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FORM JOURNAL VOLUME TWO
ARCHITECTURE –––– DESIGN –––– PLANNING –––– INNOVATION
*FEATURING: DESIGN OF WINE / SA’S HERITAGE RESURGENCE / JORDI PARDO / MAX HUNT / FORM INNOVATION AWARDS
FORM JOURNAL VOLUME TWO ARCHITECTURE * DESIGN * PLANNING * INNOVATION 2017/2018
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FORM JOURNAL –––––––––––––––––– VOLUME TWO
(THANK YOU TO OUR 2017/2018 FORM JOURNAL SPONSORS)
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–––––––––––––––––– WELCOME
(EDITOR’S WELCOME)
Since publishing the inaugural edition of FORM Journal in 2016, there have been a number of intriguing projects and an encouraging level of discussion about design and architecture from both the industry and general public. This year’s edition continues our mission to celebrate some of the state’s most
innovative design thinkers
and marks the launch of the
FORM Innovation Awards (FIA), which expands upon FORM as a voice for South Australian design and architecture.
Over the past 12 months, Adelaide has witnessed the long-awaited opening of the new Royal Adelaide Hospital, changes and upgrades to the Adelaide Central Market to Riverbank corridor and new architectural works on all corners of the CBD. There is no doubt that we are experiencing a period of rapid development opportunities But what does the future hold for
across our city and state, edging us
architecture and design? Featuring
towards becoming a design-led city.
editorial content from design thinkers, innovators and disruptors, this year’s edition provides a platform for key voices in the architecture and design industries both locally and abroad. The projects in this edition are a snapshot of these creative outcomes and the ways in which architecture and design can enrich our lives, embracing technological advancements, design innovation and leadership as essential factors in our constantly evolving world.
We hope you enjoy Volume Two. Nathan James Crane
Editor, FORM Journal
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VOLUME TWO
Digital Manager Jess Bayly Design Director Sabas Renteria Contributors Leo Greenfield Jordi Pardo
FORM Journal Editor Nathan James Crane Adelaide Review Editor David Knight Digital Content Producer John Dexter
Brand, Advertising and Marketing Manager Tamrah Petruzzelli
Admin and Distribution Kate Ledgard
Managing Director Manuel Ortigosa
Publishing Director Amanda Pepe
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The Adelaide Review Pty Ltd, Level 8, Franklin House 33 Franklin St Adelaide SA 5000. GPO Box 651, Adelaide SA 5001
FORM JOURNAL –––––––––––––––––– VOLUME TWO
WELCOME TO THE
TE NT S 24–––––
SECOND ISSUE OF FORM
JOURNAL, A SPECIAL
EDITION AS THIS YEAR’S
ISSUE INTRODUCES
THE INAUGURAL FORM
INNOVATION AWARDS,
WHICH CELEBRATES THE
BEST OF LOCAL DESIGN,
ARCHITECTURE AND
PLANNING ACROSS ALL
DISCIPLINES. ENJOY.
CON
–––––––––––––––––– CONTENTS
01 02 03 04 05 06 07 08 09 10 11 12 13 15
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16 17 18
THE DESIGN OF WINE
SA’S HERITAGE
more than half of this
Some of Adelaide’s great
country’s wine and this
buildings have been
has major benefits for
revitalised across the CBD
other local industries,
thanks to heritage projects
South Australia produces
RENAISSANCE
including design
19 20 21 22 23 24 25 26
AGDA
27 28 29 30 31
30
32
SHAPING OUR CITIES FOR THE FUTURE
MAX’S HUNT
32 33 34 35
The former director of
FOR INNOVATION
Designing the plaques
36
the Barcelona Museum
for the FORM Innovation
38
of Design asks if we can
Awards allowed furniture
39
connect creativity and
designer Max Hunt to
40
innovation to tradition
experiment with design
41
and manufacturing
37 AIA
AILA
42 43 44
AGDA
45 46
34
68
FORM
SNAPPED
47 48 49 50
INNOVATION AWARDS
Social pics from
We awards the best
some of this year's
52
projects from the five
best SA's design
53
design and architecture
events.
institutes
AILA
51
DIA
54 55 56
DIA
57 58 59 60 61 62 63 64 65 66 67 68 69
#FORM_JOURNAL
70 71 72
38 44 50 56 62 AIA
14
PIA
PIA
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––– BY DAVID KNIGHT
THE DESIGN OF WINE
FORM JOURNAL –––––––––––––––––– VOLUME TWO
AS ONE OF THE WORLD’S GREAT WINE CAPITALS, SOUTH AUSTRALIA PRODUCES MORE THAN HALF OF THIS COUNTRY’S WINE AND THIS HAS MAJOR BENEFITS FOR OTHER LOCAL INDUSTRIES, INCLUDING DESIGN.
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–––––––––––––––––– THE DESIGN OF WINE
THIS YEAR, FOUR OF THE FIVE NOMINATIONS FOR THE AUSTRALIAN GRAPHIC DESIGN ASSOCIATION (AGDA) STREAM OF THE FORM INNOVATION AWARDS WERE WINE LABEL DESIGNS WHILE OUR SISTER PUBLICATION HOT 100 WINES INTRODUCED A DESIGN COMPONENT, HOTTEST LABEL, TO REFLECT THE QUALITY OF LOCALLYPRODUCED LABEL DESIGN AND PACKAGING. THE INAUGURAL HOTTEST LABEL WAS TAKEN OUT BY PARALLAX,
The radical design work of the last decade or so has reflected the emergence of boutique and young winemakers who have joined the big guns in putting South Australian wine on the map, Keane says. This includes MASH’s pioneering work with Justin Lane and Alpha Box & Dice, which saw MASH’s work exhibited in San Francisco’s Museum of Modern Art.
A DESIGN FIRM THAT WORKS CLOSELY
“Visually that change was pretty obvious,” Keane
WITH THE WINE INDUSTRY, AS 70 PER
says. “There are huge amounts of interesting
At the moment, Parallax has completed work for
CENT OF THE FIRM’S BUSINESS IS
little boutique winemakers and it’s pretty
a label in every wine making region of Australia
obvious that they have to be on top of their
as well as New Zealand and the United States.
game with packaging, branding and design. If
Remphrey believes that the work coming out of
you go to any boutique bottle shop, just looking
South Australia is high quality and always has
“That’s everything from marketing plans and
at a wall of wine, everyone is pretty savvy with
been.
brand strategies through to labels and websites,
what they’re doing.”
ASSOCIATED WITH WINE.
cellar door interiors and signage – the whole bit,”
“Look back to the Barrie Tucker and Ian Kidd
Parallax’s owner and creative director Matthew
This means a lot of the work from smaller wine
days in the ‘80s and ‘90s; they were doing some
Remphrey says.
labels is going to boutique local design firms.
fairly revolutionary stuff with wine back then.
AGDA chair Shane Keane says this state has been
“It’s a healthy way to work and smaller
designers around now, a lot more wineries as
associated with notable label design since the
winemakers often can’t often afford big agencies
well. It’s definitely seen as a particular strength
‘80s thanks to designers Ian Kidd and Barrie
to do their work and they probably don’t need
of designers in this state.”
Tucker and this has continued through to today.
to," Keane says. "These types of businesses work
It’s always been there. There are a lot more
well together. And the work stays here.” “MASH really made their name, I guess, doing
Wine label design and packaging might be a bit more noticeable now due to optimism within the
some cool wine labels,” Keane says, “Parallax
“Most designers in Adelaide and South Australia
and Voice as well. They are all highly awarded
would have a wine client or two on their books,”
and are known for their wine work as well as
Remphrey says. “So there’s a definite focus here,
“For us, we’ve noticed in the last couple of years
everything else that they do.
because of the size of the industry in South
that a lot of wine companies here are feeling a
Australia.”
little more optimistic about the way things are
“South Australia isn’t beholden to the traditions
wine industry.
going,” Remphrey says. “We’re finding that wine
and restraints that a lot of the European and
Parallax, whose clients include Petaluma,
companies are looking to rebrand and look at
old-world winemaking areas are, our packaging
Elderslie, Ministry of Clouds and Hardys, are
everything. They’ve wanted to do it for the last
and types of wines reflect that,” Keane says. “I
planning to strengthen their association with the
five years but haven’t felt comfortable, but now
would say South Australia has led the way in
wine industry.
there is optimism in the air.”
Australia and to some extent internationally [with packaging].”
“We’re looking at potentially morphing into more of a wine marketing business that has a design capability,” Remphrey says. “At the moment,
parallaxdesign.com.au agda.com.au
although we do marketing plans and brand strategy, we’re more known for the labels. We are starting to think about specialising in the wine industry and beverage industry with wine being the major component. That’s not to say that if another project came along we wouldn’t look at it but I think, for me, it feels right to specialise in that area and build on our credentials. It doesn’t mean that we are limited to just working in South Australia.”
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SOME OF THE STATE’S
WHAT HAS LED TO THIS MOVE TOWARDS MORE ADAPTIVE REUSE IN OUR CITY? FORM JOURNAL SPEAKS WITH SOME OF THE STATE’S LEADING HERITAGE PROJECT PRACTICES TO GAIN SOME INSIGHT INTO THE COMPLEXITIES ASSOCIATED WITH THE SENSITIVE ASPECTS OF LANDMARK HISTORICAL BUILDINGS.
GREAT BUILDINGS HAVE BEEN REVITALISED
ACROSS THE CBD THANKS TO HERITAGE PROJECTS. THESE ONCE FORGOTTEN GEMS HAVE BEEN UPDATED AND TREATED AS INCREDIBLY IMPORTANT ARCHITECTURAL ASSETS TO OUR CITYSCAPE FOR BOTH BUSINESS AND LEISURE.
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“A detailed understanding of why a place is of cultural significance is central to any successful heritage project,” says Jason Schulz, director of Dash Architects, who over the years has been involved in numerous heritage projects such as the historic East End Market Buildings, Waverley House (St Andrew’s Hospital) and 2 King William Street. “This understanding then frames how a
(NEW BLOOD: SA'S HERITAGE RENAISSANCE)
redevelopment can embrace and leverage these attributes to secure the long-term
––– BY NATHAN JAMES CRANE
use, viability and cultural relevance of some of our state’s most important assets.”
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Some of the most notable examples of heritage restoration include Electra House, the aforementioned 2 King William Street, the Epworth Building and the recent revitalisation of the Darling Building by Williams Burton Leopardi. “Our imagination was captured by the Darling Building even in its dilapidated state, so it was very important to us that its renewal was carried out with sensitivity
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and respect,” Williams Burton Leopardi director Sophia Leopardi says. “The building was generously fitted with a rich array of materials and details, tessellated and terrazzo floors, rosewood panelling and doors and external sliding shutters which have all been preserved.” However, it is not just in our city’s centre that great design has given life to some
How do designers approach a heritage build while still creating engaging and contemporary spaces? JPE’s bridging of CML Building and Edmund Wright House is a key example. “The Venetian jewel box creates a sculptural volume which mediates between two heritage buildings –– which are of different eras and character,” Bruneder says.
of our oldest architecture, with innovative
“Adaptive reuse is a wonderful way to
For the Australian Fashion Labels project,
design coming out of cellar doors.
maintain part of the city’s built history.
Hosking says they used modern materials to
Noteworthy examples include Denton Corker
Extending a building’s lifetime, by not
“contrast with the original brick, render and
Marshall’s work on Penfolds Magill Estate’s
just restoring the building, but giving it a
timber and installed contemporary features
redesign and Grieve Gillett Anderson’s
purpose again, a new function and a place
like lighting and furniture to reinforce that
Yalumba Cellar Door.
for people to be and new memories to be
juxtaposition”.
created,” Bruneder says. For JPE Design Studio’s Kerstin Bruneder, project architect on the Mayfair Hotel
A controversial addition to the CBD’s skyline This sentiment is shared by Schulz.
(Colonial Mutual Life building), the
will be Realm Adelaide, which incorporates the remains of Adelaide’s historic Assay
key to successfully achieving sensible
“Adelaide has a long history of adapting
House, built in 1858, by restoring its façade
contemporary alterations is in the detail.
its heritage buildings,” he says. “These
and adding a double height bar and
buildings have a lot to offer. They can bring
restaurant and outdoor rooftop terrace.
“Large parts of our design therefore
a unique identity to a project: a depth of
happens on site and not in the studio,
history, character and cultural connection
The 132-metre new tower is inspired by the
ensuring that the new works fully address
that cannot simply be created overnight.”
gold rush, and the heritage nature of the
the situation on site and that details match
O
site. “Like all great pieces of architecture,
D
the craftsmanship the building deserves,”
Hosking Willis Architecture’s Sam Hosking,
the interior and exterior of Realm Adelaide
she says.
who refitted Security House as Australian
listen to each other and communicate a cohesive story, one steeped in Adelaide’s past while looking forward to an exciting future”, says Elenberg Fraser founder and director Callum Fraser. “Building a new story from an existing context is a privilege, our approach with any heritage project adopts the idea of complementary contrast,” Leopardi says. “This idea imbues every aspect of our design and creates spaces that feel new and enriching for how we live our lives today, while paying reverence to and connecting us with, the history and stories that have gone
Fashion Labels’ headquarters, says the
before, acknowledging that we are only
“retention of older buildings tells the story
temporary custodians of any building.”
of where we have come from as a city and society, but it is vital that those building have a purpose.” “Re-purposing gives them potential for vibrancy and vitality and allows them to contribute to the progression and cultural development of Adelaide,” Hosking says.
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CAN WE CONNECT CREATIVITY AND INNOVATION TO TRADITION, ASKS THE FORMER DIRECTOR OF THE BARCELONA MUSEUM OF DESIGN, JORDI PARDO.
P
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THE
FUTURE*
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–––––––––––––––––– SHAPING OUR CITIES
CULTURE AS A DRIVER FOR CHANGE AND DEVELOPMENT OF BETTER CITIES In this time of deep change, sometimes we face the future with a contradictory attitude. We talk a lot about creativity and innovation and we often think they are the great drivers for change.
The Barcelona Museum of Design is one of the
We are frequently seduced by apparently new
gates of the 22@BCN, connecting tradition to
concepts sometimes hiding a deep lack of
innovation through design and working as an
meaning. However, we keep very conservative
antenna of an economic activity that represents
attitudes against the unstoppable process of
more than the 2.7 per cent of the metropolitan
change, keeping old visions, organisational frameworks, projects and lives.
area’s GDP. Cities are cultural spaces. This is a reason why culture must be integrated in the urban planning
ADELAIDE AND SA – PLENTY OF POTENTIAL AND OPPORTUNITIES
In the post-industrial era, the role of knowledge,
process. Cities were born more than 8000 years
creativity and innovation are now more crucial
ago as spaces of complexity and creativity.
than ever, we should review the way we connect
These two concepts are fundamental to creative
our values and dreams to the new missions and
processes in which categories of contraposition,
Adelaide and its metropolitan area have
visions of our projects.
hybridisation, ideas exchange and diverse
myriad possibilities if its huge potentials and
interpretations of reality are the creative and
opportunities are properly harnessed. The
Culture is a drive for change and an expression
innovative driving forces. Cities have been, from
integrated cosmopolitan urban personality of
of individuals and communities, where
their beginning, smart spaces where knowledge,
the city; its positioning and urban identity that
tradition connects to innovation. Culture,
creativity and innovation are the main pillars.
distinguishes it from Melbourne and Sydney; the
understood in its whole meaning (arts,
Nowadays, in this first step of the prehistory
importance of universities and research centres;
knowledge, the diversity of living cultural
of the digital era, some call ‘smart cities’ to
the high level of training and professional
expressions and creative economy), is a key
the massive use of digital technology in the
specialisation; the reputation in activities such
element to boost creativity, to innovate, to
rethinking and management of the urban space.
as health, ICT, design, food, and the beautiful
create competitiveness in neighbourhoods,
urban natural environment – with many
cities or rural areas and to provide quality of
However, when the electricity arrived, cities
similarities with Barcelona: sea, hills, harbour,
life for people.
were never called ‘electric cities’. Technology,
vibrant cultural activity, wine production, city
without a holistic vision of the city as a system
size, among others, are remarkable assets to
We innovate when we apply feasibility criteria
that places citizens in the centre of the agenda,
build upon.
assessment to creativity, which generates the
is not enough to improve quality of life and the
creation of values of change, improvement
economic competitiveness of a sustainable city
Personally, some crucial aspects should be
and advancement in all the economic, social
project.
given consideration to shape an even better
and cultural spheres. Creativity is founded on the culture of communities and on the social dimension of the cultural fact. This social dimension of culture is the underpinning to incentivise and to promote either individual or collective talent.
DESIGN – A DRIVER TO BOOST ECONOMY, CONNECTING TRADITION AND INNOVATION The 22@Barcelona innovation district is an
city: a metropolitan vision, a polycentric system approach with active relationship among those centres, a more agile and sustainable governance and management frameworks that avoid bureaucracy, and a real consideration of culture as a catalyser.
internationally successful example. Officially The connection between tradition and
approved in 2000, it had the main goal of a
innovation is a very fertile source to develop
comprehensive improvement of one of the most
economy and to fuel modernisation of
degraded areas in the city of Barcelona. It was
traditional economic activities (agriculture,
achieved by boosting new economic activities,
industry, services etc.). It is an option that can
through the renewal of the existing 19th Century
underline the identity of a product or activity
urban design in which housing, commercial and
of a whole urban or rural area. It demands a
traditional (non-industrial) and new economy
contemporary approach to the use of heritage
businesses could share the same urban area.
JORDI PARDO IS AN EXPERT ON
CULTURAL POLICIES, DEVELOPMENT
AND URBAN RENEWAL. HE IS A FORMER DIRECTOR OF THE BARCELONA MUSEUM
OF DESIGN AND CO-AUTHOR OF THE 22@ BARCELONA MEDIA STRATEGY.
PARDO WILL BE SPEAKING AT OPEN
and traditions. It can provide compelling narratives that boost modern activities, create
In 2002, ‘design’ was included as one of the five
new business opportunities, jobs and improve
main vectors to develop new activities (new
the soul of urban and rural cities.
energies, bio-technology, ICT, media and design). Despite the crisis, this public-private venture has been going ahead. More than 60,000 new jobs have been created in a 200-hectare area,
STATE, A FESTIVAL OF COLLABORATION, INNOVATION, IDEAS AND ENTERPRISE, BRINGING TOGETHER INTERNATIONAL AND LOCAL SPEAKERS.
OPEN STATE IS
ON FROM THURSDAY, SEPTEMBER 28 TO SUNDAY, OCTOBER 8, 2017.
stopping the previous process of degradation and triggering one of the most interesting and successful urban renewal projects in Europe.
openstate.com.au
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THE 32-YEAR-OLD IS PASSIONATE ABOUT HIS LOVE AND DRIVE FOR
WORKING WITH LOCAL MATERIALS AND MANUFACTURERS, WHICH HE HAS USED SINCE STARTING HUNT
FURNITURE SIX YEARS AGO. HUNT IS AN INTUITIVE DESIGNER, MAKING PIECES HE IS DRIVEN TO PURSUE, RATHER THAN FOLLOW SEASONAL TRENDS. Working on a range of projects from high-end
I
residential fitouts to more commercial work in the hospitality industry and workspaces, Hunt custom-makes all of his furniture in Adelaide. “I’m driven first by really accessible furniture,” he says. “Coming from being a student to becoming a working designer, I wanted to be able to make the furniture I was designing. I would always ask myself, ‘Would someone like me be able to afford this?’” Materiality also plays an important role in the aesthetic of Hunt Furniture. “I use the materials as efficiently as I can,
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FOR FURNITURE DESIGNER MAX HUNT, THE OPPORTUNITY TO DESIGN THE PLAQUE FOR THE FORM INNOVATION AWARDS WAS AN OPPORTUNITY TO EXPERIMENT WITH NEW TECHNIQUES AND MANUFACTURERS. ––– BY NATHAN JAMES CRANE
keeping the materials as close to natural as possible. Being a colour-blind designer, I basically let the materials be the colour in the products.” When asked about his instinct-driven design style, Hunt answers, “I think you’re born with a design style. Trends come and go, and even if you don’t necessarily like what you do, you’re stuck with that instinct. My design style has
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stayed the same since I first started drawing.”
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UNT
*MAX’S HUNT FOR INNOVATION*
–––––––––––––––––– MAX HUNT
FOR Asked about the approach for his FORM Innovation Awards design, Hunt highlighted his long-held
interest in designing an award plaque. “I’ve always questioned how I would have designed them differently, if given the opportunity, so this was perfect, I couldn’t say no.” The FORM Innovation Awards are made from a combination of South Australian manufactured materials – including billet brass and aluminium – using a multitude of techniques including powdercoating, laser-etching, hand polished elements and, in some places, gold-filled sections.
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“I like the idea that something that is usually static can actually pivot. I want people to be able to interact with it and for it to be more tactile, rather than it just sitting on a reception desk as a still object, like other awards.” What does Hunt think about the evolution of South Australian design? “There’s definitely been a change in South Australia. Not just the public, but with businesses understanding the importance of good design in their success. I do notice SA being a very big
A
part of sales. Adelaide has a lot of good design going on, and that is fuelled by a lot of designers coming here to join places like JamFactory, and the amount of practices winning major design awards for fitouts here. People like the local design stories and supporting SA, which is great to see.”
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Hunt Furniture is available online and in stockists across Australia. huntfurniture.com.au
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We are excited to provide a platform for innovative design thinking in South
Australia with our inaugural FORM Innovation Awards.
For these awards, we have
invited the five design and architecture institutes to
provide five nominations from their respective institute.
Each institute award is split into two categories: The
by the general public online) and the Sponsored Awards, which have been selected by industry experts.
In total, there are 10
INNO
A sincere congratulations to all of the projects featured.
* FORM INNOVATION AWARDS *
FORM
industry-specific awards.
VATION
People’s Choice (selected
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–––––––––––––––––– FORM INNOVATION AWARDS
2017 FORM INNOVATION AWARDS THE SELECTION PROCESS:
ROUND TWO:
FORM Innovation Award winners were selected by a judging panel, which featured representatives from each institute and design profession to discuss each project. The accompanying citations have been provided by all members of the judging panel and have been consolidated to provide a range of multidisciplinary perspectives. It is testament to the collaborative and multidisciplinary aspirations of the design community to see such an incredible range of submissions. JUDGING CRITERIA: The projects have been judged and awarded using the following set of criteria to measure their impact on the following areas:
INNOVATION
How successfully does this project demonstrate innovation within its sphere of practice?
CONTRIBUTION
To what extent does the project add value and/or further the profession within its sphere of practice?
LEADERSHIP
Overall, to what extent does the project demonstrate leadership/future leadership as a model of best practice?
AWARDS
Nominees were selected from the current institute awards and listed online for People’s Choice voting and viewing by judging panel.
2017/2018
ROUND ONE:
AIA / AGDA / AILA / DIA / PIA
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T H E J U D G E S 1
2
3
4
5
6
7
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1*
–––––––––––––––––– THE JUDGES
BEN WILLSMORE is an award winning landscape architect and urban designer with over 15 years’ experience working locally,
nationally and internationally. As President of the South Australian chapter of the Australian Institute of Landscape Architects (AILA), Ben is passionate about the role design can play in a greener, more liveable future for Adelaide. ––––––––
2*
SHANE KEANE is a nationally and internationally awarded graphic designer at Band. Band focusses on creating and
developing dynamic and unique designs that engage and connect brands to their audience. Shane is currently Chairman of the Australian Graphic Design Association’s South Australian branch. ––––––––
3*
JOHANNES PIETERS is Program Director Urban and Regional Planning at University of SA . His current interest
is in links between urban design and community health. ––––––––
4*
SALLY SMITH has been a planner for over 20 years, working mostly in State Government but has also held roles in local
government and the private sector in SA, Qld and NSW. She is passionate about working collaboratively to build the new planning system in her role at DPTI and as the ex-officio on the SA Planning Commission. Sally also holds the role of Assistant Coordinator-General and seeks to achieve good development outcomes that support economic development and healthy neighbourhoods. ––––––––
5*
KYM PRYDE is the President of the SA Division of Planning Institute of Australia (PIA). She is also a former national board
member of the Institute. Kym is a qualified urban and regional planner majoring in environment planning and currently works for the SA Environment Protection Authority as their Principal Adviser, Planning Policy and Projects. Kym has a range of public and private experience. She has extensive experience in working in project management, business systems, legislation reform, planning strategy and policy, development assessment and major developments. ––––––––
6*
TAMRAH PETRUZZELLI is The Adelaide Review’s Brand, Marketing and Advertising Manager. She leads the marketing
and advertising teams of The Adelaide Review as well as the titles Hot 100 Wines and Luxury by The Adelaide Review and is a passionate ambassador for SA’s architecture and design community. ––––––––
7*
PETER COOMBS is an eyewear and bespoke jewellery designer, with more than 30 years experience in the design industry.
He creates products that deliver longevity, comfort and functionality for the wearer. He is also the current president of the SA branch of the Design Institute of Australia. ––––––––
8*
ADAM BROWN has architecture in his blood.
Much like his grandfather, he’s a director of a South Australian architectural
practice (Khab Architects) and is engaged with the profession well beyond his own business. Graduating from UniSA, Adam returned to Adelaide to practice after living and working in Melbourne, Bangkok and India. ––––––––
9*
NATHAN JAMES CRANE is an interior architect, design thinker, writer, editor, brand creative
and commentator, who has presented internationally in places such as Oxford University, Taiwan and Milan. He is currently creative director of freelance brand consultancy (NJDS), design writer for The Adelaide Review and a doctoral candidate and tutor at the University of South Australia. ––––––––
* PHOTOS: PETER FISHER
community.
environmental and economic well-being of the
of Architects exists to enhance the cultural,
sustainable design. The Australian Institute
environment by promoting quality, responsible,
The Institute works to improve our built
in Australia, representing 12,000 members.
peak body for the architectural profession
The Australian Institute of Architects is the
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A––– Micro X
B––– Gallery 7
C––– Crayon House
D––– Dutton House
E––– Agile X UniSA Pavilion
AUSTRALIAN
INSTITUTE OF
ARCHITECTS
(AIA)
AWARD SPONSORED BY
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The simple modular pods are one of the first design responses to demonstrate the innovative new life anticipated beneath the former Main Assembly Building at Tonsley. Its form demonstrates new efficiencies in design, manufacturing and long-term adaptation. This innovative design, while looking simple, had to deal with a multitude of challenges including ensuring any new building met 6-star green building required to build at Tonsley.
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MICRO X
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Gallery 7 comprises the redevelopment of one of the Migration Museum's permanent gallery spaces. Completely re-thinking the way the stories are presented, the outcomes aim to provoke questions, encourage engagement, and embody resonance. The exhibition is built on a fully integrated relationship between story-telling and design. This approach produced techniques that allow the original building to become part of the exhibition.
GALLERY 7 B
* PHOTOS: ANDRE CASTELLUCCI
BY MULLOWAY STUDIO
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* PHOTOS: SAM NOONAN
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CRAYON HOUSE BY GRIEVE GILLETT ANDERSEN
On a quiet one-way street in Goodwood, a children’s drawing of a house has come to life. Driven by the client’s passion for sustainability, there had to be communal and private spaces that will grow with the family and a low maintenance garden for herbs and veggies. As a display of inventive street engagement, and considered internal living spaces, Crayon House is a demonstration for the future of residential housing in Australia.
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DUTTON HOUSE
* PHOTOS: COURTESY OF ASHLEY HALLIDAY ARCHITECTS
BY ASHLEY HALLIDAY ARCHITECTS
The ‘Dutton Terrace Alterations’ features abstract planes, textures and surfaces for an integrated relationship with the landscape to create wow factor and a variety of settings that inspire the client and their adult kids to spend more time together, live and entertain there. This dynamic example, utilises its graphic materiality and modernist lines to full extent, resulting in a striking and contemporary design
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The world is increasingly fast-paced and uncertain. In few places is this pace more evident than in computing. In this new world, the traditional methods of architecture may struggle to keep pace. The idea of AGILE X is to apply agile development methods from computing in design. This makes AGILE X different from a standard design process in that the focus is on the development of immaterial systems first and decide on the materialisation at the last possible moment.
AGILE X UNISA PAVILION BY UNIVERSITY OF SOUTH AUSTRALIA
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The AMRC Multicultural Signage is celebrated as an attractive and vibrant suite of graphics that is cleverly applied in a variety of different combinations to reflect the needs of different settings, while ensuring a cohesive single identity for the Australian Migrant Resource Centre. In a building that is often frequented by non-English speaking members of the community it was pleasing to see an innovative design for signage to help visitors navigate
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* PHOTOS: DAVID SIEVERS
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the building.
professional development.
activities in education, advocacy and
program of state, national and international
the profession through an interrelated
Association (AGDA) is dedicated to advancing
sectors, the Australian Graphic Design
communications, applied design and technology
throughout the creative, visual
With more than 2,600 members distributed
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A––– AMRC
B––– Penley Estate
C––– Dr Edge
D––– The Old Bloke and the Three Young Blondes
E––– Palmetto Wine Co
AUSTRALIAN
GRAPHIC DESIGN
A S S O C I AT I O N
(AGDA)
AWARD SPONSORED BY
–––––––––––––––––– ADELAIDEREVIEW.COM.AU
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PENLEY ESTATE BY PARALLAX
Penley Estate is an iconic family-owned wine brand from one of Australia’s most famous wine regions, Coonawarra. This rebrand takes the company’s familiar sun logo and repurposes it as a contemporary, minimalist golden orb rising across its livery.
* PHOTOS: SLINGSHOT STUDIO
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Engaging a purely visual approach, this wine label creates a dramatic and engaging first impression. Presenting a strong pictorial element is daring and exemplifies the impact graphic design plays in brand identity.
DR EDGE BY CORNERSHOP
* PHOTOS: SLINGSHOT STUDIO
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* PHOTOS: LIGHTLY SALTED
While the wine itself has a cheeky name, the visual communication exudes nothing but class. Developing a sophisticated design language, which uses a number of techniques including foiling, etching and the use of a branded paper wrap, this entry is a sound example of considered, multidimensional design intent.
D'ARENBERG'S THE OLD BLOKE AND THE THREE YOUNG BLONDES BY VOICE
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PALMETTO WINE CO BY FRAME CREATIVE
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This label is a dramatic departure from the typical graphic design present in the wine industry. The design displays a playful and energetic approach towards what could be an otherwise standard wine label through its use of colour
* PHOTOS: SAM PEARCE
blocking and spirited textual elements.
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members and the wider profession.
to serve the mutual interests of their
throughout Australia and overseas and aims
AILA represents 2000 (and growing) members
and greater environmental stewardship.
for public open spaces, stronger communities
Architects (AILA) champions quality design
The Australian Institute of Landscape A––– Tidlangga
B––– Quandong Garden
C––– Adelaide Zoo Nature’s Play-Ground
D––– Bowden Main Park
E––– Kevin Taylor Legacy
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TIDLANGGA BY CITY OF ADELAIDE
AUSTRALIAN
INSTITUTE OF
LANDSCAPE
ARCHITECTS
(AILA)
AWARD SPONSORED BY
* PHOTOS: DECO PHOTOGRAPHY
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A space for young and old, it is designed to be engaged for all age groups and the involvement of the community speaks true in the selection of fruit trees for the site. The new playground is praised for its leadership by the design team to develop shared outcomes, ensuring a new setting within the Adelaide park lands that successfully brings the community together in a range of new settings to suit the community’s different wants and needs.
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This joyful and engaging native garden located in the Adelaide foothills has transformed a previous formal lawn and garden into a compelling example of Australian garden design. It celebrates the art of gardening and which has at its core a deep appreciation of space, the considered use of native plants, local materials and food production. This is a peoples’ garden enjoyed by children and grandparents.
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QUANDONG GARDEN BY OXIGEN
* PHOTOS: DAN SCHULTZ
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ADELAIDE ZOO'S NATURE’S PLAYGROUND The promotion of
BY WAX DESIGN
nature play finds a perfectly compatible partner in the reimagined experience of zoos. Nature's Playground provides an inclusive and engaging experience for all users, prompting understanding of the natural world themed around the concept of
* PHOTOS: DAN SCHULTZ
the planet's biomes.
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* PHOTOS: SWEET LIME PHOTO
BOWDEN MAIN PARK
The keenly anticipated Bowden Main Park realises an exemplary public place for inner city living.
BY ASPECT STUDIOS
The open space model for Bowden’s urban renewal is led by a design ethos combining contemporary innovation and heritage. The Park plays upon the site's rich culture and built form, responding to the residential street context and domestic architecture, revealing red recycled bricks. The angular criss-crossing of materials layers the ground plane beneath Plant 4’s iconic sawtooth roof.
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Conceived as a grant to enable creative individuals to pursue ideas and interests relating to the expanded field of landscape architecture, the Kevin Taylor Legacy is both a testament to Taylor’s generosity of spirit and to TCLs leadership. Established in the memory of Kevin Taylor, a founding director of TCL, the grant has invited one person or team each year to be a creative in residence at TCLs studio.
KEVIN TAYLOR LEGACY
* PHOTOS: TONY KEARNEY
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BY TCL LANDSCAPE ARCHITECTURE & URBAN DESIGN
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Who knew a pen could be redesigned! The If Pen is recognised as an innovative response that enhances the performance of an ‘everyday’ product. The design of the pen is valued for its elegant form, as well as its improved function. The jury was impressed that the design of a day to day item could be rethought to improve the
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IF PEN BY DAVID COLLIVER INDUSTRIAL DESIGN
* PHOTOS: KATIE KUNG
support and promote designers.
and organisations who employ, commission,
together design practitioners with people
industrial Design. The DIA brings
disciplines including interior and
domestically and internationally in
Australian design and designers both
professional design, the DIA represents
As Australia’s industry body for
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A––– If Pen
B––– Pink Moon Saloon
C––– Antica Pizzeria E Cucina
D––– N60 / N65
E––– Mythology
DESIGN
INSTITUTE
OF AUSTRALIA
(DIA)
AWARD SPONSORED BY
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PINK MOON SALOON BY SANS ARC STUDIO
* PHOTOS: DAVID SIEVERS
In a former bin alley, sandwiched between two office buildings on one of Adelaide’s vibrant laneways is the Pink Moon Saloon. The venue tells a narrative of campfire cooking with a childlike nostalgia for the outdoors. Designed and built in traditional ‘hut’ style, it reflects its context and place. Widely recognised as a pinnacle new building for Adelaide and Australia, it has been widey published across the globe.
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ANTICA PIZZERIA E CUCINA
* PHOTOS: BRENDAN HOMAN
BY GENESIN STUDIO
Antica Morphett Street has been covered widely in architectural media since opening last year. Based on influences from the owner’s family heritage in Italy, inspiration was drawn from the old gated laneways of Napoli, which open up into hidden piazzas. The interior uses innovative material selections and layout methods to achieve a truly intriguing experience.
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The N60 / N65 vertical firebox design accentuates the flames path and enhances the overall visual interest. This unique look, coupled with high quality finishes, creates a premium product that ultimately helps maintain manufacturing jobs in South Australia.
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N60 / N65 BY PECAN ENGINEERING
* PHOTOS: COURTESY OF PECAN ENGINEERING
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MYTHOLOGY BY PARALLAX
Another reimagining of the Penley Estate wine label is a beautiful example of simplicity in design, ultimately achieving a sophisticated result. Utilising print techniques like gold foiling, and making full use of black and white sketches, this label could easily be translated to many other design elements at
* PHOTOS: SLINGSHOT STUDIO
different scales.
annually.
and connects with more than 7500 planners
members nationally and internationally,
PIA currently represents approximately 5300
in their role of creating better communities.
guiding thousands of planning professionals
PIA is the pivotal organisation serving and
communication and professional development,
the planning profession. Through education,
the national body representing planning and
The Planning Institute of Australia (PIA) is
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A––– Beulah Road
B––– Gawler Town Centre
C––– Oaklands Recreation Plaza
D––– Salisbury City Centre
E––– Edwardstown Memorial Oval
A
PLANNING
INSTITUTE
OF AUSTRALIA
(PIA)
AWARD SPONSORED BY
–––––––––––––––––– PIA
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BEULAH ROAD BY CITY OF NORWOOD PAYNEHAM AND ST PETERS
* PHOTOS: ASPECT STUDIOS
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This project exemplifies the planning profession. The project faced many challenges, however, the vision prevailed. The end result promotes the use of bikes and aids to help communities challenge the norm of driving a car and to rethink transport options. Something that is imperative to ensure Adelaide remains a liveable and attractive place to live.
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* PHOTO: MICHAEL ARMAN
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The Gawler Town Centre is a lively and well-functioning place where people want to come and spend time, and where businesses are thriving. A Strategic Framework, adopted in 2013, set a clear vision for the town centre and set a new tone for how council, businesses and the community would work together in creating a bright future for the town centre. This framework was developed to respond to the limited expansion capacity and in the context of population growth and competition from nearby regional shopping centres.
GAWLER TOWN CENTRE BY TOWN OF GAWLER, URPS, WAX DESIGN
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The Oaklands Recreation Plaza includes a skate facility with features and elements that allow for flow, tricks and casual use for skateboards, BMX, scooters and inline skaters. In addition to the skate facility, the development includes the provision for further recreation opportunities including parkour, three-point basketball, and casual skate / blade / bike riding. The development incorporates landscaping, paths, facilities, lighting, park furniture and social gathering spaces to create a high quality plaza setting that
OAKLANDS RECREATION PLAZA
integrates with the wetland and creates a strong interface with Oaklands Road.
BY CITY OF MARION AND OUTERSPACE
* PHOTOS: DON BRICE
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wide footpaths creates places for people. The project further builds upon this unique urban character by ensuring the centre reaches its full potential with integrated built form, public realm and transport development over the next 20 years.
* PHOTOS: CITY OF SALISBURY AND WAX DESIGN
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Edwardstown Memorial Oval Playspace has been reinvented with nature play design principles. This local level playspace and courts has captured the community’s heart. A theme of snakes and ladders reflects the topography and provide a unique sense of place.
EDWARDSTOWN MEMORIAL OVAL BY CITY OF MARION
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SNAPPED
SILESTONE BY COSENTINO ‘ETERNAL’ LAUNCH The Darling Building was the perfect venue for the launch of Silestone by Consentino’s Eternal . The night featured food from JamFace, a grazing table and flowers from Hygge Studio and cocktails. PHOTOS: JOSH GEELAN
REALM ADELAIDE APARTMENTS LAUNCH
Realm Adelaide Apartments were launched earlier in the year by Lord Mayor of Adelaide, Martin Haese. PHOTOS: MEAGHAN COLES
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2017 AILA SA LANDSCAPE ARCHITECTURE AWARDS The cream of the landscape crop
was recognised at the 2017 AILA SA Landscape Architecture Awards held in the middle of the year. PHOTOS: JANELLE ARBON AND DARYL TIAN
ADELAIDE CONVENTION CENTRE EAST LAUNCH
The Convention Centre’s East Building was officially opened to the delight of assembled guests on August 30. PHOTOS: ADELAIDEPHOTOGRAPHERS.COM
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PRO
AIA 38–– Micro X 40–– Gallery 7 41–– Crayon House 42–– Dutton House 43–– Agile X Uni SA Pavilion
JECT
AGDA 44–– AMRC 46–– Penley Estate 47–– Dr Edge 48–– The Old Bloke and the Three Young Blondes 49–– Palmetto Wine Co
SUM
AILA 50–– Tidlangga 52–– Quandong Garden 53–– Adelaide Zoo's Nature’s PlayGround 54–– Bowden Main Park 55–– Kevin Taylor Legacy
MARY * PROJECT SUMMARY *
DIA 56–– If Pen 58–– Pink Moon Saloon 59–– Antica Pizzeria E Cucina 60–– N60 / N65 61–– Mythology
PIA 62–– Beulah Road 64–– Gawler Town Centre
THANK YOU The second volume of FORM Journal (like the first edition) is a celebration of the diversity and innovation of this great state and something we should all be proud of. With FORM Journal, our aim is to celebrate the talent, passion and innovative projects of local designers, planners and architects in this publication as they make this city and state a much more dynamic and interesting place to live. Putting this together was very much a collaborative effort, especially with the introduction of the inaugural FORM Innovation Awards, which means there are plenty of people who deserve special mention. Firstly, thank you to all of you in the creative industries who are changing Adelaide for the good via your amazing work and, secondly, thank you to everyone
65–– Oaklands Recreation Plaza 66–– Salisbury City Centre 67–– Edwardstown Memorial Oval
from those industries who contributed to this magazine, the launch and who helped with the judging process of the FORM Innovation Awards and a special thank you to or all our sponsors and advertisers who without you this special project would not happen. Thank you, we couldn’t have done it without you and a special thank you goes to all below. Australian Institute of Landscape Architects, Design Institute of Australia, Planning Institute of Australia, Australian Institute of Architects, Australian Graphic Design Association, Brickworks, University of South Australia’s School of Art, Architecture and Design, SAHMRI,
City of Adelaide, Visualcom, Negociants, 1K Chairs, Guildhouse and Wellmade, Workspace, Terrace Floors + Furnishings, Taylor and Holmes, Novatech, Joslin Koolen from a.nouk, Max Hunt, Jordi Pardo, Leo Greenfield, Ben Willsmore, Shane Keane, Peter Coombs, Johannes Pieters, Sally Smith, Kym Pryde and Adam Brown, The Adelaide Review team, Open State and FAD teams and last but not least Nathan James Crane- the biggest of thank yous to you.
Tamrah Petruzzelli Brand, Advertising and Marketing Manager The Adelaide Review, Hot 100 Wines and FORM Journal
#FORM_JOURNAL ADELAIDEREVIEW.COM.AU
VOLUME TWO
ARCHITECTURE –––– DESIGN –––– PLANNING –––– INNOVATION