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SPRING / SUMMER 2019

I MAKING PLACEMAKING

I

SPRING/SUMMER 2019

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CONTENTS 4 contributors 5 editor’s message 7 WA chapter president’s message

no place like home 11 perth children’s hospital 17 health and happiness in the desert 21 a day in the life of the karratha health campus 23 the boulevard 27 premier mill hotel – katanning 33 what is heritage? 35 brian klopper, northam and surrounds 38 client liaison public places 45 teaching belonging 51 playing with place 53 kerry hill influencing public place 61 processes in placemaking 65 the coastal cultural landscape of scarborough beach 69 agora 71 bottled up 75 streets as places 77 a trace of dwellers place in practice 83 iris rossen Modelled from natural stone and created with painstaking care and Talk to one of our project 85 stacked artistry, Cultured Stone® achieves a show stopping complexity of depth, consultants on 13 15 40 88 design at the heart of things 91 liveliness in public art colour and texture. With six distinct ranges and a wide variety of colour or explore our products at 92 people making places: the FuBa experience options, Cultured Stone® adds a luxurious touch to any home or garden. midlandbrick.com.au. 93 finding a place in the profession 95 architecture of assemblage

- 3 - CONTRIBUTORS Alexandra Mackenzie is a graduate of Lance Ward is a visual artist based in David McLoughlin is architecture and has recently moved to Perth Western Australia. His work often an architect and urban Northam WA. For the past 3 years she takes the form of large scale, formal designer with a focus on has worked in Subiaco for Colin Moore compositional photographs, looking at urban spaces and exploring the traces of affordable housing. He architect. people and time within these spaces. is currently the Principal Anjana Balakumar is a graduate of Architect at Department architecture who has a passion for how Leonie Matthews is Co-Director of Matthews McDonald Architects, of Communities adaptable, inclusive architecture can graduating from Curtin University in 1992, (Housing Authority). contribute to addressing social issues. she combines her work in practice with Ariane Palassis is practicing and teaching teaching and research. Kukame McPierzie architecture after exploring her art Olivia Kate and Charlotte May are is the Studio Chair of practice. Her support of the art and design architectural graduates. Both have Woods Bagot in Perth. community continues as a Board member engaged in working in Perth practices, In 2019 he was awarded for the Fremantle Biennale 2019. teaching at UWA and volunteering in the architectural community. the Western Australian Courtney Babb and Paul Shanahan are Emerging Architect members of Future Bayswater. Courtney is Natalie Busch is a landscape architect at Prize. a lecturer in urban planning in the School of HASSELL and is always interested to see Design and the Built Environment at Curtin how people adopt the places she creates. University. Paul is the Chair of Future Nic Temov is Principal Planning & Urban Bayswater and high school teacher. Kelly Rippingale Design with Hames Sharley’s Urban B.Arch (Hons) B Arts (UWA), Development team. He has over 12 years’ M. AIA, M.ICOMOS Craig McCormack & Mark Jecks are both Lecturers at the UWA school of design. experience working on major urban projects works to conserve and and policy reforms – including Design WA. Dr. Beth George is a Senior Lecturer at interpret the values the University of Newcastle’s School of Penelope Forlano (PhD) is a practicing of the National Trust’s Architecture and the Built Environment. designer and artist. Her thesis Making portfolio of significant Custodians explored enduring person- Dean Cracknell is the Chief Executive heritage places. object relationships through a Design Officer of Town Team Movement – an Anthropology practice approach. underarching, non-profit organisation Jess Beaver is a helping ‘town teams’ to activate and Philip Gresley is a founding director graduate of architecture empower their local communities. of Gresley Abas architects and a keen advocate for the built environment. at MJA Studio, wine Jaime Mayger is a graduate of architecture He sits on a number of state and local lover, semi-retired who has worked in residential architecture design review panels working to help bartender and a and tutored Design at UWA. Jaime improve neighbourhoods. member of the EmAGN currently works in architectural publication Tahmina Maskinyar works at the cusp and is part of the public art team at FORM. WA chapter committee. of architectural practice and visual arts Janine Symons is a graduate of (often in stealth mode) to deliver public art architecture, and is currently nerding projects, strategies and cultural events to Marco Vittino is a around Fremantle Prison indulging her communities and places. director of vittinoAshe passion for built heritage. Tess O'Brien is a registered architect architects. He is an presently working for Neeson Murcutt Dr Jennifer J. Scott's research centres on Architects in Sydney. architect, engineer and the affinities between the work of the Honorary Fellow at the psychoanalyst Donald Winnicott and the Tilly Caddy is a landscape architect at University of Western art and architecture of mid-twentieth Four Landscape Studio and sessional staff Australia (UWA) School century British modernisms. member at UWA. of Design.

Warranty: Persons and/or organisations and their servants and agents or assigns Editor Publisher upon lodging with the publisher for publication or authorising or approving the Robyn Creagh and Fiona Giles Australian Institute of Architects WA Chapter publication of any advertising material indemnify the publisher, the editor, its servants and agents against all liability for, and costs of, any claims or proceedings Managing Editor whatsoever arising from such publication. Persons and/or organisations and Advertising their servants and agents and assigns warrant that the advertising material Peter Hobbs Kim Burges lodged, authorised or approved for publication complies with all relevant laws [email protected] and regulations and that its publication will not give rise to any rights or liabilities Editorial Committee against the publisher, the editor, or its servants and agents under common and/ Kelwin Wong Produced for or statute law and without limiting the generality of the foregoing further warrant Holly Farley Australian Institute of Architects WA Chapter that nothing in the material is misleading or deceptive or otherwise in breach of Andrew Boyne the Trade Practices Act 1974. 33 Broadway Nedlands WA 6009 Yang Yang Lee (08) 6324 3100 Important Disclaimer: The views expressed in this publication are those of the Bronte Hands [email protected] individual authors and do not necessarily reflect the position of the Australian Mimi Cho Institute of Architects. Material should also be seen as general comment and not www.architecture.com.au/wa intended as advice on any particular matter. No reader should act or fail to act on the basis of any material contained herein. Readers should consult professional Magazine Template Design Cover Image & Internal Covers advisors. The Australian Institute of Architects, its officers, the editor and authors Public Creative The Boulevard by MJA Studio. Image: Dion Robeson expressly disclaim all and any liability to any persons whatsoever in respect of anything done or omitted to be done by any such persons in reliance whether in Proofreading Price: $12 (inc gst) whole or in part upon any of the contents of this publication. All photographs are Martin Dickie by the respective contributor unless otherwise noted. AS ISSN: 1037-3460

- 4 - editors’ message Robyn Creagh and Fiona Giles

Place has been an obsession of Robyn’s the magazine as a physical container, for a few years now, and in this issue we but as a product of a network of explore in the role of architecture and contributors. It takes much more of architects – as citizens – in making than just a couple of editors, and places what they are. Architects an amazing editorial team to make can see their additions to the built this magazine. It takes a community environment as small parts of a larger of volunteers who are passionate narrative. This larger story of place about Western Australia and about is one we are all writing together as architecture in its broadest sense. both experts and citizens, continually creating a living place, rich with This is our fourth and final issue at complexity and meaning. the helm of The Architect magazine. So this is the perfect opportunity for In this issue we have authors and us to thank that wonderful, expansive architects from multiple perspectives and generous network of people that approaching the idea of making help make this magazine. Thank place together. We hear about with the introduction of Design WA, you to the authors who have donated award-winning Western Australian and a consideration of the role of their carefully crafted thoughts, and buildings with a focus on what they streets, opportunities for children’s the photographers who have helped give to, and how they support or play, and the potential of ongoing to document the works. Thank you shape, a community. We see the way civil dialogue about development in to the architects who have given us that architecture can reveal a place’s articulating a new or renewed sense so much to reflect on, and the team heritage, and how a new place in the of place. at the Institute of Architects WA city can respect continuing crossings Chapter. And of course, thanks to the and entanglements. Every project has the opportunity to contribute to building community. wonderful editorial team (including Authors investigate projects both large The longevity and impact of graphic designer and proof reader) who and small. Place making is perhaps buildings mean architects and built have brought their own passions and more immediately visible in urban environment professionals have expertise to this project. design but we also explore the impact broader responsibilities that take in sculpture or temporary installations Over the last two years we have civic considerations, and our stories can offer. We have collected spaces tried to capture in these pages the about who we are as a community of which host exceptional and everyday architectural conversations we are this place. moments of life: we discuss the private seeing and hearing (both discussion spaces within public settings through We give a special focus in memorial and built form) in Western Australia. the architecture of schools, hospitals to two architects who over their lives We’ve sought a diversity in voices, and and leisure spaces. contributed significantly to shaping to provide some coverage beyond the local places in Western Australia: central urban areas. Within this issue there is also the Iris Rossen and RAIA Gold medallist opportunity to consider the processes We are excited to pass on the reins Kerry Hill. that make and remake our places. as the magazine starts its new We have a conversation about impactful In parallel to this issue’s theme we iteration. So thank you, dear reader, changes to the planning regulations found ourselves talking not only about for joining us. •

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- 6 - wa chapter president’s message Author Peter Hobbs

Kambarang has arrived (that’s Spring In some inner-city suburbs, rather than for white fellas). Walking through Bold allowing new development into existing Park yesterday morning, the acacias neighbourhoods, a solution is to add are in bloom. Within three weeks, the high-rise along activity corridors. entire park will be a carpet of yellow Towers are an expensive build and don't and pink. In hidden corners, kangaroo underpin an affordable transition to paws and donkey orchids will add density. In some cases, high rise living brilliant highlights. What could be a delivers great outcomes, but typically, more fundamental marker of place only in places of a very high land value. than its wildflowers, whose exuberant Another option is to build new train blossom mark the beginning of stations and surround these with another cycle? as much density as we can. Right Our footprint is already larger George Seddon’s landmark book of in principle, but again, to create a than most megalopolis and we are 1972, “A Sense of Place”, chronicles the sustainable community takes time, population of a mere 2 million… Do we author’s struggle to come to terms and can only be layered over several with the Swan Coastal Plain, a place want to be Paris, Vancouver, Melbourne, generations: it’s almost impossible to he initially found harsh and or something else? immediately create a greenfield Transit unwelcoming. As Seddon studied the And in an era of hyper-consultation, Oriented Development (TOD) when landscape and its flora and fauna, what will be the process by which demand is soft. he discovered a fragile but beautiful we define this vision for ourselves? What would be preferable is to allow ecology. Seddon helped build an Is consultation the enemy of the existing suburbs to slowly evolve awareness and pride in the local visionary, or is it the necessary to a higher density with the gentle environs of greater Perth that helped us handbrake that controls rampant introduction of appropriate medium understand its particular genus loci- its development at any cost? density housing. Now that Design WA sense of place. has delivered the Apartment Guide, the What seems to be clear is that our city Our built form heritage is next stop will be the Medium Density limits have been defined: Yanchep to comparatively narrow – we have a Guide. This is urgent and needs to be the north and Mandurah to the south. mere 190 years of colonial history, expedited. The Precinct Planning Policy We agree that the coast is our greatest and even in that time, we have is out for review, and is the opportunity managed to knock down some of the asset, and access to the beach and its for communities to ensure places finest examples of the architecture cooling breezes is fundamental. There can evolve whilst maintaining their of preceding generations. So, what to is also a natural barrier to our east: the intrinsic value. hills seem to suggest beyond here is ® ™ ™ ™ keep, what to re-cycle, what to re-do? The Fielders Finesse range includes five unique profiles, Boulevard , Shadowline 305 , Prominence , farming. Interestingly, this area very And while we’re on reform, why not Perth is at a tipping point. We are revisit the Metropolitan Planning Grandeur® and Neo Roman® that have been designed to combine the aesthetic appeal, durability and flexibility much corresponds to the natural range struggling to define what we want this of the Whadjuk people. Scheme in a fundamental way? It is of steel cladding. All profiles are available in a diverse range of materials including traditional COLORBOND® place to be. Do we want to have a chic almost 70 years old, and while being inner city supported by dormitory This is not a conversation to be scared constantly amended, it has not had a ® steel and high-end COLORBOND Metallic and Matt steel finishes, offering options to suit any style. suburbs or a LA sprawl stretched across of, its an obvious coming of age for a proper holistic review. It is time for us PROJECT: OPAL AGED CARE FACILITY, CARINE WA ARCHITECT: SILVER THOMAS HANLEY BUILDER: BGC CONSTRUCTIONS FEATURE PRODUCT: FINESSE® GRANDEUR® the Swan coastal plain in a series of very young city, and one we should be to define what kind of place we want linked up neighbourhoods? very excited to have. Perth to be. • fielders.com.au/finesse

- 7 - no place like home Perth Children's Hospital by JCY Architects and Urban Designers, Cox Architecture and Billard Leece Partnership with HKS Inc. Image: Shannon McGrath.

- 10 - perth children’s hospital Author Kukame McPierzie

One of my first impressions of the peaceful. The architects describe this for their design response. In many Perth Children's Hospital is that it central atrium space as the social spine. ways, this is an obvious concern, doesn’t smell like a hospital. It’s fresh, The anatomical reference is apt, as this but emotions can quickly get lost airy, filled with light and hope and space is the nerve centre that connects in the complexity, functionality optimism. It is a welcoming place. all the pieces together. and practicality of delivering a There is a calmness as we walk around building such as this. The amazing the building. People smile, they laugh. We walk around upstairs and see thing about this building is that It makes us feel safe, supported. It does children fully engaged in their school despite the immense complexity and not really feel like a hospital either. Yet work in one of the hospital classrooms. uncompromising functional and as we listen to the architects talk about It looks like an ordinary primary clinical requirements, the architects the project and reel off statistics about school room: pictures on the wall, have managed to preserve a humanity the building we are reminded that yes, kids laughing as they learn. I’m within the spaces. They have created an this is a hospital, and yes, it is highly reminded of the innocence of the environment that feels safe. functional. Yes, it is considered world- users of this building. It feels inviting. It is resolved and class. Yes, it needs to look after our sick logical. Things just make sense. children for generations. Spaces are filled with colour and light. It feels welcoming. Views out make connections with the It is an intimidating brief and a surrounding environment, particularly The design is clever. It is forward masterful response. The sheer Kings Park. The ward windows frame looking and future proofed. Floor complexity is staggering. It would an expanse of trees. You could be in the to floor heights are set with enough have been easy for the architecture bush, relaxing down south. clearance to enable operating theatres to get lost in the resolution of all and clinics to be adapted and moved the functional requirements of the It’s an incredibly calm and gentle around over time. The structure allows brief. It hasn’t. The architectural environment, even though the building for a future vertical growth. A bridge design response has shaped and led hosts some of life’s most confronting connects to the adult hospital and the resolution of the programmatic experiences – the care of sick children enables future campus expansions. requirements. This building is and the care of children who may have The building is embedded with inherently functional and efficient. their last experiences here. Through sustainability and energy efficient But the design of the Perth Children’s all this fear and scariness, the Perth initiatives that are the result of skilful Hospital is more than that: it feels Children’s Hospital is a building that design. Hospital wards are oriented to special. is predicated on hope. We can heal maximise light into the building, but our children when they are sick and also views out. The large atrium purges A light-filled central atrium provides a vulnerable. We can help them. hot air at night. There’s a huge solar visual link between floors, connecting We can give them the best care array on the roof. The facade shading various places and levels. People move possible. It is a reflection on our moves with the sun, enabling views but in and out of this space, heading to society that we have built a world-class protecting the people inside from the appointments and visiting clinics. hospital for our children. hot Perth sun. There are places for kids to play while they wait to be seen by a doctor. The The architects speak with pride as As we walk around the hospital, I see acoustics are carefully balanced; it feels they describe how emotional and one of the architects trace a hand along busy and bustling but also quiet and psychological safety was a key driver the materials of the wall. It is a tactile •

- 11 - Perth Children's Hospital by JCY Architects and Urban Designers, Cox Architecture and Billard Leece Partnership with HKS Inc. Image: Shannon McGrath.

- 12 - experience and you can see the deep You can sense there is a strong In many ways, the Perth Children’s connection that the designers have connection between the people Hospital is symbolic of Perth’s with the place. The hospital is who work here. On the upper levels, emergence as a global city. We expect delightfully considered in its use staff spaces and lounges provide an the world’s best care for our children. of materials. Small things make a opportunity for doctors and nurses to We also demand that the architecture difference: a splash of colour here, a decompress, relax and connect with of our public buildings should be more texture there. Everything designed each other between shifts. Hospitals than a response to a functional brief. for children, considered from their are so often segregated, siloed and We need design that embeds magic vantage point and eye level. Lights in isolating for health care workers. We into the architectural response. We the corridors are offset so as children forget that the people caring for our need architectural teams that will are wheeled around on their hospital sick children are human and that relentlessly pursue a great outcome, bed looking at the ceiling they don’t get the work they do can be incredibly despite the challenges. The Perth the lights in their eyes. Artwork that traumatic. The design encourages Children’s Hospital delivers on this. It is a sophisticated, complex and interacts with you as you move with it. social interaction with open work thoughtful design response that is There are places to be playful, places to spaces that are deliberately collegiate humane and approachable. It is a rest, places to heal, places to cry. and supportive. building that feels full of hope and optimism for the future. Colour is an important wayfinding Too big for any one firm, the • element, a way to decode and break collegiate attitude extends to the Perth Children's Hospital was awarded the down the institutional scale of this design team, a collaboration between George Temple Poole Award, the Jeffrey big hospital, both for parents and JCY Architects and Urban Designers, Howlett Award for Public Architecture,the children. The lifts are colour coded, Cox Architecture and Billard Leece Wallace Greenham Award for Sustainable and today we take the green lift, Partnership with HKS Inc. You can see Architecture, and the Julius Elischer complete with ladybugs printed on that this was a fruitful partnership. Award for Interior Architecture in the the walls. Reconciling the robust We are told that more than 200 2019 WA Architecture Awards. and hygienic requirements of a architects and designers worked on the hospital environment with spaces project, another staggering statistic. that feel humane and approachable It is a great shame that JCY went is no mean feat. Materials here have out of business before the building long design life spans; they need to started to be critically acclaimed and withstand decades of hygienic recognised. Their contribution to the cleaning, remaining robust and project is clearly evident and it stands resilient whilst still looking good. as a testament to their 30+ years of Yet somehow this building feels contribution to the architectural homely, tactile, approachable. culture in Western Australia.

- 13 - Perth Children's Hospital by JCY Architects and Urban Designers, Cox Architecture and Billard Leece Partnership with HKS Inc. Image: Peter Bennetts.

Perth Children's Hospital by JCY Architects and Urban Designers, Cox Architecture and Billard Leece Partnership with HKS Inc. Image: Shannon McGrath.

- 14 - Perth Children's Hospital by JCY Architects and Urban Designers, Cox Architecture and Billard Leece Partnership with HKS Inc. Image: Shannon McGrath.

- 15 - Punmu and Parnngurr Aboriginal Health Clinics by Kaunitz Yeung Architecture. Image: Brett Boardman.

- 16 - health and happiness in the desert Author Kelwin Wong

They say it takes a village to raise a the delivery of the two clinics has had a dimension that a traditional painted child, but what does it take to shape resoundingly positive effect. mural could not; they serve as shading a building? We often attribute the devices resulting in light and shadow design of a building to its architect: an Working to a modest budget and that interplay within the interiors individual who transforms a concept within the constraints of the sites, of the clinics throughout the day. sketch into a built form over months the resolution of the two clinics a 14 It encourages a mother and child in or years. However, for the new Punmu hour car drive apart has successfully the waiting room to tell stories, to and Parnngurr Aboriginal Health demonstrated how integral health talk about the elder who created the Clinics the decision was made to services can be provided in a sensitive artwork and to discuss what the story genuinely open the design process and meaningful way in which represents. “I think that creates a to the community, facilitated by the communities have a shared whole kind of stimulating event and Architect David Kaunitz (Kaunitz ownership. It also highlights the nourishment for the community” Yeung Architecture), while guided by techniques architects can employ to says David. functional requirements of the client, make engagement with communities Puntukurnu Aboriginal Medical inclusive, leading to insights of “a Materials and construction of the Service (PAMS). The architect played hundred little things” as David shares. clinics respond to their immediate a pivotal role as a facilitator and While David does not have a specific list context, the harsh climate, through empowered the remote communities to of these things, he often refers to them a thermally-broken skin within the modular units and a ventilated roof to design two health clinics they could call as the small design features included in avoid thermal bridging. Photovoltaics their own in the remote East Pilbara the building that make a community combined with load management region of Western Australia (1,800km member feel they have been heard and drastically reduce demand for external north of Perth). their perspective respected. electrical supply to the clinics. The sweeping shade pergola creates The result is two clinics sited within The architectural feature of the two a permeable triple roof to avoid the Great Sandy Desert, 1,000km apart clinics that reinforces this most radiation. While there were aspirations which serve the communities of the notably are the art screens. These are to push the project brief regarding Martu people. Life in the desert comes laser-cut steel panels and inserts that materials, the sheer remoteness of the with its own set of challenges where the mirror the artwork of four artists, two two sites meant that Colorbond was semi-arid climate ushers in extremely from each community. Local stories one of the few materials to be able to hot summers (up to 48ºC) and warm told visually are transposed onto withstand the climatic conditions. winters. Despite the harsh conditions, the screens to provide the perfect “These buildings need to be so robust, the Martu, have lived in the area for counter to the utility of healthcare because even to send someone out at least 40,000 years, making them architecture. These screens are created 1,000km to repair something is a huge amongst the oldest living cultures in purely for the pleasure of others, cost” explains David. For this reason, the world today. For these communities, and their incorporation enables the the clinics were based on a modular being forced to leave country for buildings to pay respect to elders, the system constructed in Perth and medical treatment has a significant culture and the land upon which they delivered to site to ensure durability, negative impact on their wellness. sit. Encompassing screens engage reduced cost and embodied energy and However, community involvement in the visitor by adding an experiential site visits. •

- 17 - Punmu and Parnngurr Aboriginal Health Clinics by Kaunitz Yeung Architecture. Image: Brett Boardman.

Punmu and Parnngurr Aboriginal Health Clinics by Kaunitz Yeung Architecture. Image: Brett Boardman.

- 18 - The programme was refined largely perspectives, David made provision they were designed by the white due to the extensive consultation for the waiting room to be segregated guy, the architect.” To which the process, which sought feedback from in the future, should this become an elders responded “that guy was very the community through a myriad issue. It was key in the design process respectful, and we like him, but he did of consultation engagements. “It is to demonstrate to the community that not design the building. We told him actually hard to explain how basic every effort was made to accommodate what to draw”. • the approach is” says David, “There’s even the smallest of wishes. a lot of differences between groups. The general approach, and maybe Taking the opportunity to completely it doesn’t sound sexy enough, is to involve the community to deliver go in there and take the time to high quality architectural outcomes listen.” This meant providing many has empowered these communities platforms for conversations to occur by to maintain their viability. The organising time to meet with the whole reaction from the community of an community, and further with sub- empathetic design approach has been groups of the community, including overwhelmingly positive. “When the women-only and men-only meetings. artist for the screens came down the Gaining insight required listening corridor, turned a corner and saw her and responding to elders and mothers work, she just lit up, burst into a smile groups’ feedback. This was a skill David and cried with happiness” recalls developed during his time working David. Another positive outcome for previously in the Solomon Islands. the community was the inclusion There, often local culture meant that of a request for a cold-water bubbler people did not speak directly about integrated to the facade of the building. their concerns. “Someone might say The bubbler provides the community something completely innocuous, with much needed respite from the completely minor, but after you think heat, and has since made the clinic into about it for a while, it might actually a hangout for children who will benefit mean something.” During one of from drinking less soft drink. the Punmu consultation sessions, someone commented on the need for The all-encompassing design process ‘something special’ for the waiting meant that the community felt a room. Follow up questions revealed real ownership over the design of the there was a need for segregation. While clinics. The community elders reported most of the community said they did to PAMS CEO Robby Chibawe they not want segregation, a few had said it were happy with their new buildings, was important. To accommodate all to which Robby replied, “that’s good,

- 19 - Karratha Health Campus, HASSELL. Landscape breakout space near to the Emergency Department. Image: Robert Frith.

- 20 - a day in the life of the karratha health campus Author Natalie Busch

A combined collection of stories compiled from observation, data and user feedback.

5.30am Sunrise, Inpatient Ward: Over 50 specially commissioned landscape. People intersect the site A cyclone yesterday threatened the artworks and photographs depicting going about their everyday routines. coast. From my room I can see remnant local life and the landscape are displayed … clouds across the Burrup Peninsula. throughout the building. Some days it After twelve months, and having Gabion terrace walls stacked with feels like I work in an art gallery! endured category five Cyclone Veronica, local granite step gently down towards 6pm: Visiting Hours: I’m anxious, yet the landscape and community the surrounding street, positioned excited to visit my wife and new baby. continue to thrive. The project reflects to protect the building from flood if Parking and finding my way is easy and a collaborative journey underpinned by disaster strikes. The new landscape is led by artwork marking the main entry. a genuine desire to understand place thriving: over 150 Eucalyptus trees and a as well as to serve the community. We pass an elderly Aboriginal man with fresh carpet of wildflowers. Mulla Mulla At the Opening, Terry Hill Pilbara a broken leg confined to a wheelchair. and Sturt’s Desert Pea appear like an Development Commission chief A friend has bought him outside to a extension of the floodplain. I feel safe executive commented; seating area with views to the landscape and calmed by this view. beyond. Gas flares on the Burrup “The legacy of the health campus goes 8.30am: Telehealth Department: Peninsula flicker like birthday candles beyond bricks and mortar; it’s created new I manage appointments. Natural in the distance as the sun sets. It is nice opportunities for residents and attracted a light from the courtyard floods into to have so many outside spaces like new wave of families to town.” the public waiting area where I sit at this where patients, visitors and staff With a budget of $207.15 million it my desk. A patient has arrived for her can find retreat, ‘a moment to escape’, is the biggest investment in a public weekly specialist check-up via video especially at this time of day. hospital ever undertaken in regional WA. conference. This technology saves her Walking through one of the shelters Acute services include an emergency travel-associated expense and stress, marking my route to the main entry, department with direct access to an while providing the best care. 25% more onsite helipad, surgical centre, two I notice artwork panels explaining patients are using this service since operating theatres, 38 inpatient rooms, that many of the new plants around opening. While waiting, her kids play in two delivery suites and a maternity wing. the hospital were traditionally used by the courtyard. Double height glazing the Traditional Owners, the Ngarluma The campus creates a connection brings natural light from the courtyard people to treat illness. I feel connected between the hospital and the into the waiting area and corridor. Six to the land, less anxious. surrounding environment. It invites mature Frangipani trees were salvaged interaction, promotes health, and from the old hospital and transplanted Midnight: Emergency! There is a swift services the community beyond into the courtyards, providing instant arrival via helicopter to the Emergency its boundaries. As outpatients, the shade and a lush outlook. Department. Karratha feels safe and community has access to world-class connected for those who work remotely telehealth conferencing, child health, 1pm: Staff Shift change: It’s hot outside at mines and offshore. counselling and medical imaging. now, 38 degrees and 70% humidity, but inside it’s comfortable. Two huge 5.30am Sunrise: Calm has returned to For the design team this project was underground tanks collect up to 30kl/ the skies. An early morning worker considered to be more than just a day (the equivalent of one average sized rides into town through the new health hospital; instead a civic place where backyard swimming pool) from air- campus parkland. It is hard to see every user feels comfortable and conditioning condensate. The water is where the health campus boundary protected. Above everything, it was then reused onsite for irrigation. is, seamlessly blending in with the about the experiences. •

- 21 - The Boulevard by MJA Studio. Image: Dion Robeson.

- 22 - the boulevard Author David McLoughlin

Purpose-designed student housing has Student housing has most often not constructed apartment towers and not a long history, evolving concurrently been about making place. Often a lot else. with the design of universities as exploiting a monopoly and located campuses. Moving students from on the periphery of a campus, student On-campus student housing at least their off-campus accommodation to housing is typically austere and has the offer of convenient co- on-campus was important, not only in functional, monastic and sometimes location (UWA residential colleges), terms of efficiency, co-locating their even impoverished. Exposed to a broad or potentially the promise of an living and learning quarters, but also market though, the value of design exciting, innovative and education- for power, ideology, politics and in the becomes commercially obvious. centred campus town (Greater Curtin case of the American campus-towns, Masterplan). The Stirling Street location religion and morality. In the case of MJA Studio’s The Boulevard housing of The Boulevard cannot offer these. It university rivalries based on opposing project is a product of the changing also cannot currently provide a location or competing perspectives think Oxford role that tertiary education has within within a bustling, diverse, activated city and Cambridge, or even The University our economy and society. Not aligned location. It may be many years before of Western Australia (UWA) and Curtin to any particular institution, it caters that potential is realised. University. Advantage might be gained for students at the many institutions from having students accommodated which do not provide on-campus With the ultimate regenerated Stirling together on campus, reinforcing the student housing. In order to do so, Street precinct due well in the future, friendships and power networks that rather than being located on the fringe juxtaposed with a current market for would in the future be influential. of a suburban campus it is located on student housing, MJA Studio have the fringe of the CBD. Rather than an sought to create a distinct community, However, rivalry between universities expected utilitarian design approach, it vertically within their building. The in Perth in 2019 no longer resembles surprises with its empathetic design and Boulevard sits well now, interfacing the Oxbridge of mediaeval times or generosity of detail. via a large public lobby and reception even the UWA/WAIT duopoly of the 70s. at street level whilst anticipating the Now Murdoch University, Edith Cowan The building sits in the emerging evolving urban environment. University (ECU), The University of Stirling Street precinct of the City. Notre Dame Australia and the Central Separated from the main CBD by The Boulevard is a substantial building. Institute of Technology, as well as myriad the railway, east of the Northbridge Housing a student population of over other TAFE, vocational and tertiary entertainment district, this area 570, this 23-storey tower sits across education offerings represent a diverse was known until recently for small two lots previously occupied by a and fragmented market, competing engineering and light industrial small appliance repair workshop and for students in what has now become a businesses, hostels, brothels and a converted cottage. Responding to $2 billion export industry for Western low-grade commercial buildings. The the context, MJA Studio have made an Australia. Some of these institutions modest urban regeneration catalysed by important and generative first move, are of a scale or configuration that they the construction of the northern bypass deriving the two-storey podium height can offer on-campus student housing; tunnel of the late 1990s was focussed from adjacent existing buildings, however most are not. From this, the to the north of Newcastle Street. So they utilised an offset H-shaped tower opportunity for off-campus student for now, The Boulevard shares its floorplan to reduce the apparent bulk housing has emerged. setting with a couple of other recently of the building above so that it appears •

- 23 - The Boulevard by MJA Studio. Image: Dion Robeson.

The Boulevard by MJA Studio. Image: Dion Robeson.

- 24 - as two narrower buildings. Relating the The main residential floors are located levels of daylight, and the blurring of “grain” of their tower to the original lot from the second level upwards. The the line between “plaza” spaces and pattern rather than to the aggregated residential rooms are interspersed with circulation all inform the design. superlot is sensitive and thoughtful, a range of communal and recreation avoiding much of the damage often areas. The relationship between these A range of different student room done by imposing huge tower blocks spaces is thoughtful and an important typologies have been incorporated. onto existing fine-grained urban areas. part of how this building fosters the These range from a single self- creation of a community. contained “bedsit” style room, a two- The street interface appears similar plex for siblings or close friends, up to to a typical shopfront or commercial In seeking to create a community a 5 or 6 room “sharehouse” apartment. ground floor configuration. However within this tower, more than just In addition to allowing a diverse upon entering it appears more akin to a neighbourhood, MJA Studio pricing structure, this variety a hotel lobby in contrast to the more demonstrate a sociological typical apartment complex entry, understanding of urban design, picking contributes to an overall strategy of limited scale and austere functional up on the observations of Jane Jacobs helping students to achieve work-life materials. The Boulevard’s ground floor (mixing of uses, smaller spaces and balance, building empathetic and lobby is the first indication of something high permeability), William H Whyte supportive relationships with their unexpected. The interior design of this (the importance of chance meetings, peers, all critical in this community space engenders an exciting, young reciprocal gestures) and Jan Gehl (that which may be characterised for young and urban vibe, combining raw and the buildings are the edge containing people by being away from their austere materials such as glass faced the public realm, life happening family, social isolation, loneliness and cement render and concrete flooring, between buildings). high pressure. off form concrete, structural steel with visible welds, anthracite paint finishes This approach to making place is used The Boulevard is an innovative and well- and raw timber. This subdued, largely skilfully in The Boulevard. On a macro designed building and a worthy winner monochromatic palette is enhanced scale, the planning ensures that the of a multi residential award in the 2019 with elements in bright yellow, evoking business of “just going about life”: WA Architecture Awards. However an industrial theme. ascending the lift, moving between what MJA Studio have done is more one’s accommodation and the study than just design a decent building: they The ground floor space is programmed area, going to do the laundry, are all have made an important and timely as reception, entry lobby and socialising conducted within a social community contribution to our understanding of area; however a prominent elevated, where friendships and relationships the emerging typology of off-campus, glazed (and yellow) mezzanine meeting are nurtured. room at first-floor level overlooks a purpose designed high-rise student bright yellow stair connecting the two On a micro scale, Whyte’s observations housing at a time when a number floors – the first floor being a more of what makes successful public places of similar major projects are under secluded semi-public meeting and have been interpreted into this consideration within the CBD. • relaxing area, yellow contributing to the internal, vertical community. interior design theme whilst acting as Adequate and diverse sitting an important wayfinding device. opportunities, the use of different

- 25 - Premier Mill Hotel, Katanning by spaceagency. Image: by Barry Williams.

- 26 - premier mill hotel – katanning Author Kelly Rippingale

Place making is about creating a Noongar inhabitants many generations the second decade of the twenty- shared identity. Saving, conserving and prior. Now a regional service centre, first century however, the place was interpreting places builds on identities ‘Kart-annin’, ‘big meeting place’, was the in disrepair and on the market to created over time as built form and junction of three traditional Noongar whomever could offer it the best chance fabric embody the workplace and social domains – of the Wilman, Kaneang of survival. activities of the people who inhabit and Koreng people - and marks the them. The Dome Group’s Premier convergence of biogeographical Community scepticism was high when Mill Hotel project, skilfully executed regions. Or as the hotel’s web site has it was acquired by the Dome Group by spaceagency, takes the shell of a it: ‘halfway between here and there for $1 but the now completed Premier once-loved place and turns it on its and not far from anywhere at all’. The Flour Mill hotel is an impressive and head, boldly creating a new place in hotel now professes to provide a local the Western Australian Wheatbelt and meeting place for people from across ambitious example of revitalisation. Great Southern region. the district. The development is a bold move to bring tourism to the region through provision of high quality Spaceagency took on the challenge of The town developed when the Great accommodation. creating a destination-worthy luxury Southern Railway was completed in hotel in an industrial landmark in a 1889 although it was not gazetted town known more for its abbatoir than until 1898. Piesse brothers Charles The result is a unique offering of its tourist appeal. The architects’ design and Frederick built the Premier Roller architectural merit that delivers the turns a once-busy industrial workplace Flour Mill in 1891, providing a cash architects’ professed objective of into a new offering that the people of market for local wheat growers. The being ‘more than the sum of its parts’. Mill’s whistle regulated the routines Katanning can feel good about and The reception area is described as a and daily life of the town – blowing at which welcomes their visitors. ‘kitchen’ and is built around a newly smoko, work day’s end, and on special inserted Aga stove that provides occasions. The whistle is cited in the warmth and a heart to the place. A map has been produced to assert assessment of significance as playing With an adjacent communal dining Katanning as a place. A number of staff ‘an important part in framing the were given the task of driving for three identity of the town’. Alterations to the table this insertion creates the sense hours each in a different direction to Mill in 1902 enabled the provision of of an archetypal farmhouse kitchen report back on the points of interest electricity to the whole town until 1961, – one suitable for a whole town. The to be found within the surrounding strengthening its local significance. underground bar cleverly uses remnant landscape. Provision of comfortable machinery to ensure intimacy and accommodation is the drawcard to The Mill’s retention is due to a long simple placement of elements within bring coast-hugging visitors to the history of community activism, the shared spaces – such as a single interior. dating back to 1927. When assessed sewing machine highlighted at the end for inclusion on the State Register of of a corridor on the first floor – subtly Katanning was on an early settler route Heritage Places in 1995 it was described reflect stories associated with the place. between Perth and Albany traversed as being in very good condition and Each hotel room highlights different by Stirling and Roe circa 1835 likely with a rare and highly significant aspects of the building, and the overall following pathways created by its collection of intact machinery. By structure is celebrated in the main void. •

- 27 - Premier Mill Hotel, Katanning by spaceagency. Image: by Allan Myles.

Premier Mill Hotel, Katanning by spaceagency. Image: by Barry Williams.

- 28 - The hotel has high quality finishes that like to have had more time to reflect never lose sight of its country setting. on how this new space interacts with New elements, including the bespoke the streetscape as the whole appears furniture, are a neat, contemporary, inward rather than outward looking. and a subtle contrast to the remnant Inside the hotel, the lounge space is an fabric that is retained throughout the inviting entry experience and the lack building and left in a raw state in the of a formal reception area is unusual light well. This void takes visitors up but friendly. It offers a variety of spaces and around the mill’s former boiler for different types of social activity – which remains a strong feature. The new lift is visually open with a suitably from meetings to group dinners - while semi-industrial palette. the bar and rooms can cater for a range of function sizes. Throughout there is a mix of discrete new detailing that is contemporary Attention to detail in the yet responsive to the heritage fabric. accommodation rooms is impressive Interpretive devices are bold but also – each responding to its different restrained in quantity without being place in the building - and there is didactic, and extensive remnants of lovely modulated light throughout. machinery and equipment have been The comfortable farmhouse feel is masterfully incorporated into spaces maintained without compromising a throughout the building. Incorporation contemporary aesthetic. of these remnant industrial elements and a reintroduction of the daily whistle shows an innate understanding Similarly the communal spaces have of the subtleties of what is significant to interesting but subtle lighting with the town and its people. highlighted details in the floor and stair handrail of particular note. The Dome branding within the café area is relatively discrete and the Employing 33 local people, the space manages to be both intimate Premier Flour Mill is a high quality and open – the enclosing verandah architectural achievement that is worth allows extensive views outward to the a visit and may well put Katanning on streetscape and town while retention the map. It is a project that has married of machinery and structural elements creates inviting spaces. On the ANZAC quality architectural detailing with an day holiday that I visited the Premier innately empathetic response to the Flour Mill, the café was busy with both significance of the place and its details. locals and travellers and the hotel was The owner’s and architects’ passion expecting over 70% occupancy. I would shines through. •

- 29 - Premier Mill Hotel, Katanning by spaceagency. Image: by Allan Myles.

Premier Mill Hotel, Katanning by spaceagency. Image: by Barry Williams.

- 30 - Premier Mill Hotel, Katanning by spaceagency. Image: by Allan Myles.

- 31 - The Cliffe, Peppermint Grove. Image: George Russo 1987. Source: State Library of Western Australia.

- 32 - what is heritage? Author Janine Symons

The Cliffe.

The Cliffe, a timber ‘gentleman’s past that we wish to keep for the future’, JJ Talbot Hobbs, and as one of the first residence’ was originally designed but that too begs more questions. houses built in Peppermint Grove. and constructed in 1894 for timber Sadly, the Council did not consider Heritage is not just ye olde buildings, the Triffids, although they were well merchant Neil McNeil in Peppermint and it is not just tangible. UNESCO lists known internationally at the time of Grove, and subsequently extended by 20 types of heritage, including sites, registration, and there is a plaque placed prominent architect JJ Talbot Hobbs. cities, natural sacred sites, handicrafts, by the local government authority on The Cliffe was placed on the State music and song, and culinary traditions. Register of Heritage Places partly a studio in London commemorating the recording there of the album Born for its rarity as an ‘example of the Traditionally heritage has been those Sandy Devotional. Not only do we often use of weatherboard in a substantial things valued by the ruling class, value physical things that are older, we 'gentleman's residence in Perth.’ although, as society becomes more pluralistic and inclusive, this is slowly often value people and events of the The house was bought by the McComb changing. But any cursory perusal past more highly – JJ Talbot Hobbs as family in 1960. Son David McComb of official heritage registers reveals a opposed to David McComb, architecture was a founding member of the iconic preponderance of grand private and rather than pop music. Perth band the Triffids. The Cliffe, public buildings and the historical The music of the Triffids demonstrates a sprawling house with basements, remnants of the dominant classes. that in addition to the formal heritage lofts and outhouses, was central to the When humble places are considered for we are familiar with, we all have our Triffids output, providing both rehearsal registration: fibro workers’ cottages for own personal heritage, often far and recording spaces. Historians and example, outside of the heritage industry removed from the large houses and fans of the band wax lyrical about its there is often little understanding or crumbling ruins of our state registers. importance as inspiration and refuge. support for their significance. Our fondness for registered places may be for reasons not inscribed in The threat by new owners to demolish This official heritage, inscribed in registers and lists, is identified, assessed the official documents. It also suggests the place after its sale in 1995 sparked and registered in formal processes, that heritage is not fixed, and whilst it local debate and fury, with many usually underpinned by legislation and is about the value of something, values supporters arguing that its association supported by guidelines and criteria. change over time, and will vary across with the Triffids should be a substantial different groups of people. reason to save it. After becoming one The Heritage Council of Western For Triffids fans The Cliffe is clearly of the few places to be removed from Australia follows a standardised process a place of Western Australia cultural the State Heritage Register (an action of heritage assessment, formally significance, as the home of a band requiring a vote of both houses of entitled ‘The Assessment Criteria of Cultural Heritage Significance’. This which made it on the world stage. Parliament), the Cliffe was eventually Perhaps in another 100 years, if The sold and is currently a private residence. process evaluates the place under consideration in terms of its aesthetic, Cliffe was to be assessed for its The debate around the potential historic, scientific and social values, cultural significance again, it would be considered important, by the demolition of The Cliffe begs the and further considers both rarity and State, for its historical associations question ‘what is heritage’? representativeness. with the prominent McNeil and Heritage is a concept that everybody The Cliffe was considered to be of Brisbane families (owners) and with seems to understand, but struggles to significance for its rarity as a substantial JJ Talbot Hobbs (architect), and the define. A working definition I recall timber ‘gentleman’s residence’, its Australian alternative rock and pop from university is ‘something from the association with the McNeils and band the Triffids.•

- 33 - Northam House by Klopper Architects. Image: Klopper Architects.

Northam House by Klopper Architects. Image: Klopper Architects.

- 34 - brian klopper, northam and surrounds Alexandra Mackenzie in conversation with Brian Klopper

Place, Projects.

This short interview intends to pick up Is it true that you grew up around architects – we fall in love with a where the publication, Brian Klopper, Northam? Could you describe the house project without really thinking through Architectural Projects, (2012) leaves off. you grew up in? the consequences i.e. whether we will survive, which really means whether In an interview with Jenny Officer, Brian I grew up in a little mud brick house we’ll make a profit! Klopper says: on the banks of the Mortlock River, about 10 km out of Northam on the Up until 3-4 years ago, inflation looked ‘But next year we are going to Northam, York Road. after us all: We’re building a house in just Dave (Connoughton) and I, to build a Fremantle and we’ve done a projection little house…’ It was a little house with some kind of of it costing $300k so we aim to sell for ancient plant a bit like a Bougainvillea, $350k and we get expenditure of $320k growing over the veranda. It was very Brian has now been in Northam for 5 or and a guy drops by and says, ‘how much pretty. But at the time I was so ashamed so years, and we thought it was time for does one of these cost?’ I say, ‘never- of it because all the kids in the town a conversation. mind one of these, what about this lived in blue tiled roof houses and one... $500k?’ And he says, ‘OK’. something that was really ‘proper’. The obvious question to start with is, why Not a crappy little mud brick house. So that’s really the story of Northam. did you move to Northam? They had REAL bricks! I knew property was cheap here but I didn’t really investigate the value of There are a number of answers. It could have been my grandfather who built it. It had a kind of a cellar, that was houses. It turns out they were cheap 1. The simple or understandable one used to store milk etc. – a hole about too! I couldn’t really sell the house with is, I like building little houses. The 1500mm deep with a tin roof over it – a profit, so I moved into it. blocks in Freo were 300K and the that was a very South Australian thing blocks here were 60K. It SEEMED a and he was born there so it’s possible he So you hadn’t considered to move to Northam before building the Northam profitable exercise. built it. House? 2. Am I going back to my roots? Of I went to a school with about 7 students course not, but the things you see in for a few years and then for Year 2 the No. It was a function of not being able your early childhood stick with you a bus started up and we went to East to make a profit. Also, while we were bit. I do like the distant views, the big Northam school and then we moved to here for the year of building we got to sky, the rolling hills. Chidlow for my last year. know the place, the weather, the people, and I quite liked it. 3. When I’m in a flippant mood, well My father had a dream of running a big There are so many stories – the whole Chekov went to Yalta, to which dairy farm there. people reply, ‘well Northam isn’t thing gets teased apart in Northam – in Freo you don’t know what’s going on Yalta and you are not Chekov.’ Is there more to say about this dream? for people. Here, you learn everything It’s a combo of all those things I guess. This dream thing happens to us as about everyone because you have •

- 35 - Wine Bar by Klopper Architects. Image: Klopper Architects.

Wine Bar by Klopper Architects. Image: Klopper Architects.

- 36 - space between you. I wish I was Chekov Council was great actually. The Have you done other projects out this way because there are so many stories. complexity was in the building permit at other times? Toodyay Library? Was I like that. and with the nonsense of some of the there also a proposal for a walkway? Codes. For example, Australia requires Yes, Toodyay Library in 2009. I had When did the wine bar idea come to you? universal access toilets of 2.3m x 2.4m. bought some property in the town Pretty much everywhere else in the I moved here and then got a bit bored. around that time and the Council world the requirement is 1.5m x 1.5m. So I wondered, what does Northam asked me to do the library. I believe An extra 2sq m and not necessarily for need? I came up with the idea of the this was around the same time as more functionality. wine bar, to be a point of difference doing the St. Hildas project. And before from the pubs in the main street. What was it like to finally open the bar? that, the unbuilt walkway in 2004. Specifically, I thought Northam could do with a place where public servants, Well at the time I had no experience Would you like to expand on those particularly the women, might feel serving alcohol! But I did have projects? more comfortable. experience with wine and conversation, especially through our long standing No, I think that will do. • Again, without thinking through what a tradition of Bellissimo dinners which small bar actually entailed, I began. had been going for over 20 years.

What does a small bar entail? So the wine bar is a re-creation of wine It requires a liquor licence firstly. and conversation from the Bellissimo I spoke to a lawyer for a price to dinner tradition? manage the licence. He charged too Yes and it certainly has worked as that! much so I thought, ‘I’ll go through the This doesn’t necessarily translate into process myself.’ It took 18 months to number of glasses sold though! Profits get the licence and other approvals and have not been very good. then a year to build. I used the same vault forms as the house. It was good It's also a place for some incidental fun to build. culture?

The house and wine bar are quite similar Yes, we’re doing tango dancing. in form. One is a house and west of town The Tango instructors do it for free. and the other is a bar and in town. They suggested it. It’s the former local magistrate and her partner who run it. What were some of the challenges of the We’ve had movie nights, Casablanca, wine bar that were not a part of the house Breakfast at Tiffany’s. We’ve also hosted project? wedding and birthday parties. We had to deal with flood levels in I have an exhibition of some of my both projects. For the wine bar we had drawings starting this week. The aim to address universal access including with these activities is to get people in toilets, levels, parking and appropriate to experience the place. ramps.

- 37 - client liaison

We asked people what they thought of their new spaces… and of their architect.

Nigel Oakley Over the last 15 years particularly, What do you think the architectural team we’ve had the joy (and some pain!) in brought to the project? PREMIER MILL HOTEL, KATANNING becoming adept at the adaptive re- ARCHITECT: spaceagency First and foremost spaceagency ensured use of heritage places for hospitality. that architectural brilliance was Having completed some 20 heritage Describe the feeling of being in your applied to the areas of the building projects for cafes and restaurants we new space? that needed it. In a heritage setting it felt ready for a bigger challenge and we is often about choosing critically what It is incredibly transformative in just could not resist the idea of taking not to do as much as it is choosing what the sense that you feel that you have on a crumbling 1800s Flour Mill which to do at particular touch-points. From entered and are then enveloped by also happened to be held in formal the cantilevered staircase soaring up a different world; a world of 1890’s regard by the State Heritage Office as through the three level space occupied industrial ingenuity fused with modern one of our most significant industrial by the old steam boiler through to hospitality chic… with a wonderful buildings. The prospect of twinning our the fireplace in the main lobby and sense of warmth and welcome. I have the stunning interior elements in the expertise in cafes with a push into the observed the impact of the building on rooms designed by Dimmity Walker boutique hotel space was something we many first-time guests and it is not an there is a quiet confidence in the found incredibly exciting. We actually exaggeration to say that for most it is work here. I personally hate it when first met our architect 30 years ago quite literally breath-taking. Magical I see design for design’s sake applied is another word that comes to mind when Michael Patroni designed the to everything in a space or building. and I see this particularly in the eyes core elements that went into the very The architecture at the Premier Mill of children when they visit. This was first Dome café – elements which still Hotel is wonderful in the sense that it expressed beautifully by one little form part of the Dome signature café gently reveals itself over time through fellow who was a house guest with his footprint to this day and which I believe immersion. I love the fact that there family recently. I overheard him asking are testament to what great design is are many subtle details that no visitor his Dad if Harry Potter had been here! all about in withstanding both fib and would ever likely pick up as a key fad. Whilst Michael had long since feature, but which together without moved on from working with Dome, I doubt work to put an undeniable What's your relationship to this building emotion into the way people perceive approached him all these years later and how did you meet your architect? their experience of the hotel. The because I felt that he was somewhere in other point of great joy for us was our corporate DNA and he would ably We are the owners of the building. Our working with Michael and Dimmity as come to grips with the idea of building company Be Our Guest Holdings has a collaborative team. We were a highly had over 30 years’ experience in the a new independently branded boutique engaged client on this project which food and beverage industry through hotel and ensure that whilst separate meant that the inevitable points of the operation of cafes and restaurants it could still nestle appropriately into “design/re-design and construct” on the and in particular the Dome café brand a family of complementary offerings fly which so often happen on heritage which we own. including a wine bar and a Dome café. projects were ably managed. It was a

- 38 - Nigel Oakley in the Katanning Mill before the works. Image: Nic Ellis. proud moment when Michael told us about the place which have as a result Dan Mulcahy on his final inspection visit that he had become part of the architectural never in his career seen such a flawless narrative. For example, the mill was RESIDENCE and uncompromised execution of the built in 1891 with engine capacity ARCHITECT: Philip Stejskal Architecture as-designed architecture. I think we all beyond that actually needed for a flour fell in love with the building along the mill. This was a deliberate move on Describe the feeling of being in your way and you really can feel that in the the part of Frederick Piesse, the Mill’s new space? final result. founder. He was obsessed with the idea that Einstein’s “ever-lasting electric I am not really sure what to say. Peace. Calm. Comfort. Engagement. What was the most pleasant surprise of light” should be able to be distributed. Movement. The list can go on and the outcome or process? This obsession resulted in the Premier Flour Mill being the source of the first on. This feeling usually changes with The particular joy with this project commercially distributed electric light the 'space' that I am, both within the was taking an entire community on in the then colony of Western Australia building and within my mind. One of a journey over a three year period and both power stations have now the goals of this build was to provide both before and during construction. been conserved and restored as part of a place of solitude and then upon my Although very dilapidated, the mill the re-telling of this story. Similarly, choosing provide me with a place of was at the very emotional core of the engagement. This brief has been nailed. research informed us that many town and its sense of identity. We Ground floor, curtains drawn, not a people in Katanning did not need to recognised and celebrated this from soul knows I'm home. Pull them back, wear watches or look at clocks because the get-go and we had regular meetings opening up a full width bi-fold wall of the Mill’s steam whistle would sound in the Town Hall and a managed a glass and the world of light, the clouds reliably and loudly across the whole very engaged Facebook site. We have of the sky, the sounds of garden, the district at two hourly intervals every in many respects created a social outside comes flooding in. This is a true day from 6am to 6pm. The mill whistle enterprise with the project in so far as outside/inside house at my choosing. was a much loved icon that fell silent it has created a social hub for the local Perfect. community as much as it has opened with the Mill’s closure in the 1950s. This up doors for regional tourism in an provided us with inspiration to find and Move upstairs, lie in bed and it's area – which to date has been very restore the Mill whistle. From mid- exactly the same. Screens providing under-exposed in spite of its historical March 2019 it will now sound at noon mottled and dancing light. Feeling real significance and incredible natural on a daily basis. The fusion of stories, comfort in isolation but still a huge beauty. Being under three hours from architecture and heritage creates a connection with the day. Decide to walk Perth we are very proud of the fact that powerful and emotional sense of place. up a flowing spiral stair and the entire the Premier Mill Hotel is now playing horizon from the roof terrace awaits. a part in showcasing this very special part of Australia’s South West. Our What's your relationship to this building company employs a social historian and how did you meet your architect? full-time. Of great joy in this project has been discovering incredible stories My relationship? Ah, I had forgotten •

- 39 - Philip Stejskal and Dan Mulcahy. Image: Philip Stejskal Architecture.

the language of the architect. Perhaps What do you think the architectural team What was the most pleasant surprise of the right word is self. So many things I brought to the project? the outcome or process? look around at I feel are a reflection of Things that I wouldn't have thought of That it worked! I think in the design my own mind. Light, dark, open, closed, I guess because really, it's their bread phase, both with the pencil and paper linear, curved, calm, busy. Which I and butter. It's what they do and it's at the start and also with the human guess is great because I feel pretty why you choose this pathway, I think. hand once the building starts, it can comfortable with who I am and I've With this particular project, when I be very easy to get blinded by the been living within my own head space purchased the land parcel it already practicality of what you are striving since forever! came with a set of approved plans from for. Ensuring all the various another architect. I played around with components of what you are after As for meeting Phil, it comes down to these trying to put my own thoughts are included. This includes loads of an often quoted song lyric, "putting and influence into them. The very pros and cons, changes for many in the hours, like a stalker". I would first thing that PSA did was to move reasons, variations, substitutions, walk the streets, stare at buildings, the location for the home to the east the like. During this stage you are take photos, the stuff we all do and and place it on the boundary. A simple very point focused at the million plus for some of us the stuff we have done move, something that I would have points there are to focus on. all our lives (my parents got me onto never have been able to pull out of my this early in life). Eventually one day mind as it was never there, simple, yet One day when the building had been whilst staring at a house that I had so amazingly spot on. handed over and in the practical known forever the owner happened to completion defects stage, I was come out on a bin run. A few questions Working with a team, if aligned bogging down on the this and that of later and an invitation to come inside properly, is always better than as a things that were not sitting perfectly ensued. Then a referral. Then another singular. While you are thinking about with me. Selecting a natural product that, I'm putting my thought into referral. Then the first date. Love was and having its face exposed means this and someone else is problem to follow, who would have known? you need to allow for variances solving something else. More heads The best part of that process was (didn't think of that one did ya!). are better than one. We are all a when I did find this architect, he knew I was getting caught up in it all. product of our past experiences and if Enter with a visiting friend and he just about everything I was talking someone has been there before, share stopped me with a simple question, about. I would talk about buildings I it, and we can grow from it. The key "Does it work?" The chaos and angst liked, he knew them. I would describe takeaway from working with the team of my brain paused and wow, that's photos of building I had seen, he would is that a more holistic outcome could it isn't it? Does it work? Yes it does. tell me where in the world they were be achieved. More than a practical Perfectly. Would I do it again? and who had designed them. I had material structure, a sense of space, a Every day of the week. found my architect. sense of whole.

- 40 - Cottesloe Lobby & Landscape by Simon Pendal Architect. Image: Robert Frith.

Judith Jackson What is your relationship to this building There were a few issues that were and how did you meet your architect? brought up but they were amicably 19 BROOME ST – LOBBY & LANDSCAPE and easily resolved. The end result is a We met Simon Pendal Architect through ARCHITECT: Simon Pendal Architect delight; it speaks for itself. one of the people on the strata committee.

What was the most pleasant surprise of Describe the feeling of being in your What do you think the architectural team the outcome or process? new place? brought to the project? I think the most pleasant surprise is Well I don’t live in the units, but I own They were able to design an entrance the garden beds up to the entrance one of them. I feel a great sense of that complimented the existing along the pathway; they have been pride with the entrance completion. building. They added interest, design, planted with succulent plants. As they Before the project commenced we and a new life to what was a box-like have grown, they seem to have evolved felt rather ashamed of the lobby and compressed entrance. The building and enhance the seaside setting of itself was built in the early 70s and entrance area. We wanted a welcoming the building. It brings a casualness painted white. The original entrance entrance for the apartment complex, to the exterior. The garden bed walls for those who lived there and for was drab and dark. A very small vary up to a metre in height, the walls underwhelming entrance. those who would visit. The building are either side of pathway with the The architect was able to enhance it now, I feel, has a relaxed, cool and garden beds raised. They differ roughly with this design. The residents and peaceful feeling. It feels timeless, from a metre in width then taper off community are very pleased with the which I love. It will age well. We will to 1/3 of a metre. Some plants have result. We now have security codes grown to a metre in height so far, still appreciate and enjoy it for which we did not have before. they were planted roughly 12 months many years to come. The lobby now The residents’ committee members are ago and have proved to be resilient reminds me of buildings around the elected at an AGM, the members make native plants. Initially, I felt somewhat Mediterranean. The multiple dome up a group of representatives who own disappointed with the garden beds, concrete roof gives a kind of scallop some of the units. One of the members felt they were too small and slightly shaped appearance internally for the lived in the apartment complex. sparse. But now it all compliments ceiling. The multiple arches give a Roy in the committee, oversaw the the design beautifully. The interior lightness to the interior. You feel like process through the construction; he turquoise walls and tiles were a bit of you’re by the sea. This, along with the liaised with the architect & builder. shock initially, but now the interior During the planning stage, all looks light, breezy, it has a freshness to turquoise tiles, feels as though it’s committee members liaised with the it. The other residents share the same emulating Mediterranean villas, being architectural team. We found it to be sentiment. We wouldn’t have it any in one that is centuries old. a productive collaborative process. other way now. •

- 41 - public places Willetton Senior High School by Hassell. Image: Douglas Mark Black.

- 44 - teaching belonging Author Fiona Giles

Schools as Community Hubs.

Schools play a critical role in setting (MTCC) by Parry and Rosenthal Willetton Senior High School children on a positive life path, a Architects. The award highlights Hassell were appointed by the responsibility our society takes seriously projects which make a significant Department of Building Management with mandatory attendance and a contribution to the advancement of and Works (BMW) who serve the prescribed curriculum. Schools which educational architecture in Western Department of Education (DoE) with the school as user of the building. provide a sense of a place where pupils Australia. feel they belong, “make a difference In order to avoid future difficulties with new principals or teaching staff, for both students’ performance and WSHS is a public school with a adolescents’ satisfaction with life.”1 DoE and BMW aim for consistency campus founded 40 years ago and the across Western Australia with detailed They also sit in a wider context, architect appointed via a government standardised briefs describing exactly becoming a permanent focal point Request For Proposal process, and what each room requires. Where the of many communities and outlast MTCC is a private school in a new rooms are located and how they might any particular student cohort. How a suburb with the architect appointed be related to each other is determined school interacts with the surrounding following an invited competition. Both through the architectural process. community can enrich an existing are excellent examples of ego-free neighbourhood or create a sense of The teaching staff at Willetton Senior architecture that contributes to a strong place in a new one. Inspiring passionate High School is stable, the business community. Each project has a unique students who feel embedded in their manager has worked at the school since way of developing the student while place requires strong leadership and its inception in 1977 and has seen less connecting to their local community. excellent teachers, yet the impact than a handful of principals in the four Their procurement, stakeholders and decades since. The school’s aspiration of excellent design should not be site constraints are very different, yet towards high academic achievement underestimated. And while many means the wider community is aspects of education, including the both have a strong sense of place. The fortified by families moving to the design of learning environments, first focuses on respect for others and a neighbourhood. When asked about are standardised, the way these are sharing of diversity, the second conjures a sense of self, identity and a feeling of the existing community at Willetton, delivered can reflect the individual Hassell’s David Gulland’s first thought being part of a bigger whole. identity of each organisation and each was of the students; “As soon as you community. walk through the gates, you notice how For this article the architects, David the kids treat each other – they are I considered two schools that have Gulland of Hassell and Leon Slattery of respectful of visitors and friendly to both won the Hillson Beasley Award Parry and Rosenthal Architects, were each other”. Hassell strived to respond for Educational Architecture: Willetton asked about their design process and to the existing community in the re- Senior High School (WSHS) by Hassell their thoughts on place-making within organisation and clarification of the and Mother Teresa Catholic College these schools. existing campus with the new buildings •

1. OECD (2017), "Students' sense of belonging at school and their relations with teachers", in PISA 2015 Results (Volume III): Students' Well-Being, OECD Publishing, Paris,https://doi. org/10.1787/9789264273856-11-en.

- 45 - Willetton Senior High School by Hassell. Image: Douglas Mark Black.

Mother Teresa Catholic College by Parry and Rosenthal Architects. Image: Robert Frith.

- 46 - reflecting the existing strengths of the On top of the typical complexities of of respect for the existing community school community and sequenced to program, budget, and brief, Hassell had rings loud and clear be it through respect the student cohort. to work with existing crowded respect for students’ continued learning buildings while maintaining the during staging, respect for Throughout the design process operation of the school. The careful the broader school community, or there was a desire to represent the management of the construction respect for the existing neighbourhood aspiration towards tertiary education. process in a school of over 2000 through thoughtful and subtle To achieve this, Hassell sought to students was a complex, but critical architectural forms. make the development “feel more component of the design. Regardless sophisticated and urbane but not as of when construction occurred it was Mother Teresa Catholic College if a spaceship has landed” while also always going to be the most important being careful to provide a development year of school for at least one cohort In 2011 the site for the new school that had agility to adapt over time of students. An approach which did in Baldivis was rural. It was as an according to changing technology. not adequately acknowledge the rights extensively farmed paddock with poor The standardised brief dictated much of students to undisturbed study soil quality whose nearest neighbours of the interior of the buildings, so could very easily cause mayhem for were several kilometres away. The Hassell found “the external spaces someone’s exams. Hassell managed Mother Teresa Catholic College acted become almost more important than a process of compromise to ensure as a beachhead to anchor the future the buildings themselves.” Acting as a that new arrangements could development of what is now a growing central organising hub for the project maintain safe circulation and residential community, is a large covered area. Envisioned minimise disturbance. initially as a meeting point, the The appointment of the architects covered area evolved into an informal The existing school sits in residential for the new college was conducted study zone for final year students context on a main road which curves through an invited competition. Stakeholders included the Catholic working toward their ATAR. The space around the site and through the suburb. Education Office, the college itself, is shared by all students, allowing To connect with the streetscape and Baldivis Parish Church, the City younger students to be exposed to announce the school, the two new of Rockingham and the Baldivis the study habits of their older peers buildings to the north and west have community. The competition brief and so giving them something to feature elements on their second storey which act as beacons. The buildings required ‘school buildings that make aspire to. Hassell note that the space were built to the edges of the site to a statement, have a dynamic presence “wasn’t set up that way, the kids took increase presence but to also deal and be for the wider community.’ it over and the school gravitated with access control while reducing the towards running it like that.” This Parry and Rosenthal Architects was amount of fencing required. appropriation of space shows how awarded the design contract for the the design team created room for the This project expertly navigates the primary school and have remained students to take ownership resulting in complexities of existing community in continually engaged for the subsequent successful activation and strengthened schools, including those of the students stages. Their clear design intent and community ties. and the wider community. The message longevity of engagement has given a •

- 47 - Mother Teresa Catholic College by Parry and Rosenthal Architects. Image: Robert Frith.

- 48 - consistency through the architecture controlling what’s going on. There is independence from the connections which manifests in an engaging strong visibility throughout the campus made across the primary court and narrative, precise detailing and a which enables people to be welcomed can develop to graduation within an strong community developed with the into the facility without the risk and increasingly complex high school college’s stakeholders. worry associated with strangers being experience. The neighbourhood at unnoticed. The passive surveillance Because Parry and Rosenthal large is welcomed into the school which approach allows a mixing of broader Architects were engaged from the acts as a community centre, providing community and school. The resulting outset they have been able to take a a sense of strong materiality which space is reminiscent of an active village master planning approach across the exudes a sense of permanence and green which is reflected in its use for whole site. The primary school has a place for a new suburb that is less than the Baldivis Christmas Carols which are community orientated focus around a a decade old. held here each year even despite other • central court which is shared with the civic spaces developing – a testament to church community and maintains an community belonging. expansive rural feel. Early childhood facilities branch off from the rest of Parry and Rosenthal Architects the primary school so that younger have used rammed earth on a scale children can engage with the main not usually seen in schools or in shared spaces but also have the ability general. Rammed earth gives a sense to retreat and play in their own, more of permanence to the new buildings protective space. The high school by which aspire to the permanence of the comparison is more dense and feels landscape. It is also a material that more urban. The buildings are closer gives the buildings a unique identity, together and adopt an urban street Leon Slattery of Parry and Rosenthal scale. As you move through the college, said “to us creating a dynamic presence the progression turns from rural to was not about choosing a trend, it is more urban, it gains more complexity about getting a genuine building.” and confidence, following the same This project has blended the development path as the students new school community with the themselves. church community and the new The safety of the students it is neighbourhood which has grown up important when inviting in the wider around it. The long engagement of community to a school site, and view the architects has allowed ideas and lines to monitor this access is enabled relationships to develop and the school through planning measures. There is to grow with the community around it. only one way into the civic space, past The college’s population operates as a the administration, allowing the school city in microcosm; the early childhood to know what and who is entering centre is a protective introduction into the space without necessarily to school, then students grow

- 49 - 'Appearing Rooms Forrest Place' by Jeppe Hein 2012. Image: Briana Martin.

- 50 - playing with place teaching belonging Author Jen Scott Author Fiona Giles

Making, placing and indeterminate boundaries. Schools as Community Hubs.

I think you make a place by enacting bear that is intensely adopted by a child the memory of the water walls lingers connections or relationships between to the extent that the teddy must go in the imagination. things. The quality and character of everywhere the child goes. Winnicott Hein describes the relational aspect of these relationships can have a far more described this object as being both the his art by saying "I see my artwork as a significant impact on the vitality of physical object itself and the way the tool for communication and dialogue. a place than the things themselves. child imagined the teddy to become In this situation, if the water is turned One place where relationships and animated, such as Christopher Robin’s off, you have just a square - there is boundaries are blurred is the mutating Winnie the Pooh. nothing else and not a lot of people. 'Appearing Rooms Forrest Place' by But suddenly if you turn it on, you are Jeppe Hein in Forrest Place for the City So what has this to do with making activating the area and making an of Perth Public Art Collection opened places through architectural energy point but only because people in 2012. Water jets intermittently from means? The inside and outside of the are using that energy. People are drawn the floor and children play amongst ‘transitional object’ are between the to the water and begin to experience these fountains. Relationships are imagining of the child and the physical other people. It is really important."2 continually evolving and this lack presence of the teddy bear. Similarly, of permanence adds complexity to culture is enacted between the physical The boundary between adults’ places place. One way to think about dealing confines of the outer world and people’s and children’s places is also blurred. with this conundrum in design is to imagination. How we then account and Although not explicitly signaled as a contemplate boundaries as similarly allow for people’s imagination in the children’s playground, there is a clear changing. This might seem counter- way they interact with places might be invitation to play. This playfulness is intuitive to an architectural situation something worth considering in our owned by children and can sometimes that has strict divisions between design approaches. be a little disquieting for adults to inside and outside to control climate, Architects and designers could play display in public. Nonetheless Hein’s temperature and security. However I with the boundary between inside interactive sculpture invites all ages want to demonstrate a way of place and outside. It is not necessarily to engage their playful faculty. The making that adds consideration of fixed and can be a place of imaginary minimalist design: a three by three grid indeterminate and intermediate delight. An enchanting instance of of grating belies the playful interactions boundaries to the design equation. this indeterminism that encourages a between people and the shape of water. Architecture and sculpture can be The British psychoanalyst Donald creative and imaginative interaction playful by creating an environment Winnicott conceived of the is 'Appearing Rooms Forrest Place'. where multiple conditions of place intermediate boundary as a place The walls of water that appear and co-exist and are encouraged in the where culture occurred. For him, this disappear can render the participant imaginations of the users. boundary was located between the inside or outside while standing in the internal experience of being human same spot. Water also has an ephemeral Imagination is an essential aspect of and the interaction with the outside quality, inconstant and translucent. creating enduring vibrant and vital world. An example of Winnicott’s way The boundary of this artwork within places. Inherent in user creativity of thinking is the ‘transitional object’, Forrest Place is itself indistinct. When is connectivity and change where a term he coined in the early 1950s1. the artwork is closed, space it once boundaries express the relationships The ‘transitional object’ can be a teddy occupied is still used by the public. But between things. •

1. Donald Winnicott, Playing and Reality, 1971 2. Stephen Bevis, “The man behind the water walls”, The West Australian, Thursday, 22 November 2012

- 51 - State Theatre Centre by Kerry Hill Architects. Image: Courtesy Kerry Hill Architects.

- 52 - kerry hill influencing public place Author Marco Vittino

At the prospect of writing about tradition, a person or a ‘thing’, without It wasn’t until 2005, when the Kerry Hill I hesitated, questioning pre-conception of what it ought to Government of Western Australia, how much I could contribute to the be. When I strive to recall times spent following an International Design interpretation of the architecture and around him I visualise Kerry sitting Competition, commissioned KHA to the man behind the work, having only and looking intensely at a drawing or a design the new State Theatre Centre, been a part of the practice for two years. model, assessing and re-assessing until that Kerry was able to set up a fully- I accepted primarily because of a strong the right equilibrium was found. I am fledged practice in the Fremantle offices. affinity with and appreciation of the reminded of him quietly thinking until What we saw during the subsequent six work, but also because of the he found the right words. They were years was the emergence not only of one deep impressions left on me from usually few. of the premier pieces of architecture the time spent around Kerry in the in the state, but also a remarkable Singapore and Perth offices, working Behind this calm and considered person local practice that has since given us a on commissions that I can now only however, was an unrelenting energy multitude of buildings that have greatly dream about, on sites that were which drove Kerry to produce a body of contributed in the recalibration of our beautiful beyond belief. And so the benchmarks for good architecture in built and unbuilt work that without a words that follow are little more than Western Australia, particularly and doubt has transformed and influenced a personal re-visitation, and an importantly within the public realm. architecture and architects throughout attempt to contextualise the work the world. that Kerry Hill Architects has been It is interesting for me to contemplate producing here in Perth which has the work that KHA has produced here Here in Perth we are fortunate that become pivotal in the city’s evaluation in Perth in light of my own experience Kerry’s practice legacy now has a strong of architectural quality. within the practice and involvement presence in the architectural fabric of in projects in Asia, where elements the city, particularly since a departure Kerry often recited proverbs and had a of history, tradition, vernacular and from Australia in his early career did fascination with haiku, the traditional context are so vastly different to those form of Japanese poetry. Both stem not facilitate an easy re-entry, despite found here. In other words, those from the idea of carving away at his great success abroad. So, whilst in ‘things’ that Kerry felt strongly drawn to something that is complex, to arrive the early 2000s the office in Singapore and tried to distil from other cultures, at the very essence of the ‘thing’ that had important commissions all over and which are really not so evident is being described with as few words as the world, here in Perth KHA was in our own cultural setting, lead me possible. This approach was very much trying hard to establish itself but had to question whether it was difficult to reflected in the practice of his work little local work in their beautifully design with the same methodology or if and the work of his practice, which is appointed Moat Street office. Given the it is even possible to consider the work underpinned, I believe, by a reductive status of his practice at that time one in the same light? process rather than an additive one. can only speculate on the reasons for From my own personal experience this, but I believe that conservatism and The success of the State Theatre Centre of being around Kerry, he was always reluctance largely explained the lack in Northbridge was to signal the preoccupied with finding the spirit; of of trust and faith in this new player on beginning of a series of competition a site, a brief, a material, a culture, a the scene. wins for the practice that would see it •

- 53 - State Theatre Centre by Kerry Hill Architects. Image: Courtesy Kerry Hill Architects.

- 54 - take on the transformations of two other Work on another site, bound by Hay KHA’s collaboration in the renewal of major urban centres, one in Perth City Street to the north and St Georges the Treasury resulted in an outstanding and the other in the heart of Fremantle. Terrace to the south, with Barrack Street example of a contemporary insertion It’s important to look at the State to the west and Pier Street to the east within a heritage context but it’s the Theatre Centre to understand some consequently became an important Perth City Library, once again the of the underlying ideas that make this commission, containing a number result of a competition win for KHA such an important addition to the city of significant historical buildings in 2011, that I will further discuss. fabric. The site selected for the new The proposition is fundamentally a including St George’s Cathedral, the theatre was extremely confined and response to the immediately adjacent Lands and Titles Building designed by restricted and it was the simple idea urban fabric; the tapered cylindrical George Temple-Poole, the Perth Town of stacking the two main theatres that form enables clearer views to the Hall and the Old Treasury Building. essentially resulted in the winning surrounding historical buildings by scheme. This planning strategy freed Through a highly transformative opening up the public circulation up land to allow the proposal to process this city block has today areas and eliminating the hard edges engage and establish a dialogue with become a major attraction for food and of an orthogonal volume, and also the surrounding urban context. The beverage, hospitality and entertainment allows for greater solar penetration building is inclusive of and extends and a clever insertion includes a to the newly conceived plaza to the into the public realm, inviting one new office tower that is nestled south. It establishes a strong identity into a serene internal courtyard. inconspicuously within this heritage for this important civic building and This space is both an extension of precinct. The overall project was a pluri- explores a radial planning typology the city and a performance space in commission involving KHA, Palassis that works not just at the urban scale its own right. The existing William Architects, and Hassell, which resulted but delivers at the human scale by Street tenancies were integrated and in the demolition of less important providing a series of spaces within rearranged to relate to both the street historical buildings, the conversion the library that are experiential and the courtyard, retaining their and engaging of the surrounding of the significant heritage buildings, original status but also activating environment. The perimeter stairs, and the introduction of new buildings the inner space. And, being a Kerry decreasing in dimension as they including the office tower and new Hill building, alongside the primary ascend, are both rational and poetic City of Perth Library. Whilst the overall volumetric consideration is the usual and give the user a memorable and immaculate display of good planning, scheme has resulted in a multi-function shifting bird’s eye view of the adjacent material references, impeccable space that has re-invigorated a tired historical buildings. The children’s resolution and attention to detail. part of the city, a major contribution play room on the upper level is a In addition, the main theatre spaces at the urban scale is the creation of a peaceful space that includes an external work impeccably from a technical point new internalised plaza that responds courtyard tree, challenging our pre- of view and are a match for any world to environmental conditions and conceptions of what a library in the class small performance venue. surrounding context. centre of a city might be. •

- 55 - City of Perth Library by Kerry Hill Architects. Image: Courtesy Kerry Hill Architects.

City of Perth Library by Kerry Hill Architects. Image: Courtesy Kerry Hill Architects.

- 56 - The third urban scale project is the re-investigation, through a commitment work is a continuum embedded within result of an international design to assessment and re-assessment until the practice. He has undoubtedly left competition for King’s Square in an appropriate solution is found. This lasting impressions on me and I look Fremantle. KHA won the commission culminates in a fine balance of formal forward to further conversations on the in 2013 after being shortlisted alongside devices, good planning, material and nature of the work that will arise from CODA (no longer in practice but proportional investigations, and an the office in future. reformed as Fulcrum) and McBride engagement with the context of a • Charles Ryan Architects (VIC). In this place. Establishing the connections winning entry, three formal elements to place are within grasp for the KHA are proposed and described as a Asian portfolio, whereas the work here ‘veranda’, a ‘city lawn’ and a ‘civic drum’. in Perth, at least for me, is not as easy The veranda is used as a formal device to interpret since the sources of the that reinforces the building’s civic underlying references are less evident nature and gives it an appropriate and tangible. scale. The city lawn is an inclined green public ‘square’, creating both Upon final reflection I am reminded a stage on which to engage with the of something that Ignazio Gardella historical Town Hall building and a enunciated. It was a declaration that new urban space for the Fremantle in order to speak about architecture community. In some ways these two you need architecture. The substantial elements contradict one another and architecture and the practice that re-present the notion of civic and Kerry Hill has left behind will without public. The civic drum is literally an a doubt continue to be spoken about elliptical cylinder within the building and reflected upon. The way in which that houses some of the more symbolic Kerry himself spoke about architecture and public functions, such as the was with a clarity that made it all seem Council chambers, community hall, easy but I believe that those simple exhibition space and a multi-purpose words were the result of a much more room belonging to the subterranean complex philosophy that reached far library. The project, due to be completed beyond formal issues. in 2020, is a major commission that promises to transform this historic We are all conscious now that the part of Fremantle. office of KHA will be going through a transition as the absence of Kerry must Repeatedly, but in different ways, we be strongly felt. Whilst we can only see the same process re-appear. This speculate on the direction that the work approach I believe underpins the rigour will take, I feel certain that the rigor of the work by way of investigation and and commitment that Kerry had for his

- 57 - - 58 - Genesis by Green Fabric. Image: Sebastian Mrugalski.

Kings Square Fremantle by Kerry Hill Architects. Image: Courtesy Kerry Hill Architects.

- 59 - Yagan Square by Lyons, iredale pederson hook architects and Aspect Studios. Image: Courtesy Lyons Architects.

- 60 - processes in placemaking Authors Olivia Kate and Charlotte May

Defining Yagan Square.

Yagan Square is conceived as a meeting civic projects can go hand-in-hand. actively engage with local Aboriginal place which merges existing physical In this article we turn our gaze from communities from conception, rather and visual lines in the city, connecting architectural outcomes to processes than designing for Aboriginal approval. the densest urban areas of Whadjuk in order to evaluate the success of Country through different timelines. making place simultaneously for Through regular meetings with the As a transitional space, it fosters communities that are Indigenous, Whadjuk Working Party (WWP), the inclusiveness by facilitating incidental non-indigenous or both. design team received endorsement meetings of different types of people. and support of architectural work This is not a “traditional” meeting According to the 2011 ABS Census, from members representing different place: nothing is too structured. 0.002% of Australian architects identify Whadjuk families. The architectural The non-hierarchical integration of as Indigenous (compared with 3% team have acknowledged the success building and landscape promotes population parity).2 Due to a lack of the consultation process set up by different modes of habitation; you of Indigenous representation in the the MRA, and the willingness of the can come, go, stay, wander and meet. profession, the inclusion of Indigenous Whadjuk people to actively engage From no vantage point can one survey design principles and cultural with the process and project. The MRA the entirety of the site; there is always expression in built form has resulted and WWP’s ‘Kaart Koort Waarnginy’ a level out of your field of view, a from consultation with Indigenous (‘Head Heart Talking’) framework corner you cannot see around, or a community groups. Typically the formed a cyclical and continual process structure that you cannot see into. design of public buildings that make of engagement, referencing the six Encouraging the visitor to explore reference to Indigenous culture Noongar seasons as a foundation. makes the space seem larger than it is, and place-making, do so through This approach allows engagement not dissimilar to visiting Country or symbolism and abstractions,3 that to continue after the building is going for a bushwalk. is, Indigenous culture as perceived completed and “the place transitions into 4 through a non-Indigenous lens. a life of its own.” The western concept of ‘place’ is shaped by land forms, cadastral boundaries, Following a design competition The project was initially given the buildings, natural systems, mappings, the winning design team for Yagan generic all-encompassing title of cultural understandings, individual and Square was Lyons, iredale pederson “City Square.” The Barnett government collective memories, and the passing of hook architects and Aspect Studios decided to change the name to Yagan time. The word ‘Country’ represented in consultation with local artists Square, honouring the Noongar leader within Indigenous culture conveys an and the South West Aboriginal Land who resisted colonisation. The change all-encompassing idea of humanity and Sea Council (SWALSC). While the of name occurred prior to consultation entwined harmoniously with nature.1 competition brief did call for some – out of the hands of the design team, The design team sought genuine Indigenous representation, the winning consultants and Aboriginal community Aboriginal sense of place in both the design investigated how the project involved – and was contentious for the outcome and process, demonstrating could be more explicit with regards to Aboriginal community. The acceptance that Aboriginal engagement and major acknowledging Traditional Owners and of the WWP to work with this name •

- 61 - Yagan Square by Lyons, iredale pederson hook architects and Aspect Studios. Image: Courtesy Lyons Architects.

- 62 - demonstrates a willingness to arrive at with blatant disregard for the colonial different needs of different groups. This the best possible outcome. buildings in her path. Through this project lays the groundwork for how work, Balbuk’s tracks are uncovered Australian cities may approach public In a post-colonial context, where and celebrated by visitors who can walk architecture in the future. western policies and urban design alongside them or forge tracks of their are engrained so deeply in city life, own. The convergence of pathways Traditional and contemporary uses it is difficult to pay homage to the is a heme that continues beyond the of site have been elaborated in the Traditional Owners of the now stolen artwork to the organisation of the narratives of Yagan Square. This is a land. The approach should prioritise space around it. Beyond a pragmatic place that confronts the history of sensitivity to culture and stories, necessity to negotiate the sunken train times past, but also creates its own acknowledge the displacement of lines from the station through the site, narratives within the space, which can Indigenous people through settlement, the terraced pathways bury the train be nurtured and shared in collective and take steps toward a reconciliation tracks to bring to light the human thought. The liberty of the visitor to where both cultures can share, make tracks. This broader narrative moves contemplate many perspectives and use of, identify with, and belong to the project away from one-dimensional arrive at their own unique conclusion the land. The design team on Yagan representations of Aboriginal makes this a successful project, this Square negotiated the dichotomy storytelling, allowing visitors to Yagan diversity of viewpoints stems from between Aboriginal narrative and Square to create their own narratives true collaboration from conception. colonial forms by merging a level of through their experience in the space. As story-tellers, the role of an architect abstraction with a degree of figurative is to share the stories of many through images, thereby engaging with pre- In a post-colonial era where the city built form, and carve space for new colonial and post-colonial histories has already been divided and modified stories to unfold. side-by-side. The conceptual thinking beyond repair, how can architecture that underpins the project considers serve to foster inclusiveness, educate Yagan Square was awarded the it not as a museum, but as a field of the broader community, and facilitate John Septimus Roe Award for Urban ongoing creative engagement with the the agency of Noongar people on Design in the 2019 WA Architecture Traditional Owners. their Country? The fact that the Awards. tensions between Indigenous and non- One of the key artworks incorporated in Indigenous place-making come to the Note: Thanks to Dr Richard Walley (WWP), Yagan Square is Paul Carters ‘Passenger.’ fore when considering Yagan Square is Nick Abraham (SWALSC), Neil Appleton It tells the story of Fanny Balbuk, a a testament to the project’s recognition (Lyons Architects), Finn Pedersen Whadjuk woman who walked from that these tensions exist, and an (iph architects), Adrian Iredale Heirisson Island to Lake Kingsford (now attempt on behalf of the architects, (iph architects) and Daniel Martin. • Perth Train Station and Yagan Square) artists and consultants to reconcile the

1. Government of Western Australia, Metropolitan Redevelopment Authority. “Kaart Koort Waarnginy: Engagement Framework.” p9. 2. Architects Accreditation Council of Australia. 2015-2019. “Comparison of Architectural Registration.” Accessed February 14, 2019. http://comparison.aaca.org.au/industry-profile 3. Fantin, Shaneen. 2003. “Aboriginal Identities in Architecture.” Accessed February 10, 2019. https://architectureau.com/articles/aboriginal-identities-in-architecture/ 4. Government of Western Australia, Metropolitan Redevelopment Authority. “Kaart Koort Waarnginy: Engagement Framework.” p17.

- 63 - Sunset Hill overlooking the beach and the Snake Pit. Image: Douglas Mark Black.

- 64 - the coastal cultural landscape of scarborough beach Author Tilly Caddy

I have it on good authority that the surf imported a jukebox from America, the in mind, activation was an important breaks at Scarborough (and Trigg) are first ever in Perth. We were amazed part of the brief for the MRA, without the best in the metro area (beaches to at the huge crowds of teenagers that compromising the pedestrian the south are protected by Wadjemup came to dance the jive and to watch experience. “It’s hard to make a really (Rottnest Island) and Meeandip (Garden the dancers”3 reminisces owner Rosina popular public realm that has different Island), while beaches to its north Errichetti in an online collection of levels and is on a busy road into a highly are shielded by outer reef.) But it isn’t stories titled ‘Chronicle Scarborough’. functioning event space,” explains Shea purely the physical environment that Hatch, Senior Landscape Architect at has made this coastal landscape such a While the Snake Pit saw Scarborough UDLA. “Most event spaces are purpose destination. A pulsing beach, surf, rock Beach pulse with life, binge drinking and built for that reason. To have access and roll, skate and car culture gives violence blighted the pristine coastal through a public realm or construction Scarborough Beach an edgy and unique landscape. In 2013, the Metropolitan site is really challenging”. reputation amongst Sandgropers Redevelopment Authority (MRA) and and visitors alike. The completion of City of Stirling pledged a combined sum The built palette comprises a natural Scarborough Foreshore Redevelopment of just less than $60 million to redevelop suite of neutral, sympathetic selections last year draws on and celebrates the Scarborough foreshore in an effort of limestone, concrete, and timber. the rich history of this Perth coastal to shake off its seedy reputation and When there is colour – as in the hotspot. encourage investment growth.4 This playgrounds rubber softfall, bouldering process began with the undertaking walls, basketball half court and skate Historically, the Western Australian of Community Consultation and bowl – it is blue, emulating the ocean coastline was a fishing, hunting and development of the Cultural Compact and the sky. When design decisions leisure ground for Noongar groups in document and Masterplan. Parallel needed to be made, UDLA pared things the warmer months.1 With disregard to this process was the creation of the back. One simple yet clever design to this fact, Scarborough was named Scarborough Edge Creative Template, choice involves using limestone rock after an English Beach resort in North led by Paul Carter of Material Thinking. mulch instead of the commonly used Yorkshire by a Melburnian developer This uniquely poetic document and brown bark mulch. This not only avoids in 1892.2 It became a popular beach time capsule of Scarborough Beach the introduction of an additional holiday destination in the 1930s (and identified stories that made the place element to the material palette, but the exotic location of my grandparents’ significant. A consortium of designers, from a distance allows the generously honeymoon). Residential attraction led by landscape architects TCL (Taylor sized garden beds to blend into the followed with the West Coast Highway Cullity Lethlean) (Melbourne) and dunes beyond whilst also staying put in offering easy beach access since the UDLA (Perth) with engineering by Arup, the sea breeze. 1940s. brought the design brief to life in the dazzling redevelopment we see today. Today the name ‘Snake Pit’ now refers An alfresco café called “La Spiaggia” to the activity hub consisting of three (The Beachfront) opened in the 1950s The one kilometre long redevelopment basketball courts, world-class skate and soon became the ultimate local is traversed by two parallel north-south plaza and bouldering walls as well dance spot, nicknamed ‘the Snake Pit’ promenade connections, generously as a 3.6m competition grade skate in reference to the popular rock and wide, with activation nodes sleeved bowl. Developed by UDLA and TCL in roll dance style of the time. “Don had in between. Designed with capacity consultation with ENLOCUS, these are •

- 65 - Sand blasted memories of the Maslin Children. Image: Tilly Caddy.

- 66 - designed to encourage and cater to all the meal. Their mother Rin Norris sent beach. Scott Lang explains “The idea is levels of participation, whether that be through many scans including napkin that it is a completely inclusive place as a spectator, beginner or pro. scans and then Jahne consulted further to experience the coast because that is with family, developed stencils that were what we are all down here for.” Though it was not part of the subtly sandblasted into the concrete original Masterplan, UDLA and TCL whale bones. It was done in stealth To the south sits WA’s first beachfront identified the need for a new children’s for want of a better word.” Shea adds, pool designed by Christou Architects playground. The Creative Template “Something that kids could discover and and Landscape Architects Plan E. identified a Whadjuk Noongar tell their parents about.” As explored in the Australian Pavilion Dreaming story in which the spirits of at the 2016 Venice Biennale, the pool ancestors lost at sea return to the land There is no plaque or written inclusion (like the beach) is a lens to explore in the carcass of a Blue Whale. UDLA on site referencing the artwork or Australian cultural identity. Both are worked with Neville Collard and Richard formalising the memorial in the usual recognisably part of the Australian Walley to develop this story to create a fashion. These beautiful inclusions dream, as places of recreation and children’s playground with artist Jahne challenge our perception that a celebration embedded into our psyche.5 Rees, of Scapism. memorial requires signage as formal The inclusion of the pool might not sit recognition. Walking through the right for some Scarborough locals who The concrete ‘skeleton’ of the whale playground I felt honoured to know could swim before they could walk; features vignettes of children’s drawings of their inclusion within the project, a however this device allows swimmers of by the three children from a local moment of quiet reflection when you all ages, abilities and confidence levels family, who were lost in the 2014 run your hands over the sand blasted to make a splash, regardless of the sea MH17 tragedy. indentation. breeze, weather conditions or mention of sharks. “The Maslin family saw a beautiful The brief acknowledged the weak alignment in the whale Dreaming story existing physical and visual connection The beach is Perth’s great social and the notion of returning home that to the beach from the entertainment equaliser, attracting locals and visitors was subtle in nature,” reflects Shea precinct. To rectify this, the giant alike. Yet the programming inclusions Hatch. According to Scott Lang, director turfed Sunset Hill, was formed from of the Scarborough Foreshore at UDLA, “It was one of those moments which to experience the uniquely West Redevelopment reimagine the coastline where we just went, ‘Wow, what a Australian view of the sun setting over to be experienced by even those who are beautiful story.’ As a family they would the Indian Ocean. The mound creates not necessarily interested in the salt, go to a local restaurant where the paper an amphitheatre framing the skate bowl surf and sand experience. • on the table would be adorned with Mo, as well as providing vantage points into Evie and Otis’s artwork by the end of the Whale Playground and onto the

1. City of Stirling. Mooro Nyoongar Katitjin Bidi Mooro People’s Knowledge Trail. 2018. https://www.stirling.wa.gov.au/your-city/documents-and-publications/your-city/about-stirling/mooro- people-s-knowledge-trail. 2. City of Stirling. Scarborough. https://www.stirling.wa.gov.au/your-city/about-stirling/suburbs/scarborough. 3. Chronicle Scarborough. La Spiaggia - The Snake Pit. 2019. http://www.chroniclescarborough.com.au 4. Metropolitan Redevelopment Authority. Scarborough Masterplan. 2015. 5. Australian Institute of Architects. The Pool. 2016. https://wp.architecture.com.au/venicebiennale2016/australian-exhibitions/.

- 67 - Agora by Penhale & Winter with Kieran Murnane. Image: Katherine Lu

- 68 - agora Author Tess O'Brien

WA based architecture practice, Penhale form a third boundary that further weighty boxes of the overall plan. Shane and Winter, in collaboration with Kieran defines the forecourt as a place of Winter notes that the project explores Murnane, were the selected architects arrival, and events. For just a few weeks the relationship between the horizontal for the 2019 MAAS (Museum of Applied the Agora transformed an otherwise feeling of the colonnades and the Arts and Sciences) Architecture exposed forecourt into a courtyard-like vertical sense of the rooms – a dialogue Commission. The competition is in its space. On the opening evening of the that is expressed in distinct material second year and sought proposals for a Sydney Design Festival, guests enjoyed qualities and finishes. temporary space, to be a central focus their wine and cheese surrounded by during the Sydney Design Festival. The 19th century brick of the old power Gazing across the walls and internal brief called for a structure that was station, the glassy reflectiveness of the spaces of Agora: a humble combination immersive, interactive and engaging, exhibition space and the pared back of timber framing, shade cloth, raw fibre multi-functional, and capable of contemporary materials of the Agora. cement sheets and paint are composed accommodating events. With the fading evening sky above and the city beyond these three defining in a brilliantly thrifty combination. The successful design, Agora, sits edges created a rich urban moment. They take on a beauty bought about atop the forecourt fronting Sydney’s by refined execution. A smart recessed Powerhouse Museum adding an entry At a smaller scale, within the temporary column base detail allows for a graceful experience to the space. The architects structure: Two civic rooms are carved connection to the ground. The project have created a temple-like structure and out in a way which encourages milling is distinguished in the interactions looked toward archaic examples as key about rather than moving through. between materials. The timber framing reference points. Standing at the base Located at either end of Agora, the silhouetted as light passes through the of the existing forecourt’s stairs, the rooms are practical in size for small shade cloth creates a fleeting moment feeling of arrival is heightened as the gatherings, meetings, or simply resting of play between structural pattern and structure looms tall and proud above. in the shade after a visit to the museum. light. The powdery smoothness of the While moving along the street, the On stepping inside the walls, a view up fibre cement sheets sit next to the deep midnight-blue boxes morph between to the sky is captured. A steep, angled blue blur of the taut cloth. strong, oblong walls and delicate roof lowers the experienced height column like portals, revealing framed of the walls to a human scale and Reflecting on the MAAS Architectural glimpses of the museum building simultaneously draws the eye upwards. Commission, Penhale and Winter note behind. Ascending the stairs, I realise In this instance the beauty and intricacy that they had to be extremely agile in that the experience of an agora is felt at of the project is revealed in its section. their thinking. Changes associated two different scales: a city scale, and a with material finish, their proposed human scale. Within each room there is a darkened space that functions as a backdrop for structural system as well as budget This temporary structure is another presentations. Painted in a deep blue, and time restrictions compelled the fragment of the group of buildings the apex of the steep raked ceiling of team to move quickly in their design that comprise Sydney’s Powerhouse this engulfing space vanishes when thinking while keeping their core ideas Museum. As people pass through the gazing upwards, it takes a moment for grounded. The end result is a temporary colonnade on their way to the museum, one’s eyes to adjust. The blue panels architecture that manages to nestle the tall walls present a feeling of meet in the finest of points, a degree comfortably into its place with a strong grandeur and celebration. They also of delicacy that is in contrast to the sense of permanency. •

- 69 - The Waverley Brewhouse by Finespun. Image: Dion Robeson.

- 70 - bottled up Author Jess Beaver

A decanting of transformative hospitality spaces.

For new additions in old buildings, Walking through the spaces with club are intertwined in the new story, forms no longer require a rigid principal designer Michael Benson the a landmark building is given a new following of function. Landowners, venue initially seems overwhelming in lease on life. No heritage brick or piece developers and architects are working size. Yet, as you pause and distill, the of truss has been left unturned – the together to refresh underutilised areas venue reveals a neat series of breakout harmonious and historical narrative of and empty buildings, to retain a rich spaces that lure you in. From the the building shines through every detail nostalgic fabric threaded throughout entertainment hall (signposted by neon seen today. The aspirations led by the Perth. Hospitality spaces in particular light) you wander between the folds of design team in close communication cover all realms of design intentions– metal and art deco shapes through the with the clients have delivered a holistic from soft, warm, sultry nooks to edgy, heritage buildings to a microbrewery social connector for the port city and loud social hubs. Well-considered which boasts a rotating experimental wider community. interiors take us to another place; and beer brewed in-house every week. it’s like we've ended up exactly where we Alongside the traditional hospitality The Waverley Brewhouse – should be. offerings of food and drink, spaces exist A new found sense of place (+ building for co-working desks, artist workshops breweries out of a van) Freo.Social – Benson Studio - even a playground, interpreted as a Coming from a hands-on background Breathing new life into Freo's little homage to music. The spaces aim working on construction sites and musical backbone to accommodate all ages and walks of within some great architectural The live music scene and its associated life, whilst providing an opportunity studios, Finespun began in 2009. iconic venues are suffering to a point to encourage interaction around every Now in its 10th year, they prefer the of near extinction. There’s something corner. Freo.Social truly encapsulates more interesting projects to keep about music that brings with it strong the brief of becoming a multi-faceted things rolling – and hospitality tends social bonds, a connection to craft, space. Despite a generous capacity, the to fall into this category. From culture, creativity and community. The interior spaces pull in and out from the Mechanic’s Institute and Secession- now retired Fly by Night site held true to overarching shell, welcoming a spread inspired whisky bars, to revitalising its name from 1986 until its retirement of locals and visitors alike and allowing the old Fremantle town centre with in 2015. Benson Studio, a local Freo patrons and staff to meet a new friendly nautical charm, Finespun nail the design studio has collaborated with face fresh off the street. balance between achieving the best client and community to bring life back outcomes for the client, staff and to this underutilised site. Every inch of Freo.Social’s walls, floors patrons. Aesthetics, scale of economics and ceilings have been considered – the and efficient planning that aligns with Sited within the heritage listed artillery drill hall has exposed etchings in the the offerings on the shelf, all come drill hall, Freo.Social is a project three original concrete floor (a discovery together in the final space. years in the making. And it shows - the whilst on site). And the connecting intricately detailed project is threaded hallway is covered wall-to-wall with A more recent project saw Finespun throughout with history, transforming intricate hand drawn illustrations by at the design helm for Australia’s a dormant key street-corner in Central local Perth artists. Its past lives as a drill fastest built brewery – The Waverley Fremantle into a landmark icon. hall, indoor badminton court and music Brewhouse, a full design followed •

- 71 - Freo.Social by Benson studio. Image: Josh Ludlow.

King Somm by Robeson Architects. Image: Dion Robeson.

- 72 - by a 28-day build contained within a perfect site was found on King William attention to detail required. The bar the new rooftop dining precinct at Street. Even a quick walk through the was built in a neat 4 months with a very Westfield Carousel. There was a shift heritage listed shop (whose past lives close collaboration between architect, in the typical shopping centre model include a billiard hall and bookstore) builder and fabricators with details with investments into comfortable, ran sparks through the imagination and often resolved on site. accessible entertainment spaces – there was a buzz as the first ideas were not just for shoppers – but creating a scratched onto yellow trace. And from the resulting experience it’s destination for locals. Familiar Western clear the value a good designer can Australian materials form an industrial Simone Robeson’s (principal at Robeson bring including “to the business’ bottom palette and highlight the shine of the Architects) thoughts on hospitality line.” King Somm is making its place brew tanks taking centre stage. Open spaces are on point – they are made as the crafty, cruisy locale for residents space has an injection of soft colours for people to let down their hair. and visitors of Bayswater alike. For and plants which meet the need to Being the client/architect and falling in this fresh-faced local, it's only early appeal to a wide demographic – not the demographic of the target audience days - but the doors are open and the just the masculine drive associated provided a clear brief for King Somm: architects, owners and patrons all have with breweries, but also appeal to the “Comfortable, cosy, unpretentious, yet massive smiles on their faces. key demographic of daytime trade contemporary and kinda cool.” Most – families. Finespun have used their importantly, the bar needs a really Great hospitality design creates a place technical finesse and hospitality good vibe. Memorable moments you can call [a second] home. • know-how to instil feelings of a local transgress the fitout (although there nostalgia. Quite the feat when faced is a great amount of detail considered with demanding timelines, long hours in all areas – lighting, colour, seat on site, closely managed budgets heights etc.) Simone says that getting and still meeting the needs of key so hands on as the Architect heightened stakeholders and patrons. The Waverley the benefits of the final outcomes – wants locals to take ownership of each mapping out the bar flow in masking stool and nook, and so it becomes that tape and ensuring functionality, layout welcoming place you can call your own. and flow ensured that it wasn't purely aesthetics that made the venue shine. King Somm – Robeson Architects The secret ingredient is making the Opening up your [second] home space comfortable for both guests to the locals and staff. More renowned for their award winning additions and bespoke residential Keeping all of this under control, as well designs, Robeson Architects like to have as juggling the needs of the Heritage, a hand in some fun hospitality projects Planning, Building and Liquor Licensing from time to time. For their own project authorities, means there is a lot of

- 73 - Illustration: Kelwin Wong.

- 74 - streets as places Author Dean Cracknell

“It is difficult to design a space that will not From the 1950s onwards vehicle Being on lively streets satisfies our attract people. What is remarkable is how movement was the main (sometimes need to be around people and can often this has been accomplished.” the only) priority of road and streets. lead to chance encounters. It opens up William “Holly” White - urban analyst. "If you plan cities for cars and traffic, opportunities for the sort of voluntary, you get cars and traffic. If you plan incidental interactions that build trust, As the veins of our urban fabric, streets for people and places, you get people and as Jane Jacobs was quoted in the Grattan Institute 2012 Social Cities define the image and ambience of a and places," said Fred Kent, Project for Report it “the small change from which city. The high quality and well-used Public Spaces. In the majority of cases in a city’s wealth of public life may grow”. WA we are still planning for cars and the streets of the world’s most liveable It is on the street that we are most management of traffic. Planning places places, such as Melbourne, Vienna likely to meet our neighbours. Social through a traffic management lens with and Vancouver, perform a dual role. connection is crucial to wellbeing, the idea of making it easier to drive These streets successfully function as and humans have evolved in an a transport network and as a corridor encourages more people to drive, more environment where group membership of lively public places. Increasingly, often. If we plan the built environment is essential to survival. Human to streets are being recognised for the around the ease of pedestrian and human interaction fundamentally bicycle movement it is likely more vital role they play in healthy, liveable influences the structure of the human people would walk and ride. A conscious communities. Thoughtful infrastructure brain: the need to socialise and connect choice needs to be made: do we want can support local businesses and inspire made us who we are today. cars, or do we want people and places? vibrant social spaces. Flexible streets are Active and well-designed streets as fundamental to a sense of community. Flexible Streets: community places can be drivers of Healthy, Social, Economic and Green economic development. The Heart Streets and Roads are Different Streets can accommodate a vast array Foundation’s 2011 Good for Busine$$ Thoroughfares can be social and active of uses and activities. Streets can discussion paper found walking and places or they can prioritise vehicle be places to socialise, trade, relax, cycling to local shops is beneficial for movement. It is very difficult to achieve exercise, meet friends and neighbours business, good for the local economy both simultaneously. Consider a road, (intentionally or incidentally), hold and is essential to the success of a black bitumen strip running though events, green the urban environment, revitalisation strategies. Retail vitality could be served by traffic restraint, the urban fabric or landscape. A street provide animal habitat and manage public transport improvements and on the other hand evokes a different water. The assortment of street a range of measures to improve the image: people, shops, houses, an active activities and users can be diminished walking and cycling environment such place. In my mind, streets and roads or supported through traffic, road and as wider footpaths, cycle lanes, trees are different and should be designed planning regulation. and seats. and managed accordingly. Streets are for people with activity, comfort and Within Western Australia streets and Streets and road reserves take up 25% of greenery the top priorities. Cars can footpaths are the most frequently used the available space in urban areas. This be accommodated, but should not be places for physical activity. Streets are provides an opportunity to make urban dominant. South Terrace in Fremantle is on our doorsteps and are essentially free areas greener, cooler and more inviting. a social meeting place, an economic and to use. Yet it is not often that we think What if we used our road reserves as tourism drawcard, whilst still allowing of streets as essential for the health of public spaces for street trees, gardens, slow speed vehicle movement. individuals and our communities. small parks, and alfresco areas? •

- 75 - Image: Lance Ward.

- 76 - a trace of dwellers Author Lance Ward

For as long as I can remember I have way in which they occupy city spaces. this way creates new and interesting been fascinated by the city, a sprawling A blanket laid over a Forrestdale Fresh interactions from something as simple urban landscape that is a central hub box, tells only a fragment of a story: as a discarded cup. Similarly a fire exit which draws in people and objects where the objects came from and who adorned with small fake peaches gives while also facilitating the interactions they belong to. Yet the space which insight into that person’s aesthetic between them. These interactions often they occupy and how they are arranged choices, adding creativity to what leave behind small clues or traces, hints provides insight into the conditions of should be a purely functional space. of how people inhabit spaces, how they the person and their attitude towards All of these details and traces from occupy, interact and bring personality the space. The blanket, box and water the city are hints and small stories of to spaces. Sometimes these traces are bottle occupy the space in defiance of how people occupy the city and create a result of a purely practical action, the rules clearly posted on the doors places through their interaction and such as hanging clothes out to dry, yet behind them. Yet the words “Do not occupation of space. the only space available to do so is the obstruct” seem to resonate in the way exterior of a window. These seemingly the owner of these objects chooses I specifically try to highlight these mundane or everyday actions leave to make this space their own place traces through the use of formal traces that give insight into how people regardless of the fact it is a defiant act. composition, creating images that interact with and inhabit spaces and thus create places. An act of defiance, such as leaving allow these traces to become the main behind a discarded coffee cup can subject matter of each image. It is My interest in these everyday traces also give insight into the creativity important to note that these images comes not only from the actions they that occurs from interactions within are not staged and instead are found represent but a curiosity towards the the city. The choice of a city dweller within the city, creating a feeling of story or narrative that lies behind to position an object so that it rests exploration and an observation of how them. A simple object can give insight against a component of the space people occupy the city and make spaces and tell a story of its owner and the that was not intended to be used into places. •

- 77 - Image: Lance Ward.

- 78 - Image: Lance Ward.

- 79 - - 80 - place in practice

- 81 - St Denis Church Joondanna, by Ernest and Iris Rossen. Image: Alistair Dickinson.

- 82 - iris rossen Author Leonie Matthews

An Extraordinary Life.

Architect Iris Rossen (nee Raymond) Architects. In 1959, Iris and Ernest Iris was an active member of numerous led an extraordinary life. Born in 1928 moved to Vancouver Island, Canada committees and in 1972 was involved on the Greek Island of Cephalonia, and two years later to California, USA. in organising the inaugural Religious she moved to neighbouring Corfu They immigrated to Perth, Western and Liturgical Art Exhibition held with her mother, Alice, and younger Australia in 1962. at The Old Fire Station gallery, an brother, Neville, in 1938. During The While raising their nine children Iris important venue of the Perth art scene War her family moved as refugees to continued to collaborate with Ernest on at the time. 27 artists participated in Crete and were evacuated, first in 1940 projects. Most notably, on the design of the exhibition which included works to Alexandria then Cairo, and then in St Denis Catholic Church Joondanna, by Hans Arkveld, Joan Campbell and 1942 to Cape Town. It was here that Iris completed in 1968. Iris was responsible completed her secondary education Guy and Helen Grey-Smith amongst for the interior design including the others, as well as a poster designed by and won a scholarship to study at the striking front doors of the Church. University of Cape Town, choosing Iris. In 1986 she was involved in the architecture because of a love of drawing In 1972 Iris commenced practice in coordination of the Papal Visit to Perth and mathematics. Professor Leonard association with Peter Hunt, before which included transforming Belmont William Thornton White head of the establishing Iris Rossen Architects in Park to accommodate the Papal mass school at the time, having taken up 1977. Specialising in schools, healthcare congregation of one hundred thousand the position in 1937, after serving as and churches, the practice completed people. This included designing the close to 400 projects, including 32 the Vice-Principal of the Architectural layout for crowd movement, control Association in London for four years. churches, 28 schools and 6 monastic buildings. The work is characterised and safety, and designing the backdrop, Iris recalled that the school had a good sanctuary, furnishings and vestments reputation at the time, with a theoretical by a logical approach to planning with an emphasis on the user experience for Pope John Paul II. position based on logic and function.1 and spatial relationships. St Thomas Iris retired from practice in 1995 During her time at university, Iris was More Catholic Church Complex is and was awarded the Architects influenced by the Jesuits and developed a good example of this. The design Board Award for “her outstanding a deep Christian faith and commitment demonstrates a simple arrangement to the Catholic Church. This enduring of the key components – the church, contribution to the profession through 2 commitment was reflected in her parish centre and presbytery - her work and in the community” family, public and professional life. organised around courtyards and linked in 1998. The following year she was Iris excelled as an architecture student by a covered colonnade. The Church is a awarded Life Fellowships from the and graduated with first class honours simple square arranged on the diagonal Australian Institute of Architects and in 1949. She was awarded a distinction allowing parishioners to “gather” the Royal Institute of British Architects. for her final dissertation, a joint around the sanctuary. The planning Iris passed away in December 2018 in for St Thomas More Church is based on submission with fellow student Ernest Perth, leaving behind a considerable the theological idea, that the church Rossen whom she married in their final legacy. While her contribution has year of study. building is the place for communal worship, and the idea of “gathering” been recognised professionally, a After graduating Iris and Ernest was the driver of not only the practices detailed study of her significant body moved to Salisbury, Rhodesia, where church commissions but also of their of architectural work is still to happen. she worked for Parker and Parker schools and healthcare projects. Let’s hope that’s not too far way! •

1. Iris Rossen, notes from meeting with author, 8 August 1991. 2. Paul Rossen, Vale Iris Rossen, 2019, courtesy of the author.

- 83 - Ariane Palassis in the studio. Image: James Whinerary, courtesy Fremantle Biennale.

- 84 - stacked Jaime Mayger talks to Ariane Palassis and Tahmina Maskinyar

A practice from the hull, not the helm.

With both a passion for architecture sculptural work, and I’m on the board How do you relate to the profession of and a discomfort with the traditional for the 2019 Fremantle Biennale. Architecture now? definition of an architect, many I have not been practising in AP: I feel like a barnacle on the hull – graduates are making the difficult architecture for about eight years, attached and going along with where decision to step beyond the returning to it just last year. In that it takes me! I left architecture because industry's field of view in pursuit time, I’ve done textile design, tried of stress and anxiety. Teaching kept of something more. Equipped with to work as an artist and was part of me involved in theories and current the invaluable rigour and creativity a partnership called Feast your Eyes projects while I wasn’t practising and I of the architectural process, many with Sarah Blangiardo – we did lots of kept myself involved in the architecture surface and excel as everything community engagement and programs, community. But, I don’t consider myself from anthropologists and design creating platforms for emerging a true architect. I refer to myself as communicators to makers, creatives. an ‘archi-ma-tect’, simply because I’m educators, project managers and not registered. But in everything I do, place consultants. This interview is Tahmina Maskinyar: Rather than my thinking is still fundamentally part of a germinating conversation falling into practice straight away, architectural – my spatial and to seek, explore and celebrate these I graduated in 2011 and began teaching environmental sensitivities have been many unique and varied applications full time at University of Western attuned through my study and practice of architectural thinking beyond Australia (UWA); this gave me some in architecture. I’ve gained other skills traditional practice. time to expand my thinking about what I wanted to do with my along the way but architecture has architectural training. always been a base. In the previous issue of The Architect, we discussed the value of stacking multiple I then worked at CODA (now The TM: I’m a very silent person in the skills and experiences toward a novel Fulcrum Agency) where I was exposed background, drawing in lots of different practice of architectural thinking, to a diversity of project types and stakeholders and bringing everyone’s applicable beyond building buildings. modes of design application. After a input into one common outcome. I In this interview, Ariane Palassis couple of years in practice, I began think architects have a lot of value to and Tahmina Maskinyar share their to gain an interest in the ways that add to that space. personal and professional experience architectural education and design AP: Don’t you ever get frustrated, in practising versus enabling design. thinking could benefit younger kids, wanting to have direct input? and so for a brief time I began a Master TM: Absolutely. But it’s not always my What do you do? of Education. Following a stint at the place. The only way I see authentic Perth Zoo I am now working as an art Ariane Palassis: I always have a moment design being created is by working with consultant for FORM. of panic when I am asked what I do… a variety of professions, expertise and Currently, I’m teaching design at My professional path sounds a bit individuals. It’s about how you can take Curtin College, practising at Palassis tumultuous, but everything has helped your discipline and make space for Architects, working on my own me get to where I am today. other disciplines for the best outcome. •

- 85 - Westralia Urinal 9, Midland Railway Workshops. Ariane Palassis with Tom Muller. Image: Agency 296.

- 86 - What learnings from architecture do you the sector and the client), you see all Do you think the profession is regularly come back to? the layers that are involved in creating representative of that breadth? authentic outcomes – the research, AP: A lot of the things I have done, I TM: Not standard practice. I feel contextual information, relationships, could not have done without having traditional architectural practice is stakeholders. I’m really interested studied architecture. Much of my art trying to redefine itself but the systems in how over time, true collaboration has to do with site and objects; places around our practice don’t necessarily across disciplines, and also individuals, being repositories for human memory allow that to occur – the way projects can bring systemic change. and experience, tapping in to those are set up, the almost rote learning memories, or exciting that imagination Through my training in architecture approach to registration, resource around lived experience. Site analysis I can see the synergies between art restrictions, shorter deadlines, and is a big part of that. This was always and urban or architectural practice, the perception that an architect can one of my favourite things in studying and how these can come together to present a project in isolation. Whilst architecture. Now in practice, I am positively transform or sustain a place. these aren’t necessarily always bad lucky to have found a place doing things, I feel it is a sign of the practice AP: Much like me, you’ve found research – uncovering the layers of being out of touch. something engaging about working context and history in a site. with a broader set of professions, We have this generation of established I’m also constantly looking at things professionals, expertise and fields. We architects that are phenomenal. But and working out how they were made. were taught that architecture happens I think the dynamism in practice is In my art practice, a lot of what I do is in this pristine bubble. Whereas the coming from a lot of younger firms experimenting with the properties and truth is, you’re dealing with so many who are delivering project models qualities of materials. For example, my factors that affect a design. It’s that that are outside typical architectural recent sculptures have been developing cross pollination and collaboration that practice. This younger, entrepreneurial a process by which I weave rope and I find most interesting. generation have great ideas about what melt it. It is extremely cathartic. practice can do but need these systems TM: The year after I graduated was the That’s going into different methods of around practising to allow for their first year the course work structure fabrication now – I’m extending the approach to be considered. changed at UWA to allow students idea and potentially putting it into from other faculties to take on first I think we’re just in this murky next- architectural cladding. So my practices year design studios. At the end of year phase of what architects can provide are also constantly shifting between art exhibition last year, you could see the to communities, cities and places, at and architecture. breadth of alternative subject exposure. this cusp of slow evolution – and that’s TM: A lot of the work I do can be That, I think, is a benefit to a student. really exciting. • broadly understood as consultancy AP: Also, you’re given so many practical – I work with others. Without being and technical skills through studying exposed to architecture I wouldn’t be architecture. I know people that have able to manage those relationships as gone into animation, game making, well as I do. 3D scanning and imaging, graphics, Being in that conduit space, between art, design, fashion. You have so many artist and client (sometimes between avenues.

- 87 - design at the heart of things State Planning Policy 7.0, the Apartment Design Policy and Design Review Guide.

Design WA Stage One is here. The they need to be concerned about or Who stands to benefit from this shift in Architect spoke with a local planner react against. This change will support Planning Policy? and architect to find out what it means what planners already do to enable NT: The community, good designers for good design in WA. Nic Temov, now better outcomes for the community. and good developers. A lot of developers Principal at Hames Sharley, managed Two thirds of Local Governments are already working to these standards the project at the Department of in metro Perth already have Design and have been for years. During the Planning, Lands and Heritage and Review Panels. The first was in the policy development process they told Phil Gresley, Director at Gresley Abas 1980s but most have been recently us that good design outcomes don’t Architects, was lead consultant on the implemented. Through these necessarily cost more. For developers, Apartment Design Policy component of profiting from good design involves Design WA. Nic and Phil talk us through panels (of planners and architects) early collaboration with skilled a change that has been building developers have the opportunity designers, and promoting the everyday momentum for 15 years. to seek independent advice on the outcomes expected of a good quality improvements you’d notice as a resident living in a well-designed place. So, why are we excited? What happened? development. Design Review is not a box ticking exercise. There is no PG: Under the current system planners Nic Temov: This is the first time design ‘Deemed-to-Comply’ pathway – it’s a have struggled to apply a system of quality has been embedded into the performance based system with each ‘rules’ to get good outcomes. I think planning system. So if you’re a planner site being measured on its merits. that’s because design is a system of or a designer it’s very exciting. NT: Design WA creates a common trade-offs rather than rules. Architects Phil Gresley: State Planning Policy 7.0 benchmark, giving all Local are well qualified to use design thinking embeds ten principles of good design Governments the tools to introduce and design skills to weave and balance into policy to guide design review the same processes in their area. New multiple issues. As architects, we can and decision making: context and standards for apartment development enter into a dialogue that understands character; landscape quality; built in the Apartment Design Policy will the needs of the potential developer, form and scale; functionality and push for better design. and we can represent the community build quality; sustainability; amenity; to get the best design outcomes for legibility; safety; community; and PG: In the past when a development occupants and neighbours. aesthetics. proposal was not supported by the decision maker (like a local NT: Architects are trained, through the NT: And those principles are government or JDAP) on design quality iterative studio process, to present a written into the highest form of design concept and negotiate through grounds it was difficult to defend in planning policy, that is backed by complex matters early on. State an appeal at the State Administrative legislation (through the Planning and Planning Policy 7.0, Design Review and Tribunal (SAT). The previous planning Development Act). The R-Codes Volume the Apartment Design Policy fit hand- framework was so light on design 2 (also known as the Apartment Design in-glove with this way of thinking. quality provisions that it was hard to Policy) and Design Review Guide are defend decisions to reject poor design PG: I’d encourage everyone to look into also part of the reform. outcomes – such as bedrooms with no the new policies, and to follow through PG: At the moment I think some windows. Design WA changes that, it with the professional development planners are grappling with what this ‘brings some teeth’ to decision makers that’s being rolled out. There are big reform means. It’s not something that in relation to good design. opportunities for architects within

- 88 - this process. The design review process at the site planning stage. And this is built environment was included. It was empowers architects to enable their something which hasn’t been taken really exciting because good urban clients through good design: to provide seriously enough in many recent design outcomes come when people a service that will give their clients a apartment developments. collaborate. So even the process of smoother development application developing the policies… NT: It goes further than simply process. providing light. Consideration NT: …was reflective of what we were of outlook is important, too. For Design WA Stage One focusses on trying to achieve. It’s taken just over example under the Apartment Design apartments. What will be the most four years and lots of workshops Policy we won’t see large amounts of tangible changes we’ll see in our and meetings with hundreds of obscured glass restricting views from neighbourhoods? stakeholders. Over that time we’ve apartments. noticed something special has been PG: I’m really pleased to see that site PG: I think we’ll see an increase in created going beyond the policy design response is such a key part of the awareness and general understanding documents themselves. Architects Apartment Design Policy, and that it is of what makes a good space and a started to learn about planning policy backed by the design principles in State good apartment. Things like northern and processes, and planners gained Planning Policy 7.0. I’d like to think that aspect and cross ventilation can a stronger appreciation for the role all planners and architects consider become part of developers’ and estate of architects to balance competing the impact of any new building on the agents’ sales pitch, and part of what matters when they’re designing. And surrounding area. Design WA brings people recognise helps make a space that’s the magic. You can’t create us together to be able to achieve that comfortable. that shift in culture through policy more effectively. On the ground we’ll alone. It takes effort, energy and good be seeing more trees, more green. It relationships for everybody to get on- will become obvious that buildings We’ve heard the process to create Design board and use the momentum. are being designed to respond to their WA was different to other policies. context. In what way? PG: Now we have design at the heart of things. Design is now the basis for NT: There are new provisions and NT: Often policy reform starts with evaluating the quality of development guidance for mixed-use development a government announcement, then in Western Australia. too. So the design and position of policy writers have to work backwards • commercial tenancies at the ground to try and achieve it. It was different for floor, and all of the important but often Design WA. Early ideas started through overlooked things like car parking conversations with practitioners entrances, servicing areas, storage and industry contacts. The Office of and utilities must be considered early the Government Architect was an on. This can improve the spatial important part of this. relationship of the building to the PG: The process was unusual in street and make it easier to get around that it grew from collaboration. as a resident or visitor. Planners, architects, urban designers, PG: You’ll notice better light and landscape architects, developers, local ventilation inside. It is now a government – every little silo that requirement to consider these things exists within the production of the

- 89 - Artwork: ‘Counterpoints’, 2018. Artist: Penelope Forlano. Image: Dylan Tarbett.

- 90 - liveliness in public art Author Penelope Forlano

Public art contributes to placemaking place or event that is precious. It is the 'Kaleidoscopic Wave' and the sculpture in varied ways, often encouraging ability of objects to keep a story alive ‘Counterpoints’ engage the spectator reflection, social interaction and that connects to people and place. In through reflections: a dynamic storytelling, but it can also help to this way, research in person-object surface that is everchanging with create a sense of liveliness from inert attachment theory informs what can perspective, time of day and the seasons. materials. become enduring and meaningful for ‘Counterpoints’ evokes a needle shape, a community. Attachment objects carry Take Tony Jones’ 'Eliza' sculpture, carved stone spearhead, or the sense of within them the essence of someone or arguably Perth’s most famous public looking into an oversized water droplet some place of significance or a memory artwork. We all know her well, famous and seeing the world around it in its that cannot be replaced with another for her attire, rapidly changing political surface. It is an eye reflecting what it object. Over time the object can become views, reminding us to ask “r u ok” ‘sees’ back to the viewer and a frame to inextricably loaded with meaning and one minute and confusing us with visually connect places near and far. encourage direct attachment to the user something obscure the next. We look or community. 'Kaleidoscopic Wave' is at once static and out for her to see what she has to say caught in motion with its everchanging today. What makes this public artwork Public art should perhaps aim to create surface. It acts to ignite various such a significant contributor to Perth is this liveliness, where community meanings by recalling childhood the way it engages with people. Visually can imagine the object imbued with memories of kaleidoscopes and ways of dramatic and defining her ‘spot’ on personal meaning relevant to them seeing the world, the Whadjuk people’s the river, the placement tantalisingly and that can evolve over time, through meaning of this place as a link between just beyond reach makes engagement appropriation, engagement and fluid wetlands, and the specialist maritime all the more alluring. The community meaning. teaching at the school. appropriate her for their needs, their The recent backlash against the meaning, adapting her to the changing Whilst interpretation is always subject proposed removal of Brian McKay’s mood of the times. By appropriating her, to context and spectator, the works artwork from Central Park1 and the they give her a voice and make her come community support for repairing the are intentionally open to enable the alive. She is not passive but beckons damage to Tony Jones’, 'C Y O’Connor' opportunity for ongoing speculation an interaction perhaps not originally statue2 attests to this community on its meaning. Additionally, with their intended or expected. attachment. Just like a personal changing appearances they bring the 'Eliza' may be figurative and an heirloom, once the community have spectator into the present moment, unusually apt example, but are not all gained emotional or psychological as the work does not appear identical public objects highly contextual with ownership it truly becomes an integral every day but appears to show change unforeseeable modes of interaction and part of a place. The community in these through reflection. The surface is alive able to become lively in other ways? instances has tried to save these works, with change. thereby keeping them alive. Research on objects of deep personal Inert objects that engage with changing meaning and attachment over time My recent PhD research and public audiences, capture memory, are are often also viewed as ‘lively’ through art works have explored these ideas appropriated by the community, and interaction or more passively by theoretically and through practice. imbued with a liveliness can become keeping the memory alive of a person, Both the Fremantle College artwork beloved community heirlooms. •

1. I Tyrrell, Claire. (2018, October 30). Holmes a Court leads protest against move to shift art from Central Park. Retrieved from https://thewest.com.au/news/perth/holmes-a-court-leads-protest- against-move-to-shift-art-from-central-park-ng-b881004811z 2. Barry, Hannah. (2018, February 27). Mystery of broken North Coogee statue continues with reports of a ‘catamaran’ Retrieved from https://www.watoday.com.au/national/western-australia/mystery-of-broken-north-coogee-statue-continues-with-reports-of-a-catamaran-20180227-h0wqmu.html

- 91 - people making places: the FuBa experience Author Courtney Babb and Paul Shanahan

“community is where community happens” 1

Place and community may be usefully together to give voice to an alternative event alone 882 attendees engaged in understood as things that are made right narrative, a voice that gave support a range of interactive and hands-on here rather than things out there to to well-designed development in the activities, including videographies, and discover. Making places and sustaining town centre that would contribute to a family-friendly participatory games.2 communities requires a collective effort: sustainable, safe and active place. The group is also in the final stages of to make sense of important issues, of In 2016 and 2017 FuBa ran a speaker planning a growers market which will problem solving, and pooling resources series to inform an ongoing civil bring people back to the town centre on to catalyse and sustain action. Over the dialogue about development and a weekly basis and help local businesses last four years we’ve seen this effort pay urban issues in Bayswater. FuBa hosted to thrive. off in Bayswater, with State Government a range of experts on various topics Funding commitment to the upgrade of including urban sustainability, quality FuBa’s membership now reflects a the train station and renewed interest apartment design, urban public health broad cross-section of the community: in planning for the revitalisation of the and heritage, in local venues including interested residents and business town centre. the Bayswater Bowling Club and the owners, including residents from The Bayswater town centre is situated Bayswater Hotel. The speaker series various professions such as town adjacent to Bayswater train station, on included talks from Piers Verstegen planning, urban design, architecture, the Midland rail line just six kilometers from the Conservation Council WA, placemaking, community engagement, north-east of Perth City centre. There Marion Fulker, CEO Committee for health promotion, education and more. has been little investment in the town Perth, and Philip Griffiths, member With over 3,000 on-line followers, the centre for many years, and business of the Heritage Council. It was an group has harnessed support and and social activity in the once vibrant important early step in developing generated collective goodwill to inform high street has declined. With the new capacity in the group and the broader debate about what makes a good town Forrestfield Airport Link and Ellenbrook community to engage with the often centre and a vibrant future-focused Rail Line, the town centre will become complex issues, ideas and processes community. This process has involved one of the busiest transport hubs associated with urban development a mix of strategy, experimentation and in Perth and the first urban centre and renewal. learning through experience. travellers will see when emerging from Since then, FuBa has worked with the airport tunnel. There is a renewed FuBa has also been proactive in a property owner with a vacant optimism for the reinvigoration of the advocating to all levels of government building in the town centre to create town centre. and at various key planning stakeholder a “revitalisation hub”. This created a events for greater investment in the In 2015 a group of volunteer residents space for initiatives, events, planning, Bayswater Town Centre and train and local business owners formed and discussions to occur. FuBa have Future Bayswater (FuBa). The initial engaged the community through station and a more cohesive approach catalyst for the group’s formation was a activation initiatives in the town to transport and urban planning. response to a pocket of vocal opposition centre, demonstrating how a critical The State Government has committed to the first ever mixed use development mass of people can create a sense $146+million to the upgrade of proposal in the Bayswater town of excitement and vibrancy. These Bayswater station as a catalyst for the centre – a twenty metre development initiatives include five “Burgers; Beats; Bayswater Metrohub redevelopment as of apartments and shops. FuBa came Beers and Ideas” events where at one part of its Metronet initiative. •

1. Gottlieb, R. (2008) quotes Thomas Bender in Reinventing Los Angeles: nature and community in the global city. Cambridge, MA: MIT Press. 2. The participatory games were run by Curtin University students as part of PlaceAgency, a national university and industry partnered project.

- 92 - finding a place in the profession

Anjana Balakumar explores the experience of several architects' first steps into the profession.

SUE WITTENOOM your career: What are my skills? What NIC BRUNSDON am I good at? How can I make the most After I graduated, I stayed in Perth to I really had no idea what I was doing impact with my skills? An architecture organise the 1985 architecture student in university. I was too young. After degree can lead you anywhere. conference. Then I went to Sydney to graduating I took a year off. After find a practice which thought of the around 6 months of doing nothing but ‘bigger picture’. I registered after about CHRISTOPHER VERNON watching TV and getting fat, I moved five years in two firms, and then we had to Melbourne. Wendy Nettle and Mike There was never a laser-bolt moment, a recession. I realised I was interested Morris took me under their wings and where I suddenly realised what I in briefing, planning and strategy so exposed me to projects well before I was wanted to do with my life. Landscape I went back to university and did a ready. That learning on the fly gave me architecture appealed to me, because full time MBA, which was a fantastic confidence that I'd be able to cope with it was the natural world from a physical complement to my architecture degree. running my own practice one day. I thoroughly enjoyed the introduction design point of view. For me, some of to organisational behaviour and the the best architecture is landscape: it is I was doing houses for rich people. And opportunity for problem solving. all about the ground plane! I studied at then I moved to the Middle East and did Ball State University in Indiana. Michael projects for even richer people. I ended Following my post grad, I joined Graves, Dan Kiley and Garrett Eckbo up being gone from Perth for around Lendlease. I was thinking about family, showed me that everything, be it a store 8 years. My interest in cities and what and Lendlease was one of the few places front, the cover of a magazine or what shapes them came after I'd decided that had in-house childcare. I went into one chose to wear was a design choice. that Perth was going to be home. I corporate advisory roles at the front end Design was not just a 9-5 job, but a want Perth to be a great city and it felt of big building projects. This involved a way of life. important that I try my best to be a part lot of stakeholder engagement, which I of that. Possibly my work over the past loved. That realisation led me to DEGW, This is also what interested me in 10 years has been in opposition to the an architectural practice known for its history. Political and religious beliefs strategic briefing and the programming are expressed through the built earlier parts of my career. of educational facilities. And that led environment, which in turn builds I'm wary of 'common' routes and the to master planning in universities, and consequences. Shortly after graduation 'right' way. People are more interesting briefing and research for schools. Now I my interest in history led me to with unexpected detours. Plus, there's work freelance. I also founded Softbuild, Chicago where I focussed on the nothing worse than being stuck heritage work of Frank Lloyd Wright. which is a change strategy consultancy somewhere because you thought it was I enjoyed the research and it led me for the renewal and reinvention of the right thing to do. Take time out to into teaching. buildings, spaces and people. understand what you want out of life There is so much that is not within the It might be a cliché, but learning is a and your career. There's no such thing remit of any degree, so however you can lifelong process which extends beyond as the standard architect. I really believe expand is important. The dimensions graduation. Try to cultivate ambition in the power of the hybrid professional, for registration are broad, we have and excel, but be mindful that it can having something unexpected in people specialising in many different take time and work, and that part of the your architectural practice gives you areas. It is useful to ask yourself through process is failing. immense power. •

- 93 - Student work. Image: Sarah Brooke.

- 94 - architecture of assemblage Author Craig McCormack, Beth George and Mark Jecks

A summer studio for University of to be structural or to curate space. A in the face of encroaching suburbia. Western Australia (UWA) architecture major constraint was that all proposed Students placed an emphasis on and engineering students explored components should be only what can be catering for a wide variety of residents. contingencies of responsive, mobile carried on a truck, and that all elements Proposals were inclusively designed for and fast architectures. This project in and modules should be able to be grey nomads; people with disabilities; the port city of Albany developed from erected largely by hand. and families small, large and expanding. the prospect of using sea containers The first of three briefs asked students The third brief called for the to house, transport, and deploy to respond to the requisite changes systematisation of public programs energy generation systems, as well as to a section of Albany’s port for architectural components and systems. and amenities that could assemble, receiving, fitting out and dispatching It connected to Richard Weller’s unfurl, and reassemble elsewhere. the specialised containers for the other presentation of ‘sustainability without This could be seen as a sister program two scenarios. This also involved a hope,’ in which human settlements to the second brief, or as anything from public interface, exposing the workings might need to mobilise in response camp, to festival, to refuge centre. and ambitions of the program to locals to climate change.1 This is dire, yes, We sited this as an appendage to Bruce and those travelling via ship. The but not discouraging. It forces into Munro’s Field of Light and proposed industrial site encouraged a series of sharp focus a sense of urgency, and a connection with the water tank at engaging responses that challenged the the imperatives for architecture in Albany’s Mount Clarence. Students stereotypical portside building stock. mitigation, in action, and in empathy faced a considerable challenge to Student designs sought to include the for humans and ecologies – urban and design a proposal that would be flexible public and provide access to the usually organic alike. enough to integrate successfully into an restricted working port that could serve exposed, road-base site, dominated by Though the studio was situated in as models for other similar conditions an immense water tank. Albany for only a short period of across Australian commercial time much unsolicited community waterfronts. During a weekend workshop where engagement arose. Locals’ reactions engineer Michael O’Hanlon assisted The second brief was set by economic were curious and ultimately protective. with the technical fidelity of the drivers, such as the inability of many People on the street regularly engaged students’ designs, the Albany Deputy Australians to retire as homeowners, with the students to discuss the future Mayor Councillor Greg Stocks paid a and local events such as the recent development of Albany. Baristas in the visit. He encouraged the students to burning of the campgrounds at local café talked to us as we ordered our explore innovative architecture that Sandpatch during a bushfire in June morning coffees, happy that we were embodied a sensitivity to the local 2018. A little like a coastal shanty town, focussing on their city, but concerned ecology and incorporated renewable student projects were to be laid out about what we might suggest for the energy resources. expediently to form an accretive and place they loved. semi-permanent settlement. Student Albany is an exciting location for Students developed propositions responses offered a variety of sensitive exploration of mobile and self-sustained for three sites and three sets of strategies that resisted significant site architecture. It has a strong precedent considerations. In each situation the alterations with a focus on protecting for green energy and leaders with a will shipping containers themselves were the natural character of the large site to explore atypical urban models. •

1. Richard Weller spoke at the Australian Urban Design Research Centre on October 3, 2018 about his project, “The Atlas at the End of the World.”

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