At the final session of the Institute’s Lost Opportunities symposium held in March, Sean Godsell and long-time Casabella editor Francesco Dal Co were in conversation. Sean said, “The only way that architecture progresses is if there is a degree of courage.” Based on his unwavering commitment to achieving his creative visions, this is no theoretical sentiment. Sean’s unrelenting pursuit of excellence has earned him the Australian Institute of Architects’ highest honour, the Gold Medal. This issue of Architecture Australia celebrates Sean and his practice and announces the Institute’s suite of National Prizes.
As Philip Goad writes, “In formal terms, almost all of Godsell’s buildings involve long, stretched rectangular blocks, whether elevated, extruded vertically, partially incised into the landscape or inserted seamlessly into an existing urban morphology.” Although this architecture might be too ordered or “bossy” for some people, there’s something to be said for continually refining and perfecting an approach. The singular forms and exquisite detailing of Sean’s buildings create a wonderfully neutral platform for life to unfold.
The directness of his buildings reflect Sean’s directness as a person – he speaks his mind and refuses to compromise. But when he banters with his longest-standing collaborator, Hayley Franklin, his tough exterior appears to give way to something more open. Having worked with Sean Godsell Architects for almost 25 years and now associate director of the practice, Hayley’s dedication to their collective architectural vision is palpable in every conversation. The Architecture Australia team has thoroughly enjoyed working with Sean and Hayley on the tribute in this issue.
Alongside our coverage of the National Prizes, we have collected together a trio of significant regional art museums that explore the roles and responsibilities of public architecture: Rockhampton Art Museum by Conrad Gargett, Clare Design and Brian Hooper Architect; Bundanon Art Museum and Bridge by Kerstin Thompson Architects; and the Shepparton Museum of Art by Denton Corker Marshall. The burden of political status and community expectation weighs heavily on this type of project – and the challenge lies with the architect to negotiate the complex web of stakeholders and social context. In the case of Shepparton Art Museum, the gallery needed to play “a critical role in lifting the social and economic disadvantage of the region through its multitude of programs that engage with, and provide employment for, the local Indigenous community, as well as multicultural communities, school groups and others.” At Rockhampton, the museum is an infill building in a heritage precinct and is seen as “a catalyst for the advancement of art and culture in regional Queensland and a new public building that substantially contributes to revitalizing the CBD of the Central Queensland city.” There is a lot to be considered in the design of these types of projects, with the potential impact of the building far greater than the built form itself.
This issue’s Indigenizing Practice article also explores how architects can benefit community members beyond the creation of a physical space. A new health and wellbeing centre in the Aboriginal community of Yarrabah, designed by People Oriented Design (POD) and Coburn Architecture, prompts discussion about the value of projects that provide ongoing economic opportunity for First Nations people. This builds on the question posed by Troy Casey in our January/February 2022 article: “How do we scaffold the opportunities within a project, not only in the construction of the building, but also beyond construction to things like ongoing upkeep, and the activations and programming that happen inside those spaces? There are so many sectors where we can provide economic opportunity.”
The collective ethical responsibility for the public good is a heavy weight on the shoulders of the architectural industry – but our critical thinking skills mean that we are well equipped to make a difference.
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Published online: 5 May 2022 Words: Katelin Butler Images: Harry Frith, Rory Gardiner, Tim Griffith
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Bundanon Art Museum and Bridge by Kirstin Thompson Architects
Shepparton Art Museum by Denton Corker Marshall
Rockhampton Museum of Art by Conrad Gargett, Clare Design and Brian Hooper Architect
Quay Quarter Lanes by SJB, Silvester Fuller, Studio Bright, Carter Williamson, Lippmann Partnership and Aspect Studios
2022 Gold Medallist: Selected works and anecdotes
Architecture Media acknowledges the traditional custodians of the land and waters of Australia.
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