$ 12 THE ARCHITECT

AUTUMN / WINTER 2017 I

WORK / REST / PLAY

I AUTUMN/WINTER 2017 AUTUMN/WINTER

WORK / REST / PLAY Klaasen Lighting Design – Martin Klaasen / Stan White LIGHTING DESIGNER

His Majesty’s Theatre in Perth is one of Perth’s oldest and most SHOWROOM iconic heritage buildings and one of the key buildings in Heritage Perth’s “Light up the City” program. After a near 5 year long design and implementation process the façade lighting was recently unveiled with much media fanfare and to great acclaim from the general public. Using low energy consuming LED technology, the lighting design fully complies with the sustainable guidelines of the Light up the City program and has managed to validate the buildings architectural features without compromising the buildings heritage façade.

From the outset the lighting design was developed to bring out the architectural features of the building while keeping the origin of the light (the light fixtures) as “invisible” as possible. The ornamental balconies and columns determine very much the architecture signature of the building and hence dedicated and localised lighting to enhance those was conceptualised with careful positioning and coverage.

CLIENT Perth Theatre Trust / Heritage Perth LIGHTING DESIGNER Klaasen Lighting Design – Martin Klaasen / Stan White ELECTRICAL CONSULTANT ETC HERITAGE CONSULTANT Phil Griffiths ELECTRICAL CONTRACTOR Tech Works – Electrical Solutions PHOTOGRAPHER Ron Tan

+61 8 9321 0101 mondoluce.perth

mondoluce.com.au

For more information speak to one of our lighting application specialists or Mondoluce is the sole importer and distributor visit the online project page using the QR code reader on your smart-phone. for iGuzzini in Western Australia. smeg.com.au

The Official Journal of the Australian Institute of Architects: WA Chapter DESIGN BEGINS WITH THE LINE

4 contributors CONTENTS 5 editor’s message 7 WA chapter president’s message work 12 woods bagot at the palace 18 EHDO 20 yolk property group + harris architects 22 lumos property 24 graduates’ work-readiness? rest 28 white house / meaghan white architects 34 family retreat 36 boonooloo road grouped housing project / CODA studio 42 step house / david barr architect 46 alex hotel / spaceagency 52 the value of the sabbatical play 56 JSRACS kindergarten / brooking design 58 a playground away from home 64 north perth apartment / simon pendal architect 68 jungle gym 72 i’ll meet you at the bar 78 festivals and the architecture of the city 82 playing skittles work / rest / play 86 artists in residence 90 ise secret sushi 96 barragan’s mexico 114 a word from the wise 116 ten from ten . . .

128 is there a place for playfulness in architecture?

The Architect has been in circulation since 1939 and is highly valued by both Institute members and the broader design professions. Generous financial contributions from architects over the years have MINIMAL, MODERN AND ELEGANT. UNSURPASSED COOKING TECHNOLOGY. helped sustain the magazine and we thank the following practices: OVENS • COMPACT OVENS • WARMING DRAWERS • COFFEE MACHINE • COOKTOPS

- 3 - SMA17034 CONTRIBUTORS Tenille Teakle and Finn Pedersen Dr Lynn Churchill Stirling Flectcher ‘Jungle Gym’. Finn is a Director of ‘White House / Meaghan ‘Woods Bagot at the Palace’. iredale pedersen hook architects. Tenille is an Associate and Stirling White Architects’. Jess Beaver the Workplace Interiors Leader, Lynn is an academic at Curtin ‘I’ll Meet You at the Bar’. both at Woods Bagot. University. Jess is a graduate architect at MJA Dimitri Kapetas Studio Perth. ‘EHDO’. Dimitri is co-Director of Brett Wood-Gush EHDO. ‘Festivals and the Architecture of the City’. Brett is Director Reece Currey Pete Adams and Jono Harris ‘Yolk Property Group + Harris Urban Design at the Metropolitan ‘Boonooloo Road Grouped editor’s message Architects’. Pete is co-Director and Redevelopment Authority. Housing Project / CODA co-founder of Yolk Property Group. Studio’. Sarah Foley Author Olivia Chetkovich Jono is Design Director at Harris ‘Playing Skittles’. Sarah is an Reece is a graduate architect Architects. at Taylor Robinson Architects. architect and Director at Bosanquet Ben Caine Foley Architects. ‘Lumos Property’. Ben is an Michelle Hovane, Koral (Island) architect at Hames Sharley and Ward, Daniel Aisenson and Stripe co-founder of Lumos Property. Sarah McGann ‘Artists in Residence’. In putting together the previous issue a rich heritage (such as artistic ‘Step House / David Barr Jonathan Lake and Hew Roberts Michelle is Artistic Director at of The Architect (Spring 2016) on communities), but also the wider Architect’. ‘Graduates’ Work-Readiness?’ Sensorium Theatre. Koral is an the theme ‘EQUITY’, we had a pretty escaped academic and life-long phenomenon of the intermingling Sarah is an architectural Jonathan is Senior Associate and clear focus, although tried to explore writer of momentary texts. Daniel of these elements in the changing researcher and a Professor at Practice Leader of Interior Design this through various experiences the University of Notre Dame at HASSELL. Hew is a graduate is a Director at donaldson+warn. understanding of modern work Stripe is a poet, performer and bee and concerns. We received a wealth in Fremantle. architect at BVN Sydney. RTCEVKEGU1WVUKFGQHVJGQɋEGVTCXGN keeper. of feedback on the content – I think Fiona Giles TGɔGEVKXGPQVQPN[QHVJGVKOGNKPGUU DGVJCVHQTDWUKPGUUQTNGKUWTGQɈGTUCP Brett Mitchell ‘Alex Hotel / spaceagency’. of the theme, but also the distinct QRRQTVWPKV[VQGZRCPFCPFTGɔGEVWRQP Beth George ‘Ise Secret Sushi’. Brett is a creative Fiona is an English architect - one’s own experience of architecture, ‘North Perth Apartment / practitioner working between nature of the insights shared. It was an almost new to Perth - and has interesting and rewarding experience and travel prizes in particular have Simon Pendal Architect’. enjoyed the welcome of the WA academia and various small VQFGNXGUQURGEKɑECNN[KPVQQPG Beth is a practitioner in architectural community. practices. CEGTVCKPɔWKFKV[KPVJGKTFGɑPKVKQP theme. For this issue however we have between work, rest and play. As the architecture and Assistant Brad Wetherall and Mary Ong Kelwin Wong pulled our focus back out to a broader And so onto PLAY, where we examine Professor at The University of ‘A Word from the Wise’. blurring of these boundaries poses ‘The Value of the Sabbatical’. theme of ‘WORK / REST / PLAY’. A spaces, events and endeavours for a Western Australia. Brad is a graduate architect challenges for many professionally, Kelwin is an architect, writer and common triplet (thanks perhaps in variety of users: from children through graphic designer. at Slavin Architects. Mary is VTCXGNQɈGTUVJGQRRQTVWPKV[HQTVJKU an architect at Morley Davis most part to the Mars Bar), WORK / to adults and the community at large; to be explored with curiosity and often Tess O’Brien Hayley Curnow Architects. 4'562.#;QɈGTUVJGQRRQTVWPKV[VQ GCEJV[RGGODTCEKPIRNC[YKVJFKɈGTGPV ‘Barragan’s Mexico’. ‘JSRACS Kindergarten / Brooking GZRNQTGFKɈGTGPVRTQLGEVURTCEVKEGU measure. From the experimental, to unanticipated reward. Peter Bruechle Tess is a graduate architect at Design’. Hayley is an interior experiences and approaches, and the the considered, to the whimsical, to ‘Is There a Place for Playfulness in CODA Studio. designer at Geyer Perth. work Architecture?’ intermingling of work, rest and play the performative, each story reveals As technology brings more Gerry Kho Peter is a structural engineer, within these. the element of play that architects seek and more into rest and play, how we ‘A Playground Away From Home’. author of Egotecture? (2016) and CPFECPDTKPIVQCXCTKGV[QHRTQLGEVU negotiate this new territory is an Gerry is Principal at Gerry Kho Honorary Fellow of the Australian In examining WORK we sought pieces and endeavours. (Although, as our back area of both concern and potential – Architects. Institute of Architects. page piece questions, is there a place for exploring how architects work and the TGɔGEVKXGQHCRTQHGUUKQPV[RKɑGFD[ FKɈGTGPVGZRGEVCVKQPUQHVJGOQFGTP playfulness in architecture at all?). passion, initiative, commitment and CTEJKVGEVWTGQɋEG9JCVYGTGEGKXGF Warranty: Persons and/or organisations and their servants and agents or assigns Editor Advertising Internal Covers adaptation. upon lodging with the publisher for publication or authorising or approving the Olivia Chetkovich Kim Burges CTGCEQNNGEVKQPQHUVQTKGUTGɔGEVKPIVJG What is clear throughout the issue publication of any advertising material indemnify the publisher, the editor, its servants work: Woods Bagot office by [email protected] changing workforce: from designing VJQWIJKUVJCVTCTGN[FQGUQPGRTQLGEV and agents against all liability for, and costs of, any claims or proceedings whatsoever Managing Editor Woods Bagot. Credit: Dion arising from such publication. Persons and/or organisations and their servants and for the agile workplace, to working or endeavour sit solely under one of #UCɑPCNPQVGVJKUYKNNDGO[NCUV Michael Woodhams Produced for Robeson. agents and assigns warrant that the advertising material lodged, authorised or Australian Institute of outside the ‘traditional’ bounds of these headings - as noted by several issue as editor of The Architect. The approved for publication complies with all relevant laws and regulations and that Editorial Committee rest: Alex Hotel by space- its publication will not give rise to any rights or liabilities against the publisher, the Architects WA Chapter the profession, to expectations of of our contributors in their reviews, CUUGODNKPIQHVJKULQWTPCNHQTVJG Emma Brain agency. Credit: Anson Smart. editor, or its servants and agents under common and/ or statute law and without 33 Broadway Nedlands graduates. interviews or essays. Is it perhaps that limiting the generality of the foregoing further warrant that nothing in the material is Jaxon Webb members of the editorial committee WA 6009 play: Skittles by Bosanquet misleading or deceptive or otherwise in breach of the Trade Practices Act 1974. Kelwin Wong Foley Architects. Credit: the richness in any of these initiatives and our contributors alike, itself sits 08) 9287 9900 Clyde Yee. For REST we examine places for, and EQOGUHTQOVJGKPɔWGPEGQHQTXGGTKPI Important Disclaimer: The views expressed in this publication are those of the Magazine Template Design [email protected] CETQUUVJGVJTGGɑGNFUQHYQTMTGUVCPF individual authors and do not necessarily reflect the position of the Australian the value of, this pursuit. In examining towards, another element of WORK / Public Creative www.architecture.com.au/wa work / rest / play: Institute of Architects. Material should also be seen as general comment and not play. The generosity of time and energy San Miguel de Allende. where and how we rest, we reveal REST / PLAY? intended as advice on any particular matter. No reader should act or fail to act on the Proofreading Cover Image of all involved each issue has seen the basis of any material contained herein. Readers should consult professional advisors. Credit: Tess O’Brien. the many forms this may take: from Martin Dickie Cuadra San Cristobal/ The Australian Institute of Architects, its officers, the editor and authors expressly the sabbatical, to a family retreat, +PFGGFUQOGRTQLGEVUD[VJGKTXGT[ continued production of this important disclaim all and any liability to any persons whatsoever in respect of anything done Publisher Egerstrom House by or omitted to be done by any such persons in reliance whether in whole or in part to establishing boundaries within remit aim to draw these elements and hopefully persistently relevant Australian Institute of Luis Barragan. Price: $12 (inc gst) upon any of the contents of this publication. All photographs are by the respective Credit: Tess O’Brien. AS ISSN: 1037-3460 one’s own home, to encouraging together, mirroring not only distinct publication. My thanks to all involved, contributor unless otherwise noted. Architects WA Chapter interactivity, and even play, with others. elements in society where this has Olivia. ɻ

- 4 - - 5 - wa chapter president’s message Author Suzanne Hunt

I was honoured to be elected President with fellow organisations in the built of the Australian Institute of Architects environment such as the Association (WA) earlier this year, a role I am of Consulting Architects (ACA), enthusiastic about and one that brings Australian Institute of Landscape enormous responsibility helping Architects (AILA), Design Institute of to deliver practical reforms to the Australia (DIA) and Planning Institute architecture profession. of Australia (PIA). As a mother of four, director of a busy We devoted the last issue to ‘equity’ practice and board member, there are and looked at concerns around gender, HGYQVJGTKUUWGU+HGGNOQTGSWCNKɑGF many of which feed into ‘work, rest to comment on than the elusive mix and play’. Access to employment, of work, rest and play. With 30 years career stagnation during and after of experience behind me I’ve seen the raise standards in university courses; GZVGPFGFNGCXGCPFKPɔGZKDNGYQTMKPI best and worst of how our profession member services – the provision arrangements all put considerable responds to lifestyle and social issues. of events and activities to assist strain on someone trying to get Today’s architects face a barrage of members in the management of ahead. I am asking our committees challenges to stay in the game and the their careers – things like targeted to consider these things in tandem Institute has never had a bigger role to continuing professional development with their terms of reference. Our perform. (CPD), mentoring and networking Gender Equity Taskforce (GET) and opportunities to help build contacts. Emerging Architects and Graduates Architecture as a profession is Network (EmAGN) are developing good changing and the Institute, as the Members tell us everyday that their programs like mentoring and talks to peak representative body, is also priority is addressing the undervaluing inspire all architecture professionals IQKPIVJTQWIJCRGTKQFQHUKIPKɑECPV QHQWTGZRGTVKUGCPFVJGGɈGEVVJCV as their working lives develop. Equally change. There was a perception over has on work opportunities. As such we have established a CPD Reference a long time that it was a bit of an we are providing targeted advocacy Group to help us keep pace with ‘old boys club’, something that was to government and the public about industry and you will be very pleased preventing it from embracing the our experience as university trained, that the price of events has been more contemporary issues facing registered and insured professionals. UKIPKɑECPVN[TGFWEGF0QGZEWUGUHQT OGODGTU#UVJGɑTUVHGOCNG2TGUKFGPV Part of our vision is to become more not coming along! I take this very seriously and I am KPɔWGPVKCNUQOGVJKPICMKPVQVJG delighted that our Council is now in its Chamber of Commerce and Industry +YQWNFNKMGVQɑPKUJD[TGOGODGTKPI second year of gender parity. We are a or the Australian Medical Association the lives of three Western Australian relevant and progressive organisation ȁQTICPKUCVKQPUVJCVCTGVJGɑTUVRQTVQH architects who made an outstanding and our members are the heart of the call for policy makers and respected for contribution to our built environment organisation. their professionalism, knowledge and over several decades. Vale Noel Ryan, MPQYJQYKPVJGKTɑGNF John Lidbury and Darryl (Spook) Way. In fact, we are evolving into a very They would have loved this issue and I strong advocacy body with a multi- Continuing the work of my predecessor hope you do too. dimensional focus: advocacy - arguing 2JKNKR)TKɋVJUYGYKNNUVTKXGVQKORTQXG for important changes in architectural QWTRWDNKERTQɑNGCPFDGEQOGOQTG We are always looking for new members to standards, government policy and XKUKDNGKPVJGOGFKCQPKUUWGUVJCVCɈGEV join our committees and reference groups. public awareness about the value of our membership. Personally I want Please get in touch with the chapter office if architects; education – helping to the Institute to be more collaborative you are interested. Details page 4. ɻ

- 6 - - 7 - Rawlinsons

1 COSTINGS

ESTIMATING AND CONSTRUCTION COSTS COSTINGS COURTESY OF RAWLINSONS, EDITORS OF RAWLINSONS AUSTRALIAN CONSTRUCTION HANDBOOK ESTIMATED BUILDING COST PER SQUARE METRE, PERTH – FEBRUARY 2017 PRICES PER SQUARE METRE GIVEN UNDER THIS SECTION ARE AVERAGE PRICES FOR TYPICAL BUILDINGS AND, UNLESS OTHERWISE STATED, EXCLUDE FURNITURE, LOOSE OR SPECIAL EQUIPMENT AND PROFESSIONAL FEES. IT MUST BE EMPHASISED THAT ‘AVERAGE’ PRICES CAN NEVER PROVIDE MORE THAN A ROUGH FIRST GUIDE TO THE PROBABLE COST OF A BUILDING. PRICES QUOTED ARE FOR THE METROPOLITAN AREA. THE MEASUREMENT OF THE SQUARE METRE AREA OF A BUILDING IS IN ACCORDANCE WITH THE METHOD ADOPTED BY THE NPWC: THAT IS, LENGTH AND WIDTH MEASUREMENTS TO BE TAKEN BETWEEN THE INNER FACES OF THE OUTER WALLS. COSTS EXCLUDE THE GOODS AND SERVICES TAX (GST) EXCEPT RESIDENTIAL HOUSES AND FLATS. OFFICES AND BANKS $ per square metre SUBURBAN BANK FLATS (including GST) Maximum 2 storeys, including standard finish, air conditioning, One and two bedroom units, maximum 3 storeys, Reflect on no lift, minimum standard bank fittings, no lift 2,665.00-2,870.00 (cost per flat $99,100.00–$106,800.00) 1,650.00-1,780.00 OFFICES Multi-storey with lift and prestige standard of finish (cost per flat $660,000.00–$711,500.00) 3,475.00-3,745.00 Low rise 3 storeys, air conditioning, lifts, standard finish 2,185.00-2,355.00 Medium rise 4 to 7 storeys, air conditioning, slow lifts, standard finish 2,445.00-2,635.00 AGED PERSONS’ HOMES (including GST) Medium/high rise 7 to 20 storeys, air conditioning, medium speed lifts, standard finish 3,320.00-3,580.00 Single storey housing units and additional central care units (cost per unit $127,600.00–$137,600.00) 2,125.00-2,295.00 High rise 21 to 35 storeys, air conditioning, multiple high speed lifts, standard finish 4,410.00-4,755.00 Multi-storey units + min. lift service (cost per unit $125,800.00–$135,600.00) 2,735.00-2,945.00 High rise 36 to 50 storeys, air conditioning, multiple high speed lifts, the budget standard finish 4,870.00-5,250.00 EDUCATIONAL, SCIENTIFIC AND CULTURAL SCHOOLS $ per square metre CIVIC ETC $ per square metre Primary or secondary, maximum 3 storeys, standard finishes, buildings only 1,700.00-1,830.00 CIVIC CENTRE Laboratory block, maximum 3 storeys, including fittings 2,270.00-2,445.00 Main hall 300/500 capacity and suitable for cabarets, conventions, Rawlinsons Australian Construction Handbook anterooms, small kitchen, no air conditioning 2,045.00-2,205.00 Main hall capacity 500/750, lesser hall, library and kitchen, UNIVERSITY including air conditioning 3,095.00-3,335.00 Administration block, including air conditioning 2,330.00-2,515.00 Tutorial staff and lecture rooms block, including and Rawlinsons Construction Cost Guide 2017. air conditioning 3,065.00-3,305.00 LIBRARIES Lecture theatre (250 seats), including air conditioning 3,340.00-3,600.00 Maximum 3 storeys, air conditioning, good standard finishes, excluding loose fittings 2,765.00-2,980.00 Library, maximum 3 storeys, including built-in fittings and air conditioning but excluding moveable furniture 3,045.00-3,280.00

Laboratory + science block, maximum 3 storeys, SUBURBAN POLICE STATION including air conditioning 4,020.00-4,335.00 Single storey, partial air conditioning, standard finishes, small cell block 2,615.00-2,820.00 Residential college 2,465.00-2,655.00

INDUSTRIAL $ per square metre HOSPITALS AND MEDICAL CENTRES $ per square metre FACTORY OR WAREHOUSE HOSPITALS Simple single storey with small span, including office accommodation 795.00-855.00 District, single storey, 60-bed, operating theatre Single storey with large span, for heavy industry, including administration and partial air conditioning office and amenities area (factory 85% of area) 1,210.00-1,305.00 (cost per bed $200,500.00–$216,200.00) 3,715.00-4,005.00 Multi-storey, maximum 6 storeys, including goods lift and office General, multi-storey, 200-bed, including air conditioning accommodation 1,580.00-1,705.00 and lifts (cost per bed $520,500.00–$561,000.00) 5,780.00-6,230.00 Maternity, multi-storey, 100-bed, including air conditioning HAND MOTELS AND HOTELS $ per square metre and lifts (cost per bed $232,600.00–$250,700.00) 4,650.00-5,015.00 MOTELS/HOTELS General practitioner medical centre, single storey, Motel, single or double storey, standard travellers-type accommodation, consulting rooms, surgery and small theatre, BOOK individual toilet facilities, dining room, unit air conditioning partial air conditioning 1,905.00-2,055.00 (cost per bedroom unit $74,600.00–$80,400.00) 2,295.00-2,475.00 Motel, single or double storey, high standard SHOPPING CENTRES AND DEPARTMENT STORES $ per square metre accommodation, restaurant and lounge facilities, swimming pool and RETAIL PREMISES $420 other amenities, fully air conditioned Single storey retail/showroom type, standard 'shell' (cost per bedroom unit $101,000.00–$108,800.00) 2,765.00-2,980.00 INC GST construction, excluding air conditioning and fitting-out work 750.00-805.00 Tavern, including air conditioning 2,625.00-2,830.00 Super market, single storey, air conditioned but excluding City hotel, medium to high rise, including air conditioning and lifts, fitting-out work 1,575.00-1,700.00 having 60-65% accommodation area Regional complex, single or 2 storey, medium standard, (cost per bedroom $345,500.00–$372,500.00) 5,120.00-5,520.00 including air conditioning, malls, circulation areas, excluding shop fitting-out work and carparking 2,070.00-2,235.00 RECREATIONAL $ per square metre Arcade shops under office tower 3,745.00-4,035.00 CLUB PREMISES, SQUASH COURTS, RECREATION CENTRES ETC Suburban store of large chain, single storey with Social/sporting club building, maximum 2 storeys, air conditioned, bars, large open-plan sales area, including air conditioning kitchen and dining area, dance area, club offices, limited carparking 2,575.00-2,775.00 but excluding carparking 1,835.00-1,980.00 Single storey sports pavilion with toilets and changerooms, City store, low to medium rise, fully air conditioned, minimum finish 2,390.00-2,575.00 served with escalators and lifts, inclusive of shopfronts Basketball centre 1,295.00-1,395.00 but excluding shop fitting-out work 2,685.00-2,890.00 Squash courts, basic developer standard Parking areas, bitumen paved including lighting and (cost per court $125,200.00–$135,000.00) 1,390.00-1,500.00 storm-water drainage (per car $2,675.00–$2,870.00) 81.00-87.00 Squash courts, high standard (cost per court $225,500.00–$243,000.00) 1,880.00-2,025.00 MISCELLANEOUS $ per square metre Community recreation centre, basic standard 1,000.00-1,075.00 ECCLESIASTICAL Community recreation centre, medium standard 1,255.00-1,350.00 Church hall 1,080.00-1,165.00 50 metre x 21.0m wide x 1.0/2.4m deep pool, fully formed, Chapel or church, simple structure 1,495.00-1,610.00 including filtration and pool siteworks but excluding Chapel, church or synagogue, medium standard 2,245.00-2,420.00 heating and ancillary buildings (total cost $) 1,604,000.00-1,729,000.00 Chapel, church or synagogue, high standard 3,190.00-3,435.00

CINEMAS $ per person CARPARKS Cinema, group complex, inner-city, including seating, stage equipment and air conditioning 12,460.00-13,430.00 Multi-storey, basic finish with slow passenger lift (cost per car $23,700.00–$25,500.00) 860.00-930.00 Basement carpark under office tower 1,685.00-1,815.00 CARAVAN PARKS $ per bay Basic standard caravan park, including communal PRICE INDEX facilities, electric power to all bays, small office, roads and parking 20,500.00-22,100.00 This index is not valid for housing, small projects or remote country work. Medium standard caravan park, including communal Building Building Building Building facilities, electric power to all bays, office and retail, Date Price Date Price Date Price Date Price COST laundromat, barbecue areas, small swimming pool, June Index June Index June Index June Index roads and parking 28,880.00-31,130.00 High standard caravan park, including individual 1994 106.04 1998 115.34 2002 126.07 2006 180.45 GUIDE facilities and full services to each bay, office and retail, 1995 107.63 1999 117.08 2003 133.10 2007 200.20 laundromat,barbecue areas, small swimming pool, roads and parking 39,370.00-42,430.00 1996 111.42 2000 122.38 2004 147.24 2008 216.14 1997 113.65 2001 123.58 2005 163.87 2009 224.46 $285 RESIDENTIAL $ per square metre 2010 2011 2012 2013 2014 2015 2016 2017 INC GST HOUSES (including GST) March 228.95 232.39 234.71 236.47 239.42 245.42 250.31 255.06(F) Standard project home (medium standard) 945.00-1,020.00 June 232.39 232.97 234.71 237.06 240.61 246.63 251.55 Medium standard individual house 1,680.00-1,810.00 September 232.39 233.55 235.88 237.65 241.80 247.85 252.80 High standard house, no air conditioning but with built-in December 232.39 234.71 235.88 238.23 242.99 249.06 254.04 furniture and good standard finish 2,400.00-2,590.00 Example – to assess the percentage variation in cost between June 1999 and June 2002: Prestige standard, partly air-conditioned 3,220.00-3,470.00 Jun-99 = 117.08 Townhouse, medium standard, 2 storey 1,815.00-1,955.00 Jun-02 = 126.07 = 8.99 x 100 = 7.68% 8.99 117.08 1

AVAILABLE NOW PH 1300- 8 - 730 117 OR WWW.RAWLHOUSE.COM - 9 - work

- 10 - - 11 - woods bagot at the palace creating an agile workspace

An interview with Tenille Teakle, Associate (TT) and Stirling Fletcher, Workplace Interiors Leader (SF)

Your previous studio was located in one hierarchical contemporary workplace This studio feels quite different from of the more interesting pockets of inner environment with a distinctive hotel- your offices on the East Coast; how much city Perth; what prompted the shift to a like aesthetic, in a nod to the building’s consideration was given to its West new space in the heart of the business previous function. Key to the innovative Australian location during the design district? design response was bringing the process? curated elements together to deliver TT: Woods Bagot inherited a site that an eclectic mix of work settings and TT: Woods Bagot saw the opportunity was held dear by the community of social spaces to support a truly agile to celebrate the history of the Perth over a long period: from its early workplace. building while being quite overt in the beginnings as the Swan River Colony’s contemporary installations that could ɑTUVNKEGPUGFRTGOKUGUVJTQWIJVQ SF:6JGRTQLGEVGORJCUK\GFVJG complement rather than compete in its prominent position as the Palace ambiguity of what an architectural CDCNCPEGFLWZVCRQUKVKQP6JGTGCTG Hotel (and in turn, its protection by studio could be in a contemporary references to the past with a hospitality the ‘Palace Guards’ who fought for its context. With mobile technology and HGGNVJCVKPɔWGPEGFVJGCGUVJGVKE preservation after the purchase by Alan a broad diversity of experience across married with state-of-the-art technology Bond). The iconography of one of the VJGRTQLGEVKVGODTCEGUɔGZKDKNKV[CPF to support a global architectural HGYJKUVQTKECNN[UKIPKɑECPVDWKNFKPIU user-driven choice with a general calm practice. For us it was more about being in Perth was particularly attractive CODKGPEGTGɔGEVKPIQPKVUQTKIKPUCUC true to the strong history of the space to Woods Bagot, giving us the chance hotel. as opposed to trying to create a ‘West to reinvigorate its purpose while still #WUVTCNKCPQɋEGӑ respecting its past. How important to the design was the concept of 'activity-based working'? Applying a timeless palette, we wanted SF: We believe that over the period What strategies did you employ to build the shell of the building to read as a of time we occupied our Kings Street ABW into the design? RWTKUVYJKVGECPXCUYKVJTGɔGEVKXG address, the city of Perth has become RQNKUJGFEQPETGVGɔQQTUYJKVGGZRQUGF more interesting and vibrant across a SF: +PCɑTUVHQTVJGRTCEVKEGVJGOQXGVQ ceilings and original balcony doors and broader geography. With precincts like a fully agile studio model demonstrates CTEJKVTCXGUKPTGURGEVQHVJGUKIPKɑECPV 'NK\CDGVJ3WC[6JG6TGCUWT[$TQQMɑGNF Woods Bagot’s deep understanding history of the building. Place and Perth City Link creating of the workplace of the future. A greater pockets of diversity, the location combination of free-seating desks, SF: Through the process of design, of The Palace is now central within all ɑZGFUVCPFKPIDCTUNQWPIGCTGCUCU YGWPEQXGTGFUQOGUKIPKɑECPV9GUV of these districts. In many ways, The well as diversity of experiences in the Australian artifacts that lay dormant in Palace demonstrates it has managed to enclosed meeting spaces introduces a the building, some for up to 100 years. maintain its centrality for over 100 years sense of dynamism and autonomy. This By introducing several of these elements within greater Perth. CRRTQCEJCNUQCɈQTFGFWUVJGNWZWT[VQ including furniture, historical photos How would you describe the new studio? test ideas on ourselves and to challenge CPFQDLGEVUYGCEVWCNN[TGGPICIGFYKVJ our own perceptions. The process has how important this building has been to TT: By creating a diversity of spaces, allowed us now to be able to share the development of Perth and Western the refurbishment provided Woods anecdotally our own experiences of Australia more broadly. The building such a process and implement our key almost tells the story of the economic Woods Bagot office by WoodsBagot. Image: Dion Robeson. Bagot the opportunity to demonstrate its ability to design and deliver a non- NGCTPKPIUKPQVJGTRTQLGEVU JKUVQT[CPFVJGKPɔWGPEGQHOKPKPI ɾ

- 12 - - 13 - Woods Bagot office by WoodsBagot. Image: Dion Robeson.

Woods Bagot office by WoodsBagot. Image: Dion Robeson. Woods Bagot office by WoodsBagot. Image: Dion Robeson. ɾ

- 14 - - 15 - Woods Bagot office by WoodsBagot. Image: Dion Robeson.

which remains true today, from the Given your experience in this area, what workforce of the future. Responding to Gold Rush origins to the Alan Bond era influence do you think work environment the fact that today’s workforce spends as well as a previous watering hole for has on productivity and creativity? more time at work than at home, the LQWTPCNKUVUCPFGXGT[VJKPIKPDGVYGGP Perth Studio design has delivered a SF: Productivity is still a black art in tailored experience that supports agile how it is actually measured. However, Have staff inhabited the space as you YQTMKPIYJKNUVGPTKEJKPIVJGɑTOӑU through freedom of choice we realise values and culture. imagined, or have there been surprises VJGDGPGɑVUKPDGKPICDNGVQGɈGEVKXGN[ (or even disappointments) as you’ve co-locate teams even for short It’s collaborative, collegiate and social. settled in? immediate tasks. Creativity is more Both the heart of the building and dynamic as it responds in real time a central meeting place for Woods SF: through our technology and shifting of More surprises than anything in $CIQVUVCɈENKGPVUCPFIWGUVUVJG information across space, rather than the way people have engaged with mezzanine level atrium provides an static inspiration images that can often the environment. Our Dixon Drawing KPVGITCVGFDTGCMQWV\QPGYJKNGQɈGTKPI lay stagnant for months and become Room acts as an immersive think-tank stale unless people are actively curating the opportunity to host industry and has drawn great interest in how we the material that’s displayed. Having a and community events. The main ideate and collaborate both internally unique space to retreat as a Woods Bagot circulation stair and lift well run from and with clients and partners alike. family to eat, drink and engage beyond VJGITQWPFɔQQTVQVJGUGEQPFɔQQT Sharing outcomes through multiple our day-to-day tasks has meant we have KPETGCUKPIEQPPGEVKXKV[CPFɔWKFKV[QH UJQTVVJTQYRTQLGEVKQPOQDKNGXKFGQ built stronger personal relationships movement throughout the building and conferencing, document cameras and and a greater team culture. its multiple zones. ɻ OCIPGVKEYJKVGDQCTFU DQVJɑZGFCPF Finally, what do you hope the space OQDKNG JCXGETGCVGFXCUVCPFFKɈGTGPV says about Woods Bagot, your culture ways to engage. It was like providing and practice? a sand pit and watching how people could manipulate a space to best suit TT: The key to the design rationale was the activity being facilitated and their VQTGɔGEVCPFHCEKNKVCVGVJGGXQNXKPI Woods Bagot office by WoodsBagot. Image: Dion Robeson. preferred way of working. paradigm of work to support the

- 16 - - 17 - EHDO working differently Author Dimitri Kapetas

So, it was a rather haphazard and that working in the architectural imaginable a simpatico between us all accidental beginning for EHDO industry need not resemble the one I was immediately obvious and the deal architects. Having quit my architectural had imagined: endless late nights in YCUFQPGDGHQTGYGɑPKUJGFQWTUGEQPF degree following an event that took me UQWNNGUUQɋEGUFTCHVKPIWRDWKNFKPIU scotch. He started within the week. Giles YC[QɈO[KPVGPFGFEQWTUG+ECTGGTGF that I didn’t believe in for bosses who must have seen this as the opportunity around town working three or four FKFPQVCRRTGEKCVGVJGUCETKɑEG#P he needed for escape to concentrate on WPTGNCVGFUGTXKEGLQDUCVCVKOGKPCXCKP egalitarian casualness, something we his art and he soon suggested that Dave attempt to distract myself from myself. UVKNNJQNFUCETGFKPVJGQɋEGOCFG and I should buy the business from him.

EHDO office by EHDO. Image: Ben Green. After a couple of years Giles Hohnen, hierarchy almost invisible. Given huge In less than a year we found ourselves the father of one of my best pals, asked if design decisions to make within weeks EQFKTGEVQTUQHCFGUKIPɑTOYJKEJJCU I could help him out with some drafting QHLQKPKPIVJGQɋEG+TGOGODGTHGGNKPI UKPEGDGEQOGCPCTEJKVGEVWTCNɑTO at his design practice Earth House. I an instant pride and responsibility in LQKPGFJKOHQTQPGFC[CYGGMYJKEJ the work I did as well as feeling much Going forward we want to take what UQQPDGECOGVYQȏVJTGGWPVKNɑPCNN[+ more keenly the responsibility for Giles began and develop it further, JCFFTQRRGFCNNO[QVJGTLQDUCPFYCU any mistakes. Soon I found myself pushing into the realm of medium full-time. re-engaged with my passion for FGPUKV[OKZGFWUGCɈQTFCDNGJQWUKPI architecture. I was particularly drawn We have recently obtained a license Already an established artist, Giles to South Asian buildings designed for VQFQ9#ӑUɑTUV0KIJVKPICNGRTQLGEV turned his hand to building in the climates similar to those in which I and think the Nightingale model is a early 80s in Margaret River and grew up. Their openness, connection to fantastic way to start to address the became a world pioneer in rammed landscape, modest material choice and OCLQTRTQDNGOUHCEKPIQWTEKVKGU9G earth. Increasingly discouraged by casual, permeable spatial arrangements YKNNCNNPGGFVQGODTCEGUQOGOCLQT his interactions with architects, Giles are concepts that still strongly resonate cultural shifts in the way we inhabit our began to design his own buildings for us. environment during the next ten years. which in turn led to the formation of Earth House, a design studio focusing 6JG'CTVJ*QWUGQɋEGYCUCNUQHWNNQH EHDO sees our challenge as how to on rammed earth construction. His beautiful art by Giles, Eveline Kotai and address these necessary changes by uncompromising approach to the age- other local artists and it struck me how looking at what is truly important to old maxim of ‘form follows function’ important good art was in producing a RGQRNGӑURU[EJQNQI[CPFɑPFKPIYC[U left an indelible mark upon us and stimulating and happy workplace. In a to satisfy these real emotional needs EQPVKPWGUVQJGCXKN[KPɔWGPEGQWT scene where there are fewer and fewer without neglecting our responsibilities approach to design decisions. venues available for artists, we decided to the environment and our to try and promote this concept by communities. With this approach, we 6JGQɋEGJCFCENGCTRJKNQUQRJKECN hosting free quarterly exhibitions of feel that these changes will not prove program for designing buildings NQECNCTVKUVU YQTMKPQWTQɋEG VQDGUCETKɑEGUDWVKPUVGCFYKNNKORTQXG centered around simple, practical and enrich our cities and our lives. ɻ building methods, transparent and After a couple of years of working for direct collaboration with clients, 'CTVJ*QWUGVJGTCMKUJɑIWTGQH&CXG builders, trades and consultants and, &GNCJWPV[ECOGKPVQVJGQɋEGKPC above all, a genuine commitment to UVCVGQHECPVCPMGTQWUFKUCɈGEVKQP

Beehive Montessori School by EHDO. Image: Daniel Cummings. environmental responsibility. I saw During the most desultory ‘interview’

- 18 - - 19 - yolk property group + harris architects working differently A conversation with Pete Adams and Jono Harris

A few beers on a Friday afternoon led Pete said the shared space also allowed Demonstrating the strength of the to a longstanding friendship between HQTɔGZKDKNKV[KPVGTOUQHDGKPICDNGVQ Yolk-Harris collaboration is the Pete and Jono, as well as a valuable make design decisions fast. ‘I come up 'XGTOQTG9)8RTQLGEVFWGHQT professional partnership between Yolk with an idea and Jono can tell me why completion in 2018. An innovative Property Group and Harris Architects it is crap within seconds! The agility development in White Gum Valley, that has resulted in a portfolio of with which we can problem-solve VJGRTQLGEVYKNNFGNKXGTJKIJN[ collaborative projects over the past DGECWUGQHVJGQɋEGEQJCDKVCVKQPKU sustainable one, two and three seven years. priceless.’ bedroom apartments at Landcorp’s 9)8GUVCVG6JG9)8UKVGYCUQPQɈGT Pete Adams, co-Director of Yolk Property Group and Jono Harris, Director of Harris Architects, sharing a beer back where it all began. Pete Adams, co-Director of Yolk In addition to the positives of to developers via a request for proposal, Property Group and Jono Harris, proximity, the close-knit partnership YKVJURGEKɑECPFFGOCPFKPIETKVGTKC Director of Harris Architects, have been and streamlined working style has Ȅ6JKUKUCRTQLGEVHWNNQHQRRQTVWPKVKGU EQNNCDQTCVKPIQPRTQLGEVUHQTCNOQUVC NGFVQCRNGVJQTCQHQVJGTDGPGɑVU decade. Unlike the standard developer- and it calls for innovation in both a including an adaptive approach to architect relationship, the men work design and a development sense. It meet changing market and community UKFGD[UKFGDQVJD[YC[QHUJCTGFQɋEG requires a strong shared vision and needs. ‘We are constantly tweaking our space and in terms of work, resulting in I think the history and combined an intuitive and integrated approach to system, so that each new apartment is expertise of Yolk-Harris was a huge the design development process. an evolved version of the last, rather factor in us winning the site,’ Jono said. than starting from scratch each time,’ Pete said the concept of sharing an Pete said. Pete said from a development point of QɋEGECOGCDQWVPCVWTCNN[FWGVQ view it didn’t tick the usual boxes. ‘This their collaborative approach, which ‘Most developers work with a standalone KUFGɑPKVGN[CUVGRCYC[HTQOVJGPQTO UVCTVUCVVJGXGT[DGIKPPKPIQHRTQLGEV UGVQHEQPUWNVCPVUQPGCEJRTQLGEVCPF – it is strongly centred on innovation in scouting and evaluating sites. lessons learnt stay purely with the and community.’ Evermore WGV will Ȅ6TCFKVKQPCNN[ɑPFKPICPGYUKVGHCNNU developer to pass onto the next set of DTGCMPGYITQWPFCUVJGɑTUVNCTIG solely to the developer, but as soon as we consultants; however with the Yolk- scale apartment development in the ɑPKUJGFVJGɑTUVRTQLGEVYGӑFRCTVPGTGF Harris collaboration, this IP belongs to state to utilise shared solar and battery storage technology in a strata setting. on, we immediately started searching both companies.’ HQTRQVGPVKCNRTQLGEVUVQIGVJGT+DGNKGXG It is aiming to be Western Australia’s to be a design-led developer, design Both agree the partnership has greenest apartment development, has to be at the core of the business so expanded the ordinarily understood shaped by Bioregional’s One Planet UJCTKPIVJGQɋEGYKVJ,QPQCPFJKU roles of architect and developer, Living framework, to produce genuinely team made perfect sense.’ resulting in better planning and sustainable apartments. decision making. According to Jono, According to Jono, the co-location ‘It’s a risk embarking on a development QɈGTUCPWODGTQHRTCEVKECNDGPGɑVU ‘Usually the roles and scope of work are that may not stack up and isn’t a safe bet ‘We can move really quickly on design SWKVGFGɑPGFDWVYGӑXGCFFGFRGTUQPPGN as a commercial success; however it is a concepts and bounce ideas around to the Harris team which allows us to risk we’re both taking equally. It’s also without the usual lag in scheduling RTQXKFGITGCVGTKPRWVKPVQRTQLGEVU VGUVCOGPVVQVJGVTWUVCPFEQPɑFGPEG ENKGPVOGGVKPIUVQFKUEWUUJQYRTQLGEVU taking a far more hands-on approach we have in each other and our shared are progressing – it makes us more KPCTGCUUWEJCURTQLGEVOCTMGVKPICPF commitment to paving a new path in “nimble”. ’ apartment styling.’ design and development,’ Pete said. Evermore WGV by Harris Architects. Render by constructive Media. ɻ

- 20 - - 21 - lumos property working differently Author Ben Caine

Working on the edge of your seat: the Architect as Developer.

Oyster Apartments by CAPA. Image: Douglas Mark Black.

As an architect, it’s easy to look at the OWUVDGDW[GTUYJQECPӑVCɈQTFC the development design brief and things that the customer cares about and we employed the builder’s now EQORNGVGFRTQLGEVCPFHQTIGVCDQWVCNN townhouse and do not want to live in a OCTMGVKPIQHVJGRTQLGEV9JGPVJG and minimising the cost implications unemployed site supervisor to provide the issues that kept you awake at night. high-rise. RTQLGEVYGPVVQOCTMGVYGYGTGRNGCUGF of the things they don’t. We refer to some continuity. We sought and gained I found out that developing your own VQɑPFVJCVQWTDW[GTUOCVEJGFQWT this as the hierarchy of quality. For the support of our subcontractors, RTQLGEVEQWNFVCMG[QWTPKIJVOCTGUVQ #PQVJGTMG[VQCUWEEGUUHWNRTQLGEV FGOQITCRJKECPFɑGNFTGUGCTEJ example, we provided high, solid doors suppliers, bank, insurers, investors and a whole new level. is to identify your weaknesses and to 9GUQNFQHVJGWPKVUQɈVJGRNCP and quality hardware because these buyers. We all got on the tools in a race seek out people who have the skills QWTUGNXGUKPLWUVVYQYGGMU are things you touch and use every day. VQɑPKUJYQTMKPIPKIJVUCPFYGGMGPFU I always believed that architects you don’t: I met Chris Bardsley, a We got the formula right. They have high impact and low cost. should take a greater role in business quantity surveyor with a commercial 6JGGɈQTVRCKFQɈ1[UVGT#RCTVOGPVU beyond being a consultant for hire. construction background. Chris When we entered the design phase Even when you get most things right in Scarborough was completed in After all, it’s still about persistence and I share the same values both QHVJGRTQLGEVYGEJQUGVQYQTMYKVJ – the feasibility, design, marketing, August 2016, almost two years to the CPFTKUMOCPCIGOGPV'XGT[RTQLGEV professionally and personally but Justin Carrier at CAPA. Justin had sales and procurement; you can still FC[YGUQNFVJGɑTUVCRCTVOGPVUQɈVJG encounters its challenges that are often YGJCXGFKɈGTGPVUMKNNUGVUVJCV LWUVUGVWRJKUQYPCTEJKVGEVWTCNɑTO encounter unpredictable problems that plan. Only now is it possible to stand unpredictable. Our apartments in complement each other. We decided to and had more experience designing can have devastating results. DCEMCPFVCMGRTKFGKPCITGCVRTQLGEV 5ECTDQTQWIJGPEQWPVGTGFLWUVCDQWV team up and founded Lumos Property CRCTVOGPVUVJCP+JCF(QTQWTɑTUV that nearly imploded, and look forward all of them. And as clichéd as this KP9GHQWPFCFKɋEWNVUKVGVJCVC RTQLGEVKVFKFPQVOCMGUGPUGHQTOG #HVGTIGVVKPIQɈVQCITGCVUVCTV to starting on the next one. ɻ sounds, the satisfaction of bringing a developer had abandoned. We put in to wear the risk of acting as both the our builder went into receivership. RTQLGEVVQNKHGHTQOUETCVEJKUKVUQYP CPQɈGTCPFCESWKTGFVJGNCPF+VYCU developer and the architect. This Meanwhile the property values reward. a short walk to Scarborough Beach allowed CAPA to focus on providing a declined and bureaucratic hurdles with picturesque views to the east. unique and desirable design while we cropped up at every stage of Any entrepreneur will tell you that The site issues could be overcome with focused on our buyer’s requirements development, causing delays. the key to a successful business is clever design so it was easy to see the and cost of construction. Being an Soon the generous two-year completion to solve a problem for the customer. potential. CTEJKVGEVFGXGNQRGTYGCKOGFVQɑPF RGTKQFYCUYJKVVNGFFQYPVQLWUVFC[U We noticed that in the residential ways to support the architect’s vision to spare before the buyers’ sunset market, there was big gap between 1WTFGOQITCRJKECPFɑGNFTGUGCTEJ and follow it through. ENCWUGUVQQMGɈGEV+HVJCVJCRRGPGF the high-rise apartment and grouped KFGPVKɑGFVJCVVJG5ECTDQTQWIJCTGC there was every chance the buyers JQWUKPIRTQLGEVU+VCRRGCTGFVQWU has a strong population of upwardly Architects often allow themselves to YQWNFYCNMCYC[CPFVJCVӑUVJGUVWɈQH that Perth developers had abandoned mobile young people who are ready be disconnected from the decisions real nightmares. Every new challenge VJGKFGCQHVJGCɈQTFCDNGUOCNNYCNM to buy their own place but can’t VJCVJCXGUKIPKɑECPVEQUVKORNKECVKQPU had to be met with dogged persistence up apartment building that was so CɈQTFQEGCPXKGYUQTNCTIGNKXKPI for the client. But when you are the to do whatever it takes to get the common in the 60s and 70s. So the spaces, especially professional women ENKGPV[QWJCXGVQVJKPMFKɈGTGPVN[ LQDFQPG%JTKUUVGRRGFKPVCMKPI RTQDNGOYGKFGPVKɑGFYCUVJCVVJGTG aged 25-35. This insight dictated The focus must be on delivering the VJGTQNGQHDWKNFGTVQɑPKUJVJGLQD

- 22 - - 23 -- - graduates’ work-readiness? Author Jonathan Lake and Hew Roberts

Priorities and experiences of the work-readiness of architecture graduates: HEW ROBERTS work for small practices. There was a graduate, but it has also placed much from the perspective of a practitioner and educator, and a graduate. The Brief Exercise: Developing Skills lot to learn, and I wanted to understand emphasis on architecture students to beyond Design and Drafting as much of it as I could. A desire to develop solid computer skills in order to DGKPXQNXGFKPNCTIGTUECNGRTQLGEVU maximise employability. However this In hindsight one of the most important GXGPVWCNN[NGFOGVQNCTIGTɑTOUYJKEJ area of architecture is also becoming assignments that I completed at QɈGTGFGZRQUWTGVQCITGCVGTTCPIG more competitive, with BIM and data- JONATHAN LAKE course curriculum and the method FKɈGTGPVV[RGUCPFUECNGUQHRTQLGEVU WPKXGTUKV[YCUVQEQPUVTWEVCDTKGɑPI of roles and opportunities for trained driven design leading larger practices As a practitioner and educator I have of education it is clear the role of as part of a team. A good graduate is FQEWOGPVCURCTVQHO[ɑPCNFGUKIP designers within the industry. to seek employees with more technical had the opportunity to see both sides of education is much more ambitious than capable of doing this, and then some. studio. By this point I had completed CPFURGEKɑEFKIKVCNVGEJPQNQI[CPF the debate around graduates and their this. If being ‘work-ready’ was the only PKPGFGUKIPUVWFKQUQXGTɑXG[GCTUUQOG Compared to university, learning on software backgrounds. This has seen a ‘work-readiness’. I’ve witnessed many focus then a TAFE educated student #HVGTɑXG[GCTUQHGFWECVKQPCIQQF UVWFKQRTQLGEVUDGKPIXGT[UWEEGUUHWN VJGLQDRTQXGFVQDGOQUVN[CFJQE shift in some traditional architectural EQPXGTUCVKQPUDGOQCPKPIVJGFKɋEWNV[ would probably be a far better prospect student has completed an extraordinary some not so much. The design brief for and always within a very practical roles, but also greater opportunity for employing new graduates and the ‘cost’ for a practice. number of design proposals. They have O[ɑPCNRTQLGEVYCUIQQF+VYCUEQPEKUG framework. I would often link gaps designers who understand the nature of to the business above and beyond their had to develop advanced skills in visual it was clear, and it was full of possibility. in my conceptual understanding of communication which are immediately the industry and marketplace, and who immediate salary. Many conversations Architectural education is about 7PHQTVWPCVGN[VJGEQORNGVGFRTQLGEV some of the more formal aspects of a have been had with peers wanting to exposure of students to the full breadth CRRNKECDNGKPRTCEVKEG#HVGTɑXG[GCTU know how to negotiate complex design I submitted 12 weeks later did it little RTQLGEVDCEMVQICRUKPO[WPKXGTUKV[ know ‘what are they actually learning in of potential experience that could occur a good student has had to research a outcomes through often convoluted or LWUVKEG education. While excellent for creativity, VJQUGɑXG[GCTU!ӑCPFȄYJ[CTGVJG[UQ in the built environment. It covers DTQCFTCPIGQHRTQLGEVV[RQNQIKGU6JG[ complicated processes. isolated development of the design unprepared for employment at the end CNNCURGEVUHTQOVGEJPKECNUEKGPVKɑE are able to determine where to look and With such importance placed on the EQPEGRVHQTCUVWFKQRTQLGEVYCUQHVGP of it?’ historical and conceptual approaches what to consider to understand what Hindsight is, of course, 20/20 and design component of this studio, I often at the expense of exploring areas of to buildings, structures and spaces. are the leading aspects of contemporary gaps will always exist between theory NCOGPVGFVJKUɑPCNFGUKIPRTQLGEVCU architecture that would be critical to On the whole, good architectural It also covers all aspects of visual and thought in that area. Again, this is and application. Tertiary education a failure and a waste of time. The real facilitating these designs in practice. graduates are work-ready and capable verbal communication techniques and immediately applicable to practice. is broad by nature, and a student’s value of the brief exercise did not register The design studios mostly lacked QHOCMKPIUKIPKɑECPVCPFXCNWCDNG methodologies. To do this the education Finally, they have extensive experience capacity to learn is not limited by course until a few years after graduation. opportunity to conceptualise and contributions to architectural practice. environment must identify what lies at in compiling notions and ideas into a curriculum; however, for architecture %TGCVKPIVJGDTKGHCPFHQTOCNN[FGɑPKPI contextualise various ‘real-world’ aspects I believe that all good practices the core of good architectural graduates, ENGCTN[KFGPVKɑCDNGEQPEGRVWCNKFGC students, opportunity exists for more VJGRCTCOGVGTUQHCFGUKIPRTQLGEV QHVJGUVWFKQFGUKIPRTQLGEVUHTQPVGPF recognise this and understand where which is the ability to be presented with varied conceptual exploration of had highlighted the importance of feasibility, procurement methods, client and how to best extract this out of their a question that has to be understood It's a tired argument that students are TGCNYQTNFCURGEVUQHFGUKIPRTQLGEVU being able to facilitate good design. TGNCVKQPUJKRUCPFOCPCIGOGPVRTQLGEV graduates. Where the problems occur is and then interpreted into an idea for not work-ready and suggests that it only KPEQPLWPEVKQPYKVJFGUKIPEQPEGRV The exercise had swiftly allowed me to resourcing, collaboration and teamwork, when practices are not clear about what an approach to a building or space. equates to being able to document a development. Perhaps earlier critical they are looking for when they take on Fundamentally the role of education is building. It belittles the breadth of work understand the relationships between, heritage evaluation, sustainability and and to consolidate the important building performance, costing, and exploration into these areas in a design a graduate. to train the students to think and behave that architects and designers in the built theory-focused environment could as a designer. And be learners. environment actually do. A graduate EQORQPGPVUQHVJGFGUKIPRTQLGEVOWEJ contract use, to name a few. The brief DGDGPGɑEKCNHQTHWVWTGCTEJKVGEVWTG To be work-ready is not the ability, cannot and should not be expected to more so than I was able to achieve in my exercise was one of a small number ITCFWCVGUCVVGORVKPIVQɑPFVJGKT straight out of university, to walk into What architectural practices need to do be able to document a building. design response. of complementary design studio PKEJGCPFFGɑPGVJGKTECTGGTRCVJKPC a practice and start documenting a is apply the same design thinking to the However they should be able to assignments that allowed conceptual EJCPIKPILQDOCTMGV building. Work-ready means the ability employment of a graduate as they would learn, with good guidance from an Design studios were the best part exploration and understanding of to participate and contribute to a group VQVJGFGXGNQROGPVQHCRTQLGEVVJKPM experienced architect, how. of university, providing broad the politics and mechanics of the Hew graduated from UWA with a Master of of skilled and experienced practitioners about what it is they are actually looking QRRQTVWPKVKGUVQGZRNQTGFKɈGTGPVFGUKIP construction industry (in which I to assist them in achieving a high for in a graduate, what problem needs to Jonathan is Senior Associate and Practice philosophies and building types and would shortly be seeking full-time Architecture in 2012 and has since worked quality outcome. DGUQNXGFKPVJGRTCEVKEG+PVJGOCLQTKV[ Leader of Interior Design at HASSELL. for valuable creative development and employment). for several practices in Western Australia, of cases, what practices are actually Prior to joining HASSELL in 2016 he was release. Upon graduating, an interest specialising predominantly in the design To be controversial I would like to looking for are students who are good Director of Jonathan Lake Architects for in houses and detailing and the desire The rapid rise of digital technology and delivery of residential architecture. suggest that the role of architectural all-rounders. Students who can think 12 years. Jonathan was also Design Studio to get a more holistic and hands-on and growing reliance on computer Relocating to Sydney in 2016, Hew is education is not to provide ‘work- ETGCVKXGN[EQOOWPKECVGGɈGEVKXGN[ Co-ordinator at Curtin University from experience of documentation, contract software in the construction industry currently with BVN working on several ready’ graduates! If you examine the CPFYJQJCXGVJGɔGZKDKNKV[VQYQTMQP 2005 to 2013. execution and construction led me to has largely seen the death of the useless multi-residential projects. ɻ

- 24 - - 25 - rest

- 26 - - 27 - white house / meaghan white architects Author Dr Lynn Churchill

The provocation for this edition, in relation to prevailing economic FGXKEGUYCUɔCWPVGFVQRTQRQWPFVJG WORK / REST / PLAY, immediately imperatives to the point where now all USA’s reputation for exceptionally high EQPLWTGUSWGUVKQPUQHȄTGCNKVKGUӑCPF boundaries are blurred. Such economic standards of household cleanliness, of ‘boundaries’. Who now knows such arguments are however beyond CDWPFCPEGCPFGɋEKGPE[CUDGKPI things? It seems we are becoming the remit of this piece even though central to the American (aspirational completely perplexed by the dissolution architecture is always complicit. Australian) Way of Life. The American of boundaries and the presence or non- house was presented as perfection and presence of those around us, virtually Similarly, technology is always as such was pivotal to America’s post or really - including ourselves. If there complicit, and there are numerous second world war economic strategy and ever was such a thing as the ability to complicities. Firstly, we the consumers political positioning in the politics of distinguish ‘work’ from ‘rest’ and these are personally to some large extent envy. Consequently women’s housework from ‘play’, it has diminished. responsible for the dominance of increased. technologies, our devices and the Way back in 1967 in his prophetic subsequent prevalence of this awesome Therefore, when we now reconsider the The Medium is the Massage, Marshall boundary-free connectedness to architectural typology of the house, McLuhan wrote: ‘Electric circuitry has everything. It is we who have enabled what is interesting is the emergence overthrown the regime of “time” and these disruptions to time and space of architectural propositions that “space” and pours upon us instantly and because we have become (or perhaps are re-thinking and re-prioritising continuously the concerns of all other have always been) addicted to watching, these fraught realities of identity men. It has re-constituted dialogue on a exploring, knowing, participating, and perfection, boundaries, and new global scale. Its message is Total Change, LQKPKPIKPCPFDGKPIUGGP KPRTGHGTCDN[ realities. Some architects have begun ending psychic, social, economic, and the most advantageous light). We like to step outside lingering redundant political parochialism. The old civic, to be somewhere else. Beyond this, CTEJKVGEVWTCNJ[RQVJGUGUQDLGEVKH[KPI state and national groupings have the economics of real estate, radical the building to navigate the blurring become unworkable. Nothing can shifts concerning the fundamentals QHFKɈGTGPVCRRGCTCPEGUCPFHWPEVKQPU be further from the spirit of the new of work (what, where and when), CUGZRGTKGPEGU+VKUKPURKTKPIVQɑPF technology than “a place for everything and the increasing ‘business’ of life CTEJKVGEVURTKQTKVKUKPIUKIPKɑECPV and everything in its place”. You can’t go have all impacted on the fantasy that aspects of daily life such as time. How do home again.’ distinguishes ‘work’ from ‘rest’ and these we best and reasonably equitably spend from ‘play’. time and negotiate an architecture that 0QYɑHV[[GCTUNCVGTEQPEGRVUCPF is responsive to the complexities of experiences of time, space and human Antithetical to the provocation is the dynamic lives? Who lives in a house? occupation are, as per McLuhan’s story of twentieth century suburbia KPUKIJVUKPTCFKECNɔWZ6JGEQPEGRV that reminds us that for most women, It is in this context that the White of suburban (parochial) life as a zone the home was always a place of work House, by architect Meaghan White is of respite, a third space separate from and rarely a place of rest. Highlighted reviewed. Located in the leafy western VJGFGOCPFUQHVJGȄLQDӑKUCNOQUV in the famous 1959 Kitchen Debate suburb of Cottesloe, close to the universally unknowable. Ebenezer in Moscow between Soviet Premier popular white sandy beach of the Indian Howard’s utopic notions of suburbia, the Nikita Khrushchev and Vice President Ocean, the house is a composite of the Garden City that envisioned nurturing Richard Nixon when Communism original federation shell plus remnants

White House by Meaghan White Architects. Image: Deon White. respite for the worker, have continued sparred with Capitalism on the topic of of a 1980s renovation - all of which to morph throughout the past century white goods, an abundance of technical have been overwritten by the current ɾ

- 28 - - 29 - White House by Meaghan White Architects. Image: Deon White.

White House by Meaghan White Architects. Image: Deon White. White House by Meaghan White Architects. Image: Deon White. ɾ

- 30 - - 31 - White House by Meaghan White Architects. Image: Deon White. makeover and extensions including the vibrancy of individual spaces are nearby treetops and is accessed via its VJGCFFKVKQPQHCPQɋEGHQT/GCIJCPӑU the syntheses of layered contemporary own laneway entry. busy architectural practice. The result lives: people having fun together, yet portrays the dynamic realities of a NKXKPIFKɈGTGPVUEJGFWNGUYKVJUGTKQWU An insulated music room is located family of two primary school-aged commitments in the same spaces as between the living room and the stair children. a growing family. The house appears VQVJGQɋEGYJKNGCJGCXKN[KPUWNCVGF simple, easy, beautiful and pragmatic. sliding panel easily separates the The White House is the architect’s own living and sleeping zones. During late Meaghan thinks about how families home, a work in progress between 2010- afternoons Meaghan and the children work, considers the implications of 2015, a time during which Meaghan share the living space for homework: her design moves, and prioritises and her partner Deon were the owner- using their devices, being with friends, minimising housework! Lots of low builders and their children were little. cooking, playing, all in the same light, RTQɑNGUVQTCIGOKPKOKUGUENWVVGT.QVU &GQPTGOGODGTUVJGȄɑTUVKPURGEVKQP airy space. QHINCUUETGCVGUCUGCONGUUɔQYDGVYGGP of the run down rental was pretty the generous communal interior EQPHTQPVKPIӑa*QYGXGTVJG[RTQEGGFGF The cellar, which is accessed only from and garden eating and living spaces QWVUKFGKUFGɑPKVGN[CPCFWNVURCEG with a necessarily pragmatic approach, including the pizza oven. Deon has Once again heavily insulated, this using the simplicity of steel portal been impressed by how the house works cellar/bar space (clearly lots of fun) HTCOGEQPUVTWEVKQPCPFCPGɋEKGPV ‘for all the family through the day and deployment of the limited budget. is equipped with a spectacular sound ENDURING STYLE the way we like to live and entertain The making of the house became a through the seasons making the most system and provides enough space for a series of weekend events evidenced of the natural light, cooling breezes and small crowd. We are excited to invite you into our stunning Design Studio at 67 King Street, Perth. by a beautifully crafted dry stone QWVFQQTURCEGUa9GNQXGVJGDGCWVKHWN YCNNCLWFKEKQWUWUGQHVKODGTCPF contrast of the old character charm Unusual in this era in which traces +HUH\RXZLOO¿QGKRXVHGDQH[WHQVLYHVHOHFWLRQRI%ULFNZRUNVEXLOGLQJPDWHULDOVLQFOXGLQJERWKORFDOO\PDGH their mastery over the casting of their and the contemporary zen of the new of human occupation are thought to DQGWKRVHVRXUFHGIURPDOLWWOHIXUWKHUD¿HOG2XUSURGXFWVLQFOXGHEULFNVSDYHUVURRIWLOHVWLPEHUQDWXUDOVWRQH concrete kitchen bench tops. URCEGUa+VӑULWUVCPCOC\KPIJQWUGVQ diminish the perfect performance of a WHUUDFRWWDFODGGLQJDQGSUHFDVWFRQFUHWH6RLI\RXDUHORRNLQJIRUDJRRGGRVHRILQVSLUDWLRQ live in.’ house, this one wears its lived-in-ness WKH'HVLJQ6WXGLRLVDPXVWVHH There is something more to the house well. People, food, books, bags, even than is revealed by the initial encounter Boundaries are easily made available dishes and lots of noise add to the with the predominant language of throughout, with Meaghan’s workspace house’s warmth. Clearly the architect colour and material and the presence distinctly separate both spatially and in thinks about and invests in how people of obvious collaboration, everydayness time. Situated at the rear of the house, live. Her spaces are brought to life with www.brickworksbuildingproducts.com.au and craft. Tacit, lying silent beneath her spacious upper level studio oversees people. ɻ IROORZEULFNZRUNVEXLOGLQJSURGXFWVRQ

- 32 - family retreat Author Craige Steere Architects

The clients’ brief was to locate their bedrooms and guest wing. The outdoor Functionally, the clients desired an family holiday retreat on the large living and BBQ space was positioned open-plan living, dining and kitchen 9KVEJENKɈGUKVGPGUVNGFCOQPIPCVWTCN YJGTGVJGQTKIKPCNUVQPGɑTGRKVYCU area which would maximise views and treed surrounds with views to the ocean located. connect strongly with the outdoors and valleys beyond. Our clients used via a generous outdoor deck. This to camp on the site, which overlooks From the south, there are often living area is a distinct and separate Redgate Beach in a particular position strong salt-laden winds (which can YKPIYJKEJRTQLGEVUQWVYCTFUHTQO to which they always naturally migrated. be piercingly cold during winter) and the main building spine. Similarly, Over time they also had built a loose NKOGUVQPGFWUVHTQOVJGCFLQKPKPI Redgate Beach House by Craig Steere Architects. Image: Lee Griffiths. the main bedroom suite, which is UVQPGɑTGRKV6JKUNQECVKQPRTGUGPVGFCU working lime pit to contend with. positioned to gain impressive southwest being the ideal position and elevation to Hence, the house design has an inward- views, is connected back to the main site the holiday house. focused cranked linear form, with the building form via a link structure which RTQɑNGFUVGGNTQQHGZVGPFKPIFQYP houses the study. The clients were also The Redgate Beach House was designed the outer walls to create a protective to respond to the natural qualities of the ‘shoulder’ against the elements, whilst KPVGTGUVGFKPCPGPGTI[GɋEKGPVJQWUG site and the clients’ desire for a modern, the interior spaces within are more and as such the design has a strong passive-solar home which maximised lightweight and open and encourage focus on achieving natural lighting views to the ocean, whilst also retaining interaction between inside and outside. with generous glazing to the north; a sense of living ‘within the trees’. In Large steel-framed sliding screens VJGGZRQUGFEQPETGVGɔQQTUNCDUCEVKPI CPGɈQTVVQTGFWEGENGCTKPIQHGZKUVKPI extend across the west elevation of the as a heat sink. Electronic-controlled vegetation on the site and to maintain bedroom wing, allowing protection highlight windows capture breezes VJGXKUWCNDWɈGTDGVYGGPVJGJQWUG from the sun and wind whilst also and ceiling fans and a large open and a neighbouring limestone quarry, CNNQYKPIVJGɔGZKDKNKV[VQCEEGUUXKGYU ɑTGRNCEGYGTGHCXQWTGFQXGTCTVKɑEKCN the house is located within a natural from the bedrooms and verandah. CKTEQPFKVKQPKPI#PGPGTI[GɋEKGPV clearing, which was also fortunately heat pump supplies hot water to the well elevated above the lower lying The building materials were all selected house, and the large concrete rainwater land and allowed generous views across for their durability and combine to VCPMYQTMUKPEQPLWPEVKQPYKVJC the 10 acre site. The site itself is quite create a simple and industrial palette, windmill-pumped bore to provide all exposed and characterised by rocky which also responds to the colours the water to the residence. limestone outcrops interspersed across and textures of the site itself. The the sloping site, with dense vegetation RTQɑNGFUVGGNENCFFKPIKUCPKORQTVCPV The clients wished to create a home to the east, screening the house from feature of the building form, achieving that provided simple and informal nearby Redgate Road, and native a distinctive low-pitched roof form trees and coastal scrub immediately and with custom-made prickle-caps, holiday living, that was utilitarian, surrounding the house. creating the sharp lines of the folded low maintenance, easy-care and could roof where it extends down the walls accommodate family and friends The position of the trees together to wide easy-clean gutters below. A without being a large home. The with the natural contours of the site cantilevered concrete deck maximises Redgate Beach House provides an informed the concept of a main living the sense of elevation and lightness of GPLQ[CDNGTGVTGCVHQTVJKUHCOKN[HTQO URKPGYKVJVYQYKPIUDTCPEJKPIQɈ the house, and creates a distinct edge their busy and demanding lifestyle back Redgate Beach House by Craig Steere Architects. Image: Lee Griffiths. to house the main suite, children’s between house and landscape. in the city. ɻ

- 34 - - 35 - boonooloo road grouped housing project / coda studio Author Reece Currey

Nestled within a quiet cul-de-sac on the 6JGRTQLGEVKUEQORQUGFQHHQWT yellow. The movement marks the outer-suburban fringe of the Darling FYGNNKPIUGCEJQɈGTKPIUNKIJVN[ threshold - a striking example of how Scarp is the Boonooloo Road Grouped FKɈGTGPVKVGTCVKQPUQHCEQWTV[CTFJQWUG modest materials can be skilfully Housing Project. This recently completed FGUKIP#FLQKPKPIWPKVUVQVJGPQTVJCPF manipulated to create moments of pure affordable housing project designed by south sides of the lot are twinned and delight. CODA Studio provides a timely example of share many similarities in planning. infill housing which is affordable, flexible, Connection between the internal At the gated entry to the courtyards and thoughtful. courtyard and the living and sleeping of each of the southern dwellings, spaces is maintained throughout the the timber boards traverse to the RTQLGEVFGURKVGVJGFKɈGTGPEGUKPGCEJ ground; the lightly-framed cladding The surrounding suburban fabric of dwelling’s planning. The consistent separating from the primary form of Kalamunda hosts a series of by-the- material and formal language of the the building to neatly frame the entry. PWODGTUKPɑNNFGXGNQROGPVUDWKNVKP elevations and sensitive internal The two southern courtyards form an response to zoning changes in recent FGVCKNKPIVKGVJGRTQLGEVVQIGVJGTCUC expanded threshold between the ‘street’ years. The Boonooloo Road Grouped whole. A unity of approach to form, and internal living spaces. Mediating *QWUKPI2TQLGEVKUGCUKN[FKUVKPIWKUJGF material and detailing anchors the between the social space of the internal HTQOV[RKECNEQQMKGEWVVGTKPɑNN RTQLGEVYJKNUVVJGHQWTFYGNNKPIUUWDVN[ street and sheltered spaces of the developments through its innovative GZRNQTGFKɈGTKPICRRTQCEJGUVQVJG interior, the courtyards create a privacy courtyard-based planning and deft planning of courtyard housing. DWɈGTYJKNUVCNNQYKPIVJGKPVGTPCN use of modest materials to craft spaces spaces to maintain a strong connection in which to dwell and delight. The Dark painted timber boards sheath to the exterior. Courtyards located RTQLGEVOCMGUCUVTQPIUVCVGOGPVQHVJG the white textured external walls, within each dwelling provide north RQVGPVKCNHQTYGNNFGUKIPGFCPFɔGZKDNG constructed of structurally insulated aspect to the attached main living areas, housing which provides an exemplar for panels. The dark timber cladding with the courtyards of the twinned HWVWTGCɈQTFCDNGJQWUKPIFGXGNQROGPVU provides a framing device which units to the south being particularly in WA. CODA Studio has previously delineates the form along the external generous in size. From these courtyards undertaken research and practice parapets and internal street. Interplay the garages are accessible, containing between the white external form of the large rainwater tanks which further exploring housing which is responsive, DWKNFKPICPFVJGVKODGTENCFFKPIFGɑPGU enhance the sustainable credentials of sustainable and meaningful, including VJGGZVGTPCNGZRTGUUKQPQHVJGRTQLGEV VJGRTQLGEV.KPKPIVJGDQWPFCT[VQVJG built works such as the Building for Contrasting in colour, their interaction courtyards is a bespoke lapped timber &KXGTUKV[RTQLGEVKP0QTVJDTKFIG%1&# provides moments of architectonic play fence imbued with charm, which will Studio’s expertise in housing types is most notable at the boundary between undoubtedly lead to good neighbourly clearly evident through the articulation the internal street and the courtyards relations. QHVJGEQWTV[CTFV[RQNQI[KPVJKURTQLGEV of the southern units; it is here that the The Boonooloo Road Grouped Housing lightly-framed timber cladding dances Accessed from the courtyard, the 2TQLGEVUJQYECUGUVJGRQUUKDKNKVKGUHQT away from the face of the building. brightly painted teal front door of CɈQTFCDNGJQWUKPIIWKFGFD[ENCTKV[ Supported by a modest column, this 7PKVNGCFUKPVQVJGDTKIJVQRGPOCKP of design and a focused architectural move creates a triangular aperture, living area. Immediately visible is a response to brief, site and housing type. the interior of which is painted bright high window, allowing soft light from ɾ Boonooloo Road Grouped Housing Project by CODA Studio. Image: Peter Bennetts.

- 36 - - 37 - Boonooloo Road Grouped Housing Project by CODA Studio. Image: Peter Bennetts.

Boonooloo Road Grouped Housing Project by CODA Studio. Image: Peter Bennetts. Boonooloo Road Grouped Housing Project by CODA Studio. Image: Peter Bennetts. ɾ

- 38 - - 39 - Boonooloo Road Grouped Housing Project by CODA Studio. Image: Peter Bennetts.

the south to enter as the ceiling is strong connection to the courtyard via with an attached 1x1 unit. This in- carved away to form a raking bulkhead. ɔQQTVQEGKNKPIINC\KPIUJCFGFD[VJG DWKNVɔGZKDKNKV[CNNQYUVJGJQWUKPI 0GICVKXGFGVCKNUCVVJGLWPEVKQPUQHVJG overhanging roof. A circulation spine KPVJGRTQLGEVVQTGURQPFVQXCTKQWU KPVGTUGEVKPIRNCPGUHWTVJGTFGɑPGVJG leading to the bedrooms and bathrooms potential living arrangements, with the element creating a crafted, atmospheric clings to the edge of the courtyard. opportunity for occupancy of the site moment and establishing a resonant Within this space, generous glazing VQDGDWKNVWRQXGTVKOG&KXGTUKɑECVKQP presence within the space. Throughout ensures ample light, ventilation and QHFYGNNKPIV[RGUYKVJKPVJGRTQLGEVKP VJGRTQLGEVOQFGUVOCVGTKCNUCPF visual connection between interior and the future has the potential to further a restrained palette are utilised in a GZVGTKQT9KPFQYUCNQPIVJGURKPGCɈQTF develop spatial relationships, in which thoughtful manner to enhance the views across the courtyard to the playful internal spaces through a series of movement of the yellow triangular the internal courtyard will remain the well-crafted details. The white-painted aperture of the timber cladding, and on hinge. From the open, communal spaces brick of the main living area provides towards the internal street and the main of the internal street and courtyards, texture to the walls, further augmented living space. The sense of connection to the sheltered, restful spaces of the by the occasional protruding clinker between all of these elements is sleeping quarters, the spatial planning brick. The interior window reveals are present throughout, transmitted YKVJKPVJGRTQLGEVETGCVGUITCFKGPVUQH lined with plywood, obscuring the edge through the lens of the internal privacy, allowing occupants to dwell as of the aluminium window frames and courtyard. Separating the bedrooms they desire throughout the day. providing a robust yet articulate detail. and bathrooms from the courtyard, the Plywood skirting boards also provide a EKTEWNCVKQPURKPGUQH7PKVUCPFCTG The Boonooloo Road Grouped Housing clean and resilient edge throughout the generous enough in size to be adaptable 2TQLGEVӑUVJQWIJVHWNRNCPPKPICPF home. White paint mutes the natural to the needs of residents. modest, yet sensitively articulated ɑPKUJQHVJGUMKTVKPIKPVJGOCKPNKXKPI spaces are the result of an approach to area, harmonising with the painted CODA Studio’s expertise in developing brick walls. housing typologies which are innovative CɈQTFCDNGJQWUKPIFGUKIPYJKEJKUDQVJ CPFɔGZKDNGKUHWTVJGTGXKFGPVKPVJG KPPQXCVKXGCPFCTVKEWNCVG6JGRTQLGEV In each unit the central courtyard RTQXKUKQPQHECRRGFQɈUGTXKEGUKP constitutes a considered exploration forms a pivot around which the VJGUGEQPFNKXKPIURCEG$[KPɑNNKPIC of the courtyard typology and the spatial planning is generated. The dividing wall, a four bedroom house RQUUKDKNKVKGUHQTKPɑNNJQWUKPIYJKEJKU primary living area maintains a converts into a three bedroom dwelling ɔGZKDNGUWUVCKPCDNGCPFFGNKIJVHWNɻ Boonooloo Road Grouped Housing Project by CODA Studio. Image: Peter Bennetts.

- 40 - - 41 - step house / david barr architect Author Sarah McGann

The Great Australian Dream has the now long-term call for housing YQWNFURGEKɑECNN[CVVTCEVPGKIJDQWTN[ changed. Without meaning to CɈQTFCDKNKV[TGFWEGFJQWUGUK\GCPF minded people. I hope they also bake. generalise, I don’t know any early UVTQPIGTEQOOWPKVKGUVJKURTQLGEV GenYers keen to move to the ever- demonstrates a real hope for the future. The permeable boundaries, shared distant outer suburbs and mow their In light of our huge population growth light and through-breeze invite the quarter acre lawn around the hills predictions for Australia, and WA in opportunity for connection rather than hoist. Those I know seem much more RCTVKEWNCTOQTGRTQLGEVUUWEJCUVJKUCTG promoting territorialism. The treatment interested in resting in close proximity needed to address the potential strain of these in-between spaces, both on the to their work and play than having the on cities, our social connectedness and ground and in the air, work particularly ZKPVJGEQOOWVGT\QPGU2CVVGTPU the fragility of the natural environment. YGNNKPVCPFGOYKVJVJGNKIJVɑNNGF of leaving home rarely see young interiors. Borrowed light and long GenYers moving further away from The Step House, being three separate views through the interior spaces and the city than their parental home. The dwellings within one block, is beyond to nature extend the vista and inner suburbs surrounding Perth and GUUGPVKCNN[RCTVJQWUGRCTVɔCV enlarge the sense of space inside these Fremantle, complete with pop up café part-commune(ity), where I imagine compact little dwellings. The ‘thinness’ amenity strips, are popular targets for borrowing sugar or eggs would be easy of the building envelope is surprisingly this generation of home dwellers. Closer due to the friendliness of the visual delightful; where every little space is proximity, higher density, smaller and permeable connectivity of both so close to a light and view source, and dwellings and increased amenity are private and semi-private spaces. One feels completely opposite to so many closely intertwined to achieve better person bakes and everyone can smell deep-plan, dark Perth apartments. CɈQTFCDKNKV[HQTDQVJQYPKPICPF the cookies. When I visited, although Though the building is thin, there renting. PQV[GVQEEWRKGFD[JWOCPU LWUV is a great play against the depth and show-furniture and us), it is obvious thickness at the openings. The clever I have been asked to write about the Step how the rough handmade nature of the inclusion of hidden storage under the *QWUGRTQLGEVHTQOVJGRGTURGEVKXGQH in-between spaces invite you to pause, deep window reveals makes the spaces ȄTGUVӑVJQWIJTGCNN[VJGRTQLGEVEQPEGRV EQPXGTUGQTLWUVUKVQWVUKFGKPVJGUJCFG feel protectively deep, and avoids having CPFGZGEWVKQPɑVUOQTGEQOHQTVCDN[ after a day’s work. The raw ground lumpy storage break up the clean lines into a Venn-diagram intersection materials outside provide a relaxing QHVJGɔQQTRNCVG QHYQTMTGUVCPFRNC[6JGRTQLGEV contrast with the bright white walls of supports those more interested in the private spaces. In some ways the 6JGCɈQTFCDKNKV[VQUK\GTCVKQKU lifestyle choices, rather than those keen tight containment of the outdoor spaces designed so that new owners are QPEQOOWVKPIECTUVQTCIGUVWɈCPF HGGNTGɔGEVKXGQHVJGUOCNNDCTVTGPF CDNGVQDW[LWUVYJCVVJG[PGGFCPF cleaning. where the size-to-friendliness ratio is so ECPCɈQTFTKIJVPQYTCVJGTVJCP 1 important for a cozy atmosphere. contributing to what Tone Wheeler On the face of it the David Barr’s has referred to as the great Australian Landcorp Gen Y Demonstration House +VYQWNFDGFKɋEWNVVQCXQKFIGVVKPIVQ ‘spare-bedroom crisis’ of the outer Competition winning entry Step House know your neighbours here. Though UWDWTDCPZ9JGGNGTJCUENCKOGF is surprisingly aptly situated on Hope not designed for every Gen Y, I would for some years now that Australia does Street in White Gum Valley. Given CPVKEKRCVGVJCVYJGPKVUGNNUVJKURTQLGEV PQVJCXGCJQWUKPIETKUKUCVCNNLWUV ɾ Step House by David Barr Architect. Image: Robert Frith. 1 Tone Wheeler. 2010. ‘Garden Cities of Tomorrow’ in Prosper or Perish, Griffith Review 29.

- 42 - - 43 - Step House by David Barr Architect. Image: Robert Frith. Step House by David Barr Architect. Image: Robert Frith.

a surplus of spare bedrooms. Many Council support, could be applied to of these spare bedrooms were either all the Gens in the alphabet. The other PGXGTɑNNGFYKVJEJKNFTGPCUVJGDKTVJ UJQTVNKUVGFRTQLGEVUKPVJGEQORGVKVKQP rate continues to drop, or they are highlight the diverse talent amongst left empty now as the GenYers move our emerging architectural leaders inwards to would-be Hope Street. With and thinkers. The common call for 50% of dwellings made up of one or CɈQTFCDKNKV[TGURQPUKDNGGPXKTQPOGPVCN VYQRGTUQPJQWUGJQNFUVJGRTQLGEV impact and the creation of new social JQOGVTGPFQHQɈGTKPIRGQRNGDWKNFKPI communities, addresses the full suite choices predominantly made up of of environmental, economic and social ZUCPFZUKUUWRRQTVKPIVJGPQVKQP sustainability issues. David Barr’s Step that everyone is a property developer: House demonstrates the potential of building houses for a perceived resale SWCNKV[QXGTSWCPVKV[CPFJKUVGTTKɑE ‘value’, or for a future buyer, rather than concept of ‘density by stealth’ to new for what people actually need, want buyers, planners, developers and QTECPCɈQTF*GTGKP*QRG5VTGGVVJG home-bakers. ɻ homes are small, tiny even, but the possibility still exists, as part of the next Step concept, to later convert the ECTRQTVUVQCHWVWTGUVWFKQJQOGQɋEG or extra room.

Three years on, the Landcorp GenY Demonstration House Competition still stands up as one of the great collaborative initiatives of recent times in the West. And, importantly, it is an initiative that, with planning and Step House by David Barr Architect. Image: Robert Frith.

- 44 - - 45 - alex hotel / spaceagency Author Fiona Giles

Is a change as good as a rest?

With the prerequisite of beds, it might The clientele is a mixed bag: medium- heritage shopfront allowing the existing be expected that any hotel would ɔ[KPIRTQHGUUKQPCNU CTEJKVGEVUCPF large windows and tiled façade to retain embody the idea of rest, but the Alex designers) coming across for work attention at street level. This is the *QVGNKUPQVLWUVCP[JQVGNKVFTCYU Monday – Thursday, complemented by main restaurant entry and importantly on work, rest and play. However, in its locals on the weekends, and throughout it is inaccessible from the hotel lobby, non-typical approach to hoteliering, the week discerning Swiss and Scandi ensuring that guests have to touch the rest can be explored as the overriding tourists walk the halls. Each can take a street to get to dinner and so witness the theme. drink from the honour bar and lounge locals in their natural habitat. on whichever balcony suits their Talking to hotel manager Alan Ford, mood, soaking in the Perth sunshine 6JGJQVGNGPVT[KUQɈVJGOCKP spaceagency architect Michael Patroni and atmosphere. The brief's focus was thoroughfare down a newly created and interior designer Sarah-Jane Pyke on the curious independent traveller: alley that gives guests a breather from from Arent & Pyke, the Alex Hotel is of someone who goes on holiday for the VJGDWUVNGQH0QTVJDTKFIG5VGRRKPIQɈ course a place generated by their work. experience, wants to live like a local James Street guests pass underneath an Through operations, architecture and and have a communal aspect to their QRGPUVGGNITKFYJKEJFGɑPGUCFQWDNG KPVGTKQTFGUKIPVJKURTQLGEVJCUDWTUV JQOGDCUG6JG#NGZ*QVGNIKXGULWUV height volume for the alley, allowing into being right at the point where that: modest bedrooms and generous further mediation between the City Perth’s respectable City turns into 'wild' common spaces with City interactions and the interior. On entering, guests Northbridge. CPFHTKGPFN[UVCɈ arrive into the heart of Alex's place and pass behind the hotel desk. This To be enticing, it is usually essential to Appearing as two volumes, the is certainly an atypical approach but draw on a strong narrative. By telling a DWKNFKPIJCUɑNNGFVJGXCECPVDNQEMCPF it gives the lobby a feeling of welcome story, the audience's attention can really mediates between the 1970s buildings KPHQTOCNKV[CPFJCUVJGCFFGFDGPGɑV be captured, which is what the team has of the Cultural Centre and the heritage of squeezing out a bit more space from OCPCIGFVQFQHQTVJKURTQLGEV Northbridge buildings c1890. The south- VJGVKIJVɔQQTRNCVG#HVGTENKODKPIVJG western volume takes the contemporary central feature stair (the encouraged ...Alex is your uncle, a second cousin once concrete façade of the neighbouring route) guests arrive at the guest-only removed, an eccentric, yarn-spinner and State Library, pulls it apart and inserts OG\\CPKPGɔQQT*KIJYKPFQYUɔQQF traveller. He is the personality created to slim windows. Along the laneway at the space with daylight and bring in the colour-in this boutique hotel. ground level the façade steps back from City views. The space is subtly zoned the boundary and a window is cut to to allow guests to pick the area which The chapters and plot of the surrounding TGXGCNVJGMKVEJGPKPLGEVKPINKIJVCPF most suits their activity: socialising city are selected, mixed and distilled life into the alley. On William Street the over breakfast at the big table, stand-up into concrete and steel, resulting in a north-western volume takes the stand: space overlooking the city for pensive building that is of its context yet stands metal screens wrap the façade on three moments, or retreating behind the unique and proud. Along with the sides, allowing the edges to be blurred bookcase wall into a more private contrasting softer interior it compels and softened whilst still speaking reading zone. It is easy to imagine Alex the community to intra/inter-act. of 'now'. It is also set back from the reading a paper there. Alex Hotel by spaceagency (architects) and Arent & Pyke (interiors). Image: Anson Smart. ɾ

- 46 - - 47 - Alex Hotel by spaceagency (architects) and Arent & Pyke (interiors). Image: Anson Smart. Alex Hotel by spaceagency (architects) and Arent & Pyke (interiors). Image: Anson Smart.

Alex Hotel by spaceagency (architects) and Arent & Pyke (interiors). Image: Anson Smart. Alex Hotel by spaceagency (architects) and Arent & Pyke (interiors). Image: Anson Smart. ɾ

- 48 - - 49 - Alex Hotel by spaceagency (architects) and Arent & Pyke (interiors). Image: Anson Smart.

This hotel is one of sharing and Found around the common areas, immediately understood. Anticipation EQOOWPKV[GZGORNKɑGFKPVJGJQPQWT artefacts are used to describe the is created for the next visit that may bar where simply writing down your character of Alex and make it possible technically be to the same room but will name allows any number of drinks to to read his story. Since occupation, HGGNTGHTGUJGFYKVJCPGYEQNQWTɔCXQWT be taken out of the fridge. Tribes are VJG#NGZ*QVGNJCUGPLQ[GFYCVEJKPI )WGUVUCTGGPEQWTCIGFVQGPLQ[VJG also encouraged to emerge through the the hotel grow into its own with a bit contrast of anchoredness in the familiar architecture. For those curious about of wear and tear around the edges, to the spice of variety and nuanced the city, the James Street balcony allows making the place feel properly lived in change. However, this hotel is not about engagement with this dynamic street and more like home. The tired clichés staying in bed all day: there is no mini and our vibrant city whilst remaining a of hipster bars are deftly avoided - no bar – leave your room, talk to people! mismatching chairs here. This is a much protected escape. Or perhaps if this is more grown-up approach with a focus not protected enough, retreat instead The experienced result is one of play: on forming new memories which create to the courtyard-esque balcony beyond play with the City, with heritage, with legacy, without becoming a museum the private laneway; bring a nice cup textures, with colours, and most of all collection. Even the magazine selection of tea. Despite the open air above toying with those intrepid explorers is carefully curated and this attention to CPFRCTV[YCNNCFLCEGPVKVJCUCOQTG guesting at this home-from-home. detail creates a comfortable feeling of FQOGUVKEUECNGYKVJLWUVGPQWIJYKFVJ The bedrooms are only slightly larger home. Interior design and architecture for one line of sofas and a table for each YQTMVQIGVJGTFKɈGTGPVKPITGFKGPVU than the one at home so there is cluster. This gently forces engagement forming a favourite dish. comfort but no obligation to stay in it. with others: reaching the end table Instead venture out to the mezzanine YKNNTGSWKTGHTKGPFN[UJWɎKPIDGVYGGP Finally up to the rooms. The colour where someone interesting might also conversations and table legs, and this UEJGOGXCTKGUD[ɔQQTYJKEJKUCP DGCHCPQHRGQRNGYCVEJKPI9QTMɑTUV negotiation builds community. Final egalitarian approach: whatever the play second and after all that - when you choice is to be completely fabulous: budget it is possible to insist on a blue return to a more humble abode - the TQQHVQRDCNEQP[EJGEMGTDQCTFɔQQTCPF room! The bathrooms are pushed to usual routine now feels refreshed and a 360 degree view of the City is up for the outer wall and away from the door replenished. The adage is brought to grabs. Well worth it. so on entering the space the volume is life, a change is as good as a rest. ɻ Alex Hotel by spaceagency (architects) and Arent & Pyke (interiors). Image: Anson Smart.

- 50 - - 51 - the value of the sabbatical Author Kelwin Wong

Every seven years, designer Stefan DGPGɑVVKPICITCPFEJKNFQTVYQ*G series reveal themselves as an intriguing VQVCMGCICR[GCTDGVYGGPɑPKUJKPI it is about providing the clarity and Sagmeister closes his New York Studio further breaks down work into three blend of personal insight, art and design their Bachelor of Applied Science and allowing oneself the space to ask the for a year-long sabbatical in a move FKɈGTGPVNGXGNUYQTMHQTOQPG[YQTM – an eclectic mix of visual controversy embarking on further education in question ‘what would I do for a while if that allows the studio to rejuvenate and CUCJQDD[CPFɑPCNN[YQTMCUCECNNKPI and reasonable advice. architecture. Sometimes their gap year I did not have to think about money?’ explore new ways of thinking creatively. In the third level, this would be work would be working for experience or Where that takes you is the adventure In his TED Talk, he explains the value of WPFGTVCMGPKTTGURGEVKXGQHCP[ɑPCPEKCN Mid-career sabbaticals are far from an raising money for their course fees. in itself. overlooked time off. compensation. isolated practice. According to OneWay, Other times the year would be to travel a UK-based rail and construction overseas, now having an articulated ... Sagmeister is a designer and art director Initially taking a free-structured recruitment agency, there is a growing appreciation for the built environment. References from Austria who currently lives sabbatical, Sagmeister settled on number of professionals opting for The ability to immerse oneself Sagmeister, Stefan. 2009. ‘The Power Of and works in New York City. He has scheduling his days out, making a list of a gap year. Even companies such as completely in a culture which provides Time Off’. http://www.ted.com. Accessed worked for the Rolling Stones, Talking things he was interested in and dividing Adobe, Autodesk and Google allow their a deeper social context as one visits 03 March 2017. Heads, Lou Reed, and the Guggenheim them into chunks of time. Allocating GORNQ[GGUVKOGQɈVQRWTUWGRGTUQPCN buildings is something a book or blog Museum, among others. Combining his his time daily against items such as RTQLGEVUVQGPEQWTCIGNCVGTCNVJKPMKPI can never really capture. Chen, Winston and Emily McManus. 2014. two loves of music and design, he runs a ‘story writing’ or ‘future thinking’ and innovation. In return, employees ‘Leave Work For A Year To Go Live On A design studio out of New York. What he allowed him to focus and reconnect return to the workforce recharged and Gwynn Zivic, an architect from Mackey Remote Island? How A TED Talk Inspired found was, like many things in his life with creative thinking again. Removing with a broader skill set than when they Mitchell Architects, writes of such an Me To Take A Mid-Career Sabbatical’. that he loves, he adapted to it and over ɑPCPEKCNEQORGPUCVKQPUCNNQYGFJKO left. Other professionals see unexpected GZRGTKGPEGYJGPUJGVQQMVKOGQɈYQTM http://blog.ted.com. Accessed 03 March time became predictable in his design to explore ideas and techniques without results forging a new career path. OKFECTGGTVQLQKPCPCTVKUVTGUKFGPE[ 2017. process. Comparing examples of his NKOKVCVKQPUQHRTQLGEVVKOGNKPGUQTENKGPV program in Sicily in the summer of Garone, Elizabeth. 2016. ‘The Surprising FGUKIPYQTMHQTFKɈGTGPVENKGPVUYJKEJ expectations. It was acceptable to try Winston Chen, a software engineer 2016. In her blog entry she describes Benefits Of A Mid-Career Break’. http:// both featured a product nestled within and even fail at something. Sagmeister inspired by Sagmesiter’s TED Talk, left how her work process has morphed www.bbc.com. Accessed 03 March 2017. describes the sabbaticals, over the long JKULQDCVCUQHVYCTGEQORCP[KP$QUVQP a die cut book, he decided then that he and developed as a result of her time Zivic, Gwynn. 2017. ‘Sabbatical In Sicily’. VGTOCUɑPCPEKCNN[UWEEGUUHWN$GECWUG and moved his family to the Norwegian would close his studio down for a year’s in solitude in a remote coastal town. Mackey Mitchell Architects. http://www. of the improved quality in his work, he island of Rødøy, population 108, for sabbatical. Initially interested in sketching Sicilian mackeymitchell.com. Accessed 03 March is able to ask for higher prices. C[GCT9JKNGJKU[GCTQɈYCUOQTG building details and the surrounding 2017. Sagmeister presents a tantalising idea: loosely planned that Sagmeister’s, the landscapes as part of her residency, ɻ ȄȏYGURGPFCDQWVVJGɑTUV[GCTUQH A second insight he gained from the QDLGEVKXGYCUVJGUCOGVQTGLWXGPCVGJKU she found creative freedom instead our lives learning, then there is another VKOGQɈYCUVJGTGCNKUCVKQPQHJQYJG creativity. Three months into his island in pure abstract and impressionistic [GCTUVJCV UTGCNN[TGUGTXGFHQT had mostly been involved or used the year, he rediscovered an old passion for interpretations inspired by forms working. And then tacked on at the end language of design for promotional programming. He developed a simple and colours of the landscape. While of it are about 15 years for retirement. purposes. It was always to sell a product app that would read web articles or she completed her residency with 12 And I thought it might be helpful to or articulate a client’s message. He 2&(ɑNGUQWVNQWFWUKPIU[PVJGUKUGF ɑPKUJGFRKGEGUQHCTVVJGRTQEGUUQXGTCNN DCUKECNN[EWVQɈɑXGQHVJQUGTGVKTGOGPV explored the use of this language as a URGGEJ9JCVUVCTVGFCUCPCRRLWUVȄHQT fed back into a stronger foundation years and intersperse them in between vehicle for self-expression instead. From fun’ is now a top 10 selling education in authentic architectural styles, those working years.’ this, he developed a whole series of work app distributed in 86 countries and the proportions and details that guide her entitled ‘Things I've Learned in My Life precursor to the voice-based mobile app work on university campuses. He highlights how ideas and the work So Far’, a collection of personal maxims company Voice Dream. that arises out of these ‘early retirement that have appeared all over the world in Taking a break from work is not UNKEGUӑɔQYDCEMKPVQVJGEQORCP[CPF spaces usually reserved and occupied Even within the architecture industry necessarily about going away to start a KPVQUQEKGV[CVNCTIGTCVJGTVJCPLWUV by advertisements and promotions. The it is common for architectural students business or new career, however. Rather

- 52 - - 53 - play

- 55 -- - JSRACS kindergarten / brooking design Author Hayley Curnow

Central to any pre-schooler’s daily agenda ɔGZKDNGNC[QWV.QQUGN[FKXKFGFKPVQ spirited aesthetic, without being over- is the premise of play. three teaching areas, the kindergarten stimulating. accommodates 60 students with shared Brooking Design’s approach to John facilities. The over-scaled mobile puzzle pieces Septimus Roe Anglican Community that occupy the interior volume spark School’s Kindergarten employs The building shell is sheathed in warm, the children’s imagination by generating ecologically sustainable design birch eco plywood, imparting a soft, a playful landscape for climbing, resting, RTKPEKRNGUOCVGTKCNUCPFɑPKUJGU non-institutional sense of tactility. hiding and playing. Thoughtfully to deliver a nurturing learning Narrow, double-glazed strip windows designed to be stable, self-supporting, John Septimus Roe Anglican Community School Kindergarten by Brooking Design. Image: Heather Robbins. punctuate the plywood lining and environment conceived on the robust and practical, the pieces can be understanding that ‘play is about incorporate an operable high-light used as room dividers and also provide creating your own space.’ Completed and central casement window to invite ample storage within. These pieces are in December 2012, the building forms natural breezes into the space. Student beautifully detailed, with a panelised CUKIPKɑECPVNCPFOCTMUVTWEVWTGCV interaction is facilitated between the RN[YQQFɑPKUJVQVJGHTQPVCPFDCEM JSRACS Beechboro campus, while re- interior and exterior play areas via an framing the kindergarten typology. intimately-scaled glazing panel at low faces, and bursts of coloured laminate NGXGNTGOPCPVɑPIGTRTKPVUQPUKVG to the returns, tying in with the colour- Constructed within a tight budget suggest that peeping through to see banded wall. Similarly, additional of $2,600/m2, the building is a feat of friends is a popular activity. LQKPGT[KVGOUJQWUKPIDQQMUVQ[UCPF timber construction and engineering. learning materials, are on castors to The gang-nail truss roof and structural Simple, eco plywood lining is GPCDNGTGEQPɑIWTCVKQPQHVJGURCEG laminated veneer lumber framed walls maintained on the structural roof GORQYGTKPIWUGTUVQFGɑPGYJGTGVJG[ CTGUGVQWVQPCOOITKFVQHQTO OGODGTUVQHQTOCDQNFEQɈGTGFEGKNKPI work, learn and play. the primary structure of the building, grid that is interspersed with coloured founded on a raft concrete slab. acoustic panels and thermally rated Articulated with clarity and rigour, Double-stud walls forming an insulated skylights. An abundance of natural light VJGKPJGTGPVɔGZKDKNKV[QH,54#%5 cavity and a Kingspan roof provide a is tempered through these openings, Kindergarten liberates young students solid exterior shell that delivers a fully YKVJNQYGPGTI[UVTKRNKIJVKPIQɈGTKPI in an environment that is devoid of air-sealed, highly controllable interior additional light. The eco-ply facings institutional rhetoric. Stepping through environment that is innately quiet and are meticulously detailed to express the the volcanoes, carefully-laid picnic cool. The construction methodology structural framework beneath, requiring settings and towers of building blocks CNNQYGFHQTRTGHCDTKECVKQPCPFGɋEKGPV a level of craftsmanship between the that have animated the expansive construction, while the use of high- trades of roof builder and cabinetmaker. interior on this particular day, it is SWCNKV[UWUVCKPCDNGCPFGPGTI[GɋEKGPV evident that this kindergarten instills materials at a relatively low cost per m2 The warm timber, combined with the in its users a sense of ownership, addressed the brief in relation to eco and CEQWUVKEXKP[NɔQQTUCPFYCNNUKPUJCFGU budget requirements. of grey and beige, form a resilient and comfort and wonder. Brooking neutral base palette that gives presence Design have not only delivered an Brooking Design’s structural approach to the children’s artwork, toys and ecologically sustainable and budget- has resulted in a simple, rectilinear learning materials. Vibrancy is applied friendly kindergarten model, but have ɔQQTRNCVGQHO2 that comprises to the interior with thoughtful restraint. demonstrated that, through a true CEQORCEVUGTXKEGUEQTGQHUVCɈCPF Bold bands of carefully selected understanding of the user, kindergartens John Septimus Roe Anglican Community School Kindergarten by Brooking Design. Image: Heather Robbins. student amenities and a generously colour enliven the walls enclosing the can present a rich platform for play and scaled learning space with a free, services core, creating a bright and engagement. ɻ

- 56 - - 57 - a playground away from home An interview with Gerry Kho

Gerry Kho Architects discuss the new Ronald McDonald House in Nedlands and how they sought to provide a ‘home away for home’ for the families of seriously ill children and facilitate the formation of supportive relationships and a spirited community.

Initially, what attracted you to take as I explained the design and answered of comfort and convenience and on this project? very relevant architectural questions to promote compassion amongst YJGPVJGVYQQHWUJCFYCPFGTGFQɈ VJGQEEWRCPVUPQVLWUVYKVJKPVJG 9GYGTGKPXKVGFVQVGPFGTQPVJGRTQLGEV together from the rest of the group KOOGFKCVGCɈGEVGFHCOKN[DWVCNUQ KPCPFYGGPVJWUKCUVKECNN[LWORGF during one of the media events on between families. onto it because we were drawn to the site. It was great to listen to and see RTQLGEVӑURQVGPVKCN+VVKEMGFCNNVJG his genuine interest in the actual How did you seek to introduce DQZGUYJGPKVECOGVQCUKPINGRTQLGEV EQPUVTWEVKQPCPFQWVEQOGQHVJGRTQLGEV playfulness and delight into this project? that had everything we were passionate as well as architecture in general. CDQWVCEQOOWPKV[DCUGFRTQLGEV #LQWTPG[QHGZRNQTCVKQPGZKUVU VJCVYQWNFOCMGCFKɈGTGPEGVQVJG How did you approach the design? VJTQWIJQWVVJGDWKNFKPI6JKULQWTPG[ lives of individuals and families, that begins with the path towards the main was fun, had elements of play, and that 6JGRTQLGEVYCUFTKXGPD[VJGFKTGEVKQP GPVT[KPHQTOGFD[VJGɔWKFKV[QHC contributed to the well-being of human that we wanted to take: that this canopy leading to a ‘secret garden’. beings in a very direct way. Plus it gave new Ronald McDonald House was This meandering distracts the traveler us a chance to experiment with our not only an opportunity to provide from their anxiety; to prepare and to design principles that were focused on accommodation for patients and create a sense of curiosity, play and creating experiential and social spaces HCOKNKGUKPCFKɋEWNVRGTKQFKPVJGKT exploration. This intimate approach within a complex brief. lives, but also an opportunity to improve reassures the ‘explorer’ that this is not on the current model for housing another medical building, which What we didn’t expect though were the facilities of this kind. Improvements these families reluctantly frequent. politics and large number of hurdles were not only limited to the physical The main feature in the social spaces VQIGVVJKURTQLGEVHTQOVJGDGIKPPKPI structure, spatial programming, from levels one to four is the light shaft to the end. Also unexpected was the technology and environmental that sits in the linking bridge building. opportunity that we had to meet and sustainability, but also included the The circular shaft adds drama as well as KPVGTCEVYKVJCPWODGTQHJKIJRTQɑNG social and human aspect of Ronald highlighting the communal spaces on industrialists, corporations, industry McDonald House to work towards the each level and visually connects all four NGCFGTURWDNKEɑIWTGURTQNKɑENQECN idea of a Ronald McDonald Home, ie ‘a levels vertically. This gives us a sense artists and other individuals; not only home away from home’. of connectivity throughout the VJQUGYJQEQPVTKDWVGFɑPCPEKCNN[QT building. And of course, this feature RJ[UKECNN[VQVJGRTQLGEVDWVCNUQVJQUG The underlying concept of ‘connection’ also provides natural light to all levels who had sincere interests and a passion focused on creating social hubs that in a spectacular way. HQTVJGRTQLGEVCPFYJQYGPQTOCNN[ QɈGTQRRQTVWPKVKGUHQTEJCPEGOGGVKPIU wouldn’t have the honor of meeting or to encourage users to interact, to The elements of surprise and speaking to otherwise. One memorable share, to relate, to heal and to form hidden gems exist on each level with occurrence was walking around the a community, a support system. Our FKɈGTGPVV[RGUQHUQEKCNURCEGUCPF Ronald McDonald House by Gerry Kho Architects. Image: Gerry Kho Architects. construction site with Adam Gilchrist design intent was to provide a place features; elements unexpected in ɾ

- 58 -- - - 59 - Ronald McDonald House by Gerry Kho Architects. Image: Gerry Kho Architects.

Ronald McDonald House by Gerry Kho Architects. Image: Gerry Kho Architects. Ronald McDonald House by Gerry Kho Architects. Image: Gerry Kho Architects. ɾ

- 60 - - 61 - Ronald McDonald House by Gerry Kho Architects. Image: Gerry Kho Architects.

accommodation such as this. More and cascades and blades of rich cedar timber we’ve created an environment that more is revealed the longer you stay cladding on the exterior have made is conducive to the formation of and explore. The entire building is one a positive impression on the public. relationships and a community. big playground for both the children Internally, the pièce de résistance for and their parents. There was potential the families is the light shaft, which 6JKURTQLGEVICXGWUVJGQRRQTVWPKV[ for the house to become very kitsch has become the talking point of the to put into practice our architectural and very Disneyland, which probably building, as intended. We’ve heard that theories and principles on a grand scale. occurs quite often for this kind of the families are using the spaces well, What our team learned coming out of RTQLGEVJGPEGQWTCRRTQCEJVQVJG and best of all they are interacting with VJGUWEEGUUQHVJKURTQLGEVYCUVJGNGXGN building form and materials, textures each other! This is in complete contrast of skill, talent, rigor and commitment and colours were carefully selected to to the old facility where everyone stayed each of us had - driven by a shared be playful both visually and in a tactile in their rooms. This meant that our little passion. sense for children and adults, without experiment was a success! being sickeningly garish. As part of the In terms of the future, Gerry Kho DKQRJKNKEFGUKIPYGUGNGEVGFɑPKUJGU What did you learn coming out from this Architects will continue to experiment textures and materials that remind us project and how do you envisage taking and to create experiential architecture of nature; hence our extensive use of this through to future projects? YKVJVJGEQPɑFGPEGVJCVYGCNTGCF[JCXG timber, stone and a natural palette of this very public prototype successfully materials. The initial brief was for the building to up and running. ɻ utilise the most progressive, creative How have the families and children and sustainable design and construction reacted to the project and what are their methods available. The result was one favourite spaces? that went beyond expectations of what could be achieved and we believe it to be 5QHCTVJGTGCEVKQPUJCXGDGGPVGTTKɑE a considerable improvement on current and better than expected, especially models for this typology in terms of towards a design that is unusual for a architectural language, built form and Ronald McDonald House. The large experiential spaces. Most importantly,

- 62 - - 63 - north perth apartment / simon pendal architect Author Dr Beth George

Beth George reviewed the reimagined two storey town house and FKUEWUUGUVJGRTQLGEVCPFVJGVJGOGQH RNC[ YKVJVJGQYPGT

Relating a residence designed by Simon original parts and their careful shifting Upstairs, Simon’s intrigue with 2GPFCNVQVJGUWDLGEVQHRNC[!9GNN CPFTGRJTCUKPIVJCVOCMGUVJKURTQLGEV EJKCTQUEWTQRCKPVKPIɑPFUHQTOVJTQWIJ Simon’s work is not on my list of playful canny and delightful. An aluminium- stark contrasts of light and dark. A architecture. He doesn’t do it like others framed window to the kitchen was favourite moment of mine is where a do – a point myself and his client agree dealt with through the addition of a black recessed niche extrudes backward from a white wall plane. Black paint on. Both within Pendal and Neille and VKODGTTGXGCNEQPEGCNKPIVJGɔKOU[ VTCEGUVJGLWPEVKQPQHVYQRGTRGPFKEWNCT in practice alone, the pursuit of a way frame and adding depth to the window walls and carefully denotes the face of a of thinking about architecture, and of itself. The staircase, similarly, was cornice that was truncated to form the a method for making it real, is rarely unaltered in structure but wrapped. RTQɑNGQHVJGYJKVGHTQPVRKGEG so rigorous or persistent. Nothing will Its open stringers and balustrade are TGOCKPKP5KOQPӑURTQLGEVUVJCVJCUPQV now concealed by solid planes. An Something like a game happens in survived critical measurement against original turned timber baluster at the the upstairs robe, where a skylight the idea, drawing and re-drawing, and base of the stair now is revealed on its was inserted, extending as a tubular large scale testing through models. inner face, with a slender new steel void from roof to ceiling plane. handrail sweeping around it. In this way, Corresponding with it on the black wall But, as for the existence of the other two forms of detail, belonging to the two surface is a region of white paint – an FGɑPKVKQPQHRNC[ȁCUKPVJGCVTGQHUGV oblique shape – such that the tube of disparate eras of the house’s making, scene, control, atmosphere, the staging light might have blanched the wall by are bound up together. of events, the revealing and intensifying landing on it. of things – here the word makes sense. The kitchen is divided into two entities: Such transitions between bright and one intense green and the other white. Standing in the courtyard, beside a dark follow you through the space, from chain of hearts tree, we face the original The line between them runs obliquely threshold to room, into anterior spaces. house, where extraneous pieces have CETQUUVJGɔQQTETGCVKPIVYQTQQOU Simon describes this contrast as less about curating light and dark space and been stripped away and an entry to the within one: a white sitting space and more as creating a condition within courtyard remade. Upstairs, wet areas green kitchen-proper. The green wraps which to make luminous moments, and were tightened up, making for three HTQOVJGɔQQTRNCPGWRVJGECDKPGVU to throw certain things into focus. roomier spaces: a sitting room and and onto the wall units, collecting all From above, the stair appears as a white of these surfaces together and making two bedrooms with neat ensuites and a EWVQWVHTQOCFCTMɑGNF#EQNQWT them read as a singular form. That dressing room. change was apparent on the ascent but edited window sits in the white part; is far more intense to experience on the There is much in the existing house white wall, white reveals, white curtain. way down: the colour changes perfectly that might have been swiftly replaced, Without daylight they are contiguous, CNQPIVJGFCVWOQHVJGɑPKUJGFɑTUV

North Perth Apartment by Simon Pendal Architect. Image: Robert Frith. but such expensive acts were not on CPFYKVJKVVJGYKPFQYKUFKɈWUGN[ ɔQQTNGXGNHTQOFGGR2TWUUKCPDNWGQP the agenda. It is the maintenance of illuminated. VJGɔQQTDQCTFUCPFɑTUVɔQQTYCNNUVQ ɾ

- 64 -- - - 65 - North Perth Apartment by Simon Pendal Architect. Image: Robert Frith. white on the stair. The datum is traced BG: I don’t think their work is like JW: We’d come and have a peek and along the balustrade and handrail others’ either. I think it’s very careful, say ‘Oh! Look at that!’ … it’s kind of precisely, as though all the stair nuanced, but not overwrought and not addictive. components had been lowered into a ostentatious. I think they sit between two camps - between romance and BG: The theme here is play. I wondered RQQNQHRCKPVɑNNGFRGTHGEVN[WRVQɔQQT modesty. if you could perceive ‘play’ – in the sense NGXGN6JKUIKXGUVJGGɈGEVQHKOOGTUKPI of theatre and the staging of scenes – oneself in the stair. You almost feel like JW: I saw Simon as having a portfolio where the manipulation of light is key your body is breaking a surface tension OCFGQHUKOKNCTDWVFKɈGTGPVVJKPIU+ and models are made to test it? constructed here as you dip your toe gathered the Claremont house wasn’t VQYCTFVJGɑTUVVTGCF the grandest house to start with, and to JW: Yes and the models are very much have taken the Carine one, which was like little stage sets. It is an extraordinary house; one CRTQLGEVJQOGCPFVWTPGFVJCVKPVQ something that was really interesting… BG: Do you get a sense of that control? that relies as much on the careful I was impressed by their using manipulation of paint and thin surfaces something as simple as paint to change JW: If you think about the kitchen it as it does on deep spatial progression. a place. is very much like a set. And it changes The chiaroscuro interplay of planes EQNQWTCVFKɈGTGPVVKOGUQHVJGFC[ CPFQDLGEVUTGUQPCVGUYKVJVJCV Jane gave a fantastic description of the Perthian sensation of closing your eyes requisite trust that comes with working And it turns out the place is playful after all: after being in stark sunlight, reluctant with an architect: VQVCMGCUVGRWPVKN[QWTG[GUCFLWUV JW: I think the other thing about play JW: I think Simon probably sits in the is that it is a nice playhouse! In the same place as my hairdresser – I have summer you can open the doors up ... no say in that either! [We both laughed and pull the curtain back, and now the I asked the owner Jane (JW) about the knowingly at this]. I mean, I’m good at dining area and the courtyard and those spaces really come together. The black process of appointing Simon Pendal: sums! That’s what he’s good at… I’m not sure it would work if you were telling painting in the courtyard – running VJGOYJCVVQFQ+LWUVVJKPMKVYQWNF down the side of the kitchen and into JW: I knew that I couldn’t live in the never have looked like this if I had been the court – it’s all painted black; even house the way that it was. So I started swaying the decisions. VJGLCTTCJKUUVCKPGFDNCEM;QWJCXG to look for an architect… eventually we the feeling of being in a continuous found the house that Pendal and Neille She also really enjoyed the process space where no one is far away from North Perth Apartment by Simon Pendal Architect. Image: Robert Frith. had done in Claremont in a magazine. of the build: anyone else. ɻ They weren’t like all the others!

- 66 - - 67 - jungle gym An interview with Finn Pedersen

iredale pedersen hook architects explains the role of architecture in improving the built environment for our simian relative, the orangutan.

A commission for an orangutan vegetation to screen the walls of development of an individual animal enclosure is not an everyday experience each enclosure. Over the years the from birth to release by supporting for an architecture firm. How did you go YCVGTRTQQɑPIQHVJGUGRNCPVGTUHCKNGF their changing body size, strength and about gaining an understanding of the and the plants were removed. The dexterity. requirements for such a project? result was a very hot exhibit that was unsightly. Also, as knowledge of Orangutan mothers are very good at We worked closely with the Perth Zoo housing orangutans developed over the teaching their young the skills they .KHG5EKGPEGUVCɈCPFMGGRGTUYJQ years, an understanding of the need PGGFVQVJTKXGKPVJGLWPINGCPFVJG attend to the needs of the orangutans to provide arboreal space and more exhibit furniture assists them in this to understand their lifestyle, culture climbing and nesting opportunities process. and living patterns from young baby came to the forefront, which the new to adult orangutan. We looked at the exhibit was to provide for the animals. #ɑPCNQɈFKURNC[ȄRTGTGNGCUGӑGZJKDKV designs of exhibits around the world EQPVCKPUCOCVWTGɑEWUVTGGVJCVVJG and discussed their good points and An important aspect of designing release candidate and their mother are shortcomings and then brainstormed enclosure spaces for orangutans is allowed to access for a time to apply YKVJVJG2GTVJ

- 68 - - 69 - you watch a young orangutan move The keepers also took detailed notes through and explore all of the elements on how the exhibit worked and the KPVJGURCEGKVKUCLQ[QWUGZRGTKGPEG design was altered in response to their observations, removing the density of Elements that have a functional the smaller ‘sway poles’ and changing purpose, such as the high level some small details. drinkers, are used to squirt water at other orangutans and sometimes Over the next 12 years the other exhibit people, as well as encouraging arboreal spaces were upgraded and the last habits. The dip tubes and puzzle boxes animal to get a new home was Hsing encourage tool use. Loose behavioural Hsing, the dominant male of the devices, such as hessian bags, branches, colony. He has Type 2 Diabetes and has palm fronds, rubber car tyres, balls daily blood insulin level tests. After a CPFHTQ\GPVTGCVUCWIOGPVVJGɑZGF few weeks in the exhibit he lost weight, elements. Even the functional elements his insulin levels improved and he such as the timber shade structures became much more active, perhaps the are used as a treetop sun lounge where ɑPCNRTQQHVJCVVJGPGYJCDKVCVUYGTG the colony members observe the world GɈGEVKXG around them. 5WDUGSWGPVN[VJGTGJCXGDGGPɑXG What have been the observable babies born in the colony and three outcomes of the project for the client orangutans released into Sumatra. ɻ and orangutans?

+PVJGɑTUVGZJKDKVYCURTQVQV[RGF and a ‘crash test’ orangutan was studied for a six week period to establish a base line mental and physical assessment. The same season the following year, after being in the exhibit for some six months, the assessment was repeated and the animal’s behavioural indicators had all improved dramatically. Perth Zoological Gardens Orangutan Enclosure by iredale pedersen hook. Image: Peter Bennetts.

- 70 - - 71 - i’ll meet you at the bar Author Jess Beaver

The local pub, the ol’ watering hole… In 2007, when I was both working in Strange Company, Fremantle – the place where everybody knows your bars and studying, Local Governments spaceagency name. The story of alcohol and those throughout Perth pursued and A neighborhood bar slotted into a quiet who imbibe it is a historical one, dating encouraged operators who could street in Fremantle, Strange Company back to ancient times. It began with the bring innovation to the creation of doesn’t shout out as a ‘destination Egyptians creating arack, and through KPVKOCVGXGPWGUVJCVYQWNFQɈGT venue’. It’s cleverly nestled to allow man’s continual pursuit, sometimes unique alternatives to the traditional passersby to discover its ‘strange’, CEEKFGPVCNKVFGXGNQRGFKPVQTGɑPGF ‘beer-barn’ venues littered around YCPFGTKPCPFGPLQ[CFTKPM QTVJTGG  wines, brews, and distilled spirits. Dominion League by FINESPUN Architecture and Gab Scott. Image: Dion Robeson. Perth. This led to a liquor licensing Nestled between buildings on three Simply put, booze has always held a reform that included facilitating sides, spaceagency have cleverly utilised place in society. Through changing the granting of many new small bar natural light from both the entrance times came the need for a space to licenses. Great opportunities arose for and from above, allowing it to spill and serve such drinks and concoctions. businesses to create new spaces that wash through the venue to the back Enter, the bar. FKɈGTGFHTQOVJGKTNCTIGTEQWPVGTRCTVU recesses of the bar, providing a cozy, giving greater choice to the discerning balmy atmosphere. The bar is an interior that contains drinker. a curious set of qualities associated The main bar is an engaging with a service and a feeling of some Bars are an important element in the centrepiece that becomes a pivot un-seriousness. It’s a place to unwind, cultural and architectural fabric of the point between the several carefully escape, play, romance or celebrate - City and, thanks to a growing group designed spaces surrounding it. and there is an abundance of choice of innovative local designers, Perth’s Each area is characterised by the varied growing in our city. bar scene is continuing to introduce selection of custom chairs and tables. new, diverse and interesting spaces. The timber paneled ceiling draws the For me, the bar is a memorable place. Operators have started to realise that eyes through the venue where they tend 0QVQPN[FQGUKVHWNɑNNO[UQEKCNPGGFU to linger for a moment at the back wall: but it has also allowed me to pursue creating the ‘perfect’ space is more a scattered array of bamboo nestled many other avenues of creativity. VJCPLWUVVJGKPVGITCVKQPQHUVCɈ in the corner that runs back toward 6GP[GCTUHTQORKEMKPIWRO[ɑTUV QɈGTKPICPFXCNWGȁDWVQHETGCVKPICP the entrance of the bar – all brightly cocktail shaker (and still shaking today), atmosphere and physical space that illuminated with washed light from I’ve grown to appreciate and respect the entices patrons to want to stay for one above. A tangible, hearty timber bar hospitality industry and all the players more drink. VQRRQNKUJGFVKNGUCPFOGVCNNKEɑPKUJGU involved. The essence of hospitality applied through both the bar and within the cocktail bar is not dissimilar There is a great selection of bars in kitchen make the space feel like it to architecture: operating at the utmost Perth, however there are a few in could be a part of your home. creative capacity, creating narratives particular that seem to keep bringing and providing a unique service, the crowds and continue to entice me Dominion League, Perth – constantly considering the designed to stick around for one more negroni… FINESPUN Architects and Gab Scott elements’ scale and form, and all (And remember, hangovers aren’t a whilst building strong relationships EQPUGSWGPEGLWUVCTGOKPFGTQHC The Dominion League creates two with your client. great night). XCUVN[FKɈGTGPV[GVEQORNGOGPVCT[ ɾ Strange Company by spaceagency. Image: Michael Patroni.

- 72 - - 73 -- - Strange Company by spaceagency. Image: Michael Patroni. Dominion League by FINESPUN Architecture and Gab Scott. Image: Dion Robeson.

Strange Company by spaceagency. Image: Michael Patroni. Dominion League by FINESPUN Architecture and Gab Scott. Image: Dion Robeson. ɾ

- 74 - - 75 - Late Night Valentine by Lazarus Studios. Image: Courtney Illfield.

spaces and experiences, hinting at parts 6JGCTQOCUQHYJKUM[CPFLCɎGUCFFVQ into three separate bar areas for the of WA’s lesser-known history (search the intimate and brooding physicality of more curious drinker, enabling more ‘Secessionism in Western Australia’ on the bar, providing ample motivation for opportunity to roam, pause and delve the www). QPGVQGZVGPFVJCVɑPCNPKIJVECR further into the darkness.

Late Night Valentine, Highgate - A deceptive application of colour, 6JG)TQWPF.GXGN$CTNGCFUQɈ$GCWHQTV Lazarus Studios texture and decoration are used Street and draws you into an open, to manipulate space and sensory Like a semi-glamorous roadside motel, bright and familiar space adorned with engagement whilst you move through oozing with dark velvets and tropical a pressed tin ceiling and a bar accented the bar. There’s a feeling of continuity by purposeful lighting. Focusing on greenery, Late Night Valentine transports CPFɔQYKPVJGXGPWGYKVJINKORUGUQH its patrons with an excess of 70s styled the details and décor, scattered images, the strange yet familiar, but Late Night luxury; a dark den disconnecting its nostalgic memorabilia and delicate Valentine has all its elements acting patrons from the outside world. With timber furnishing garnish the space in harmony. No attention to detail minimal signage and inconspicuously has been spared, from furniture and while the large sashless windows located on a busy Highgate street, the OCVGTKCNɑPKUJGUVJTQWIJVQVJGFGUKIP introduce warm daylight to the bar; bar’s identity lends itself to word of of the cocktail menus and branding the lengthy timber sill operates as the mouth, or those who stumble past and inside the venue. perfect way for drinkers to interact with peer into the red, glowing window and both the venue and the street. decide to wander inside. Late Night Valentine is a guilty pleasure that uses darkness, design, drinks The Whisk(e)y Den is almost an entirely As you enter, textures overload the and good music to keep the clientele FKɈGTGPVXGPWG#EEGUUKDNGXKCCITCPF senses within the dimly lit space, GPLQ[KPIVJGOUGNXGUNCVGKPVQVJG leading you to the bar which is internal staircase that was meticulously evening. encaptured by a series of mid-century TGXKXGFKVUHGGNCPFQɈGTKPICTGKPUVCTM blown glass light pendants hanging over A good venue sets the mood, is comfortable, EQPVTCUVVQVJGURCEGGPVGTGFQɈVJG a cool, white marble bar top. The space and provides particular libations to suit street. You are grasped by the dimly lit is enclosed with dark timbers and soft a specific drinker, because not every and cavernous bar formed by exposed textural fabrics and glossy black scotia bar and drink is for everybody. It’s the ɔQQTLQKUVUFCTMRCVVGTPGFȄRQQNTQQOӑ running across the walls. For what feels memorable ones that draw you back, time esque carpets and deep-set soft booths. like a quaint space, it secretly expands and time again. Late Night Valentine by Lazarus Studios. Image: Courtney Illfield. ɻ

- 76 - - 77 - festivals and the architecture of the city Author Brett Wood-Gush

#P[TGɔGEVKQPUQP2GTVJӑU(4+0)'9QTNF buildings and spaces across the city that community engagement with Perth’s Festival and the Perth International Arts are more passive in nature or have sadly architectural fabric and lost spaces Festival (PIAF) recall warm evenings, been long forgotten. across the city. spiegeltents, pop-up bars and a deep indulgent binge of sublime and fringe Australia’s longest running cultural In 1992, Danish Architectural Professor culture. These events sit at the pinnacle festival, PIAF was started in 1953 by The Jan Gehl claimed Perth had ‘a cultural Perth Cultural Centre: FRINGE World temporary ticket office. Image: John Leonard. Source: fringeworld.com.au 3 of a cultural scene that has so relegated University of Western Australia. Unlike centre that has no culture’. This was Perth’s glib title as ‘Dullsville’ that it FRINGE, it is curated and programs the accepted without contest. Professor seems a distant memory. Perth’s festival best international artists. Its multi- Gehl had been invited by leading season celebrates our city, aligns with CTVCRRTQCEJCORNKɑGUWUGQH2GTVJӑU architects, planners and community a strong vision for urban places, and RGTHQTOCPEGURCEGUHTQOOCLQTEKXKE leaders to help revitalise the City of embraces architecture as its backdrop. cultural buildings through to outdoor Perth. He had indicated his measure of Architects engaged in these festivals EKPGOCU/CLQTEQOOWPKV[GXGPVUUWEJ success was public use of public space. – such as Ahmad Abas, Former Chair as the Journey of the Giants and Boorna On that measure, the Perth Cultural ArtRage – have been pivotal to their Waanginy have transformed how we see Centre was failing. The grand vision establishment and success. our identity and geography and have for a ‘modern’ cultural precinct was drawn people in their thousands to framed in the 1955 Stephenson and The scale of these festivals is engage with art performances. Annually, Hepburn Plan for Perth. Unfortunately, bewildering. Published metrics from the program engages over 700 artists the high ground above Northbridge FRINGE World documents 713 events KPGXGPVUCPFEQPPGEVUYKVJQXGT had instead turned into one of Perth’s 2 across 159 venues with 3,381 performers 500,000 people. least desirable places. It had become 1 and an audience of 989,675. From a an area of the city that people avoided pilot festival in 2011, FRINGE World These festivals are helping to change after dark; yet its position between the has grown to be the third largest in the face of Perth, challenge our City, public transport and Perth’s dining the world. On every metric, its success understanding of city spaces and our CPFGPVGTVCKPOGPVFKUVTKEVQɈGTGFUWEJ is stunning: performer and audience regulatory role, and build new levels of promise. satisfaction, promotion of the value engagement with cultural events and of culture and arts to WA, and broad- space. They present an opportunity for $[CRTQITCOYCURWVKPRNCEG TCPIKPIDGPGɑVUHQTVQWTKUOCPF architects to engage in the architecture to upgrade the Cultural Centre. business. For many, FRINGE World is of city events and place-making as Masterplans and a 25 year delivery VJGKTɑTUVEWNVWTCNVCUVGDGUKFGUIQKPI systematically as they do with the program were established but little to the cinema, and its lure for visitors architecture of cultural centres. Critical progress was made over the next to return comes from the festival’s thinking should also be applied to 10 years. The grand vision needed impromptu and ephemeral nature City architecture and architectural considerable investment and challenged CPFVJGXCTKGV[QHQɈGTKPIU(4+0)' briefs as the success of these festivals one of the persistent paradoxes of World has successfully brought to life demonstrates the potential for broader cultural institutions. Historically they ɾ

State Theatre Centre by Kerry Hill Architects. Source: Kerry Hill Architects. 1 2016 FRINGE World Impact Report. Artrage Inc. 2 https://perthfestival.com.au/festival-info/about-piaf/ 3 Author’s personal observations while acting as study team co-ordinator on the Perth ‘Public Space and Public Life Study’. City of Perth and Government of Western Australia, 1992.

- 78 - - 79 - Lining up for the spiegeltent at FRINGE World. Image: Cam Campbell. Source: fringeworld.com.au Urban Orchard during FRINGE World. Image: Cam Campbell. Source: fringeworld.com.au

4 are about protecting the program, of a public carpark became an 'urban William Street precinct. None of this The early rebirth of the Perth Cultural inserted into the heritage fabric with its asked respond. Australian architectural QDLGEVUCPFCUUGVUYKVJKPQPN[CHTCEVKQP orchard' and a desolate water feature however explains why the area now Centre saw the space work as a QPN[HTGGHCECFGCFFTGUUKPICFKɋEWNV writers are exploring sense of place, of their work is public and this often was transformed into a native wetland has 12 million visitors annually, holds laboratory - a place to test concepts section of Roe Street. It handles Roe suggesting places are created from their 5 needs tight security making good street VJCVVQFC[UVKNNUGTXGUCUCTGɔGEVKXG OCLQTGXGPVUCPFKUEQPUKFGTGF from weekend markets to month- Street with eloquence and provides unique (cultural) stories, and examining life in the design of cultural buildings a space, nature-play environment for Perth’s primary destination for events long festivals, to art installations and a showcase of the internal life to the how perceptions of meaning – generated community events. Planting days on City. Through a series of tactical moves FKɋEWNVWPFGTVCMKPI children and a performance space with and City culture. That falls to MRA’s through habitual patterns of use – may the weekends, Friday night festivals the building also creates a precinct of 6 an amphitheatre and stage. Further place-making program and the advice be accommodated. and markets, environmental children’s The Metropolitan Redevelopment enhancements came as new creative and publically accessible spaces, enriching of experts like Fred Kent, founder and programs, and movie screenings the Cultural Centre. The State Theatre Authority (MRA) was appointed in 2009 hospitality tenants moved in supported Spanning the physical and metaphysical, president of Project for Public Spaces who attracted new crowds to the space and Centre appears to not only address the to assist the institutions in commencing by servicing improvements including architects have a role to play in engaging brought his experiences from New York celebrated the surrounding built form disruption of city architecture, presented improvements to the Perth Cultural power, water and catenary lighting. A the community to develop place plans to help revitalise the space. KPFKɈGTGPVYC[U2NCEGRNCPUNGFD[VJG by festivals such as Fringe and PIAF, but Centre to complement development of curated events program and a deliberate MRA engaged with key stakeholders to becomes their stage inside and out. for the design of public spaces and a new State Theatre Centre. The brief strategy to keep franchisees away from how they are activated. Architects also Buoyed by global examples of success, see the Perth Cultural Centre emerge was limited: there was no building the restored heritage buildings created appear positioned to provide expert MRA encouraged applications from as one of Perth’s most in-demand Place management has become a program, a vested collection of heritage a niche community on the edge of design advice, arbitrating on behalf of local entrepreneurs that could provide event spaces, all year round. This FKUTWRVKXGWTDCPHQTEGLGVVKUQPKPI buildings that were uninhabitable, and Northbridge and attracted new crowds YQTMCɈQTFGFCPQRRQTVWPKV[VQ2+#( Perth out of its parochial notions and public space as a functional area rather temporary, small-budget installations COCLQTEQOOWPKV[FGVCEJOGPVHTQO to rediscover the space. Permanent FRINGE, AWESOME and many other KPVQCɔWKFTGNCVKQPUJKRYKVJ%KV[ than lost space between buildings. As (pop-ups) in the space. Rising from the precinct. The MRA’s response was and ephemeral public art and a large festivals to progress with certainty. ownership, value, authority and our FRINGE and PIAF have well proven, backgrounds in commercial leasing, to take a short-term, tactical approach children’s playground followed, own identity. Architecture should be at there is opportunity in these spaces to to the problem: an $18m revitalisation and an urban LED screen providing arts management, hospitality and The changing nature of the Cultural the centre of the forces changing our transform public perception of the city, program to restore the heritage opportunities for cultural and artistic cultural production, the more avant- Centre seems also to have encouraged city: architects recognise that space and at the same time they are changing buildings, implement a targeted expression. The State Government also garde operate with assumed license to architects to embrace challenges can be territorialised by self-interest our perceptions of the role and value of leasing program, and transform some invested in landscaping and security respond to social need in an ephemeral, and create buildings that engage groups, limiting opportunity for change. architecture. of the underutilised spaces within the improvements throughout the public KPPQXCVKXGPCVWTGPQVCɈQTFGFKPC in new ways. The State Theatre Public space can also be seen as under The author is grateful for the substantial public realm. realm thereby increasing patron safety traditional commercial environment. Centre of Western Australia by Kerry autocratic watch, limiting creative *KNN#TEJKVGEVUYCUPQVQɈGTGFVJG expression. Conversely the need for research assistance received from MRA and passive surveillance. The approach sits on a spectrum that opportunity to delve into a universal ‘sense of place’ is included as a principle staff and others. The views expressed in this Architects, landscape architects also includes internationally renowned contemporary aesthetic - it had to be in regulations to which architects are article are solely those of the author. and artists assisted in the delivery New business, colour, creativity and events producers and managers who ɻ of physical improvements to the XKDTCPE[SWKEMN[DGECOGCɋNKCVGFYKVJ arrive with their credentialed reports 4 For example: MRA. 2012. Central Perth Redevelopment Scheme. Cultural Centre spaces. The rooftop VJG%WNVWTCN%GPVTGCPFVJGCFLCEGPV in hand. 5 See: Paul Carter. 2015. Places Made After Their Stories. UWA Publishing. 6 See: Reena Tiwari, 2010. Space-Body-Ritual: Performativity in the City. Lexington Books.

- 80 - - 81 - playing skittles An interview with Sarah Foley on Bosanquet Foley Architects' 2013 piece for Sculpture by the Sea and other installations.

What motivates Bosanquet Foley searches for something more. A search Box festival in Brisbane. The festival Architects to undertake commissions for other meaning in what you do… a drew over 60,000 people. It was placed for playful and artistic installations? creative pursuit because as architects we on Maiwar Green outside the Gallery all start as ‘creatives’. of Modern Art and the State Library of We are motivated by our architectural Queensland. Tyvek Boats was an exercise RWTUWKVUɑTUVCPFHQTGOQUVCPFJCXG Architecture requires discipline, in collaboration with a kitemaker and CɑGTEGCTVKUVKEUKFGVJCVECPӑVDG knowledge of structure, the corseting a fabulous interaction with children’s quenched so we are inventing, creating of a client’s brief and budget; so art and unreserved energy and interaction. and engaging people with our artworks design are the antithesis, the freedom – be it large installations or indulging that architects need to balance their in etching, drawing or painting. It is practice. Another notable children’s public art the instantaneousness compared to RTQLGEVYCUCVJTGGUVCIGKPVGTCEVKXG architecture that appeals but it is also Have you completed any other projects installation with 60,000 white lego the delight it provokes, particularly with exploring the relationship between visual pieces inspired by Danish artist Olafur children. art and architecture? Eliasson. It involved a complete day and involvement of a primary school, 160 Skittles is a delightful art installation that #PKORQTVCPVRTQLGEVKP CTEJKVGEVUCPFVJGPɑPCNN[VJGRWDNKE inspires play within adults and children experimentation with materials was who accessed the installation at the alike. What do you describe as successful the Aloop Series, developed for Saturday Art Gallery of WA and toured to remote design elements that encourage play? Indesign in Brisbane. It consisted of six towns of Western Australia. aluminium pieces that were inspired Design elements to encourage play by the lines of the furniture from the What benefits do you see in a broader need to be robust so that people are not showroom hosting the installation. reaching, interdisciplinary concept of limited in their interaction. The Skittles University design students were architectural practice? installation is carved polystyrene coated involved in the process for mentoring KPɑDTGINCUUCPFDQCVEQVGGRQZ[+V and conceptualisation of an idea. is robust enough to sit outside in the It is the engagement with the elements and be pushed around on the We also had three pieces of artwork community that is enriching: the car springs that return the skittles to commissioned for the Brisbane exciting unpredictability of working their upright positions. Colour is also Mercedes Benz fashion festival. One with children and university students important to stimulate playfulness. piece consisted of two large chandeliers when collaborating and mentoring. These characters are cheeky, distinctive, made from coat hangers for the foyer of Discovering new techniques (etching, playful and vibrantly coloured. the main marquee of the event and the painting, metalwork, woodworking) second was kilometres of recycled paper feeds back into architectural decisions Often architects are perceived to quilled and coiled and tressed from the and also adds a richer visual palette to be involved in the production of ceiling. Thousands of people took part the products you are producing. buildings. How do you see the practice in the festival. This level of engagement of architecture to embody a broader was intoxicating for architects whose We are dedicated to continued spectrum of art and design? work usually has a steady gestation and development, innovation and research CɈGEVUQPN[VJGJCPFHWNQHRGQRNGYJQ Architects are perceived to be involved occupy the building. VQTGOCKPCVVJGEWVVKPIGFIGQHVJGɑGNF in the production of buildings because 6JKUKUTGɔGEVGFKPQWTKPXQNXGOGPVKP that’s their real profession and that’s #TGEGPVPQVCDNGEJKNFTGPӑUCTVRTQLGEV art practice. Collaboration with other stimulating enough for a while but was a two-part interactive installation architects and professionals enriches Skittles by Bosanquet Foley Architects. Image: Clyde Yee. once you’ve done that a few times one entitled Paper Boats for the Out of the our experience. ɻ

- 82 - - 83 - work / rest / play

- 84 -- - - 85 -- - artists in residence Author Michelle Hovane, Koral Ward and donaldson+warn

The Sustainable Housing for Artists and both in the past and today. SHAC is a SHAC was conceived in the backyard and working (apologies to Le Corbusier). cool, post-industrial ‘village’ will be the Since the early stages of the design Creatives (SHAC) project at Landcorp’s ITQWRQHLWUVVJGUGNQECNCTVKUVUVJQUG of a long-time artist’s share house on Our investment is economic, emotional, communal studio for which SHAC is process it was very clear that we were WGV development seeks to address the YJQETGCVGɔQCVUHQTRCTCFGURGTHQTO Stevens Street White Gum Valley. The aesthetic and ethical, and we could currently raising money to own and run not being briefed by a client following lack of affordable housing for artists on the streets, play music in the bars house, a falling down heritage-listed PQVJCXGCɈQTFGFVJKURTQLGEVYKVJQWV as a social enterprise and build equity market trends but a group of artists with practicing and contributing to cultural (and often work behind them). We are cottage, had an enormous shed and the mutual faith and support of our YKVJKPVJGRTQLGEV6JGUVWFKQKUYJGTG a rich variety of backgrounds, needs and life in Fremantle. Delivered with the the people who make Sculptures by backyard and had been an artists’ living partners Landcorp, Access Housing and we, and the surrounding community, aspirations based around the aspects support of the City of Fremantle, and the Sea, yarn-bomb the bronzes; we and working space for at least 20 years. VJG%KV[QH(TGOCPVNG.CPFEQTRQɈGTGF will meet, work, and dream: exhibitions, QHKFGPVKV[CɈQTFCDKNKV[EQOOWPKV[ as partnership between Landcorp and are the people who spray up the walls; In 2007 the house was sold and the VJGNCPFCVCFKUEQWPVCPFYGTGVJGɑTUV workshops, happenings, music nights, place-making and arts practices. Access Housing, SHAC will soon be one we are the people who work within the URCEGYCUGɈGEVKXGN[NQUV6JGCTVKUVU to commit, making SHAC a key part of VJKPMVCPMUWPWUWCNGXGPVUȏa5*#%KU These topics would not only become a of the first projects to be occupied in the community, with the marginalised and concerned, who became the founders the WGV development. Access was the a hub for the change we want to make in EQPEGRVWCNHTCOGYQTMHQTVJGRTQLGEV groundbreaking development. Michelle disadvantaged, transforming lives. of SHAC, decided that there must be a next partner to step up, coming on as QWTEKV[QH(TGOCPVNGCPFKPQWTYQTNFa DWVCNUQNGFWUVQFGXGNQRVJGRTQLGEVCU Hovane and Koral Ward, members of Artists in Australia fall into a unique collective solution and began talking the developer to build the dwellings and CɔGZKDNGȄHTCOGYQTMӑKVUGNH#HTCOGYQTM SHAC’s inaugural committee, and Daniel category of ‘low income professionals’. to anyone who would listen and who studio in collaboration with SHAC and YJKEJEQWNFCEEQOOQFCVGFKɈGTGPV Aisenson of donaldson+warn architects Whilst income varies by artform, full- might be allies. Everyone agreed that it agreeing to act as the landlord for the DANIEL AISENSON dwelling types, serve as a spatial canvas describe the design and value of this time professional artists consistently was very important that artists continue for artists to create and display their NKXKPIURCEGUa5*#%YKNNDGTGURQPUKDNG DONALDSON+WARN project to both artists and the broader earn less than the average wage. Hence to live and work in Fremantle but for a for tenant selection from their growing work, provide opportunities for the 6JG5*#%RTQLGEVDTKGHKUWPKSWGKP community. there is an enduring relationship long time, no one put any money on the membership base. collective use of space, and respond VJGYC[VJCVKVRTQXKFGUCɈQTFCDNG DGVYGGPCTVOCMKPICPFCɈQTFCDNG table. So SHAC is thrilled that in 2017, to site topography, environmental housing for a single user group, in this housing. It is also why artists tend to CFGECFGCHVGTVJQUGɑTUVFKUEWUUKQPU SHAC artists took part in the design conditions and the Fremantle identity. case a Fremantle-based collective of MICHELLE HOVANE AND DGQPGUVGRCJGCFQHIGPVTKɑECVKQP 13 artists and their families will be process with Access Housing and artists. This reverts the typical focus of KORAL WARD ɔQEMKPIVQCTGCUYKVJEJGCRJQWUKPI OQXKPIKPVQCɈQTFCDNGJQWUKPIWPKVUC architects donaldson+warn to invent a A planning module was developed for SHAC enlivening and transforming the OGTGEQWRNGQHDNQEMUHTQOVJQUGɑTUV new model, sustainable both in terms of multi residential developments from VJGVYQDWKNFKPIDNQEMUVJCVɔCPMC SHAC began as a creative response to area, raising property values and then RTGUEKGPVFKUEWUUKQPUCV5VGXGPU5VTGGVa the environment and of SHAC’s future in individual to collective amenity. Given EGPVTCNEQOOWPCNURCEG6JGRTQLGEV VJGJQWUKPIETKUKUVJCVKPVGPUKɑGFKP becoming victims of their own success. the community. There is a Bauhaus feel our continuing commitment to social brief called for four town houses, eight CUVJGOKPKPIDQQOVQQMQɈCPF In 1970s Fremantle the shift from The SHAC dream has been to create about the two apartment blocks which sustainability and support for the apartments and a shared studio to be Perth became a dormitory suburb to warehousing to container shipping had a space where artists can continue to comprise the building, facing each other arts community we were immediately used by SHAC as an open space for the CPKPɔWZQHYGNNRCKFKPVGTUVCVGCPF created an abundance of cheap living thrive in Fremantle, a structure for as they do, and something theatrical about attracted to this brief. It presented artists and to host communal events. international workers. Whilst this and studio spaces which cemented living that recognises how work forms the space between them. The steel stairs the opportunity to engage with the The design posed the challenge to was a boost for cultural consumption Fremantle’s reputation as a hub for an inseparable part of that living, and concrete walkways are expectant EJCNNGPIGQHJQWUKPICɈQTFCDKNKV[HTQO create enough diversity for the dwelling it was a blow to cultural production. the arts, but property prices had been and how built form can be part of the of promenade theatre, aerialists and a design-led perspective, which could typologies to suit individual needs while Visual artists, musicians, performers, steadily rising for decades and by 2007 environment: urban yet green, private wire-work: an opera-factory of everyday also materialise SHAC’s aspirations GZRNQKVKPIVJGGEQPQOKEDGPGɑVUQH community artists – ‘creatives’ – are VJGɑPCNVQGJQNFUKPVJGRTKXCVGTGPVCN and public, social and cultural – a life where ideas are exchanged across for living and working in one place: repetition and the use of typical details an essential part of Fremantle identity, OCTMGVYGTGKPVJGɑTKPINKPG contemporary ‘machine’ for both living and between balconies. The heart of this Fremantle. to meet the stipulated cost benchmarks. ɾ

- 86 - - 87 - A POEM, BY STRIPE

There is a feeling of Bauhaus Dresden about these two apartments facing each other as they do.

The understated greyness of the walls.

The singular incline of the roofs.

The new materials, polycarbonate and solar panels.

The shade - sunscreens like the spoilers of speedway cars.

The ambient green horizontal juliets, the vertical strips of orange cladding.

SHAC by donaldson+warn. Source: donaldson + warne. Very cool, very post industrial.

A machine for both living and working. The planning modules (8m x 8m) were events and parties, with the architecture *CXKPIKPKVKCVGFVJKURTQLGEVVJG5*#% composed around a rational structural acting as a backdrop for everyday life. group has been actively involved There is also something theatrical about the space ITKFCPFEQODKPGFVQOGGVFKɈGTGPV throughout the design process. As a between these two blocks, about the steels stairs and CRCTVOGPVEQPɑIWTCVKQPUCPFTGSWKTGF The shared studio is a key component creative collective, the SHAC team has concrete walkways. areas: a single module became a single QHVJGDTKGH5RCPPKPIVYQɔQQTUKVKU shown tremendous enthusiasm and bedroom apartment, a 1 ½ module located to the north-east of the site support. Their inquisitive nature, their Something expectant of promenade theatre, aerialists became a two-bedroom apartment, with direct access from the street ethical drive for sustainability and the and wire work. two modules stacked became a three- and good connection to the central QRRQTVWPKV[HQTCɈQTFCDNGJQWUKPICTG bedroom town house. The vertical communal core. The studio expresses refreshing indicators that alternatives An opera factory of everyday life where ideas are allocation of dwellings further the collective SHAC identity through for delivering multi-residential exchanged across and between balconies. increased the variety of dwelling types, a generous balcony facing the street; developments are possible with a YJKNGVJGITQWPFɔQQTFYGNNKPIUYKVJ the use of translucent materials giving supportive client willing to encourage Meyerholdt comes to White Gum Valley. courtyards were allocated to families. some weather protection and allowing user participation and interaction with #RCTVOGPVUNQECVGFQPVJGVQRɔQQTU ample light into the space. With the design process. ɻ DGPGɑVHTQOVJGRKVEJGFTQQHVJCV basic services included, the shared provides spacious internal volumes studio can accommodate community XKCCȄNQHVӑEQPɑIWTCVKQPYKVJC meals, meetings, artists in residence, mezzanine. exhibitions, performances and an everyday workspace for the SHAC The central communal area between the artists. building blocks forms the ‘heart’ of the development. The functional elements 6JGVTGPFUVQYCTFUTGUKFGPVKCNKPɑNN located in this space (walkway, stairs and and consolidation around metropolitan roof structures) provide opportunities nodes, higher density developments for SHAC members to personalise the and the integration of live, work and space with art works and temporary spaces can all contribute to community installations. This communal core will building and a much needed see people moving through the space, TGEQPɑIWTKPIQHUGNGEVCTGCUYKVJKP children playing outside, collective Perth’s expansive suburbs.

- 88 - - 89 - ise secret sushi peter hunt travel prize 2013 Author Brett Mitchell

JP-DE-DK-SE-NO-FI-ES-IT-FR-CH-US The path of my travels was bound by a script, of which the one word written The kind lady who served me spoke a purpose, or if they were visiting a with a wry grin that yes, I could, ‘Try simple premise: KP'PINKUJ EJKɈQP UVQQFQWVENGCTN[ little English. house, they would have surely knocked tomorrow.’ Is architecturally focused travel work, to my tourist eyes. From the outside ‘Where from?’ she asked. and waited on the outside to be rest or play? Words and images of architecture are not it looked like a mix between the Australia. received. 5QJGTGWRQPɑPKUJKPIO[EJKɈQP the experience. childhood memory of my Granddad’s Ȅ5KFCPGG!ӑKPVGTLGEVGFUQOGQPGHTQO cake I asked the waitress whether she (Can it not be all of these things?) self-made shed and the rotting afar. It's funny how being a 'tourist' sharpens could write down a dinner order of her A friend of mine once tried to recall how woodpile that was once heaped next Perth I replied. your senses to the nuances of such things recommendation in Japanese. I hoped I understand travelling to be not only COC\KPICRKGEGQH,CRCPGUGEJKɈQP to it. Still, I decided to enter this (Blank looks and silence). that are otherwise just passed off as that this might avoid another awkward a source of lessons and inspiration but ECMGVCUVGFDWVCNCUPQCFLGEVKXGEQWNF windowless establishment. West-Coast. ordinary. GPEQWPVGTYKVJVJGITWɈUWUJKEJGH# CNUQQPGQHNKHGӑULQ[U6JGIGPGTQUKV[QH DGHQWPFVQFQKVLWUVKEG6JGVQYPQH 9KVJCɑPIGTRQKPVGFVQVJGDQVVQO I too approached, gently knocked on man sitting nearby intervened saying such an opportunity, which comes with Ise in Japan on the other hand, I would The interior was dark but for a series of corner of my outward facing palm). the door, paused, and then slowly poked he was going there for dinner as well. (I being awarded the Peter Hunt Travel quickly describe based upon my initial dim light bulbs that hung directly over To which various nods and murmurs my head in through the widening gap, had only referred to the place as 'secret Prize, cannot be taken lightly nor impressions as a low-rise, high density, VJGEQɈGGDCTCPFUGCVKPICTGCU took place around the room. desperately hoping it wasn't a family sushi' but he apparently knew the exact valued in currency alone. The award’s blue-collar town set alongside both a A cutout in the centre of each small home. Inside stood a stunned chef and place based on the described events YQTVJECPDGOGCUWTGFKPCPCɈQTFGF murky river and an idle sea. In a less table revealed warm stones heaped over I then tried to describe to the waitress the three people who I’d witnessed that had transpired). He said he would polite way one might add: run-down and hot coal baskets. entering not long before me. Despite happily translate the evening for me. It time and experience of life beyond the how I entered a strange eating place tired. Finding myself in the middle of QPVJGɑTUVPKIJVVJCV+CTTKXGFKP+UG there being empty seats I was quickly would turn out that this stranger was a normal boundaries of daily experience Ise-Mie I thought that perhaps a good ‘Cosy’ should be a term (and objective) It was the result of curiosity and a told via hand gestures from the chef historian who visits Ise often to ‘learn – an experience often carried out in VJKPIVQFQJGTGOKIJVDGVQɑPFCRKGEG more widely used in the architectural loose arrow pointing to a blank space and a single word translation from a from old buildings’. He suggested that I and around memorable architecture. QHEJKɈQPECMG lexicon. at the edge of the hand-drawn map. gentleman seated at the empty counter go for a walk with him before dinner. 6JGCKOQHO[LQWTPG[YCUVQCUUKIP At the arrow’s end the words read: that the empty room was ‘Full’. URCVKCNGZRGTKGPEGVQKPɔWGPVKCNRNCEGU With a hand drawn map I had acquired, I was the odd one out amongst the small Secret Sushi. Standing in a street, in ‘Tomorrow?’ I asked. Out in the street the 'run-down' and spaces previously registered labeling various food outlets around contingent of locals who were knocking what I thought to be the general area buildings were suddenly described only as distant images or texts. The the old machiya district, I located DCEMVJGKTCHVGTPQQPEQɈGGCPFECMG of the arrow, I saw no commercial The old chef behind the counter looked in rich detail. The ones of historical VTCXGNRTK\GLQWTPG[GPCDNGFPQVQPN[ myself between two choices. One was They sat separately throughout the signage of any kind. I guessed however back at the customers. The customers KORQTVCPEGYGTGTGXGCNGFD[URGEKɑE an undertaking of lived research a glass shop front with decorated ‘shop’ but talked freely across the from seeing three people walking looked at each other. The man seated details in the scroll formations at cakes in the front window overlooking room to each other in lively Japanese VQEQPɑTOQTFGP[O[RTGXKQWU through an otherwise nondescript with his wife then kindly translated the ends of each roof tile. We entered the busy main road. (The shop’s conversation. I observed this as I slowly residential door that they were perhaps back, of my request to eat dinner a 'second-hand store' and without thinking, but also a welcome pause and sign writing stated that it has been CVGCIGPGTQWUUNKEGQHEJKɈQPECMG going inside for dinner. I deduced all here tomorrow. The old chef looked breaking stride, greeted the elderly TGɔGEVKQPWRQPO[QPIQKPIKPVGTGUV operating since 1962). The second topped with fresh whipped cream. this from a minor detail in how they back at the customers. The customers owner and disappeared straight out in architecture and how that might be option was a wooden door in an Only then was I able to fully realise the entered: slowly, with a pause at the looked back at the chef. I looked on at the back, down a literal tunnel of shared upon my return. unassuming side street. Its only FKɋEWNV[QPGJCUKPVT[KPIVQFGUETKDG open door, heads down – as if politely. GXGT[QPG6JGEJGHɔWUVGTGFUQOGVJKPI LWPMUVTGVEJKPIHTQOVJGUVTGGVYKVJ appeal was the hand written chalk the sweet, cloud-like sponge cake that +ɑIWTGFVJCVKHVJG[NKXGFVJGTGVJG[ to himself. The man with his now KVU5PQQR[ECNGPFCTEQɈGGOWIU ... UKIPɑNNGFYKVJɔQYKPI,CRCPGUG melted away in my mouth. would have walked straight in with smiling wife turned and conveyed in the window, past a commemorative ɾ

- 90 - - 91 - Sydney Opera House shaped cognac the machiya we were standing in was I took the cup as instructed and turned it drunk Japanese man crashed through key forever. No signage. No menu. No VJGOGCNYQWNFQXGTRQYGTVJGɑUJCPF bottle, all the way back to what I was nail-less. The structure was not pinned slowly in my palm as directed. It was very the front door of the shop, stumbled prices. No rush. He doesn’t want to get negate the care and attention in its told were Edo period sake cups like the shrines that I had visited earlier humbling. It tasted terrible. forward through the small gathering busy with work. He simply makes what making). UVCEMGFCOQPIUV/GKLKRGTKQFXCUGU that morning*. Each hacked beam and and handed me a pack of rice crackers. is the freshest product on the day and (still wrapped in compressed rice column was held by its own weight, The dusty lolly eaten before drinking I accepted them, upon which he stated only for the people that appreciate this Dinner was like a private sushi train, its straw as an early form of polystyrene gravity and the precise placement to make it taste sweeter may as well in perfect English that - unfortunately CRRTQCEJCPFGɈQTV destination: me. packaging). Further into the dim light of the next piece that transferred have been a mothball. But I continued JGOWUVNGCXGKOOGFKCVGN[VQIQɑPF we went following a set of small gauge the forces around the building in a to drink it as the circumstances I had a toilet. He shook my hand as if an old I could see nothing of the meal The night soon turned into a funny rail tracks used to cart goods deep continuous balancing act. The rough found myself in were so beautiful that friend, so I wished him luck on what preparation as the metal counter at mess because the drunk translator (#1) within the bowels of the building. We cut marks that scarred timber faces I feared I might break their dreamy was most likely going to be a perilous which we sat was covered in a wall of kept topping up the soon to-be-drunk went all the way back, until stopping were made by being repeatedly struck nature if I didn’t. A small crowd of LQWTPG[0QQPGEQWNFOCMGUGPUGQH tupperware containers. My translators chef’s drink. I could still count three WRQPCTQVVGPUVCEMQH,CRCPGUGUJQKLK by an old crowbar-style axe commonly customers had soon surrounded us YJCVJCFLWUVJCRRGPGF+PUVGCFVJG LQMGFVJCVKVKUVJGDGUVVCUVKPI ‘translators’ but only one of whom was screens eaten away by time. used to transform a tree to lumber. hoping to also be granted such a special drunk man cannonballed back out into tupperware in Japan! The well-dressed still operational. The other (#2) was It is a traditional technique not used tea. They asked questions that were the street and everyone else dispersed man had been drinking the afternoon mostly silent unless eating loudly. It Without hesitation, and to my surprise, anymore but one that allowed the translated by anyone who wanted to back to his or her own seats. away whilst waiting for me to show up. was revealed that the merrily drunk the historian started tearing the layers historian to date the building to a time have a guess at my English reply. I He was therefore already slightly drunk translator (#3) studied architecture but of paper screen from the old wooden before Europeans colonised Australia. doubt whether I successfully described The events however continued on along on 'something' a bit like sake but served went on to do master planning, then LQKPGT[HTCOGU+PFQKPIUQJGTGXGCNGF the Peter Hunt Travel Prize or why it their strange and unexpected path. diluted with near boiling water. Out moved into a government position calligraphy-like script on the back side We crawled through many other bought me here to Ise, let alone the of cultural politeness I was poured a in the Middle East before returning of each successive layer pulled free. I buildings and met the characters that crazy house in Gelnhausen towards Along with my translators I eventually drink that never emptied. It tasted like to work back in Japan in property was told that these layers of repair were inhabited them until eventually we which I would soon be departing. ended up at the secret sushi place. The methylated spirits mixed with shower development. made from recycled pages of merchant found our way back to cake shop. The I presented a photo of the strange EQɈGGNCF[JCFTWPICJGCFCPFOCFGC water. I soon gathered that the aim was accounting books used when Ise was elderly mother of the waitress had by German house to the group. booking for us. We entered to the sight to drink it so hot that you can't taste He said that the next time I visited Ise I originally a bustling trading town. It this time set up a green tea ceremony of a very well dressed man in a suit anything but your mouth burning. My was to bring two girlfriends: is the historian’s role to now reveal in preparation for our return. It turned A bespeckled grey haired man guy seated at the counter. It turned out to be previous impression of the green tea My own - and His. and record valuable insights into the QWVVJCVUJGOCMGUVJGEJKɈQPECMG RKRGFWRHTQOVJGEQɈGGDCT the same man who was there the night improved with every sip. (It turns out ‘his’ was referring to my economic history of Ise that are hidden and was happy that I had come so far ‘Ahh I see. The house on TV.’ before. He told us that his wife had mother). amongst this timeline of decay. for it. As she made the green tea in forced him to turn up again – alone - to Dinner was sublime. Ise-style yakitori front of me I saw a Japanese version The group murmured in appreciation help translate for me. Apparently after I chicken. Squid in miso vinegar. Raw I was reminded of this gentleman’s We would later end up in the roof of my own family’s tradition of slowly of this revelation. This man then left the day before the chef had a minor mackerel. Fresh abalone topped with contract for the rest of the evening. space where he continued to pull out ITKPFKPIVJGKTEQɈGGCVVJGGPFQH decided to invite himself to the meltdown when another 'English-man’ an edible garnish of internal organs We would later receive a heartfelt but random artifacts such as tiny sake special occasions. It is a process passed evening’s ‘secret sushi’ dinner - to also calling himself Henry walked in. Henry QHFKUUGEVGFɑUJ4CYVWPCYKVJ somewhat distressed lecture on how his cups or odd shaped clay sinkers used down through generations, a process by help translate. (He did not say another was told to go away and not come back. accompanying ginger slivers to be wife can not stop making miniature KPGCTNKGTɑUJKPIVKOGU*GRQKPVGF which turns are counted and portions word in English for the rest of my time +VVWTPUQWVVJCVVJGJWODNGDWVITWɈ dipped in soy sauce. (I was advised that teddy bears. He thought that ‘we’ - as out that the whole timber structure of measured by the eye of experience. in his company). As if also on cue, a sushi chef has been trying to stay low- any other way of adding soy sauce to in everyone including the chef - should ɾ

- 92 - - 93 - go see this spectacle immediately. It *The original purpose of my travel to Ise was decided however, that this may not was to visit the fenced Shrines of Naikū be a good idea. Not because it was well (ֵ࿮ and Gekū (֔࿮ . These ancient after midnight on a weeknight (or that wooden structures are located within a we were all now drunk) but because we suitably scenic national park and have RTQDCDN[YQWNFP VCNNɑVKPUKFGCVKP[ been cultivated and re-constructed every JQWUGɑNNGFVQVJGDTKOYKVJUQOCP[ 20 years or so since the first century. It teddy bears anyway. is an ongoing act which marks time, celebrates both nature and culture, the Small spaces. Engaged Moments. cycle of life and our place within it. The journey was prompted by the reading The small dimensions of this Japanese of a text that described this exemplar of space soon became apparent when Japanese architecture as being a pure everyone started taking turns crashing reflection of a culture temporal in its into and out of the toilet cubicle dimension: one which always attempts KOOGFKCVGN[CFLCEGPVVQVJGEQWPVGT to defy time and the often repeated 6JKUQHVGPJCFCFQOKPQGɈGEVQPVJQUG destructive events in life – whether they left seated. The delivery of food seemed be economic, environmental or those endless, as did the pouring of that catastrophically manmade. Here, eating 'drink'. When I suddenly felt hungry cake, drinking tea, walking through for the previously gifted rice crackers ancient machiya houses and later I realised that it was probably a good stumbling into and out of a secret sushi time to leave so that I might make my kitchen I was also able to experience train in the morning. It was then that firsthand an alternative reading of this I was formally handed business cards culture whereby the new is intertwined and told that I would not be allowed to with the old, in a juxtaposition and pay for anything. In exchange everyone contradiction of moments - not just decided that they would one day come objects, that are as potent in their fleeting VQ2GTVJVQGCVETC[ɑUJ#NN+EQWNF presence as they are now in their absence. say in reply was ‘Arigato gozaimusu’. I accompanied this with the deepest, ... most polite bow the sake-like drink would allow me. Brett Mitchell was the 13th recipient of the Peter Hunt Travel Prize. He The chef replied, ‘Come back again does not drink beer, wine, milk or soon’ (in perfect English). hot drinks and can count on less than two hands the amount of times he has The last thing said to me by my translators been completely drunk - two of which though. "Ichi go Ichi e" occurred unwittingly in Japan. ɻ

It is a Japanese saying. One which attempts to describe a once in a NKHGVKOGEJCPEG QTɔGGVKPIGPEQWPVGT  One that may never be repeated even if attempted. Image: Brett Mitchell.

- 94 - - 95 - barragan’s mexico: architects board graduate award 2014

Author Tess O’Brien

I arrived in Mexico City on Christmas intriguing mix of old and new, Mexico subtle changes in level, highlighting Day 2015. Its hugeness and moments is a place which holds on tightly to its progression through spaces; and of chaos brought an unanticipated traditional arts, crafts, clothing and landscapes into which the built form UGPUGQHWPGCUGFWTKPIVJGɑTUVHGY food, with ancient indigenous culture nestles - a walled oasis. days; realising my smallness in this and people woven into a distinctive megacity and immediately regretting blanket of American and European Walking through Barragan’s rooms, that my pre-trip Spanish practice had threads. gardens, and rooftops was emotive not been a committed one. Learning the and absorbing; the rich poetics in his smaller nooks and crannies of Mexico This photo essay reveals two periods works having a notable impact as I City through its trustworthy public in Barragan’s career. His early works, soaked up the boldness of solid forms, transport and the surprising ease of NQECVGFKPVJGEKV[QH)WCFCNCLCTCCPF the crafted washes of light, and the roaming the City on foot, I grew to settle the masterpieces that occurred during into the rhythm of travelling here. The the later period of his career in Mexico UKIPKɑECPEGQHURCEGUNGHVGORV[6JG UOCNNGTOQOGPVUKPO[ɑTUVHGYFC[U City. Together these photographs reveal moments of arrival had an impact of set the tone for what was an enriching the maturing of an architect, one who another kind, with no hint as to what VQWTQH/GZKEQUVQRRKPIVQGPLQ[VJG explored a merging of local, tradition- lies beyond the strong walls that border LQXKCNVWPGQHCOCTKCEJKDCPFDGKPI soaked style whilst sitting gracefully the street, and with modest front doors in awe of the Frida Khalo studio and within the modernist period and the OQTRJGFKPDQVJUECNGCPFUKIPKɑECPEG house, the discovery of a welcoming distinct Mexican climatic and cultural in comparison to the spaces that would street market, and delving into ceviche condition. inevitably be found beyond. It was the tacos surrounded by locals and their contrast of these two experiences - charismatic lingo. The experience of visiting these two arrival and then moving in beyond the diverse bodies of work brought to light street edge - that allowed me to draw This trip was the outcome of receiving VJGHQWPFCVKQPCPFTGɑPGOGPVQHVJG lines between day-to-day life in Mexico VJG#TEJKVGEVU4GIKUVTCVKQP$QCTF architectural cards Barragan played in and the works of Barragan. Gentleness, of WA Graduate Award. Research during many of his works: manipulating light emphatic brutality, contagious O[OCUVGTUVJGUKURTQLGEVCV%WTVKP through painted glass or thoughtfully happiness and evident sadness surmise University had fostered a love for the positioned openings, not always the personality of this broad country, work of Luis Barragan and, through intended for viewing from but to my award proposal, I suggested I would DTKPINKIJVKPVQDQWPEGQɈCYCNNQT CPFKPVWTPJKPVCVVJGUKIPKɑECPEG travel to Mexico to explore Barragan’s a precisely located golden artwork; of the distinct urban pattern where works and the curious country he lived VJTGUJQNFUFGUKIPGFVQDGLWUVC predominantly wall-lined streets shelter KP1XGTɑXGYGGMU+DWUUGFO[YC[ little shorter than usual, inevitably the domestic realm. In the case of around Mexico, admiring its colourful, celebrating the experience of moving Barragan, beyond this wall is a spatially rustic personality. A country that from one space into another, likewise calm world completely removed from immediately reveals itself as being an manipulating the ground level with the outside. ɾ San Miguel de Allende, Guanajuato.

- 96 - - 97 - Cristo House, 1929, Guadalajara. Barragan House & Studio, 1947-48, Mexico City.

Gonzales Luna House, 1929, Guadalajara. House on Calle Rayon, 1934, Guadalajara. ɾ

- 98 - - 99 - Chapel of the Capuchinas, 1954-60, Mexico City.

Orzoco House, 1937, Guadalajara. San Miguel de Allende. ɾ

- 100 - - 101 - Gonzalez Luna House, 1929, Guadalajara.

Cuadra San Cristobal/ Egerstrom House, 1966-68, Mexico City. Cristo House, 1929, Guadalajara. ɾ

- 102 - - 103 - Guadalajara.

Gilardi House, 1975, Mexico City. Gilardi House, 1975, Mexico City. ɾ

- 104 - - 105 - Barragan House, 1947-48, Mexico City. Barragan House, 1947-48, Mexico City. ɾ

- 106 - - 107 - Barragan House, 1947-48, Mexico City. Gilardi House, 1975, Mexico City. ɾ

- 108 - - 109 - Gardens of Casa Ortega, 1941, Mexico City.

Barragan House, 1947-48, Mexico City. Barragan House, 1947-48, Mexico City. ɾ

- 110 - - 111 - Studio of Luis Barragan, 1947-48, Mexico City. Barragan House, 1947-48, Mexico City.

Cuadra San Cristobal/ Egerstrom House, 1966-68, Mexico City. San Miguel de Allende. ɻ

- 112 - - 113 - a word from the wise Author Brad Wetherall and Mary Ong

Two EmAGN members interviewed a professional they consider to be a mentor to talk about WORK / REST / PLAY and the interconnected activities and experiences that contribute to a life-balance.

WORK / REST / PLAY – AT Work there was a huge depression and 9JKNGVJGRTQITCOYCUɔGGVKPIVJG play in our lives. To Beata, the focus of began engaging with wider aspects of +VKULWUVCUKORQTVCPVVQIGVKPXQNXGF As the saying goes, happiness is nothing there was basically no employment at lessons are timeless. Faced with an ɑPFKPIVJKUDCNCPEGKUPQVUQOWEJC our profession: she has been involved in in social / sporting activities as it is if not shared. Perhaps the same can all for students. So I talked to Brian economy that is similarly challenging conscious thought as it is an acceptance tutoring at Curtin University, mentoring in mentoring or advocacy groups in be said of experience. Establishing Klopper, mainly because Brian had been HQTUVWFGPVUCPFITCFWCVGUVQɑPFYQTM that we are all not going to be equally at various formal and informal architecture. We shouldn’t aim to gain and developing relationships with FGXGNQRKPIRTQLGEVUCTQWPF(TGOCPVNG and develop sustainable connections balanced all the time. platforms; most recently via the Women HWNɑNOGPVKPQPN[QPGVJKPIKPNKHG more experienced practitioners is one for quite a while, and I suggested that within the industry, mentoring in Architecture mentoring program. She and if something doesn’t work out, try way that early-career architects can we look at a program where we buy a programs such as AT WorkQɈGT ‘You have to accept that there are times is involved in tutoring at the Practice something else. You have lost nothing ensure they are better informed of the property and bring the students in to direction on how practical, useful where you will be putting more energy of Architecture Learning Series (PALS) and gained invaluable experience.’ MPQYNGFIGTGFGɑPKPIȄYQTMӑQWVUKFG into one commitment and become organised and run by the Australian industry and better equipped to make help to build it.’ Mary Ong the transition in to the workplace, of its traditional bounds, can be shared “unbalanced”. One should be conscious Institute of Architects which provides particularly when those relationships Over the course of a year between with young architects to ensure a more KPVCMKPIVKOGYJGPCXCKNCDNGVQTGɑNN support to registering graduates, and ... FGXGNQRKPCUVTWEVWTGFGPLQ[CDNGCPF classes, surf breaks and trips to the pub, sustainable transition in to their early in the family, social and relaxing more recently she is chairperson for an purposeful program. alongside Brian and Murray, AT Work careers. categories. People shouldn’t strive to Australian Institute of Architects awards EmAGN are currently preparing a ɑPFVJGRGTHGEVDCNCPEGQVJGTYKUGVJG[ LWT[KP9# formalised Mentoring Framework to build functioned much like a traditional Brad Wetherall One such program was the short- small practice. With a hands-on and will be disappointed.’ upon and help facilitate other mentoring lived but unique Architecture Training practical approach, AT Work developed a So why do all of this? Through her activities already existing in WA. Please The topic of motherhood and own experience, she noticed that contact EmAGN should you wish to be Workshop, also known as AT Work; a UOCNNENWUVGTQHRTQLGEVUKPCPFCTQWPF WORK / REST / PLAY Balance – career is also widely discussed, with there weren’t many, if any, female involved as a mentor or mentee or just to program that combined work, rest Fremantle. Is it just a Myth? and play into useful experience. Run gender equity an important matter architects in positions of authority, share your thoughts. ɻ acknowledged by the Australian mentoring or involved in the PALS VJTQWIJQWVCPFVJGRTQITCO ‘We had students working on a variety Beata Davey completed her Institute of Architects in recent times. VWVQTKCNU%QPUGSWGPVN[UJGQɈGTUJGT placed students on-site working of things, from laying bricks, to welding architectural studies at Curtin As a woman with a young family, she time as she believes that ‘we need to CNQPIUKFGRTQLGEVNGCFGTU/WTTC[5NCXKP UVGGNYKPFQYUFQKPITQQHHTCOKPIUVWɈ University, is a registered architect ɑPFUVJCVVJGMG[EQPVTKDWVKPIHCEVQT evolve our profession. There needs to and Brian Klopper. Through practical NKMGVJCV+VYCUCXGT[XCNWCDNGRTQLGEVӑ CPFJQNFURQUVITCFWCVGSWCNKɑECVKQPU VQGPCDNGJGTVQɑPFDCNCPEGKUC be a shift in our culture: young (female building experiences, students gained in construction law from Murdoch supportive partner: ‘without them you and male) graduates need to be shown hands on, technical know-how in a 4GɔGEVKPIQPVJGRTQITCO/WTTC[ University. She is employed as a Senior can’t do anything.’ Within her family that it is normal to have women in period where work was particularly hard KUEQPɑFGPVVJCVKPCFFKVKQPVQVJG Architect at Morley Davis Architects, a dynamic the concept of co-parenting architecture in positions of authority.’ to come by. practical knowledge gained, participants UOCNNɑTORTCEVKEKPIKPCIGFECTGCPF is practiced daily, with her husband It is also imperative that employers buy came out with a sound understanding QVJGTFKXGTUGRTQLGEVU5JGJCUDTQCF sharing the responsibilities of raising into this culture. On a personal level, Murray recounted the experience: of the issues surrounding construction, RTQLGEVGZRGTKGPEGYJKEJKPENWFGU their child. $GCVCJQRGUVJCVKPLGEVKPIRQUKVKXKV[ ‘I was working at Curtin and the part and the industry more generally. being part of the team which delivered CPFEJCPIGYKNNDGPGɑVCNNKPFKXKFWCNU of the course I was running was the the Perth Arena. Prior to having her child, Beata admits and create a more open and positive last design course before third year ‘It didn’t mean they came out with a that she was quite naive regarding the industry for future generations of students went out to work in a practice. full knowledge of construction but 6JGKFGCQHɑPFKPICDCNCPEGDGVYGGP strong gender bias in architecture. She architects. At the same time, there was a fair bit I’m certain that they came out with an working, resting and playing is not believed that if she kept her head down of small development going on around understanding of the issues involved in new and has been heavily discussed in and worked hard, then gender will not ‘Finding balance should not be obsessed Fremantle and a number of architects it and how to solve problems. So really it various spheres. In more recent times DGTGNGXCPVKPECTGGTVTCLGEVQT[+VKUPQ about - we need to accept the organic were doing bits and pieces around the was about developing an attitude toward VJKUFKUEWUUKQPJCUUJKHVGFVQɑPFKPIC secret that it still is. Knowing this, she PCVWTGQHQWTNKXGUCPFLWUVIQYKVJKV City. It coincided with a time when processes as much as anything else.’ NKHGDCNCPEGYKVJVJGFKɈGTGPVTQNGUYG

- 114 - - 115 - ten from ten

We asked ten architecture and associated professionals ten questions on WORK / REST / PLAY.

OWEJOQTGGɈQTVKPHQTGSWCNQTNGUUGT The intermingling of work, rest and play - then having periods of respite when the If you weren't working in your current results. your greatest outrage? opportunity arises. To do this you need profession, on what, how or where else An addiction to checking my i-device to set clear boundaries and manage would you like to work? In what ways, if any, do rest and play affect for personal purposes then without fail expectations. My four-year-old dreams of being a your work? being distracted from my rest and play cowgirl, and you know what? I wouldn’t Rest and play allow my mind to loosen D[YQTMPQVKɑECVKQPU In what ways, if any, do rest and play affect OKPFLQKPKPIJGT+VYQWNFDGNKDGTCVKPI up and be relieved of the pressure of your work? VQVT[UQOGVJKPIVQVCNN[FKɈGTGPV creating results on demand. Allowing The intermingling of work, rest and play - Taking the time to rest and play HQTɔGZKDKNKV[CNNQYUOGVQCUUGUU your greatest delight? gives me the space and time to be The intermingling of work, rest and play - the task and prepare a much more Having the ability to be present with my able to think strategically and see your greatest outrage? appropriate response. family at their most important stages things in perspective. It refreshes my +VECPDGFKɋEWNVVQUYKVEJQɈCPFDG in life. DEBORAH BINET mind and gives me renewed energy present. Does your work affect your rest and play? ARCHITECT AND ASSOCIATE DIRECTOR for work. ROBERT SLAVICEK If so, in what way? ... CAMERON CHISHOLM NICOL The intermingling of work, rest and play - PRINCIPAL SLAVICEK STUDIO Absolutely. Architecture is all around CHAIR AUSTRALIAN INSTITUTE OF Does your work affect your rest and play? your greatest delight? ARCHITECTURE us and it continuously evokes emotions ARCHITECTS WA HERITAGE FORUM If so, in what way? Meaningful work is intrinsic to the AUSTRALIAN INSTITUTE OF ARCHITECTS in us. My work does occasionally intrude into fabric of my life. It gives me a sense of WA CHAPTER COUNCILLOR my private time, but the gain is that I RWTRQUGCPFEQPɑFGPEGYJKEJECTTKGU Technology has broken down traditional Some projects by their nature invite a level am able to hit the ground running when through to my private life. Technology has broken down traditional of playfulness. Do you bring play (or rest) boundaries of the office, and with that the +ӑOPGZVKPVJGQɋEGCPFYQTMOQTG boundaries of the office, and with that the into other more sober projects? If so, how? delineation of work, rest and play. What GɈGEVKXGN[ delineation of work, rest and play. What 'CEJRTQLGEVUVCTVUYKVJCUGPUGQH have been the greatest gains you have seen ... have been the greatest gains you have seen playfulness or creative freedom. Not from this change? Some projects by their nature invite a level from this change? every brief might allow for this but it is The greatest gain I have seen is the of playfulness. Do you bring play (or rest) The ability for people to have greater a starting point to assess how I would QRRQTVWPKV[VQYQTMOQTGɔWKFN[+ECP into other more sober projects? If so, how? KPɔWGPEGQPJQYVJG[QRGTCVGVJGKT RGTUQPCNN[CRRTQCEJVJGRTQLGEV tailor the way I work to suit my family’s I try to, through the use of colour, form, lives. It removes the restriction of needs. Being connected via technology texture, light, and/or pattern. FGɑPGFVKOGHQTURGEKɑECEVKXKVKGU When you're not working, how do you rest IKXGUOGɔGZKDKNKV[CPFCWVQPQO[ or play? When you're not working, how do you rest And what have been the greatest losses? To completely rest, I need to remove And what have been the greatest losses? or play? Separating clients’ expectations of work- myself from the environment and shut The greatest loss would be the erosion I spend most of my time with my two related time and personal time. QɈD[GPICIKPIKPNKVGTCVWTGQTɑNO of boundaries between work and private young daughters, and with family and 2NC[KUGCU[CU+LWUVNQQMVQO[UQPUCPF time. friends. We are quite often at the beach Do you think the blurring of lines between they take me away to their imaginative or the park and we are serial birthday work, rest and play leads to working worlds. Do you think the blurring of lines between party attendees. Being in a creative smarter or working harder (or more)? work, rest and play leads to working industry, I am very much interested in This depends on the character of the If you weren't working in your current smarter or working harder (or more)? the arts and so are my daughters. We individual. You need have discipline profession, on what, how or where else I think it depends on how it is like to check out live music, theatre, cafe otherwise you will easily, and very would you like to work? managed. If managed well then you ɑVQWVUPGYDWKNFKPIUCPFWTDCPFGUKIP quickly, no longer be focused on any Travel photography. Exploring places do work smarter, which can mean spaces. QPGCURGEVCPFɑPFVJCV[QWCTGRWVVKPI and capturing moments in time. working harder when you need to and ɾ

- 116 - - 117 - graduates appear to be somewhat When you're not working, how do you rest / thought bubble / issue is immediately Methodist Ladies College and am reluctant. I think our clients love to see or play? worked on / resolved / responded to President of the Property Council (WA) drawings being created as they speak. Rest comprises gym, reading, walking, the same day. There is also an absence so work and commitments do tend to ɑNOVJGCVTGEQPVGORQTCT[FCPEGCPF of a critical eye or gut feeling to see if be seven days a week. I try to attend to Do you think the blurring of lines between friends. something looks right. People think if ‘after hours’ work at night when other work, rest and play leads to working the answer is provided by a complex family members are asleep as I have smarter or working harder (or more)? If you weren't working in your current software package then it must be right, always been someone who prefers to I see the industry relying on unpaid profession, on what, how or where else yet naturally bad data input produces work late rather than early. On a positive QXGTVKOGLWUVVQDGEQORGVKVKXGCPF would you like to work? bad data output. note I am trying to train myself not to that is putting the work life balance /[aCNVGTPCVKXGQPTGVKTGOGPVCVYKNN make immediate response to emails out of kilter. I don’t expect people to be to return to the art that I started out Do you think the blurring of lines between when they arrive after hours and are not work overtime, but like a lot of practice with. At present there is only time to work, rest and play leads to working urgent. I’m not great at this but I am so PHILIP GRIFFITHS TANYA TREVISAN Principals, I do it anyway. dabble and it’s a bit embarrassing. smarter or working harder (or more)? much better than I was. DIRECTOR GRIFFITHS ARCHITECTS Honing those skills remains an CHIEF OPERATING OFFICER I believe the opposite has occurred IMMEDIATE PAST PRESIDENT AT TRG PROPERTIES In what ways, if any, do rest and play affect ambition. and that there is a temptation to Some projects by their nature invite a level AUSTRALIAN INSTITUTE OF ARCHITECTS ARCHITECT your work? procrastinate with the more challenging of playfulness. Do you bring play (or rest) (WA) Rest and play don’t impact on work. The intermingling of work, rest and play - UVWɈDGECWUGYQTMVKOGKUPQY into other more sober projects? If so, how? seemingly endless and the ability to Although I am possibly not the youngest your greatest outrage? Technology has broken down traditional 1WTNCVGUVCRCTVOGPVRTQLGEV respond is not limited to time spent Technology has broken down traditional architect in practice, work and play are My greatest outrage in the work, rest boundaries of the office, and with that the Empire West, Perry Lakes has some KPVJGQɋEG6QO[OKPFYGPQYYQTM boundaries of the office, and with that the both fairly high energy. and play balance is not to be outraged, delineation of work, rest and play. What playful aspects to it: for example have been the greatest gains you have seen longer but not necessarily smarter. delineation of work, rest and play. What which is outrageous. Why is it I seldom the refurbishment of the original Does your work affect your rest and play? from this change? Trying to balance work and parenthood have been the greatest gains you have seen complain about the balance. Commonwealth Games Scoreboard If so, in what way? To me the greatest advantage is the thing that led me to work smarter, from this change? Building has consciously updated its Work is more inclined to impact on The intermingling of work, rest and play - technology brings is being connected not technology. A lot of what I do is unique and messaging by converting it from an technology means spending a lot of rest and play. With a number of board your greatest delight? VQVJGDWUKPGUUCPFCDNGVQYQTM energy consumer to an energy producer. time setting up for a small amount of activities, pro bono commitments and The greatest delight comes from no matter where I am. This means In what ways, if any, do rest and play affect We did this by introducing what we work. Technology comes into its own a willingness to meet on weekends, rest practice and giving back to the being able to work remotely relatively your work? are told is the only fully integrated with repetitive work and revisiting and play come under a good deal of profession. What a privilege it is to guilt-free. On a practical level being able The more rest and play, the less stressed PV curtain wall façade in WA which places for subsequent phases of work. pressure. The solution seems to be to meet and help people and to mix to send photos and drawings so easily +ɑPFVJCV+COCPFVJGOQTGGPGTIGVKE replaced the rusted-out diodes. We Technology is having some negative play hard. with colleagues to explore other ways is still like magic – I can remember and enthusiastic I become. Stress is a have also installed 3m high illuminated impacts with expectations being raised of thinking, to meet informally, and working in Berlin in 1991 with pernicious and subtle enemy, I suspect LCXGNKPUV[NGNKIJVUCPFCOEQTVGP QPVJGDCUKUVJCVKVOWUVDGGCU[LWUVVQ Some projects by their nature invite a level to discover how much we all have in Manhattan-based clients and engineers having some stress makes me work well sculpture that we commissioned produce work electronically. Working of playfulness. Do you bring play (or rest) common. There is so much overlap in and we were entirely reliant on faxes and stay focused, too much stress and it URGEKɑECNN[HQTVJGRTQLGEV+VKUD[CTVKUV hours have not changed in a positive into other more sober projects? If so, how? work, rest and play and it always puts a and couriers for the day-to-day sharing JCUCPCFXGTUGGɈGEV Greg Johns who is based in Adelaide direction. Fun is at the core of what we do. So even smile on my face. of information. VJGOQUVȄUQDGTӑRTQLGEVUCTGURTKPMNGF Does your work affect your rest and play? and was inspired by the athletic history And what have been the greatest losses? with levity. It may be in the conduct of And what have been the greatest losses? If so, in what way? of the Perry Lakes location. None of The great loss has been the lack of VJGRTQLGEVQTOKIJVGZVGPFKPVQVJG ... I believe that the blurring of the work ;GUO[YQTMFGɑPKVGN[CɈGEVUO[TGUV these were statutory requirements yet capacity to do things very quickly and outputs too. The aim is to make the time and leisure time is the greatest loss, and play. Work for me doesn’t really we felt that the historic location is so freehand sketching. I have maintained YJQNGLQWTPG[CRNGCUCPVGZRGTKGPEG VJCVCPFRGQRNGӑURCVKGPEG+FQɑPFVJCV stop, it simply slows a bit after hours. important that it provided us with a that capacity, but the emerging there is an expectation that a new idea I also sit on the College Council of great opportunity to do a bit more. ɾ

- 118 - - 119 - When you're not working, how do you rest Do you think the blurring of lines between important to bring, at the very least, LWUVKɑECVKQPHQTEJGEMKPIHCEGDQQM or play? work, rest and play leads to working a playfulness in mindset to your work Instagram or the like during meetings Family, friends, wine, architecture and smarter or working harder (or more)? GXGPKHPQQPGGNUGUGGUKV a2CTVQH QTCVRTGUGPVCVKQPUa travel – probably in that order - are my I think we work smarter, that playfulness comes in developing favourite pastimes. JCTFGTaCPFaOQTG5QEKGV[ӑUEQPEGRVQH strong relationships with your clients The intermingling of work, rest and play - time (our need for immediate responses that elevate you above the (sometimes) your greatest delight? If you weren't working in your current CPFITCVKɑECVKQP JCUEJCPIGFCPFVJKU sobering nature of the legal work itself. Rottnest Island. If it were not for the profession, on what, how or where else has been driven by technology. If you ability to blend work, rest and play, I would you like to work? YCPVVQMPQYUQOGVJKPIɑPFKVQWV When you're not working, how do you rest would probably not get to Rottnest for I really love working within the now. If you want to do something - or play? our annual family holiday with my kids, property industry and I also love do it now. But if that cultural shift in I am learning the violin – I love the fact husband and friends. It is my favourite thinking / needs has occurred in our that it is requires an all-encompassing place to go with the family. being involved with the construction SUSAN KREEMER PICKFORD rest and play, can we expect it to be focus (of course the curled up toes UKFGQHQWTRTQLGEVUVQQ+PO[TQNG ISLA McROBBIE GENERAL MANAGER (WA) ENGINEERS FKɈGTGPVCVYQTM!a YJGPVJGPQVGUCTGCDKVȄQɈӑYQWNF I get to spend time with people PARTNER (PROJECTS INFRASTRUCTURE ... AUSTRALIA with a range of skills, interests and AND CONSTRUCTION) JACKSON RTQDCDN[GPLQ[CRJ[UKECNTGUV +JCXG backgrounds. Working together on McDONALD In what ways, if any, do rest and play affect also taken up hockey again this year, your work? NCTIGRTQLGEVUVJCVJQRGHWNN[GPJCPEG after quite a few decades of not playing. Technology has broken down traditional our built environment and our I think that we are more open to non- That is certainly not a (physical) rest, boundaries of the office, and with that the Technology has broken down traditional traditional options of ‘rest’ and ‘play’ but both serve an important purpose in community is a real pleasure. I really delineation of work, rest and play. What boundaries of the office, and with that the even when these impact on your work. refocussing away from work. can’t imagine doing anything else. have been the greatest gains you have seen delineation of work, rest and play. What It is the concept of the appropriate If I was to retire then I suspect that from this change? have been the greatest gains you have seen blend. As a workplace, you need to If you weren't working in your current I would want to spend a lot of time The ability to connect with anyone at from this change? recognise that rest and play does not profession, on what, how or where else travelling, but equally I would still I think that, rather than talk about UVCTVCVaROaGCEJFC[ QTaROaQP would you like to work? anytime anywhere regarding anything. want to continue to be involved with the delineation of work, rest and play, Ca(TKFC[ a On particularly tough days, I look out For me, the construct of work needing to the density debate and improving thanks in a large way to technology, QHO[QɋEGYKPFQYVQ-KPIU2CTMCPF be done ‘at work’ (as opposed to another apartment and built form design and we really should now be talking Does your work affect your rest and play? think I would love to be a gardener. site or at home) within traditional work outcomes for our community here CDQWVVJGablendingaQHYQTMTGUVCPF If so, in what way? *CXKPIUCKFVJCV+TGCNN[GPLQ[GF hours has always felt constraining. in WA. RNC[a6JKPMCDQWVHCOKN[EQOOKVOGPVU 6JGTGCTGQPN[JQWTUKPCFC[ȏGZVTC architecture (practiced for 10 years), whether looking after younger time is not up for negotiation. The more yet I have never regretted the move And what have been the greatest losses? The intermingling of work, rest and play - children and older family members, time I work, the less time for play, and to (construction) law… so I guess that Feeling a sense of always being switched your greatest outrage? technology has allowed us, in many (not even less time for rest (when you have a speaks to my current career choice on – that there is always something else Yes and in particular courtesy of my all) situations, to be able to blend as family, the ‘rest’ factor always seems to status doesn’t it? to do. I have to now be mindful to put OQDKNGRJQPGȁYGFGɑPKVGN[JCXGCNQXG opposed to choosing one over the other be more malleable). O[RJQPGCYC[CPFUYKVEJQɈVQDG hate relationship. (that is not to say the blend is easy!). The intermingling of work, rest and play - present with what is going on around Some projects by their nature invite a level your greatest outrage? The intermingling of work, rest and play - And what have been the greatest losses? of playfulness. Do you bring play (or rest) Technology gives us the ability to blend me. As I walk between meetings I see a your greatest delight? I think it might be a common theme into other more sober projects? If so, how? work, rest and play, hopefully in a sea of people staring into their phones Ditto. to my responses – the greatest losses I suspect the word ‘playful’ does positive way. It is also attributed with and I wonder how disconnected we are ... may be exactly the same as the greatest not spring to most people’s minds improving our ability to multi-task, becoming from the real world through ICKPUa when they think of lawyers! It is but in my mind there is absolutely no living in this virtual world. ɾ

- 120 - - 121 - Do you think the blurring of lines between of the working week, my husband and and work with young people, teaching, for themselves with regard to their ɑPFO[YQTMCEVUCUCURTKPIDQCTFHQT work, rest and play leads to working +CTGJCRR[VQLWUVIQYKVJVJGɔQY coaching or helping them develop family life and rest time – we are all ideas and vice versa. smarter or working harder (or more)? most weekends. This allows us to spend new ways of working to give them responsible for creating that new world I believe the ability to work more time together at home with our young opportunities to which they might not order in what we ask of others and what Some projects by their nature invite a level ɔGZKDN[ XKCVGEJPQNQI[ CNNQYU[QWVQ HCOKN[+VJGPGPLQ[VJGURQPVCPGKV[QH ordinarily be exposed. And I would write we expect from ourselves. of playfulness. Do you bring play (or rest) work smarter - but only if you use it to venturing out when the mood takes us. blogs for global publications. into other more sober projects? If so, how? your advantage. Discipline is essential to Do you think the blurring of lines between I’m very aware that people have invested ensure you don’t get caught up in doing Some projects by their nature invite a level The intermingling of work, rest and play - work, rest and play leads to working time and money in me being on the more work because you have the ability of playfulness. Do you bring play (or rest) your greatest outrage? smarter or working harder (or more)? shoot so I’m not one to throw caution to do so. Previously I worked long hours into other more sober projects? If so, how? 0QVUYKVEJKPIQɈO[RJQPGCU+YCPV All of the above. Smarter, harder, more. to the wind - my playfulness is securely KPVQVJGPKIJVVQɑPKUJCVCUMQTIGV I like to bring a creative element to most to look at one more thing... Knowing The goalposts have shifted. Many set inside technical boundaries… a ‘play on top of my workload and now I trust of the work we do so that whilst we are that ‘work’ albeit paid work or work on freelancers like me take a variety of pen’ shall we say? I do play well with myself to rest properly and come back working hard, the environment is one personal matters is sitting in the room BO WONG LQDUHQTOQPG[RCUUKQPQTQRRQTVWPKV[ others inside the play pen though, now to work the next day refreshed. This will where all ideas are encouraged, however with me and I have to work at ignoring ART, ARCHITECTURE AND DESIGN - generally a combination of all three known as a collaboration! get the work done quicker and I have not left-of-centre or seemingly random. it. On most weekends, I try and leave my PHOTOGRAPHER is a win. Having access to my emails exhausted myself in the process. The team are empowered to challenge phone in the house now. on holiday doesn’t mean I’m working When you're not working, how do you rest aspects of our work and culture. In my Technology has broken down traditional UOCTVGTȁTCVJGTKVECPTGFWEGGɋEKGPE[ or play? In what ways, if any, do rest and play affect view, creating opportunities for people The intermingling of work, rest and play - boundaries of the office, and with that the rather than increase it, so that’s an I don neoprene and swim at Greens your work? to voice their ideas and collaborate your greatest delight? delineation of work, rest and play. What organisational issue we all have to Pool in William Bay National Park a few +DTKPICFKɈGTGPVGPGTI[VQO[FC[ is essential to producing great work. Knowing that I can check on emails at have been the greatest gains you have seen contend with. times a week. Not only am I in the most (and hopefully my team) when I feel I believe in humour and the power CP[VKOGUQ+COPQVEQPɑPGFVQDGKPI from this change? beautiful place in the world but the In what ways, if any, do rest and play affect rested and refreshed – I know when I of random ideas to achieve creative KPVJGQɋEG#PJQWTQWVHTQONGCXKPI /[QɋEGKUCEQODKPCVKQPQHC bonus is there’s no phone service out your work? there. It’s mental and physical space – feel under pressure that I am not going thinking. work, I scan my inbox and decide what caravan (The Lemon Delicious) in the I think if I am well rested I am more and I may be kidding myself, but I think to do my best work. Taking a break to respond to, or work on, within that City and a house on the south coast of RQVGPVGɋEKGPVCPFGPICIGFKPO[ there are less sharks there. in the moment to rethink something When you're not working, how do you rest CNNQECVGFVKOG+ɔCIGOCKNUVQTGCFNCVGT WA. Clearly, I’m all for the breakdown work. I often hit the City for a big week by going for a walk or asking a team or play? so I can focus on being 'on task' in the QHVTCFKVKQPCNQɋEGGPXKTQPOGPVU of shooting well rested from being in the If you weren't working in your current member for their help allows me to take +GPLQ[URGPFKPIVKOGYKVJO[HCOKN[ QɋEGQTHWNN[RTGUGPVYKVJO[VGCO This has been the biggest and most country and I’m like a sprinter out of the profession, on what, how or where else UVQEMQHCUKVWCVKQPCPFɑPFCDGVVGTYC[ outdoors or visiting new or well-loved when we are working on something positive change in my working and DNQEMU+ɑPFKVCTGCNN[ITGCVHTCOGYQTM would you like to work? to resolve it. Planning in advance for spots in and around Perth. I do Pilates together. personal life - it gives me the agility for funnelling my energy. If I wasn’t a photographer, I’d be in social occasions and exercise and then and most weeks go on two evening walks to rest and play in the way I need to graphic design or I’d be a copy editor. following through on them is key for me with a group of school mums. We live in nourish my life and keep working, ... Does your work affect your rest and play? Like photography, they’re about to unwind and be better placed the next VJGJKNNUUQYGɑVKPCHGYUVGGRENKODU# doing what I love. If so, in what way? interpreting and re-ordering existing day for a full day’s work. favourite pastime is chilling out with a Yes! A tangential idea from a information into something that ITGCVDQQMCPFCEWRQHEQɈGG And what have been the greatest losses? commissioned shoot will often communicates more powerfully. Does your work affect your rest and play? The loss of a standard set of time rematerialise as another more hare If so, in what way? If you weren't working in your current expectations from our colleagues and brained shoot with friends. It may have The intermingling of work, rest and play - This role has very varied hours and so, profession, on what, how or where else QWTUGNXGU/QPFC[VQ(TKFC[PKPGVQɑXG no market and will likely cost us money your greatest outrage? whilst I monitor the number of hours would you like to work? - they’re gone. Freelance photographers’ and time, but it’s fun and when there’s Completely unreasonable I work over the course of a week, it is Running a yoga retreat in the outback hours can be totally out of control. I think it’s up to all of us to respect the no brief or deadline, there’s room for expectations on turnaround times hard to schedule regular times for social with no phone or internet connections. rumination and new ideas. So I often that impinge on my family time. ɾ activities. To counteract the busyness Then I would come back to the city boundaries our colleagues have created

- 122 - - 123 - The intermingling of work, rest and play - like to ride the train once in a while and ɑPFDCNCPEGDWVUQOGVKOGU+ɑPFKV The intermingling of work, rest and play - your greatest delight? observe people. What I have noticed JCTFVQVWTPO[DTCKPQɈYQTMOQFG your greatest outrage? I become friends with many of the KUVJCVVJGOCLQTKV[QHRGQRNGUVCTGCV I keep thinking of problems I need to Phone calls that demand an email in the people I work with, so I love that we can screens, even when in small groups you solve and things that need to be sorted. middle of the night. VCNMCDQWVRTQLGEVUQWTHCOKNKGUQWT can see one or two people looking at It is not uncommon to have a solution personal challenges and our triumphs. their devices and not participating. for a work situation right in the middle The intermingling of work, rest and play - This warmth with colleagues is what of a leisure activity. your greatest delight? makes working both rewarding and fun Do you think the blurring of lines between Flexibility and the people that I work Some projects by their nature invite a level with (some of them). – and that for me is a delight. work, rest and play leads to working smarter or working harder (or more)? of playfulness. Do you bring play (or rest) ... There is an implied expectation for into other more sober projects? If so, how? ... an immediate answer or action. This Always. However, I don’t think that LUIZ AGUIAR is not necessarily smarter, nor harder. the kind of playfulness I apply to SALLY WEERTS DESIGN MANAGER JAXON CONSTRUCTION 6JGYQTMNQCFQPRTQLGEVUKUOQTGQT VJGUGRTQLGEVUKUUQOGVJKPIVJCVECP ARCHITECT CODA STUDIO CHAIR AUSTRALIAN INSTITUTE OF DIRECTOR ARCADIA DESIGN STUDIO less the same, perhaps with a change be easily noticed by other people. ARCHITECTS WA BIM COMMITTEE KPRTQEGUUGU+PHQTOCVKQPɔQYCPF #U+UCKFDGHQTG+GPLQ[RNC[KPIYKVJ communication can cause additional the technical aspect of the architectural Technology has broken down traditional details: fabrication and site assembly Technology has broken down traditional stress. boundaries of the office, and with that the boundaries of the office, and with that the and service coordination. These delineation of work, rest and play. What elements, if done correctly, most often delineation of work, rest and play. What In what ways, if any, do rest and play affect have been the greatest gains you have seen pass by without being questioned after have been the greatest gains you have seen your work? from this change? VJGEQORNGVKQPQHVJGLQDCPFCTGQPN[ from this change? Rest is certainly important as a way 6JGɑTUVVJKPIVJCVEQOGUVQOKPFKUVJG relevant to people who have been My generation has grown up with the VQTGNGCUGUQOGQHVJGUVTGUU+OWUVɑV ease and ability to be agile in the way involved in the process. You know you basic technology we use today. With that in the occasional rest day to ‘recharge that I work – any time, any place. But have done it well if it disappears. more than that, the rapid advancement in mind, the changes I have witnessed in my batteries’ so to speak and return of technology we see today enables us the work environment are perhaps less to work fresh and revitalised. I like to When you're not working, how do you rest all to consume design at rate that we obvious than it would be for older and play with technical challenges. This is or play? never anticipated. This means that the wiser architects out there. Mobility is TGɔGEVGFKPO[EJQKEGUHQTTGETGCVKQPCN I don’t think I have had a decent holiday KPGXKVCDNGLWIINGQHNKHGECPUQOGVKOGU perhaps the greatest gain - the ability to activities: sailing, diving, martial arts communicate no matter where you are. in years. If I ever have another chance disguise ‘work’ as ‘play’. etc. Additionally, working for a builder at a good holiday I would rest a lot and Using mobile phones, iPads and laptop gives me the opportunity to apply these computers and being able to manage RNC[JCTF$WVOQUVKORQTVCPVN[GPLQ[ And what have been the greatest losses? UMKNNUCPFRTKPEKRNGUVQO[LQD VKOGVJGYC[[QWUGGɑV time with the family. For me the greatest loss has been the discipline to maintain sensible and Does your work affect your rest and play? And what have been the greatest losses? If you weren't working in your current healthy working hours. The notion of If so, in what way? I feel that we have lost the human profession, on what, how or where else ȄYQTMNKHGDCNCPEGӑKUCFKɋEWNVEQPEGRV 9QTMFKUVTCEVKQPUCɈGEVO[TGUVCPF interaction. Communication would you like to work? to practice, much less master. Being play but equally, rest and play able to work any time and any place also technology gives you the perception I would like to be an astronaut. How’s FKUVTCEVKQPUECPCNUQCɈGEVO[YQTM has its disadvantages in that work often that your friends seem closer when you that for technical challenges? Aim for I would suggest that good things come creeps into the hours of the day (or TGEGKXGPQVKɑECVKQPUXKCUQEKCNOGFKC+ the stars. out of both, most of the time. I try to night) when it wouldn’t normally. ɾ

- 124 - - 125 - Do you think the blurring of lines between Some projects by their nature invite a level on a hand held device. It’s probably Working harder, although I’m sure we all KPFKXKFWCNUa work, rest and play leads to working of playfulness. Do you bring play (or rest) the single greatest innovation in try for smarter. In this tough economic If you weren't working in your current smarter or working harder (or more)? into other more sober projects? If so, how? enabling mobility in the way we work climate everyone is trying to prove their profession, on what, how or where else I’m yet to fully master the art of working I thinks it’s really important to remain but that comes part in parcel with the value and blurred boundaries can easily would you like to work? smarter and I am aware there are humble in this business and for that temptation to treat every email as a lead to ‘work’ taking up a larger piece of If I had an answer for this, I think I numerous apps and programs that have reason I have never taken myself too matter of urgency! Bring back the days the pie. would currently be re-enrolling at of the pager I say… been developed over the years to help UGTKQWUN['XGT[RTQLGEVUJQWNFDGHWP a university. I greatly admire practitioners In what ways, if any, do rest and play affect WUCNNDGOQTGGɋEKGPVKPCNNCURGEVUQH CPFCPGPLQ[CDNGGZRGTKGPEGCPF+ who successfully combine practicing The intermingling of work, rest and play - your work? life. In the end, I feel those blurred lines would hope that my work represents and research - this provides an aim for TGCNN[LWUVNGCFVQCEWNVWTCNGZRGEVCVKQP that philosophy. your greatest delight? 4GUVCPFRNC[QɈGTXCNWCDNGOGPVCN how I want to work. that everyone should always be The introduction of Instagram to the distance from work, necessary for a available, which inevitably requires us When you're not working, how do you rest world of designers and architects. that fresh take or new perspective on all to work harder (or more). Maybe the or play? It’s still something that I think our AMANDA HENDRY RTQLGEVU+EQPUVCPVN[UGGPGYVCMGUQP The intermingling of work, rest and play - future will bring us an app that will help 6JKUECPDGFGɑPGFD[OCP[VJKPIU profession is slowly discovering but I ARCHITECT MORLEY DAVIS ARCHITECTS CP[EJCNNGPIKPIKVGOUɑTUVVJKPIKPVJG your greatest outrage? WUCNNUYKVEJQɈHTQOVJGCNGTVUHTQOQWT but the easiest way to capture what TGCNN[FQGPLQ[RGGMKPIKPVQVJGYQTNF CHAIR AUSTRALIAN INSTITUTE OF morning. numerous devices. I would describe as a leisure activity of other practitioners. It has become a ARCHITECTS WA EmAGN COMMITTEE When you receive work emails from would be anything that doesn’t involve guilty leisure activity of mine. Does your work affect your rest and play? consultants or colleagues who have In what ways, if any, do rest and play affect a computer screen. This could also Technology has broken down traditional If so, in what way? their auto-reply emails set to say that your work? then be further supported by wine, loud ... boundaries of the office, and with that the Certainly in travel, but I’m sure this they are on annual leave. It’s always The opportunity to travel and see music, a good view and great company. delineation of work, rest and play. What applies to most of us. I feel grateful that great to receive these necessary FKɈGTGPVRCTVUQHVJGYQTNFJCUQɈGTGF have been the greatest gains you have seen VJKURTQHGUUKQPQɈGTUWUVJGQRRQTVWPKV[ responses but at what cost are we always so much to the practice of architecture If you weren't working in your current from this change? for any unrelated experiences and responding immediately to items that globally. Being able to experience a profession, on what, how or where else The exchange of information done information to meaningfully contribute crop up? place, its culture and buildings has would you like to work? remotely. Exchange of ideas, support VQQWTYQTMa a enabled me to think outside of my own 6JKUKUCFKɋEWNVSWGUVKQPVQCPUYGT and dialogue with peers who are The intermingling of work, rest and play - small town experiences in Perth. because I have never contemplated working in most corners of the Some projects by their nature invite a level your greatest delight? FQKPICP[VJKPIGNUG+COUWTG+ӑOLWUV globe (Asia, Europe, North America, of playfulness. Do you bring play (or rest) Being involved in advocacy and into other more sober projects? If so, how? Does your work affect your rest and play? ɑVVKPIVJGUVGTGQV[RGQHGXGT[CTEJKVGEV South America) is easy and happens volunteer work as Chair of EmAGN. I’m currently working on a residential If so, in what way? - ever… but I believe I have my dream instantaneously. It’s been a great ride so far. ɻ /[YQTMYQWNFFGɑPKVGN[KORCEVVJG LQD+H+JCFGXGTVJQWIJVCDQWVFQKPI ECTGHCEKNKV[RTQLGEVVJCVJCUȄEGNGDTCVKQP FGITGGVQYJKEJ+ECPGPLQ[CPFDG something else I probably would have And what have been the greatest losses? of life and whimsy’ as part of its core HWNNKOOGTUGFKPVJGKFGCQHȄVKOGQɈӑ RWTUWGFVJCVYKVJLWUVCUOWEJGPGTI[ Oversharing of information. When your ideals. This typology has a very sobering It could almost be mapped as a curve and determination. In saying that, I work colleagues can see your holiday aspect to it, so playfulness and lightness graph in that the further I get away from have always like the idea of being a set snaps in real time, is there any private is being strongly championed. work (and access to internet), the more designer. and public separation anymore? We a +ECPVTWN[UYKVEJQɈ$WVVJGP'KPUVGKP all need to consciously work out this When you're not working, how do you rest only every slept for four hours at a time The intermingling of work, rest and play - DCNCPEGHQTQWTUGNXGUa or play? to keep his brain engaged… so maybe your greatest outrage? A fellow architect dragged me into it’s a good thing that I never go too far The introduction of smart phones. Do you think the blurring of lines between the indoor rock climbing scene and it for too long. Particularly the ability to access emails work, rest and play leads to working seems to attract the most amazingly smarter or working harder (or more)? interesting professionals and

- 126 - - 127 - is there a place for playfulness in architecture? Author Peter Bruechle

The answer is an obvious ‘yes’ but, $WKNFKPIUOWUVɑTUVOGGVVJGRTCEVKECN playfulness unless that is a requirement KPO[XKGYKVUJQWNFDGEQPɑPGFVQ demands for which they have been of the client. There is, however, room for circuses, Luna Parks and showgrounds. constructed. They should be designed in decoration. +PVJGIGPGTCNɑGNFQHEQPUVTWEVKQP such a way that it is clear how they are which I consider to be the foundation to be built and they should generally be Good architects are well aware of all this of civilization, there is little place for built from materials that are reasonably of course, but such basic tenets are often playfulness, but there is certainly available, compatible and that can be being ignored by architects who now room for structural imagination and readily maintained. Importantly, they follow or create fashions. It seems to me decoration. For structural imagination should enhance their surroundings. that architecture has become a victim look at the work of Frei Otto, Pier of a series of fashions that have spread Luigi Nervi, Felix Candela and Kenzo Although I put meeting the practical throughout the world even though they Tange. For decoration check the highly FGOCPFUQHDWKNFKPIUɑTUVVJGTGCTG are quite inappropriate. decorated buildings of Antoni Gaudi, other, more subtle demands on design the wonderful, glowing tile patterns on architects. Some buildings need to so many Muslim mosques and schools create an atmosphere, an ambience Those architects who have abandoned and the carved timbers on Japanese that transcends practicality. Religious taste, proportion, elegance, practicality shrines and temples. Imagine the loss if buildings, cathedrals, mosques and and tradition in favour of strangely Saint Basil’s in Moscow or the Florence synagogues, and even Stonehenge sculptured shapes, such as Jean Cathedral didn’t have their colours. come to mind. University buildings Nouvel’s Paris Philharmonic, produce should not only provide space but also CTEJKVGEVWTGVJCVKUFKɋEWNVVQDWKNF Applications should be thoughtful, not inspiration. Cambridge is an example. GZVTGOGN[GZRGPUKXGCPFFKɋEWNVVQ playful. To achieve great architecture, Architecture is a complex human maintain. This impractical architecture taste, proportion, sound structural activity and it requires practitioners is now given awards by assessing panels. approaches and elegant use of materials who are conscientious, have a store of If the Perth Arena was the best building must be skilfully amalgamated. Great practical knowledge, understand the in Australia in 2015 I despair - and the architecture comes from innate artistry, limitations of materials, and understand basement leaks. technical skill and an understanding of the construction process. VJGRQVGPVKCNKVKGUQHOCVGTKCNUCPFGɈQTV I realise that as a structural engineer It does not come from game playing, Architecture is both an artistic and my views on architecture will not be however attractive that may be to some. a practical challenge. It requires taken too seriously by the profession, Architecture is not a contest between imagination, understanding of but I have been encouraged by the VJGOQUVOGUUKN[LQKPVGFEQORNGZ structure, appreciation of proportion, positive comments of several senior CPFFKɋEWNVVQDWKNFUVTWEVWTGU ability to design for elegance and an architects who have read my short such as those the current doyen of understanding of what is required Egotecture? sculptural architects Frank Gehry has to provide both a suitable ambience book Although I am not an managed to produce for the Louis and the practicalities of a building: architect, I have worked closely with Vuitton Foundation. Here we see rare light, climate control, circulation, UQOGɑPGCTEJKVGEVUDQVJKP#WUVTCNKC and expensive materials and complex maintenance and the frameworks and overseas on award winning and layouts so that the buildings are necessary to provide power, water and leading edge buildings. I have the KPGɋEKGPVN[RNCPPGFEQUVOQTGVJCP GɎWGPVFKURQUCN#TEJKVGEVWTGJCUVQ advantage of being able to stand back is reasonable and are a nightmare to be detailed in such a manner that it will from, and not having to compete with, maintain. age gracefully. There is little room for other architects. ɻ

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