Repeat buyers are one of the strongest measures of confidence in any apartment development.

At <a href="https://www.apartments.com.au/new-apartments/era-newcastle-west-124-126-bull-street-newcastle-west-nsw-2302">ERA</a> in Newcastle West, some purchasers are returning to <a href="https://www.apartments.com.au/developers/gwh">GWH</a> after living at the developer's One Apartments. Their decision to purchase again was driven by the quality of life they found after moving into their first GWH home.

Keith Wilton had spent years living in a house in East Maitland before deciding it was time for a change. Apartment living had always been on his radar, but he was selective about what he wanted.

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"I had some boxes I wanted to tick," he says.

Keith points to the open-plan design, generous outdoor areas and considered inclusions as key reasons One Apartments worked for him.

“One of those things was a nice indoor open plan area, but also I wanted a nice outdoor open area that I could entertain on in summer or Christmases or birthdays,” he says.

He also found value in the smaller details, from integrated appliances to shared resident spaces including the pool, cinema and rooftop areas.

[smartcode_project:default project_id=135096 project_image_fid=356818]

After comparing several developments, he chose One Apartments because of GWH's longstanding local reputation and his own experience working with the developer on a commercial project more than a decade earlier.

"I knew that they were local, that the quality of the build was going to be up there. I'd looked at other apartment complexes around and close by, and I just knew that here was a better decision location wise."

Today, Keith says the move has completely changed how he experiences Newcastle.

"I enjoy living in this location because it's more of a lifestyle change. That Newcastle city living where you can walk to restaurants and bars and even beaches and parks and even shopping across the road."

[smartcode_project:default project_id=135096 project_image_fid=356828]

Beyond the location, he says it's the sense of community that has surprised him most.

"Everyone loves living here because they chose to live here, but everyone looks out for each other. It's a real great community feel here."

For Aimee and Lyle Goodman, the journey started almost by chance.

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The couple happened to be having coffee in Newcastle when they noticed the site where One Apartments was about to begin construction.

"We were aware GWH was planning a development," Aimee says. "We made one phone call and things moved pretty quickly after that."

As busy business owners, they initially thought apartment living would simply reduce the maintenance that came with larger homes. Instead, it fundamentally changed how they spent time together.

"We actually catch up more as a family now," Aimee says.

"We've had homes with big yards and lots of space, but everyone ended up in different rooms. Here we'll have dinner together, the kids can play, and we spend far more quality time together."

[smartcode_project:default project_id=135096 project_image_fid=356829]

Lyle says their confidence came from GWH's reputation within Newcastle's building industry.

"I know people who've worked across different apartment projects, and whenever GWH came up the feedback was always the same. They're rock solid. They're quality."

That confidence only grew throughout the buying process.

"One of the things that really impressed us with GWH was the whole process, was the communication," Lyle says. "It was consistent, it was regular, there was no problem if we had some weird questions, there was no problems in getting answers."

[smartcode_project:default project_id=135096 project_image_fid=351104]

Aimee says one moment stood out.

"The project actually finished on time. We realised we needed to hurry up and sell our house because everything was happening exactly when they said it would."

The positive experience at One Apartments ultimately gave all three buyers the confidence to purchase again with GWH, this time at ERA.

Their confidence reflects what many buyers are seeking in today's apartment market. Location remains important, but so too does certainty around delivery, quality and long-term liveability.

[smartcode_project:default project_id=135096 project_image_fid=356822]

ERA builds on those foundations with 280 one, two and three-bedroom apartments across two landmark towers in <a href="https://www.apartments.com.au/developments/newcastle-west-nsw-2302">Newcastle West</a>.&nbsp;

Designed by <a href="https://www.apartments.com.au/architects/fk-australia">Fender Katsalidis</a>, the project will include more than 2,000 square metres of resident amenities, including a resort-style pool, gym, sauna, private cinema and rooftop entertaining spaces overlooking the harbour and coastline.&nbsp;

The development is also within walking distance of the Newcastle Interchange, Honeysuckle, Darby Street, the harbour foreshore, restaurants, retail and the city’s beaches, continuing the walkable lifestyle that existing GWH buyers say has transformed how they live.

[smartcode_project:default project_id=135096 project_image_fid=356826]

For Keith, the appeal remains straightforward.

"You feel at home even before you've moved into your home."

For Aimee, the change is measured in time.

“I just felt like I had more time,” she says.

[smartcode_project:default project_id=135096 project_image_fid=351102]

Construction at ERA is now underway, with more than half of the residences already sold and limited two and three-bedroom apartments remaining in the East Tower release. Priced from $980,000 for two-bedroom residences and $1.46 million for three-bedroom residences, buyers can secure an apartment with a 10 per cent deposit, with premium homes offering ocean views from Level 8 and harbour views from Level 10.

ERA is also backed by Resilience Insurance's 10-year Latent Defects Insurance policy, providing protection against structural or waterproofing defects for 10 years after completion. The project is anticipated to be completed in early 2028.

[smartcode_project_cta:default project_id=135096]

Joel Robinson

From ONE to ERA: Why buyers are choosing GWH again in Newcastle West

Virgate Property Group is preparing to commence construction of Verdé, its new apartment development in Melbourne's Arts Precinct at Southbank, following a strong run of sales that has seen more than half of the project's 173 apartments secured.

Verdé has attracted a broad mix of first home buyers, owner-occupiers upgrading from nearby inner-city suburbs and investors, with younger owner-occupier couples aged between 28 and 45 accounting for the strongest enquiry. Many are already living in Southbank, South Melbourne, Albert Park, Port Melbourne, South Yarra and the CBD.

"Verdé is located in one of the most desirable pockets of southern Melbourne," Blair Property Group Director Darren Blair, who is managing sales at Verdé, said.

"It's within walking distance of the Arts Centre, Royal Botanic Gardens, Albert Park Lake, and Southbank's restaurants and retail. It's a great lifestyle location with strong amenity and liveability, which made it a very attractive choice for the project."

[smartcode_project:default project_id=4661 project_image_fid=372549]

Virgate was already familiar with the precinct, having previously delivered the successful Domain House development in neighbouring South Melbourne. That experience gave the developer confidence to acquire the Coventry Street site and continue expanding its presence in Melbourne's inner south.

"We had been keeping an eye on the site and the broader precinct for a few months before deciding to move forward with the acquisition," Virgate said.

The project was ultimately secured in 2020 following feasibility studies, planning assessments and due diligence, with the brief centred on delivering "a high-quality, considered design that feels both refined and fit for purpose."

[smartcode_project:default project_id=4661 project_image_fid=314259]

Designed by <a href="https://www.apartments.com.au/architects/bruce-henderson-architects">Bruce Henderson Architects</a>, Verdé comprises 173 one, two and three-bedroom apartments priced from $599,000. The architecture is distinguished by a faceted glass façade that responds to both the site's outlook and Melbourne's changing light conditions.

According to Bruce Henderson Architects, the coloured glazing gives the building a distinctive identity while also providing privacy and solar shading, with residences oriented to capture views across the bay, city skyline and surrounding parklands.

Inside, <a href="https://www.apartments.com.au/interior-designers/designoffice">DesignOffice</a> has created interiors focused on natural light, efficient planning and enduring materials. Apartments feature engineered oak flooring, natural stone benchtops, floor-to-ceiling glazing and SMEG appliances, while a restrained material palette aims to complement the expansive outlooks rather than compete with them.

[smartcode_project:default project_id=4661 project_image_fid=372550]

Resident amenity has also been designed around everyday functionality rather than occasional use. Facilities include a concierge-serviced lobby, residents' lounge with fireplace, library and co-working space, gym, terrace garden with barbecue facilities, ground-floor café, and package delivery management.

The project's location continues to be one of its strongest drawcards. Positioned on Coventry Street, Verdé sits within walking distance of the National Gallery of Victoria, Arts Centre Melbourne, Royal Botanic Gardens and Albert Park Lake, while Southbank's dining precinct, Sturt Street trams and the new ANZAC Station are all nearby. The surrounding education catchment also includes Melbourne Grammar, Melbourne Girls Grammar, Mac.Robertson Girls' High School and several major university campuses.

The sales team says buyers have responded particularly well to the combination of location, design quality and long-term liveability.

"They're responding really positively to the quality of the design, premium resident amenities and the uninterrupted views. Many also appreciate the location and how connected it is to everything they need."

The ability to secure stamp duty savings before completion has also been a key factor for purchasers, alongside the opportunity to personalise finishes ahead of settlement.

With construction set to commence soon and more than half the apartments already sold, Verdé enters its next phase as one of the Arts Precinct's more established apartment developments, offering remaining buyers an opportunity to secure a residence before construction advances further. Expected completion is scheduled for late 2027.

[smartcode_project_cta:default project_id=4661]

Virgate's Verdé Southbank moves toward construction as sales fly past halfway stage

Downsizer-focused apartment development Kooyongkoot in Hawthorn has been recognised at the 2026 Better Future Melbourne Design Awards, taking home Gold and Silver awards in two categories.

<a href="https://www.apartments.com.au/new-apartments/kooyongkoot-hawthorn-1-kooyongkoot-road-hawthorn-vic-3122">Kooyongkoot</a>, currently being delivered by developer PQD and designed by Cera Stribley, received Gold in the Interior Design – Proposed category and Silver in the Architecture – Proposed category.

The dual recognition reflects the design approach behind the boutique development on prestigious Kooyongkoot Road, where the focus has been on creating homes for downsizers seeking the space, quality and functionality of a detached house within a low-rise apartment building.

Rather than maximising apartment numbers, <a href="https://www.apartments.com.au/developers/pqd">PQD</a> and <a href="https://www.apartments.com.au/architects/cera-stribley-architects">Cera Stribley</a> limited the development to just 18 residences, allowing for larger floorplans, greater privacy, generous landscaping and expansive communal spaces.&nbsp;The majority of the apartments also benefit from corner aspects, allowing for dual sources of natural light.

Now around 70 per cent complete and on track for completion in November 2026, Kooyongkoot will comprise a mix of garden residences, ter​race apartments, sub-penthouses, and is crowned by two half-floor penthouses with direct lift access and private rooftop terraces.

[smartcode_project:default project_id=102717 project_image_fid=355297]

The Silver Award for Architecture recognised the way the building responds to its prominent corner position at the ent​rance to Hawthorn's Scotch Hill precinct, one of Melbourne's most established residential neighbourhoods.

Rather than competing with the grand homes that line Kooyongkoot Road, the architectural approach focused on restraint and longevity, using curved brickwork, generous landscaping and carefully considered proportions to integrate with the existing streetscape.

"The form feels fluid and timeless, as though shaped by the landscape itself – architecture that belongs, rather than competes," said Chris Stribley, Co-Founder and Managing Principal of Cera Stribley.

The judging submission also highlighted practical innovations throughout the building, including lift cores servicing only nine homes each, a central landscaped lightcourt designed to bring daylight and ventilation into the building, and fully enclosed private storage rooms with lighting, power and shelving to better accommodate residents transitioning from larger family homes.

[smartcode_project:default project_id=102717 project_image_fid=355293]

The Gold Award for Interior Design recognised the project's focus on long-term liveability rather than display-home aesthetics.

According to the awards submission, the interiors were designed from the inside out, prioritising how homes would function over decades of daily use through generous proportions, practical storage, durable natural materials and flexible layouts.

The specification includes natural stone throughout, upgraded acoustic glazing, V-ZUG appliances and fully enclosed storage rooms, alongside an amenity offering focused on wellness, entertainment and everyday convenience.&nbsp;

Residents will have access to a gym and yoga studio, a wellness centre featuring traditional and infrared saunas, a cold therapy shower and treatment room, as well as a residents' lounge and golf simulator/cinema room for entertainment.&nbsp;Kooyongkoot has also considered the everyday convenience of its residents by offering a private carwash and pet wash facilities on site as well as dedicated parcel lockers and oversized fully enclosed storage rooms.&nbsp;

[smartcode_project:default project_id=102717 project_image_fid=355303]

The project's attention to detail has already resonated with buyers. Earlier this year, Kooyongkoot recorded one of Boroondara's highest apartment sales when an $8 million penthouse was purchased by a Melbourne CEO downsizing from a nearby family home.

"Every detail feels deliberate, from the overall design down to the smallest touches," the purchaser said.

"The level of quality and refinement is exceptional, but what really sold it was how liveable it felt... It felt like a place where everything had been considered, not just a luxury building."

[smartcode_project:default project_id=102717 project_image_fid=355304]

Sustainability also formed a key part of both award submissions. Kooyongkoot is targeting a minimum 7.5-star NatHERS rating across all residences, supported by passive design principles, high-performance glazing, EV charging infrastructure, water reuse systems and a wellness model focused on lower-energy dry facilities rather than pools and large wet areas.

Located within walking distance of Scotch College, Methodist Ladies' College, Koo​yong Lawn Tennis Club, Aubur​n Village and Camberwell Junction, Kooyongkoot continues to target owner-occupiers looking to remain in Melbourne's inner east without compromising on space or quality. A limited selection of two, three and four-bedroom residences remains available, with prices starting from $1.9 million.

[smartcode_project_cta:default project_id=102717]

Kooyongkoot wins Gold and Silver at Better Future Melbourne Design Awards

New apartment supply has become increasingly constrained across <a href="https://www.apartments.com.au/developments/parramatta-nsw-2150">Parramatta</a> in recent years, with fewer projects progressing through to completion as development conditions have become more challenging.

It makes <a href="https://www.apartments.com.au/developers/novm">NOVM</a>'s 2021-completed <a href="https://www.apartments.com.au/buildings/the-lennox-parramatta-12-phillip-street-parramatta-nsw-2150">The Lennox</a> one of the most recently completed residential towers on the Parramatta River, and among the newest apartment developments in Sydney's second CBD.

With the project largely completed before the sharp escalation in construction costs and inflation following the pandemic, The Lennox is now offering pricing that would be difficult to replicate in a comparable new development in Parramatta today, or across much of Western Sydney.

The majority of the 413 apartments at The Lennox sold before and shortly after completion. A limited release of the remaining apartments has recently been brought to market by capital partner <a href="https://www.apartments.com.au/project-marketer/equitifund-group">Equitifund</a>, with entry-level pricing from $700,000 and two-bedroom apartments available from under $1 million.

Rising above the Parramatta River at 12 Phillip Street, The Lennox comprises one, two, three and four-bedroom apartments, appealing to first home buyers, young professionals, families, downsizers and interstate investors seeking a completed apartment in one of Australia's fastest-growing economic centres.

[smartcode_project:default project_id=5743 project_image_fid=372394]

Rather than positioning Parramatta as an alternative to Sydney's CBD, Equitifund believes the city has reached a point where it stands on its own merits.

"Parramatta is no longer simply an alternative to Sydney CBD, it's becoming a destination in its own right," Equitifund Executive Chairman Greg Huxley said.

"The Lennox captures that evolution with a level of quality and amenity that's difficult to match at its price point."

[smartcode_project:default project_id=5743 project_image_fid=953]

Designed by <a href="https://www.apartments.com.au/architects/marchese-partners">Marchese Partners</a>, the tower responds directly to its riverfront setting through expansive glazing and open-plan layouts that maximise views across the Parramatta River and city skyline. Interiors feature engineered timber flooring, stone benchtops, stainless steel appliances and floor-to-ceiling glazing, while generous balconies extend the living spaces outdoors.

Marchese Partners says the project was conceived to balance high-quality apartment living with practical, long-term functionality, pairing larger, efficient floorplans with amenities more commonly associated with five-star hotels.

That emphasis continues through the resident facilities, which include a 20-metre rooftop swimming pool, fully equipped gym and wellness spaces, full-time concierge, a residents' lounge, function room, private lifts, secure basement parking and rooftop communal areas overlooking the Parramatta River. Ground-floor boardwalk retail and dining further activate the riverfront and integrate the building into the surrounding public realm.

[smartcode_project:default project_id=5743 project_image_fid=925]

Australian housing and finance group Equitifund has secured the remaining apartments, believing there are few completed apartment opportunities in Parramatta that offer the same combination of location, amenity and pricing.

Equitifund National Sales Director Ben Hamblett says buyers are increasingly recognising that premium apartment living no longer needs to come with Sydney CBD pricing.

"The Lennox is where aspirational living becomes attainable," Hamblett said.

"Wake to river and mountain views, step into Sydney's Second CBD, and arrive home to resort-calibre amenities, all without the harbour price tag."

Hamblett says owner-occupiers are also attracted by the convenience of having Westfield Parramatta, Church Street's dining precinct, Parramatta Park, Riverside Theatres, Western Sydney University and major transport connections all within walking distance.

"At The Lennox, lifestyle is not an afterthought, it is the foundation."

[smartcode_project:default project_id=5743 project_image_fid=5374]

The Lennox places residents within walking distance of Parramatta Square, Westfield Parramatta, Church Street Eat Street, Parramatta Station, the ferry wharf, Light Rail, the future Sydney Metro West, Parramatta Park and CommBank Stadium, reinforcing Parramatta's position as one of Australia's most connected metropolitan centres outside Sydney's CBD.

Equitifund says buyers visiting the display suite consistently comment on the quality of the finishes, generous floorplans, river and skyline views, and the walkability of the location. The project has attracted a broad mix of local professionals, upsizers, downsizers, buyers relocating from Sydney's inner suburbs and interstate investors seeking long-term growth opportunities.

That demand aligns with Parramatta's continued evolution as an economic powerhouse. Equitifund Research and Market Insights specialist John Bekiaris says sustained population growth, infrastructure investment and expanding employment opportunities continue to support long-term housing demand across the city.

"Parramatta has evolved from a satellite city into one of Australia's most important economic centres. Population growth, infrastructure investment and employment are all supporting sustained long-term housing demand."

[smartcode_project_cta:default project_id=5743]

The apartment price gap drawing Sydney buyers west

A luxury beachfront apartment at Rainbow Bay has more than doubled in value since it sold off the plan six years ago, setting a new local apartment record in the process.

The three-bedroom apartment in the Flow development on Petrie Street, the first of four new projects locally by Paul Gedoun's S&amp;S Projects, has sold for $7.4 million, after originally selling for $3.27 million when the project launched in 2020.

The seventh-floor apartment, comprising 187 sqm of internal living space and a 54 sqm balcony overlooking Froggies Beach and Snapper Rocks, was purchased by a local family.

The transaction was negotiated by Pezet Matheson director Kerry Pezet and equates to more than $30,000 per sqm.

Pezet said the sale reflected the limited opportunities to buy into the boutique beachfront development.

"The sale highlights the rarity of opportunities within the boutique beachfront development, where residences seldom become available," Pezet said.

"Flow is one of the Gold Coast's most tightly held buildings. Buyers from our database move quickly when residences become available, and achieving an off-market sale at $7.4 million demonstrates the depth of demand for property of this calibre."

<img alt="Flow" data-entity-type="file" data-entity-uuid="c585b206-2130-4eee-a50c-3f27c51a7c70" src="https://s3.ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/inline-images/Screenshot%202026-07-06%20at%208.33.25%E2%80%AFPM.png?VersionId=m3pHRDV62Y3fvN.XQuQHq.52ilTWpRLf" />

Flow was the first of four luxury apartment developments delivered by Paul Gedoun's S&amp;S Projects at Rainbow Bay and was completed in 2023.

Positioned on the beachfront overlooking Snapper Rocks, the residence includes three bedrooms, three bathrooms, a powder room and views stretching north along the coastline towards Surfers Paradise.

Pezet Matheson Residential principal Mitchell Lambert said buyers continued to prioritise quality beachfront apartments in tightly held locations.

"Flow Residences offers a rare combination of elevated beachfront positioning, architectural excellence, comprehensive resident amenity and premium finishes, which is exactly what discerning purchasers are seeking," Lambert said.

"The transaction further reinforces Rainbow Bay's reputation as one of Australia's premier coastal lifestyle destinations, where limited supply and growing demand continue to support strong market performance."

Pezet Matheson originally marketed and sold out Flow off the plan, making the latest transaction a return to one of the project's original buyers.

Paul Gedoun is selling his third project, <a href="https://www.apartments.com.au/new-apartments/radia-rainbow-bay-271-boundary-street-coolangatta-qld-4225">Radia Rainbow Bay</a>, after recently completing, and selling out, <a href="https://www.apartments.com.au/buildings/esprit-217-227-boundary-street-coolangatta-qld-4225">Esprit</a>. He has plans for a <a href="https://www.apartments.com.au/news/qld/first-look-s-s-projects-proposes-88-apartment-wellness-tower-at-coolangattas-boundary-street">fourth building</a>, 88 apartments on <a href="https://www.apartments.com.au/new-apartments/209-213-boundary-street-coolangatta-qld-4225">Boundary Street</a>.

Rainbow Bay apartment doubles in price since off the plan sale during pandemic

Architecture

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<img src="https://counter.theconversation.edu.au/content/64591/count.gif" alt="The Conversation" width="1" height="1">
GUEST OBSERVER
Place is a crucial dimension of human meaning and relationships. It grounds us. 
Our attachments with multiple places are a significant part of our individual and group identities. At one level, these attachments reflect our values and aspirations, while at another level they capture broader social, cultural and economic trends.
Place is therefore at once very personal and collective. It connotes multiple rather than singular meanings.
In 1976, Canadian geographer Ted Relph confidently divided the two ideas in his seminal book Place and Placenessness. This work influenced a growing movement for place-based research by geographers, sociologists, psychologists, environmental planners and others. 
According to Relph, some places were real and authentic; others were bland and homogeneous. 
<h2>Place identities, a contested business</h2>
Things have got far messier since then. Places can clearly channel both dimensions depending on the beholder; others have evolved under neoliberalism in very different ways that were unforeseen even late last century. Place-making has emerged as a multi-million-dollar industry aimed at creating meaningful sites.
Place research has exploded in various and nuanced directions; there is no more black and white. As prominent place academic Tim Cresswell proclaims:
"Place is made and remade on a daily basis."
Place is political and contested. Geographer David Sibley argues every act of inclusion is defined by an act of exclusion.
This could be as blatant as physically keeping out the unwanted (such as the Great Wall of China), a shift in the ownership of “public” spaces, or applying policies that prohibit the presence of “unwelcome” activities, whether in the name of public good or otherwise. 
Such protectionist mentalities seem to be running rampant on current global political stages.
Elsewhere, much investment is made into actively changing place identity – with varying degrees of success. Regardless, branded place-making is now big business. It is part of urban renewal initiatives in transforming disused or “out of date” areas into higher-density, often boutique (and therefore premium) places.
Professional place-makers supposedly have the expertise to take downtrodden places, wave their magic wands and create new and exciting precincts for us to enjoy. But do these projects always succeed in changing urban fortunes?
<h2>The development of place-making</h2>
The concept of place-making has its origin in the 1960s, when academics and urban activists like Jane Jacobs and William H. Whyte promoted a more human-centred (re)design of cities to counter the anodyne steamroller of international modernism.
Since then, however, governments and private industries alike have dreamt up big ideas – and spent big dollars – in creating “memorable” places in the service of triple bottom line sustainability, though often especially the economic dimension. Paradoxically, this global phenomenon can account for an uneasy new form of placelessness as similar solutions are adapted in diverse settings.
<h4>
The commercialisation of ‘place’ extends beyond urban design and even to clothing chains. Edgar Liu
</h4>
<div class="enlarge_hint"> </div>
Great designs help in creating a distinctive and unique sense of place, but design alone cannot solve all. As a regeneration consultant recently wrote:
"Urban design is not destiny. It alone can’t create communities, can’t address racism or affect global politics through pretty place-making."
The people and place disconnect – or what Relph termed placelessness – has changed and evolved since the 1970s and so have our interpretations, perceptions and experiences of it.
The key point is that process is as important as product. Good design must have the people at heart. And to do that one must first listen to the people. 
We all play critical roles in how place identities come to be. There is a great diversity of views but also wisdom in crowds.
So the turn is towards consultative and, better still, participatory exercises even in large-scale projects alongside small-scale, community-led projects and on to more DIY and guerrilla-style urbanism. 
The united aim is to invest nondescript places (by almost any criterion) with new attractiveness and meaning. This frequently involves respecting individual and collective memories of the past.
<h2>Disrupting placelessness</h2>
As this is played out through private development, the catch is that return on investment becomes a critical driver. New places, reinvented places and what French philosopher Marc Augé termed non-places will all tend to blend authenticity and anonymity.
Place is messier than it ever was, and our engagements with it too. That is why we set out to see how Relph’s simple binary had been disrupted in a new collection called Place and Placelessness Revisited.
This surveys our connections to place in many different settings – civic squares, playgrounds, airports, shopping malls, even public toilets. All serendipitously point to place as a fascinating multiplicity.
We invited Relph to have the last word. He declared without nostalgia that the either/or of his original formulation was “obsolete”. In the new millennium, as discomforting as it may seem, nothing about place “can be taken for granted”.
Edgar Liu is research fellow at City Futures Research Centre, UNSW Australia and author for The Conversation. He can be contacted here.
Robert Freestone is professor of Planning, Faculty of Built Environment, UNSW Australia and author for The Conversation. He can be contacted <a href="https://theconversation.com/profiles/robert-freestone-168551" target="_blank">here</a>.
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jchancellor-FAypfDUnLy

Sense of place: messier than it ever was, so how do we manage this shifting world?

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Children aged 8-12 years can build and take home a model house as part of a Sydney Architecture Festival event held Sunday 2 October.
As part of the festival, the family event 'Supermodels: Architects of Tomorrow' starts at 10am and goes until midday.
It is being held at The Brewery Yards Market, 28 Broadway, Chippendale. Kids will be given kit of parts with everything needed to make a model of an Australian house based on the one pictured above designed by James Grose.
To register for the event, <a href="https://www.eventbrite.com/e/supermodels-architects-of-tomorrow-tickets-27270011338" target="_blank">click here</a>.
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jonathanchancellor-7SQnKwU6yx

Architecture event built for kids

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The Australian Institute of Architects has ceased trading of its subsidiary Archicentre Pty Ltd on the recommendation of Archicentre’s Board.
The Institute will now proceed to an orderly wind up of Archicentre’s operations. 
Professor Ken Maher, national president, said that while Archicentre has provided a valuable service to members of the public for many years, the Boards of both Archicentre and the Institute - having reviewed its operations, financial position and changes in the market over this period – agreed that the time had come to bring things to an end. 
"For 36 years Archicentre has provided Australians with a wide range of quality architectural services," he said. 
"During this time the market and environment in which Archicentre operates has changed dramatically and what was once a unique and innovative business model has become one of many service providers in an increasingly competitive and densely populated market. 
"An important change during this period has been the welcome improvement of consumer watchdogs, strengthening consumer protections in a way that overarches the services Archicentre was established to provide. 
"The nature of the architectural profession has also evolved. The role of architects has branched out into new and increasingly important domains. 
‘Such changes have strained Archicentre’s business model and financial position for some time. 
‘This was a difficult decision made after careful examination of available options and confirmed by independent financial advice. 
‘Despite the Institute’s National Council and the Archicentre Board having implemented a wide variety of measures over the past two years to return the company to a sound financial footing Archicentre’s financial position has continued to deteriorate. 
‘An escalation in operating costs and the recent expiration of a valuable long-term contract have now rendered Archicentre’s financial position untenable. 
‘The Institute’s decision to bring Archicentre operations to an orderly conclusion is the prudent and responsible course of action that will best serve the interests of all involved - customers, contractors and the broader membership alike. 
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‘The Institute is focusing on its strategy and priorities, concentrating on delivering what is most important to the profession - members services, strong advocacy and education standards - while also highlighting the valuable role architecture plays in the community.
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‘On behalf of the Institute I thank the Archicentre Board for its service and hard work during a trying period. They have acted in a way that exemplifies the highest standard of corporate governance. 
‘We also acknowledge the vision and continued contribution of Robert Caulfield, a founding Director of Archicentre and extend our gratitude to all those associated with Archicentre for the wonderful work that has been undertaken over the last three and half decades.’ 
Arrangements moving forward: 
<ul>
<li>
Archicentre’s 12 staff, whose employment is managed by the Institute, are being supported throughout the winding up process. Opportunities to re-deploy these staff are being explored. In any cases of redundancy, the Institute will pay all entitlements in full. 
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<li>
The Institute will refund Archicentre’s existing customers for any services paid for but not delivered and, where possible, make referrals to other service providers. 
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<li>
The Institute will pay all contractors and members for work carried out prior to Archicentre ceasing to trade. 
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<li>
The Institute will be notifying all those affected by these arrangements. Customers and contractors seeking further information can do so by calling 1300 134 513 or emailing info@archicentre.com.au 
</li>
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Australian Institute of Architects cease trading of Archicentre

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<img src="https://counter.theconversation.edu.au/content/54952/count.gif" alt="The Conversation" width="1" height="1">
GUEST OBSERVER
We take for granted that buildings are classified and designed according to a specific use: a library, say, or school, prison or hospital.
A room, or an open area (“a space” in our modern jargon), too, is determined by its function, so we label them as bedroom, living room, boardroom, office, study or even a gift-wrapping room (if you are a Hollywood star).
Such classification is relatively new in human history. In pre-19th-century Europe and pre-modern China of more than 3,000 years, there were very few or no building types.
In modern times, overt specificity and its opposite, open planning, have caused a few problems: short building lifespan, on the one hand, and bland, lifeless open buildings, on the other, are two.
Rooms for cooking, washing and answering nature’s call must cater to these specific uses. Still, these rooms, like others, can be conceived and designed with singular or multiple characters.
We can, for example, wash in a particular room, but we may also bathe or even read there for pleasure if the room has a serene character. We often speak of rooms in terms of human character: a secretive room, a cheerful room, a gloomy room, a feminine room, a dreamy room … the list goes on.
A narrative of rooms
What did it do to humans when in pre-modern times a building was composed with a narrative of rooms and gradually given a “life” of its own?
It would be inconceivable for a modern architect to receive the instruction from a client to design a building with rooms of various characters. But this was exactly what Andrea Palladio – the 16th-century Renaissance master – was instructed to do.
Give me a dozen rooms, some for me, some for my wife, some for my sons, some for servants and some for “ease”, asked the Veneto noble when he desired a country villa. Other than the differentiation between more open rooms (entrata, sala) and more enclosed ones (stanze, camere and camerini), these rooms are sequentially characterised from expansive and lofty to cosy and intimate.
Throughout their long summers, the Veneto nobles loafed around in such ensembles of interconnected rooms to pursue otium – a Roman ideal of leisurely time spent away from business and politics in the city to read literature and philosophy, and to converse and revel in the country.
They often travelled with furniture when they visited each other in those splendid villas. Depending on the mood and the need, a canopy bed could be set up in either a stanza or a camera, hence a circumstantial bedroom in the modern sense.
The entire Villa La Rotonda, conveniently positioned on the top of a hill, was on occasions turned into this magical theatre at night with its rooms becoming viewing boxes – from where the guests would be entertained with fireworks in the valley.
Around a courtyard, each room has its place
For more than three millennia, the Chinese built everything – from house, shop, factory, theatre and temple to imperial palace and the entire city – following one configuration, a courtyard.
But the rooms lining and within the courtyard – some elevated, expansive and magnanimous, and some grounded, hidden and secretive – were designated to play different social roles.
The patriarch and his wife lived in the central building on the axis; the married sons were housed in the two side-wing buildings; the unmarried daughter and the servants were tucked away in the rows of rooms in the rear courtyard.
One’s destiny and the character of the room were matched based on the legible Confucian decorum. The central tang – the hall – was elevated on a stone platform with its southern façade open to the lower court.
When the blind musician Mian called in, Confucius paid him the utmost respect by showing him the way up to the hall. When Mian reached the steps, the Master said: “Mind the steps”. Taking him to his mat, the Master said: “Here is your mat”. When everyone was seated, the Master explained: “So-and-so is here, So-and-so is there.”
This must have been an expected and yet imperative sequence: stepping up to the hall, being allocated the appropriately positioned mat, and sitting down to converse while facing the courtyard below.
The hall is reserved for the distinguished; the lesser must remain in the courtyard. To rise to the hall without an invitation from the owner therefore is an offence. In the imperial palace, the emperor, sitting in the hall, would give audience to his ministers, on their knees, in the court.
A place under Heaven
The courtyard itself is a room with a character. Though the four wings of the courtyard frame the sky, the Chinese leave their Heaven “unclaimed” in blandness.
When leaves fell in the imperial courtyard, the emperor was informed about the arrival of autumn. Women and children cut golden leaves in various shapes and stuck them on their sideburns: a long-forgotten Chinese custom under the Song dynasty.
Heaven’s pulse, in this Song celebration of autumn, is felt through the framed sky in the courtyard, but its true meaning remains on earth – that is, the connection of the emperor with his subjects. Unsurprisingly, the emperor is “the son of Heaven”.
The atrium in a Roman courtyard domusis narrow and skyward. Its character par-excellence is akin to the oculus in the Pantheon. This “courtyard” is the Roman emperor Hadrian’s homage to both Heaven and man, but man is contained within and, subordinate to, the internalised cosmos.
Though gods were many in classical antiquity, Heaven was to be held in awe. The coffers of the concrete dome, shrinking gradually in size towards the oculus, and still the largest unreinforced concrete dome in the world after nearly 2,000 years, are in the mind’s eye of a modern philosopher a chorus of angels ascending to Heaven.
Rain, snow and occasionally hailstones fall from the oculus. But this is the divine sublime. Even to this day, a cascade of ruby rose petals descends from “Heaven’s eye” (the oculus) on every Pentecost.
By the late 19th century, a large country house of the English aristocracy could have up to 50 defined rooms – ranging from parlour, boudoir, music room, library, gentleman’s room and saloon to cloakroom, china closet, gun room and even soiled linen closet. Professor Robert Kerr took the trouble of writing a book in 1865, The Gentleman’s House, to advise architects on the art of segregation in a house.
Unlike that of the 16th-century Veneto nobles, the English country house was fully occupied throughout the year. While the English gentry retreated to some of these enclosed rooms to cultivate a selfhood, this was the end of likening a building and its rooms to a human character, and the beginning of a building as a mechanical apparatus.
“A house is a machine for living in,” declared the French avant-garde architect Le Corbusier in the early 20th century – though his own buildings are more enigmatic than those of his enthusiastic followers.
But not all has been lost. The great New Zealand architect, the late Sir Ian Athfield, and a few of his kindred spirits such as Luis Barragan in Mexico and Geoffrey Bawa in Sri Lanka, conceived and built their buildings as an ensemble of rooms of all sorts of characters.
Their work nonetheless prove the validity of a long-forgotten tradition – that is, architecture was meant to be an art of imitating a human character, rather than “designed” to cater to a specific use only.
Xing Ruan is professor of Architecture, associate dean international and director of Architecture, UNSW Australia and author for The Conversation. He can be contacted <a href="https://theconversation.com/profiles/xing-ruan-219197" target="_blank">here</a>.
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Why a building and its rooms should have a human character

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The BVN designed Minter Ellison workplace is the winner of the 2016 John Verge Award for Interior Architecture in the NSW Architecture Awards conducted by the Australian Institute of Architects.
According to the jury the project “provided a new benchmark for the design of legal workplaces”.
They found that “through a rigorous challenging of the traditional hierarchical legal office structure, the architects have developed a new model blending office based work with the principles of Activity Based Workplace (ABW)."
The outcome was a "collaborative and connected working environment.”
The jury also noted that choosing to minimise material use by exposing concrete floors and ceilings was bold for a legal workspace and reflects the progressive nature of the project and the client.
<img src="/images/2016/07/04/minister.jpg" alt="">
Ms Domino Risch, Workplace Director, BVN, noted that “a desire for visual connectivity has created a series of overlapping and cascading voids with a ribbon-like winding oak stair connecting the floors, minimising lift use and encouraging less sedentary behaviour.”
She also pointed out that there are a range of work settings, “with minimally sized multi-functional offices for partners and sit-to-stand benches, with the number of partners choosing to sit with their teams steadily increasing.”
The Minter Ellison workplace is eligible to receive a national architecture award that will be announced in November. 
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Interiors award for Minter Ellison Sydney office

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Cognitive impairment and ageing are two important aspects that need to be kept in mind while incorporating design elements, and is a challenge for architects and urban designers, according to a leading Brisbane architect.
Marchese Partners Brisbane principal Frank Ehrenberg—who has studied at one of the world’s leading authorities on ageing and dementia, the University of Stirling — said the shift in mindset toward new design features becoming commonplace was something that could not be ignored.
“As a population we are living longer and we know many of us will face some form of cognitive impairment as we age,” Ehrenberg said.
“We know multiple colours in floor tiles can appear to someone with cognitive impairment to be a hole in the floor, so design is ensuring floors are uniform and easier to navigate."
He added that legibility was very important as rooms that are easy to navigate can help people locate things like bathrooms quickly. Same while designing outdoor spaces such as gardens residents can go for a walk and easily find their way back to their starting point.
“Even the treatment of light and sound is critical. During waking hours lights need to be bright enough to account for declining eyesight, but at night it is important to eliminate as much light as possible to ensure restful sleep." 
It is important to keep sounds such as alarms and buzzers to a minimum, as they can be confusing to people with cognitive impairment, he added.
Ehrenberg said the attitude toward ageing friendly design was similar to that of disability design 40 years ago and it was time all new projects were designed and constructed with these features. 
“A few decades ago we started becoming aware we had to design spaces that considered people with mobility impairment and now every new building has equitable access incorporated into the design,”  Ehrenberg said.
“In the same way that we now include ramps and lifts as a matter of course for people with mobility difficulties, we need to design spaces that consider cognitive difficulties as well.”
Ehrenberg said the real challenge for architects and designers was to integrate these principles into new buildings without drawing attention to them.
“No one wants to think about their mind not functioning as well as it used to, just as no one wants to think about the possibility that one day they may not be as mobile,” he said. 
“Designing with ageing in mind means people can live independently for longer. It means couples can stay together longer, even if one of them begins to experience some cognitive decline.
“The result is a seniors living environment that ensures operations are efficient and functional and the innovative aesthetics are obvious and at the forefront."
Ehrenburg emphasised that Marchese focuses on creating friendly public spaces and meeting places that engender a village atmosphere.
“To provide the individual choices residents desire we provide understated luxury across the spectrum of sun-drenched living spaces from apartments and independent living units through to warm and welcoming aged and health care models,” he said.
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prateek24-ezbwHMbNAk

'Ageing-friendly design' is the next frontier in urban design

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Near on 6,000 new beds for tertiary students are currently in development throughout Melbourne. While there are numerous small-scale buildings also on the radar, the 6,000 figure stems from larger developments championed either directly by the education providers or independent accommodation providers.

Traditionally ultra-high in density and repetitive in their interior/exterior presentation, existing student accommodation buildings to date have been typified by precast concrete exteriors; essentially no frills beasts which often derided.

So what of the current squad and their design prowess or construction progress? Below is a look at the most prominent current student accommodation projects throughout Melbourne.

<h2>Leicester Street Student Accommodation</h2>

<figure><a class="colorbox colorbox-insert-image" href="https://res.cloudinary.com/dz9xllyip/image/fetch/q_auto:good/https://s3-ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/pictures/article-images/image79.jpg" rel="gallery-all" title="Leicester Street is prison-like in its appearance"><img alt="" class="image-article-full-width-580px" height="311" src="/sites/urban.melbourne/files/styles/article_full_width_580px/public/pictures/article-images/image79.jpg?itok=7MQdjWzE" title="Leicester Street is prison-like in its appearance" width="580"></a>

<figcaption>Leicester Street is prison-like in its appearance</figcaption></figure><ul>
<li>Project: Leicester Street - Campus Living Villages &amp; Melbourne University</li>
	<li>Architect: Architectus</li>
	<li>Contractor: Watpac</li>
	<li>Features: 648 beds, 5 Star Green Star rating, retail spaces, student plaza</li>
	<li>Opening date: Semester 1 2016</li>
</ul>
It's hard to recall any building in the past decade that has been designed to be so rudimentary in its presentation. Unless a mind-bogglingly impressive paint scheme is applied as Leicester Street nears completion, this will rank as one of the poorest buildings Melbourne University have commissioned.

<h2>Bundoora Student Accommodation &amp; Victoria University Student Accommodation</h2>

<figure><a class="colorbox colorbox-insert-image" href="https://res.cloudinary.com/dz9xllyip/image/fetch/q_auto:good/https://s3-ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/pictures/article-images/accomst.jpg" rel="gallery-all" title="Enlivening Burwood West and Footscray"><img alt="" class="image-article-full-width-580px" height="438" src="/sites/urban.melbourne/files/styles/article_full_width_580px/public/pictures/article-images/accomst.jpg?itok=N-DXlEK4" title="Enlivening Burwood West and Footscray" width="580"></a>

<figcaption>Enlivening Bundoora West and Footscray</figcaption></figure><ul>
<li>Project: McKimmies Road, Bundoora - RMIT University</li>
	<li>Architect: Richard Middleton Architects</li>
	<li>Contractor: Built</li>
	<li>Features: 370 beds, Talks and Discursive Zone, informal learning spaces, video conferencing, postgraduate club-style lounge, reception</li>
	<li>Opening date: Semester 1 2016</li>
</ul>
 

<ul>
<li>Project: Ballarat Road, Footscray - UniLodge &amp; Victoria University</li>
	<li>Architect: Nettleton Tribe</li>
	<li>Contractor: ADCO</li>
	<li>Features: 504 beds, retail spaces, landscaped areas, theatre, communal kitchen, games room</li>
	<li>Opening date: Semester 1 2016</li>
</ul>
Both projects have essentially seen their concrete structures completed with internals and facade fitting is in progress. Articulated and varied, there is a heightened degree of design ability about both projects relative to Leicester Street.

RMIT's Bundoora accommodation features a pre-fabricated box/stepped feature facade manufactured by local firm SBS Group, with little exterior precast in use.

<h2>Burwood Student Accommodation</h2>

<figure><a class="colorbox colorbox-insert-image" href="https://res.cloudinary.com/dz9xllyip/image/fetch/q_auto:good/https://s3-ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/pictures/article-images/image82_0.jpg" rel="gallery-all" title="Deakin Burwood's prospective student accommodation building"><img alt="" class="image-article-full-width-580px" height="402" src="/sites/urban.melbourne/files/styles/article_full_width_580px/public/pictures/article-images/image82_0.jpg?itok=LmCnr_Gh" title="Deakin Burwood's prospective student accommodation building" width="580"></a>

<figcaption>Deakin Burwood's prospective student accommodation building</figcaption></figure><ul>
<li>Project: Uganda Street, Burwood - Deakin University</li>
	<li>Architect: Nettleton Tribe</li>
	<li>Contractor: ADCO</li>
	<li>Features: 505 beds, common area, landscaped outdoor area with BBQ, study rooms, car parking</li>
	<li>Opening date: Trimester 1 2017</li>
</ul>
Following on from the completion of an initial Burwood student accommodation building during 2012, Nettleton Tribe will partner with Deakin University once more to deliver the latest project. Pre-construction works will commence this week on the facility which sees an punctured atrium design feature. The new build will eventually sit opposite the 2012-built building.

<h2>Halls of Residence</h2>

<figure><a class="colorbox colorbox-insert-image" href="https://res.cloudinary.com/dz9xllyip/image/fetch/q_auto:good/https://s3-ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/pictures/article-images/image85.jpg" rel="gallery-all" title="Recent aerial perspective of the site sourced via Relive It"><img alt="" class="image-article-full-width-580px" height="316" src="/sites/urban.melbourne/files/styles/article_full_width_580px/public/pictures/article-images/image85.jpg?itok=C7uzRoJR" title="Recent aerial perspective of the site sourced via Relive It" width="580"></a>

<figcaption>Recent aerial perspective of the site sourced via Relive It</figcaption></figure><ul>
<li>Project: Scenic Boulevard, Clayton - Monash University</li>
	<li>Architect: Hayball and Richard Middleton Architects, McBride Charles Ryan, Jackson Clements Burrows</li>
	<li>Contractor: Brookfield Multiplex</li>
	<li>Features: 1000 places, common area, landscaped outdoor area with BBQ, study rooms, car parking</li>
	<li>Opening date: Staged from October 2015</li>
</ul>
The first of four buildings is scheduled for occupancy within weeks. Valued at $145 million, the development encompasses a combined gross floor area of 40,000 square metres.

<h2>Scape to verticality</h2>

<figure><a class="colorbox colorbox-insert-image" href="https://res.cloudinary.com/dz9xllyip/image/fetch/q_auto:good/https://s3-ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/pictures/article-images/image99_0.jpg" rel="gallery-all" title="Scape's Melbourne trio "><img alt="" class="image-article-full-width-580px" height="352" src="/sites/urban.melbourne/files/styles/article_full_width_580px/public/pictures/article-images/image99_0.jpg?itok=gLzRhB_H" title="Scape's Melbourne trio " width="580"></a>

<figcaption>Scape's Melbourne trio</figcaption></figure>Dutch-backed UK student living group Scape have grand plans for three central Melbourne locations. 393 Swanston Street and 212-22 La Trobe Street have definitive schemes in place, although the latter is now subject to a planning amendment that would see alterations to both interior and exterior finishes.

Their third site at the former CUB Brewery holds Swanston Street frontage. Purchased earlier in the year, 557-591 Swanston Street and the two CBD projects could yield in excess of 2,500 student beds.

<h2>Elizabeth looms large</h2>

<figure><a class="colorbox colorbox-insert-image" href="https://res.cloudinary.com/dz9xllyip/image/fetch/q_auto:good/https://s3-ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/pictures/article-images/image103_0.jpg" rel="gallery-all" title="SJB Architects' take on student living"><img alt="" class="image-article-full-width-580px" height="297" src="/sites/urban.melbourne/files/styles/article_full_width_580px/public/pictures/article-images/image103_0.jpg?itok=lN9t_DyP" title="SJB Architects' take on student living" width="580"></a>

<figcaption>SJB Architects' take on student living</figcaption></figure>Still at planning, two additional student living towers have been proposed as part of the expected redevelopment of the City Toyota site. With studio apartments beginning at 24sqm, the dual towers designed by SJB Architects as part of the larger overall development could carry in excess of 670 students dwellings.

Located at 611-681 Elizabeth Street, the project would have residential towers either side and feature a myriad of onsite amenities for both residents and students.
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silvermb

An overview of Melbourne's student accommodation projects

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Koichi Takada has sought to change the way we think about traditional buildings.
Bringing a fresh perspective and Japanese sensibility to Australian architecture, he hopes every building is a signature of his style.
<img src="https://static1.squarespace.com/static/50e3c8f9e4b0395512a60c4c/t/51442038e4b0e93a3199f90b/1363419197631/KoichiApt-17.jpg?format=750w" width="511" height="653">
Koichi Takada studied and graduated from the School of Architecture at the City University of New York and the Architectural Association, London.
While practicing in Tokyo, Koichi worked on an invited competition of the Museum of Contemporary Art, Sydney in 1997 and stayed in Sydney to perfect his craft.
He has also given back to the community that praises him, having taught at tertiary institutions, including the University of Technology Sydney and RMIT in Melbourne .
Takada opened the critically acclaimed 'Koichi Takada Architects' agency in Sydney back in 2008 and acts as the lead of the boutique firm, ensuring his vision always translates to each project they undertake.
The agency firmly believes in drawing inspiration from nature, a philosophy that is evident in the built elements of Takada designed buildings and complexes. 
The firm also explores the idea of architecture evolving over time, with emphasis on minimal aesthetics that are environmentally sustainable, working with nature rather than opposed to it.
The studio is divided into three divisions, all overseen and led by Koichi Takada.
<img src="https://static1.squarespace.com/static/50e3c8f9e4b0395512a60c4c/t/51cd35eee4b0ff1650b91f17/1372403182741/KOICHI+TAKADA+ARCHITECTS?format=1000w" width="525" height="202">
The studio departments work independently from each other, designed to provide focus on the moving pieces of architectural design and a personalised response to individual projects.
Takada's designs have constantly won the praise of critics and peers alike. 
His work in the residential, cultural and retail worlds have garnered worldwide attention, winning key awards in Australia, Japan and the UK.
The experimental 'Cave' Restaurant based in Maroubra, Sydney for example was the recipient of the International Restaurant Award from Restaurant and Bar Design Awards in the UK for 2010/11, the winner of Best Leisure Interior from International Property Awards in 2011 and was shortlisted for Australian Interior Design Awards in 2010.
<img src="https://static1.squarespace.com/static/50e3c8f9e4b0395512a60c4c/t/515a180fe4b063d29d1adf73/1364858896999/1_CAVE+RESTAURANT_KOICHI+TAKADA+ARCHITECTS.jpg?format=1000w" width="419" height="279">
One of the latest prospects from Takada, Crown Green Square tower has been proposed for the Green Square town centre in Sydney.
Crown International Holdings Group has released images of their ambitious mixed-use, multi-residential complex.
Sales start this weekend.
<img src="https://static1.squarespace.com/static/50e3c8f9e4b0395512a60c4c/t/544d6c30e4b060d07203e2eb/1414360113883/?format=1000w" width="516" height="685"> 
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j.ballantyne1990-6AQqhLzZaK

Koichi Takada seeks boutique architectural outcomes

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For folks who aren’t architects (like me), we don’t give much thought to building design. We blissfully carry out our lives in and around structures.

I’ve had the privilege recently to try to understand how a building takes shape during the design process. I’ve discovered that there seem to be 2 methods at either ends the same spectrum. Top-down and bottom-up.

Each has an profound affect on not only the designs an architect produces but also how they run their business, engage with clients and consultants.

<h2>Top down</h2>

This approach is often driven by a strong personality (usually a director) with a creative vision. That creative vision is influenced predominantly by that individual’s style and personal tastes. Clients select these architects because there is often something in the design that resonates with the client.

In top down architecture, aesthetics reign supreme over most other design factors. With top down there is often a piece of the architects personality in the design. So any factor that threatens that design is often taken personally.

The advantage to top down is that clients know what they’re getting. There is often an obvious design language that shines through no matter what the context of the project. Clients are drawn to it and will select an architect because of it.

The disadvantage is that the architects desire can become a risk factor for the client too. If they’re too stubborn to challenge their own design language for the good of the project, clients can feel like they’re not getting the outcome they want.

Top down architecture is a challenging balance between client needs and aesthetic form. It often assumes that you can’t have both - it's either/or.

<figure><a class="colorbox colorbox-insert-image" href="https://res.cloudinary.com/dz9xllyip/image/fetch/q_auto:good/https://s3-ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/pictures/article-images/68a94254b4bcd524b38e5eaba1d4ca2e.jpg" rel="gallery-all" title="568 Collins Street. Image © Ryan Seychell"><img alt="" class="image-article-full-width-580px" height="870" src="/sites/urban.melbourne/files/styles/article_full_width_580px/public/pictures/article-images/68a94254b4bcd524b38e5eaba1d4ca2e.jpg?itok=MMYiw_FD" title="568 Collins Street. Image © Ryan Seychell" width="580"></a>

<figcaption>568 Collins Street. Image © Ryan Seychell</figcaption></figure><h2>Bottom up</h2>

This seems to be an emerging practice, particularly in Melbourne. Bottom up doesn’t start with any defined design language. The design starts with client needs first and foremost as well as site context.

It's a far more fluid process where both artistic and scientific inputs are related to the design during various iterations. Aesthetics are still important, but they’re more responsive than oppressive. This can result in some really creative designs that clients love.

The type of client that selects this approach is a little more adventurous. Yet they still want to drive the design process - they want a piece of their personality in the design - not just the architect. They want to use the design as a way to improve project outcomes.

Bottom up assumes that you can have striking form and meet the needs of clients. It is a both/and approach compared to top down. Architects that master the bottom up approach become known not for design language or style, but for project outcomes.

Bottom up also requires architects to really push boundaries of construction methods, planning regulations and engineering assumptions. These things are not for the feint hearted.

<h2>Which is best?</h2>

I think it's about personal preference really. I tend to sway towards bottom up, mainly because I believe in this approach to other areas in business (like The Responsive Organisation movement). Of course there is also another way to look at this - that is top down and bottom up are really a spectrum. Different firms would sit at different places on this spectrum and perhaps change depending on the market conditions.

In any case, I find the complexity behind the process fascinating. It makes me look at and experience buildings entirely differently, observing them and wondering - how did they arrive at that design outcome?

This post originally appeared on <a href="http://www.gwts.com.au/blog/entry/top-down-vs-bottom-up-architecture">Global Wind Technology Services' blog</a>. Lead image credit: <a href="http://oh-yes-melbourne.tumblr.com/">oh.yes.melbourne</a>.
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cskipsey

Top down versus bottom up architecture

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Urban.com.au spoke with Hayball Managing Director Tom Jordan upon the practice's <a href="http://www.hayball.com.au/news/world-architecture-100-2015/">recent entry into the World Architecture top 100</a>. While exploring the factors which led to this achievement, various other topics such as current projects and future aspirations were discussed during an interview with Laurence Dragomir.

LD: The World Architecture 100 is based on data gathered via survey, ranking the biggest practices globally. What is your/the practice's view on how and why Hayball have advanced into the ranking - in terms of design strength and a purely business perspective?

TJ: I guess it's a product of our steady growth over the last few years which is ongoing and that's based on consolidating our profile in the key sectors we work in - multi-unit residential and education, but also new sectors and new markets. We've got the Sydney and Adelaide offices, we're active in Brisbane, all of which have contributed to growth. The practice has also had a number of works published and recognised by the Australian Institute of Architects which has helped build our profile and thus led to more work.

LD: Does the practice consider its inclusion in the WA100 as a matter of prestige within the industry or do you believe it will translate into an increase in job commissions?

TJ: I think the effects will be pretty subtle, but I think it doesn't hurt the profile - it's more profile building material.

LD: Looking at Woods Bagot for example, who are the top ranked Australian practice at no. 7 on the list, they have a very global network and profile. As you mentioned Hayball now have offices in Sydney and Adelaide and are undertaking work in Brisbane, do you forecast any further expansion potentially offshore in the not-too-distant future?

TJ: We're definitely open to it, but it would be opportunity driven if it were to happen. Hayball do work in South-East Asia at the moment but we do it all from here in Melbourne. In terms of opening an office in SE Asia, that's probably beyond a 5-year plan.

<figure><a class="colorbox colorbox-insert-image" href="https://res.cloudinary.com/dz9xllyip/image/fetch/q_auto:good/https://s3-ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/pictures/article-images/tom_jordan_head_shot.jpg" rel="gallery-all" title="Hayball Managing Director Tom Jordan. © Hayball"><img alt="" class="image-article-full-width-580px" height="326" src="/sites/urban.melbourne/files/styles/article_full_width_580px/public/pictures/article-images/tom_jordan_head_shot.jpg?itok=LYMpD0-n" title="Hayball Managing Director Tom Jordan. © Hayball" width="580"></a>

<figcaption>Hayball Managing Director Tom Jordan. Image courtesy Hayball</figcaption></figure>LD: Do you mind providing us with an overview of the practice's staff numbers and the number of projects in progress at any one time?

TJ: Sure, we have a current staff of around 120 with all bar four located in our Melbourne office. In terms of project numbers we have around about 50 at the moment that are currently being worked on and there are others that are dormant.

LD: Are those projects predominantly multi-residential and education?

TJ: Historically they've made up the majority of our work but we're increasingly getting a lot more urban mater planning work, interiors work and institutional work of various types. So even though education and residential make up about 80% of our work the other sectors are starting to see an increase as an overall proportion of our work. It's been our strategy to maintain a diverse project mix as much as possible.

LD: With high-rise apartments in Melbourne being largely driven by offshore developers in recent times, have you found that your clientele has changed somewhat? Obviously the practice continues to work with Lend Lease on projects such as Studio Nine.

TJ: I think site acquisition is driven by offshore investors rather than developers. We've got one or two mainland Chinese clients but the majority of our work continues to be with Australian-based developers. We're doing work with Mammoth Empire (Malaysia) and we've been working with them for about five years both locally and in Malaysia.

They are a professional developer, not a land banker and are particularly active. But we're still doing work with Lend Lease, MAB and a host of smaller developers.

LD: Would the experience and publicity gained via working on a project such as Library at the Dock, being the first CLT (Cross Laminated Timber) public building to be built in Australia reinforce that view?

TJ: The effects of that are still emerging, but we expect that it will have a profile generating result. It will be really interesting to see where CLT goes and how widely adopted it becomes.

<figure><a class="colorbox colorbox-insert-image" href="https://res.cloudinary.com/dz9xllyip/image/fetch/q_auto:good/https://s3-ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/pictures/article-images/libraryexternal21080px.jpg" rel="gallery-all" title="Library at The Dock. © Lend Lease"><img alt="" class="image-article-full-width-580px" height="386" src="/sites/urban.melbourne/files/styles/article_full_width_580px/public/pictures/article-images/libraryexternal21080px.jpg?itok=odKhbdVy" title="Library at The Dock. © Lend Lease" width="580"></a>

<figcaption>Library at The Dock. © Lend Lease</figcaption></figure>LD: Do you see the practice becoming a really strong proponent for CLT or is it something that is driven by developers? 

TJ: Yes CLT is a great system but it does require quite a specific technical understanding as it's not a conventional construction system by any means. We've developed that from working on the library so I do think Hayball are a proponent of it.

We’re really pushing forward with it because of the range of benefits in terms of cost, ESD, minimal wastage, reduced embodied energy and very quick on site.

LD: The practice has recently introduced a employee share scheme, becoming the first in Australian architecture firm to do so. Can you tell us a bit more about that?

TJ: We have a small number of non-director shareholders and we recently expanded that group. It is about acknowledging the contribution people make to the practice, retaining and attracting talent which leads to growth in the business and giving key staff a connection to the financial performance of the business.

LD: Do you think it's something that will become more prevalent in the industry?

TJ: Possibly, but it will be slow. Obviously engineering practices have been doing it for a very long time with great success but they're different beasts relative to architectural practices. I don't see it as being a dramatic shift in that direction. We're undertaking it in a systematic and targeted way, steadily broadening the ownership and we see it as very positive program for our practice.

LD: And just to finish off what do you think the future holds for the practice and what do you see as being some of the major challenges facing the industry in the future?

TJ: What we have in our plan is expanding our exposure geographically particularly along the eastern seaboard including Adelaide - we've got a bit of work in Tasmania at the moment - but also getting more exposure to higher education and commercial sectors that we don't currently have a lot of. That's where Hayball's heading.

Overall the profession does face a number of challenges. I think the influence that architects have in the procurement process has diminished over the last 10-15 years and there is an opportunity to strengthen our role through the whole building delivery process, not just during the early design and planning approval phases in order to achieve high quality built outcomes for the community.

LD: Thanks again for your time, Tom.
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