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8/5/19 10:03 am

Editor’s Letter BRANKO MILETIC

“Design can be a powerful tool for good”, writes architect Mariam Kamara, who also says she is guided by the belief that “we have the power to elevate, dignify, and provide a better quality of life simply through the use of better design”.















Contents PLACES





















APR-JUN 2019





Nathalie Craig Nathan Johnson Prue Miller Jasmine O’Donoghue Bonnie Van Dorp

the forefront of client and consumer concerns. Photography courtesy of Atkar Group.


Louise Gault Julia Gee


London’s Grenfell Tower fire and issues with the Opal Tower, bringing fire safety and certification to







FOLLOW US Facebook @archanddesign LinkedIn architecture&designaustralia Instagram @architectureanddesignaustralia


Branko Miletic Stephanie Stefanovic

these are being shaped by aesthetics, the desire for green space and events, with the tragedy of



evolving in response to client demands and consumer perceptions. In the current environment,


And so we took this same philosophy and applied it to the redesign of our magazine. Now you may notice that no longer are we called ‘Infolink’- a name that harks back to the old days of this magazine, but rather we have realigned ourselves firmly to the future and also with our daily newsletter and are now known as ‘Architecture & Design’ – a name that more honestly reflects why we are Australia’s premier built enevironment publication. Added to our ‘new’ name, is our tagline - Projects. Products. People. which more better reflects our content. This will become patently obvious when you open this first redesigned issue, with content that is much more indepth and more uniquely focussed than ever before. In fact, we’ve managed to keep the best parts of the old magazine and added to it new ideas such as Essays, Sustainability Awards and the Sections 2 feature which for the first time in our history will enable us to showcase the stunning work of the many talented architecture and design students out there. So moving forward, this first issue of Architecture & Design is a portent to the many other exciting things that we will announce this year. As Kamara says, “We have to understand and respect where people are coming from and why they aspire to the things they aspire to.” We hope that in at least some way, our new-look magazine will have come close to achieving those admirable goals.

ON THE COVER The trends and styles of exterior cladding in commercial projects are continually

Adrian Wilson Phone: +61 (0)2 9018 2037 Mobile: +61 (0)417 779 215 Opinions and viewpoints expressed by interviewees, writers and columnists in Architecture & Design do not necessarily represent those of the editor, staff or publisher of the magazine.


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5/9/19 3:46 PM

Koichi Takada’s museum finally blooms in the desert

Architecture & design


P l ac e s


Apr-jun 2019

WORDS Stephanie Stefanovic

The museum sits on a massive site spanning almost 140,000sqm at the south end of Doha’s Corniche. A landmark project for Qatar, it will be the first monument visible to people arriving from the airport.


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Jean Nouvel designed the museum’s exterior architecture, describing it as a symbol of “the mysteries of the desert’s concretions and crystallisations, suggesting the interlocking pattern of the bladelike petals of the desert rose”. Koichi Takada designed the interior architecture, using forms and materials that respond to the exterior architecture. This includes the museum shops, Desert Rose Café, Café 875 and Jiwan Restaurant. According to Takada, the interior design was inspired by “desertscapes” and curated carefully to create a local experience for visitors. “The architecture is a representation of the desert rose mineral formation; a connection to nature,” he says. The interior architecture has also been designed to present a narrative of the Qatari history, embodying the beginnings of the trade, nomadic lifestyle and beautiful natural

environment. According to Takada, it was through many conversations with the Qatari people that the designs evolved to translate a story into a visual design and memorable experience. “Talking to H.E. Sheikha Al Mayassa and to the Qatar Museums Authority (QMA) has opened my eyes to a culturally rich way of life, which has inspired me,” he says. “They passionately talked about the iconic nature of Dahl Al Misfir (Cave of Light), located in the heart of Qatar, and introduced me to the ritual of majlis floor dining, a bit like my favourite childhood memory of Japanese tatami floor dining.” “Designing the interiors of the National Museum of Qatar was an opportunity to create a unique experience for visitors to immerse in Qatar’s cultural heritage; the traditional and historical past, and its development into a modern state as the cultural hub of the Middle East.”

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Architecture & design




Apr-jun 2019

Codebreaker: How the NCC is more than just another code


According to the Australian Building Codes Board (ABCB), the National Construction Code (NCC) when used to its full potential, will not compromise occupant safety or building integrity. The key mandatory requirements in the NCC says the ABCB are the Performance Requirements, which can be met using either a Performance Solution (PS) or a Deemed-toSatisfy (DTS) Solution. A DTS Solution follows a set recipe of what, when and how to do something. It outlines materials, components, design factors and construction methods that, if used, are deemed to meet the Performance Requirements in the NCC. With a PS, says the ABCB, there is no obligation to adopt any particular material, component, design factor or construction method, as long as the Performance Requirements are met. A PS is designed to directly address the Performance Requirements by using one or more of the four assessment methods available in the NCC. While a DTS Solution will be one that many in the building and construction industry may be accustomed to, there are several benefits in adopting a PS as part of the design and construction of buildings. A PS is also designed to provide a range of innovative and flexible options that can help

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solve problems in complex and bespoke designs, difficult sites and small spaces. The ABCB says that for architects, engineers and building designers, this is supposed to translate to greater client satisfaction and a better end-user experience, due to more progressive, functional and aesthetically pleasing buildings. The background The NCC was first established as a nationally consistent Building Code of Australia (BCA) in 1992 and then moved to a performance-based BCA in 1996. In 2011, building and plumbing regulation was consolidated, which resulted in the National Construction Code (NCC). The ABCB says the NCC has been designed to provide the minimum necessary requirements for safety and health; amenity and accessibility, and sustainability in the design, construction, performance and liveability of new buildings (and new building work in existing buildings) throughout Australia. In other words, it’s a uniform set of technical provisions for building work and plumbing and drainage installations throughout Australia while allowing for variations in climate and geological or geographic conditions. The NCC comprises of the BCA, Volumes One and Two; and the Plumbing Code of Australia (PCA), Volume Three. • NCC Volume One primarily applies to Class 2 to 9 buildings (multi-residential, commercial, industrial and public buildings and structures). • NCC Volume Two primarily applies to Class 1 buildings (residential) and 10 non-habitable buildings and structures. • NCC Volume Three applies to plumbing and drainage for all classes of buildings.

Building capacity VIA education Knowledge of how to apply the NCC as a performance-based code will become increasingly important, particularly with the pace and scale of change within the building sector making it harder to keep, says the ABCB. Buildings are increasingly complex, often multi-storey, mixed use and incorporating inter-dependent systems that respond to not only traditional fire safety and structural reliability requirements, but an array of more recent societal needs, such as access and energy efficiency. This means architects and developers need to demand to consider buildings holistically, which again is a benefit of Performance Solutions. As the number of registered NCC users continues to increase — currently there are approximately 200,000 — the ABCB says it is supporting industry to become more confident and competent using the NCC as a performance-based code by: • Collaborating with education and training providers including exploring tools and materials for CPD programs, and down the track core curriculum content. • Continuing a Subject Matter Expert (SME) network to provide advice and support to the industry on the best practice and competent use of Performance Solutions. The SME Network comprises some of Australia’s leading practitioners, engineers and thought leaders. Sharing their knowledge, experience and expertise, the SME Network can respond to enquiries about the development and approval of Performance Solutions, and create and present information on performance-based design. Their collective skills predominantly cover energy efficiency, disability access and fire safety. • Tools and resources tailored to different groups, including case studies and clearer

8/5/19 3:24 pm

Architecture & design / Places / Apr-jun 2019

requirements around how to use the NCC and performance-based design. • Working in partnership with industry to increase engagement and raise awareness by contributing to seminars for practitioners. • Exploring opportunities to strengthen education requirements through the course accreditation system. NCC access, digitisation & useability The ABCB notes that via its digitisation project, the focus is on improving and enhancing NCC

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access and understanding through new and refreshed technologies, while considering the range of abilities and needs of NCC users. According to the authors, the NCC’s online platform offers: • mobility and accessibility requirements • visual improvements such as changing navigation links to remove title case for easier reading • re-configured explanatory and guidance information, including State and Territory variations to ‘pop-up’ windows, which helps avoid navigating away from the main content

• linking of relevant support materials, such as handbooks, calculators and infographics to the related section in each volume • limited navigation levels to two clicks (in most cases) • search improvements – including filtering of search results and pre-set filtering of content for each volume to highlight governing and performance requirements.

For more information, contact the ABCB at


9/5/19 10:09 am

Words Nathan Johnson

Architecture & design




Apr-jun 2019

New modes for design: Innovation Capitalisation

For centuries, architects have been tasked with creating buildings and spaces that, in their basic sense, provide a return on investment for the financier.


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That return, particularly in the private sector, has been traditionally measured as a bottomline figure, primarily focussed on the financial value a building provides to a property or area. But times have changed, and so too have the metrics of ROI. With the growing awareness surrounding things such as climate change, mental health and socio-economic inequality comes a heightened sense of responsibility for people and businesses to make more conscious decisions. Choices are no longer considered just your own, particularly when they impact the environment and the community that surrounds you. In the built environment, this has transpired into a new set of ROI metrics which place the environmental and social responsibility of a project alongside its financial benefit. It’s called triple bottom line thinking and has led some of Australia’s most awarded and successful architectural projects of the past decade. But as will always be the case, balancing the commercial incentives of a project with its social and environmental benefit is a constant process of negotiation, one which Rob McCray, principal at MODE Design is all too aware of. McCray and the team at MODE have been delivering projects across a wide range of sectors and for a broad client base for decades now, so they understand firsthand what those negotiations look like. And with all that experience comes a highly-knowledgeable perspective, one which has given birth to a new procurement tool helping MODE (and

which may help you) deliver very successful projects in the broader business, social and community contexts. INNOVATION CAPITALISATION It may be a difficult concept to explain, but in essence, it has to be one of the most instinctive forms of architectural thinking there is. MODE calls it Innovation Capitalisation (IC) and describes it as ‘design thinking’ tool but really it could be explained as a highly responsible, considered and assertive approach to procurement. “IC as a concept developed from a review of our most successful projects over a 10-year period,” explains McCray. “From this review it became evident that we were using the concept as an intuitive response to a brief in order to get the best out of every project for our clients and end-users.” That response involves both a unique approach to a brief as well as a thorough understanding of the socio-political, environmental, technical and commercial landscapes we live in. It is through this approach and knowledge that MODE unlocks partnership and collaborative opportunities within a project with the intention of adding value and meaning to a building outside of its primary function. “IC considers not only what is required to deliver a project, but why our clients are committing finances and resources to this project,” says McCray.

8/5/19 3:24 pm

building that boasts cuttingedge learning technologies. BELOW Auckland South Correctional Facility has been designed to reduce


recidivism within New

Apr-jun 2019

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storey sustainable education practice

The trick to unlocking this capital, says McCray, is to drill deep down into the client’s intentions and imperatives for a project and then prove how innovative design can best meet them. This was the case for MODE’s Auckland South Correctional Facility project in Wira, New Zealand where the client expressed a desire to provide a facility that would reduce the incidence of recidivism within New Zealand’s prison system. MODE presented the client with two major factors that contribute to recidivism – access to affordable housing and low literacy levels – and then presented a design and program which would explicitly address these issues. The ‘capital’ in this instance is measured within the metrics of community, social and economic benefit which is provided by the building. By actively addressing the burden

ABOVE Bullocky Point Education Precinct, a three-


Capital in Reserve

recidivism has on these measures, MODE demonstrated to the client the way innovative design can help reverse it. Working with the client and other nonprofits, MODE based the architecture of the Auckland South Correctional Facility on a progressive model of accommodation, which rewards prisoner rehabilitation. As offenders progress with their rehabilitation, they are rewarded with better accommodation and facilities situated in different parts of the prison compound. Upon their release, non-profits continue to work with the prisoners in offsite accommodation to prevent reoffending. MODE also incorporated life skills training into the architecture program, which in turn provides economic, social and educative benefit to the centre and the community. Inmates build furniture and fabricate items for external businesses to sell, while literacy and numeracy classes are linked to the rehabilitation program and provide life skills proven to prevent reoffending. Back home in Australia, MODE also adopted IC for its design of the Groote Eylandt Cultural Centres in the Northern Territory, which it delivered for the remote island’s community groups of Angurugu and Umbakumba. Facilitated through extensive community consultation sessions, MODE was able to isolate the imperative components of the project, and then work with various commercial and community parties to develop a design program that exceeds traditional architectural models.

Architecture & design

“By understanding the key drivers of a project, it allows our team to identify strategically aligned opportunities and to collaborate with specialist providers, groups, businesses and government with the sole outcome of creating better communities through unique design.” These opportunities, discovered during the IC investigation, are what MODE calls Capital in Reserve and are identified through MODE’s quadruple bottom line metrics of social, environmental, economic and educative value. Key to MODE’s thinking is that this capital would remain ‘in reserve’, were it not for the IC process.

Zealand’s prison system.


8/5/19 3:24 pm

Architecture & design




Apr-jun 2019

“The trick to unlocking this capital is to drill deep down into the client’s intentions and imperatives for a project and then prove how innovative design can best meet them.”

Both centres provide a number of important services, but more than that, they also provide a real sense of identity, connection and ultimately, investment from the community within the buildings. IC in this instance has identified capital within the metrics of community and social value and, through responsive design and intense collaboration, delivered a project which provides a high ROI. Key to both the Groote Eylandt Cultural Centres and the Auckland South Correctional Facility projects is the investment from the client, facilitated through MODE’s IC, in capital outside traditional bottom-line thinking. MODE demonstrates how IC, and ultimately the architect, can provide a client with a new set of metrics to consider when assessing the ROI of a project. FROM TRIPLE TO QUADRAUPLE BOTTOM LINE


Like many contemporary architectural practices, MODE places significant importance on the integration of social, economic and environmental value in its design processes. Where MODE may differ from other firms (at least explicitly) is in its emphasis on the educative benefit good architecture provides to the community. Case in point is MODE’s new Learning Centre designed for Windaroo Valley State High School in Queensland. Working with the school’s Science, Technology, Engineering and Math (STEM) students, MODE produced a walk-through Virtual Reality animation of the new school, showcasing both the design intent and the design process to the students in a realistic and engaging way. Another example is the firm’s much-awarded Bullocky Point Education Precinct, a three-

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INNOVATION CAPITALISATION IN THREE STEPS 1. Identify an opportunity for project collaboration in a financial, social, environmental or educative way 2. Strategise how the opportunity will be delivered 3. Quantify the potential outcome

storey highly sustainable education building which sits at the interface of The Northern Territory School of Distance Education (NTSDE) and Darwin High School. BPEP provides a new public interface for parents and visitors to both schools as well as an opportunity for students to interact and take advantage of the centre’s cutting-edge learning technologies. A study tour and numerous stakeholder workshops were undertaken by MODE to determine the highly specialised technology and design requirements for the building. From this, and through the application of IC, the existing design model was challenged and changed to incorporate feedback from those stakeholders likely to use and enjoy the project. Key to MODE’s philosophy in both these examples is the motive of closing the information gap separating the architect and the end-user of a project. Intense consultation allowed MODE to deliver on this motive because stakeholders were so actively engaged in the shaping of the project’s design intent. MODE shows how involving the community and end users in design consultation enhances the social value of the project. Further, it also demonstrates how educating occupants about

a building’s intended use can increase the project’s level of community investment. THE ROLE OF THE ARCHITECT IN SHIFTING THE ROI METRICS Rob McCray has been practicing for decades and witnessed firsthand the evolving role of the architect in project delivery. And while McCray, like most architects, laments the way architects have been shunned from the roles of project and construction management and pigeonholed as design consultants, he is also quietly happy with the way MODE has managed to inject itself back into the fold. McCray notes that architects are in a great position to capitalise on the new public consciousness influencing the way buildings and landscapes are valued within the broader social context. Providing value on the new metrics of ROI requires innovative thinking and design development, both of which architects are in the premier position to do. “We believe this is incredible opportunity for architects to develop ideas which have great reach into our environments and communities,” says McCray. “But this will be limited only by how much individuals want to give back rather than take from opportunities.” For MODE, IC provides the platform to not only deliver innovative designs that give back to the community and environment, but also designs that require engagement from the architect throughout the lifecycle of a project. In many ways, MODE, like many other firms in contemporary Australia, is re-establishing the importance of architects and innovative design thinking in the delivery of a high-quality, functional and responsible built environment.

9/5/19 10:10 am

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8/4/19 5:03 pm 29/4/19 4:47 pm

Architecture & design




Apr-jun 2019

Diversity inside and out Four leading female figures in the architecture and design industry share insights on how to increase diversity, their personal experiences, and how they hope to promote awareness in the built environment.


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Kathlyn Loseby Chief Operating Officer, Crone Architects and president of the NSW Australian Institute of Architects When I was studying my Bachelor of Architecture at the University of Sydney, it was the first year where gender representation was 50/50, marking an important milestone in the industry. However, today there are very few women who have progressed to senior roles. A recent Parlour study found that only 13 percent of directors in the industry are women. In addition, women make up only 24 percent of registered architects in Australia, and only 29 percent of Australian Institute of Architects (AIA) members. One reason for the lack of women in senior positions may be due to taking time away from their career to raise a family. I have been very fortunate to have never felt disadvantaged as a woman and have been supported in all of the roles I have held. I’ve had the opportunity to work internationally for European and American practices and worked with offices

that helped me balance my career and family. At Crone, we are committed to the 40/40/20 ratio; 40 percent women, 40 percent men, and 20 percent non-binary employees. Overall, I think the architecture industry is incredibly supportive of women and many practices offer flexible work solutions. As the fourth woman president in the New South Wales Chapter of the AIA’s 150-year history, I have made it one of my priorities to support women in the industry. I am working to renew the Institute’s National Committee for Gender Equity and reinvigorate it with a younger generation of architects. Working closely with a range of people from different backgrounds, we have built a gender equity policy that aims to exhibit principles of fairness and equal opportunity across the profession. To me, diversity is broader than levelling the playing field for men and women; it’s also about embracing equality of people from all walks of life, including culture, religion, sexuality and ability. One of the key initiatives that I’m looking to progress in the AIA is the Reconciliation Taskforce to help provide more employment opportunities to Indigenous Australians. I believe that architecture and design is a unifier for society as it encourages people to experience diversity. Buildings like the Australian Islamic Centre in Melbourne and Australian Islamic Mission in Punchbowl are visually stunning examples of how architecture can inspire people to learn about and engage with other cultures. When starting a new project at Crone, we always make a point of discussing with our clients how we can create spaces that will accommodate everyone’s needs, to ensure we are designing for diversity. For anyone feeling disadvantaged in the industry I encourage them to speak up, as there are always people available to help. Looking to the future, I hope that diversity will become so commonplace that we no longer need to have a conversation about how to achieve it.

8/5/19 3:26 pm

“... diversity is broader than levelling the playing field for men and women; it’s also about embracing equality of people from all walks of life...”

Kirsten Orr Registrar, NSW Architects Registration Board

/ Apr-jun 2019

For 30 years now, women have been graduating in almost equal numbers, but this has not translated into equal representation in the profession. Less than 25 percent of registered architects are women. There is a huge attrition of talent from the profession for various reasons including unconscious bias manifesting as differing work opportunities, differing pay rates for men and women, and non-family friendly working conditions. This is supported by the findings of ARC funded research into Equity and Diversity in the Australian Architecture Profession: Women, Work and Leadership completed in 2014. The findings from this research shine a light on why so many women leave the profession and why if they stay, they may remain invisible and behind the scenes. This inequity is a poor reflection on our profession and the unnecessary attrition is a huge loss to our industry for each and every woman who has left her vocation after


Professor Helen Lochhead Dean, UNSW Built Environment and national president-elect of the Australian Institute of Architects


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when emergent technologies are rapidly transforming material culture and challenging how architects contemplate and manipulate architectural form, structure and material. In this context, new, inherently interdisciplinary opportunities constantly present themselves. As a profession, I believe architects must foster new exploratory approaches through innovative, interdisciplinary exchanges. After all, the world does not exist for architecture in isolation. Instead, great architecture is created in response to the social, cultural and political forces that shape the surrounding world. It is in this context that the architecture profession stands to profit from a greater commitment to interdisciplinarity and exploiting the diversity that accompanies it.

Architecture & design

As a profession, architects must be amenable to multifaceted approaches and diversity, both inside and out. I have worked in a wide range of architectural practices as well as trying my hand as an owner-builder. This background is fundamental to my identity as a registered architect and has informed my ‘learningby-making’ ethos and passion for applying emerging technologies to transform the way we design and build. I believe in always ‘leaning-in’ to try new things, as daunting as they may be, and I like to say ‘yes’ without hesitation to opportunities that come my way. This philosophy has led me to amass a wide range of life-enhancing experiences and perspectives, while my distinctiveness as a competent woman in a predominantly man’s world has helped me to stand out from the crowd. I could not have succeeded alone and without a supportive husband and parents who

have been willing to plug the gaps when work and life fail to completely align. I am devoted to my family and consider my children to be my greatest creative works. I am therefore ever conscious of the fragile work-life balance as I juggle my family commitments with career ambitions. Learning from the experience of others has been significant in my success and I am fortunate to have been mentored by a long line of significant women and men. In turn, I am a committed mentor to others and a keen advocate for the benefits of sharing diversity of experience. Embracing difference and recognising that we are not all running the same race is crucial if women are to progress in their fields. I have always pushed back against unconscious bias and the natural urge to surround myself with ‘people like me’. I have reaped the resulting benefits of a richer and more challenging workplace characterised by complementary skillsets and different cultural backgrounds, attitudes and experiences. It can take women a long time to recognise that they are capable of leadership with contributions to make. Sometimes women need to be shown the way. We must encourage and support more women to rise to leadership positions. Incredible support was extended to me at the University of Tasmania as I grew into leadership roles there. The support came predominantly from male colleagues – senior scientists and engineers – who may have found my ‘design thinking’ curious and exotic, but were by my side every step of the way. The satisfaction I have derived continues to surprise and delight me. It arises from my newly discovered ability to motivate and inspire people, my commitment to leveraging personal opportunities to the benefit of my team, and my ability to realise the rhetoric in the achievement of tangible results. I wouldn’t have discovered these personal abilities if I hadn’t been given the chance. My academic research career has stretched from the 19th century to today,


9/5/19 10:15 am

Architecture & design




Apr-jun 2019

exchange and research, project partnerships, scholarships, work placements and mentoring. We have set KPIs and have increased our women in academic leadership fivefold and are well ahead of our five-year target of 50 percent women in leadership roles by 2025. With more women role models who are also decisionmakers, many more doors will open to women in the profession. The initiatives of the Institute of Architects and my own Faculty of Built Environment are two examples of how promoting equity and setting targets can accelerate change and propel women into leadership roles. To face the challenges in today’s building industry, we need to include all our talent and capabilities, and that means women and men. In the long run, this will make for more resilient organisations and a better, more inclusive built environment.


committing time and resources into her education and professional development. We educate women and need to recognise and utilise their professional skills in the areas where their talents lie. Not tapping into 50 percent of the potential and diverse professional talent pool available does not make sense from economic or societal perspectives. We need to proactively mentor and promote women if we are to retain our female talent in the professions. Importantly, we all need to work together and work differently if we are to achieve change. The good news is that this is happening. As a consequence of this research, Parlour was established to bring together research, informed opinion and resources on women, equity and architecture in Australia, and to also celebrate the diverse achievements of women. This has been instrumental in advocating for and profiling women’s achievements. The Australian Institute of Architects has responded with Champions of Change, an initiative of the AIA Gender Equity Taskforce (GET). The Institute has also set benchmarks and achieved equal representation of women on our AIA Board and we now have more women on National Council and as chapter presidents. Awareness, education, opportunities and targets are crucial to meaningful policy shifts and behavioural change. At UNSW, we have established a network, Engaging Women in the Built Environment. This forum brings together women from all built environment professions, from early career to industry leaders by providing a platform for

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Lauren Cockburn Director, Conrad Gargett and vice president of the NSW Australian Institute of Architects Diversity and inclusion are not nice-to-haves, but are imperatives that must be front and centre of our conversations driving changes in our work processes. We must strive for these until such time as they have become second nature and we have achieved the aim for equal representation across the spectrum of our industry. Like Kathlyn, when I graduated from university, over 50 percent of the class was female and these figures have remained consistent across that time. Yet, when I look at

the industry and the representation of females in senior positions in companies, we are sadly few in number. The pipeline of talent remains strong and if we are to be leaders in the built environment, it seems ridiculous that we don’t have voices that represent all facets of our society at the table being able to advocate and make change. There is a Maoist saying “women hold up half the sky” that rings true to me and spurs me on to find opportunities to empower women and help them reach their goals. My personal journey has similarly faced impediment and prejudice, not unlike many stories you hear. But I had a solid foundation that my father had instilled in me: I could do it, that through hard work and determination I could achieve anything I put my mind to. It’s this mindset that has sustained me and helped to propel me to where I am today. I have experienced the elation that comes from promotions as reward for good work and being valued, but also the crippling effects of returning to work after having children, being sidelined, as well as the feeling of being caught between commitments to family and work. Upon reflection, for a lot of my working life I have been the most senior female architect in an organisation. There haven’t been a lot of role models to follow or ask advice; that’s why programmes that offer mentorship are so important. I find I learn just as much as the people I mentor, where both parties become sounding boards for ideas about how to approach a particular issue. In some respects, I think these programmes have replaced the traditional architect and trainee roles in a studio as our senior staff are often caught up in the demands of the project, client and their own lives. I am also excited about the work that the Gender Equity Taskforce and Male Champions of Change have most recently published on the Australian Institute of Architects – NSW Chapter. These guidelines provide practical advice around leadership, engagement and flexible roles that benefit a broad range within our community. It’s through recognising how we lead and engage authentically, understanding unconscious bias and eradicating it from our decision-making processes that we can reach our aim of having an industry and workplace that are more successful, balanced and insightful, as it more truly represents the diverse culture in which we live.

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5/8/19 3:11 PM

WORDS Emily Wombwell

Architecture & design


P e op l e


Apr-jun 2019

In search of the ‘And’ With every new project we set ourselves the goal to reveal the ‘And’. While rarely part of the client’s brief, the ‘And’ could be a key urban move, a unique built gesture or a subtle moment of surprise that forms through the design process.


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A rich design process tests and challenges the obvious; it explores options and opportunities to create something unique and engaging, optimising the potential of every project and the positive impact that each can have on its place and its people; users and public alike. The city deserves quality public spaces and buildings and no matter the scale or budget of the project, there is no reason to settle for the bare minimum or the most obvious solution. With design initiative, broad thinking and most importantly the ambition to test the status quo, every brief big or small has an important role to play in making a meaningful contribution to our city’s built fabric. The most rewarding design processes are where the client, council and consultants all see the benefit of giving significant time and effort to a project to achieve the best possible outcome. For Newcastle’s East End, SJB initiated an alternative design excellence process in consultation with the council and their design review panel for the redevelopment of four city blocks within Newcastle’s old town. Stage one of the development involves an entire block which incorporates the retention of multiple heritage façadesv and the former David Jones Building to be stitched amongst three new residential buildings. It was imperative to us that this development would ensure a rich diversity of architectural fabric be introduced to the site despite the fact that each new building would be designed and built at the same time. For this, we invited Tonkin Zulaikha Greer and Durbach Block Jaggers to design two new buildings adjacent to ours during an intensive

design excellence process, with iterative presentations and reviews by the Council’s elected design review panel. In contrast to the traditional design excellence competition, this process was a highly collaborative one where the broader design team was able to work together and challenge each other to make the most of the opportunity at hand, to reshape a whole city block and reinstate the urban grain lost throughout history. Together we remoulded the massing, responding to one another and reforming each building’s skirt to define a strong edge to a new activated public square at the heart of the site, contributing a moment of discovery to a broader network of pedestrianised lanes. Had each architectural design team worked in isolation, our ability to push the envelope and reshape the public domain in such a significant way would have been greatly diminished. In this case the ‘And’ was found through the power we were given to recreate the public spaces between our buildings in a synchronised and thoughtful manner. Private developments can create unique opportunities to unlock parts of the city and connect dots in a way that would not otherwise be possible for the public domain. Even a single building project has the potential to positively impact the way in which we experience our city during the day to day. Casba in Waterloo, Sydney designed in collaboration with SJB and BLP stitches together two sides of a large block by generously opening its communal open space to the public, creating a

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People / Apr-jun 2019

interventions are achieved on our projects we know that we have moved beyond an appropriate design response to a special one. At a smaller scale we have used integrated artworks within residential projects as a generous offering to the residents that has a greater impact than luxury materials or grand spaces. A piece within the lobby at our Coast development in Bondi engages the senses and memory with a carved sculptural piece by Mika Utzon-Popov which speaks of the immediate coastal context. Everybody touches the smooth formation as they walk through the space, adding to the beauty and patina of the concrete artwork. The timeliness of each of the discussed interventions have been critical to their realisation – a discussion must start early to allow an idea to establish itself as being integral to the project’s completion. As architects we have the responsibility to push ourselves to achieve excellence; the process isn’t over until the ‘And’ has been realised.


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their day-to-day life, then we have moved beyond creating architecture for architects. The incorporation of public art into our projects presents an interesting opportunity to respond to context and local culture more deeply than our buildings can alone. Public art, while often selected for its aesthetic properties, has a greater role of storytelling and engaging people in their place intellectually. We find that the most successful of our projects incorporating public art are those that integrate the work into the architecture in a meaningful and considered way from an early design stage – not tacked on as an afterthought and not a token piece that floats in an empty space. With public art a compulsory and valuable element of our new BMW and MINI showroom project in Rushcutters Bay, we developed an idea to introduce a significant piece of Indigenous public art while remaining within the bounds of the stringent corporate identity of the international brands. At an early stage we identified the MINI showroom façade as an ideal canvas to integrate an artwork that spoke of the local culture place from an Indigenous perspective, while retaining the strong gridded architectural aesthetic of the MINI building. For this, sisters Sarrita and Tarisse King were engaged to create an artwork that would wrap the entire building with perforated metal panels; every piece unique and making up the whole story. We believe it is the first time worldwide that BMW and MINI have localised their buildings in such a direct way. It’s when these types of

A r c h i tect u r e & d es i g n

fruitful shortcut through the site and a pedestrian link not previously available to the public domain. The serenely landscaped courtyard at the site’s centre forms an oasis for both visitors and residents and has become a desirable, activated ant track for the local community. In responding to a highly constrained CBD site, our Loftus Lane building proposal in Circular Quay introduces a new through-site link by pulling the envelope away from the adjacent heritage Hinchcliff House, forming an enticingly narrow pedestrian lane between our building and the newly exposed heritage wall. This fine-grained break in the street wall has the characteristics of Nurses Walk in The Rocks and was not imagined by the masterplan we inherited; in reshaping our building’s envelope we have been able reveal a historical piece of building signage and celebrate its presence within the public domain. Such moves allow a new precinct to establish itself seamlessly by adding to the layers of time within the city’s built fabric and integrating new and old buildings in a complementary way. Each of these projects revealed opportunities beyond their brief to contribute to their place in a more meaningful way than to simply provide the functions within. As with heritage fabric, public art has the potential to tie a new development to its location and make it memorable and relevant to the public. One key identifier of having achieved the ‘And’ is if the minds of the public can be captured through architecture; if the local community notice and talk about architecture and the positive effect it has on

Opposite The Loftus Lane, Circular Quay, building proposal. Above Emily Wombwell, an associate at SJB (left). East End, Newcastle, city redevelopment by SJB (right).


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Apr-jun 2019 / PEOPLE / Architecture & design 20

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9/5/19 10:19 am

Happiness and habitat: Can architecture save our lives? Architecture & design

WORDS Susanne Pini

/ Ap r - j u n 2 0 1 9

Community is one of the main reasons I never moved out of Annandale. As a family, we traded location for our ‘dolls’ house because we couldn’t unshackle ourselves from the ‘intangibles’ that made us constantly feel that we were part of something bigger. What tied us to this place was the acknowledgment that in fact the ‘everyday of our lives’ was more important than the ‘special days of our lives’. While views differ on the exact nature of the link between urban sprawl and public health, the fact that healthier communities typically have strong, deep ‘social strands’ which tie them together is well established yet often ignored. These multigenerational social strands contain the ‘stuff’ of daily life and mean that people not only genuinely know other people, but also share different aspects of their lives with each other. It is time we take this dialogue beyond architecture and beyond city-shaping to consider issues such as obesity, social isolation, inclusion, inter-generational care, loneliness, mental health, societal cohesion and diversity. How might design propagate change that has the potential to cure, restore and regenerate? The greatest examples of strong, vibrant communities from around the world arguably all emerged, by design and/or by default, before the invention of the motor vehicle. Covering long distances was far less convenient, which necessitated that individual communities

encapsulate all the requirements of life – places of shelter, work and play. The spread of car ownership is intrinsically tied to the spread of suburbia, and the ability to move further and separate the parts of our everyday clearly correlates to worsening health outcomes. The car unshackled us from place and use and, unwittingly, from each other and life to create patterns of isolation. The typically car-dominated, low density, dormitory suburb typified and arguably still very much typifies the Australian dream. But this dream has made us more stressed, unhealthy, lonely and disconnected as a community.


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Chasing the Dream


Perhaps the dream of a quarter-acre block spoke to our Australian sense of space – a space to kick a ball around and where you knew the neighbours and they knew you. But we grew and the thread that connected us, all of a sudden, didn’t.

Design for Serendipity Knowing very well that what we build around us affects how we live and therefore directly impacts our health, we continue to build cities that are planned to dissolve the connective tissue that binds us all together by, for example, trapping each of us in our respective silos – in the form of our cars and homes. We have also become quite adept at very deliberately compartmentalising the different aspects and activities of our lives. For instance, we meticulously plan the places we go to work, separate from the places we go to for recreation, and the places where we live. We however have been, since the advent of the car, stretching the societal glue to an extent that is all but non-existent in most places.


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Apr-jun 2019 / P EO P LE / Architecture & design 22

We drive to get milk, we drive to the park, we drive to work and we drive our kids to school. We drive ourselves everywhere. And the reason urban sprawl is so dangerous to the connective tissue needed to create community is that it denies serendipity – the serendipity of walking down my street to get milk and encountering the neighbours on the way, who ask themselves how Susanne could have forgotten the milk again! The serendipity of saying hello to Sam the shopkeeper who slaps you on the back and remarks how much the kids have grown and offers you advice on teenagers and how to grow better tomatoes. The serendipity of seeing a friend who looks a bit down, and inviting them over for dinner. The serendipity of connection at every human level. An important factor in the design of a community is proximity and walkability. Encouraging people to walk is not about increasing the number of steps that one might otherwise miss but rather about increasing the opportunities to connect with other people and hence create more of that connective glue that holds communities together. Low density, with commensurate low amenity as a consequence, stretches our urban frameworks and connection to each other; isolating and disconnecting. But walkability isn’t just about scale and proximity. As important as these factors are, there are many other elements, some more subtle than others, that come into play. For instance,

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tree cover, landscaping, street lighting, outdoor furniture, and the interaction and overlaps between vehicle, bicycle and pedestrian paths are all elements that we as humans register and that give us cues about the environment that surrounds us and how to navigate it. I was recently in Vancouver, Canada, which in many ways presented a wonderful example of walkability and visual connection to nature, and hence wellbeing. It is a great embodiment of a city that is super dense with tall buildings and that yet offers frames of picturesque bodies of water and majestic snowy mountains in the distance from multiple vantage points off every other street corner. What makes Vancouver particularly intriguing is that it goes against planners’ orthodox attempts to play second fiddle to surrounding nature by laying low. It is design that is mindful of context and that takes into account the urban experience. Building Blue Zones National Geographic in 2017 ran a story about the common factors shared across some of the world’s happiest places (https://www. worlds-happiest-places/). The article included a grin-inspiring photo of a group of young men diving from a 5m high platform into a harbour in Copenhagen. The caption beneath that expressive image read:

“A built environment that invites physical activity helps explain why Danes have among the lowest obesity rates in the world. The country frequently claims the top spot in the annual World Happiness Report, a reflection of its government-supported education, health care, and financial safety net.” A few years ago a wonderfully inspiring client passed me two sheets of neatly typed text that contained the story of the ‘Roseto effect’. It felt like a piece of wisdom that had been handed down from one generation to the next. I read it over and over, wondering how we could seemingly have the solution to our own destiny in our hands yet somehow never manage to quite achieve it. Perhaps we can’t believe that the solution could be so simple. Named after a town in Pennsylvania, the Roseto effect refers to a phenomenon whereby a close-knit community of Italian immigrants experienced substantially lower rates of heart disease compared to other towns in nearby locations. Three generations of Rosetans would sit around the same table to share a family meal, almost all men were part of one or more community groups, and they often gathered in each other’s kitchens to debate world matters over a card game. A 50-year study of the Roseta community revealed that as they settled into their newfound lifestyles, got wealthier, moved to live in separate houses, bought cars, intermingled with other

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Architecture & design / Apr-jun 2019

so-called ‘blue zones’ are exemplars of healthy living and that it is their day-to-day living habits that mark their health outcomes. And this is why we should strive to affect the way people live at a more fundamental level by changing the very building blocks of the places they live. This means making healthy living practices an integral part of people’s daily lives. It’s clear that the way we design where we live has a direct effect on our mental, social and physical health. It affects our ability to engage in the ordinary daily things that constitute our lives – our houses, our work, and our daily needs. We need to stop removing the ‘friction points’ out of our lives and in fact increase the ‘bump points’, because how our setting is put together affects the way we come together. Local, communal, tribal should be the mantra.


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communities, and gradually abandoned their Mediterranean social structure, communal lifestyle and living habits, the incidence of heart disease in their community increased from half the rate of those in neighbouring towns to more or less the same level. It only took twenty short years for this dramatic change to take place. By the 1980s the rate of heart disease tragically matched that of the US. The social glue had dissolved. The researchers attributed the people of Roseto’s initially lower heart disease rates to their lower levels of stress, the importance they placed on cohesion within their community, and the relative social equity. Simply put, it wasn’t diet, family history or location that mattered, it was the formation of community. Malcolm Gladwell sums up the case of the people of Roseto as follows: “In transplanting the paesani culture of southern Italy to the hills of eastern Pennsylvania, the Rosetans had created a powerful, protective social structure capable of insulating them from the pressures of the modern world. The Rosetans were healthy because of where they were from, because of the world they had created for themselves in their tiny little town in the hills.” - ‘Outliers: The Story of Success’ by Malcolm Gladwell Looking at those unique pockets on our planet where people tend to lead healthier, happier and longer lives, we find that these


“Encouraging people to walk is about increasing opportunities to connect with other people.”

Susanne Pini is principal and national director of Mixed-Use + Workplace at HDR. Photo courtesy of HDR; © 2017 Terence Chin.

ABOVE What makes Vancouver particularly intriguing is that it goes against planners’ orthodox attempts to play second fiddle to surrounding nature by laying low. It is design that is mindful of context and that takes into account the urban experience.


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THE CONTEXTUALLY RESPONSIVE SKYSCRAPERS SET TO TRANSFORM THE BROADER URBAN FABRIC Key experts responsible for conceiving some of the tallest, most innovative skyscrapers in Australia and overseas will touch down in Melbourne for the third edition of the Australian Smart Skyscrapers Summit, held on the 25th & 26th June at the Melbourne Convention & Exhibition Centre. Projects to be explored at the Summit by the experts responsible for their inception incl:

MELBOURNE’S GREEN SPINE At 356 metres, the winner of Beulah International’s high-profile design competition is set to be the tallest building in the Southern Hemisphere – but that’s not all it has going for it. With its cantilevered structure broken up into two tall towers, the UNStudio and COX Architecture-designed skyscraper has culture at its core. From its continuous green terraces to its publicly accessible ground floor, Green Spine aims to prioritise health, wellbeing, and a strong connection to the city below.

3 WORLD TRADE CENTER, MANHATTAN In isolation, the Greenwich Street commercial skyscraper emphasises green design. Its Gold certification for Leadership in Energy and Environmental Design reflects its day-to-day function as a significantly more cost-effective, energy-efficient office building compared to neighbouring Manhattan structures. But in relation to its surroundings, its central position within the World Trade Centre precinct overlooks the WTC memorial site and the two memorial pools sitting where the Twin Towers once stood, ensuring that 3WTC responds carefully to its intrinsically sensitive context.



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5/8/19 3:12 PM

SOUTHBANK’S MELBOURNE SQUARE The multi-tower, skyline-transforming precinct will reflect Melbourne’s ‘garden state’ identity with plenty of public open space on ground level and expansive city-scaled views for building occupants situated up high.

VINCOM LANDMARK 81, HO CHI MINH CITY Currently standing as Vietnam’s tallest building and situated on the Western banks of the Saigon river, the commercial and publicly accessible supertall tower symbolises prosperity, strength and greatness for the city. These symbols are reflected especially through its bamboo-inspired design; bamboo itself being a symbol of strength and resilience.

Arup Commercial Property Leader Cameron Dymond will treat the tower as a blueprint for the possibilities of socially and environmentally sustainable high-rise workplace design, that simultaneously redefines and references the built environment within Melbourne’s CBD. SUMMIT FEATURED SPEAKERS: » » » » » » » » » »

SCOTT DUNCAN – Design Partner, Skidmore Owings & Merrill JOHN MCELGUNN – Partner, Rogers Stirk Harbour + Partners JASON HUTCHINGS – Senior Design Director, Hong Kong, Atkins JAN SCHELLHOFF – Associate Director, UNStudio ADELENE TEH – Executive Director, Beulah International CIAN DAVIS – Director, Bates Smart ANGELA FERGUSON – Managing Director, Futurespace ABBIE GALVIN – Principal, BVN DYLAN BRADY – Conductor, Decibel Architecture AMANDA STANAWAY – Principal, Woods Bagot

COLLINS STREET’S OLDERFLEET TOWER Located at the rear of the heritagelisted Olderfleet Buildings in Collins street, the WELL-certified 40-storey office tower features a modulated façade that highlights the doubleheight, vertical-village forming floors within, while paying subtle homage to its heritage context.


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5/8/19 3:13 PM

Announcing new Categories & Criteria


Entries open 7 June 2019 Gala Awards event 7 November 2019, The Star.

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5/8/19 10:16 AM

Can sustainability change social outcomes? Architecture & design / P RO M O T ION /

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Apr-jun 2019

For those that remember the 2018 Sustainability Awards, over 150 project, people and product entries were submitted, all of which were of the highest calibre.

While our jury managed to hand-pick 12 winners they believed push sustainability in the architecture and design industry across new frontiers, which also helped to propel Australia’s leading architects onto the global stage, the issue of sustainability and social impact or change was missing from the awards program. That will all change this year According to the Property Council of Australia, while our understanding of sustainability initially focused on economic and then environmental sustainability, we now see that social outcomes are inextricably linked to the long-term sustainability of businesses and the communities they serve. As advances in technology and changing social values intensify the scrutiny on corporations, all property companies, large and small, must demonstrate their social licence to operate. When we get it right, our built environments are vibrant,

diverse and teeming with cultural capital. They are not only valuable assets, but valuable pieces of community infrastructure. In fact, we strengthen environmental, economic and governance outcomes when we also consider the social capital of our communities. Our industry not only creates buildings and communities. It also has a significant influence across a large supply chain. This places us in an extraordinarily powerful position to do well by doing good. In other words, even those not usually associated with putting sustainability at the forefront of the planning can see the long-term value and importance of the greater social impact that sustainable design has on the community. For Australia’s architects, the value here is two-fold While the term ‘sustainability’ for most architects conjures up images of environmental protection, climate change and, well basically


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A r c h it e c tu r e & d e s i g n




Apr-jun 2019

“... designers can and should always consider the fundamental principles of orientation, natural daylight and passive ventilation to generate buildings that are truly sustainable by nature.”

Above The Macquarie University Incubator designed by Architectus

saving the planet through design, those who have been in the built industry for a while probably have a slightly broader understanding of the concept of sustainability incorporating social and economic aspects as well as environmental. The other architect’s ‘value-add’ is the notion that achieving the Holy Grail of social, environmental and economic sustainability starts very much in the design stage of any project. Once the issue of this total sustainable outlook is fully quantified, then of course it can be fully implemented. is it about the triple bottom line?


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According to Investopedia, the triple bottom line (TBL) is a concept which broadens

a business’ focus on the financial bottom line to include social and environmental considerations. A TBL measures a company’s degree of social responsibility, its economic value and its environmental impact. The phrase was introduced in 1994 by John Elkington and later used in his 1997 book “Cannibals with Forks: The Triple Bottom Line of 21st Century Business.” A key challenge with the TBL, according to Elkington, is the difficulty of measuring the social and environmental bottom lines, which necessitates the three separate accounts being evaluated on their own merits. In effect, TBL is the idea that it is possible to run an organisation in a way that not only earns financial profits but also betters people’s lives

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Architecture & design / PROMOTION / Apr-jun 2019

and helps the planet. The elements of the TBL are referred to as “people, profits and planet”. To see this kind of thinking in use, Sydneybased MODE Design is one firm that is placing importance on the integration of social, economic and environmental values in its design processes. According to an interview with principal Rob McCray (see page 8), MODE may differ from other firms (at least explicitly) in its emphasis on the educative benefit good architecture provides. A case in point is MODE’s new Learning Centre designed for Windaroo Valley State High School in Queensland. Working with the school’s Science, Technology, Engineering and Math (STEM) students, MODE produced a walk-through Virtual Reality animation of the new school, showcasing both the design intent

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and the design process to the students in a realistic and engaging way. Another example is the firm’s muchawarded Bullocky Point Education Precinct (BPEP), a three-storey highly sustainable education building which sits at the interface of The Northern Territory School of Distance Education (NTSDE) and Darwin High School. BPEP provides a new public interface for parents and visitors to both schools as well as an opportunity for students to interact and take advantage of the centre’s cutting-edge learning technologies. A study tour and numerous stakeholder workshops were undertaken by MODE to determine the highly specialised technology and design requirements for the building. From this,

and through the application of IC, the existing design model was challenged and changed to incorporate feedback from those stakeholders likely to use and enjoy the project. Key to MODE’s philosophy in both these examples says McCray, is the motive of closing the information gap separating the architect and the end-user of a project. Intense consultation allowed MODE to deliver on this motive because stakeholders were so actively engaged in the shaping of the project’s design intent. MODE is showing how involving the community and end users in design consultation enhances the social value of the project, while how educating occupants about a building’s intended use can increase the project’s level of community investment.


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Apr-jun 2019 / P ROMOTION / Architecture & design 30

What the 2018 Sustainability Awards winners have to say... Passive design is the key to creating a sustainable built environment By Luke Johnson, Architectus principal, Education category winner The built environment is very consumptive of resources and energy and as such its development and function has a large impact on the natural environment and the lifeforms that inhabit it – including us. It is essential that designers engage in the research and development of appropriate solutions that improve environmental performance and reduce energy consumption. Sustainability is typically understood to involve three dimensions of financial, ecological and social sustainability. For Architectus, these dimensions are fundamentally intertwined, and we know that exceptional solutions of sustainability have positive outcomes for our natural environment and human health, and deliver our clients reduced whole-of-life costs. The future of sustainable design requires working with (as opposed to against) the opportunities of the external environment. The most sustainable built environments are created through passive approaches. This entails working closely as a design team with the nature of the site and its opportunities for optimal orientation and the capacity to “tune”

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the building according to seasonal requirements. We design in direct response to the local climatic conditions, exploring appropriate means of reducing overall energy demand, the provision of the right amount of thermal mass for the building’s fabric and designing to allow that fabric to “breathe”. It is necessary to realise that passive design requires active thinking. To create sustainable buildings, designers must not be bound by common practices towards energy use and material composition but must actively seek out solutions that are less demanding on energy consumption and carbon creation. Ideally, utilising solutions that are energy creating and carbon neutral. The Macquarie University Incubator does all this and more. It is an example of how we as designers can and should always consider the fundamental principles of orientation, natural daylight and passive ventilation to generate buildings that are truly sustainable by nature. Challenges, markets & regulators By Ed Horton, director, Stable Properties, Interior Architecture category winner In today’s world of environmental and social consciousness, it’s increasingly easier to express what otherwise may have been regarded as radical views when imagining sustainable initiatives in the built environment.

Nonetheless, the challenge has been and to a great extent remains, at what cost and inconvenience are these so-called sustainable initiatives, and to what benefit. The principal stakeholders in the development cycle need to share some common interests, if the project is to be successful, it’s just a matter of degree and where those interests intersect. Some of those stakeholders are planning authorities (Councils, State Governments etc.), banks/ financiers, developers, architects / engineers and purchasers / tenants, where the question of sustainability is considered through a prism of risk, value, desirability, cost and performance, and not equally by each. The seeds are there, and we are seeing some exciting projects in the commercial and residential sector, with Embedded Electricity Networks being more widely adopted, solar systems with smart energy storage and Virtual Power Plants emerging as the next generation of clever and efficient energy systems. The market acceptance, if not market demand for more responsible and indeed equitable and affordable sustainable initiatives is encouraging. Of the key stakeholders, we are still unfortunately finding that regulators and consent authorities are lagging behind. There is on face value, a positive narrative coming from those authorities, however the truth is, most have a low mandatory level of sustainable

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opposite Luke Johnson, Architectus principal (left), Jessica Bennet, Aurecon senior sustainability consultant (right).

performance criteria, which is fine if we are looking to establish a basic, broad brush performance standard. More so, if an individual were to exceed those standards in a meaningful manner, such as reducing the electricity load on a particular dwelling, or to otherwise become partially, or heaven forbid entirely self-sufficient in power, there are no benefits attributed to the individual by the consent authority. This needs to change. Blurring the traditional boundaries between landscape and building in urban environments By Defence Housing Australia, Multiple Dwelling category winner

/ Apr-jun 2019

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In the past 12 months I have had a lot of time to reflect on how Australian business is dealing with their environmental responsibility. And from where I sit, it’s not good. We have had lots of talk with lots of sustainability and CSR people in big companies and government but so little actually happens. And I think it is because in corporate Australia, so few of these people are actually empowered to achieve a fraction of what they would like to achieve. I continue to see thousands of tonnes of Melamine and MDF going to landfill. I see little enthusiasm from some architects and designers to use recycled materials, as the Greenstar points system gives so little focus on the circular economy, it only looks at the new build. There is a complete disconnect between these various parts of the business process that could actually achieve something good, if it all worked together. When a company relocates or refurbishes, there is often significant focus on staff engagement, the design layout and the furniture selection. At that stage people ask all the environmental questions about is the furniture FSC, recyclable at the end of its life, etc. But as they move to that new office, a different set of people have to get the old office cleared out and “make good” so that they get the bond back… and every bit of all those sustainability goals for the new office just got negated as the old furniture got sent to the tip. The NSW Government’s Circular Economy Policy was published last month. I hope this resets the system because until waste is considered as a key part of any purchasing decision, the whole equation will not work.

Improving the health and wellbeing of the end-users of buildings is fundamental to green building design. Taking this human-centred approach is vital for sustainability, says Jessica Bennett, senior sustainability consultant at Aurecon. “Staff costs typically account for 90 percent of business operating costs, so focusing on the health and wellbeing of occupants in green building design makes sense from a social, environmental and economic perspective,” Bennett says. “Well-sealed buildings also perform better for both energy efficiency and thermal comfort, so designing for low air leakage through the building envelope is also important.” Bennett also says that high performing buildings shouldn’t incorporate ‘greenwashing’ techniques. “Building systems need to be optimised, monitored and controlled so that performance meets design intent,” she says. These approaches were used as part of the regeneration of One Malop Street, Geelong, a 14-level A-Grade commercial building and new headquarters for WorkSafe Victoria, that involved the urban regeneration of the historic Dalgety & Co. site. Aurecon provided all the engineering services, alongside architect Peck von Hartel and contractor Built, for developer and owner Quintessential Equity. “The development was designed and constructed with the occupants’ wellbeing at its heart and with market-leading greenhouse gas emission targets,” Bennett says. “The project team acknowledged the past and looked to the future by retaining the heritagelisted Dalgety & Co Wool Store façade while ensuring resilience against climate change.” The development has achieved 6 Star Green Star, WELL Platinum (base building), WELL Gold (Interiors) and is targeting a NABERS 5.5 Star Energy (Base Building) rating. The building has also cut greenhouse gas emissions by 70 percent, compared to standard buildings. “Truly sustainable developments must look at triple bottom line sustainability – making significant and positive contributions through environmental measures, economic outcomes and social equity,” Bennett notes.


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The future is not as sustainable as we may like to think By Greg Welsh, Winya Indigenous Furniture, Application and/or Innovation category winner.

Focusing on people is key to sustainable design By Jessica Bennett from Aurecon, winner of the Commercial category.

Architecture & design

Residents of Defence Housing Australia’s (DHA) visionary new apartment development, located in Sydney’s inner-city, will have the opportunity to harvest and cook their breakfast without needing to leave their building. Arkadia epitomises the idea of ‘a sustainable community’. As part of a City of Sydney design competition, DKO and Breathe Architecture delivered an award-winning design that drew on the area’s former brickworks history for inspiration, integrating recycled materials, passive energy design and innovative green spaces to deliver meaningful benefits for occupiers and the environment. The development which is now nearing completion, is set over 5,590sqm and will deliver a mix of 152 apartments as well as a ground floor retail space designated for a café, a pocket park, veggie gardens, barbecue spaces, a rooftop with dining pods and city views, chicken runs and even an apiary for bees. When you think of city living you don’t often imagine collecting freshly laid eggs or harvesting your own honey and veggies from your rooftop, but Arkadia makes all this possible. The unique features of Arkadia work as communal spaces to bring people together through gardening, leisure and recreation. The “functional seasonal landscapes” enhance wellbeing for residents, by encouraging people to step outside and interact with nature and one another. The courtyards and roof terraces also contribute to local biodiversity by increasing the biomass and diversity of plant species included within the landscape. Arkadia’s design maximises opportunities for social interaction through the connection of spaces, all abilities access, the arrangement of seating and orchestration of views, and by providing a mix of communal and semiprivate spaces that accommodate small groups and individuals.

DHA understands the benefits of community cohesion, and the importance of social interaction, which can help to combat the sense of dislocation that people can sometimes experience in apartment living. “Dwellings that are good to live in and good for the environment go hand-in-hand and it is important for DHA to set this example”, says senior development manager, Pedro Pan. “We are incorporating this approach in more of our developments and it is encouraging to see this philosophy being adopted more widely to blur the traditional boundaries between landscape and building, especially within urban environments,” he adds.


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Architecture & design


P r o m o ti o n


Apr-jun 2019

In Conversation: Jean Graham The 2018 Sustainability Awards Emerging Architect of the Year Jean Graham speaks about running a small firm, her favourite designs and what she thinks makes a great architect.


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A&D: Winter Architecture is a collaborative architecture practice. With projects in Victoria, NSW and Tasmania, you work alongside a range of design professionals to provide each of your clients with a unique tailored level of design expertise. How does that translate to a ‘typical’ design brief/project you would handle?

equality and empowers each other, their clients and the public.

Jean Graham: Our practice has staff scattered across the country. Concept design stages are rigorously explored collectively, we try to get the team together in person for this. From this point, the tasks within projects are divided and undertaken individually or in smaller groups. These tasks can be completed by staff in the Winter Architecture studio in Fitzroy, at home or at alternative share studios. Our work is centrally located and constantly accessible from the cloud, meaning that our data and modes of working are free from the constraints of an office, city or country. We have enabled this model of working to retain our amazing team, who may or may not require flexible working arrangements.

JG: We’re very honest and open about our work and operations as a practice. I think this has contributed to some of our success. We believe it’s important to value ethical and equitable modes of practice, so we appreciate the support we’ve had on this thus far. Our open-minded approach has also enabled us to collaborate with some great architects and designers, as they find it quite easy to align their modes of working with ours. This gives us more opportunity to celebrate the work we do, and the work we do with others. Having said this, our modes of working may not matter so much to our clients, but we provide them with great work, I think that’s worth something too.

A&D: Speaking of great architects, your firm has won quite a few awards in its relatively short existence. What do you attribute this success to and is there a secret formula to such success?

A&D: After winning the Emerging Architect of the Year, upon reflection, what would you say makes a great architect?

A&D: Your firm uses technology very much to its advantage. How exactly does technology figure in your day-to-day interactions with both staff and customers?

JG: We don’t see the notion of the ‘great architect’ as the backbone of our practice. It is and always has been a collective effort. So, a ‘great practice’ is one that can be adaptable, collaborative and open-minded about all design constraints and opportunities. For us, enthusiasm about embracing new ways of working is a timeless quality of a ‘great practice’, be it in a design sense or a technological sense. A ‘great practice’ promotes

JG: Technology provides us with a solid, shared and consistent platform for the whole team to operate from, regardless of their location. It is a valuable tool for the business, but it doesn’t change the way that we design. When dealing with clients, it’s still very much about meeting in person. We feel the need to resolve things by sketching, opening a book, testing materials or model-making. As architects we value the real, tangible aspects of our world,

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“Ultimately, the perfect project is reliant on a great project site and a trusting client allowing us to explore our full potential.”

A&D: What is your advice to other architects that may be thinking of going out on their own?

Architecture & design

it’s impossible to explore these through technology alone.

/ / Apr-jun 2019

A&D: If you were to have your pick of structures to design, what would you most like to design and why?


JG: Everyone says that it is really hard, and they are right. I would recommend alleviating some of the financial stress by ensuring you have one year’s salary saved for yourself so you can sustain cash flow demands that will inevitably arise and you can focus your energy on building your business. It’s a long hard road, so buckle up.

JG: For us, it’s not so much the project, it’s more about the site and the client. If the values of the client align with our mindset that’s what we want. Our team is so experienced across sectors, we’re all passionate and enthusiastic about all projects. Ultimately, the perfect project is reliant on a great project site and a trusting client allowing us to explore our full potential. A&D: Can you tell me what your plans are for 2019 in terms of Winter Architecture? JG: We have some fantastic clients and some fantastic projects underway. We hope to see some of these projects completed in 2019. Hopefully, we can attract more work of a similar vein. We look forward to more collaborations with more great architects. Perhaps it’s a bit ambitious but so far we’ve so far gone interstate, perhaps we could go international.

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Caroma on Collins: Culture, innovation and sustainability Architects Archier

Photography Katherine Lu

Architecture & design

WORDS Miranda Louey

/ P ro j e c t s /

Caroma is the plastic taps at your Nana’s house that are still kind of hip, the cistern that is still working after 30 years, and the bath you sit in with your first child. This type of history deserved more than plasterboard walls with square set ceilings, it deserved an honest narrative that is rich with texture and symbolism. The project embodied a familiar Australian brand and sought to communicate its values through volume, symbol, and material

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rather than signage, marketing strategy, and slideshow images. The project used physical space to provide what the internet cannot: a customer experience that is unique in both emotion and pace, and that communicates as much to the body as it does to the intellect. Instead of pushing products onto customers in a traditional showroom manner, Caroma on Collins offers a space in which to breathe, sit, slow down, explore and experience.

Apr-jun 2019

The brief was simple: make physical the values and history of Caroma. Contained within that simple brief was a much deeper conversation around Australian culture, innovation, and sustainability. All too often brands wish to turn away from their past and become “aspirational�, although this is not Caroma.


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Apr-jun 2019

Values are communicated through symbol and material rather than a superficial marketing strategy.

Architecture & design


A simple brief

ABOVE It was important to use materials that age gracefully over time, like mild steel and spotted gum.


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The brief was to create a physical manifestation of Caroma’s values. Rather than abandoning the past and focusing solely on the brand’s future, the company sought to initiate a deeper conversation around Australian culture, innovation and sustainability. It was important to produce spaces that reach occupants on an emotional, almost instinctual level rather than solely a cerebral or visual one. Caroma didn’t want people to simply see its spaces, but to feel them. There was a desire to communicate Caroma’s values through symbol and material rather than a superficial marketing strategy. For instance, the galvanised water tanks are a nod to the Australian pioneer, the recluse farmer who valued water above all else and who had to innovate and adapt to survive. Then there is the lemon tree that sits in the bathroom, speaking of a time when one was conveniently planted near the back door acting as a make-shift second bathroom. Material selection was also important, with the use of mild steel and spotted gum, materials which age gracefully, developing character over time. Lastly, it was important that the space felt open and welcoming without feeling vacuous or intimidating. Caroma was conscious of the “paradox of choice” where too many options create choice anxiety, so products are clearly displayed in limited numbers.

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Interior Linings




Systems Solutions

© 2019 USG BORAL. All rights reserved. The trademarks USG BORAL, INNOVATION INSPIRED BY YOU are trademarks or registered trademarks of USG Boral Building Products or one or more of its affiliates. USG Boral Building Products Pty Limited – ABN 84 004 231 976 – 251 Salmon Street, Port Melbourne, VIC 3207, Australia UB1316 04/19

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Apr-jun 2019 A r chitect u r e & desi g n




Functionality and sustainability


Functional “product pods” have been designed by local creatives to illustrate the diverse ways products can be used. A child’s water play area by the Agency of Sculpture and level access to all areas and displays are some of the features that ensure equal access and activity for all users. The outcome is a new community space located in the heart of Sydney’s showroom district. The project viewed sustainability as inherent to an appropriate, resolved design. This included a clear commitment to reduce resource consumption, reduce pollution, and create a comfortable and healthy environment built responsibly. The adaptive reuse of an existing warehouse meant that significant material use, energy use and waste creation were avoided from the outset. The project focused on evidencebased decision making, undertaking a preconstruction assessment of thermal conditions to inform the design and servicing decisions. Caroma’s focus as a company on making it intuitive for customers to use less water was embodied in the design’s reference to natural hydrological cycles. The project includes 40,000 litres of rainwater storage, collected in tanks and reused for irrigation. The design of the interior landscape supports a number of sustainable aspects. The evapotranspiration of the plants provides natural cooling, filters pollutants from the air and creates a connection to nature that supports the wellbeing of both staff and visitors. This landscape was also specified through detailed daylight and temperature analysis.

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The need for active heating and cooling is minimised through the creation of an ‘indoor/ outdoor’ atmosphere for most spaces. Supported by the landscape, the majority of areas act as semi-conditioned spaces, maintaining the comfort of occupants within a broader thermal comfort band. This allowed a highly efficient indirect evaporative cooling system to be specified, dramatically reducing operational energy use. Smaller, fully air conditioned spaces are contained within the office and conference room, offering a higher level of thermal control if required. The first major design challenge was to create a space that reflected on Caroma’s past while invigorating the present and setting a firm direction for the future; while the second major design challenge lay in finding the best approach for articulating this narrative into a spatial experience that would be recognisable. In our current world of Instagram posts and Pinterest boards, it is easy to find a thousand great ideas or discover the in-vogue material with matching colour scheme, but nothing lifted from these digital pages would be meaningful. Instead, Caroma required something different, something special, a physical manifestation of its Australian heritage built from the memories of those who grew up with their products. The process of achieving this involved investigating the feelings Caroma would trigger in its clients, staff members and the Australian public. This told Caroma that the space required a slow, casual and approachable pace where experience and exploration trumped the sale, turning the typical showroom experience into a stroll through the bush.

Suppliers & Components Structural Steel & Water Tanks: BlueScope, galvanised Windows: BINQ, black stained timber architectureanddesign. Vegetation: Fytogreen Landscape Architect Openwork openwork. info/ Sustainability Consultant Hip V. Hype Sustainability Building Contractor CJ Duncan Structural Engineer Co-Struct Mechanical / Electrical / Hydraulic Engineering Lucid Consulting lucidconsulting. Lighting Design Arup Access Consultant Lindsay Perry Access Fire Consultant Fahrenheit Fire Engineers- Project Management TM Insight Kids’ Play Sculpture Agency of Sculpture

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COMPACT GLASS Saheco SV-X Compact Sliding Systems European Designed & Manufactured Glazed Room Dividers & Doors 1300 379 793 The exclusive distributor for Saheco in Australia & New Zealand

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Brisbane’s wooden vertical wonder is finally complete Ar c h i t e c t u r e & d e s i g n

WORDS Katie Rathbone & Philip Vivian

/ P ro j e c t s / Apr - j u n 2 0 1 9 41 SOUTH ELEVATION 1 : 200 @ A3 0

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WEST ELEVATION 1 : 200 @ A3 10m





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Architecture & design




Apr-jun 2019

In terms of the material limitation, the shorter structural spans and increased number of columns reduce the wide spans often desired in commercial floorplates.

Brisbane’s 25 King sets a global precedent for timber buildings. At 10 storeys tall and 14,965sqm, it is the tallest timber commercial building with the largest floorplate in the world.

The building showcases leading timber engineering and an honest expression of materials that differentiate it from typical concrete and steel mid-scale office developments. A simple, 6x8 metre system of glulam beams and columns and cross laminated timber (CLT) floor planks and core walls supports a flexible floorplate. Major services reticulate in specially designed zones so each floor can easily maintain a consistent floor-to-ceiling height. The wonder of wood


Architecturally, the building expresses the floorplates and use of timber through its glazed transparency, street level timber colonnade, and interior warmth, which was created by leaving the wood and other raw materials exposed. As a singular gesture, 25 King represents a viable return to timber design and construction, pushing architects to think beyond concrete and steel commercial solutions. From the initial brief, Lendlease and Aurecon (the developer and anchor tenant) wanted a building that would express sustainability and engineering while providing a creative workplace.

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In response, the architects began to explore the potential of a timber structure to create a unique commercial building within the Brisbane office market. Timber is not often considered for mid-and high rise commercial buildings, as commercial buildings don’t have as many internal walls that provide structural support. However, recent innovations in engineered timber have enabled taller commercial buildings to be undertaken. Bates Smart used these advances in technology and design to achieve a timber structure that is 10 storeys high. It is the tallest commercial timber building with the largest floorplates in the world, demonstrating that timber is a viable solution for commercial development. Perspective and precedent Completed in 2018, 25 King is designed to showcase leading timber engineering, an honest expression of materials and structural and sustainable ideologies that differentiate it from typical office developments. It is also the first timber commercial building in Brisbane. Architecturally, the building is an extruded, glazed rectilinear volume that expresses its floorplate. Its all-timber side core on the north enables an open and unencumbered floorplate for maximum workplace flexibility. The ‘L’-shaped solar shades arrayed across the west façade are designed to reduce solar heat gain, which is essential in Brisbane’s harsh climate. A glazed ‘verandah’ volume attached to the extruded floorplate volume addresses the primary street frontage. The verandah is raised on structural timber ‘V’ columns to create a generous shaded pedestrian colonnade programmed with indoor/outdoor retail. The entry lobby off the colonnade draws this honest expression of natural materials inside the building via its timber and off-form concrete. A chevron green wall, composed of

plants angled toward natural light, completes this space and complements the biophilic design principles demonstrated by the timber. The basement and ground floor structure are concrete due to damp and the potential of white ants. Above the ground floor, however, the entire simple column and beam structure was designed and constructed in timber. Its design resulted from resolving competing priorities: the columns and beams not only had to achieve the most efficient structural spans, but they also had to be economically sized for transport and handling on site. A 6m x 8m grid allowed for reduced column and beam sizes, and their slenderness allows the structure to read as joinery. Glulam timber was used to make the columns and beams, while the floor planks and core walls were made from cross laminated timber (CLT). Diagonal Glulam bracing on the building’s façades provides additional lateral restraint. To maximise floorplate flexibility, services were left exposed beneath the timber structure, with major services reticulated in specially designed zones with shorter spans and reduced structural depths adjacent to the core and facade. Throughout 25 King, the interior office environment glows with the warmth of timber from the columns, beams and floor soffit. The use of natural materials in the interior—as opposed to concrete, steel and plasterboard— better connects occupants with nature, fostering a happier and healthier workplace. This building sets a new global precedent for timber building. Its combination of structural, construction and sustainable efficiencies allowed architects to create the tallest timber commercial building with the largest floorplate in the world, demonstrating that timber construction is a viable alternative to steel and concrete in mid-scale commercial office buildings.

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Blum’s AVENTOS lift system A kitchen must have Large, wide fronts and thin gaps for an uninterrupted, smooth look. AVENTOS overhead lift systems allow you to carry through the design - from wall cabinets to base units.


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suppliers & COMPONENTS Flooring Access Floor: ASP Access Floors au/suppliers/asp-access-floors Carpet Tile: Interface Equilibrium I interface. com Lobby: Fibonnaci Stone Cool Stream Walls (External) Tower & Ground: Curtain wall and shopfront façade by G James North, Core Cladding: Lysaght Klip-Lok 700 Hi-Strength, Plant Level Cladding: Metroll Trimclad (specified as Lysaght Trimdek) architectureanddesign. Acoustics & Insulation Fletcher Insulation Lighting Office: Eagle Lighting Australia Multifive G2 Bathroom: Light Project Recessed Round Downlight, Lift Lobby: BoxRail LED 907 System Light, Lobby: Light Project IBL CAN 140 Light, Lobby Feature: Light Project INTRA Pipes Track Light, Green Wall: Light Project Metropole Spotlight, Colonnade K-brace recessed light: Light Project Lumenbeam, Small Balcony Light: Nocturnal Lighting Firefly Wall eagle-lighting-australia Paints/Stains & Coatings Office corridor: Dulux Lexicon Half, Office bathroom doors: Dulux Ashlite, Lobby: Dulux Black Bathrooms Typical wall feature tile: Skheme Daintree Warm Grey Matt, A rchitect u re & design

Wall tile: Skheme New York White Gloss, Floor tile: Shkeme Daintree Warm Grey Matt, Floor tile (DDA): Shkeme Daintree Antracite Matt, EOT feature tile: Skheme Agreegate Greige Matt, EOT + Amenities floor tile: Skheme Aggregate Greige Matt, EOT + Amenities floor tile (DDA): Skheme Aggregate Charcoal Matt Sustainability features Timber Structure: Glulam columns, beams and cross bracing by Wiehag, Austria At ground level colonnade, the Glulam beams are clad in Accoya CLT core walls, floor slabs: Stora


Enso, Austria

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The toughness and carbon capture qualities of timber Timber’s major advantage is its ability to sequester carbon: 25 King’s design achieves a 74 percent savings in embodied carbon, when compared to a comparable steel and concrete building. The building minimised its environmental impact during the construction phase via offsite fabrication of the timber elements, which helped to cut down waste. Pre-construction of these elements also helped achieve significantly shorter construction times. Each level was built in 11 days, with construction time totalling 15 months. Now that 25 King is operational, it is targeting 5 Star NABERS, 6 Star Green Star and WELL v1 Platinum ratings.

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In addition to the timber, sustainable features include natural daylighting in the interior, efficient low-temperature HVAC and lighting systems, aluminium sunshades that reduce heat load while increasing indoor air quality. One challenge was the requirement for early documentation to enable prefabrication to commence, requiring a very different approach to resolving the design, coordinating services and resolving details ahead of construction. With prefabrication, it is difficult to make onsite adjustments, so the design, coordination and construction must be rigorously planned in advance to minimise changes. In terms of the material limitation, the shorter structural spans and increased number of columns reduce the wide spans often desired in commercial floorplates.

To overcome these parameters, the structure has a 6m span of CLT floor planks supported on Glulam beams. The 6m span is efficient in terms of span to depth ratio of the floor plank. The smaller size of the elements also makes them easier to transport and handle on site. The CLT beams span 8m between columns. The depth of the beam allows for structural penetrations that are sized to the distribution of services. Two shorter spans—one adjacent to the core and the other on the perimeter windows—create shallower structural depths to allow for the lateral distribution of large service ducts. This combination of efficiencies allowed Bates Smart to create a tall timber building with flexible floorplates that will appeal to a range of tenants over the building’s lifecycle.


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WORDS Stephanie Stefanovic

Architecture & design


Pro j e c ts


Apr-jun 2019

The Doss House: A building with many lives

The Doss House is a skillful adaptation of a 172-year-old Sydney building into a luxurious whiskey bar that pays respect to the building’s many former lives.


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The interiors have been carefully curated to showcase bespoke, crafted spaces that reference the building’s past as an opium den, gambling house, bootmaker and boarding house. Above all, the design was heavily inspired by the commercial and maritime development of The Rocks precinct, and it attempts to capture the contradictions of refinement and larrikinism that were once so prevalent in Sydney’s history. “Reviewing all the historical reference notes and property information on hand we realised the rich tapestry of characters that were known to have worked, used or inhabited the spaces,” says Peter Ahern, co-founder and director of Buck&Simple. These characters were taken as reference points to help design six distinct ‘rooms’ that capture some of that history: Ung Quoy’s Den: Inspired by the story of ‘Jasper’ Ung Quoy, who was a notable Chinese businessman, later investigated for links tied to the sale of opium and investigated under the Royal Commission into Chinese gambling and immorality. The Bootmaker’s: References the bootmaking trade that developed in the Rocks area. It was particularly inspired by notable bookmakers/watchmakers Mark Burge and Neil Quinn. Unwin’s Stories: Inspired by the English heritage of Frederic Wright Unwin, solicitor and director of the Australasian sugar company that built the Stores in 1843- 1846. The room is a play on the tales he would have from his travels.

Dock Bar: References the rich maritime history of the precinct and inspired by the dingy basement dock bars of Circular Quay in the 19th century. Dock Yard: Inspired by the bustling Docks activity at The Rocks in the 18th – 19th centuries. Sailors Garden: Based on the trips the ‘Sailors’ have taken to the Middle East and Asia as they came and docked at Sydney cove. The Adaption It wasn’t an easy journey, with significant restrictions due to the building’s heritage status. The construction team was also faced with the challenge of working in a compact, delicate space in the short timeframe typical of a commercial fitout. Early on, it was decided that the palette of the bar would be centred around respecting the building’s existing structure, using a language of construction typical of the period. “Being a state-listed heritage building with thick and heavily hand-tooled sandstone block walls, thresholds and sills and original hardwood ceiling/floor structures, the venue has as much inherent character as it is possible to lease in Australia,” says Ahern. “Heritage requirements stipulated no wall fixings were permitted at all, protective floor layers were required to be laid prior to any new finishes and all detailing was to preserve the original fabric of the site.”

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Architecture & design




Apr-jun 2019

The architects allowed the building’s rich history to pave the evolution of the space.


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right Brass detailing, textured oak timbers and warm diffused lighting over textured tapestries, artefacts and antique furniture were chosen to accentuate and enrich the historically layered spaces.

Architecture & design / Projects / Apr-jun 2019

For this reason, cabinetry and banquettes needed to be built as a secondary carcass sitting free of walls. Floor tiling and parquetry were also laid over ply substrates, sitting atop a concrete slab laid over a sand blinding bed that protects potential convict-era remnants. Brass detailing, textured oak timbers and warm diffused lighting over textured tapestries, artefacts and antique furniture were chosen to accentuate and enrich the historically layered spaces.

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“The final key to preserving fabric of buildings of this vintage was maintaining airflow for existing structures to reduce the detrimental build-up of moisture,” says Ahern. “We were required to create and maintain access to ‘air gaps’ between the fittings and the existing building. Integrating the requirements of airflow balanced against the requirements of food and drink premises compliance required a novel approach to the detailing.”

This project is a return to craft, something that is becoming more common as customers increasingly seek a unique experience with a slower pace. With so much tradition in the making and drinking of whiskey, the architects allowed this tradition and the building’s rich history to pave the way for the evolution of the space.

Follow us for more stories like this


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WORDS Stephanie Stefanovic

Architecture & design


P ro j e cts


Apr-jun 2019

Neo-Gothic architecture meets the modern workplace

Thanks to Cox Architecture and property investor Charter Hall, the site of one of Melbourne’s most important collections of Neo-Gothic architecture is getting a modern makeover, turning the precinct into a contemporary work-life destination that respects and celebrates the site’s heritage.


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Architecture & design / Apr-jun 2019

130 Lonsdale, interfacing directly with the new tower’s lobby. “The tower form above has been sculpted to reveal and provide breathing space to The Manse, with clear glazing providing a seamless interface between old and new. It will also ensure that tenants and visitors of the building will be able to view The Manse from striking new angles,” says Haussegger. “The choice of materiality continues to be informed by the heritage buildings through the use of a subtle blue/grey glass façade on the exterior of 130 Lonsdale to complement the bluestone used in the heritage buildings. The bronze fins of the podium levels interpret the lighter sandstone elements of the heritage fabric and serve as a monolithic backdrop for the heritage buildings.” With the first stage scheduled to open in May 2020, the team is currently focused on the seismic reinforcement of several of the buildings, such as the Caretaker’s Cottage and The Manse. Significant restoration and external conservation of the façades is also underway, including stonework. In the coming months, the teams at Lovell Chen, Lendlease and Heritage Victoria will also be working across the restoration of the stained glass windows at Wesley Church, as well as the replacement of the slate roof with imported specific slate from Wales to perfectly match the existing materials.


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Beyond the restoration works, the architects intend to address functionality by exploring new ways the community could better utilise the buildings, ensuring their historic value is appreciated by all. Design-wise, the architects have carefully considered the influence the existing heritage buildings could have on their modern counterparts. “With several heritage buildings on the ground plane providing a rich sense of permanence and human scale, we felt that we could explore an interesting interplay between the existing buildings and the scale, texture and material quality of the new buildings,” says Cox Architecture project director Simon Haussegger. “In holding the edges of the precinct with the new buildings and creating a monolithic podium response that acts as a backdrop to the heritage buildings, the intent is to further reinforce their visual prominence within the city.” According to Haussegger, Wesley Church anchors the collection of heritage buildings on the site, with the Caretaker’s Cottage and red brick wall along the north edge of the site. A new town square will sit in the northern core of the precinct, with the heritage-listed olive tree and elm tree providing protection to the landscape below. A key design element will be the incorporation of heritage building The Manse with 130 Lonsdale. The Manse will be nestled under


Cox Architecture and Charter Hall have recently embarked on a massive project to transform the Wesley Place precinct into a major work-life destination that respects and celebrates the site’s heritage. The team is developing three commercial workspaces (130, 140 and 150 Lonsdale) alongside the restoration and adaptive reuse of a number of heritage buildings. Other features will include a world-class culinary precinct, community amenities and green space. Restoration of the site’s heritage buildings is a major part of the project. Buildings to be restored on the 1.1-hectare site include the Wesley Church, Caretaker’s Cottage, Manse, School House and Nicholas Hall. The main focus will be on Wesley Church, one of Melbourne’s earliest and best examples of Gothic Revival architecture. The update will include intricate stained glass window and stonework restoration, as well as a new slate roof. “Wesley Place is one of Melbourne’s earliest settlements dating back to the 1800s. It is therefore immensely important for us to ensure any of the plans we have for the commercial office spaces seamlessly blend with the heritage buildings on site,” says Simon Stockfield, Charter Hall’s regional development director. Cox Architecture has taken up this immense challenge with rigour.


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Welcome to Sections2, where we highlight the very best section drawings from architecture and design students from our many universities.

This issue, we will be featuring the work of Audrey Cavalera who completed her Master of Architecture last year from the Melbourne School of Design. The Melbourne School of Design (MSD) at the University of Melbourne is first and foremost a champion of ideas and their expression, says professor Alan Pert. “It is through our design studios in Architecture, Landscape Architecture, Urban Design and Planning, that ideas motivate and shape the culture of the school,” he adds. “These ideas are reflections of our critical engagement with the history and theory of our disciplines and the future contingencies of contemporary urban culture. MSD creates a context that invites students to test and

communicate models, insights, and principles that focus on architectural, urban, and landscape issues based in Melbourne and relate them to a global perspective.” “To study at MSD is not only to learn how to understand the complexities of our contemporary built and natural environment, but also how to operate and innovate within them. By framing carefully articulated perspectives, and developing design and scholarly methods, we explore ideas through creative inquiry and studio-based learning.” Professor Alan Pert is the director of Melbourne School of Design, Faculty of Architecture, Building and Planning at The University of Melbourne

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Architecture & design / sections2 / Apr-jun 2019

Top Through the analysis of Venice through section the city began to be classified in a tripartite manner: above, below and at the datum line. The ‘Venice’ experienced is that above the datum (water) line: the urban fabric. Through a sectional cut, a series of facts and fictions embedded within Venice were revealed, whereby the city acts as a series of elements and scenes. above Three moments of intervention, referred to as ‘ruptures’, were determined through the sectional cut. Each rupture is an interplay whereby narratives of ‘Venice’ cease to change but are merely accentuated. These three ruptures are as follows: The Act: The bridge as a matrix and framework within in Venice (left). The Cut: The Two Red Columns of Palazzo Ducale (middle). The Veil: The Venetian wells (right). Each ‘rupture’ explores the paradox of ‘old’ and ‘new’ whereby Venice exists as neither dead nor alive.

Opposite ‘The Venetian Floor’: A simultaneous mapping of Venice’s flooding patterns and water levels. The circled location marks the zero-water height for Venice. This point acts as the ‘datum line’ and threshold between different versions of the same city: a lingering and cyclical portal whereby the ‘above’ and ‘below‘ Venice meet. Acqua Alta, meaning High Water is the point at which Venice lives on the edge of its own downfall; the life and death of the city existing in a manner which is not finite but repetitive. A constant presence which is for the most part – silent.

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Apr-jun 2019 Architecture & design




“The Melbourne School of Design at the University of Melbourne is first and foremost a champion of ideas and their expression.�

Audrey Cavalera completed the Master of Architecture at the University of Melbourne in 2018. During her degree she was awarded the Dulux Colour Award, the SJB Scholarship, the Denton Corker Marshall Award, The Ernest Fooks Memorial Award and the Nell Norris Scholarship Year 4 and Year 5 Awards which recognise the best student in each year of the architecture course, based on all-round merit. At the end of 2018 she was awarded the Bates Smart Thesis Award, a graduate prize for outstanding design. Through the Melbourne School of Design, she attended the 2015 Hong Kong/Shenzhen Bi-City Biennale of Architecture and Urbanism and the 2018 Venice Architecture Biennale. She is currently a graduate architect with Bates Smart.

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Combining the design flexibility of brick with the inherent qualities of precast concrete

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What’s the next frontier in modular and prefab? Architecture & design

WORDS Stephanie Stefanovic

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The benefits of modular & prefab Estimates show that modular buildings can be completed up to 30 - 50 percent faster than their traditional counterparts. Not only is this highly convenient, but it leads to reduced costs. It is important to note that while a modular build may cost more than a traditional build upfront, the client will typically save a significant amount of money on construction timelines. It is also much easier to make a modular/ prefab building sustainable, with buildings of this type leading the market in the use of recycled materials. The controlled off-site construction process also ensures less waste. Due to the nature of their design and construction, modular buildings are much more flexible than traditional buildings. It is easy to alter the design of an existing building, or quickly add on more rooms. It is true that most if not all modular and prefab structures also have higher quality control than typical buildings. Built in a controlled quality-control inspired factory environment under ideal conditions, these buildings are not vulnerable to factors such as weather or inconsistent construction practices.

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These are some of the examples we’re seeing more often, with people marvelling at the speed, reduced cost, sustainability and flexibility that comes with a modular build. The question is, why aren’t we harnessing these benefits for our commercial builds?


In recent years we’ve been hearing more and more about modular and prefab buildings. Stunning cliffside homes built in mere weeks, sustainable and functional schools ready to be stacked to the sky as cohorts grow.


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left Daramu House will consist of over 10,000sqm of commercial floor space and approximately 680sqm of retail space. Image courtesy of Lendlease. previous Modscape Docklands: Unlike more traditional sales suite designs, the building demonstrates an ambitious architectural style through an ellipsoid-shaped modular form and a bespoke curtain wall glazing system. Photography by Chris

A r chi t e c t u r e & d e s i g n




Apr-jun 2019

Daile, courtesy of Lendlease.


Why don’t we create modular commercial buildings? Internationally, modular and prefab structures are very much growing in popularity, as well as increasingly so across all states in Australia. This is mainly in the residential sector, and led by advanced manufacturing nations such as Japan, Germany, Finland and Sweden, according to Angus Kell, business development manager at CSR Inclose. Common attributes to the success of modular and prefab in these markets include: • An appreciation of engineering excellence and quality products • A history in advanced manufacturing, commonly from the automotive industry • A strong regulatory environment in relation to quality standards • Energy efficiency together with significant accountability of the contractor • The requirement for short construction timelines due to external factors such as weather. According to CSR, in markets where there is a lesser uptake of modular and prefab (such as Australia and the United States), there are also a number of common reasons: • Less appreciation of engineering and build quality • Markets are price-sensitive and loath to change as they are risk-averse • Have little experience in off-site manufacturing • Often have complex entrenched supply chains that suit the typical builder/developer • Have little legislative accountability.

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The growth of prefab in Australia The prefabrication of commercial structures is definitely a growing market in Australia, having started over the last decade with the uptake in modular pod bathrooms, but has more recently seen a move into pre-fabricated structures, façades and services. Buildings such as Lendlease’s International House Sydney and 25 King (see page 40) are leading the way. These structures use crosslaminated timber (CLT), a material created by gluing boards of cut timber together and crosslaying them. XLam, which says it was the first company in the Southern Hemisphere to open a CLT plant, is an expert in the matter. “Mass timber structures offer sustainability benefits whereby they actually sequester CO2 from the atmosphere thanks to the storage abilities offered by the timber product we use,” says John Eastwood, head of business development at XLam. “Unlike concrete and steel, wood has zero embodied carbon, making it the only carbon positive long-span structural building product. In addition, mass timber structures are around 20 percent of the mass of concrete structures, which allows mass timber buildings to be built in areas that concrete otherwise wouldn’t (i.e. vertical extension to existing buildings or on poor ground conditions).” The Plant and Food Research Centre is a great example of XLam’s work in the commercial space.

Until recently, crown agency Plant and Food Research had to support the industry from inferior facilities on scattered sites. The new Seafood Research Centre brings these operations together in a purpose-designed building located at Port Nelson, New Zealand. The reclaimed land required a light construction solution, with timber being an obvious choice. Apart from 15m long piles penetrating the old seabed to support a concrete ground floor, all main components are wood. The structural design hinges on the use of locally manufactured, lightweight prefabricated engineered timber components. The two-storey offices and administration building incorporate a blend of products from XLam, Nelson Pine Industries and Potius Building Systems. According to XLam, the main structural support and shear walls comprise XLam five-layer 130mm-thick CLT panels rising the full height of the building, connected to the floor slab by cast-in projecting steel dowels over which the factory-drilled panels were lowered, with epoxy adhesive inserted once the panels were positioned. The walls were rapidly installed and wrapped against weather until the building was enclosed. The XLam walls support a Potius floor fabricated from LVL, while bracing to the open south wall is provided by LVL cross columns. Floor levels are linked by XLam AirStairs which provide a strong design feature to the double height entry. Much of the mass timber is clear-finished, delivering warmth and ambience to the interior.

9/5/19 10:41 am

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Another interesting example of prefabricated commercial spaces is Lendlease’s Daramu House. Daramu House is the second engineered timber building at Barangaroo South in Sydney, and Lendlease’s sixth engineered timber building in Australia. When finished, it will consist of over 10,000sqm of commercial floor space and approximately 680sqm of retail space, according to George Konstandakos, head of DesignMake, a branch of Lendlease. “We were limited to only pre-assembling the brace bays for Daramu House. This was a significant achievement, as an element previously taking three hours to erect onsite can now be installed in 15 minutes. [However,] due to site and design constraints we were unable to pre-assemble the vertical elements such as lift and stair cores,” says Konstandakos.

“We’re seeing modular becoming more common in commercial builds where accuracy, quality and control of costs are paramount and where onsite disruption is

symbolises the wharf’s entrance and delivers unobstructed waterfront views. Consisting of four modular quadrants delivering 210sqm of space, the interior flows between open plan zones dedicated to 3D display models, simulated kitchen and bathroom areas, a reception, a multimedia room and staff amenities. Metallic elements including a copper-clad media room and folded plate steel entrance are blended with a grey palette of leather and stone that gives reference to the residential aesthetic, while the inclusion of recycled wharf timber in the reception desk and external landscape totems pays homage to the wharf and its riverfront surrounds. While modular buildings can sometimes get a bad rap due to their ‘boxy’ appearance, this project shows that we can move beyond this to create aesthetically pleasing, functional commercial spaces. Now the problem is addressing some of Australia’s fundamental issues to create a bigger market for modular commercial buildings. Indeed, it may be a while yet before we see modular being fully realised in the Australian market.

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Modular commercial buildings

to be kept to a minimum,” says Jan Gyrn, managing director at Modscape, a company dedicated to designing, building and delivering modular homes and commercial buildings across Australia. “Greater appreciation of the industry and greater understanding of the design possibilities coupled with accelerated construction time, less waste and less site disruption is making prefabrication/modular more and more exciting and the industry will continue to evolve and grow.” A stunning example of architectural merit in a modular structure is the Mirvac Display Suite at Melbourne’s Docklands. Modscape collaborated with Mirvac’s marketing, design and construction teams on this project, with the aim of delivering an iconic sales and marketing suite to facilitate the sale of Mirvac’s residences and encapsulate the look and feel of the site’s wharfside heritage. Unlike more traditional sales suite designs, the building demonstrates an ambitious architectural style through an ellipsoid-shaped modular form and a bespoke curtain wall glazing system that

above The structural design of the Plant and Food Research Centre hinges on the use of locally manufactured, lightweight prefabricated engineered timber components. Photography courtesy of XLam. Suppliers CSR Inclose Modscape 60

Lendlease Mirvac XLam

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Finding the best of both worlds: Fire safety & moisture management in building faรงades

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The 2017 Grenfell and 2014 Lacrosse tower fires sent shockwaves through the Australian design and construction industry. Independent inquests and regulatory reform followed, leading to amendments to the National Construction Code (NCC) and a ban on the use of combustible claddings by many state regulators. Driven by the heightened demand for fire safety, the growing preference for noncombustible, non-permeable metal sheathing as a form of weatherproofing has made managing moisture levels within a building more difficult. Designers and specifiers need to understand the relationship between non-combustibility and condensation build-up so they can avoid the consequences of insufficient moisture control. The Consequences of Insufficient Moisture Control As water damage is often not immediately visible, insufficient moisture control can result in long-lasting building issues and potential health risks. Steel or timber frames, insulation, electrical

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wiring and other elements in the building can be compromised by water damage. Damp wood can lead to decay, fungal growth and termite infestation. Occupants may also be exposed to health risks related to toxic mould growth, bacteria and expansion of dust mine population. Understanding the Relationship Between Non-Combustibility and Condensation Under the current weatherproofing and noncombustibility requirements in the NCC, the tendency has been to specify metal sheeting such as steel or aluminium on the outside of a structure. While this results in high levels of fire and weather resistance, it is difficult for water vapour to escape leading to condensation build-up. Changes published in the NCC 2019 Volume One included a section pertaining to Condensation Management within Section F: Health and Amenity. To mitigate condensation, F6.2 provides that any external membrane applied to a project in Climate Zones 6, 7 and 8 must be vapour permeable.

Designers and specifiers should note that non-permeable metal sheathing, while meeting requirements for non-combustibility and weather resistance, will be unable to comply with the new standard for condensation management. Promat Established in 1958, Promat is a world leader in passive fire protection. With a wide range of solutions from mineral boards to fire shields for services and structural protection, the brand has earned a reputation for reliable, outstanding fire performance across all sectors and project types. The Promat range includes Weather Defence, an external weather resistant, highly breathable Rigid Air Barrier that meets the deemed-to-satisfy provisions for noncombustibility and vapour permeability.

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Shady business WORDS: Prue Miller

Practical / Apr-jun 2019

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familiar cut outs work as shields. The many courtyards within the precinct are smaller than an Australian average, allowing the buildings to shade the many open spaces and allow passive venting. And it works. While outside temperatures in New Delhi may be 44 degrees Celsius, the lower floor classrooms sit at a very liveable 26 degrees, all the while adding a striking depth to a richly contextual design. Locally the same may be said of Queensland University’s Global Change Institute (GCI) building. Where better to see sustainable solutions at work, through environmentally considerate options in climate control? The striking perforated aluminium custom-designed panels from Louvreclad are integral to the success of the Hassell-designed building. The fully operable screens move with the sunlight, controlled by the structure’s building management system, which includes Lux and temperatures sensors designed to maintain optimum operation, with the rooftop weather station also taking into account storms and severe weather events, in which case the screens close and work as security against atmospheric damage. Louvreclad’s Polaris range is a prime example of premium operable louvre systems, the full


Pure adversaries: glorious sunlight versus intrusive radiation. The challenge is one that causes designers and clients to put their heads in their hands. It’s all very well to talk about shading coefficients and UV protection factors when all a client wants is the ‘fabulous view’ and ‘amazing light’ offered by bigger than ever glass curtain façades and open planning. Whatever the current desires, the problem of finding shade in the frequently hot and hostile Australian climate has been with us since the year dot. Colonists brought with them some fine ideas gathered from the Empire; wide, shady verandas, high ceilings and breezeways. The Colonial vernacular, especially in ‘Queenslanders’, added shady latticed façades, clearly reminiscent of that seen in India. Indeed, if one were to look toward areas of greatest experience in dealing with extreme climate, India and the UAE would have to be right up there. Indian architectural firm Morphogenesis has taken traditional cures for the climate and brought them forward to create contemporary and applauded design. The British School in New Dehli, for example, is 50 percent nonair conditioned. Beautiful and thermally active mortar façades, detailed in culturally

Architecture & design

There is a certain amount of conflict in the business of sunshine. We want it, we like it, it is a mood enhancer like no other and yet we spend a lot of time, money and intelligence to find ways of avoiding it.


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Apr-jun 2019

“In many instances screening solutions also offer valuable privacy coverage, but of course that is not always the wish.”

Architecture & design

above Louvre Abu Dhabi’s stunning stainless steel and aluminium dome achieves a simple objective – to shade and protect visitors, while delicate patterns of light dance across the vast horizontal and vertical planes. Visitors can walk along the water channels that surround the museum and behold Jean Nouveau’s shimmering dome that encases the main gallery spaces, its pattern of some 8,000 geometric stars filtering a ‘rain of light’ throughout the day.


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range of which is more than extensive. The GCI building is an example of the fact that the pursuit of shade can be more than utilitarian, but rather a chance, or even an excuse, to enhance an architectural plan. Whereas GCI was an anodised metal finish, the shade range from Innowood is more organic by design. The product is a composite timberlook solution that offers the visual appeal of timber without the maintenance burden. The material in use, primarily made from recycled wood waste, has the visual warmth of natural timber while offering the robust qualities of a manufactured product. The façade batten system from Innowood allows a great breadth of flexibility in overall design that marries so well with the louvre shading systems on offer. The Sol’art system can be operated manually or automatically and offers a range of blade sizes up to 3800mm vertical span. Still on the vertical plane and the greatest question regarding shade options must be addressed – do you have to sacrifice views to reduce heat and glare and all the attendant HCVA issues? The answer is a clear no. In many instances screening solutions also offer valuable privacy coverage, but of course that is not always the wish. In many cases the glass envelope offers unbeatable views, and valuable escalation in rent revenue.

Can glass meet the challenge? According to the Australian Glass Group (AGG), absolutely. Coated glass, Low E Glass, can be highly energyefficient, offering quite dramatic glare reduction as well as significant heat reduction. AGG’s Insulglass alone offers a reduction in heat transference of 50 percent. Upgrade further to Insulglass Max, and the result is 47 percent better still, stopping 62 percent of external heat from making its way into your personal space, while allowing access to the view you fell in love with in the first place. An added bonus from the AGG range is the noise reduction offered by laminated glass. And what of window films? While the film brand 3M may be familiar, what may not be is the company name Paragon. The brand was launched at the end of 2018 and is actually the culmination of several known names such as DMS, SolarX and Sunscreen and is a licensed 3M agency. Now brought together in the Paragon brand, the window film offering is easier to access on a national footing. The company’s most recent addition to window treatment is the Paragon 3M Prestige PR70 Solar Window Control film, which has a remarkably clear appearance from the interior aspect, and scores very well in sun control with case studies showing a reduction of 97 percent in infrared heat and 99.98 percent in UV rays. The new Prestige range also

8/5/19 3:32 pm

The region gathers Who will take home INDEs gold? Find out at the INDE.Awards Gala. 21 June, Melbourne Book your tickets now

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Apr-jun 2019 / Practical / Architecture & design

offers strong heat rejection, with a no-metal technology and low reflectivity that when applied will not alter the outside appearance of a building. Having said that, films do offer the chance to add decorative effects, which can be fairly easily swapped out. AND what of the horizontal plane?


Vergola has become a household name in louvre roof systems and features Australianmade Colorbond Zincalume aerofoil blades, which promise a higher insulation factor than other blade options. Louvretec also offers a bladed or louvredriven roofing option, but has included in its range the winter time option (or perhaps star gazers’ option?) of a louvre roof system where the blades move out of the way entirely. Also to be found here is the slightly less harsh, more relaxed option of a retracting canvas roofing system – though clearly this does not offer the same weather tight performance found in the louvre roofing system. In any event, the option of roofing systems that offer protection from

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the harsh realities of Australian Summers can only enhance quality of life – whether it’s a café terrace or a homey courtyard. Somfy has a range of motor driven awnings that will delight and de-stress anyone who sees them. No more struggling with winders and jammed ratchets, now at the touch of a button, elegance can be deployed and sensibilities retained. This isn’t to say Somfy does not also produce other solutions – in fact its range of exterior screens or blinds (also remoted) are very effective. To be offered shade is to be transformed, to be transported, to be comforted and cooled. It is an ancient art that has been elevated to new heights. Perhaps nowhere better is this seen or experienced than inside the extraordinary Louvre Abu Dhabi. The harshest of light and heat has been tamed by Paris-based architects Ateliers Jean Nouvel (AJN). Reminiscent of the dappled light found under palm trees, the creators were commanded to not only create an indoor atmosphere conducive to protecting collections of irreplaceable artworks, but also an ambience that would elevate the visitors’

experience. AJN’s design statement, the giant ‘parasol’ roof is mesmerising. Some 180m in diameter, and weighing 7,500 tonnes (the same weight coincidentally as the Eiffel Tower) the stainless steel and aluminium dome achieves the simple objective to shade and protect visitors, while delicate patterns of light dance across the vast horizontal and vertical planes. In all the message is clear; to control light, is not to obliterate its beauty, but rather to celebrate its wonder.

SUPPLIERS & components Australian Glass Group au/suppliers/australian-glass-group Louvretec Somfy suppliers/somfy Vergola au/suppliers/vergola-nsw 3M architectureanddesign. Paragon

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RETURNS AUGUST 4 26 NEW EPISODES There is no other television program in Australia like AUSTRALIA by DESIGN. The program aims to bring beauty and creativity into the hearts and minds of Australians as we explore the impact of good design on our lives. Each series serves as an important ‘document’ in the recording of Australian design excellence. In every episode we visit Australia’s most creative designs, interview the designers and the key players to uncover the human stories behind their pursuit of design excellence.

Image: Brett Boardman


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WORDS Jasmine O’Donoghue

Apr-jun 2019 / Architecture & design



Putting up a front: External walls & façades

First impressions always count and undoubtedly, external walls and façades around the country are leaving lasting impressions on their visitors. But it doesn’t stop there.


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Aesthetics and fire safety have emerged as driving factors in commercial wall and façade trends.


The design of a façade has an immediate impact on the look and style of the building, along with its appeal and value. It plays a role in the environmental performance of a building and its longevity by protecting a project from the elements. The trends and styles of exterior cladding in commercial projects are continually evolving in response to client demands and consumer perceptions. In the current environment, these are being shaped by aesthetics, the desire for green space and events, with the tragedy of London’s Grenfell Tower fire and issues with the Opal Tower, bringing fire safety and certification to the forefront of client and consumer concerns. “From a holistic building risk perspective, the choice of cladding material on high-rise buildings is a critical issue and can, in some cases, be a dominant factor impacting health and life safety of occupants,” says Mark Tatam, building technology director, Kingspan Insulated Panels. Choice of cladding and façades needs to be based on a careful evaluation of a product’s ability to stand up against the elements, while providing a durable, aesthetically pleasing appearance. “The products chosen must meet the prescribed energy and acoustic performance ratings, they and must comply with current Australian Standards for combustibility, and

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there are waterproofing challenges that need to be addressed,” Ray Ferretti, national product manager at Big River Group says. “Designers and builders must also consider the maintenance aspects of these products,” Ferretti says. What are the options? Aesthetics and fire safety have emerged as driving factors in commercial wall and façade trends. In aesthetics, there’s the elegant look of brick veneer, the grand and industrial feel achieved with rustic weathered or lustrous metal cladding or panels and the contemporary and modernity of autoclaved aerated concrete (AAC) panels, says Geoffrey Ong, product manager, CSR Hebel. There’s also the minimalistic, uncluttered option of stone panels, the industrial, creative look of pre-cast concrete, the “clean and sleek” appearance of FC panels, or the possibility of using multiple façade products to provide a more contemporary style. “The desire for timber in external façades continues to be favourable, however due to ongoing maintenance and fire constraints, architects and designers have been looking for alternatives that offer a similar appeal, without the maintenance hassle,” Andrew Ritchie, architectural consultant, Atkar Group says. “Popular alternatives such as timer-look

aluminium claddings and battens look like real timber but are suitable in high rise situations,” Ritchie says. Combatting fire concerns Fire safety has become a prominent challenge for designers and certification bodies following the 2014 Docklands fire and 2017 Grenfell fire, with a new standard being introduced to combat concerns. Standards Australia and the Australian Building Codes Board have developed a new Australian standard, AS5113. The standard is based on fire testing of large-scale façades to provide a more accurate indication of the fire combustibility of wall claddings and wall assemblies. AS5113 is a façade test for validation of fire performance of external wall systems and is designed to provide reassurance that external cladding materials can be used with confidence. When considering external wall or façade options, the first question is whether it is combustible, and the next is to check if it passes AS5113. Fire safety in commercial buildings needs to be approached holistically. Dr Mark Tatam, building technology director, Kingspan Insulated Panels, says fire safety needs to incorporate management of fire load and ignition sources, restricting fire spread and finding ways that occupants can safely and quickly exit the building.

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above Cembrit Patina by Atkar Group. previous Photography courtesy of Fairview Group.

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“The choice of cladding material on any high-rise building, whether for commercial or residential use, is a critical issue,” Tatum says. “What we have found in recent times is that the external façade can create a dominating role in fire spread and with devastating consequences, especially when other fire safety systems are not designed to cope with such eventualities.” Tatum says many building materials are designed to work as a system with other elements to fulfil the building code performance requirements in ways that create cost, design, construction and liveability advantages, whilst at the same time not stifling innovation in the building industry. “Products that are fit for purpose, in meeting all required building regulations and are installed or used in their intended manner will reduce the spread of fire risk,” he says. Fairview technical manager, Ashley How says while fire safety is a big issue, a potentially larger issue facing the cladding sector is “the rapid, and at times ‘knee jerk’ changes to regulation and compliance, making it difficult for parties to manage risk and compliance into the future”. “Often ignored, the Shergold Weir report a government commissioned investigation into broader compliance and enforcement problems within implementation of the NCC - identified a systemic breakdown of compliance and enforcement with the building code across the entire construction sector,” How says.

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“Combustible cladding is really only a symptom of this greater issue, although it has typically been chosen as the scapegoat by the media.” Structural concerns The Opal Tower put the spotlight on structural certification after it gripped headlines when cracks in a 10th-floor precast concrete panel appeared and loud noises were reported on Christmas Eve in 2018. This triggered the evacuation of residents from the 392 apartments in the Sydney Olympic Park building. The final report indicated the building was “overall structurally sound” and uncovered multiple structural issues in the hob beam/ panel assembly, grouting and construction and material deficiencies, raising questions regarding how the building was ever approved. The incident highlighted ongoing industry issues and will see a greater emphasis on structural certification, says Kim Roughan, national marketing manager, CSR Cemintel. Although the façade material is not a structural element of the wall, the incident does bring attention to the importance of a structural engineer, and ensuring decisions made after the initial design are properly checked and certified. What about green walls & façades? The “greening” of entire cities is a phenomenon that architects cannot afford to ignore. Many commercial buildings are opting for green walls

and façades to create a desirable aesthetic and provide a visual demonstration of a company’s commitment to sustainability. Green walls and façades can offer thermal influence benefits by reducing the building’s temperature and air conditioning costs, lessening reflective light and heat and offering acoustic insulation. “Some studies have reported that plants in and on buildings have improved task performance and mood states,” says Fraser Torpy, senior lecturer for School of Life Sciences, University of Technology, Sydney. “Other studies have found that the plants could promote human creativity and increase the comfort and attractiveness of the built environment, while at the same time decreasing worker distractions.” Although plants and greenery are often seen as fuel for fire, European studies have indicated vertical gardens and green walls can be quite fire safe, provided they are well-maintained. The fire risk can be significantly reduced through a working irrigation system, regular maintenance and keeping fire hazards such as electrical appliances and wires away from the wall. This is compounded by using low combustible materials through a fire-tested green wall or fire-safe materials. Soil can also help dampen the area, along with and opting for plants which hold water in their leaves. Another key consideration is the weight loading of a green façade. The advice of a structural engineer will ensure a comprehensive design based on the building’s

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A rchit e ct u r e & d e sig n

au/suppliers/big-river-group CSR Hebel

The corporate campus in Queensland’s 381 Macarthur Avenue project used Bondor’s FlameGuard due to the product’s excellent insulation attributes and its fire-resistant ability. The three-level building has been purpose-built to maximise light penetration for those seeking an A-grade office space. The Non-Combustible Cladding FlameGuard’s compliance with QBCC requirements made it a contender, but it was the product’s aesthetic finish that sealed the deal, as it complemented the other architectural features of the project. Atkar Group au/suppliers/atkar Kingspan Insulated Panels Fairview architectureanddesign. CSR Cemintel Bondor Bondor HVG Façades

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Big River Group


The Action Stations at Waterside Pavilion is part of the Australian National Museum and resembles a naval vessel immersed in water. The sweeping structure uses a Kingspan panelised architectural façade system called Evolution to contrast with the glass façade and create a wave-like design. The system allowed for the creation of a unique statement building with outstanding thermal performance for a comfortable visitor experience that can also withstand the surrounding corrosive marine environment. The Benchmark wall panels were specified for their durability and ability to span a long distance, removing the need for unsightly horizontal joints on the façade. They also allowed modularity and repetition in the installation, provided a single façade component with internal lining, insulation, and external lining that provided the desired performance. Each Benchmark panel was locally manufactured and built to specification, facilitating fast installation, lower costs and less waste. The panels’ inbuilt insulation also enabled efficient installation, and delivers a high thermal performance, lifetime insulation continuity and certainty of an airtight finish.

SUPPLIERS & components


case study: Australian National Maritime Museum

case study: 381 Macarthur Avenue, Hamilton


construction, condition and weight loading capacity. The building structure must be able to support the dead, live and transient load.


case study: 717 Bourke Street, Docklands When a reclad was sought at 717 Bourke Street, Docklands, HVG Façades’ MondoClad solid aluminum panel was chosen as a solution. In the current building environment, the most common drivers for recladding are compliance and insurance. Increasingly, local authorities require non-compliant materials to be removed and replaced with a non-combustible façade material that passes the Australian Standard AS1530.1 MondoClad is developed from marine grade aluminum and is well suited to remedial works. It provides a definitive, fire resistant cladding solution for compliance and safety and is categorically non-combustible certified to AS1530.1.

Opposite The choice of cladding material on any high-rise building, whether for commercial or residential use, is a critical issue. Above Photography courtesy of Fairview Group (left and right).


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jam e shardi e . com . au


A & D x J ames H ardie


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Navigating the building code through non-combustible cladding selection: Fast tracking compliance with fibre cement


Due to recent regulatory reform in Australia targeting flammable cladding, design and construction professionals are seeking efficient pathways to comply with the fire performance requirements found in the Building Code of Australia (BCA) (comprising National Construction Code (NCC) Volumes One and Two). After the 2014 Lacrosse tower fire, the federal government implemented several measures promoting the use of fire-safe building products, including changes to the NCC preventing the use of flammable cladding on high-rise buildings. UNDERSTANDING COMPLIANCE PATHWAYS Performance Requirement CP2 in the NCC Volume One requires that a building must have elements that avoid the spread of fire. The two compliance pathways with the relevant facade safety requirements of CP2 are: • satisfying the DTS requirements in C1.9 (the ‘Deemed-to-Satisfy’ approach); or • demonstrating a solution performs equal to or better than the DTS solution and meets the requirements of CP2 (the ‘Performance Solution’ approach).

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Unlike the Performance Solution approach, DTS provisions provide clear instructions on the materials and building methods that enable automatic code compliance. Under the NCC, buildings of Type A and B construction must have non-combustible external walls (including cladding products) unless an exception applies. Comprised of sand, cement and cellulose fibres, and inherently non-flammable, fibre cement cladding is a ‘Deemed-to-Satisfy’ solution. Fibre cement cladding offers a fast track to code compliance under the DTS provisions. In addition to fire safety performance, fibre cement has additional performance benefits, including high levels of durability, structural resistance and weatherproofing. KEY Cladding specificationS Fibre cement offers structural reliability, low maintenance requirements and a long lifespan. It is ideal for use as cladding as part of a façade system. Some cladding products claim to be fibre-reinforced cement but do not offer the

same performance. Specifiers should ensure fibre cement cladding meets the relevant composition, manufacturing and performance requirements by requesting StandardsMark Certificates, Product Conformity Statements and/or evidence of BCA-compliance, such as CodeMark certification, from the manufacturer. JAMES HARDIE James Hardie has been the global leader in the design and manufacture of high performance construction solutions since 1888. James Hardie’s products respond to the heightened demand for durability, code compliance and fire performance. All James Hardie products are meticulously designed and engineered to the highest standards.

Download free whitepaper

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A pr - j un 2 0 1 9 / A & D x P OLY FLOR / po ly f l or . co m . au

Reinventing the wheel: Incorporating colour theory into flooring design Across Australia, the emergence of new guidelines for best practice in design and specification, including code requirements, sustainability outcomes, and concern for occupant wellbeing have impacted the flooring industry. One crucial component of flooring design and specification demands more attention: colour. An understanding of colour theory and how it can be properly applied to flooring specification can help designers and specifiers deliver successful, vibrant projects.


Understanding Colour Theory Colour theory is an organising framework used in design to enhance the understanding of colour and how different colours interact with each other. It also provides a means to standardise colours across different materials and methods. Colour theory can assist designers in terms of visualising the interaction of colours and finding complementary and analogous shades.

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How Colour Vision Works Understanding how colour vision works is a key component in creating vibrant living spaces. The human eye can perceive over 200 different shades of colour and distinguish between more than 20 levels of saturation and 500 levels of brightness. The colour we perceive on an object is affected by that object’s physical characteristics, as well as lighting conditions and surrounding context.

2. Position within the NCS colour space, in which all possible surface colours are given an exact NCS notation. 3. The colour family of a particular shade, as shown on the NCS colour circle, which identifies the colour family of a particular shade. 4. The nuance of a colour, or its levels of blackness, whiteness, and chromaticness as demonstrated on the NCS colour triangle.

The Natural Colour System A “logical colour system” for communicating colours between designers and manufacturers, the Natural Colour System (NCS) is a valuable design tool. The NCS enables accurate recreation of colour across all surface materials and in all viewing environments, incorporating four distinct elements: 1. One of six elementary colours perceived as “pure” by human vision, namely yellow, red, blue, green, white and black.

Polyflor Polyflor has led the global flooring industry in high performance, stylish flooring solutions for over half a century. Across multiple segments, from aged care to residential, and retail to commercial spaces, Polyflor products are specially engineered to meet the needs of different user groups with unmatched functionality and design flexibility. Download free whitepaper

9/5/19 1:12 pm

Getting floored for all the right reasons WORDS Nathalie Craig Architecture & design / Apr-jun 2019

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Firstly, it needs to be seriously durable with the ability to safely handle high foot traffic and absorb noise while still fitting the feel, mood and purpose of the space. “Commercial floors may need to balance any number of factors,” Australian Sustainable Hardwoods’ (ASH) national marketing manager Daniel Wright explains. “Durability, longevity, appearance, acoustics, maintenance, hygiene, embodied energy, life cycle assessment, sustainability, design or look and feel to name a few.” One of ASH’s most sought after products when it comes to commercial fitouts is its Australian Oak engineered flooring. “It is one of the most beautiful and sustainable products for internal applications on the market,” Wright says.


Choosing the right flooring for a commercial space can be a tough decision and involves more to consider than when choosing flooring for the home.


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LEFT A Mafi floor is 100 percent chemical free,

Architecture & design


P r act i ca l


Apr-jun 2019

containing no VOCs or formaldehyde.

The locally-produced, durable flooring is created using a combination of regrowth and plantation hardwoods. The Australian Oak is coated to order in a Melbourne-based warehouse where surface texture, colour and gloss level can be applied to the customer’s choice of floor sizes and grades. Wright explains that the coating process involves “an innovative LED light curing” where hardwax oils with zero VOC are combined with a hardening additive that cures and turns hard under a specific spectrum of light. “Unlike most other coatings that require airflow and time to cure and for smell (VOC) to dissipate, LED cured hardwax oils cure instantly and have no VOC,” he says. “This means retail outlets can perform maintenance on high traffic floors after business hours without missing $1 in sales.” CASE STUDY: ASH’S Australian Oak Engineered Flooring used in Cotton on and & Typo Retail Stores


Wright says a great example of these floors saving money in a commercial setting can be highlighted in the Cotton On and Typo retail stores. The stores were originally laid in European Oak and coated with a UV coating. When they required maintenance, the stores would be closed for up to a week while furniture was removed and the floors were sanded, re-coated and allowed to dry. The closure would cost one week (around $100,000) in sales. Nowadays, with LED cured hardwax oil in their stores, the furniture is removed overnight

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and the floors can be sanded, polished and cured. The furniture is then replaced and business continues the next day as usual. Another handy maintenance point for business owners is that when ASH’s Australian Oak Engineered Flooring is scratched, the affected area can be patched and cured instantly with a portable LED torch pack available from the coating company – saving owners potentially thousands in repair costs. CASE STUDY: ASH’S Australian Oak Engineered Flooring used in the University of Melbourne Wright also points to ASH’s University of Melbourne WEBs project where the floor was part of an overall design requirement using timber that matched joinery, battens, veneer, furniture and flooring applications. Australian Oak Engineered flooring and Goodwood Victorian ash joinery were chosen due to their extreme stability, look and performance in some challenging locations – namely the intricately curved handrail detail at the bottom of the stairs. The floor and all joinery items were coated with the same LED oil colour to match so the entire project flowed seamlessly. The result was a cost-effective high quality project delivered below budget. Another durable and easy to maintain flooring solution for a commercial environment is the hard-wearing Carpet Tiles offered by Signature Floors. “Carpet Tiles are the perfect choice of many commercial installations,” Signature Floor’s

marketing manager Martina Kramer says. “Because of their texture, they create a warm and noise-reduced space.” The Carpet Tiles are made from nylonbased fibres which perform well in areas of heavy foot traffic thanks to the strength and resilience of the nylon. Yet again, the benefit of easy maintenance comes into play with Kramer noting that when modular carpet tiles get damaged or dirty, they can be easily replaced, making maintenance much simpler than traditional wall-to-wall carpet. When being used in workplace, the Carpet Tiles can also be specified with Comfi BAK, a backing with a cushioning system that provides extra comfort underfoot for Carpet Tiles and improved noise insulation. Kramer points to the fact that the Carpet Tiles are produced under strict, certified conditions where attention to material waste and energy efficiencies is closely controlled. “With sustainability a key aspect in the build of any project, manufacturers can no longer maintain processes that don’t take into account the world’s limiting resources and every decision must be considered with clear consequence on future generations,” she adds. “All of Signature’s Carpet Tile collections feature Eco-Specifier Green Tag certification and are assessed as low VOC emission products, providing specifiers with the opportunity to achieve the maximum available points in their projects.” All in all, Kramer believes the Carpet Tiles are a winner in commercial environments because everything can be customised.

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Apr-jun 2019 / P r act i ca l / Architecture & design

CASE STUDY: Signature Floors Carpet Tiles used in the Meetings & Events space at Mercure Airport Hotel Sydney Signature Floors was briefed to create a unique, elegant and sophisticated concept for the flooring in the Meetings and Event Space at the Mercure Airport in Sydney. It needed to be cost-effective and executed in a short time span. Shapes Carpet Tiles were selected due to their versatility and in-stock availability. This allowed costs to be kept low and for greater time efficiency. The unique and textured trapezoid shape of the Carpet Tiles allowed the designers to create a soft and chic space with flowing concentrations of colour and movement, perfectly reflecting the architectural features in the building. CASE STUDY: Signature Floors Carpet Tiles used in carpet zoning for education purposes Zoning is the practice of separating different areas by creating a focal point with statement flooring, and is especially popular with modern, open-plan spaces, as companies find new and innovative ways to inspire their employees.

Being able to move around open plan areas is integral for collaborative thinking and creativity, though this also poses acoustic challenges. Signature Floors’ Carpet Tiles are sought after for their effective sound absorption and noise-reducing impact, making them ideal for office and education purposes. The bold shapes and vivid colours available in Signature’s Carpet Tile ranges are ideal for zoning areas for a range of activities, from meetings and concentration to recreation – the perfect foundation for any contemporary place of work. Another interesting aspect considered in more recent times when choosing material for a commercial floor is selecting flooring that is good for the health of the patients, customers, clients or workers frequenting the space. This is something that the producer of natural-finish, engineered timber floor boards, Mafi is proud to support. The Mafi philosophy involves improving health and wellbeing through all natural timber flooring, which in turn, supports a healthy indoor environment. Mafi does not use plastic coatings, lacquers, stains or polishes. Instead the company uses a natural oil finish which soaks into the wood and hardens it from within. The oil is made up of natural plant fats and oils as is the oil soap that is used to clean and maintain a Mafi floor.

CASE STUDY: Mafi Oak Molto Brushed White Oil at The Working Capitol at Robinson in Singapore The Working Capitol at Robinson in Singapore is a sophisticated, stylish and contemporary co-working space incorporating 86 office suites and six stores. Mafi chemical-free floors were chosen in this space for both aesthetics and health benefits. Designer, Hassell Studio, chose the “uniquely profiled grains and vibrant tones” of Oak Molto flooring to complement the “highlyworked tactile character of the building’s joinery and wall finishes”. Delivered in random widths, Molto boards are processed to use smaller mixed-width planks that would otherwise be considered as offcuts. Mafi sees this as a way to “celebrate the imperfect nature of timber”, presenting the client with a “feel-good, ecological and innovative” approach to their choice of office flooring. There is just so much to consider when choosing the flooring for a commercial space. It’s well worth running through every single factor though, as making the right choice at the outset can save lots of time and money in the long run as well as keeping those using the space happier and healthier.

SUPPLIERS & components Mafi Timber Flooring Signature Floors Australian Sustainable Hardwoods 80

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4/2/19 11:46 AM

Warm, dry & quiet: Benefits of commercial building insulation Architecture & design

WORDS Bonnie van Dorp


Increasing the amount of insulation in a building has been named as one of the most simple and cost-effective energy efficiency measures to achieve savings in a report by ClimateWorks Australia.

Practical /

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With new materials emerging all the time, it is becoming harder to keep up to date with what products are out there, and even harder to understand the finer details of each one, Smith says. “When specifying, it is important to know that the products you are including are going to give you the performance you seek.” “There are thousands of products available to you and it is nice to know when you can trust your selection to do exactly what it says it will. Product manufacturers and suppliers can assist greatly with this by providing warranties, certificates and independent third-party certification,” he says.

floor or ceiling by providing resistance to one of the three modes of heat transfer. Iape says insulation is a “critical component” in commercial buildings in a similar way to residential housing projects. “Thermal insulation can reduce the air conditioning loads in the space significantly,” Iape says. “This has a range of benefits including lower energy expenditure, reduced plant duty cycle, reduced peak load and potentially reducing costs by downsizing plant equipment at the end of life.” “Projects we have observed have demonstrated significant thermal performance advantages of insulation improvements in the order of seven percent energy reduction, and three percent reduction in peak cooling load.”

The science behind insulation

Bulk versus Reflective insulation

There are three ways in which heat is transferred; radiation, convection and conduction. And all materials allow heat to pass through them, explains Chris Iape, project lead, Sustainable Buildings for Sustainability Victoria. Insulation materials, however, reduce the amount of heat that can flow through a wall,

Insulation products come in two main categories — bulk and reflective — which are sometimes combined into a composite material. The difference between the two? Bulk insulation prevents the transfer of heat through conduction and convection, and is a popular choice for ceilings and walls.

Choosing the right solution

Apr-jun 2019

The benefits of ensuring a commercial building is well-insulated are wide-ranging. It improves the overall performance of the building, reduces harmful greenhouse gas emissions and helps keep power bills down. Kingspan Technical Services manager Killian Smith says that any initial investment in insulating commercial buildings can be “easily recouped” in savings from energy costs. “Thermally-efficient commercial buildings that achieve a verified performance standard deliver better occupant comfort and in turn command higher rental fees. More energy efficient buildings can deliver higher resilience to extreme weather, better comfort, and reduce stress on the electricity grid.” And it’s not just your power bill that will improve, Smith says. “It has been proven that energy-efficient buildings provide a better working environment, help increase productivity, and provide health benefits for their occupants.” “Good insulation is crucial for the overall performance of any building and the wellbeing of its occupants, be it a commercial or a residential building.”


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left The heating and cooling of buildings accounts for 40 percent of energy consumed in the built environment. Opposite Adelaide Festival Centre (above)

A r c h it e ct u r e & d e si g n




Apr-jun 2019

and Sydney ICC (below).


Reflective Insulation, on the other hand, takes on a number of different forms. It is available in sheets backed by foil and works by protecting buildings from heat produced by radiation and bouncing the heat back. Dr Oscar Archer, a scientific coordinator at Ametalin said that there are many examples of bespoke architecture with dramatically low energy demand thanks to maximised thermal insulation combined with high-efficiency glazing. “More commonly this is a balance against cost and physical thickness of walls and other parts of the building,” Archer says. “On the other hand, simple retrofitting or ceiling insulation can deliver immediate efficiency improvements for homes and other dwellings.” Archer says, “The heating and cooling of buildings account for 40 percent of energy consumed in the built environment. This potentially plays a substantial role in national and international targets for energy efficiency and greenhouse gas reduction, depending on how effectively we insulate our new and existing buildings.” According to Archer, there was a “significant” level of confusion in the construction industry around the role and necessity of building wraps as components of well-insulated buildings.

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“A correctly-chosen reflective insulation wrap can maximise R-values and energy efficiency while managing moisture-related risks and guarding against fire hazards while being convenient to install and expected to last for decades.” Wall wraps can also minimise the building’s carbon footprint, reduce condensation risk and deliver passive fire protection. A popular line designed by Ametalin is the ThermalBreak 7, which is a closed cell form building membrane which offers an extra R 0.2 for walls and roofs. “This provides a thermal break in steel frame construction which would otherwise suffer from thermal bridging of the metal structure,” Archer says. “The 97 percent reflective face delivers an enhanced R-value when combined with an unventilated air cavity, and clever design, can be used on both sides.” acoustic Insulation While insulation can keep the occupants of commercial properties warm in the winter and cool in the summer, the right kind of insulation can also improve the sound clarity within a room, Pyrotek’s Kris Stasi says. “These absorbers can either be visible within the room or as standard insulation between

wall cavities for the added purpose of thermal protection,” Stasi says. To reduce the transmission of sound in a room, Stasi recommends a set system constructed from a variety of materials to achieve optimal noise reduction coefficient (NRC) and weighted sound reduction (RW). “Though a high degree of transmission loss is usually achieved using solid, heavy components which hinder the propagation of sound known as ‘sound bars’, sound absorbers and sound barriers are tested to two completely different methods and thus are two completely different types of materials.” He says it was important that building specifiers understand the type of environment they are working with and consider what the room is going to be used for before choosing materials. “Choosing the right combination of acoustic products varies when trying to increase speech intelligibility, lower sound levels, reduce sound disturbances or if you want to create some form of reverberance.” In open offices, sound disturbance presents the biggest acoustic challenge, Stasi says, while in schools enhanced speech intelligibility and sound level reduction should be prioritised.

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Case Study: International Convention Centre Sydney chooses Kingspan Kooltherm Architecture & design / P r a c t ic a l / Apr-jun 2019

Kingspan worked with project architects Hassell and Populous along with head contractor Lendlease recently to come up with an insulation solution for the $1.5 billion Sydney International Convention Centre. The mega-venue — which features a grand ballroom, 8,000 seat red carpet theatre, 35,000sqm of exhibition space and 8,000sqm of total meeting space — called for a solution that would maintain a consistent building temperature in accordance with NCC/BCA Section J requirements under all conditions. It was decided that Kooltherm insulation met the brief perfectly. Kooltherm K10 PLUS Soffit Board was installed in the interior of the building and throughout the carpark area. Kooltherm K17 Insulated Plasterboard was used extensively throughout, and Kooltherm K8 Cavity Board was installed within the double block wall, topping out at 7,000sqm of Kingspan Insulation products installed throughout the complex. All specified Kingspan products assisted the project in achieving the ICC’s “stellar demands” of performance, resilience and reliability.

suppliers & components Kingspan kingspan Hassell au/suppliers/hassell Populous populous. com Lendlease Pyrotek pyrotek Ametalin au/Suppliers/Ametalin 85

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9/5/19 1:22 pm

LuxeWaLL® – the neW standard in high perfOrmance residentiaL cLadding Bondor Australia is raising the bar for exterior finishes to the modern home with LuxeWall®, an affordable and high performance lightweight walling system with the launch of its new architectural matt and metallic colour range of prefinished coatings. Architects, developers and building designers are embracing this advanced lightweight metal cladding technology for its architectural beauty, smooth finish and climate controlled comfort benefits, for sustainable and budget conscious residential developments and renovation projects. LuxeWall® delivers faster construction times to timber and steel framed home with installation in less than a week and offers home owners a care-free low maintenance exterior walling product that doesn’t crack from building or ground movement as experienced with traditional masonry homes. LuxeWall®’s integrated insulated core delivers superior thermal performance with up to R2.4 alone and capable of R4.4 with the assistance of traditional R2.0 bulk insulation, creating a more comfortable home in winter and summer and lowering energy usage from inefficient heating and cooling that in Australian households contributes up to 40 percent of a resident’s energy bill.

Apr-jun 2019

LuxeWall® is manufactured in Australia locally across six states by Australia’s largest insulated architectural walling and roofing manufacturer Bondor, proudly using Australian made Colorbond® Steel. LuxeWall® is BAL40 rated with BAL-FZ and prefinished Fire Rated Boundary Wall options, engineered and certified to the Australian Standards and Codemark accredited to meet the National Construction Code’s residential building requirements and regulations.


DormAkAbA pExtrA pxp pAtEntED mAstEr kEy systEm

Architecture & design




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The dormakaba pExtra PXP is a highly secure mechanical key system with a unique sophisticated key profile. The diversity of the pExtra PXP key system allows options ranging from a simple keyed alike system operated through the one key to a specific grand master key system, where multiple levels of access can be introduced. The pExtra PXP key system can be used in a variety of different applications such as building complexes, public offices, utilities or for your own private home. pExtra PXP can be used in both new fits and retrofits. Available in a wide range of different lock types, for example mortice locks, rim locks, padlocks, furniture locks, cam locks and many more. • Pick resistant protection Provided by an overlapping paracentric key profile and special pins. • Anti-drilling protection Provided by additional steel safety elements in the cylinder. • Protection against the bumping method A patented system by dormakaba using a centring pin (magnetic pin) has been proven to hinder opening cylinders by the bumping method. Even expert lock pickers have not been able to bump open a pExtra cylinder. • High security standard pExtra is certified to the following Australian Standards: AS4145.2 - Cylinder security Sc7 AS4145.2 - Key security K8 (includes centering pin)

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Quick-SteP intenSo timber collection The newest Quick-Step timber collection boasts an eyecatching chevron pattern, coupled with an unparalleled ease of installation. Finished with an extra matte lacquer to protect and enhance the natural timber features, the Intenso collection will transform any project. Intenso is made up of different planks in varying widths and structures. They are hand selected to be brought together in a harmonious and balanced whole. The extra matte finish offers the authentic look of an oiled floor with the resistance of lacquer. With seven colours, available exclusively for the Australian market, there will be a hue to suit every colour palette and style. Intenso’s unique features: • Prefinished surface which allows for immediate use after installation • 7 layers of UV cured, highly advanced lacquer for higher wear, stain and scratch resistance • Easy and quick installation using the world’s strongest click system Uniclic®

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Apr-jun 2019

‘We wanted to create a modular building system that is beautiful, a delight to be in, and flexible. One that can be added to, subtracted from, reconfigured, clad in different ways, placed side by side and can also be packed away and transported somewhere else completely different,’ explained Pupilli. ‘Plus, we wanted it to be good for the planet as well as the hip pocket.’


When Adriano Pupilli and his team of architects set themselves a goal of creating quality and well-considered architect designed buildings that could be made accessible to the wider public, there were plenty of challenges. Over ten years in the thinking, IMBY (In My Back Yard) Kit was the result.





Architecture & design

• A solid 25-year wear warranty

IMBY is a beautiful, light-filled structure that celebrates its own form. Combining ancient timber joining techniques with the computer controlled cutting of the Ecoply® plywood panels, provides the best of two worlds - simplicity of expressed timber friction joints with the accuracy and strength of contemporary fabrication methods and materials. Ecoply was the logical choice for IMBY. Locally harvested product keeps the carbon miles down, and the FSC® certification guarantees that the timber is sourced from sustainably managed forests.

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EASYCRAFT - THE EXPRESSION SERIES With a proud history of being an innovator of modern interior design, Easycraft have developed a new range of decorative finishes which provide the latest in contemporary styling, offering stunning and versatile aesthetics for any project. The Expression Series features unique, grooved patterns as a decorative wall panelling to provide designers new opportunities in commercial and residential projects. All patterns are available in a range of veneers or pre-primed boards making it easy to find the right style and finish to fit your grand design. The Expression Series slots seamlessly into a variety of spaces; from restaurants to office interiors, commercial foyers to residential projects, making it easy to create the perfect atmosphere and design feature.

Apr-jun 2019

Ensure you are an innovator of design and explore our full range to discover how the Expression Series can enhance your next project. Our website Expression Selector allows you to view all available designs, providing a simplistic platform to find your favourite style.


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Architecture & design




Enquiries: Easycraft 07 3906 7200


Dyson AirblADe™ WAsh+Dry hAnD Dryer noW up to 39% quieter

HanWood Urban ColleCtive: lUxUry vinyl planks and ConCrete-look tiles

Dyson Airblade™ Wash+Dry hand dryer, combines in a single touchless unit, a tap and a hand dryer. This helps save space in the washroom and reduces water dripping from hands onto the floor. Up to 39% quieter than its predecessor due to a re-tuned motor and optimised slot blade geometry. It is certified by Quiet Mark, tested and approved by The Noise Abatement Society. Dry your hands in 14 seconds with HEPA-filtered air, Dyson’s HEPA filters capture 99.95% of particles from the washroom air, (0. 3 microns). Dyson Airblade™ hand dryers produce up to 79% less CO2 than paper towels and some other hand dryers. They use 52% less water than predecessor due to reduced flow.

The Urban Collective luxury vinyl tiles simultaneously showcases exceptional functional design while artistically portraying the detailed intricacies of stone and concrete. Conquer the look of concrete and embrace industrial minimalism without the hassle.

Enquiries: Dyson T 1800 426 337

Enquiries: Australian Flooring Supplies T 1300 737 155


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Minimalism is all about stripping back to basics to achieve a cool, calm, clutter free space. This range features 7 different concrete-look finishes and colours. Also featured in the Urban Collective range is 13 stunning planks that mimic the look and feel of real wood in an array of 13 colours and wood grains.


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LAMILUX GLAss Roof PR60 by EbsA EBSA proudly partner with LAMILUX to launch the PR60 Glass Roof System in Australia and New Zealand. The PR60 system is an extremely energy efficient commercial overhead glazing solution with Lamilux being the only manufacturer to achieve Passive House certification with a “plant on” glazing profile.

Glazed Roof HatcH: Built to witHstand even tHe touGHest weatHeR conditions Gorter Hatches’ Glazed Roof Hatch is commonly used for access to roof terraces, roof gardens and emergency escape routes, and is ideal for homes and office buildings with few windows, bringing natural light into any space. Our Glazed Roof Hatch is opened and closed with the push of a button, triple glazed to withstand even severe weather conditions, and like all our roof hatches, is a simple, practical, and cost-efficient alternative to vertical roof door construction.

Enquiries: EBSA T 1300 327 200

Enquiries: Gorter Hatches Australia T +61 3 8648 6636




Architecture & design

The PR60 can be used as a fixed architectural rooflight, especially suited to commercial applications such as shopping centres, sports halls and aquatic centres where energy efficient daylighting is important. By integrating the PR60 ventilation flaps the system is transformed into an operable rooflight able to provide both natural ventilation and natural smoke exhaust (certified to EN12101) in addition to natural light.

products / Apr-jun 2019

EXOTEC FAÇADE PANEL AND FIXING SYSTEM The ExoTec™ is a compressed fibre cement façade panel and fixing system. It features expressed joints and is either site-painted or pre-finished off site.

Solar Control WindoW Film For CommerCial oFFiCeS

• A reliable proprietary fixing system for fast, easy and cost-effective install

Having your windows tinted with our solar control films will block up to 99% of harmful UV rays coming through the glass and help reduce fading of furnishings and floorings. 3M Window Films reject up to 79% of the suns solar energy to help keep rooms at more even, moderate temperatures. In fact, 3M films can reduce the temperature in direct sunlight by as much as 5ºC, making your space more comfortable and usable. There are reduced energy costs to be gained through the extra insulation window films provide, allowing temperatures between rooms to remain consistent. Available in a range of tones and performance levels.

Enquiries: James Hardie T 131 103

Enquiries: Paragon T 1800 720 876

The ExoTec façade panel and fixing system is suitable for use as an external facade, fascia or soffit on commercial buildings requiring a durable, lowmaintenance and impact resistant system with an express-jointed look. It’s suitable for full wrap or composite designs. • Safe and Compliant • High Level of Impact Resistance


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5/9/19 10:45 AM

Wellington Architectural perforated panel range

Croplands Collection by Carpets Inter

The perforated panel range is designed to be flexible to suit any application. We have a range of designs to choose from in our design library, or you can design your own panels to suit your project.Panels can be used on vertical and horizontal surfaces, and all panels and designs can be rotated or customised to suit the project.

For centuries, agriculturalists have prepared fertile terrain by tilling the earth before planting their crops. This age-old practice creates a charming multi-layered organic texture, one that I found intriguing and inspired the design concept for Croplands. A collection based on the foundation of earth tones, accented with the vibrancy of colour to which nature effortlessly paints the landscape as crops come to life.


Slim, modern, groovier than ever: Weathertex launches Weathergroove 75mm architectural panel

Welcome to the latest vision in wall decoration: Altro Whiterock Wall Designs

This slim and strong architectural panel is available in two finishes, Natural and Smooth, each creating a cutting-edge minimalist look that’s timelessly stylish. Weathertex’s strikingly modern 75mm architectural panel is the company’s slimmest profile yet.

Developed in response to market needs, Altro Whiterock Wall Designs will transform your interior environment whilst retaining a high level of functionality. It’s the perfect combination of style and strength.




Armstrong Flooring Fitnice

WoodWorks™ Linear Planks

Architecture & design



Apr-jun 2019


Armstrong Flooring Fitnice is a contemporary woven textile flooring that combines the warmth and texture of textiles with the durability of vinyl. Created using unique bi-colour yarns which incorporate solid monofilament fibres for excellent durability, Fitnice flooring has been woven in such a way that no two fibres look the same, which in turn creates a textural visual that is unique, distinctive and contemporary.

WoodWorks™ Linear Planks from ARMSTRONG allows designers to harness the enduring beauty of wood, create seamless wall to ceiling transitions and bring an added level of luxury to any interior space.





bluescope LYSAGHT ZENITH™ range

Cembrit Patina façade boards by Atkar Group are suitable where non combustible materials are required in accordance with NCC 2016 BCA C1.9(e)(v). They offer a beautiful raw, textured look and feel that will gradually acquire a distinctive ‘patina’ over time.

The LYSAGHT ZENITH™ range consists of stylish architectural steel cladding profiles that combine classic, European elegance with trusted, highquality Australian steel. The profiles are striking, and are sure to add visual texture to your project whether used as roofing or wall cladding.


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Speedlane Lifeline: modern, elegant and secure entry speedgates The Speedlane Lifeline Series from Boon Edam is an intuitive, refined and secure entry management system for guiding and managing people flow through to secured areas of buildings.The Lifeline Series contains three models, which can each be further customised with dimensional and glass choices as well as a range of currently trending colour finishes. Every combination is possible for all levels of security.


Centor S2 retractable screen for windows and doors

KingFlor® composite steel formwork range Each of the five profiles in Fielders KingFlor® steel decking range have been developed from DECKFORM® steel by BlueScope Steel, to provide the most optimal flooring solution in the wide range of building construction types found in Australia. KingFlor® steel decking provides the designer the ability to tailor a flooring solution whilst accessing the inherent benefits of steel decking over labour and material intensive ply timber and lost formwork alternatives. FI4928

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Electric floor heating is ideal for many applications including renovations and new construction projects. As an efficient low temperature heating option, electric floor heating is silent, dust free and invisible. Suitable for both small and large areas, electric floor heating uses specific heating cables designed for a variety of floor covering options and floor construction alternatives. CH4935

Dunlop commercial underlay provides exceptional durability and support With a range of high performing commercial application underlays, Dunlop Commercial Underlays are easy to install and provide outstanding performance and comfort. With frequent foot traffic, it’s important that commercial environments provide flooring that lasts.


Apr-jun 2019


Electric floor heating for most floors


Madoka gives you perfect control over your individual climate. A minimalistic touch button controller with Bluetooth Low Energy (BLE) connectivity, Madoka features three navigational buttons and a clutter-free display. Comfort is guaranteed in the most intuitive way imaginable. Available in two attractive finishes (White or Black), Madoka adds style and class to any interior space.


Madoka: Intuitive control with a premium design from Daikin




Not only is it aesthetically pleasing when integrating a basin with your benchtop, its seamless form ensures that no mould will grow in the junctions. Our new basin designs are welcomed bathroom solutions for integrated basins allowing them to be submounted beneath Corian® benchtops for a sleek, seamless “one piece look’’ between counter and basin.

Architecture & design

The Centor S2 Insect Screen offers insect protection, fresh air, breezes and uninterrupted views for smaller openings. Like all Centor screening systems, there are no pleats or fixed panels to interrupt the view. The S2 Insect Screen can be paired with all new and existing doors and windows in a renovation or new build.

Corian® Basins

XPS extruded polystyrene insulation boards from Foamex Group Foamex offer the XPS Extruded Polystyrene insulation boards that are both strong and durable which makes it an ideal product for use across a range of construction and building applications. Suitable for both residential and commercial buildings, the material used is resilient and robust boasting both high compressive strength and a superior thermal performance. FG4922


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Low Maintenance CleverDeck solid composite timber decking choices

Minimalist design with a rich palette of colours: Sigma50 Flush Plate

Futurewood supplies a quality range of environmentally friendly, low maintenance, timber alternative building products including solid composite timber decking in the Xtreme and Original ranges. CleverDeck Original composite timber decking has been a best seller as it looks like timber but is more ecologically sustainable and low maintenance by comparison.

The Geberit Sigma50 flush plate for Geberit concealed cisterns is available in 6 different colours. Designed by the lead designer for TAG Heuer the new Sigma50 button is elegant, made of high quality glass and stainless steel.


Architecture & design




Apr-jun 2019

Zintl premium interlocking aluminium cladding system Zintl™ aluminium cladding system is a timelessly elegant and enduring material that offers a world of design possibilities. This high-performance cladding is available in a range of interlocking weatherboard profiles to suit any project. Zintl provides architects with façade profiles that are versatile and 100% non-combustible, certified to AS1530.1.


HouseLab’s Digital Handover Kits HouseLab is a great new system for builders, developers, architects, designers, real estate agents. Warranties, manuals, plans, permits, paint colours, key contact details can be uploaded to a secure, branded online hub and then handed over — elegantly, sustainably and simply. Includes systems to support defect management and periodic servicing.


KONE launches 24/7 Connected Services in Australia and New Zealand KONE, in cooperation with IBM, has made elevators and escalators smarter. By connecting them to the cloud we can collect vast amounts of data – monitored, analysed and displayed in real time through the IoT platform Watson. This way we can tailor a perfect maintenance plan for each individual piece of equipment, improving equipment performance, reliability and safety. 94


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MailSafe parcel drop box MailSafe’s new parcel drop box offers businesses and residents a safe and secure way of receiving their mail and parcels alike, with a pull out shelf that has a backing plate to prevent theft. Made from high quality aluminium and finished in any colour, this product is the perfect combination of style and functionality.


BioFicient® domestic wastewater treatment system BioFicient® from Kingspan Water & Energy is the first domestic system to achieve latest Australian Standard AS 1546.3:2017. Suitable for homes up to 10 people, the BioFicient® is manufactured from high quality Fibre Reinforced Plastic (FRP) and uses the latest treatment technology to deliver a high quality of water discharge.


SecuraPost from Leda Leda bollards are stylish, diverse, and are designed for a broad range of applications. And while aesthetics remain an important consideration in selecting a design, it is also important to address pedestrian safety and property protection. With more than 500 models, Leda’s Securapost bollard range is the largest and most comprehensive available.


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TOTAL REX CAR LIFT If you’re working with a tight or constrained site; if there’s not enough room to drive within the building basement; or if too much space is being wasted by ramp requirements – the Total Rex is the solution. With its robust engineering, Total Rex is ideal for transporting vehicles between two floors – eliminating the need to include ramps in your building design.




POLYMASTER WATERGUARD Installing Waterguard rainwater tanks helps reduce household water usage and your water bills Exclusive to Polymaster, we can offer a Santized® antimicrobial rainwater tank in our Round, Slimline and 2020 litre water tanks in the most popular colourbond colours. This innovation to keep your rainwater tanks cleaner and your water fresher


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Let your imagination run wild. Cedar Sales’ Castelation® Stepped Expression, in Western Red Cedar, comes in eight different sized profiles which are all interchangeable. The combinations and effects are simply unlimited. Reserved and understated through to outrageous and stylised – everything is possible with Castelation® Stepped Expression. CS4723

NULLIFIRE: WORLD LEADING PATENTED FIRE RATING TECHNOLOGY Nullifire SC902 provides fast cure effective fire performance for structural steelwork, achieving up to a 120 minute fire rating. Able to be applied on or off-site SC902 is a low VOC, high build system which can achieve a 120 minute fire rating in just one application.


APR-JUN 2019

Available in a standard square Fin, and a tapered, V-Fin profile, with 30mm or 60mm spacers, Austratus Fin profiles add dimension and dynamic shadow lines to your space.



The Austratus Fin Profile offers a classic look for timber ceilings, wall panelling and screening.






Precision distinct images of abstract art, logos, brand and photographs, Pic-Perf® creates an attractive finish to any project. Utilising innovative technology, detailed imagery can be imprinted on to metal though punched holes, Pic-Perf® offers added value to structures with striking effectiveness.


Urbanline Alu Selekta is an innovative new product made from highly durable aluminium. This non-combustible cladding looks just like timber and works interchangeably with Euro Selekta profiles for a seamless look from top to bottom. Eco-friendly, low maintenance and incredibly durable, it’s ideal for high rises and bushfire rated areas.


PRESSALIT PROJECTA SOLID PRO: INTEGRATED SOFT CLOSE AND INSTITUTIONAL HINGE Sophisticated functionality and stability combine in a new ground-breaking solution from Pressalit. Solid Pro is the project market’s first institutional hinges with integrated soft close. The adjoining seat, the Projecta Solid Pro, is an aesthetic design from an awardwinning designer.



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Decorative translucent composite panels from Allplastics Allplastics Engineering offers a range of Decorative Design Composite panels for interior and exterior applications. These composite panels are durable and come in several colours and surfaces giving your architectural projects an innovative and impressive finish.


The GalvinCare® Mental Health Anti-Ligature Safe-Connect Shower Head with Hand Shower, enables carers to easily detach the hand held shower when no longer required. Australian patent no. AU 2017100421. International patents pending.

The Saheco SV-X Range provides a compact sliding solution that conceals all clamps and mechanisms within the track, resulting in a sleek minimalistic look. Saheco are the leaders in sliding systems with products available to suit a variety of applications, and strive for continuous development and improvement.


Key-Ply Jumbo Euro Birch Plywood Keystone Linings presents their KeyPly Jumbo Euro Birch plywood in three-metre panel lengths, delivering a multitude of benefits to architects, designers and joiners. Available in a long grain composition, these sheets come in 3050 x 1220 x 12mm; 3050 x 1530 x 12mm; and 3050 x 1530 x 18mm sizes.

Architecture & design




Apr-jun 2019

GalvinCare® mental health anti-ligature shower head with hand shower

Saheco SV-X compact sliding door system


Kilargo Software Solutions: For Intumescent Fire Dampers

Wolfin waterproofing membranes from Projex Group

Over the last few years, Kilargo has spent time developing and improving their range of software suite to include an add-on for AutoCAD® Revit® and a mobile app for Android® & iOS® to improve the overall accessibility of our product ranges and specifications across the industry. This software has been specifically designed for our Intumescent Fire Damper product range.

Projex Group supply Wolfin waterproofing products for use in a range of commercial and residential waterproofing applications. Wolfin Membranes can waterproof structures made of Concrete, Timber, Steel, Asbestos, Cement and CFC often without removing the failed membrane system.


Tensile architecture hardware In 2017 ProRig Hardware became the sole Australian & New Zealand distributor of Blue Wave stainless steel hardware. Manufactured in Denmark, Blue Wave delivers the highest standard of product quality, with the ability to work with your engineers to custom design unique fittings for tensile structures.




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Renson Invisivent® The most discrete, self-regulating and sound absorbing overframe ventilator for high rise applications.The Invisivent provides the ideal solution for wind-impacted applications such as high-rise buildings (up to 1200 Pa) and apartment buildings on the coast. The Invisivent contains acoustic material, that muffles external noises as much as possible (e.g. wind, seagulls, traffic), which increases user comfort.


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SLIP RESISTANT COMMERCIAL RECYCLED RUBBER FLOORING FROM REPHOUSE AUSTRALIA The Neoflex™ Rubber Flooring system from Rephouse Australia, is a durable environmentally friendly, homogenous EPDM/recycled flooring product. Neoflex ™ recycled rubber flooring is designed for high traffic areas such as offices, public building and retail sectors.


BOSCH HYDRONIC HEATING BOILERS Bosch is a global market leader in high efficiency, condensing hydronic heating and water heating technology. All of our products are designed to deliver heating and hot water comfort. Our environmentally Hydronic Heating range of gas condensing boilers can help lower your gas bills, save you money, and reduce your carbon footprint.



When it comes to selecting a Nogging for your internal or external wall framing, you can’t go past the Rondo range. Whether you’re looking for Noggings that can be fitted during or after installation of Wall Studs, the Rondo range gives you options for both.

Maximise your lettable car parking space with Safetech’s Multiple level apartment building carpark lifts. As inner city residential space becomes more tightly packed, the same space pressures are applied to car parking spaces. Maximising the potential of your apartment development, requires access to multiple parking levels without sacrificing parking slots for space hungry ramps.


Our Architectural Decorative Film offers an extensive range that covers over 250 unique variations. This range at SAS will offer the industry internal abstract, unique and luxurious patterns for all architectural applications. This superior Korean product adheres to most flat surfaces and offers a practical way to create your desired look.


SMARTER LIGHT GAUGE STEEL FRAMING SOLUTIONS FOR TOP LEVEL STRUCTURES AND MULTI-STOREY DEVELOPMENTS How much time and cost you could save on your next project by replacing significant structural steel and traditional timber with a lightweight steel framing system? From concept designs through to engineering certification, find out how our proven BUILD SMARTER™ solutions minimise on site time and maximise cost efficiencies. SG4918

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APR-JUN 2019

Safetyline Jalousie louvre windows are well known for challenging and overcoming the design, safety and security limitations of conventional louvre windows. Safetyline Jalousie’s unique louvre windows will bring added value to your projects and offer unrivalled flexibility in your design options through unmatched performance ratings, strength, reliability and versatility.









QUATTRO STAGE SYSTEM Select Concepts’ QUATTRO Stage System is the preferred Portable or Permanent Stage solution across multiple industries designed and manufactured in Australia. Backed with a full TEN Year Manufacturer’s Warranty on Parts and Labour, the QUATTRO Portable Staging System is currently used by more than 400 Schools, TAFES and Universities Australia wide.



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Fire safety solutions from Siemens

SimBoard: Oriented Strand Board

As a pioneer in fire safety, Siemens’ innovative products and patented technologies are backed by over 160 years experience and know-how. Our fire detectors offer multilayer signal analysis and intelligent analysis algorithms (ASAtechnology). Detectors with the innovative ASAtechnology provide intelligent detection of smoke, heat and CO in any environment, without false alarms.

Oriented Strand Board (OSB) is the most used structural board for timber framed buildings in many parts of the world (e.g. USA and Europe) having replaced plywood and particleboard in most applications. SimBoard® is made of 100% fresh pinewood thinning of PEFC/FSC® certified sustainable forests. The strands are glued together with formaldehyde-free binders which means SimBoard® can also be used for food packaging.


Green façades from Tensile

Verde Maxi high performance hand dryer

Tensile provide experienced design and creation of green façades for commercial and residential applications. Green façades provide an enormous amount of benefits to a building through occupant amenity, thermal control and improving air quality.

Verde MAXI hand dryers save energy, dry hands in 10secs and minimise bathroom slip hazards by way of water catchment and are tested/approved to AS/NZS 60335.2.23:2012 and 60355.1:2011 +A1, A2, A3. NOTE: BIM/Revit files are available @ www.

Architecture & design




Apr-jun 2019



Getzner Acoustic Floor Mat AFM33 Getzner Acoustic Floor Mat (AFM33) is widely used in high end applications to greatly reduce structural vibrations and footfall noise. Getzner AFM33 can be installed with or without a cement screed.




Turf Cell® grass & aggregate reinforcement structure The Atlantis Turf Cell® / Gravel Cell® can be used for the reinforcement of both grass and aggregate for applications such as car parking lots, trails, access roads, pathways and driveways. When installed the Turf Cell® and Gravel Cell® provides a rigid surface featuring a dual planar structure that prevents tyre ruts and erosion depressions caused by traffic.


Bedarra Bi-Fold Door

Acoustic Ascent tile

Ideal for coastal and exposed locations, created to withstand the harsh Australian elements while providing an uninterrupted view, the Wintec Bedarra Bi-fold Door offers sleek and stylish design without the sacrifice of strength or durability.

ASCENT is a new thermoformed acoustic tile, achieving an NRC of up to 0.90 with a hidden acoustic infill. Easily installed using a simple clip system, ASCENT is ideal for both feature or floor-to-ceiling interior applications. It’s architectural shape creates a contrast between light and shadow, resulting in a beautifully unique acoustic wall solution. Available in 5 colourways


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Discover the subtle art of standing out. COLORBOND® steel Matt is a highly attractive and versatile design material that utilises special paint technology to diffuse light for an elegantly soft, textured appearance. Available in a range of neutral colours it’s perfect for commercial, industrial and residential projects. Visit COLORBOND.COM or call 1800 064 384.


COLORBOND and the BlueScope brand mark are registered trade marks of BlueScope Steel Limited. ©2019 BlueScope Steel Limited ABN 16 000 011 058. All rights reserved.

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Google Play and the Google Play logo are trademarks of Google Inc.

MiTek’s PosiStrut App is an electronic catalogue giving you instant access to even more information about PosiStrut Floor & Roof trusses. It contains the latest installation guides, case studies, and links to short, instructional videos demonstrating the amazing versatility of this ingenious truss. Plus, there’s an inbuilt PosiStrut Floor Span Calculator that provides you with detailed information on serviceability and dynamic allow an informed choice of materials to be selected to best service your requirements. Best of all – MiTek’s PosiStrut App is FREE!


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4/4/19 09:10 4/12/19 9:48 AM

Profile for Indesign Media Asia Pacific

Architecture & Design / Apr–Jun 2019 / Vol 55 Issue 2  

Commercial Design Issue The commercial building sector is a major source of both ideas and design challenges for Australia’s architects. Th...

Architecture & Design / Apr–Jun 2019 / Vol 55 Issue 2  

Commercial Design Issue The commercial building sector is a major source of both ideas and design challenges for Australia’s architects. Th...

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