Not so much a realisation but more like a cumulative life journey I would say: Mum is a calligrapher and watching her since I was a kid has given me spatial awareness subliminally; learning piano and photography were similar in this sense too. Then it was the moving and growing up in a few different countries that expanded my mind, again, subliminally, experiencing different built forms, cultures and city planning, etc.

After that it was the architecture school in Melbourne University where I met these two professors and mentors – Haig Beck and Paolo Tombesi, who have literally beaten architecture into me. They always asked me why, and because of these whys I dug deeper and deeper. I realised this motivation of answering the whys is actually the passion in me wanting to design better. I don’t want to stop until I have the answers that I seek.

Can you tell us about your approach to design?

I deeply believe in context, both site context and human context. You can say I’m a contextualist and a rationalist. By way of example, in a past project, Bellows House, the part that I loved most was actually the wetsuit hanging rail that I designed and the firewood storage at the side of the garage – to me, they epitomise the idea of a holiday house and celebrate the location of it. Too often these everyday rituals and objects are left unconsidered, or as last minute add-ons, however, when you design them in mind from the beginning, they become part of the overall experiences and expression of the house, and improve the quality of living.

Great design to me is functional, plus experiential together: how does your foot step sound, how does the wood smell, how does the sunlight feel on your skin, the rustling of the brick as your hand smooths over it, how your window frames the view as you sip you first cup of coffee in the morning, how the air caresses your hair as it passes through the house.

I also care a lot about craftsmanship and how things are being put together – some say I’m obsessive and care too much. It bothers me a lot when I see buildings that have no consideration of structure, as if structure is secondary to, say, wallpapers, or how a handrail is fixed to a wall? Not by glue I hope!

What was the motivation for starting Albert Mo Architects? 

After spending the last 23 years building up a successful, medium-size practice, we were called “one of Australia’s most beloved and successful small practices” by Australian Design Review. While it made me proud, there were a lot of problems internally if we were to keep going…

There’s a saying that “the cobbler’s children have no shoes.” Designing your own home can give you valuable insights that translate into even better designs for your clients. Although this is not the first home I’ve designed for ourselves, Connected House has reignited and reaffirmed my deep, inner, burning interest in residential architecture. It’s almost natural to me. 

Now that I’m older and have had the experience of designing for myself again, it gives me a well-rounded perspective on the challenges and joys of designing houses. In my opinion, this makes me a more empathetic and effective architect for my clients.

This is not to say I won’t do other building typologies, in fact, I will bring the “idea of a home” into everything that I design. Residential architecture is about comfort, familiarity, and a sense of belonging, and it can be a surprisingly powerful tool when designing other building types. 

How would you describe the ethos of AMoA?

Designing for the Senses

Phenomenology, a philosophical approach, centres on the lived experience. In architecture, this translates to a focus on how users experience a space, how light, materials, and design choices impact their feelings. I’ve been interested in this concept for as long as I can remember, and I’ve been using it as a guiding principle on all the houses that I’ve designed. I’ll continue to create homes that are not just functional but also evoke emotions and sensations. What sets me apart is my relentless pursuit of sensory experience. 

Idea of a home

A home is a symphony of comfort, functionality, and aesthetics, designed to nurture your well-being. It’s a shelter that becomes a sanctuary. A home is human in scale, and it’s connected and responds to nature. It speaks volumes about the people who built a life here. It is about living, family, community and the environment. Here, you can be vulnerable, knowing it’s a safe space for your emotions.

The idea of the home is important to me as a personal haven, crafting spaces that cater to the individual and their well-being, therefore, no two homes I design are the same. There is no signature style, so to speak: it’s my commitment to creating homes and spaces that resonate with the user and the clients.

Mid-century Modern

I’m aware of the danger of being too niche, however, mid-century modern design has always been a passion of mine, and my small family and I have been living in one special MCM house for 16 years! Having experienced living in the unrenovated version of it for 12 years before taking on the journey of renovating, it makes me unique in this space. I would love to help MCM homeowners to respectfully restore, renovate, and modernise their homes while making them more environmentally sustainable. That’s my goal, and I’ve got that ultimate experience which equips me to do just that!

Where do you take inspiration from, and how does this manifest in your designs? 

There was this TV show from about 15 years ago called The Mentalist, and in it the protagonist, Patrick Jane, uses his sharp skills of observation to help solve crimes. I take inspiration from him, and deduction reasoning, but instead of solving crimes I solve architecture. Yes, this might sound far-fetched and even pretentious, but is it? Is it really more so than if I say I’m inspired by modernism or nature?!   

By deducting what I said above, one can say I’m a keen observer and profiler, and use reasoning as my design methodology. Sure, I often use and cite many built examples from the past, some even say I’m great in my history, but in reality, it is far easier for me to give precedents than words because “a picture is worth a thousand words.”

What is your career highlight so far? 

Winning the top prize of the Australian Interior Design Awards for Residential Design twice was a pretty humbled experience. In both projects – Fitzroy Loft and Bellows House – I was blessed by very understanding clients who put their trust in me. 

Also, how can I not mention the New Student Precinct for University of Melbourne? It was a team effort of five architects, led by Lyons, which won us the highest AIA honour the Victorian Architecture Medal in 2023. It was surreal for me!   

With this being a Brickworks article, I must also bring up the amazing Architour and Venice bar that Brickworks runs. It is no less than my other highlights and I was fortunate enough to be invited. 

Where do you see yourself taking AMoA in the future?

Now that I’ve chosen to focus on residential architecture, what I really want is to correct the ‘mistakes’ that I helped create in the last 23 years. 

The thing that excites me most about this new practice is the chance to establish a clear focus and voice. In my previous practice, the lack of a unified identity and the constant struggle to agree on direction left me feeling frustrated, because I knew what I wanted deep down! We tried to be everything to everyone, following other people, and the result was a disingenuous and disjointed voice and portfolio. 

Now, finally I have the opportunity to truly express myself. With a focused vision and a clear message, I’m confident I will create impactful and meaningful architecture that resonates with both myself and my clients. I can build a practice that is a true extension of my architectural vision.

In essence, I want to prioritise creative control, client connection, and a sustainable work style. AMoA success will be built on a strong reputation for high-quality, efficient and expressive design, allowing myself to thrive within a smaller-scale practice, therefore not killing myself!

This future isn’t just about design and practice though; it’s about having a platform to share my unique perspective on architecture. Having a clear voice allows me to connect with like-minded clients and colleagues, and contribute meaningfully to the architectural conversation.

“Residential architecture is about comfort, familiarity, and a sense of belonging, and it can be a surprisingly powerful tool when designing other building types.”

“Residential architecture is about comfort, familiarity, and a sense of belonging, and it can be a surprisingly powerful tool when designing other building types.”

The post Architect Spotlight: Albert Mo appeared first on Brickworks.

Both Alex and I come from creative, ‘can-do’ family backgrounds. My parents met at RMIT University, where my father was studying printmaking and drawing, and my mother was studying ceramics. Alex’s parents have built and renovated numerous houses as owner-builders – they are very hands on. I think the Bachelor of Environmental Design at the University of Tasmania gave me the right balance of creative inquiry and practical skills training.

We got our start with our first project, The Barn, back in 2013, when we purchased an 1820s stable in near-original condition and converted it into a one-bedroom home. Carefully adding services and amenities while retaining the former character.

We won a number of state and two national architecture awards for the project. The recognition we received gave us the confidence to pursue more micro developments and take on our first client. 

How would you describe the ethos of So. Architecture?

So., an acronym for “Studio of.”, is deliberately ambiguous and inquisitive. Imbued with opportunity, the title speaks to So. Architecture’s desire to take a broad approach to professional practice. Thus, So., in both name and nature, allows for openness and agility to adapt to tangential shifts and seize opportunities across scales, typologies, locations and disciplines – Studio of. furniture, Studio of. ideas, Studio of. light… So. many opportunities! 

Furthermore, So architecture is formed around the following principles: So. grounded, to acknowledge that all buildings are embedded within larger cultural and physical landscapes; Then, So. sublime, to create beauty and joy; So strategic, to apply conceptual logic to solve architectural problems; Also, So. experimental, to push parameters and test assumptions; So. robust, to embed projects with physical longevity and ideological flexibility to contribute to a more sustainable future; and, perhaps, most importantly, So. slow, to acknowledge that all good things take the time they need.

Where do you take inspiration from and how does this manifest in your designs? 

We take inspiration from lots of different places. Prior to COVID-19 we travelled extensively, visiting, analysing and writing about buildings across Europe, America’s east coast, and Australia. We also take a lot of inspiration from the context in which a project is located. For example, Harriet’s House is an extension of an archivist’s Georgian cottage.

When designing the home, we thoroughly researched Georgian interiors, particularly those that hold and house collections, including private homes, museums, studios and libraries, to understand how to design robust, thought-provoking spaces with soft, delicate light.

We use precedent a lot and we talk to our peers and fellow emerging architects as well – even the smallest discussion or image can prompt a design solution or approach.

Can you tell us about a favourite project you’ve worked on?

All of our projects are favourites as they enable us to try something different! We are currently working on a small retreat in the very south of Tasmania. A solid, robust and grounded project that we are hoping to form out of rammed concrete or brick rubble.

To achieve something like this, we need to work closely with the contractor to understand the limits of the material, method and formwork. It is both our design and the capacity and capability of the materials that will inform the final character of the space and, to us, that is very exciting.

Brick and masonry heroes in many of your projects. What is it about bricks that you love?

We love the robust quality of brick, block and stone. They are timeless materials that maintain their character and quality for generations – if anything, masonry materials get better with age.

Working largely in Tasmania, much of our built heritage is brick, from simple Georgian cottages and Victorian town houses to highly decorative Gothic churches and, more recently, mid-century homes.

The scale and modular nature of the brick allows for variation and innovation in application, which is particularly interesting to us. We also like that brick and blocks don’t require an applied finish, not only reducing construction and labour costs. But making the build much better for the environment and indoor-air quality.

How do your design choices accommodate Australia’s unique climate?

Tasmania has a very unique climate that is often compared to Europe, rather than other parts of Australia. We have freezing winters and mild to warm summers. Particularly down south, one of the most important design considerations is capturing the sun and protecting the projects from the wind.

As all of our designs are contextually driven, we spend a lot of time on-site understanding the micro climate, topology and native flora, intuitively responding to the constraints and opportunities the plot offers.

We use the first principles of sustainable design to ensure we are orientating the building correctly. In addition, maximising solar gain, efficiently planning and, where possible, minimising floor plans and selecting locally sourced and manufactured materials to reduce the carbon footprint. 

What is the best part of your job?

Absolutely the best part of our job is making unexpected. Delightful and joyous spaces that people love and want to spend time in. We feel so privileged to be able to do that.

“We love the robust quality of brick, block and stone. They are timeless materials that maintain their character and quality for generations – if anything, masonry materials get better with age.”

“We love the robust quality of brick, block and stone. They are timeless materials that maintain their character and quality for generations – if anything, masonry materials get better with age.”

The post Architect Spotlight: So. Architecture appeared first on Brickworks.

From his early inspirations to the holistic ethos of Mim Design and the limitless possibilities of the humble brick; Luca touches on the influences that have shaped his remarkable career.   

Can you tell us about yourself and your approach to design? 

Our architecture and interior design teams work hand in hand to provide a holistic response to our clients needs. Our approach is characterised by purposeful decision making and sound intent. Far more than aesthetic, we apply practicality and liveability to diverse and varied typologies. We strive to keep an open dialogue across the team to nourish creativity and keep evolving in our response. Architectural and interior packages are presented together to ensure an integrated response. This approach continues through the development, documentation and delivery of the project.

How has your background in fine-arts informed your current practice?

One of the most important lessons I’ve learned and try to impart to our team, is the ability to think and communicate via a pencil. Whilst computer aided design has come in leaps and bounds in the past 15 to 20 years, the ability to communicate one’s ideas, thoughts and vision via the pencil remains a designer’s most essential skill – not only in day-to-day office life, but in client meetings or on site in discussion with builders and trades.

How would you describe the ethos of Mim Design?

Our integration of architecture and interior design is such that there is no beginning and no end. Driven by this holistic vision, thoughtful spatial planning ensures a seamless flow of spaces, while materials, colours and finishes are applied with nuanced expression to the exterior and interior.

Has COVID-19 impacted the way you work or design?

2020 provided us with an opportunity to stretch ourselves and expand our capability as designers. Collaboration and coming together is such an essential part of our studio so it was essential for us to stay connected. I caught up with my team multiple times as day. We also came together (virtually) every two weeks as a wider group to keep communication lines open across project developments and various announcements. And on a weekly basis we caught up for drinks (virtually) to stay connected. Maintaining the sociable aspect of a studio life has definitely helped us through a quite tumultuous couple of years here in Melbourne.

Where do you take inspiration from?

We like to anchor our designs in a specific response to our client brief, thus projects develop as a response to programming, site and surrounds. Our approach is driven by purposeful decision making designed to ensure permanence and longevity, whilst stimulating the senses and encouraging interaction with the designed spaces. We joke about “interrogating” our clients to understand their needs, and from there we might latch onto a specific word, memory, or thought, and foster a response through design. From the macro scale of the building façade to micro of the joinery detailing, the project specific design philosophy informs our response and it manifests in every aspect of the design.

Mim Design has a very unique approach to brickwork. From a painted brick wall in a living room, to a grey glazed brick wall lining a staircase, to an exposed red brick wall adding colour to a neutral dining room – what impact does brick have on a project?

We love bricks almost as much as we love natural stone, and we look for opportunities to use the material as often as possible. We find the humble brick to be a very versatile material – a material property that can adapt and provide very different responses depending on the project. In a way, it is the material that most closely reflects our company ethos – an ensemble of diverse and varying individual units that come together to impart structure, relevance and permanence through design.

What is a dream project for you?

Throughout my career I have been fortunate to work on some incredible projects, and it’s this experience that I draw from every day. Prior to joining Mim Design I worked alongside John Wardle on a once in a lifetime project, the Phoenix Art Gallery in Sydney. The commission by Judith Neilson allowed us to truly explore the boundary of what was possible with traditionally hand-laid bricks.

In the studio today we have some incredible projects on the horizon, from an expansive private residence on the Mornington Peninsula to several luxury multi- residential projects up and down the east coast of Australia. All of these projects have allowed us to explore uncharted territories and experiment with materials. As a studio we thrive on problem solving as this keeps us creatively inspired and progressive, and at Mim Design there’s never any time to stand still. 

“We find the humble brick to be a very versatile material – a material property that can adapt and provide very different responses depending on the project. In a way, it is the material that most closely reflects our company ethos – an ensemble of diverse and varying individual units that come together to impart structure, relevance and permanence through design.”

“We find the humble brick to be a very versatile material – a material property that can adapt and provide very different responses depending on the project. In a way, it is the material that most closely reflects our company ethos – an ensemble of diverse and varying individual units that come together to impart structure, relevance and permanence through design.”

The post Architect Spotlight: Luca Vezzosi appeared first on Brickworks.

I had ideas about becoming an architect when I was at school, but I actually had another career as a graphic designer before I studied, and registered as an architect. This meant I was one of ‘those’ mature age students sitting in the front of the class at architecture school!  Two different but similar professions. Both working creatively within rules, guiding clients, and solving problems. I ended up specialising in signage and wayfinding so the majority of my clients were architects. It was a fairly natural change when the time came in my early 30s.

What was the motivation for starting your practice?

Learning to be an architect is quite a lot like doing a building apprenticeship. I had a wonderful mentor working with James Russell for about 8 years during and after studying. And, to quote a recent episode of Ted Lasso, a good mentor knows you will move on, a great mentor encourages you to!

How would you describe the design ethos of your practice?

In the simplest terms, it is encouraging clients to build the least amount possible in a way that can adapt over time. Investigating how light, shadow and landscape can be captured are the key approaches to making simple functional spaces that delight and surprise.

Where do you see the future of architecture going, or are you noticing any particular movements or changes within modern architecture?

There is a real movement in the profession to communicate sustainability initiatives to the public. There are a lot of great architects that have been tackling this in their work for many years. I think it is important to move beyond carbon offsets, spreadsheet fiddling, and convince clients to adjust the materials used in their projects, reuse where possible, reduce size and reduce site waste.

Your projects are beautifully grounded and lean towards predominantly natural materiality. What is the design intention behind this decision?

I think it’s super important when choosing materials to not only think of your current client, but future owners as well. Everyone has an innate sense of wanting to customise the space they live in so we need to give people the opportunity to do this in a non-wasteful way. Using long-lasting, simple, timeless materials that won’t date and won’t be tossed away as owners change is the thinking. Owners can customise the space with books, collected memories, furniture, and cabinetry to make it their own.

I noticed that your projects are really abundant with a variety of different plants and greenery (especially the amazing Terrarium House!) How important do you think biodiversity is in both residential and commercial spaces?

The main driver for planting in my works is to make smaller spaces feel larger. A well thought out plan with social connections within the house (for eating, chatting and living together) and outward connections towards the neighbourhood is key. Window and door openings capture the adjacent landscape and draw it in. This allows the internal area of the house to be a bit smaller, more affordable, and therefore built with fewer materials. That physical and visual connection to the tree, and gardens outside extends the sense of space in each room.

“A well thought out plan with social connections within the house (for eating, chatting and living together) and outward connections towards the neighborhood is key.”

“A well thought out plan with social connections within the house (for eating, chatting and living together) and outward connections towards the neighborhood is key.”

The post Architect Spotlight: John Ellway appeared first on Brickworks.

Established in 1986, JWA has a strong focus on architectural craft and the design of places that matter. They have won awards across varying scales, from small residential spaces to larger institutional buildings, including the National Australian Institute of Architecture Awards for Educational Architecture and Interior Architecture, as well as the RIBA Award for International Excellence. James notes his deep investment at JWA and his appreciation of the firm’s culture of sketching, drawing and model-making. 

During this chat with Daniel Moore, James shared insights around the impact of the pandemic on his design process, the implications of advancing technologies within the industry and the mentoring system at JWA. Discussing some of his favourite and most fulfilling projects, James places emphasis on an installation piece from the Somewhere Other Exhibition in Venice, as well as the University of Tasmania project.

Being involved with JWA from a young student to now a partner of the firm, James recognises the importance of collaboration and mentoring. He explains that JWA engages in direct mentoring between young designers and experienced design leaders. With young designers offering knowledge of the latest technological platforms and an inherently fresh perspective, James notes the dual advantages of this program. He says, ‘There’s this funny cross-pollination coming up of new skills that young graduates are bringing in from university; software and technology that’s even beyond me. The way that they’re able to iterate and output design content is extraordinary, even paired with the analogue form of model making.’

With virtual platforms, like Miro, being at the forefront of JWA’s working from home experience, there has been an unprecedented increase in the participation between designers of all ages and experiences within the firm. James notes, ‘Bringing more technologies of different systems into the practice allows certainly a broader participation, which has been the biggest benefit … gone are the days where if you can’t draw, you can’t be a part of the design process.’ From this, James says that within the analogue vs digital sphere, one has not replaced the other. But that there is a developing harmonious relationship between the two that ensures a cohesive and high calibre design solution. James emphasised that ‘the biggest takeaway (of digital technology) for me is the blurring of authorship among a broad diversity of experiences and thinking processes from each individual’.

Ultimately, James notes he judges his success from the unexpected moments within a built form. He recounts an experience from the Somewhere Other Exhibition installation in Venice, where the timber elements had to be sealed with a Eucalyptus oil finish. Naturally, this caused a eucalyptus aroma to linger around the installation, causing an unanticipated and serendipitous sensory experience, nostalgic of the Australian landscape. James explained, ‘The idea of this piece was to connect you with Australian landscapes through a series of films of our work and it also just viscerally had the smell of a eucalyptus forest, which was completely unintended … but its moments like those of the unexpected, that are the real success points within a project.’

This was a conversation not to be missed. To watch the inDetail speaker series with James Loder, click here.

“The biggest takeaway (of digital technology) for me is the blurring of authorship among a broad diversity of experiences and thinking processes from each individual.”

“The biggest takeaway (of digital technology) for me is the blurring of authorship among a broad diversity of experiences and thinking processes from each individual.”

The post inDetail Event with James Loder appeared first on Brickworks.

Eschewing the typical post-school sojourn of European coastal towns in favour of the rugged Saharan plains, Dan Young’s years spent in the South African plateaus informed and inspired his creative practice. The founder and director of his eponymous Brisbane-based Landscape Architecture practice, Dan has a rich educational history and a long-standing passion for the landscape design sphere, Dan’s work epitomises relaxed, Australian living. With a penchant for native Australian greenery Dan’s work is favoured by those wishing to imbue their home with an abundance of lush, local and exotic flora.

How and when did you realise your passion for Landscape Architecture? How did you get your start in the industry?

I did a number of different things before studying design. I had a job in the early 2000s in Southern Africa as a Safari Guide. Part of that job was driving people around on Safari and going to great places of natural beauty. I started to realise that the way you approach different features could influence someone’s perception of that space or location. 

A canyon is a good example because it’s massive. If you drive up there, down a hill or down a big slope where you can see the entire thing, you kind of get an idea of the scale and the grandeur of this particular landscape, but it’s presented all in one hit. There were some other approaches to this particular viewpoint where you came up over the crest of a hill, so there was nothing and then instantaneously there was this massive canyon and the response or the exposure to the experience was completely different. At that point there are ways that you can curate experiences and responses to different stimuli and that’s what got me looking towards landscape as an idea.

Project: Windsor Garden Landscape Architect: Dan Young Architect Photographer: Andy Macpherson

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How did you get your start in the Landscape Architecture Industry?

I am from Brisbane originally, and was an Undergraduate at QUT. When I came back from overseas it was more natural for me to come back here than anywhere else, and so I enrolled in a Research Masters which articulated into a pHD. From here, a friend of mine, Architect Paul Owen said to me, “well, we have all of these great residential projects that we could probably use a hand with, do you want to do one of them?” I said yes, and here we are! It was very fortuitous and a combination of expressed work and ideals of what landscape could be in a suburban or residential setting through ongoing conversations with Paul

I’m very thankful to have the opportunity to do that and for being in the right place with the right group of people. It was a real alignment of interests and personalities.

What was your motivation for starting your own practice?

The biggest driver was flexibility, knowing that I really had a whole mix of things I needed to do around the house and figuring out how to be a parent and all the everyday stuff that comes with that. The companies that allow for the flexibility in work are generally the ones that allow for the larger, more commercial projects, which wasn’t really the work that I wanted to do.

How would you describe the ethos of your practice? 

I would describe it as experientially process based. The majority of the work I do is alongside architects who I have already worked with, so we generally have an understanding of where the client wants to go with a project. A lot of my role and approach to any of those projects is to augment a series of decisions that have already been made through the architectural process.

Where do you see the future of Landscape Architecture going? 

Through the 80s, there was a big push toward native styles of garden and approaches to landscape architecture, and there was this sort of academic divide between what’s landscape design, landscape gardening and landscape architecture and I think those areas are all starting to converge again. In the residential space there’s a big push towards native gardens, and there’s some great characteristics of native plants that are starting to become far more apparent in the pressures of climate change.

I noticed that your projects are really abundant with a variety of different plants, and there’s lots of native species. How important do you think biodiversity is, in both residential and in commercial spaces?

Biodiversity is a huge driver to anything because it solves a lot of broader landscape system issues. Natives tend to work well in most contexts because they’re from here, and so they’re designed and evolved to grow in these conditions.

In a sense, plants are kind of like materials, so we look at the process as a human experience, in the same way as an interior of a dwelling or a building in itself there’s a whole body experience that’s happening. So, in that sense, it doesn’t matter what the plant is, it matters what or how it does what it does and how that elicits a response from whoever is interacting with that landscape.

“At that point there are ways that you can curate experiences and responses to different stimuli and that’s kind of what got me looking towards landscape as an idea.”

“At that point there are ways that you can curate experiences and responses to different stimuli and that’s kind of what got me looking towards landscape as an idea.”

The post Landscape Architect Spotlight Dan Young appeared first on Brickworks.

I can vividly remember the moment as a young teenager when I understood the role and value of architecture and design for the first time. My parents had engaged an architect to complete a modest renovation of our family home. Sitting in our living room, the architect took out a pen and paper and before our eyes quickly sketched his thoughts. His immediate response to the space was transformative, and for my young mind it was a revelation to see what could be achieved through problem solving. To this day I very much believe the true value of architecture and design is expressed in problem solving, so it’s not hyperbole to say it was a life changing moment. I went on to study architecture and started my career by working in a few small practices in Sydney. This was a fantastic introduction to the industry and to running a business. In 2004 I decided to venture out on my own, starting with a few small projects for family and friends, and we’ve grown steadily since then.

You founded Studio Prineas in 2004. What was your motivation for stepping out on your own?

I always held a desire to start my own practice as I come from a place of strong conviction not only in regard to design, but to business and to my personal values more broadly. I thoroughly enjoyed the opportunities presented to me in my early career, however stepping out on my own was exhilarating. There’s been many challenges along the way, however more than 15 years later, I really haven’t looked back.

How would you describe the ethos of Studio Prineas? 

We articulate our ethos or our vision as inspiring a life well lived through architecture and design. We really believe in the power of design, and working primarily in the residential space, we see how design can transform our clients lives. We pride ourselves on taking an empathetic yet self-assured approach, and really dedicate ourselves to the design and delivery of personalised homes that our clients love to live in. 

How important is sustainable design to you?

Sustainable design is incredibly important to us as a practice. Not only in material choice, but also in the longevity of the work we create. While we draw on our creativity to inspire new ways of thinking, our approach is grounded in pragmatism, seeking substance with consideration for functionality, livability and longevity, and sustainability is central to this. Whenever possible we choose locally made materials and furnishings, and often experiment to achieve the desired outcome. On a recent project we articulated a kitchen in black Paperock, a sustainable building material that combines condensed layers of renewable paper bonded with resin. It’s a matte finish and although a solid colour, there is variation within the material, so it has a lightness and warmth. We also love to support other Australian designers, makers and artists where we can. 

You specify bricks in a lot of your projects. What is it about brick that you love?

We love working with brick. It’s an honest, natural material that requires no maintenance, has longevity, and is available in endless colours and proportions. Over the past fifteen years we’ve worked on numerous period brick homes, and it’s a material we relish. Using brick in a contemporary manner can be an effective way to marry the new and the old. Brick also allows mass to be manipulated, creating deep reveals, patterns, and textured surfaces, which add interest and depth to every project. 

Has COVID-19 impacted the way you and your team work or design?

COVID-19 has obviously been challenging for us all, however its been gratifying to see our core values reflected in the way the team have adapted. Working from home has come with its own challenges, particularly as we are a very close-knit and collaborative team, however as a profession we’ve also seen increasing importance placed on the role of the home in our wellbeing. Our approach has always sought to address functional and emotional needs in equal measure, intuitively responding to the distinct lifestyle of each client with a vision for living. By creating a welcoming environment characterised by comfort and ease, we create homes our clients love to live in, and the impact of COVID-19 has made this more imperative than ever.  

What is the best part of your job?

I love many elements of practicing architecture and running my own studio, however a prevailing joy is the relationships I have with my team, clients, collaborators and peers. As a practice we strive to be authentic in our actions and always treat others with compassion and respect. This includes the Traditional Owners of the land on which we work. Educating ourselves on this connection to country is critical, and it’s something we’re embarking on as a key focus in the new year. As architects and designers, we need to better understand the impact our work has, not just on the urban landscape, but with respect for history and culture too. We know we can do more, so we’re committed to educating ourselves and hope to share our learnings with our peers too.

“We love working with brick. It’s an honest, natural material that requires no maintenance, has longevity, and is available in endless colours and proportions.”

“We love working with brick. It’s an honest, natural material that requires no maintenance, has longevity, and is available in endless colours and proportions.”

The post Architect Spotlight Eva-Marie Prineas appeared first on Brickworks.

You spent 6 years in the UK after you completed your degree. Can you tell us about what led you there?

I travelled to the UK to work for architect Sir Peter Cook, in a studio called CRAB Architects, and to also study at a school called the Architectural Association in London.

In Australia I’d been really interested in the theoretical projects of European architects, in dense styles of housing, forms of transport or new arrangements for working that challenge everyday society. This was what drew me to the UK, as there were so many architects there with these big ideas, and London was a good opportunity for me to connect with these thinkers. 

Has travel remained a source of inspiration for you throughout your career?

Five Mile Radius was a practice born of travels in India, so a lot of our philosophies and materials are derived from India. We have been back there many times over the past few years to draw more inspiration or pursue projects there. I think we have so much to learn from the sensibilities of other cultures that can inform our work. We also need to understand and travel Australia more so we can discover or rediscover our own materiality for modern construction. 

What is the best part of your job?

There are lots of great things. The best part is the sense of community that surrounds our practice. We work with lots of young architects and students who seem to really respond to some of the themes of the practice. We really enjoy the Five Mile family and the freedom of being able to pursue our ideas that aren’t necessarily following a traditional practice model, which frees us up to experiment with new ways of working. Clare Kennedy is the latest guest featured on Brickwork’s latest podcast series, Architects Abroad. In this series, design aficionado Tim Ross sits down with some of Australia’s most esteemed architects discuss how travel has shaped them both personally and professionally.

Listen to the episode with Clare now. 

The post Architect Spotlight: Clare Kennedy appeared first on Brickworks.

“We are really inspired by that legacy to build buildings that people will love for a long time into the future.”

“We are really inspired by that legacy to build buildings that people will love for a long time into the future.”

The post Architect Spotlight: Matthew Allen appeared first on Brickworks.