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ISSUE 3 2013






ISSUE 3 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32




ALIGN M A GA ZI N E Editor´s Letter Align magazine travels around the world to give you an insight to the magnificent architecture in the big city´s. In each issue we focus on one city to show you the best of what it has to offer. This time we have sent our photographers around in Melbourne city, all the way down south in Australia. We hope you enjoy this issue as much as we have enjoyed exploring Melbourne; a truly vibrant and exiting city! Creative Director: M4ryland Art Director M.I.S Graphic Designer Marina Sellstad Photographer: Marina Isaksen Sellstad

Picture descriptions:

Distributed by: Seymour Distribution Ltd, 2 East Poultry Avenue, London EC1A 9PT Tel: 0207 429 4000 ISSN 3042-2456

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L: Left

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MEL BOU RNE The vibrant capital of Victoria

The architecture of Melbourne, the second largest city in Australia, is characterised by an extensive juxtaposition of old and new architecture. The city is noted for preserving a significant amount of Victorian architecture and has some of the largest in the country. Additionally, it features a vast array of modern architecture, with around 60 skyscrapers over 100m in the city centre which have deliberately been set back from thoroughfares and streets to preserve historic architecture. This gives Melbourne the lead to the title of “Australia’s most European city”. The juxtaposition of old and new has given Melbourne a reputation as a city of no characterising architectural style, but rather an accumulation of buildings dating all the way back to the European settlement of Australia. The city is also home to Eureka Tower (2006), which was the tallest residential tower when measured to its highest floor for some time. Australian architecture has generally been consistent with architectural trends in the wider Western world, with some special adaptations to compensate for distinctive Australian climatic and cultural factors. Indigenous Australians produced only semi-permanent structures and during Australia’s early Western history, it was a collection of British colonies in which architectural styles were strongly influenced by British designs. However, the unique climate of Australia necessitated adaptations, and 20th-century trends reflected the increasing influence of American urban designs and a diversification of the cultural tastes and requirements of an increasingly multicultural Australian society.

Written by Lena Hayes Photography by M.I.S L: Yellow arcitect formation at Sturt St


THE RMIT DESIGN HUB A towering block sheathed in a façade of circular glass cells, the Hub is the ’machine-room’ for RMIT’s most investigative thinkers and designers.

The Design Hub has been developed to support and expand RMIT University’s position as an internationally renowned leader in design education and research. A highly visible presence on the corner of Victoria and Swanson Streets, the Design Hub is also distinguished by environmentally sustainable design features and has achieved a Green Building Council of Australia (GBCA) 5-star Green Star Education Rating that signifies “Australian Excellence” in environmentally sustainable design.


A Jo Kawecki & Indesignlive report Photography by Marina Isaksen Sellstad T: Looking up from Swanston Street L: View from corner of Swanston Street



´´We see it as a

new home for Melbourne´s design community and a place for the wider community to discover and engage with design´´

“We wanted a place to develop world-class concepts and initiatives that would raise Victoria’s – and Australia’s – international profile in design.” says RMIT Vice-Chancellor and President, Professor Margaret Gardner. The new collaborative environment at the Design Hub is the first of its kind in the world and represents the largest, publiclyaccessible design and research-focused space in Australia.The project was realised with Sean Godsell Architects and Peddle Thorp Architects, who responded to a brief which Prof Gardner says: “Focused on changing the way people work, fostering collaboration and building a freedom and flexibility into the workplace. The ideas presented by Sean Godsell Architects on promoting trans-disciplinary activity within the building were crucial. He and Peddle Thorp Architects provided the design.” Memorable from the outside and rather enchanting within, the building boasts 1700m2 of exhibition and presentation space, notably incorporating a human-centred consideration of innovative design and materials. As functional as they are aesthetically pleasing, all 16,000 sand-blasted glass cells coating the entirety of the building offers a unique approach to lighting and shading the building but is also part of the future-proofing of the building. Designed to adapt over time to accommodate emerging new solar technologies, and the outer skin will also be a testing ground for new ideas, offering researchers a “living” urban laboratory.”

T: Corner of Swanston Street B: Foyer Steps by entrance


YVE Award-winning Melbourne designers take their inspiration from the visual arts Written by Mary O’Brien, Photography by Marina Isaksen

“There’s an incredible amount of high quality work being built here by mid-career architects like ourselves and a lot of very young architects doing great work,” Marsh says. “We are part of a group that really started affecting the built form of the city in the early 80‘s.”

YVE is a curvy, sensuous building that stands out from the line of rectangular boxes on St Kilda Road, Melbourne’s premier boulevard. It’s radically different, it’s fun and flamboyant, and it scooped the top prize at the architects’ Oscars last night. The prize, the Victorian Architecture Medal, is a well-deserved accolade for Wood Marsh Architecture, a creative practice that has consistently pushed out the boundaries during the past 25 years. Yve is an exciting addition to Melbourne’s apartment scene and hopefully bodes better things to come, demonstrating to architects and developers what can be achieved with imagination, flair and a hefty budget.

Wood says that Melbourne architecture is equal to or better than anywhere else in the world. He is concerned that less than five per cent of the built environment is designed by architects but is uplifted by the quality. Unfortunately the public best knows the pair for the infamous “gold” tower in Docklands, where a group of investors is suing the developer because of the building’s colour.

Partners Roger Wood and Randal Marsh are not newcomers to architectural awards. Their latest prize will join a tally of 28 Royal Australian Institute of Architects awards for work ranging from residential houses to nightclubs to freeway sound barriers.

“The tone of the building is as it was always intended to be and that is a dark bronze building that shimmered, a more metallic bronze in some lights and black in other lights,” Marsh says. To get an idea of their work, have a wander through the elegant Mansion Hotel in Werribee or book into the Prince of Wales’ health spa. They also designed Deakin University Building J on the Burwood campus and Building 220 at RMIT’s Bundoora campus. They are particularly proud of the Australian Centre for Contemporary Art, the challenging, rust-covered arts building that provides exhibition and rehearsal space next to the Malthouse. It was a design project that was right up their alley and will be one of their lasting contributions to Melbourne’s cityscape.

The pair studied at RMIT and started in private practice in 1983. They attribute their success to a strong bond of trust and friendship that has lasted the distance. Unusually they are both design architects and work together on every project. They’re a good team, talented at designing and smart at running a business. They aren’t too worried about what other architects are up to and they don’t slavishly follow the latest overseas trends. Wood Marsh are creative architects working in an exciting period in this city’s development. While their designs are unique, they benefit from the creative energy of their peers.

R: View of front clading from tram stop at St.Kilda Road



“Wood Marsh has contributed significantly to Melbourne architecture in the range and standard of its buildings. Their designs challenge us to lift our expectations and there is an exuberance about their work that is attractive to a non-architecture audience. “ Shane Murray

R: Corner beetween buildings, see picture to the L: Corner of building at St.Kilda Road


Wood and Marsh are an inventive pair who have refused to rest on their laurels. They treat every project differently. Their work is sculptural and three-dimensional, with sensuous overtones and theatrical touches. They are different because they seek inspiration from the visual arts, not other architecture. They enjoy designing furniture and have pieces in several art galleries. Their artistically based approach keeps the duo fresh and ready to tackle new challenges.

Yve is the best project they have done and that all their skill and experimentation over the years have been brought to bear on this very special building. Marsh is reluctant to assess their contribution to the architectural scene but admits that Yve is the best residential project they have done. Wood agrees it’s one of their most noteworthy commercial buildings and that he success of Yve is its clarity of form and sculptural presence. They recently won the tender for the Mitcham-Frankston Freeway project by adventurously including four $500,000 sculptures in their pitch for the job. Wood Marsh has contributed a range of individual and exciting works to Melbourne over a quarter of a century. They belong in the top tier of the city’s architects, reinventing sculpture, form, materials in an exuberant way with each new project.

RMIT Professor of Architecture Leon van Schaik believes the Australian Centre for Contemporary Art is one of the most important public buildings completed in the city in the past decade but it has been unfairly overshadowed by Federation Square. He says Wood Marsh has made an enormous contribution to the city by its insistence on the poetics of architecture and their work is highly burnished with the desire to make a unique experience for us to enjoy.

Yve makes a powerful statement on St Kilda Road and sets a high standard for apartment blocks. It’s successful on several levels: all its lucky residents enjoy views, its developer, Sunland, has scored a commercial and architectural hit in its first foray into the Melbourne market, and the public can enjoy an intriguing building that curves and shifts, changing its appearance from day to night, and allowing passers-by to enjoy a perve at the swimmers on display in the colourful ground-level pool.

Architect Peter Maddison, chairman of the RAIA juries, says Wood Marsh brings a particularly inventive creativity to every project. He thinks Yve is a very important building and claims it breaks the mould for large-scale apartment buildings. They have reinvented the possibilities of that building type. Shane Murray, associate professor ofarchitectural design at RMIT, believes Yve sets a benchmark for apartment buildings, a category, he says, that is often handled badly. He believes


SCY SCRA PERS L: Looking up at corner of 60 City Road


EUREKA TOWER One of the world´s tallest residential tower is the Eureka Tower, located on the southbank of the Yarra River. After 4 years and 2 months, with a construction cost of approximately 500 million AUD, Eureka Tower opened on October 11, 2006.

Developer: Eureka Tower Pty Ltd Architect: Fender Katsalidis Pty Ltd Contractor: Grocon Constructions Pty Ltd • • • • • • • • • • •

Height of Building is 984.3 ft | 300m Eureka’s 13 lifts are the fastest in the Southern Hemisphere Lifts travel at more than 9 metres per second The facade consists of glass aluminium panels covering an area of 40,000 sq. metres The glass on the top 8 floors is 24 carat gold infused The tower used 110,000 tonnes of concrete and weighs 200,000 tonnes 3,680 stairs - 92 storeys - 52,000 sq. metres of windows The Skydeck is situated on the 88th floor and is the highest public vantage point (285m) in the Southern Hemisphere The top of the Tower can flex up to 600mm in high winds. Two 300,000 litre water tanks on levels 90 & 91 help to dampen the oscillations Horizontal white lines on Eureka Tower represent the centimetres and millimetries of a ruler


Written by Anastacia Bradly, Photography by Marina Isaksen R: Corner of Riverside Quay Street


120 Collins Street. Height: 265 M

101 Collins Street. Height: 260 M

Rialto Towers. Height: 247 M

Melbourne Central Tower. Height: 247 M


120 COLLINS STREET 120 Collins Street is Melbourne’s pre-eminent office building and is one of the tallest office structures in Australia. Offering panoramic views and a total net lettable area of 64,831m², this Premium-grade landmark stands at the entrance to the top end of Collins Street. Built from 1989 to 1991 and comprises 50 levels of office accommodation and 4 levels of plant. The building was designed by architectural firm Hassell, in association with Daryl Jackson. Structural Engineers were Connell Wagner, Mechanical, Electrical & Fire Services Engineers were Lincolne Scott. The building is home to a number of highprofile tenants.

101 COLLINS STREET A true Melbourne landmark, 101 Collins Street majestically surveys the city from its superb location within the “Paris” end of Collins Street. 101 Collins Street has been a landmark on the Melbourne skyline for over 20 years. The 57 storey building was completed in 1991 under the design by Denton Corker Marshall Pty Ltd. Towards the end of project, with a change of developer, the foyer space was designed by Johnson Burgee. Since its completion, Building Management has maintained the highest standards and provides tenants with exceptional service. The tower contains 83,000m² of rentable space which are home to some of the country’s most prestigious and influential businesses.

RIALTO TOWERS Rialto is an award winning building and an icon of Melbourne’s skyline located at 525 Collins Street, in the western side of the central business district of Melbourne. Designed by architects Gerard de Preu and Partners in association with Perrott Lyon Mathieson, the building was built between 1982 and 1986, opening in October 1986. It is 247 m (824 ft) high, with 63 floors and 3 basement floors. It comprises two conjoined towers, the shorter North Tower being 185 m high with 43 floors. In total, there are 84,000 m² of office space.

MELBOURNE CENTRAL TOWER Melbourne Central is a landmark office and retail property located in the Melbourne CBD. Melbourne Central Tower is a 51-level, premium- grade office tower located adjacent to Melbourne Central’s retail component. The tower is owned by GPT Wholesale Office Fund. Completed in 1991, the Tower is dominant in the Melbourne skyline and occupied by blue chip and government tenants. The complex includes a major retail precinct, 46 floors of commercial office space as well as carparking for 882 vehicles. The building was designed by architectural firm Kisho Kurokawa.



DOCKLANDS DIGITAL HARBOUR PORT 1O1O Written by Norman Disney and Young Photography by Marina Sellstad

Norman Disney & Young’s second project at Docklands Digital Harbour, Port 1010, is one of Australia’s most recognised and award winning buildings.


PORT 1010 HAS RECEIVED: • Dockland’s first 5 Star Green Star rating of ‘Australian Excellence’ by the Green Building Council of Australia • Award of Merit under the Docklands ESD scheme • AIRAH Achievement Award in Sustainability for 2006 • Silver Award of Highly Commended in the Environmental category at the 2007 ACEA Awards • AIRAH Achievement Award in Sustainability for 2006 • Silver Award of Highly Commended in the Environmental category at the 2007 ACEA Awards

Constructed by Baulderstone Hornibrook for Digital Harbour Holdings, Port 1010 is part of a technology precinct that seeks to provide state-of-the-art accommodation for information technology companies.It was purposely designed to encourage collaboration and interaction between organisations; Australian Customs Service, Bureau of Meteorology and Vic Track are major tenants. As the ESD consultant for this 16,000m2 commercial building, NDY’s challenge was to ensure that the development’s goal of maximised energy efficiency and minimised environmental impact was achieved. This included the Green Star rating and Docklands ESD submissions. A key aspect of NDY’s solution was the use of a blackwater treatment plant to recycle waste water. The building also features low VOC materials, a highly efficient façade and VAV system and an energy efficient lighting solution. NDY Fire Engineers developed a holistic fire safety solution, including the effective use of passive and active fire protection measures. Key solutions included rationalisation of fire ratings throughout, design of the occupant egress system and the development of a solution to permit an innovative cladding system.

L: View from tram stop T: Dockland Port side view B: Dockland Port front view



L: Corner of Queensberry Street


A stunning example of cutting-edge architecture and forward-thinking design, Grocons new Pixel Building breaks ground as the first Carbon Neutral office building of its kind in Australia, and possibly the world. Written by Norman Disney and Young Photography by Marina Sellstad

Taking its name from the many coloured dots that make up a digital image, Pixel was designed to achieve carbon neutrality by using renewable energy sources on site. The building utilises three wind turbines and both fixed and tracking photovoltaic arrays for its energy needs, with surplus energy being fed back into the grid. In addition to using a massive amount of recycled material in its construction, Pixel also features a 100% fresh air cooling system powered by a gasfired ammonia absorption chiller and delivered hydronically through a raised floor with individually controlled diffusers at each work station. The cooling system installer, Inner City Hydronic of Melbourne, was happy to be a part of this revolutionary building. When asked about their contribution, owner James Barham said;


are extremely ´´We proud to be involved in such a ground breaking project which has attracted worldwide recognition

The four story building used 6000 meters of 20mm REHAU RAUTITAN Pink pipe for the cooling system, with each level ta king a five man crew three days to complete. All the pipe work is connected to a co-generation unit which services all the cooling requirements for the entire building. Applauded around the world for its innovative design, Pixel has achieved a perfect score of 100 points under the Green Star rating system, the highest score ever awarded by the Green Building Council of Australia. “ We believe that Pixel truly is the office of the future” says Grocon CEO Daniel Grollo, “and one of the most sustainable buildings in the world.”





RMIT SWANSTON AC ADEMIC BUI LDING Written by Norman Disney and Young Photography by Marina Sellstad

The Swanston Academic building is an RMIT building, located on Swanston Street across from Peter Corrigan is designed by the architecture firm Lyons. Construction began on September 2010 and was completed in September 2, 2012. The budget for the SAB was $200,000,000. The new building contains 35,000 m2 of floor space, is 11 storeys high (including basement) and provides 6 large lecture theatres for students.[1] The building has state of the art facilities for students and also has a 5 star green star rating, meaning the building is very environmentally sustainable. Featuring a water harvesting system, the Swanston Academic Building will harvest water from the rooftop and use it for the flushing of the toilets. In addition, horizontal atriums will allow natural light to filter through the building with will reduce electrical lighting. Other ESD features include. The extremely colourful building is intended to reflect the cities surroundings in the façade and is part of the reason the building is coloured this way. We have created a design that integrates the building into the very heart of Melbourne architecturally, but also reflects and embraces the broader architectural legacy of the city.”[5] Predominant colours of Melbourne were derived from a survey, which has been reflected in the colour palette of the SAB. Lyons has connected the Swanston Academic Building to the rest of the RMIT campus by designing it with “a sense of openness, transparency and energy”.[7] When designing the layout for the Swanston Academic Building, Lyons consulted extensively with a wide range of academic staff to gather information about learning and teaching methodologies (both current and future), including learning and teaching spaces that would aid their teaching practice.

T&B: Looking up from Swanston Street





ISSUE 4 2013



Contact: Align Studio 12 - 14 Bateman´s Row London EC2B 4HH +44 (0)2077485333 Special thanks to: Damien Ester, Jennifer Kazmark, Jack Wilkins, Jens Kristian Gillebo, Anne Gatsby, Sara Liddle, Alex Peterson & Rosie Witherspoon The opinions expressed in this publication are those of the respective authors and should not necessarily be considered to represent the opinion of the publisher or its employees. No part of this publication may be reproduced without permission. Every effort has been made to contact and properly credit copywright holders- please contact us regarding corrections or omissions.


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Our first assignment in Studio One at RMIT University was to make a magazine with any topic we desired. We could use a photographer or take...

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