An ultra-luxury absolute beachfront tower on the Gold Coast’s <a href="https://www.apartments.com.au/developments/main-beach-qld-4217">Main Beach</a> has officially hit the market, having secured over $150 million in presales.

<a href="https://www.apartments.com.au/new-apartments/le-r-ve-main-beach-3555-main-beach-parade-main-beach-qld-4217">Le Rêve</a>, delivered by developer-builder <a href="https://www.apartments.com.au/developers/odus">ODUS</a> and <a href="https://www.apartments.com.au/builders/nazero">Nazero</a> in partnership with Metrics Credit Partners, comprises 40 opulent half and full-floor residences, perched directly on the dunes, starting from $7.45 million.

Pre-launch sales have achieved an average price tag of $8 million, highlighting strong demand from top-end buyers.

The 26-storey project at 3555 Main Beach Parade has development approval and is under construction, with completion anticipated by early 2028.

Occupying a 1,355 sqm site, Le Rêve enjoys double the beach frontage of most Main Beach towers, an incredible 30-metres, with generous 4.5-metre setbacks.

[smartcode_project:default project_id=112163 project_image_fid=357556]

ODUS director Byron Sakha said it offered a rare opportunity for wide, uninterrupted views that could never be built out, on one of the world’s most beautiful beaches.

“Le Rêve is French for ‘the dream’ and that’s what this location represents. We believe it is the best new development site anywhere on the Gold Coast; a dream site,” said Sakha.

“The apartments are located directly on the beachfront, with no roads or paths between, providing panoramic ocean views and direct access to the sand, and because it is elevated above the dunes, it also offers unrivalled privacy.

“We’ve worked with architect Bayden Goddard of <a href="https://www.apartments.com.au/architects/bgd-architects">BGD Architects</a> to enhance the original design, with a distinctive, elegant glass façade, world-class amenities, and the addition of eight residences. Le Rêve’s 30-metres of absolute beach frontage affords a view from virtually every room, and has allowed us to provide a grand 25-metre residents’ beachfront pool and private lawn.

“Buyers have recognised these opportunities are few and far between and have been quick to secure their place in Le Rêve.”

[smartcode_project:default project_id=112163 project_image_fid=357570]

The apartments start from nearly 300 sqm and range in size up to 900 sqm, with three or four bedrooms and multiple living spaces.

“The emphasis is on the view, with full-floor glazing, sleek glass balustrades and wrap-around balconies that are close to 4-metres wide, blurring the lines between inside and out, and inviting cooling ocean breezes,” Sakha added.

“The interiors epitomise understated luxury with natural materials, textures and tones including Taj Mahal stone, oak flooring, recessed LED lighting and high ceilings. Outside, its beautiful arched façade with glass balconies and double-storey curved podium will be complemented by lush, cascading landscaping that enhances Main Beach’s streetscape.”

[smartcode_project:default project_id=112163 project_image_fid=357567]

OTP Group Director James Elliott, who is selling&nbsp;<a href="https://www.apartments.com.au/new-apartments/le-r-ve-main-beach-3555-main-beach-parade-main-beach-qld-4217">Le Rêve</a>, said buyers were from the Gold Coast, Brisbane, Sydney and Melbourne, and predominately moving from luxury stand-alone homes or purchasing as a holiday home.

“We are anticipating sales will continue to ramp up now we’re officially on the market and design enhancements have been finalised,” Elliott said.

“Le Rêve offers house-sized residences that take luxury living to the next level, in an unrivalled location, with exceptional onsite resident amenities.

“The facilities are some of the most unique on the Gold Coast, if not Australia-wide, with a huge beachfront pool and wellness amenities including a cold plunge pool, spa, sauna, steam room, gym and yoga studio, along with a teppanyaki kitchen, and private residents’ lounge."

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The Le Rêve development site was secured for $55.68 million in mid-2025.

ODUS and Nazero are also developing the adjacent 29-level La Mer tower in partnership with Metrics Credit Partners, which is earmarked for completion in late 2026. A fully completed prototype apartment is now available for private inspection.

[smartcode_project_cta:default project_id=112163]

Joel Robinson

Le Rêve Main Beach launches with $152 million in presales

Third.i Group and joint venture partner Phoenix Property Investors (PPI) have secured detailed design approval from the Independent Planning Commission (IPC) for <a href="https://www.apartments.com.au/new-apartments/elevate-hume-place-crows-nest-25-hume-street-crows-nest-nsw-2065">Elevate at Hume Place</a>,&nbsp;a landmark, state‑significant mixed-use residential development positioned directly above the Crows Nest Metro Station. 
&nbsp; 
This latest approval builds on the project’s existing stage one planning consent and marks a major milestone in the delivery of Elevate at Hume Place. It confirms the detailed design of the building within the already approved planning envelope, paving the way for construction to commence and giving purchasers and the broader market added confidence in the project’s progression. 
&nbsp; 
Throughout the detailed design process, <a href="https://www.apartments.com.au/developers/thirdi-group">Third.i Group</a> worked closely with the IPC, Sydney Metro, its consultant team and relevant Government stakeholders to refine the building outcome, ensuring Elevate responds sensitively to its urban context whilst at the same time maximises its development footprint above one of the NSW’s key pieces of transport infrastructure.&nbsp; 
&nbsp; 
This process has enabled the creation of some of the best one, two &amp; three bedroom apartments in Crow's Nest along with the introduction of an additional level of parking, providing the Elevate community with valuable off‑street parking while enhancing accessibility and convenience for residents.

[smartcode_project:default project_id=142550 project_image_fid=309368] 
&nbsp; 
Elevate at Hume Place is the first development of its kind to be delivered by Third.i Group and PPI in partnership with Sydney Metro, reflecting the group’s capability and trusted position as a delivery partner for complex, infrastructure‑led projects alongside Government. The Hume Place precinct will also include a component of affordable housing and build to rent (BTR) apartments which is currently pending a separate planning approval outcome. 
&nbsp; 
With direct access to the Sydney Metro, Elevate residents will benefit from travel times of just seven minutes to the CBD and four minutes to Chatswood, positioning the development as one of the most connected residential addresses on the Lower North Shore. 
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The project will deliver 122 one-, two- and three-bedroom apartments, including a selection of premium three bedroom penthouses known as ‘Sky Homes’, designed by internationally acclaimed architecture firm <a href="https://www.apartments.com.au/architects/woods-bagot">Woods Bagot</a>. Residents will have access to a suite of amenities including a rooftop terrace with panoramic city views, swimming pool and wellness facilities, private gym, concierge services and communal spaces.

[smartcode_project:default project_id=142550 project_image_fid=309369] 
&nbsp; 
Florian Caillon, Partner &amp; Head of Acquisitions at Third.i Group, said the detailed design approval reinforces the significance of the project and Third.i Group’s ongoing partnership with Government. 
&nbsp; 
“Securing detailed design approval for Elevate at Hume Place is a defining moment for Third.i and a clear signal that this project is moving into its next phase of delivery," Caillon said. 
&nbsp; 
“This project sets a new benchmark for how integrated residential metro development can be delivered in direct alignment with major transport infrastructure. Being selected to deliver a project directly above a Metro station is a rare opportunity and a responsibility we take seriously. It allows us to create a living experience intrinsically connected to how people move, work and live, while also delivering enduring value for residents and the broader community.”

[smartcode_project_cta:default project_id=142550]

Elevate at Hume Place, above Crows Nest Metro, reaches detailed design milestone

Buyers looking to enter Sydney’s north-west growth corridor can now secure an apartment at <a href="https://www.apartments.com.au/new-apartments/kew-tallawong-23-27-schofields-road-tallawong-nsw-2762">Kew Tallawong</a> with a five per cent deposit for a limited time, as Stage 2 of the Tallawong development comes to market.

Delivered by <a href="https://www.apartments.com.au/developers/positive-investment-enterprise">Positive Investment Enterprise</a>, the project is located at 23–27 Schofields Road in Tallawong, offering a new collection of one, two and three-bedroom apartments within an established masterplanned community, where completed residences and landscaped spaces already shape a connected and liveable environment.

The limited-time deposit offer reduces the upfront cost for buyers seeking new apartments in Sydney’s expanding north-west, where infrastructure investment and population growth continue to reshape suburbs like <a href="https://www.apartments.com.au/developments/tallawong-nsw-2762">Tallawong</a> into emerging residential hubs.

[smartcode_project:default project_id=149637 project_image_fid=351025]

Inside the apartments, layouts have been designed with an emphasis on practicality and long-term liveability. Natural light and cross-ventilation are integrated into the planning of each residence, creating interiors that feel fresh and energy-efficient throughout the year. Soft, neutral finishes and durable materials are paired with contemporary kitchens that include integrated appliances and generous storage.

Bedrooms are positioned as quiet retreats, with the wider apartment layouts prioritising efficient use of space, flexibility for different household types, and strong indoor-outdoor connections through balconies and terraces. Wide frontage designs help maximise natural light and outlooks, with many north-facing homes capturing district views toward the Blue Mountains.

[smartcode_project:default project_id=149637 project_image_fid=351030]

Sustainability features are included throughout the development. Rooftop solar panels help offset common area energy consumption, while smart home technology and cross-flow ventilation contribute to lower operating costs and improved day-to-day comfort for residents.

The development also incorporates shared lifestyle spaces intended to extend living beyond the apartments themselves. Landscaped communal gardens, shaded seating areas, BBQ facilities, and outdoor gathering spaces provide places for residents to relax or connect with neighbours.

Tallawong Metro Station, Schofields Train Station and Rouse Hill Metro Station, place residents within reach of major employment centres including Norwest Business Park, Macquarie Park and the Sydney CBD via the Metro North West Line.

Nearby retail and lifestyle options include Rouse Hill Town Centre, Schofields Village and The Ponds Shopping Centre, while local parks, cycling trails and open space, including Rouse Hill Regional Park, support outdoor recreation across the growing precinct.

[smartcode_project:default project_id=149637 project_image_fid=351026]

Within the Kew community itself, plans for a future retail precinct aim to bring everyday convenience closer to home, complementing the landscaped open spaces and shared amenities planned across the site.

With Stage 2 now selling and apartments starting from $570,000, the current five per cent deposit offer provides buyers with a more accessible pathway into a new apartment in one of Sydney’s fastest-evolving residential corridors.

[smartcode_project_cta:default project_id=149637]

Kew Tallawong opens Stage 2 with five per cent deposit offer

<a href="https://www.apartments.com.au/developers/gardner-vaughan-group">Gardner Vaughan Group</a> (GVG) is heading back to Stones Corner with its latest Brisbane apartment development.

GVG, which completed Stonebrook last year, has filed plans for <a href="https://www.apartments.com.au/new-apartments/vivo-71-cleveland-street-greenslopes-qld-4120">VIVO, a 320-apartment development</a> less than 200 metres away on the corner of Cleveland and Zillah Streets.

VIVO will be delivered across two stages, with the first comprising 167 apartments and a further 153 in stage two. The first stage is expected to be completed in 2029, with the full project scheduled for delivery by 2032.

The development will include a mix of one-, two-, three- and four-bedroom apartments, above two ground-floor retail tenancies. VIVO will sit between the 5.2-hectare Hanlon Park and the Stones Corner café and retail precinct.

Crowning the buildings will be an expansive rooftop terrace with outdoor dining and CBD views, dual resort-style swimming pools, integrated indoor and outdoor entertaining spaces, and a fully equipped gym and wellness offering.

<img alt="Vivo" data-entity-type="file" data-entity-uuid="dcfd0ba2-cf9e-4bad-89f7-deab0169d897" src="https://s3.ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/inline-images/Screenshot%202026-04-23%20at%209.23.44%E2%80%AFAM.png?VersionId=3J4AqHZpDPnJsKvry1Lw6.8_IqdUVcny" />

Sam Gardner, Commercial Director at GVG, said the project reflects both market demand and the group’s continued investment in well-located Brisbane suburbs.

“VIVO represents a natural progression of our work in Stones Corner and our confidence in the long-term fundamentals of this precinct," Gardner says.

"The combination of proximity to the CBD, access to green space like Hanlon Park, and a well-established local amenity offering makes this an incredibly compelling location for buyers.

"Having recently delivered Stonebrook nearby in 2025, we’re able to provide a tangible example of what Gardner Vaughan Group does well. It gives our clients, the community and our partners confidence in both the quality of our product and our ability to deliver.”

<img alt="Vivo" data-entity-type="file" data-entity-uuid="8408faca-34a0-4fbb-864c-c75caa366f0c" src="https://s3.ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/inline-images/Screenshot%202026-04-23%20at%209.23.35%E2%80%AFAM.png?VersionId=48S5bvrbHMPPGT0EWAQDqhXX_mdsqL0y" />

Architecture firm Ellivo Architects says Vivo, meaning 'to live', "draws from the life of Stones Corner itself, its rich blend of old and new, where heritage masonry buildings, community life and evolving architectural languages coexist."

"The design responds to this layered urban fabric by reinterpreting the site’s historic ziggurat and stepped-grid geometries. The tower is shaped through three distinct tiers that reinterpret the site’s historic stepping forms, a central tier expressed in soft green tones that dissolve into the gum-tree canopy behind, stepped by denser, articulated edge tiers which reinforce the village character and urban grain of Stones Corner."

The submission of VIVO comes at a time of continued strength in the Brisbane property market, with growing demand for well-located, design-led apartment living. Looking ahead, Brisbane’s preparations for the 2032 Olympic and Paralympic Games are expected to further accelerate infrastructure investment and reinforce the appeal of inner-city precincts such as Stones Corner.

Gardner Vaughan Group plans VIVO, Stones Corner apartment development

Prominent developer&nbsp;<a href="https://www.apartments.com.au/developers/blue-earth-group">Blue Earth Group</a> is seeking approval for a revised and expanded second stage of its Pentridge Village development in Coburg, increasing the scale and yield of a previously approved scheme with a new 16-storey mixed-use building.

The proposal for <a href="https://www.apartments.com.au/new-apartments/45-pentridge-boulevard-coburg-vic-3058">45 Pentridge Boulevard</a> would deliver 252 apartments, up from the 201 previously approved, alongside ground-floor retail and a suite of resident-focused amenities, positioning the project as a key contributor to housing supply within Melbourne’s inner north.

The development is planned for the south-west portion of the broader 9,485 sqm site, which has already seen the completion of 48 townhouses under Stage 1. The Stage 2 site sits prominently on the corner of Pentridge Boulevard and Urquhart Street within the Pentridge Village precinct.

The new scheme retains the approved 16-storey height but introduces a revised internal layout and enhanced façade treatment. It will comprise a mix of one- and two-bedroom apartments, a wide ranging mix of one-bed plus studies and two-bedrooms with either one or two bathrooms.

At ground level, the building is designed to incorporate a café alongside resident amenities including a business centre, home offices, and a gym. Upper levels will include additional communal facilities such as cinema rooms, games areas, and a rooftop terrace spanning over 400 sqm with views toward the Melbourne CBD.

<img alt="First Look: Blue Earth Group plans 16-storey mixed-use tower with 252 apartments at Pentridge Village, Coburg" data-entity-type="file" data-entity-uuid="60456ba5-406b-447f-be53-d4685082eda5" src="https://s3.ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/inline-images/coburg.png?VersionId=B.3bp4eCO_c.Pc9O17UgF27Gow3lL39C" />

The architectural response by <a href="https://www.apartments.com.au/architects/life-architecture-and-urban-design">LIFE Architecture and Urban Design</a> builds on an existing permit scheme, retaining the approved massing while refining the building’s articulation and material expression. “The proposed design response… will result in a highly resolved architectural, urban design, landscaped and mixed-use outcome befitting of the Site’s urban and evolving context,” the planning report states.

The façade strategy introduces a layered composition of podium and tower elements, with a clear distinction between lower street-wall levels and the upper residential form. The design prioritises “a timeless aesthetic, low maintenance, durable material palette, suburban constructability, [and] openness &amp; activation at street level,” according to the façade strategy report.

Material selections include dusty red and dark grey masonry, bronze and grey glazing, and textured concrete panels, referencing the industrial character of the former Pentridge Prison precinct while establishing a contemporary identity.

<img alt="First Look: Blue Earth Group plans 16-storey mixed-use tower with 252 apartments at Pentridge Village, Coburg" data-entity-type="file" data-entity-uuid="b62f01f2-46f2-4ae1-ac51-8b0f87264355" src="https://s3.ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/inline-images/coburg%20site.png?VersionId=zliGtROqtre4LgVCGA9tr2_FGfbIO8ep" />

The building envelope responds to its irregular site through a series of setbacks and cantilevered elements, creating plaza-like spaces at ground level and enhancing pedestrian activation along both street frontages. A setback from Level 4 to the north provides a transition to the adjoining townhouse development.

The site sits within the Coburg Major Activity Centre, approximately nine kilometres from the Melbourne CBD, and is surrounded by a rapidly intensifying urban environment. Nearby developments range from eight to 20 storeys, including multiple mixed-use projects within the Pentridge precinct and along Sydney Road.

Residents will benefit from strong connectivity, with Coburg Station around 700 metres away and multiple bus routes operating along Bell Street. The site is also adjacent to McDonald Reserve and close to schools including Coburg High School and Coburg Primary School.

First Look: Blue Earth Group plans 16-storey mixed-use tower at Coburg's Pentridge Village

Artwork

j.ballantyne1990-6AQqhLzZaK

The Australian art market has flatlined. What can be done?

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The recently refurbished ISPT foyer at 100 Creek Street has brought Brisbane’s subtropical environment into an office setting.
The lobby now opens up to an integrated state-of-the-art digital canvas wrapping around the lift core.
Along with new end of trip facilities the $10 million upgrade includes entry statements and sub-tropical gardens.
The dynamic curated content reflects ‘Elements of Queensland’ commissioned by local artists which exhibits the name of the building as digital morphing art.
ISPT Portfolio Manager for Commercial Services Mr Craig Blake said tenants and guests have respond well to the new 100 Creek Street vision.
“We are committed to creating places that work and look forward to continually evolving our environments to benefit all who work in and visit the building,” Mr Blake said.
Over the last 9 months 100 Creek Street has transacted over 3,000sq m across 11 transactions with an average rent of $685/sq m.
Savills’ Dan Boyes and John McDonald in conjunction with Andrew McPhail and James Comino of CBRE are jointly appointed to lease the balance of the available space.
“The works have repositioned 100 Creek Street as a market leader in the Brisbane CBD,” Mr Boyes said.
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State of the art foyer brings Brisbane outdoors in

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GUEST OBSERVATION
A painting generated by artificial intelligence will go up for <a href="https://www.christies.com/features/A-collaboration-between-two-artists-one-human-one-a-machine-9332-1.aspx" target="_blank">sale at auction later this month</a> – raising again the question of whether a machine can be creative.
The painting, called <a href="http://obvious-art.com/edmond-de-belamy" target="_blank">Edmond De Belamy</a>, is estimated to be worth between 7,000€ and 10,000€ (A$11,375-A$16,250).
The auction house Christie’s <a href="https://www.christies.com/features/A-collaboration-between-two-artists-one-human-one-a-machine-9332-1.aspx" target="_blank">says the painting</a> is the product of a Generative Adversarial Network, in which one artificial neural network (the so-called Generator) creates an image based on its analysis of a database of 15,000 paintings by real people.
Another network (the Discriminator) then compares the new artwork to human-made paintings. If the Discriminator cannot tell the difference, the computer-generated image has passed the test.
But isn’t art the highest expression of what it means to be human? How could machines possibly emulate truly creative practices, which are often regarded as the pinnacle of human achievement?
What is creativity?
Ultimately, the nature of creativity – and whether machines will ever be genuinely creative – is a deeply philosophical question that rests to a large degree on where we look for creativity.
If we locate creativity in the actual artwork, it is hard to deny that machines are capable of being creative.
<a href="https://www.propertyobserver.com.au/http://www.sussex.ac.uk/profiles/276" target="_blank">Margaret Boden</a> is a pioneer in the field of AI and computational creativity. In her 2016 book <a href="https://global.oup.com/academic/product/ai-9780198777984" target="_blank">AI: Its nature and future</a> she defines creativity as: "…the ability to produce ideas or artefacts that are new, surprising, and valuable."
She then distinguishes three different types of creativity: combinational, exploratory, and transformational.
Types of creativity
Combinational creativity combines familiar ideas in new ways. A good example is the AI artist <a href="http://www.cloudpainter.com/" target="_blank">Pindar van Arman</a>, who trained his robots to paint portraits, including self-portraits. In <a href="https://medium.com/datadriveninvestor/creativity-is-probably-just-a-complex-mix-of-generative-art-algorithms-6d37a0087e86" target="_blank">his view</a>, artistic creativity: "…is little more than a complex mix of competing generative algorithms."
<iframe src="https://www.youtube.com/embed/qrAnJHKjoh0?wmode=transparent&amp;start=0" frameborder="0" width="440" height="260"></iframe>
Exploratory creativity, argues Boden, exploits some “culturally valued way of thinking” (styles, genres, and so on) and generates new work within these parameters.
For instance, <a href="https://www.nextrembrandt.com/" target="_blank">The Next Rembrandt</a>, a campaign by the Dutch bank ING, used feature-extraction algorithms to identify all the stylistic elements that characterise Rembrandt’s work. It then used this dataset to create a new portrait in the unique style of the famous Dutch painter.
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Transformational creativity does not just explore a given genre, but goes beyond it. It drops, negates or complements existing styles to such an extent that new artistic conventions might be developed in the process.
This form of creativity can be achieved by so-called evolutionary algorithms that can transform themselves and evaluate their “ideas” based upon criteria provided by the programmer.
The advertising agency M&amp;C Saatchi used these algorithms to <a href="https://www.theguardian.com/media-network/2015/jul/27/artificial-intelligence-future-advertising-saatchi-clearchannel" target="_blank">create an outdoor poster for a fictional coffee brand</a> that “evolved” based on the level of “engagement” it elicited from consumers.
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Equipped with facial recognition technology and connected to the internet, the algorithm determined which features of the ad – colours, typography, copy, layout – were successful and worth being replicated in further “generations”.
So it can be said that machines have successfully conquered all of the conceptual domains of creativity.
The artist’s intention
If we locate creativity not in the actual artwork but in the mind of the artist, two key objections are commonly made:
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<li>
The actual creative act does not reside in the output generated by the machine, but in its initial programming. Therefore, it is still fundamentally human ingenuity that drives the creative process.
</li>
<li>
The art generated by AI is not creative, because it is unintentional.
</li>
</ul>
Given recent advances in the creation of deep neural networks and learning algorithms, the first objection is increasingly hard to defend.
When Google/Deep Mind’s <a href="https://deepmind.com/research/alphago/">AlphaGo</a> <a href="https://www.propertyobserver.com.au/http://www.abc.net.au/news/2016-03-15/google-ai-alphago-gets-divine-go-ranking/7249256" target="_blank">beat the highest-ranked human player</a> of the ancient Chinese board game in 2016, some of its moves had never been played before by humans and were described as “<a href="https://www.wired.com/2016/03/googles-ai-wins-pivotal-game-two-match-go-grandmaster/" target="_blank">creative</a>”.
Importantly, AlphaGo does not follow pre-programmed rules. It uses general machine learning techniques to figure out for itself how to succeed at the game. It would therefore only be fair to attribute creativity to both the human programmers and the machine.
The second objection is more difficult to dismiss. We hardly ever appreciate creative artefacts based solely on their immediate appearance and the responses they evoke.
As <a href="https://www2.bc.edu/ellen-winner/publications" target="_blank">Ellen Winner</a>, a professor of psychology at Boston College, argues in her upcoming book <a href="https://global.oup.com/academic/product/how-art-works-9780190863357" target="_blank">How Art Works</a>, the notion of an unmediated experience of art is most likely a myth.
The value we ascribe to art is deeply influenced by multiple forces – an important one being what we think the artist’s intentions were when creating the work.
Just look at debate over the value of the Banksy artwork Girl With Balloon that went to auction. Some argue its <a href="https://www.news.com.au/lifestyle/real-life/true-stories/banksys-selfdestructing-art-more-valuable-shredded/news-story/92628b40006a41c3784dc596b8ffb056" target="_blank">value has increased</a> after the artist <a href="https://www.instagram.com/p/BomXijJhArX/" target="_blank">deliberately part-shredded the artwork</a>.
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The artwork, now renamed Love Is in the Bin, was <a href="https://www.theguardian.com/artanddesign/2018/oct/11/woman-who-bought-shredded-banksy-artwork-will-go-through-with-sale" target="_blank">described by Sotheby’s Alex Branczik</a> as: "…the first artwork in history to have been created live during an auction."
Seen from this perspective, we will accept machines as being genuinely creative only when they attain a sense of self and the capability to explain why they did what they did.
Disrupting the creative economy
But machines don’t need to be genuinely creative to have an impact on jobs and industries. According to a <a href="https://www.fhi.ox.ac.uk/will-ai-exceed-human-performance-evidence-ai-experts/" target="_blank">large survey of machine learning experts</a> in 2015, AI is predicted to be able to write high school essays by 2026, generate a top 40 pop song by 2027, and write a bestselling book by 2049.
These experts also expected AI to beat humans at Go in 2027 – a feat AlphaGo accomplished in 2016. Do we need to worry then? Are machines going take over both the mundane tasks and the creative jobs?
While they will definitely displace humans when it comes to routine creative activities, a <a href="https://www.mckinsey.com/featured-insights/future-of-organizations-and-work/jobs-lost-jobs-gained-what-the-future-of-work-will-mean-for-jobs-skills-and-wages" target="_blank">study by McKinsey</a> expects that overall jobs in the creative economy will increase.
But job profiles will most certainly change, and established value chains in the creative economy <a href="https://www.weforum.org/whitepapers/creative-disruption-the-impact-of-emerging-technologies-on-the-creative-economy" target="_blank">will be disrupted</a>. For instance, machines already <a href="https://futurism.com/a-new-ai-can-write-music-as-well-as-a-human-composer" target="_blank">compose high-quality music</a> or <a href="https://www.technologyreview.com/s/609482/ai-is-dreaming-up-new-kinds-of-video-games/" target="_blank">imagine new video games</a> from scratch.
<iframe src="https://www.youtube.com/embed/lROo4norCG0?wmode=transparent&amp;start=0" frameborder="0" width="440" height="260"></iframe>
How exactly these advances in machine creativity will affect the creative industries – and what economic, social and ethical consequences this entails – is an issue deserving much more attention than it receives at the moment.
But none of this will matter when the portrait of Edmond De Belamy comes up for auction. What matters then is only how much appetite bidders have for AI-generated art – keeping in mind that there might be much more of it in the future.<img src="https://counter.theconversation.com/content/103424/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;">
<a href="https://images.theconversation.com/files/240732/original/file-20181016-165885-ymrpfu.png?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/240732/original/file-20181016-165885-ymrpfu.png?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" alt=""></a>
Portrait of Edmond Belamy, 2018, created by GAN (Generative Adversarial Network). Obvious
Sven Brodmerkel, Assistant Professor for Integrated Marketing Communications, Bond University
This article is republished from <a href="http://theconversation.com" target="_blank">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/under-the-hammer-artwork-by-an-algorithm-is-up-for-auction-so-does-that-mean-ai-is-now-creative-103424" target="_blank">original article</a>.
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Artwork by an algorithm is up for auction, so does that mean AI is now creative?

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John Symond, the high-profile founder of Aussie Home Loans, is selling off some paintings set to fetch around $5 million or so from the Sotheby's sale.
Some were mentioned in a privately published book on his collection.
The 14 of Symond's surplus artworks top the line-up at <a href="https://www.sothebysaustralia.com.au/catalogue/AU0830" target="_blank">Sotheby's November 20 sale</a> including John Brack's Pantomime (above).
Pantomime has a presale estimate of $500,000 to $700,000. It last publicly sold at auction for $282,000, including premium, in December 2003.
Jeffrey Smart's 1965 Piazza D'Esedra has a presale estimate is $300,000 to $400,000, compared with the $135,250 the picture last fetched at Sotheby's in November 2003
He wants nothing in storage, following a rationalisation of what has always been a relatively disciplined collection.
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John Symond moves to sell some artwork

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A 50 metre glowing sculpture will rise six metres out of the Yarra River designed by Melbourne artist Tracy Sarroff and feature 16 buoyant crystalline shards made from opaque acrylic, that will move with the tide and interact with pedestrians.
The development in the Yarra River at Yarra’s Edge in Docklands, named the Light Buoys, was commissioned by Yarra’s Edge developer, Mirvac, was inspired by the formation of reeds that are native to the Yarra.
Elysa Anderson, Mirvac’s General Manager of Residential Victoria said Light Buoys takes into account the design intent for the urban character of the Yarra’s Edge precinct and embraces the urban and riverfront nature of the precinct.
Artist Tracy Sarroff said she had been inspired by both science and science fiction to produce the artwork with its glowing shards of mostly cobalt blue and icy green shades, which will warm to red and pink hues when sonar sensors detect pedestrians moving closer.
“Light Buoys takes inspiration from science fact and science fiction, transforming what were once reeds and the West Melbourne Swamp, the work melds that natural past with a potential future,” she said.
“Although crafted using science and technology, the installation has life-like features: moving, breathing, pulsing and responding to the proximity of others.
“The installation enhances the locale and the riverside vista which are prime features influencing residents’ decision to move to Yarra’s Edge, while similarly enhancing the Yarra’s Edge experience for visitors and the art journey that exists along the Yarra."
Victorian Minister for Creative Industries, Martin Foley, officially launched the artwork in a ceremony on 1 August 2017.
 
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Light Buoys artwork illuminates Yarra's Edge, Docklands

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Melbourne Central is hosting Australia's largest exhibition of video art outside an institution as part of its Lower Ground development.
Titled the Melbourne Central Art Loop, the installation has fifteen state-of-the-art LCD screens and five large steel overhead projector portals.
The exhibition is curated by Andy Dinan of MARS Gallery, who said Art Loop’s first show is a colourful and interactive video art featuring more than 30 internationally renowned and emerging Australian artists.
<img src="/images/2016/04/8/c1.jpg" alt="">
“We’ve curated a wide and diverse range of cutting-edge video works that are designed to intrigue and inspire," he said.
Artists featured in the first Art Loop exhibition include Kieran Boland, Erin Coates, Simon Finn and Diego Ramirez. One participating Art Loop artist will beselected to win a trip to LOOP Barcelona 2017 – the biggest international festival for video art.
Leigh Dunn, general manager of Melbourne Central, said the addition of Art Loop, combined with the additional design and architectural features will create an unconventional and exciting retail experience for both shoppers as well as retailers.
<img src="/images/2016/04/8/c2.jpg" alt="">
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