PROJECTS

Conceived a decade ago, SANAA’s design for a new wing for the Art Gallery of New South Wales gradually draws visitors down a steeply sloping site, through a series of offset pavilions and into a dramatic space inside a World War II fuel tank.

With an ambition to “change agendas,” the commanding new Shepparton Art Museum in regional Victoria stands as a counterpoint to the landscape, while accommodating the natural floodway and maximizing the surrounding parkland.

At the University of Sydney’s Chau Chak Wing Museum, the new Nicholson Galleries, designed by Studio Plus Three, respects and celebrates the largest collection of antiquities in the Southern Hemisphere.

The design for Australia’s largest regional art gallery encompasses convivial interiors to attract a broad audience, while its bold exterior repeats the motif used by ARM in previous structures for the Gold Coast’s cultural precinct.

Vokes and Peters has refurbished a warehouse in Brisbane’s West End, incorporating the character of the subtropical context.

In the second stage of the rejuvenation of Geelong Arts Centre (formerly Geelong Performing Arts Centre), Hassell has inserted into the site a hovering form that incorporates not only large foyers and studios but also ancillary spaces that speak to the institution’s desire for greater accessibility and inclusivity.

A collaboration between architect and artist, this poignant work in the gardens of the National Gallery of Victoria challenges the colonial legacy of art institutions, interrogating the absence of truth in the western canon and asking: how can architecture reconcile with the brutality of an unlawful and violent colonial history?

In North East Arnhem Land, the realization of a cultural centre – led by the Yolngu people – sets an important precedent for the creation of sacred Indigenous architecture.

In the regional city of Lismore, Dominic Finlay Jones Architects in association with Phil Ward has paired a modest, thoughtful intervention with community-minded thinking to design a thoroughly successful civic space.

Cox Architecture’s Waltzing Matilda Centre is a tribute to the community of Winton, embedded in the rugged landscape that inspired the ballad to which it is dedicated.

In referencing Bunjil the Creator, FJMT’s Bunjil Place raises ongoing questions about recognition, symbolism and community space.

In this robust work of adaptive re-use, Peter Stutchbury Architecture has reached back into history to transform an ensemble of former hospital buildings in Sydney’s Green Square Town Centre into a dynamic public arts precinct.

Marking arrival at this post-industrial township on Tasmania’s east coast, the Triabunna Gatehouse by Gilby and Brewin Architecture is a “visual feast,” inscribed with complex narratives of a place in flux.

The ICC Sydney complex, designed by Hassell and Populous, houses the interrelated realms of exhibition, entertainment and conference as part of the revitalization of Sydney’s Darling Harbour.

A new gallery for the Indigenous art collective Martumili Artists, designed by Officer Woods Architects, is proving to be an important cultural facility for the small community of Newman in Western Australia.

Denton Corker Marshall’s Visitor Centre is an ethereal counterpoint to the enduring presence of Stonehenge.

Room 11 completes its award-winning work at the Glenorchy Art and Sculpture Park in Tasmania.

After an extensive conservation program, the 130-year-old building reopened in March 2013.

In Canberra’s centenary year, we revisit AA’s review of the NGA extension by PTW.

Japan’s robust Australia House by Andrew Burns shows simplicity is a complex affair.

Kerstin Thompson Architects’ gallery at Monash University develops a very subtle exploration of spatial experience.

Moby Dick meets the Time Machine at LAVA’s Martian Embassy for the Sydney Story Factory.

A new centre by Croxon Ramsay in Laurimar, Victoria, is a fulcrum for a new Melbourne housing estate.

An award-winning project by FJMT redefines monumentality in public architecture.

Harmer Architecture congregates church, factory, house and Polynesian pavilion.

Searle × Waldron makes a grand stand in the city of Ballarat.

Kerry Hill Architects’ State Theatre Centre for Perth celebrates transparency, opacity and the urban experience.

A gallery addition by FJMT and Archimedia invites graceful navigation through New Zealand’s largest art collection.

Three different writers explore the labyrinthine, landmark project by Fender Katsalidis in Hobart.

A valuable and historic national project is treated with solemnity and respect while embracing context and symbolism.