The residential transformation of St Kilda Road is set to continue into with more new apartment plans for the sought-after boulevard.

Wing Tai Asia has lodged plans for a major residential tower at 464-466 St Kilda Road, replacing the former VACC House with an 18-storey mixed-use development designed around a retained heritage podium and a sculpted contemporary tower.

The proposal, prepared under Victoria’s Significant Residential Development with Affordable Housing pathway, would deliver 325 apartments and ground-floor retail across the prominent 4,653 sqm boulevard site in Melbourne’s St Kilda Road North Precinct.

The project centres on the adaptive reuse of the site’s heritage-listed VACC Building, an eight-storey office designed by Bernard Evans that has occupied the address for decades. Planning documents state the development would involve “carefully dismantling and conserving off-site the original metal fabric of the podium visible from St Kilda Road,” before reinstating it as the defining frontage of the new scheme.

Above the restored podium, Wing Tai is proposing a curvilinear residential tower. The scheme includes 172 one-bedroom apartments, 63 two-bedroom apartments, 66 three-bedroom apartments, and 24 four-bedroom apartments, alongside two ground-floor food and beverage tenancies fronting St Kilda Road.

The tower has been designed with substantial articulation and variable setbacks to minimise perceived bulk and maintain view corridors along the boulevard. Urbis, which prepared the planning report, said the design “has been significantly articulated through a curvilinear design” with “an interplay with materials, façade expression and depth” to create visual separation and visual interest.

The proposal also includes 254 basement car spaces, landscaped pedestrian links connecting St Kilda Road and Queens Lane, and a biophilic landscape strategy featuring canopy trees, raised planters, cascading greenery and a glass oculus pool overlooking the eastern frontage.

Planning documents confirm the $270.1 million development will contribute 3 per cent of project costs to the Social Housing Growth Fund as part of the application process.

Wing Tai acquired the St Kilda Road property in 2018 alongside Abacus Property Group for $95.38 million, before later consolidating ownership of the site. The property previously served as the Victorian Automobile Chamber of Commerce headquarters for around 60 years.

The transformation of the St Kilda Rd boulevard is already beginning to materialise, with a number of high-profile projects recently completed, launched, or approaching launch as developers continue to back the long-term appeal of the precinct.

Among the most notable recent completions is Louise by Samuel Property Group, just off the strip on Queens Lane, the same pocket Hirsch &amp; Faigen recently launched The Queensbury. Mirvac is too on the same street with The Albertine, which is approaching completion.

Dexus recently secured approval for its slice of St Kilda Road, while Gurner also has approved plans for the precinct.

Joel Robinson

Wing Tai unveils 325-apartment St Kilda Road tower on former VACC House site

Malaysian developer <a href="https://www.apartments.com.au/developers/s-p-setia">SP Setia</a> is the latest to jump into St Leonards booming Transport Oriented Development precinct.

The developer, which has previously delivered Sapphire by the Gardens apartment development in Melbourne, identified the Atchison Street site in 2023. It filed a Scoping Report around 12 months ago, and now has revealed the designs for the new&nbsp;40-storey mixed-use tower.

The State Significant Development Application covers <a href="https://next-portal.urban.com.au/projects/14650/summary">20-22 Atchison Street</a>, a 1,374 sqm site positioned between St Leonards Station and the new Crows Nest Metro station.

Designed by <a href="https://www.apartments.com.au/architects/cox-architecture">COX Architecture</a>, the project would deliver 181 apartments, above a four-storey commercial podium, five basement levels, and new public domain works along Mitchell Street. The apartment mix comprises 35 one-bedroom apartments, 39 one-bedroom-plus-study apartments, 85 two-bedroom apartments, and 22 three-bedroom residences.

The proposal has been lodged as a shop-top housing development under the NSW Government’s TOD planning pathway, which allows increased density around key transport infrastructure. The site sits within the recently rezoned Crows Nest Accelerated TOD Precinct.

<img alt="First look: SP Setia targets St Leonards skyline with 40-storey TOD tower" data-entity-type="file" data-entity-uuid="b799673d-48e2-46b0-801a-0e33a9330100" src="https://s3.ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/inline-images/atchinson%20site.png?VersionId=dPh0UfwfaHpbFL1R7H1cbZNbIW0CHbCC" />

SP Setia acquired the Atchison Street site as part of its continued expansion into the Australian apartment market. In comments made to City &amp; Country (The Edge Malaysia) in 2023, SP Setia President and CEO Datuk Choong Kai Wai described the acquisition as “a strategic move” aligned with the group’s post-pandemic market recovery strategy.

“Our target for this exceptional development is local and overseas buyers, including first-home buyers, downsizers and investors,” Choong said.

The tower has been designed as a slender vertical form rising from a mixed-use podium, with COX Architecture positioning the development as a response to the evolving St Leonards and Crows Nest skyline.

“The purpose of the project is to facilitate the delivery of high-quality housing at a strategically located site and deliver a built tower outcome that is consistent with the desired future character of St Leonards and aligns with the TOD controls,” the design report stated.

<img alt="First look: SP Setia targets St Leonards skyline with 40-storey TOD tower" data-entity-type="file" data-entity-uuid="b1a85eee-76f7-436c-a6da-73ba827b9b13" src="https://s3.ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/inline-images/atchinson%20entry.png?VersionId=dA9jHGPMcm.dDbwk4QfxqWiY5bfh3UVt" />

The podium would incorporate retail uses fronting Atchison Street, commercial tenancies, landscaped communal areas, and pedestrian improvements along Mitchell Street. Vehicle access and loading would be consolidated via Atchison Lane.

Residents would have access to more than 665 sqm of communal indoor and outdoor spaces, while the development proposes 96 parking spaces across five basement levels.

The proposal also includes a commitment for 10 per cent of residential floor space to be allocated toward affordable housing through a monetary contribution.

COX said the tower form responds directly to the emerging high-density character of the precinct while seeking to maximise solar access, cross ventilation, and outlook from apartments.

<img alt="First look: SP Setia targets St Leonards skyline with 40-storey TOD tower" data-entity-type="file" data-entity-uuid="2163f85c-f63b-4be3-aafa-f8763976cec5" src="https://s3.ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/inline-images/Article%20Feature%20Image%20%28Grid%29_5.png?VersionId=WiAmtIKJ6.ZQ41EtYEQ1fol7AeorKBlL" />

“The building is orientated towards north,” the Apartment Design Guide compliance report noted, adding that the tower’s slim form was driven by the constrained inner-urban site dimensions.

The design also incorporates landscaped setbacks and communal open space at podium level, intended to soften the interface with surrounding streets and improve pedestrian amenity.

The project adds to a growing wave of redevelopment proposals reshaping St Leonards and Crows Nest following the opening of the Sydney Metro City line and the NSW Government’s push for higher-density housing around major transport nodes.

Last week Stockland filed plans just down the road. They want to build a <a href="https://www.apartments.com.au/new-apartments/601-pacific-highway-st-leonards-nsw-2065">52-storey tower on Pacific Highway</a>.

Read more:&nbsp;<a href="https://www.apartments.com.au/news/nsw/first-look-stockland-plans-52-storey-538-apartment-st-leonards-tower">First look: Stockland plans 52-storey, 538-apartment St Leonards tower&nbsp;</a>

First look: SP Setia targets St Leonards skyline with 40-storey TOD tower

<a href="https://www.apartments.com.au/developers/urban-property-group">Urban Property Group</a> has revealed plans for a new mixed-use tower at 10 Dangar Street, Wickham, advancing a proposal that would reshape the southern gateway to Newcastle’s city centre with one of the city’s tallest residential buildings.

The State Significant Development proposal, now on exhibition, seeks approval for a <a href="https://www.apartments.com.au/new-apartments/bowline-10-dangar-street-wickham-nsw-2293">43-storey tower</a> immediately adjacent to the Newcastle Interchange. The project would deliver around 200 apartments, including 42 affordable housing dwellings, alongside 99 co-living units, a 171-room hotel, retail space, and new public domain integrated through the site.

The scheme marks a significant escalation of plans previously approved for the site. Urban Property Group took over the prominent 2,904 sqm parcel, where excavation and demolition had already commenced under an earlier consent for a 14-storey mixed-use development.

<img alt="First look: Urban Property Group unveils Newcastle’s next supertower at Wickham interchange" data-entity-type="file" data-entity-uuid="58a96dd9-407f-4d20-86b4-94e4bfeef74b" src="https://s3.ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/inline-images/wickham%20podium.png?VersionId=LGlf08pdFGAZDzvx_CXC4XakHNZRuEE0" />

Designed by <a href="https://www.apartments.com.au/architects/sjb-architects">SJB</a>, the tower has been conceived as a landmark transit-oriented development anchored to the Newcastle Interchange precinct. The proposal includes 245 build-to-sell apartments across a mix of one, two, and three-bedroom residences, as well as two penthouses. Fifteen apartments and one operational unit are earmarked for NDIS housing. The co-living component would add a further 99 units, while the podium would accommodate retail uses and hotel facilities.

SJB said the site presents “a valuable opportunity to anchor the precinct by setting the standard for design, active ground planes and character at the key southern gateway.”

The architecture responds directly to the site’s position beside major transport infrastructure and within one of Newcastle’s fastest-evolving urban renewal precincts. The tower form sits above a sculpted podium designed to frame new public spaces, including a through-site pedestrian link connecting Station Street to Hannell Street, landscaped plazas, and activated retail edges.

<img alt="First look: Urban Property Group unveils Newcastle’s next supertower at Wickham interchange" data-entity-type="file" data-entity-uuid="a7bd6ff0-f7db-4ce8-a6dc-ea56e72c6149" src="https://s3.ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/inline-images/wickham%20lanne.png?VersionId=xzf39VADyhj7zBQY2I9fx9vI62u2tuSb" />

The design report describes the project as part of the broader transition of Wickham into “a vibrant, high-quality mixed-use urban precinct” that leverages proximity to the station, open space, and regional connectivity.

A detailed public art strategy has also been prepared for the development. The strategy positions the project as “a transit-oriented development of state significance at the gateway to Newcastle’s city centre” and outlines a series of integrated artworks responding to Newcastle’s industrial and transport heritage.

Creative Road’s curatorial framework for the project, titled Unveil, draws on “stratified surfaces, carved volumes, and light-filled apertures” while referencing Newcastle’s transformation from an industrial city into a contemporary education and technology hub.

<img alt="First look: Urban Property Group unveils Newcastle’s next supertower at Wickham interchange" data-entity-type="file" data-entity-uuid="77a882bb-14b1-4d28-99ff-9438e39508c0" src="https://s3.ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/inline-images/wickham%20site.png?VersionId=cevgo_vN0eKPK78P8YcEu3mKPLkpFqE7" />

The proposal is being advanced through the NSW Housing Delivery Authority pathway after being declared State Significant Development in June 2025. The accompanying scoping report states the development aims to “maximise the site’s proximity to the Newcastle Interchange by delivering transit-oriented development” while increasing housing supply and affordable housing provision within the Newcastle LGA.

Urban Property Group’s plans align with the long-term strategic vision established under the Wickham Master Plan, which identified the interchange precinct as suitable for substantial uplift in height and density. The current proposal would significantly intensify that vision, positioning the tower among the tallest developments proposed for Newcastle.

The site sits immediately north of the Newcastle Interchange, bounded by Dangar Street, Hannell Street, and Charles Street. It is surrounded by a rapidly growing cluster of residential towers and mixed-use projects that have emerged following the completion of the light rail and transport interchange.

First look: Urban Property Group unveils Newcastle’s latest tower at Wickham interchange

Bottega House has completed settlement of a landmark riverfront site in Macquarie Street, St Lucia, representing its first major Brisbane development.&nbsp;

Positioned on the banks of the Brisbane River, the <a href="https://www.apartments.com.au/new-apartments/180-macquarie-street-st-lucia-qld-4067">premium site at 180 Macquarie Street</a> features uninterrupted river frontage in one of Brisbane’s most tightly held residential precincts.&nbsp;

The proposed development, currently under assessment with Brisbane City Council, has been designed by <a href="https://www.apartments.com.au/architects/plus-studio">Plus Studio</a> with interiors by <a href="https://www.apartments.com.au/interior-designers/mim-design">Mim Design</a> and will deliver a boutique collection of premium residences positioned specifically for owner occupiers and downsizers.&nbsp;

The residences are set to redefine luxury apartment living in the area, with a focus on architectural quality, refined finishes, landscape integration and elevated amenities including curated wellness facilities, resort-style pools and recreation spaces rarely seen in the local market.&nbsp;

Exclusive sales for the project will be led by Keenan &amp; Byrne, ahead of an anticipated launch later this year.&nbsp;

Bottega House Managing Director Nick Malloch said the project reflects the group’s ambition to deliver a highly curated residential offering within one of Brisbane’s most tightly held precincts.&nbsp;

“This is an incredibly rare riverfront opportunity and one we have approached with a long-term perspective,” Malloch said.&nbsp;

“Our vision from the outset was to create a boutique collection of residences that feel more like private homes than traditional apartments, with generous proportions, refined finishes and exceptional amenity throughout."

Malloch says there is a&nbsp;lack of premium owner-occupier stock of this quality in the market, particularly for downsizers wanting space, privacy and a true lifestyle offering without compromise.&nbsp;

"Demand is expected to be strong given the scarcity of premium riverfront opportunities of this nature within Brisbane’s inner-west."&nbsp;

Bottega House secures landmark riverfront site in St Lucia 

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The arrival of the first piling rig officially marks the commencement of construction at SIERA’s new beachside apartment development, Exhale, in Northcliffe.

<a href="https://www.apartments.com.au/new-apartments/exhale-surfers-paradise-8-enderley-avenue-surfers-paradise-qld-4217">Exhale</a>, a glass-encased tower featuring 54 large-scale apartments at 8 Enderley Avenue, is SIERA’s third Gold Coast development. It follows the recently completed PIPIS Bilinga beachfront project, which achieved suburb-record prices, and the soon-to-be-completed Chevron Island development, Tapestry.

[smartcode_project:default project_id=112661 project_image_fid=359603]

<a href="https://www.apartments.com.au/developers/siera">SIERA</a> Founder and Managing Director Brent Thompson said the arrival of the piling rig represented a significant milestone for the development, which is scheduled for completion in late 2028.

Over the next month, around 260 piles are expected to be installed as work progresses on the basement structure. The building is anticipated to rise above ground level early next year, before unveiling its sculptural glass curtain wall, developed in collaboration with specialist façade engineers.

“The façade was designed to maximise panoramic coastal views while creating a distinctive architectural identity,” Thompson said.

[smartcode_project:default project_id=112661 project_image_fid=355935]

Designed by BDA Architecture, Exhale will comprise just 54 two- and three-bedroom residences across 26 levels, a level of low-density living rarely delivered in this beachside pocket between Surfers Paradise and Broadbeach.

The project has been conceived as a resident-only building, with no short-stay accommodation permitted. SIERA says the model is intended to appeal to long-term owner-occupiers rather than transient holiday demand.

[smartcode_project:default project_id=112661 project_image_fid=361052]

Residences have been designed with large-format layouts and expansive glazing, with most apartments featuring more than 30 metres of glass frontage to maximise natural light and ocean views.

The amenity offering spans two levels and centres on wellness and lifestyle, including a heated magnesium pool, sauna, yoga and Pilates studio, gymnasium, private dining facilities, cinema lounge, and dedicated surfcraft storage.

[smartcode_project:default project_id=112661 project_image_fid=359607]

More than half of the apartments have already sold. SIERA has also opened a sales gallery for Exhale at its Chevron Island commercial premises, near its Tapestry tower and the site of its second Chevron Island apartment development, which is slated to launch in early 2027.
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[smartcode_project_cta:default project_id=112661]

SIERA kicks off construction at Northcliffe tower Exhale

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.
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The commercialisation of ‘place’ extends beyond urban design and even to clothing chains. Edgar Liu
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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: 
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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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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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The Institute will pay all contractors and members for work carried out prior to Archicentre ceasing to trade. 
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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 
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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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