Perth’s new apartment market recorded its strongest quarter of sales since Q4 2021, with 412 apartments sold in Q1 2026 and a record quarterly sold value of $537 million, according to Urbis’ latest Apartment Essentials results.

Urbis said the March quarter result reflects strong, highly product‑specific demand across both ends of the market, from more attainable projects delivering at scale, through to premium stock being absorbed by equity‑rich downsizers.&nbsp;

David Cresp, Partner at Urbis, said the key story in Perth is not demand, it is the market’s ability to convert demand into delivered housing.&nbsp;

“This is the strongest sales quarter since Q4 2021, and it reinforces that demand in Perth is real and it’s local,” David Cresp said. “But the task now is delivery, turning that demand into projects that can actually be built and completed.”&nbsp;

[smartcode_project:default project_id=110291 project_image_fid=302785]

<h2>Affordable product leads, premium demand remains resilient</h2>

Sales in Q1 were led by more affordable projects, with The Boulevard (SKS Group) recording 115 sales in the quarter, the presentation noting this is only the second time a single project has surpassed 100 quarterly sales. The project was able to offer more affordable housing product right next to a train station.&nbsp;

Palmyra West (Finbar) also delivered strong results with 28 sales in Q1, following 84 sales in Q4, with an average price of under $800,000, underscoring depth of demand for well‑located, attainable new stock.&nbsp;

At the premium end, Urbis said downsizer demand is continuing, with the results highlighting Romeo (Applecross, Finbar) recording 75 sales and reaching almost 50% sold in one quarter.

Jual (Shenton Park, Celsius Property) also posted a strong quarter with 28 sales, reaching 39% sold in one quarter.

Urbis noted that Perth apartment demand is not speculative, not investor‑led, and not uniform, describing it as localised, often equity‑driven and highly product‑specific, a pattern reflected in the polarisation between strong “attainable” performers and premium downsizer product.&nbsp;

[smartcode_project:default project_id=148957 project_image_fid=364102]

<h2>Prices underpinned by costs, and the delivery risk is growing</h2>

Urbis said pricing pressure is cost not demand‑driven: construction costs and delivery risk are now a central constraint, with the results noting build costs remain elevated and volatile, and that energy, fuel and labour uncertainty weigh on feasibility.

David Cresp said a growing challenge for private Build‑to‑Sell developers is simply securing a builder in the current environment.

“Developers are really feeling the pressure from a building market that was operating at capacity and securing a builder is challenging,” David Cresp said, adding that even where a builder can be secured, “trying to get to the price that makes the development financially viable is incredibly challenging in the current market.”&nbsp;

Urbis’ broader WA commentary also notes that industry remains at or above capacity with lot and housing creation, and that many builders are limiting new sales to manage stretched workforces and fixed‑price contract pressures, conditions that flow directly into apartment feasibility and delivery timing.

[smartcode_project:default project_id=108869 project_image_fid=317905]

<h2>Supply: improving later, but still constrained, and Perth lags eastern benchmarks</h2>

While near‑term supply remains constrained, Urbis’ forecast shows completions lifting “Supply is forecast to be back above 1,500 apartments per annum for the first time since 2019”, with 1,775 completions forecast for 2026, and volumes remaining above that level over the following years.&nbsp;

Looking further ahead, completions are forecast to reach 2,500 in 2028, with the report noting 32% of that total is social/affordable, reflecting the role of government‑supported delivery in rebuilding the pipeline.&nbsp;

However, Urbis said Perth remains behind comparable markets on pipeline scale. In a national comparison of projects under construction, the report shows under construction Perth Build‑to‑Sell (BTS) at 3,446 apartments versus the Gold Coast at 7,922. Mr Cresp said “The challenge for Perth is how to we grow the delivery pipeline”.

Urbis’ conclusion is that Perth’s market is increasingly defined by product discipline and delivery certainty, with the research identifying “delivery certainty is key” and calling out builder risk and procurement models as core success factors, alongside “timing and staging”.&nbsp;

Joel Robinson

Perth apartment sales hit strongest pace since late 2021 as builder capacity tightens

<a href="https://www.apartments.com.au/developers/sammut-developments">Sammut Group</a> has secured development approval for its latest Brisbane apartment project, marking the Sydney developer’s next step in expanding its Queensland pipeline following the success of its debut Gold Coast development, Coast.

The approved project at <a href="https://www.apartments.com.au/new-apartments/44-glen-road-toowong-qld-4066">44 Glen Road, </a><a href="https://www.apartments.com.au/developments/toowong-qld-4066">Toowong</a> will deliver a 15-storey riverfront apartment building with 42 residences, significantly increasing the scale of the site’s previous approval for a smaller luxury scheme. Designed by Bureau^proberts, the development will comprise a mix of predominantly four-bedroom and two-bedroom apartments positioned to maximise Brisbane River and city views.

Sammut Director Julian Sammut said the group had been actively searching Brisbane for several years before identifying Toowong as the right fit.

“Brisbane was the right step for Sammut,” Sammut said.

“With the success of Coast we thought we should definitely look to do more in Queensland alone. We then pushed up to look at Brisbane. We've been looking for I'd say two to three years actually and it was hard to find the right location.”

<img alt="Sammut makes Brisbane apartment play" data-entity-type="" data-entity-uuid="" src="https://res.cloudinary.com/dz9xllyip/image/fetch/f_auto,c_limit,w_1440,q_75/https://s3.ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/field/image/Screenshot%202025-12-23%20at%203.27.14%E2%80%AFPM.png?VersionId=dYAVIL7qdcGA8ojvkslSrLjczXFejSSx" />

Sammut said suburbs including New Farm and Teneriffe were considered before the group ultimately focused on Toowong due to its strong downsizer demographic and limited supply of developable riverfront land.

The site was acquired off-market after what Sammut described as a lengthy negotiation and planning process, with the developer pursuing an uplift to the original approval.

“We are DA approved now which is very exciting,” Sammut said.

“We've had our change approval come through and we've obviously doubled the height, 15 storeys plus rooftop. We've got 42 amazing apartments that are going to be coming to market soon.”

<img alt="Sammut makes Brisbane apartment play" data-entity-type="" data-entity-uuid="" src="https://res.cloudinary.com/dz9xllyip/image/fetch/c_scale,w_580,dpr_2.0,q_auto:good/https://s3.ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/inline-images/Screenshot%202025-12-23%20at%203.27.26%E2%80%AFPM.png?VersionId=ohkRkY0dIZlqdfME2EZePsCQavRiBadE" />

Bureau^proberts said the design responds to Toowong’s evolving urban character, balancing contemporary apartment living with the area’s established residential identity.

“A place where traditional Queensland living has taken place for centuries; Toowong is seeing a shift of contemporary influence, commercial and retail hubs mixed with well-considered residential offerings – all the while maintaining its character and charm,” the architect noted in planning documents submitted to Brisbane City Council.

The architecture practice said the project’s form was shaped by its riverfront setting, flood considerations, neighbouring building scales, and view corridors.

“They said the mix of four and two-bedroom apartments capture the ‘fundamental qualities of Queenslander living,’ translated into the context of a contemporary subtropical building.”

The development sits just off Coronation Drive within walking distance of Toowong’s retail precinct and the upgraded Regatta ferry terminal, while also benefiting from proximity to the incoming green bridge connection to West End. Sammut said the accessibility and amenity offering were central to the site’s appeal.

The approval adds to growing residential activity along the Toowong riverfront, joining nearby projects including Consolidated Properties’ Monarch Residences and Spyre Group’s ARC Residences.

Sammut secures approval for debut Brisbane apartment development in Toowong

Developer Lanevick is heading back into Sydney’s apartment market after focusing more heavily on the luxury townhouse and terrace sector in recent years.

Lanevick, founded and directed by Steve Maroun, is expecting to receive approval in the coming months for a new apartment development in Gladesville, with the aim to launch it to the market later this year.

The 51-apartment project, designed by Studio Johnston, will comprise a mix of one-, two-, and three-bedroom apartments positioned toward the Hunters Hill downsizer market.

“Traditionally it’s been difficult for people in that market to downsize because there just hasn’t been the right product available,” Maroun said.

“We’re targeting buyers who might have 30 to 40 per cent of their house value sitting in the bank after downsizing.

“They still want good spacious entertaining areas, they still want quality design, but they also want flexibility and the ability to enjoy life a bit more after working hard for a long time.”

The project sits near Boronia Park and within close proximity to the Parramatta River foreshore, an area Maroun says offers more of a Hunters Hill lifestyle than a traditional apartment precinct.

“From a lifestyle perspective, it’s really more Hunters Hill than Gladesville,” Maroun said. “You’re close to the foreshore, close to parklands, and still connected back into the village precinct.”

From level four and above, apartments will capture water views&nbsp;toward Sydney Harbour. Communal amenity will include rooftop entertaining areas, wellness spaces, and a gym tailored toward owner-occupier buyers.

“We’ve really designed these apartments around that buyer coming from the Hunters Hill LGA and what they’re actually looking for in their next chapter.”

The proposed development has also been designed to respond to the changing character of the broader Gladesville town centre, where a growing number of mixed-use and residential proposals are expected to emerge over the coming years.

“Gladesville presented a rare opportunity to deliver a genuinely design-led residential project within an evolving lifestyle precinct, just moments from the growing Gladesville town centre, and we’ve approached the project with a strong focus on architecture, liveability and long-term community value,” Maroun said.

Maroun said Lanevick saw a first-mover advantage within the precinct as planning controls continue to evolve to accommodate greater housing density.

“We think there’s a real opportunity there that hasn’t really been serviced properly yet,” he said.

“There’s going to be a broader evolution of the whole Gladesville village precinct over time, particularly with more activation and mixed-use outcomes.”

The Venus Street proposal will include a commercial and retail component at ground level designed to contribute to that evolving streetscape activation.

“A big part of the thinking was how do you activate that area properly and create more vibrancy and amenity, which is what Hunters Hill has been looking for,” Maroun said.

Lanevick’s focus since 2020 has largely been on smaller-scale luxury townhouse and terrace developments. The developer recently completed Royale Randwick, also designed by Studio Johnston, where prices reached $3.65 million. The project was featured in the UDIA NSW 2026 Professional Development Prospectus and was also named a finalist for Development of the Year.

&nbsp;

Lanevick to cater for Hunters Hill downsizers with new Gladesville apartment development

Property developer One Living, backed by former Macquarie banker turned investment manager Chris Green’s investment firm, has unveiled plans to bring more institutional capital into housing to help address the national supply crisis.

The New York-based investor has focused his firm, GreenPoint Partners, on addressing the supply shortage hitting middle market housing in Australia.

It is backing the new One Living business to develop more than 1000 units along the eastern seaboard. The new firm is starting with a development on Mona Vale Road, on the border of Mona Vale and Pymble, in Sydney’s Northern Beaches, with around 140 apartments planned. They are eyeing off more sites across the city.

With cost pressures rising in the industry, One Living’s model is to be a vertically integrated developer-builder, so it can respond directly to the housing gap by removing the cost inefficiencies embedded in traditional residential delivery.

“We are building a platform designed to operate at scale and starting in a market where there’s a clear need for quality, attainable housing,” One Living joint managing director Joseph Scuderi said.

“It’s that missing middle – it’s that attainable end of housing… that’s what most Australians invest into and what Australians can actually afford.”

<img alt="Mona Vale" data-entity-type="file" data-entity-uuid="798dfa93-4941-4db6-a696-31e9dc18e81c" src="https://s3.ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/inline-images/Screenshot%202026-05-28%20at%202.31.50%E2%80%AFPM.png?VersionId=mKBqi5C_DmeiXS.AtJkcR8LQIxqCqmFi" />

GreenPoint Partners brings years of experience assembling and scaling real estate operating businesses across major markets. And Green sees a big opportunity in Australia.

“For its size, sophistication and importance to the community, Australia’s living sector has remained largely under-institutionalised, which represents significant opportunity,” Green said. “GreenPoint identified that gap, assembled the right team, and is backing One Living to build a platform that is aligned to market needs.”

Green said being a builder-developer would give the company the capacity and flexibility it required to deliver reasonably-priced homes.

“We want it to be at that attainable level; not super high end luxury but at that attainable level,” he said.

<img alt="Mona Vale" data-entity-type="file" data-entity-uuid="74a5344a-4b26-4d4a-ada3-056b1220be77" src="https://s3.ap-southeast-2.amazonaws.com/www.urban.com.au/s3fs-public/inline-images/Screenshot%202026-05-28%20at%202.32.15%E2%80%AFPM.png?VersionId=vY8hXHO4reBMdO8ZXMWCNtGZJofUPQ3j" />

&nbsp;

One Living will undertake a component of affordable housing in its schemes, which it will own and operate, and it could also run build-to-rent on some sites.

Green praised local policy settings.

“The NSW government is being very supportive, strategic and pragmatic in terms of how do we generate more supply of housing,” he said. “We think it’s actually positive for development and the bit that’s been lacking at that attainable level is that it’s lots of relatively small private developers, whereas we want to create an institutional platform.”

One Living is also&nbsp;looking at high-density projects and could take on more institutional funding in the future.

“The way we will be able to achieve economies of scale is through size,” Green added.

One Living enters Sydney's new apartment market with Northern Beaches site acquisition

It's been several years since there's been an opportunity to buy a brand new townhome in Melbourne's coastal suburb of Mordialloc. Even apartment developments in recent times have been few and far between in the area.

Local developer LDS Property identified the gap in new housing, securing a site on White Street, directly opposite&nbsp;Woodlands Golf Club Mordialloc. They've recently launched&nbsp;<a href="https://www.apartments.com.au/new-townhouses/wm-residences-mordialloc-102-white-street-mordialloc-vic-3195">WM Residences</a>, just 13 townhouses which they have already started building.

Projects by Buxton Director Heath Thompson, who is selling WM Residences, says the townhouses x that perfect middle ground be

"Mordialloc residents have had limited options to downsize within the suburb, often forcing them to look elsewhere despite long-standing ties to the area," Thompson says.

"With very little comparable new supply coming to market, projects like WM Residences are well placed, particularly as buyers look to capitalise on current conditions amid constrained supply."

[smartcode_project:default project_id=134646 project_image_fid=6109]

The development, designed by regarded architecture firm&nbsp;<a href="https://www.apartments.com.au/architects/ewert-leaf">Ewert Leaf</a>,&nbsp;adopts a deliberately restrained architectural approach, focusing on simplicity, durability and liveability rather than overt design gestures.

The boutique scale is central to the offering. With only 13 three-bedroom residences, each home is configured to prioritise functional layouts and everyday use, supported by private terraces and secure two-car garages.

Ewert Leaf’s design response leans into a calm, neutral material palette. Interiors are defined by oak flooring, white walls and soft finishes, creating a consistent and understated backdrop. The approach avoids trend-driven detailing in favour of longevity, with an emphasis on natural light and spatial clarity.

[smartcode_project:default project_id=134646 project_image_fid=6110]

Beyond aesthetics, the homes are designed to meet contemporary performance expectations. Each residence targets a minimum 6-star energy rating, incorporating double glazing, comprehensive insulation and all-electric Bosch appliances.

The project’s location supports a walkable coastal lifestyle, sitting within close proximity to Mordialloc’s foreshore, Main Street retail strip and the train station. Local cafés and dining venues, including Suburbia Deli and Hendriks Café, are within a short walk, reinforcing the area’s established neighbourhood character.

[smartcode_project:default project_id=134646 project_image_fid=6116]

While <a href="https://www.apartments.com.au/developments/mordialloc-vic-3195">Mordialloc</a> is often defined by its beach and pier, the project taps into other areas of day to day living, offering easy access to local food, casual dining and transport, rather than positioning itself purely as a lifestyle retreat.

WM Residences reflects a continued trend across Melbourne’s coastal suburbs towards smaller-scale, design-led townhouse developments, particularly on infill sites where proximity to amenity is already established.

With construction commenced prior to its market entry, the project aligns with a growing preference among buyers for developments with visible progress and defined delivery timeframes.

[smartcode_project_cta:default project_id=134646]

WM Residences fills gap in Mordialloc townhouse market

Building Design

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Australia’s property market has extended its winning streak in green buildings by another year, according to a new report by data provider GRESB.
The average score of companies and funds in Australia/NZ improved to 74 in 2016 from 70 in 2015 against a global average of 60, according to the 2016 GRESB.  
GRESB is a leading data provider for environmental, social and governance (ESG) performance of real assets. For the current report, it assessed a record 759 real estate companies and funds, representing more than 66,000 assets and $3.7 trillion in gross asset value, according to a media release.
Australian property companies and funds that stood out were Lendlease, Stockland and DEXUS.
GRESB’s head of Asia Pacific, Ruben Langbroek, said Australia’s leadership reflects a long-term commitment to sustainability and a “pervasive spirit of collaboration and knowledge sharing”.
“Australia’s property industry also regards superior sustainability as a proxy for quality,” said Langbroek.
Australia now has more than 1,320 Green Star-rated buildings, and investors are increasingly demanding reliable data on energy efficiency and sustainability to help guide their decision-making, added Green Building Council of Australia CEO Romilly Madew.
“Sustainability is intimately connected with risk, reward and reputation – and sustainable buildings are not only more efficient and environmentally-friendly, but are also future-proofed assets,” said Madew.
The data also reveals that companies reporting to GRESB for seven consecutive years outperformed their peers in environmental, social and governance (ESG) by an average of 12 points.
The report named four sector leaders for Australia/NZ:
<ul>
<li>Retail: Lend Lease Sub-Regional Retail Fund – Lendlease</li>
<li>Office – Listed: DEXUS Office Trust</li>
<li>Office – Private: Australian Prime Property Fund Commercial – Lendlease </li>
<li>Diversified – Retail/Office: Stockland</li>
</ul>
Lendlease was also named ‘global leader’, coming out top of the 759 companies and funds assessed.
“Lendlease remains steadfast in its commitment to sustainability, and is currently delivering Australia’s first carbon neutral precinct at Barangaroo South. With 74 Green Star ratings under its belt – including apartments, offices, libraries and entire communities – Lendlease continues to set a high watermark for sustainability,” said Madew. 
“Stockland has achieved more ratings under the Green Star – Communities ratings than any other developer in Australia, has Green Star ratings for its entire retail portfolio and launched Australia’s first green bond.
“And DEXUS Office Trust now has 87 Green Star ratings, and has delivered some of the nation’s most iconic green buildings, such as 1 Bligh Street and 5 Martin Place in Sydney.
“We applaud these three companies for stellar sustainability leadership.”
GRESB also found that the Australia/NZ region decreased its energy consumption by two per cent over the reporting period. This decrease is the equivalent to the energy required to power 3,037 homes for a year.
The region’s four per cent reduction in carbon emissions equates to saving almost 1.4 million tonnes of greenhouse gases – the same amount generated by almost 286,000 passenger vehicles over an entire year.
“While we can be proud of our achievement, we can’t rest on our laurels. Our challenge is to keep raising the bar as we work towards a zero carbon industry,” said Madew. 
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prateek24-ezbwHMbNAk

Australia extends winning streak in sustainable property market

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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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jchancellor-FAypfDUnLy

Why a building and its rooms should have a human character

<html><body>
<img src="https://counter.theconversation.edu.au/content/57114/count.gif" alt="The Conversation" width="1" height="1">
GUEST OBSERVER
In 1960, when the America computer scientist Ivan Sutherland developed Sketchpad, described as the first computer graphical user interface, it changed the course of architecture.
It was the first recorded tool enabling designers to interact with the computer graphically, using a light pen on the monitor.
This laid the foundation for computer aided design (CAD), which, over the next 60 years, replaced the drafting pen and tracing paper with the mouse and monitor in most architectural practices.
But while, for most, computing in architecture is a replacement technology, there are always rebels who want to experiment.
Architects think and draw at the same time, at the design stage as well as detailing the building for construction. And it quickly became apparent that no software can think or design as fast as a doodle on paper (or the infamous napkin). Nor could a program replace the lateral problem solving ability of a human.
All CAD software has limitations. Developers simply cannot program enough tools within the software environment to cater for all the possible applications, let alone to condition creative and lateral thinking.
<h2>The architect programmer</h2>
But why only work within the software written by others when you can write your own? Since the 1970s, a number of pioneering architects and designers have taken it on themselves to be both programmer and designer. In other words, they started to program design.
What emerges at first are the use of algorithms in design to develop forms and spatial organisation through programming logic. With advancement of software and interjection from other disciplines such as film, aerospace and product engineering, architects are now designing ever more complex geometries to explore unprecedented spatial conditions and relationships.
A built example is the Atrium at the Federation Square, in Melbourne, Victoria, by LAB architecture studio. This urban atrium not only constructs new relationships between the city and the river, it also creates a multi-layered space for social encounter and art installation. Structures like these are difficult to conceive in the human mind.
This experimentation in programming design has surfaced as the main stream of architecture design in the past ten years. Computing in architecture is having a deeper impact than ever before: from complex analytical and design tools that allow us to understand the spatial syntax of cities to fully integrated three-dimensional models (commonly known as Building Information Modelling or BIM) and, eventually, linking design with structural analysis to name a few examples.
<h2>Programming materials</h2>
When an architect thinks through drawing and three-dimensional modelling, this is essentially stimulating what the real materials (brick, concrete, steel or timber) can or could be. That’s to say we design in a virtual environment before implementing it in the physical world.
With the recent availability of 3D printers and numeric control machinery, such as CNC routers and laser cutters, designing with computers is bringing architects closer to the material.
Not surprisingly, computer aided manufacturing (CAM) has a history as long as CAD. It was originally designed as a parallel workflow by computer scientist Patrick Hanratty in 1958.
The first known CAD/CAM software is called PRONTON (program for numerical tooling operations). CAM software translates drawing directly into machine code which can be used to cut, print or shape material.
Thanks to the pioneering work of Hanratty, designers can now “talk” directly from computer to machinery. This direct interface with the computer allows us to build very complex geometry.
The Articulated Timber Ground pavilion is recent design research project at the Melbourne School of Design (MSD). Consisting of 1,752 unique components, the pavilion changes its form throughout the sections.
The geometry captures the various ergonomic positions from seating to lounge position. Here, computing allowed us to generate an integrated three-dimensional model for digital fabrication.
The model contained the geometric information, ergonomic data, structural analysis as well as fixing and joint detailing. The position of every single drill hole was defined using a custom algorithm.
The entire pavilion took two days to install with prefabricated parts. It also challenged the way we usually communicate building information through indexing and reading the data for assembly using a tablet.
In the same way as designers start to program design, we can now program how we build things. In other words, we can program material. If we understand its behaviour, we can start to manipulate this as well.
Research at the ETH Zurich, in Switzerland, has developed a number of research pavilions that explore precisely this method of designing using robotics.
At this level of computing using numeric control tools, materials can be stretched and transformed into shape. Our research is developing a new way of fabricating a uniquely curved wall system that can be used as a temporary meeting pod in a flexible working and learning environment.
From the straight line of early CAD software to free form geometry, computing has liberated the creativity of the profession in the past 60 years. The impact of computing in architecture is immense and this will continue to shape the future of our cities.
Imagine the day where our building materials are programmable to suit any design.
Paul Loh is lecturer in digital architecture design, University of Melbourne and author for The Conversation. He can be contacted <a href="https://theconversation.com/profiles/paul-loh-252075" target="_blank">here</a>.
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Computing helps with the complex design of modern architecture

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Governments and private companies could save millions of dollars and drastically reduce their carbon footprint with a simple adjustment to the way they use air-conditioning, according to new research by Savills. 
In a presentation posted to the online knowledge clearinghouse TED (Technology, Entertainment and Design), Savills Australia’s national head of Research, Tony Crabb, said air conditioning systems were generally fixed at what is considered to be an optimal 22 degrees based on an arbitrary standard which took no account of outside temperatures and employee comfort levels.
"It turns out that we heat and cool the built environment to a fixed 22 degrees. Why? Because it is the thermal comfort level of a 44-year-old-man which was determined by the Americans in the 1950s. I kid you not," he said.
"This is an arbitrary point that makes little sense and which costs governments and industry millions of dollars a year to say nothing of the impact on the environment.’’
By way of an example, Crabb said that in 2008 the United Nations, as a publicity stunt at its New York headquarters, adopted a temperature range of 19-25 degrees. A month later the UN estimated the savings at US$100,000.
"In Australia, some 40 per cent of our energy is consumed in the built environment and a large amount of that energy is used in heating and cooling. The question is why wouldn’t you adopt some flexibility with regard to your air-con temperature settings?
"If we did this in Australia in office buildings and shopping centres it would save a hundred million dollars and three hundred thousand tonnes of carbon emissions a year and it would not cost a cent. 
"Now let’s run that out through all the other property in the country including residential and then run that out around the world and we are talking billions of dollars and millions of tonnes every year,’’ Crabb said. 
Irrespective of the dollar savings, he said governments and industry should make the effort to adjust the air-conditioning as part of their social responsibility.
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Air-con at 19-25 degrees would save millions of dollars: Savills Research

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The Commonwealth Bank will introduce sustainability in to their branches.
CBA is the first Australian financial institution to achieve a 5 Star Green Star from the Green Building Council of Australia (GBCA).
They received the star for the 'standard of design' of its branches.
The designed features a number of sustainable elements including low chemical paints, Forestry Standard certified timber, reduced water consumption and forty percent of energy saving when compared with existing branches.
A 5 Star Green Star assessment reflects 'Australian Excellence' and the design is one of the most sustainable fitouts in Australia.
The design can be replicated across CBA's network.
The head of group property for Commonwealth Bank Jennifer Saiz says that that Green Star assessment confirms CBA's efforts to make a positive impact through the way it does its business.
Commonwealth Bank Place in Sydney's Darling Quarter has recently achieved Australia's first 'quadrella' of six Star Green Star ratings for design, construction, interior fittest and operational performance.
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