily rituals and movements such as taking off shoes, dropping off shopping or even just dumping the children’s bags after school.

Beyond the entry level, the zoned living and dining volume is linked by an enclosed walkway to the bedrooms. In both areas, the warmth and exceptional craftsmanship of the timber joinery works harmoniously with the exposed block walls and interspersions of dappled sunlight and shadow, or komorebi as the Japanese call it.

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The slenderness of the home’s floor plan equally means there is an ample landscape around these spaces, not to mention the already large established trees of the neighbouring homes. The latter helped alleviate the need to purchase mature planting and so the clients have instead opted to find joy in having something grow up around them.

In a conscious effort to reduce building waste, what would otherwise have been scrap material, was regularly laid-out on site to be considered for its potential suitability towards being integrated into the landscape too. In this way for example, a lintel offcut has become the basis for an outdoor seat and surplus or remnant blocks were integrated into surrounding walls. In all, Andrew estimates that this saved somewhere between 30-40% of building waste going to landfill – making for an encouraging saving that he is keen to extend further in future projects.

DEEPWATER HOUSE / AHA STUDIO

DEEPWATER HOUSE / ANDREW HAGEMANN ARCHITECTURE STUDIO PHOTOGRAPHER: Robert Frith Acorn Photo ARCHITECT Website: www.ah-a.com.au Email: mail@ah-a.com.au instagram.com/ahastudio_ DESIGN TEAM Andrew Hagemann, Tamara Glick, Annabelle Thomas KEY CONSULTANTS Structural Engineering: Terpkos Engineering Pty Ltd / ESD: Emergen Cadds Group / Interior Design: AHA Studio with Loam / Landscape: AHA Studio with Alexandra Farrington Landscape Architecture and Phil Hogan Landscaping Contractor / Lighting: Inlite WA BUILDER Wandoo Building Company / Completion date: June 2022 SITE 79 Ullapool Road Mount Pleasant / Sqm site: 1189 sqm / Sqm build: 335 sqm SUSTAINABILITY NatHERS rating: 7.1 Stars / Key sustainability measures: passive solar design principles / Low life-cycle cost and functioning thermal mass heat sink concrete block wall to the full length of the southern side, insulated with rigid 60mm Kingspan insulation boards to the cavities / 6.5kW solar PV array linked to internal battery storage / 3000L slimline water tank connected to WC cisterns / Locally and ethically sourced Toodyay and Donnybrook stone / Juvenile and small to medium-sized planting KEY SUPPLIERS Cabinetwork: Benchmark Cabinets / Floors: Shine It Flooring Systems / Lighting: Inlite, Artemide, Cult Design and Archier / Bathrooms: Reece Plumbing / Furniture: Nathan Day Design (Vasse WA), Tait Outdoors, Loam Claremont, Ligne Roset Perth / Windows and Doors: Avanti Glass and Aluminum / Exterior cladding: Midland Brick 100 and 200 Series Grey Concrete Blockwork / Spotted Gum timber and veneers: World Wide Timber Traders / Black film faced plywood: Maxi Ply DEEPWATER HOUSE / AHA STUDIO

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CLIFTON & CENTRAL MJA STUDIO WITH CAPA STUDIO

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PROJECT TYPE

PROJECT TYPE

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PROJECT / ARCHITECT

WORDS: TREVOR WONG PHOTOGRAPHY: JACK LOVEL

Formerly a quintessential Australian icon, the corner store deli has regrettably given way to the expansive reach of supermarkets and servos in recent times. The deli has always symbolised more than convenience for locals. Across the suburbs, they have seemingly embedded themselves within our streets, generating activity and serving as vibrant meeting spots where residents and neighbours alike can socialise and interact with the wider community. Clifton and Central by MJA Studio with CAPA Studio is a boutique mixed-use development in Mt Lawley on an old corner store site.

The site presented a unique opportunity to capture and celebrate the heritage essence of Mt Lawley while reinstating the once revered Australian corner store as the heart of the neighbourhood. Located at the intersection of Clifton Crescent and Central Avenue, the development has fifteen apartments and six commercial tenancies spanning two lots under different zoning requirements.

The corner store lot is zoned as Local Centre and transitions to R40 on the eastern side of the development. This meant that the height limit for the site was restricted to 2-3 storeys. The intention of the initial massing was to carve out the envelope and lower the built form towards the neighbouring eastern and southern aspects of the site. This reduced overlooking and provided a green buffer on the adjacent boundaries reflective of the leafy neighbourhoods found in the Mt Lawley area. Given that the project lies in a heritage protection zone, there was limited examples of 4-storey developments in the suburban context. The form of Clifton and Central pays homage to the surrounding churches in the area citing the clean monolithic gable that both references the architectural context while embedding the proposal into the existing streetscape.

CLIFTON & CENTRAL / MJA STUDIO WITH CAPA STUDIO

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CLIFTON & CENTRAL / MJA STUDIO WITH CAPA STUDIO

The primary material of red brick was chosen to reflect the character of not only Perth, but more specifically Mt Lawley’s proud history of craft brickwork that is evident in many examples of federation housing in the area. The expression of the materiality is particularly prominent in its unique detailing and the transitions of the different coursing that sit within the facades. The detailing is particularly notable on the Central Avenue facade where a frame of basketweave defines the gable and its interface toward the sky. Embedded within the framing are layers of Flemish bond, adorned with proud coursing and interspersed with hit-and-miss brickwork. This intricate composition contributes a robust tactility to the exterior producing pronounced shadows that dance across the northern-facing frontage, shifting with the passage of daylight.

The interior creates a different experience with three curated material palettes that have been deliberately designed to contrast the strength and robustness of the external architecture. All the interior schemes aim to provide a sense of calmness and sanctuary using natural lighting and soft materials. Subtle finishing on the joinery is offset with raw yet delicate finishes that are subtly embellished on the island bench and splashbacks.

Clifton and Central isn't just adding more housing diversity to the predominantly single residential Mt Lawley area, it's doing so while respecting what makes the place special. The mix of architectural styles and materiality, the area's history, and even the local corner store that the development sits on are all integral components to Mt Lawley’s charm. What sets Clifton and Central apart lies in its ability to unite all these elements. MJA Studio has crafted a development that not only integrates seamlessly into the fabric of the local community but has created something that will enrich the character of the area, not unlike that old Australian corner icon, for a long time to come.

CLIFTON & CENTRAL / MJA STUDIO WITH CAPA STUDIO PHOTOGRAPHER Jack Lovel ARCHITECT Website: www.mjastudio.net Email: admin@mjastudio.net instagram.com/mjastudio DESIGN TEAM Jimmy Thompson, Stefan Oh, Jess Beaver, Ash Blackwell KEY CONSULTANTS Structural Engineering: Forth / ESD: CADDS / Landscape: CAPA BUILDER Willing Homes / Completion date: September, 2022 SITE 179 & 181 Central Avenue, Mt Lawley / Sqm site: 1766 sqm / Sqm build: 2898 sqm SUSTAINABILITY NatHERS rating: 8.1 Stars KEY SUPPLIERS Roofing: Revolution Roofing / Floors: Woodpecker / Lighting: Unios, Pierlite, Alti, Fred International / Bathrooms: Original Ceramics, Dias, Nood, Laminex, Anodisers WA, Argent, Caroma / Windows and Doors: Jason Windows / Exterior cladding: Brickworks CLIFTON & CENTRAL / MJA STUDIO WITH CAPA STUDIO

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NOMA RESIDENCES

PLUS ARCHITECTURE

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PROJECT TYPE

PROJECT TYPE

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WORDS: MATTHEW SABRANSKY PHOTOGRAPHY: DION ROBESON

Home, for the occupants of NOMA Residences by Plus Architecture is grounded in the community of Mosman Park. The design centres on the connection to neighbours and creates an opportunity for friendly interaction.

Upon arrival, the juxtaposition of brick and foliage can be recognised in the context of the surrounding urban environment. The hand-laid bricks settle the structure into the neighbourhood, as the textures and imperfections create a cohesive, established aesthetic. The brick diminishes as the building rises, replaced with the sweeping curvature of each balcony that steps back from the River Red Gum established on site. The curves soften the exterior as the design of the balconies delicately sit contrasted against the rough texture and rigid edges of brick. The balconies enable privacy without disrupting the views across the lake and beach.

Retaining the native River Red Gum was key to the spatial design intentions of the project, breaking up the facade to not overwhelm the view, creating a visual of delicate density. In an era where all available land is consumed by the built environment, NOMA reimagines open space, incorporating a laneway that traverses the site. The exposed passage connects the site to the sky and opens a path of travel for the community to access the nearby train station.

The retail tenancies that form the foundation of NOMA are dynamic in that they can separate for individual opportunities or become a collection to suit the changing needs of the community.

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NOMA RESIDENCES / PLUS ARCHITECTURE

Each apartment boasts generously appointed open balconies. The grand rooftop becomes a place to relax with communal amenities, comfortably furnished, and opening to a terrace above the canopy of the River Red Gum. Built-in seating surrounding the tree allows residents the ability to claim the park as an extension of their yard.

Thus, NOMA acts as a local landmark and community meeting place.

The addition of secure lockers for couriers to leave packages, doubleheight communal spaces and keyless apartments create a feeling of luxury and ease. Other features include the display of the local train departure times in the lobby, allowing residents to plan trips accordingly.

Patric Przeradzki, director at Plus Architecture, says the legacy of architecture is posed in a question: How does the project improve the neighbourhood or interactions with the built environment, and how does this affect the design response? Patric remarks on how NOMA is an example of brilliant clients and their support of policy, leaving space on the canvas for other professions to make their mark. The details of hanging art, sculptures, and creative landscaping enrich the project.

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Plus Architecture's approach to sustainability is evident, with photovoltaic solar panels lining the roof, the energy supply is used not only for the communal spaces within the building but is passed on to the residences, resulting in energy savings for the occupants.

In conjunction with the protection of the facade, clever window placement and optimal cross ventilation results in a reduced air-conditioning demand. NOMA Residences are designed for low maintenance, energy saving, and a long lifespan.

The design of the upper levels was curated to ensure nothing looked mass-produced, institutional or sterile. Each residence has an entry nook, offering a moment of privacy before passing through the doorway. The personalisation of these partially communal spaces acts as conversation starters with wide corridors purposefully integrated to encourage neighbourly interaction. All these details exist to reignite the notion of neighbours checking in on each other.

Afterall, that’s when good neighbours become good friends.

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NOMA RESIDENCES / PLUS ARCHITECTURE

NOMA RESIDENCES / PLUS ARCHITECTURE PHOTOGRAPHER Dion Robeson ARCHITECT www.plusarchitecture.com.au Email: PPrzeradzki@plusarchitecture.com.au instagram.com/plusachitecture DESIGN TEAM Patric Przeradzki, Will Schofield, Tristan Whelan, Georgina Hall KEY CONSULTANTS Structural Engineering: Hera Engineering / ESD: RM Surveys / Geotechnical: Galt / Landscape: Seedesign / Interior Design: DKO Architecture / Facade: JMO Facades / Civil Engineering: Pritchard Francis / Building Services: Floth Engineering/ Fire Engineer: Strategic Fire / Acoustic: Herring Storer/ Land Surveyor: RM Surveys / Building Surveyor: Resolve / Quantity Surveyor: Rider Levett Bucknall / Town Planner: Element / Traffic and Waste Consultant: Cardno BUILDER PACT Construction / Completion date: January 2023 SITE 42 Glyde Street, Mosman Park / Sqm site: 2,276 sqm / Sqm build: 10,300 sqm SUSTAINABILITY NatHERS rating: 6.1 Stars / Key sustainability measures: Solar panels / LED lighting / High-performance doubleglazing KEY SUPPLIERS Brickwork: Midland Brick / Exterior cladding: BGC Duracom / Windows and doors: Concept Windows / Paint: Dulux / Carpet: Cavalier Bremworth / Timber foooring: Woodpecker Flooring / Tiling: Kantili / Cabinetwork: Jamel, with Caesarstone benchtops and splashbacks / Pendant lighting: Flos, District NOMA RESIDENCES / PLUS ARCHITECTURE

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BASSENDEAN HOTEL WOODS BAGOT

PROJECT TYPE

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WORDS: REINETTE ROUX PHOTOGRAPHY: DION ROBESON

It is a truth universally acknowledged that nothing brings a community together quite like the local pub. A hub for gatherings and haven for hedonists, the local pub acts as the neighbourhood nucleus, and as such, should look like it too. The town of Bassendean is layered in heritage and hums with the history of a bygone era.

And so, one would expect exactly that of the newly renovated Bassendean Hotel.

After ninety years of continuous trade, the Basso (as it is known colloquially) ensured that Woods Bagot had their work cut out for them.

A palimpsest of architectural features (read: poor additions) from every decade, the heritage project became a reverse papier mâché of the layers applied over the years. With little existing documentation, the history was unearthed onsite as the team at Woods Bagot dug deeper, allowing the building to share its many stories for the design team to celebrate. An opportunity for a reuse approach, the team salvaged existing materials and repurposed them elsewhere in the building. The existing steel beams and pressed tin ceilings were exposed and honoured, further acknowledged with plaques created by the client, showcasing local manufacturers that brought the Basso to life in 1930.

BASSENDEAN HOTEL / WOODS BAGOT

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The pub now consists of six bars and two new courtyards – operated by new custodians Australian Venue Co. Woods Bagot has taken a whole-site approach to the redevelopment, activating the previously inward-facing hotel and opening the courtyard in a welcoming gesture towards Old Perth Road. The palette of the Basso is robust, the hope being that the hotel will remain a representation of its community for another ninety years to come. In the main Saloon Bar, we see the existing fireplace and pressed tin ceilings uncovered, alongside a bar that boasts excellent craftsmanship and speaks to the heritage of the space, something that is further supported by the sourcing of antique furniture such as the feature timber bar display, all the way from a patisserie in France. Tucked away to the left of the saloon is Daphne’s Snug, an intimate, double-height space, layered in botanical wallpaper that pays homage to the women who were not allowed in pubs until 1965. Leading up from Daphne’s Snug and along the staircase is the work of local artisans and theatre set designers, who were invited to paint and finish the walls in a layered and textured style; soft and dreamlike, it is juxtaposed against the industrial nature of the exposed brick and steel beams.

Connolly’s Sports Bar, so named after the first publican James Connolly, invites patrons in via an awning-capped entrance, marking the identity and purpose of the space clearly.

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Here the existing bar is retained, and a wonderful curation of sports memorabilia is showcased on the walls. This leads out to the sunny courtyard which invites not only sports aficionados, but their families too. From here, looking up is the timber verandah, rebuilt to original specifications, baluster for baluster, after it was removed due to lack of structural integrity.

Once again, Wood Bagot’s attention to detail not only respects the past but celebrates the present and invites future patrons. This is further reinforced in the hidden nature of the club room, a homage to the various club meetings historically held at the Basso, and the secrecy of speakeasy Gallagher’s Bar. In these spaces, each moment is considered, and every fixture is intentional, including the retained bar and light fittings.

The Bassendean was designed to be revisited and rediscovered upon every call. Each visit promises new discoveries and memories, in the hope that one day your family portrait will have a spot on the wall, contributing to the narrative of the town of Bassendean itself.

BASSENDEAN HOTEL / WOODS BAGOT

BASSENDEAN HOTEL / WOODS BAGOT PHOTOGRAPHER Dion Robeson ARCHITECT www.woodsbagot.com Email: contact@woodsbagot.com instagram.com/woodsbagot DESIGN TEAM Eva Sue, John Liddiard, Sara Giunco, Kevin Liew, Emily Simpson, Joshua Bastian, Nick Byok KEY CONSULTANTS Structural, Mechanical & Electrical, Acoustic Engineering: Stantec / Landscape Architect: See Design Studio / Heritage: Griffiths Architect / Stylist: Woods Bagot BUILDER Utopia Construction and Fitout / Completion date: September 2022 SITE 25 Old Perth Rd, Bassendean WA / Venue size Sqm: 1,920 sqm (Interior & courtyards) SUSTAINABILITY Key sustainability measures / increase in tree coverage / improved liveability / retention of a landmark heritage building / local contractors engaged throughout the project including builders / specialist trades such as picture framers and artists KEY SUPPLIERS Cabinetwork: WA Commercial Cabinets / Flooring: GH Global / Tiles: Edwardian Tiles, European Ceramics, Tile Boutique, Artedomus, Tile Library / Furniture: Ergoline / Landscaping: Millstream /Walls: Sabi Art and Design/ Wallpaper: Casamance, Materialised / Exterior tuckpointing: Southside Heritage BASSENDEAN HOTEL / WOODS BAGOT

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SONNY’S

DESIGN THEORY

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PROJECT TYPE

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PROJECT / ARCHITECT

WORDS: MARINDA ERGOVIC PHOTOGRAPHY: DION ROBESON

Nestled within tall tuart trees off a bustling strip, Sonny’s, with its articulately curated wine list, is Mount Hawthorn’s newest neighbourhood bar brought forth by passionate hospitality veterans Jess and Aaron, crafted by Design Theory.

Grounded in strong ideas of a cozy and inclusive European bistro or third space, imagine you’re at a party, trying that bottle of wine you don’t yet know you love, admiring personal artefacts of books and art scattered throughout – a scene filled with an undeniable sense of warmth.

Sonny’s found its name after the client’s rescue greyhound and extends to the overarching concept of the bar where everyone is welcome and can embrace being themselves.

As you approach Sonny’s from the street, it’s hard to envisage a bank building in its place, being greeted instead by an existing stone wall juxtaposed with ultramarine-coloured signage. These deliberate design notions begin to signal and contrast to the many layers of the building.

SONNY’S / DESIGN THEORY

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Transforming a slightly daunting bank into a friendly hospitality venue posed the biggest challenge for the design team. This involved re-imagining the ATMs along the side wall, grey carpet, services, acoustics, white plasterboard, and chrome handrails. The addition of a wood-fired kitchen and the sloping site also added to their obstacles.

Entering the bar, the blue signage is the first appearance of a series of nods to French artist Yves Klein, who developed a vivid shade of blue that carries the meaning of creative thought as a colour, infinity, and a new way of seeing.

The 70s/house party/retro influences were envisioned by Design Theory as Tiramisu. Colours and textures that resemble the dark chocolate and creamy composition of the dessert, serve as the canvas for Yves Klein Blue art, textiles, materials, warm lighting, and furniture accents.

Welcoming people further into the space, the original staircase from the bank has been retained with subtle refinements, such as the removal of the grey carpet, painted handrails, and the insertion of smoked glazing.

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The main bar is at a deliberate kitchen counter height, taking inspiration from shared familiar memories of serving drinks in the kitchen of someone’s home. Casual connection is strengthened by the placement of stools along the bar and a diffuse mandarin lamp on the countertop’s edge.

The wood-fired kitchen is sure to bring a real sense of warmth as you enjoy the experience of your food moving from the wood-fired oven through the servery window.

The quirky sunken lounge was embraced as part of the bank’s original floor plan and only adds to the 70s nostalgic vibe. From the sunken lounge looking out onto Scarborough Beach Road, the existing fullheight commercial windows were replaced by timber framed ones.

A floating timber bench extends from the external windows, and furniture spills out onto the street and generates a sense of community, as if wandering past the bustling bistros of Europe.

SONNY’S / DESIGN THEORY

The assortment of furniture consists of an arrangement of shapes and heights, offering flexibility, growth, and a classic timelessness to the space.

A warm shelf of dry reds extends an opportunity to get involved in conversations, to learn about wine varietals, and to actively participate in the dining experience.

With every detail considered, a series of shelves decorated by the clients’ personal art collections, vintage ceramics, and wine books help accentuate the intimacy of the bar, and like a home, can be changed over time.

SONNY’S / DESIGN THEORY PHOTOGRAPHER Dion Robeson ARCHITECT www.designtheory.com.au Email: hello@designtheory.com.au instagram.com/design_theory_perth DESIGN TEAM Evan Reeves, Lisa Reeves, Liam Gnaden KEY CONSULTANTS Structural Engineering: Structerre / Joinery: Artek Furniture BUILDER Unita / Completion date: October 2022 SITE 126a Hobart Street, Mt Hawthorn / Sqm site: 340 sqm / Sqm build: 260 sqm KEY SUPPLIERS Furniture: District, Design by Them, Cult, Arrival Hall, Found items by Design Theory / Decorative Lighting: Mobilia, Stylecraft, Design Farm, St John Lamps / Artwork: Matthew McAlpine – supplied: Kolbusz Space, Sam Bloor – supplied: Kate & Abel / Tiles: Original Ceramics, Perini / Upholstery: Covrd / Curtains: Neylor/Kvadtat

SONNY’S / DESIGN THEORY

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POSTAL HALL BOOKSHOP

TROWER FALVO ARCHITECTS WITH ALESSIO FINI

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PROJECT TYPE

PROJECT TYPE

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PROJECT / ARCHITECT

WORDS: EMIL JONESCU PHOTOGRAPHY: BEN HOSKING

In the resplendent heart of Perth's State Buildings complex stands the award-winning Postal Hall project – a testament to architectural ingenuity and poetic vision of designers Trower Falvo Architects with Alessio Fini. The State Buildings, a collection of iconic heritage structures, seamlessly connect pedestrians with a harmonious blend of gastronomy, retail, and luxurious accommodation at the junction of St Georges Terrace and Barrack Street.

At its core lies a captivating demountable creation – an ensemble of bespoke independent modules –nestled gracefully within the iconic Postal Hall, paying homage to its historical roots as the General Post Office. This ingenious creation caters to the commercial and civic demands of large events while remaining accessible during the day.

The space transitions effortlessly between openness and enclosure, creating an ephemeral dance that retains both permanence and temporality. The designers reflected on the close collaboration, saying “our initial challenge centred on the demountable aspect of the bookshelf, which required flexibility for assembly and disassembly… adaptability and seamless integration guided the entire design process.”

The architects delved deep into the intricacies of kite design and box-kite experiments by the pioneering Australian inventor, Lawrence Hargrave. Mirroring the dawn of flight during the 1890s, the architecture embraces the present and stands as a timeless testament to the past. Uncovering the essence of these flying contraptions, the design of the Postal Hall project echoes the agile and portable fabric sails, fortified by strength and finesse.

It harnesses existing conditions, drawing inspiration from its surroundings, and elegantly adapts, much like kites masterfully utilise the wind to glide effortlessly.

POSTAL HALL BOOKSHOP / TROWER FALVO ARCHITECTS WITH ALESSIO FINI

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Within this captivating interior, barriers vanish, allowing a visual connection between the bookshop's heart and its periphery. Beauty resides in the details. The architects note that the intricate latticework on the gantry was pivotal in shaping their vision for the space's enclosing scrim. These delicately enfold the kite cells, highlighting the vertical expanse while offering tiered shelving and storage, safeguarding the displayed tomes. "We prioritised functionality and versatility to ensure every detail serves multiple purposes," the architects explain. The sturdy hardwood-faced plywood base recalls the former interior post office, adding an ethereal touch to the structure with refined, sophisticated high-tensile-strength lines and resilient lightweight frameworks.

Holding the essence of a central hub, it creates a symphony of coherence with the surrounding heritage structures – a natural extension of its context. Among its enchanting features is the informal seating area, where people gather – a bustling hive of activity to indulge in culinary delights from nearby food outlets, filling the atrium with the pulse of community life. The designers affirmed that "beyond the realms of mere functionality, we envisioned a space that transcends commercial practicality... we distilled the essence to create an inviting bookshop, framing a civic perimeter where people could simply sit, and engage in a shared experience… every decision, was anchored in the space's distinctive identity, ensuring a seamless integration that resonates with its surroundings”.

A dance of natural light pours in through the vaulted atrium skylight, illuminating the space and creating a diorama of activity and intrigue that bridges the realms of inside and outside. The architects mentioned that "the distinct and challenging brief, and highly unique typology provided a rewarding opportunity to engage in architectural experimentation”.

The project has garnered substantial acclaim. Notably, it received the 2023 Iwan Iwanoff Award in the Small Project Architecture category from the Western Australian chapter of the Australian Institute of Architects; the 2023 Retail Design award and Best Retail Project at the Australian Interior Design Awards; and Commercial Interior – Workplace and Retail category of the 2023 Dulux Colour Award.

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POSTAL HALL BOOKSHOP / TROWER FALVO ARCHITECTS WITH ALESSIO FINI

POSTAL HALL / TROWER FALVO ARCHITECTS WITH ALESSIO FINI PHOTOGRAPHER Ben Hosking ARCHITECT www.trowerfalvo.com Email: info@trowerfalvo.com instagram.com/trowerfalvoarchitects DESIGN TEAM Dayne Trower, Simona Falvo, Alessio Fini KEY CONSULTANTS Trower Falvo Architects with Alessio Fini BUILDER Frontline Interiors / Completion date: January 2022 SITE State Buildings, St Georges Terrace and Barrack Street / Sqm site: 180 sqm / Sqm build: 50 sqm SUSTAINABILITY Key sustainability measures: Construction waste kept to a minimum through the modular design of the project / Rechargable, battery powered lighting / Fully demountable, no hardwiring or power included in the design KEY SUPPLIERS Locally fabricated design with locally sourced materials and expertise

POSTAL HALL BOOKSHOP / TROWER FALVO ARCHITECTS WITH ALESSIO FINI

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HIS MAJESTY'S THEATRE BALCONY RECONSTRUCTION GRIFFITHS ARCHITECTS

WORDS: PHILIP GRIFFITHS PHOTOGRAPHY: GRIFFITHS ARCHITECTS

Located in Perth's west end on Hay Street, His Majesty's Theatre’s immediate context includes many former showrooms and offices from the early twentieth century. Like almost all Perth buildings, the theatre balconies were removed via a 1947 Act of Parliament enforced in 1953 and replaced with a simple awning, in common with many Perth and Fremantle buildings. In a touch of irony, COVID-19 recovery funds made the reconstruction of the balconies

by Griffiths Architects possible, and they opened with huge fanfare in February 2023.

HIS MAJESTY'S THEATRE BALCONY RECONSTRUCTION / GRIFFITHS ARCHITECTS

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Designed by William Wolf for property investor and Perth City Councillor, Thomas Molloy, and built by Gustave Liebe, the building began its life as a theatre and hotel; a larger version of Molloy’s Theatre Royal and Metropole Hotel designed by architect Henry Trigg and John Jackson, completed seven years earlier.

The Edgley family, the last private owners of the theatre had focussed on their new Perth Entertainment Centre leaving the theatre’s future uncertain. Public interest in the theatre’s future ran high and in 1977 the State Government bought the theatre to save it.

After being rescued by the State under the Court Government, Hill and Parkinson Architects removed the hotel function and upgraded the theatre and its support facilities. The place was completely stripped internally and re-planned. It was re-imagined with the look and feel of an Edwardian lyric theatre.

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Since the theatre’s initial construction in 1904, building codes have changed significantly including provisions for earthquake design and progressive collapse. The Australia ICOMOS view on reconstruction is quite specific and talks of returning a place to a previously known state. In many minor works, reconstruction in its narrowest sense is possible. In this case it was not, due in part to changes in building codes and methods that require much more of the built elements.

The balconies removal robbed the theatre of a significant functional element. The debate between strict adherence to a principle and achieving an approximation of high-utility value fell on the side of the latter.

Reconstruction was a recommendation of the 1995 conservation plan. No original drawings were found until late in the day, though 1:100 drawings prior to demolition and numerous high-quality photographs were located. This material guided the design and documentation, in addition to contemporary codes and practical considerations.

HIS MAJESTY'S THEATRE BALCONY RECONSTRUCTION / GRIFFITHS ARCHITECTS

Requirements for bumping shows in and out, limited the extent of balcony and verandah reconstruction on King Street, which combined with practical considerations including escape distances, determined the extent of reconstruction. The balconies extend across the full length of the Hay Street facade and along to the first pediment on King Street. Each balcony can accommodate around 150 people.

Construction is steel frame, with the original decorative elements originally of cast iron and timber, now glass reinforced concrete and cast aluminium, with timber decks and pressed aluminium soffits.

The major elements were prefabricated and brought to site in large sections. This balcony performs many more functions than the original. To this end, it is heavily serviced and offers a range of lighting and projection options.

The completion of the balconies offers a wider range of options for the theatre and has received positive feedback from the public and patrons alike.

HIS MAJESTY’S THEATRE BALCONY RECONSTRUCTION / GRIFFITHS ARCHITECTS PHOTOGRAPHER Griffiths Architects ARCHITECT www.griffithsarchitects.com.au/ Email: mail@griffithsarchitects.com.au instagram.com/griffiths_architects_wa DESIGN TEAM Philip Griffiths, Brandon Pratley, Rosie Douglas KEY CONSULTANTS Structural Engineering: Tania Perpoli, BG&E / Electrical/Lighting: Sebastian Corvaia, ETC / Hydraulic: Stantec / Mechanical: SMW&C / Quantity Surveyor: DCWC / Building Surveyor: Milestone Certifiers BUILDER Built / Completion date: February 2023 SITE 825 Hay Street Perth / Sqm site: 2,435 sqm / Sqm build: 400 sqm (new balconies only) SUSTAINABILITY Conservation work KEY SUPPLIERS Structural steel: Fremantle Steel / Cast aluminium (columns): Intercast / Lighting: Insight Electrical Technology / Exterior cladding: GRC (glass reinforced concrete), HGN Design / Timber Decking: JNC Carpentry / Painting: CPD (Commercial Painters & Decorators)

HIS MAJESTY'S THEATRE BALCONY RECONSTRUCTION / GRIFFITHS ARCHITECTS

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BOOLA KATITJIN

LYONS WITH SILVER THOMAS HANLEY, OFFICER WOODS, THE FULCRUM AGENCY AND ASPECT STUDIOS 72

PROJECT TYPE

PROJECT TYPE

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BOOLA KATITJIN / LYONS WITH SILVER THOMAS HANLEY, OFFICER WOODS, THE FULCRUM AGENCY AND ASPECT STUDIOS

WORDS: ANDREW BOYNE PHOTOGRAPHY: LYONS

With game design or information systems alongside or replacing traditional subjects such as anthropology and history, expanding multiple campuses and online offerings, contemporary university architecture has become expressive of these shifts.

Lyons with Silver Thomas Hanley, Officer Woods, The Fulcrum Agency and Aspect Studios saw the addition of a new building as an opportunity to address both the rhetorical and practical deficiencies that the campus found itself dealing with.

The development of the adjacent Fiona Stanley Hospital precinct had reconfigured the road and public transport links from the north of the campus, to its south, forcing the pedestrian arrival sequence through a series of utility buildings at the back of the campus and up a gradient that rises 17 metres from the street.

Boola Katitjin is an enormous building. At 180-metres long and 27-metres high, it strikes a startling presence on an approach otherwise characterised by trees and the livestock paddocks of the veterinary school.

Skirted by wide paved concourses, the building clambers down the hillside on 30 colossal pairs of timber legs, shoed with huge concrete feet. It projects from the hill with a 6.5-metre understory and a sheer open gabled facade of shimmering glass. The lowpitched asymmetrical rooves of the original campus buildings and their finely strutted jarrah eave supports have been distilled into diagram and reproduced at a completely different scale. The building is monumental. It is legible from a distance, on a screen and as an emblem.

BOOLA KATITJIN / LYONS WITH SILVER THOMAS HANLEY, OFFICER WOODS, THE FULCRUM AGENCY AND ASPECT STUDIOS

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To get people comfortably and equitably up the hill, the whole building acts as a giant piece of vertical and horizontal transport infrastructure. Along its simplest path, the building brings elevators almost to the kerb of Discovery Way and bridges back to the campus, connecting via the northern forecourt and a short ramp to the central board walk of the university. But this isn’t the only way through the building, and when exploring, I descended one set of stairs to arrive looking at another going back up. I trace my path: up a staircase, past some elevators, past stairs going down, and along a balcony.

The horizontal circulation through the building is no less interesting.

The ground circulation flows freely around rooms and infrastructure on a slow ramp that builds northward. The first and second floors have a singular internal spine that is bisected by perpendicular breezeways. On the third floor the circulation is shifted to the west, is parallel inside and out, but discontinuous on the exterior.

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BOOLA KATITJIN / LYONS WITH SILVER THOMAS HANLEY, OFFICER WOODS, THE FULCRUM AGENCY AND ASPECT STUDIOS

BOOLA KATITJIN /LYONS WITH SILVER THOMAS HANLEY, OFFICER WOODS, THE FULCRUM AGENCY AND ASPECT STUDIOS PHOTOGRAPHER John Gollings ARCHITECTS www.lyonsarch.com.au Email: narelle.walch@lyonsarch.com.au instagram.com/lyonsarchitecture www.silverthomashanley.com instagram.com/silverthomashanleyperth www.officerwoods.com.au instagram.com/officerwoods www.thefulcrum.agency instagram.com/thefulcrum.agency www.aspect-studios.com.au instagram.com/aspectstudios DESIGN TEAM Lyons with Silver Thomas Hanley, Officer Woods, The Fulcrum Agency and Aspect Studios KEY CONSULTANTS Structural & Civil Engineer: Aurecon / Services Consultant: NDY / Landscape Architect: Aspect Studios / Facade Engineer: Inhabit / Building Surveyor: Resolve Group / Disability Access Consultant: O’Brien Harrop / Waste Management Consultant: Encycle / Signage & Wayfinding: Buro North / Project Manager: DCWC / Cost Consultant: RLB / Town Planner: Planning Solutions Almost all the circulation space is filled with students and desks, reflecting the library-anywhere, decentralisation of study. And even here I am reminded of transport. Being held high off the ground in a long linear structure with views of sky in either direction, the halls are reminiscent of airport concourse lounges, only here students with laptops await classes and not planes.

The classrooms themselves are flexible, reconfigurable in 30, 60, 90 and 120 student formats and accommodate lectures and largescale collaborative learning. The 11-metre wide outer bays of the structural grid provide flexibility for future refitting. All classrooms are packed with presentation technology. The building includes a cafe, a welcome space, offices for university administration, and an expansive single-span roofed-plaza for graduations and university events.

BUILDER Multiplex / Completion Date: December 2022 SITE 90 South Street, Murdoch / Sqm site: 24,000 sqm / Sqm build: 20,000 sqm SUSTAINABILITY NatHERS rating: 6-Star Green Star Design & Built v1.3 / Key sustainability measures: 6-Star Green Star Design, As-built v1.3 certification with the Green Building Council of Australia KEY SUPPLIERS Cabinetwork: Remington Matters, A&E, Frontline, AOFS / Floors: Tate Access Flooring, Interface Carpet, Nora Rubber, Urbanstone, Blackbutt Timber Floor by Raw Urban / Lighting: Various manufacturers supplied through Fredon. Custom fittings by Bluelab & Jack Flanagan / Bathrooms: Caroma / Furniture: Innerspace / Windows and Doors: Commsupply glazed partition, Lotus Operable Wall, Blackbutt Timber Doors by Raw Urban / Exterior cladding ABS Facades / Mass Timber – Xlam Dolomiti & HESS

Boola Katitjin captures a change in direction for the university.

It borrows some abstracted language from the original, but it is clearly its own expression. One which captures the attitudes and aspirations of the university, while also providing a much-needed piece of campus infrastructure.

BOOLA KATITJIN / LYONS WITH SILVER THOMAS HANLEY, OFFICER WOODS, THE FULCRUM AGENCY AND ASPECT STUDIOS

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ISSUES

Medium-density housing WORDS: SANDY ANGHIE PHOTOGRAPHY: NICHOLAS PUTRASIA

The WA Chapter of the Australian Institute of Architects and the Association of Consulting Architects welcomed the news in January that the State Government’s new Medium Density Code will proceed.

Following the State Government’s deferral of the gazettal of the code late last year, there was considerable activity and discussion on a way forward.

The Institute and ACA actively led the advocacy effort to ensure a resolution and commend the State Government for listening and engaging with all housing leaders to achieve this outcome to help boost the supply of new, diverse housing across WA. The announcement of a start date with some minor amendments to the new Medium Density Code ensures there are no further constraints on the already challenging supply of housing, while retaining the benefits of the reforms.

Much of the discussion to date on the new code has been about improving the quality of design. And that’s important. Items like incentivised retention of mature trees, optimising indoor living spaces through solar orientation, connection to garden, improving sustainability, and consideration of local context and “neighbourliness”, have all been raised.

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These design considerations at the heart of the new code will not only improve the design quality of urban infill, but also the operational performance of homes – saving people money in the long term. It could also be the answer to NIMBYism in our existing suburbs.

But that’s only half the story. The other side of the conversation, and something not widely understood, is the diversity of housing – and choice – the new code enables.

There were many architecture businesses, planners and developers with innovative homes designed and ready to go under the new code at the time gazettal was deferred. Without the code, these much needed new homes wouldn’t have been able to be delivered – in a market where we desperately need more homes and greater diversity.

Here’s just one example. A 330sqm Scarborough site zoned R30. Under the new code a proposal for two small dwellings with two associated ancillary dwellings is possible – making four rental units available in a desirable location in a high demand market. Without the new code, only a single home can be built on this block.

ISSUES / MEDIUM-DENSITY HOUSING

PARK TERRACES, HILLAM ARCHITECTS

There are many more examples like this illustrating the housing choice the new code will now provide.

And we definitely need housing choice. According to ABS data the average number of occupants in a home is 2.5 people, with an increasing number of lone person households, currently at 25%.

The new Medium Density Code provides huge opportunity. So let the market decide. Maybe it’s time to flip the trend from increasingly bigger houses to more sustainable smaller homes.

Architects have listened to this feedback from households in recent years and advocate that not everyone needs a four-bedroom home, or even three.

However, here in WA we currently have the greatest proportion of four-bedroom homes in the country, at 36% – about 10% higher than other states.

At the other end of the scale, in WA we also have the lowest proportion of two-bedroom dwellings in Australia at only 12.1%. The next lowest is Queensland at 16.2%, while in NSW 21.8% of dwellings have one bedroom.

We share the State Government’s view that increasing housing supply is paramount.

What we need is housing diversity that downsizers, multi-generational families, and residents with a variety of accessibility needs have been asking for, and this is the opportunity the new code provides.

ISSUES / MEDIUM-DENSITY HOUSING

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OPINION

Two good rooms WORDS: TRENT WOODS PHOTOGRAPHY THIS PAGE: ROBERT FRITH, HOPE STREET TERRACES BY OFFICER WOODS ARCHITECTS AND MDC ARCHITECTS EXTERNAL PHOTOGRAPHY: MICHAEL ARANGIO, INTERIOR PHOTOGRAPHY: JENNIE OFFICER

We aim to design at least one good room in a house – the living room, the one we spend our waking hours in, the one we live in.

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OPINION / HOUSING AFFORDABILITY

OPINION

The best living rooms are also directly connected to a garden which provides fresh air, sunshine, warmth, a connection to nature, as well as another space to live in, a second living room – just outside.

In the houses we design, we consider the garden the second good room. It’s also the most affordable space in a new home, the one you don’t pay for, it’s basically unimproved block value. It’s also the room you project yourself onto, the one you make, bit by bit over time, adding value along the way.

The dilemma we find ourselves in is that houses are getting larger and blocks of land are getting smaller.

The cheapest and most affordable room, the garden, is shrinking, displaced by more house and more cost.

Gardens have been reduced to a small paved and roofed alfresco with little appeal or prospect.

OPINION / HOUSING PROJECT AFFORDABILITY TYPE

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OPINION

In the best houses, the living room and garden are totally connected. They flow into each other and are used as extensions of each other. More importantly, they both perform better when they’re connected. Living rooms are enhanced when they’re naturally lit, ventilated, and warmed by the sun. They’re also cheaper to live in, using less energy for heating, cooling and lighting.

The recently deferred State Planning Policy 7.3 for residential dwellings understood these two good rooms and their symbiotic relationship and had provisions to ensure they were connected, functional and sunny.

Those provisions would have made our homes more sustainable and healthier as well as more affordable to build and to occupy.

Gardens and living rooms need to be a decent size to be functional and they need to be in the right place, facing the right direction. Both thrive in the sun and need good orientation for this to happen. Luckily, every block of land has access to northern orientation. This does require design effort and greater value needs to be placed on our living rooms and gardens than on our cars.

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OPINION / HOUSING AFFORDABILITY

OPINION

Bigger does not mean better value WORDS: MICHELLE BLAKELEY

The average size of an Australian home has expanded so much that we now have the biggest average-sized homes of any country in the world.

At 214m2, our homes are way bigger than England at 76m2 and even the US at 201m2. All those extra square meters add to the cost of a house, making it more difficult, if not impossible for some, to build a home.

The cost of construction is based on a square-metre rate.

The cost of a home in Australia has increased by 194% in the past 20 years but average Australian weekly earnings have only increased 82%. It’s not only the increase in material, labour and land costs that has caused the cost of a house to balloon disproportionately. It’s an increase in size.

The more square metres, the more a house will cost. To make a house more affordable you need to reduce its size. So why are we still expecting large homes that we can’t afford? And why are builders offering large homes but very few homes with smaller footprints?

Reducing the size of a home requires some truthful analysis of how you and your family use space and how much space you really need.

WA has the largest proportion of four-bedroom, twobathroom homes in Australia. There are few builders offering two or three-bedroom homes with one bathroom. We can’t say that’s what the market wants if the market can’t afford such big homes.

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If the average Australian family is now 2.5 people, why do we need three or four bedrooms? Why do we need separate home theatre and games rooms when games are predominantly day use and theatre is predominantly evening use?

Why does a double garage have to be under the main roof like another bedroom for our cars to sleep at night? We happily leave our cars in the open during the day while we are at work, shopping or playing sport.

OPINION / HOUSING AFFORDABILITY

OPINION

The floor plan pictured represents an average-size Australian home. (That’s average so there are a lot of larger houses.) Now, take away a bedroom. Take away one of the four activity spaces. Add storage cupboards along a circulation wall and delete a storage room. Park cars under a carport – it’s a lot cheaper than a fully enclosed garage. Instantly, you have removed 53m2 along with tens of thousands of dollars from the cost of building.

It's time for us to stop thinking of the purchase of a house as an investment and the belief that bigger is better value. It is not. Good design, thermal performance and more efficient use of space in a smaller home is always better value.

We should embrace a house as a place of comfort, security and wellbeing. We need to revisit and reevaluate the real meaning of home.

OPINION / HOUSING AFFORDABILITY

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PRACTICE PROFILE

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PRACTICE PROFILE / ARCHITECTS&CO.

PRACTICE PROFILE

PRACTICE PROFILE / ARCHITECTS&CO.

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PRACTICE PROFILE

Architects&Co. WORDS: JONATHAN SPEER PHOTOGRAPHY: RIDHWAAN MOOLLA (AUSTRALIA), RURAL DEVELOPMENT TRUST ANANTAPUR (INDIA)

As the aphorism goes, running a business with someone is like being in a marriage.

Based on trust, mutual respect and good communication, Felice Burrows and Tamara Brestovac have created a solid union in their practice Architects&Co. The pair met over ten years ago working as employees for the same practice and, despite diametric desk styles, with Tamara’s clean and organised and Felice’s the opposite, they formed a strong bond. Despite their different styles and outlooks, they suspected that they’d like to create a practice together. That suspicion became a reality when Tamara became a mum and needed the fluidity to balance professional progression with caring for her children. Tamara didn’t see a way to progress in the profession after children, a problem the wider profession is still to meaningfully address with participation rates for women in architecture declining after they decide to have kids.

Felice, already working with private clients outside of her employment, was looking to take on the responsibility of running her own practice, craving the flexibility to go beyond the rigours of the professional life of an employee, “I wanted to travel and have flexibility to dedicate time to pro-bono work.”

Tamara and Felice’s desire to explore and practice different modes of work together led them to start Architects&Co. in 2021. They knew they could merge their styles in a symbiotic way, with different approaches and schedules of work which would complement one another. Like a well-rehearsed dance where one leads and one follows, and vice versa, they know how to get the best out of each other and respect each other’s process.

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PRACTICE PROFILE

By approaching their work with honesty, humanity, and humility, imbued with an ethos of “informal formality”, Architects&Co. are building relationships based on trust and results, with these relationships garnering a healthy amount of residential, education and commercial fitout work.

In broadening their exploration of what they do, Felice maintains a belief in “paying it forward,” evident in Architects&Co.’s commitment to the future health of the industry through the Insight Onsite initiative. This program seeks to bridge the gender gap in the industry by taking young female architects and graduates on construction site visits to see theory made concrete.

The goal is to boost the confidence of the participants by deepening their construction knowledge, and better inform their future practice.

PROJECT TYPE

In addition to this local commitment, Architects&Co. have an international outlook with Felice’s involvement in The Anganwadi Project (TAP), an NGO that designs and builds pre-schools in disadvantaged areas of Gujarat and Andhra Pradesh in India.

When she volunteered with the NGO in 2019 Felice found herself in India seven weeks later, where she educated herself in the merits and manufacture of stabilised earth blocks, procured a press and, with the help of locals, made thousands of blocks for the preschool.

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PRACTICE PROFILE Then, in March 2020 with COVID shutdowns coming into effect, and only the pre-school slab on the ground, Felice had hours to leave the country. Fortunately, she was able to manage the remainder of the project remotely.

“We are learning from our mistakes,” says Tamara, “and finding the balance between architecture and running a business – we’re not afraid to seek out the expertise of others when we need it.”

With their commitment to the future health of architecture and the difference it can make, Architects&Co. stands as an exemplar of how the freedom and flexibility afforded by different forms of practice can embrace and accommodate different times of our lives and inform and enrich our approach to our work and its results.

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PRACTICE PROFILE / ARCHITECTS&CO.

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PROJECT TYPE

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ARCHITECT AT WORK

Kate Hislop WORDS: REINETTE ROUX PHOTOGRAPHY: CAMILA PINHO

“It’s such a privilege to work in higher education. It’s what keeps me coming to work every day, despite the challenges.”

When we think about architects at work, we often jump back to the idea of the drawing board, the mechanical pencil, or 3D modelling and rendering on a screen.

However, it’s important to remember that at its very core, architecture is about problem solving, which often takes an unexpected form. For Dr Kate Hislop, being Head of the School of Design at the University of Western Australia (UWA) does come with its challenges and problem solving. However, it is also accompanied by some of the most energising and rewarding experiences.

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Universities have had to respond to rapidly changing environments in the last three years, with the adjustment to online learning, management of the spread of infectious disease in classrooms brought about by COVID-19, as well as the rising cost of living and issues pertaining to affordability. Furthermore, when artificial intelligence (AI) tools burst onto the scene in early 2023, universities had to take a position on how to approach or adopt these technologies in the classroom. All of these changes are more than enough reason to want to shrink away from the problems. However, Dr Hislop’s view is that these newfound methods can expand the remit of the building industry. So, the question now is, how do you ensure students are able to engage with these shifting aspects of design and build skills around them as well, all while not losing the joy of creating?

At the UWA School of Design, the use of AI has been incorporated in certain projects briefs, encouraging students to use and understand the tool, as well as learning how to manage it in such a way that supports efficient workflows, rather than replacing the creative process. As Kate states, “you need to have the knowledge and ability to generate prompts in the first place, in order to have a successful outcome.”

She notes that this form of communication has been around for a long time, dating back to ancient Egyptian architects who used to prepare documents by specifying everything in writing, rather than drawing, to direct the built outcome. Similarly, AI uses the written word to generate visual representations of a project but cannot do so without educated and considered prompts.

ARCHITECT AT WORK / KATE HISLOP

ARCHITECT AT WORK

There are of course, other risks to these newfound efficiencies, and Dr Hislop notes that great care continues to be taken to ensure the mental wellbeing of students. She is aware that in educational settings, with the rising cost of living and a rise in mental health concerns, the challenge is to retain the strengths, opportunities and enriching elements of architecture, but not at the cost of health. Creative disciplines need to assist students in putting boundaries in place. As she states: “How do we deal with the fact that a creative pursuit is difficult to contain?”

Something that most energises Kate is the extent to which the faculty is starting to work across disciplines.

She has observed a bottom-up drive to work collaboratively, where opportunities are being created for students to both hone in on certain areas while broadening their expertise at the same time, preparing them for increasingly diverse and interesting career opportunities. While all of this sounds relatively simple to digest, this level of educational curation comes from a wealth of knowledge and experience, and a strong team working to execute it. The future of our profession is, after all, in the hands of the graduate currently documenting your ensuite (but I bet you they’re doing it a whole lot faster than we all did).

Park Terraces

An empowered team enjoying creating better places to live.

Sustainable | Lasting | Community info@hillam.com.au

ARCHITECT AT WORK / KATE HISLOP

hillam.com.au

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ENDURING WORK

Modern Gothic: The architecture of Iwan Iwanoff WORDS: WARREN ANDERSEN PHOTOGRAPHY: NASH BOJIC, ALEXANDER RISCO AND MICHAEL WEE

Born in Bulgaria in 1919, Iwan Iwanoff graduated with a degree in architecture and engineering from Munich University in 1946 and emigrated to Perth in 1950.

Initially working in Perth for Krantz and Sheldon architects, and Yuncken Freeman Architects in Melbourne, he set up his own Perth practice in 1961. A fellowship from the Australian Institute of Architects was awarded in 1972, and he was the recipient of several international design awards for residential houses during the 1970s. Iwan passed away in 1986.

International profile

50th anniversary and State Heritage Listing

In terms of architectural approach, Iwanoff shares similarities with other modernist architects in his commitment to functionalism and efficiency. The idea of form following function is evident in his designs, as he prioritises the needs and comfort of the occupants.

He pays attention to aspects such as natural light, ventilation, and spatial flow, creating spaces that are both aesthetically pleasing and practical.

This alignment with the functionalist principles of modernism can be seen in the works of other renowned architects like Walter Gropius or Alvar Aalto.

Northam Library and Office were awarded the Richard Roach Jewell Award for Enduring Architecture by the Australian Institute of Architects in 2021 and celebrated its 50th anniversary. These buildings were registered on 9 October 2009 by the Heritage Council of Western Australia as being of exceptional significance.

Iwan Iwanoff's work, while primarily associated with Modernist architecture in Western Australia, does show some influences that can be traced back to certain design principles of the Austro-Hungarian and Viennese Modernist movements. These movements, which emerged in the early 20th century, were characterised by a departure from historical styles and an embrace of new materials, functionalism, and innovative design.

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These comprise two double-storey concrete block buildings consisting of a Library (1971) and Town Council Offices (1974) being unique examples of monumental civic buildings in Australia, where other post war administrative structures are generally more of conventional internationalist style and smaller in scale.

ENDURING WORK / IWAN IWANOFF

ENDURING WORK Northam Council decided to build a new civic administration centre in July 1968. Councillor Alex Risco, who arrived in Perth in December 1950 as a Russian émigré was a musician, painter and photographer. At his own expense, he engaged architect Iwan Iwanoff to prepare a model and design brochure for the proposed buildings, which was presented to a Town Council meeting on 17 December 1968. The model was of a library building with curved side walls, located at the rear of a rectangular two-storey office building. The library (1971) was constructed as a first stage featuring curved side walls and roof, blockwork, vertical concrete framed columns with triangular recesses, and balcony on western side which is rarely seen by the public due to access restriction and proximity to adjoining buildings.

The north-west wall incorporates vertical sculptural indentation and relief use of blockwork. The central interior stairway to the mezzanine has been replaced but in keeping with original aesthetics, with the interior retaining original light fittings and wall panelling.

The Office (1974) was subject to budgetary constraints due to politics and a loan restriction despite overwhelming public support for the project. The front facade was originally intended to feature Iwanoff’s distinctive relief blockwork in two panels, and length of overall building reduced by a third. The final external design is dominated by juxtaposition of classical elements comprising seamless integration of a roman stylobate, pilasters, columns and capitals, while also incorporating indented vertical window strips from the internationalist modernist genre. While the facade facing Fitzgerald Street has a vertically framed elevated faux entry and a balcony, the formal entry is from Beavis Place with portico and ribbed wall panel reminiscent of Carlo Scarpa and Italian sculptural concrete tradition.

The town Council Offices served the civic administrative needs of the growing Northam Township from May 1974 to July 2007, when the Town and Shire amalgamated, and a new administrative building was considered necessary and constructed further along Fitzgerald Street. The old council office is currently leased to Department of Sport and Recreation.

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ENDURING WORK / IWAN IWANOFF

ENDURING WORK

Rational and Classic elements in Iwanoff’s houses Between 1967 and 1976, Iwanoff designed a series of houses featuring distinctive relief Besser block pattern work. While this is what most observers recognise as a characteristic approach, three examples – Featherby (1970) Tombides (1971), and Kessell (1975) reflect classical elements of framing, columns, repetitive horizontal frieze motifs, and a restrained planar treatment whilst still celebrating inherent qualities and beauty of materials in their raw state, allowing texture and character of materials to shine. Featherby and Kessell houses also feature a formal stairway with tubular block balustrades, which is a major focal point of Marsala House (1975).

References Register of Heritage Places – Assessment Documentation: Town Council Offices (fmr) & Library, Northam 9 October 2009 Heritage Council of Western Australia Sharp, Dennis (Editor) The Rationalists – Theory and Design in the Modern Age 1978 Architectural Book Company, New York.

ENDURING WORK / IWAN IWANOFF

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