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Farshid Moussavi Architecture
Shiraz-born British architect Farshid Moussavi, founder of her namesake studio Farshid Moussavi Architecture, has been selected ahead of Rem Koolhaas, Jeanne Gang and David Chipperfield to design the first Ismaili cultural centre in the US.

Located in Houston, Texas, the 11-acre site will be the seventh centre dedicated to the Shia Ismaili Muslim community worldwide, following stations in London, Lisbon, Dubai, Toronto, British Columbia and Dushanbe.

While little has be revealed about the winning design, it will likely follow design principles that protect the core values of Isma'ilism. In addition, each centre is intended to merge the principles of Islamic design with the surrounding city to make them architecturally unique.

“The rigorous competition was a vivid illustration of the global stature that an Ismaili Center holds in the architectural and built environment community, and of the attractiveness of Houston as a destination city for world-scale architecture,” said Dr. Barkat Fazal, president of the Ismaili Council for USA.

According to the Houston Chronicle, the Aga Khan Foundation bought the Houston property in 2006, and in 2011, it donated seven monumental artworks, including Jaume Plensa’s “Tolerance” sculptures of kneeling figures, to the Buffalo Bayou Park.

Moussavi will work alongside Nelson Byrd Woltz Landscape Architects, Hanif Khan of structural engineering firm AKT II and Paul Westlake of design firm DLR Group to design the Ismaili centre.

The Houston Chronicle further reported that the building will likely occupy less space than the project's landscaping and contain outdoor spaces that connect visually to the nearby park.

The centre will also house a Jamatkhana, a place for spiritual contemplation, and prayer services.

Moussavi said she was honoured to work on the project: "It will bring Houston's diverse communities together in a unique space for cultural, educational and social activities.

"Our team brings a broad perspective for the Ismaili Center, with diverse skills and experience in international practice, scholarly research, multidisciplinary thinking and delivering cultural projects successfully in the United States."
Christopher Frederick Jones
An exercise in shaping tall volumes, sculpting light and layering materials, this Brisbane home by Bligh Graham Architects is an exciting exemplar for small-lot housing in subtropical suburbia.

The streets of Tarragindi in Brisbane bring focus to the shifting patterns of development in postwar suburbia. As modest cottages on generous blocks are removed or demolished to make way for subdivision, architecture is forced to resolve a new set of rules in the face of smaller sites, tighter restrictions and a dwindling sense of neighbourliness. Tarragindi Steel House, designed by Bligh Graham Architects and constructed by owner and structural engineer Stephen Paterdis with his father Phillip Paterdis, explores the conundrum of building a new house on a small lot and finding delight in shaping tall volumes, sculpting light and layering materials, all the while testing the limits of the Paterdis family’s steel fabrication business.

In the absence of generous garden surrounds, Tarragindi Steel House seeks alternative ways to engage with the exterior realm. The building looks toward the street, backyard and sky, drawing on both appropriated and private territories for outlook, sunlight and ventilation. It also generates spatial interest from within, weaving a series of double-height volumes through the long extrusion of the two-storey plan. In these three double-height rooms – the library, the courtyard and the living room – the program is subverted in favour of engaging with the ephemeral qualities of light, material and atmosphere.

Unlike neighbours who accept blinkered sides, Tarragindi Steel House finds ways to celebrate the control of light and view through perforated-steel light scoops and screens fabricated by Paterdis Steel. Boldly finished in daffodil yellow, the light scoops are code-compliant, achieving accurate transparency levels and view angles while giving expression to an otherwise subdued exterior. As well as managing privacy, the screens wash the interior with a gentle warmth by day and provide a golden glow for the enjoyment of the street by night.

The building’s neighbourly attitude is evident as the garden courtyard comes into view, extending out to the footpath like welcoming arms outstretched. Beyond the gatehouse the gentle descent to the garden path condenses the public-to-private transition and strengthens the sense of refuge established by the solid walls of the sunken entry court, pushed hard to the edges of the street. The striated texture of off-form concrete walls and the origami-like folds of steel plate screens set the tone for a building that is raw and expressive externally and refined and delicate internally.
United Nations Photo/Flickr., CC BY-NC-ND
New York Mayor Bill de Blasio has declared that skyscrapers made of glass and steel “have no place in our city or our Earth anymore”. He argued that their energy inefficient design contributes to global warming and insisted that his administration would restrict glassy high-rise developments in the city.

Glass has always been an unlikely material for large buildings, because of how difficult it becomes to control temperature and glare indoors. In fact, the use of fully glazed exteriors only became possible with advances in air conditioning technology and access to cheap and abundant energy, which came about in the mid-20th century. And studies suggest that on average, carbon emissions from air conditioned offices are 60 percent higher than those from offices with natural or mechanical ventilation.

As part of my research into sustainable architecture, I have examined the use of glass in buildings throughout history. Above all, one thing is clear: if architects had paid more attention to the difficulties of building with glass, the great environmental damage wrought by modern glass skyscrapers could have been avoided.

Heat and glare
The United Nations Secretariat in New York, constructed between 1947 and 1952, was the earliest example of a fully air conditioned tower with a glass curtain wall – followed shortly afterwards by Lever House on Park Avenue. Air conditioning enabled the classic glass skyscraper to become a model for high rise office developments in cities across the world – even hot places such as Dubai and Sydney.

Yet as far back as the 19th century, horticulturists in Europe intimately understood how difficult it is to keep the temperature stable inside glass structures – the massive hot houses they built to host their collections. They wanted to maintain the hot environment needed to sustain exotic plants, and devised a large repertoire of technical solutions to do so.

Early central heating systems, which made use of steam or hot water, helped to keep the indoor atmosphere hot and humid. Glass was covered with insulation overnight to keep the warmth in, or used only on the south side together with better insulated walls, to take in and hold heat from the midday sun.

The Crystal Palace

When glass structures were transformed into spaces for human habitation, the new challenge was to keep the interior sufficiently cool. Preventing overheating in glass buildings has proven enormously difficult – even in Britain’s temperate climate. The Crystal Palace in Hyde Park – a temporary pavilion built to house the Great Exhibition of the Works of Industry of All Nations in 1851 – was a case in point.

The Crystal Palace was the first large-scale example of a glass structure designed specifically for use by people. It was designed by Joseph Paxton, chief gardener at the Duke of Devonshire’s Chatsworth Estate, drawing on his experience constructing timber-framed glasshouses.

Though recognised as a risky idea at the time, organisers decided to host the exhibition inside a giant glasshouse in the absence of a more practical alternative. Because of its modular construction and prefabricated parts, the Crystal Palace could be put together in under ten months – perfect for the organisers’ tight deadline.

To address concerns about overheating and exposing the exhibits to too much sunlight, Paxton adopted some of the few cooling methods available at the time: shading, natural ventilation and eventually removing some sections of glass altogether. Several hundred large louvres were positioned inside the wall of the building, which had to be adjusted manually by attendants several times a day.

Despite these precautions, overheating became a major issue over the summer of 1851, and was the subject of frequent commentaries in the daily newspapers. An analysis of data recorded inside the Crystal Palace between May and October 1851 shows that the indoor temperature was extremely unstable. The building accentuated – rather than reduced – peak summer temperatures.

These challenges forced the organisers to temporarily remove large sections of glazing. This procedure was repeated several times before parts of the glazing were permanently replaced with canvas curtains, which could be opened and closed depending on how hot the sun was. When the Crystal Palace was re-erected as a popular leisure pa
Peter Bennetts
There is some magic being woven on a heavily treed site in Kew, Melbourne, the home of Make Architecture. A black-clad barn within this bucolic idyll on the banks of the Yarra is the place where a particular stream of carefully considered, highly crafted architecture is conceived and pieced together by founding director Melissa Bright and her skilled team.

And what of that architecture? The word “paradise” comes from the Persian words pairi , which means literally “around,” and daeza or diz , which can mean “wall,” “brick” or “shape.” Combined, pairi-daeza translates as “walled garden”: a traditional vision of paradise. Since its founding in 2006, Make Architecture has been crafting an architecture of paradise in the broader urban landscape of Melbourne and beyond. Walled gardens composed of bricks feature prominently in the oeuvre, it is true, but perhaps of greater significance is the alternating sense of surgically precise engagement with and separation from the urban environment in each project, stitched together with all the psychological moment that those opposing states can muster.

Such is the prodigious output of Make that our interview focused primarily on some works of the last few years. However, the experiments undertaken in the early years are still bearing fruit. Mel began with a mere bathroom-and-bedroom renovation. She and her collaborators have built their catalogue through a constant process of reaching beyond the constraints of each project, always extending out toward the city, confronting the issue of density at every turn. Hungry young architects of talent learn to translate constraints into opportunities, particularly with modest projects, and this was perfected as an art form by the early Make methodology.

John Gollings
The Gold Coast’s new outdoor stage cleverly melds landscape and architecture to provide a flexible, functional and surprising space for future gatherings.

In February 2018, the Arts Centre Gold Coast became Home of the Arts (HOTA), launching an ambitious program for its recently completed amphitheatre project, the Versatile Outdoor Space (VOS). As the first phase of the Gold Coast Cultural Precinct masterplan led by ARM Architecture and Berlin-based Topotek 1, this outdoor stage underscores the landscape-led ambitions for the redevelopment of the larger Evandale site. Working with Brisbane-based landscape practice CUSP, ARM and Topotek 1 have designed a highly adaptable and multi-layered set of spaces that seeks to draw visitors to the precinct for both scheduled events and informal gatherings.

Evandale Park is a 17-hectare pocket of parkland that tucks into the Nerang River on the southern side of Chevron Island. Until the completion of the proposed green bridge, planned for 2019, the site remains accessible only from Bundall Road along its western edge. For now, this makes for a beautifully drawn-out reveal of the Surfers Paradise skyline that provides the backdrop for views at the river’s edge – but we’ll return to this in a moment.

Approaching the stage and concert lawn from the current gallery and performing arts centre, Voronoi patterns – a signature ARM design element – dominate the VOS and its surrounding hard landscaping elements. This cell-like tessellation is featured throughout the stage’s external and internal surfaces, as well as in the fabric canopy above. As a conceptual strategy, the use of Voronoi patterns was a central component of the 2013 competition-wining precinct concept designed by ARM and Topotek 1.
Brett Boardman
A new garden in Sydney’s Centennial Parklands celebrates learning through nature play, immersing children in habitats with a roguish sense of adventure.

That very night in Max’s room a forest grew and grew and grew until his ceiling hung with vines and the walls became the world all around …”

The text and illustrations of Maurice Sendak’s Where the Wild Things Are conjure up pure joy and scariness, rolled into one messy, muddy ball of delight. Many of us would like our kids to have more opportunities to safely enjoy dirt and trees; however, the pressures of city-living are making it increasingly difficult for children to engage with nature. “Nature deficit disorder” has become a genuine issue for our inner-city and suburban kids. In its 2016 report card, Active Healthy Kids Australia identified that only 19 percent of Australian children and young people aged five to seventeen years met the national daily physical activity guidelines – a troubling statistic that reinforces what many already know, that it is becoming harder to get the younger generation outside and off the screen, let alone out into nature for unstructured play.

Centennial Parklands was in a great position to make a real difference to this modern conundrum. It already had a strong education program to build from, accommodating 12,000 student visits and 20,000 community-based visits per year. When the Centennial Park and Moore Park Trust started discussions with the Ian Potter Foundation about the possibility of establishing a purpose-designed children’s garden in Centennial Park, the circumstances were put in place for the project’s success. At the time there were no such facilities anywhere in New South Wales. The Foundation had already had great success with the Ian Potter Foundation Children’s Garden in Melbourne’s Royal Botanic Gardens, where kids are encouraged to learn through active play.

The main idea behind the Ian Potter Children’s Wild Play Garden is to create opportunities for children to reconnect with nature at a time when many have rapidly decreasing access to the outdoors. The Centennial Park Master Plan 2040 established a 6,500-square-metre site for a children’s garden as part of an education precinct just north of the Parklands’ Fly Casting Pond. An ideas competition was held and was won by Aspect Studios. Director of Aspect’s Sydney office Sacha Coles describes the garden as a landscape of water, with a particular focus on how water moves. Centennial Park, where water rises to the surface from artesian sources below, seemed a perfect place to explore this idea.

The water theme provides a narrative spine for the garden as it runs a topographical line down the natural slope. Around this the designers have created a series of characters that inhabit the garden. An endangered ecological community of Eastern Suburbs Banksia Scrub, the bamboo forest, the turtle mounds, the dry creek bed, and the swamp are all characters in a story to discover and explore – as are the structures within. 12,000 plants were deployed in the initial making of the garden, the success of the its composition comes from the design team’s care in setting out the placement of each individual plant, rather than simply applying a series of planting matrices across the plan.

As you enter the garden via its main eastern gate, the sound of water soon becomes apparent. At one of the highest locations the designers have created a “water point”, using large basalt boulders sourced from quarries at Wee Jasper north of Canberra. These Frederick Law Olmsted-like stone markers create a centrepiece for the water narrative, a grotto of sorts from which water bubbles and flows down through the site.
Rory Gardiner
A 110-metre-long shed has been named Australian House of the Year at the 2019 Houses Awards, announced on Friday 26 July.

Daylesforld Longhouse by Partners Hill is at once a “remarkable home”, a “hardworking farm building” and a “verdant greenhouse,” commented the jury, and a demonstration of “a compelling idea executed in its purest form” and an “innovative approach to a complex brief.”

“This year’s winning projects are all very sensitive to site and context … and they’re tactile,” said juror Lindy Atkin. “They’re much more about place-making and space-making than they are about form-making, which is a really good thing. They are also respectful of what’s come before them, particularly in the alteration and addition and heritage categories.”

Daylesford Longhouse was also awarded winner of the New House over 200m2 category. Elsewhere in the awards House In Darlinghurst by Tribe Studio clinched two categories: House Alteration and Addition under 200m2 and House in a Heritage Context.

The full list of winners are:

Australian House of the Year
Daylesford Longhouse – Partners Hill

New House under 200 m2
Bay Guarella House – Peter Stutchbury Architecture

New House over 200 m2
Daylesford Longhouse – Partners Hill

House Alteration and Addition under 200 m2
House in Darlinghurst – Tribe Studio

House Alteration and Addition over 200 m2 – joint winners
Brisbane Riverbank House – Owen Architecture
Teneriffe House – Vokes and Peters

Apartment or Unit
The Bae Tas – Work by Liz and Alex

House in a Heritage Context – joint winners
Balmain Rock – Benn and Penna
House in Darlinghurst – Tribe Studio

Garden or Landscape
Whynot St Pool and Carpark – Kieron Gait Architects with Dan Young Landscape Architects

The Garden Bunkie – Reddog Architects

Emerging Architecture Practice
Edition Office

A total of 26 entries and two emerging practices received commendations across nine categories.

Now in its ninth year, he program has become one of the country’s most sought-after accolades, with 502 entries submitted in 2019 – five percent more than the previous year.

On the 2019 jury were: Lindy Atkin (co-director, Bark Architects), John Choi (partner, Chrofi), Luigi Rosselli (director, Luigi Rosselli Architects), Rachel Nolan (principal, Kennedy Nolan) and Katelin Butler (editorial director, Architecture Media), with sustainability adviser Dominique Hes (director, Place Agency) and architectural advice in House in a Heritage Context category provided by Bruce Trethowan (director, Trethowan Architecture).
Daylesford Longhouse – Partners Hill
Alex Chomicz
Through inventive tectonics, Wilson Architects has overlaid a picturesque landscape experience with allusions to an earlier settler culture.

An architect’s stance is conditioned by personal preoccupations, as well as those of the cultural, regulatory and disciplinary settings in which the architect works. The architect for this project, Hamilton Wilson, has a whimsical streak – nurtured first in his undergraduate years through painting, drawing and theatre productions with friends, and in later life alongside his late mother, the renowned Brisbane landscape architect Beth Wilson, in a scholarship of garden design that has resulted in a deep understanding of the gardenesque tradition predominant in Brisbane’s suburban landscape.

The Kooroomba Chapel adopts a traditional chapel form for its remarkable setting. However, through careful siting, landscape design and tectonics, Wilson alludes to moods – in particular, the eighteenth-century traditions of the Pastoral, the Picturesque and the Sublime – and ideas that have long been of interest to him. Consequently, this project sits apart from the preoccupations of current Australian practice in its concern for how, in the twenty-first century, buildings and landscape can together trigger visceral responses and associations that themselves have a long history in architecture and landscape.

Kooroomba Estate is a vineyard and lavender farm in the Fassifern Valley, west of Brisbane. The estate was formerly part of the Bell family’s extensive and historic land holding. Architect Guilford Bell’s early childhood home Kooroomba was on this holding and he spent many hours playing in his grandmother’s celebrated homestead, Coochin Coochin, nearby.1 The chapel commission follows Wilson Architects’ earlier site planning and design for Kooroomba Estate’s cellar door, restaurant and shop. The estate is nestled against the escarpment of Main Range, part of the Great Dividing Range and the Queensland portion of the World Heritage-listed Gondwana Rainforests. Air masses rising against these ancient escarpments generate local weather; the consequent variations in light and atmospheric pressure dramatically alter the appearance and character of Main Range. Against this foreboding backdrop, Wilson orchestrates a picturesque landscape experience to please even the fussiest of brides.

While the chapel’s belfry and gable roof are momentarily visible from the highway, it is only fully encountered after passing through the existing restaurant complex. When it reappears across fields of lavender and against the backdrop of Main Range, it is a surprise. The tiny building, presenting two facades obliquely in the classical manner, is formed from unlined timber frames supporting rampant hoya vines and is half buried in heaving beds of purple salvias. To the knowing eye, the carefully constructed scene suggests romantic notions of a ruin in the landscape or a bower in a garden. The profusion of this pastoral setting and its picturesque layering of space against the background of Main Range will only be further enhanced when the circle of trees enclosing the lavender field mature.

The chapel’s exact location and orientation in the centre of a natural bowl were fixed by the architect and builder onsite, to focus attention from within on Mount Moon, one of a series of remnant volcanic plugs isolated from Main Range itself. The unlined frame means the escarpment towering above lavender fields and farmland provides the real setting for vows. There is a strong sense of the sublime – think Peter Weir’s Picnic at Hanging Rock, although Wilson is inclined towards Westworld.

Wilson intended the wedding chapel to evoke memories of archetypal bush chapels. It certainly is suggestive of the many disintegrating timber structures that dot the surrounding rural landscape, reminders of the expansion and contraction of settlement. But it also recalls more knowing uses of the timber frame – Richard Gailey’s nineteenth- century single-skin timber schools and churches, and Robin Dods’s All Saints Memorial Church (1915) at nearby Tamrookum come to mind. Another architect from this region, Russell Hall, who grew up in the Fassifern Valley, traces his own use of the single-skin frame to the simple farm buildings of his childhood.

Wilson’s particular take on this idiom comprises a series of steel portals isolated from the floor structure to reduce the impact of differential movement caused by the black soil conditions. Panels of rough-sawn and unseasoned timber stud and trellis
Simon Wood
The Australian Institute of Architects announced the winners of the 2019 Newcastle Architecture Awards on 21 March.

The top prize in the program, the Newcastle Jury Prize, went to Chrofi Architects with McGregor Coxall for the Maitland Riverlink, a grand arch in the Lower Hunter Valley town that the jury described as “just meant to be.” The project also took home the Awards for Public Architecture and Urban Design.

Elsewhere, EJE Architecture won two awards in the Heritage Architecture category for the Newcastle Signal Box and The Station, while SHAC also won two awards, with St Pius X High School Library picking up awards in Educational Architecture and the Colorbond Award for Steel Architecture.

Jury chair Georgina Wilson said the entries in the 2019 program were “‘a testament to the local architects and community.

“It was wonderful to witness the energy, commitment and ambition of the community towards achieving great imaginative outcomes for the built environment of this area.’”

NSW chapter president Kathryn Loseby, who sat on the jurym said “Greater Newcastle will continue to be an exciting place to watch into the future.”

The award winners are now eligible for the NSW Architecture Awards, which will be announced later in 2019.

2019 Newcastle Architecture Awards

Newcastle Jury Prize

Maitland Riverlink – Chrofi Architects with McGregor Coxall

Educational Architecture

St Pius X High School Library – SHAC

Public Architecture

Maitland Riverlink – Chrofi Architects with McGregor Coxall

Residential Architecture – Houses (New)

Greenacres – Austin Maynard Architects

Twenty One Flowerdale – SDA
Macmasters Beach Courtyard House – Matt Thitchener Architect
The Design Institute of Australia (DIA) has announced the winners of the highly coveted 2019 Dulux DIAlogue on Tour scholarships – a design tour run in collaboration with the Dulux. First awarded in 2016, the program is now in its fourth year.

The five winning design professionals have secured spots on a tour taking in Singapore and Portugal in October, where they will meet and learn from local design talent, engage in open dialogue, and share ideas and viewpoints with their hosts while showcasing the talent present in Australia.

The jury tasked with choosing the winners was convened by 2017 Dulux DIAlogue on Tour winner Ben Edwards (Studio Edwards) and included Romina Basto (Dulux), Gavin Campbell (DIA president-elect), Maria Correia (Gray Puksand) (QLD) and Sarah-Jane Pyke (Arent and Pyke, 2018 Dulux DIAlogue on Tour winner).

“The judges’ decision was unanimous,” said Edwards. “The final selection offers a diverse and inspiring group to act as design ambassadors for Australian design.”

2019 Dulux DIAlogue on Tour winners

Christopher Furminger – James Russell Architect

Furminger is a designer of residential projects at James Russell Architect and a sessional lecturer at the University of Queensland. He applies a “two speed” approach to design: combining a top-down precedent and academic analysis with a bottom-up exploration through making and material.

Yasmin Ghoniem – Amber Road

Ghoniem’s projects are inspired by a “nomadic childhood” spent in Kuwait, Saudi Arabia and the United States. Since founding her Sydney-based design collective Amber Road with her sister, landscape architect Katy Svalbe, in 2013, Ghoniem has won or been shortlisted for over 38 acoolades.

Pascale Gomes-McNabb – Pascale Gomes-McNabb Design

An ex-restauranteur, McNabb has created some of Australia’s most critically-acclaimed hospitality interious with her eponymous practice. Among these are Cumulus Inc., Cutler and Co, Penfolds’ Magill Estate Restaurant and Stokehouse. McNabb’s design practice also sprawls across a number of mediums, including furniture, jewellery, lighting and object design.

Jen Lowe – Ohlo Studio

Lowe is the founding director of Ohlo Studio, an interdisciplinary design studio that works across and between interior, product and identity design. Lowe produces “compelling and highly resolved commercial and residential projects” that respond to and are stimulated by the needs of clients.

Fiona Lynch – Fiona Lynch

A designer, artist and creative director, Lynch brings a sensitive and materially-driven approach to interior design. With over 20 years’ industry experience, she leads a multi-disciplinary team across studios in Melbourne and Sydney, and her work has expanded over time to the curation of work by Australian and international artists at the Work Shop gallery space.
The Council of the Order of Australia has recognized three architects as well as a number of former architects or built environment professionals in the 2018 Australia Day Honours List.

Educator, architect and academic Daryl Le Grew was appointed an Officer of the Order of Australia (AO) for “distinguished service to education, to research infrastructure development, and to architecture.”

Currently a vice-chancellor’s fellow at the University of Melbourne where he was a lecturer from 1969 to 1985, Le Grew has also previously taught and researched architecture at Deakin University. He was the vice-chancellor of the University of Canterbury in Christchurch, New Zealand, from 1998 to 2002, before becoming to first architect to be appointed vice-chancellor of the University of Tasmania, a role he held from 2003 to 2010. He returned to the University of Melbourne as interim dean of Architecture Building and Planning in 2015.

Architect Desmond Brooks was appointed a Member of the Order of Australia (AM) for “significant service to architecture, particularly in the Gold Coast region.” Brooks’s practice, Desmond Brooks International, specializes in resort and hotel design and has completed projects around the world. In the Gold Coast, Brooks has been involved in the design of the Palazzo Versace Hotel, the Sheraton Marina Mirage Hotel, and in Brisbane, the redevelopment of South Bank after Expo 88.

Elsewhere, Peter Freeman was awarded a medal of the Order of Australia (OAM) for service to architecture. A conservation architect, Freeman has worked across the country on a number of heritage conservation projects, including Hobart Town Hall and the Theatre Royal in Hobart, Presbyterian Manse in Moruya in NSW and the Robin Boyd-design Manning Clark House in the ACT. He was heritage advisor for Eurobodalla Shire Council and the supervising architect of the NSW Government Architect’s Branch in 1979.

A number of people with connections to architecture were also awarded honours for their endeavors in other fields.

The late retired architect Ethel Margaret Stephenson was awarded a medal of the Order of Australia (OAM) for service to the livestock industry, in recognition of her work breeding rare sheep in her retirement. Stephenson received her architecture degree at the University of Sydney in the 1940s before joining Sydney firm Stephenson and Turner. She became an associate of the firm, before m
Cox Architecture
A New South Wales court has extended an injunction against the “hard demolition” of the Cox Architecture-designed Sydney Football Stadium (Allianz Stadium) until 8 March, when a final decision will be made on the fate of the 30-year-old building.

Justice Nicola Pain granted the extension in the NSW Land and Environment Court on 25 February in a win for the community action group that brought the case, Local Democracy Matters.

“We’re really pleased with this judgement,” the group’s spokesperson Chris Maltby told reporters outside court. “[This allows] enough time for the judge to consider her position and produce the final judgement on the case.”

The injunction means that the roof of the stadium will not be allowed to be removed as was planned. The demolition contractor Lendlease has already begun stripping seats.

Local Democracy Matters – which was formed to fight council amalgamations – is arguing that the planning approval given for the stadium’s demolition in December 2018 was invalid because Infrastructure NSW, the government agency responsible for the demolition, did not follow its own planning rules. It argues that that the demolition proposal was not exhibited for the required time and that design excellence was not appropriately considered.

The court also heard that the government suppressed information about contamination of the site, including the presence of potentially carcinogenic materials, The Guardian reported.

Supporting the community group in court is Waverly Council, which together with the City of Sydney and Randwick Council has been an outspoken critic of the stadium plan.

Waverley mayor John Wakefield said in January that there was a community expectation that a project of such significance would fully comply with the legislative requirements and processes.

“The legal advice we are in receipt of casts doubt of this having occurred,” he said.

“We believe that this potential non-compliance is egregious, with adverse impact on Waverley’s residents and businesses.”
Trevor Mein
Landini Associates’ design of McDonald’s In The Sky at Sydney International Airport combines familiarity with inventiveness to deliver a memorable customer experience.

When the McDonald brothers opened their new drive-in in San Bernardino in 1948, it was a revolution in food service that ushered in a new era of fast- food automation. The McDonalds rationalized the commercial kitchen, streamlined processes and invented implements and equipment, replacing traditional food preparation techniques with assembly line procedures. And all of it was visible through the counter-to-ceiling glass window that wrapped the octagonal building. Dubbed the “fishbowl,” the kitchen captivated customers and the food preparation system became an attraction in itself.

The kitchen is also the star attraction at the new McDonald’s in Terminal 1 of Sydney International Airport. It is a spectacle of colour and movement elevated above the kitchen and enclosed in yellow glass. “Airports are places where you can and should do unusual and cutting-edge things,” says Mark Landini, creative director of Landini Associates. “We exposed the machinations of making the product and expressed what McDonald’s is: innovative leaders in the industry.” Add to that the electronic ordering system and conveyer belt for food delivery, which have automated McDonald’s fast-food service even further.

The concept emerged from Landini Associates’ design for a flagship McDonald’s in Hong Kong, and is also a practical and creative response to the space. In Hong Kong, Landini Associates exposed the kitchen and introduced kiosk ordering technology. In Terminal 1, Landini Associates used the volume of the building due to restricted floor space.

McDonald’s In The Sky is located through security, amidst other food and beverage outlets. It is next to a large panoramic window offering views of aeroplanes taking off and landing, with chairs and tables for customers and departing passengers in between. The kitchen floats above the service counter in a yellow glass box, whose panels, with the brand’s golden arches, also serve as signage. Like a glowing beacon, it resolves visibility issues in a space that is busy, loud and visually noisy.

On the ground, the service counter wraps around two sides of the internal volume clad in a charcoal terrazzo-look tile and has simple, intuitive signage: Order and Collect. Customers place their order at the front counter or via kiosks with easy-to-use screen interfaces. McDonald’s products are ordered from one counter, McCafé items from another, and food and drinks are collected at the rounded corner in between.

The commercial kitchen is visible through the glass walls of the kitchen, allowing customers to see the food production and delivery. Employees become part of the spectacle of the kitchen, and a conveyer belt looping around and down transports the bagged food to the collection counter. “The experience we all seek these days is being served quickly. We have delivered ease of purchase and added some theatre,” says Landini. Indeed, these moving parts provide an element of entertainment that enhances the customer experience in an environment where people are typically watching and waiting.

The design is not only intended to enhance the customer experience, but also the staff experience. “We’re really proud of our restaurants and are always looking to give our customers the best possible dining experience. We also want our crew to have a great working experience and the design is definitely one contributing factor to this,” says Josh Bannister, McDonald’s senior development director. And as McDonald’s states on its job advertisements, “The kitchen is where all the action happens.”

The yellow-coloured film on the glass serves as a beacon from across the terminal. The floor has terrazzo textured square tiles with black grout – a familiar sight in McDonald’s kitchens across the world.