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Architecture AustraliaArchitecture Australia

Architecture Australia July 2015

Ask architects which Australian magazine they choose to read or to publish their work and the answer is most likely Architecture Australia. If you want to be up to date with the best built works and the issues that matter, then Architecture Australia is for you. Its commissioned contributors are independent, highly respected practitioners, architectural thinkers and design commentators and each article is supported by images from leading architectural photographers. Provocative, informative and engaging – it is the national magazine of the Australian Institute of Architects.

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6 Issues


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Casting my mind back to 1995, when I graduated from Deakin University, I can clearly recall my genuine enthusiasm for practice being convincingly counterweighted by the trepidation of the unknown. Hungry to fill a void of knowledge, I signed up as a Graduate Member of the then Royal Australian Institute of Architects. Through ongoing engagement with the Institute and the support of like-minded colleagues I developed the confidence to establish Jackson Clements Burrows Architects in 1999 with my co-directors Tim Jackson and Graham Burrows, at the considerably green age of twenty-eight. Since establishing our practice I have maintained almost continuous engagement with the Institute, including nine years on the Victorian Chapter Council (including two years as the Victorian chapter president and three years on National Council). I now find myself…

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This issue of Architecture Australia opens with the highly anticipated new Australian Pavilion in the Venice Biennale’s picturesque Giardini. The Denton Corker Marshall-designed building is a black box that confidently asserts itself in the garden, hovering at the edge of the murky canal on one side and nesting into the landscape of tall trees and gravel paths on the other. The siting is paradoxically brusque and sensitive (but not irreverent or cloying). The detailing of the project is painstakingly muted. The pavilion itself is a stone-clad bunker, with flaps and wings that open to reveal a white-box interior. Our unveiling of the project is through images captured by John Gollings on two visits – one (manoeuvring around the builders) as the project neared completion and another when Fiona Hall’s inaugural…

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weaving their way to venice: winners of the tapestry design prize for architects announced

Perspective on a Flat Surface by John Wardle Architects and Long Term Parking by Kristin Green (KGA Architecture) and Michelle Hamer are the winning entries in the Tapestry Design Prize for Architects competition. The chair of the Australian Tapestry Workshop (ATW) board, architect Peter Williams, and the director, Antonia Syme, devised and conducted the competition for a tapestry design for the then yet-to-be-constructed and not-yet-finally-designed Australian Pavilion at the Venice Biennale. Architects were invited to submit proposals for a tapestry that would grace the “white cube” of the interior, an interior at that stage lit partly by a skylight. This tapestry could, given the program of the pavilion, hang there only once, or at irregular intervals. Forty-two entries were received. A judging panel chaired by Professor Kay Lawrence AM (Adelaide) and…

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venice biennale creative directors will debut the pool in 2016

Founded initially as part of the Art Biennale under Visual Arts curator Vittorio Gregotti in 1975, the first independent Biennale occurred in 1980 under the direction of Paolo Portoghesi. Now running for six months and most recently curated by Rem Koolhaas, who declared it is “about architecture not architects,” the Venice Biennale is the most prestigious and significant international architecture event. Selecting the creative directors for the Australian entry to the 2016 Venice Architecture Biennale is a daunting task, notthe least because this will be the first in Denton Corker Marshall’s recently completed, competition-winning Australian Pavilion. Twenty teams responded to the Institute’s invitation, their submissions embodying a wide range of creative and intellectual positions on architecture, culture and design issues. The selection panel was seeking enthusiastic and talented teams to respond…

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australian pavilion venice

The Venice Biennale national exhibition formula is simple. You select an artist, you put them in your pavilion, you may engage in some PR promotion but, knowing that all the other pavilions and gallerists (usually it is they who are paying for the production of the works) are doing the same thing, you hope that there is some reason you stand out from the crowd and that someone acknowledges and recognizes the quality of the work. Art is big business and Venice is at the apex of the pyramid of prestigious art (and marketing) events. Venice is where brands are maintained and protected, built up and established. It is where the Academy meets the market and where a massive proportion of the visitors is the crowd that “matter$$” who visit…

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fiona hall: wrong way time

Fiona Hall does remarkable things with Tupperware. Even more with PVC plumbing pipe, videotape (remember that pre-digital stuff?) and, perhaps most famously, with sardine tins. Recently she has been shredding, knitting and shaping camouflage military uniforms in preparation for her installation Wrong Way Time for the 56th Venice Art Biennale. Hall is the inaugural exhibitor in the Giardini’s first twenty-first-century building, the new Australian pavilion designed by Denton Corker Marshall (DCM). Here I talk to her about her work, her impressions of the pavilion and the challenges of this significant architectural induction. Rachel Hurst: You’ve been selected as the first artist to exhibit in the new pavilion, with an installation themed around three concerns (which are also central to contemporary architecture): global politics, finances and environment. These have been recurrent themes…