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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

Long Term Parking by Kristin Green (KGA Architecture) and Michelle Hamer, first prize co-winner in the 2015 ATW Tapestry Design Prize for Architects.Freeway Architecture by Peter Elliott Architecture and Urban Design, third prize winner.Perspective on a Flat Surface by John Wardle Architects, first prize co-winner.Verso by Kennedy Nolan, one of twelve shortlisted entries.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…

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venice biennale creative directors will debut the pool in 2016

Creative directors Amelia Holliday, Michelle Tabet and Isabelle Toland. Photography: Alex MayesFounded 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.…

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australian pavilion venice

02 The ramp takes sharp, angular turns past the building on its way to the entry porch.03 At the entrance, a dominating view of pavilions across the canal opens up.04 The pavilion is clad in a rain screen of matt black Zimbabwe granite, arranged in large grids.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…

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fiona hall: wrong way time

02 Artist Fiona Hall with a piece from All the King’s Men at a pre-Biennale preview in Adelaide. Photography: Rachel Hurst03 The installation’s “inner sanctum” displays All the King’s Men, a collection that considers the meaning of military camouflage in modern-day warfare.04 Smaller artworks are displayed in vitrines with interlocking sections.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…