Reinterpret and reimagine through adaptive reuse

Back in London a couple of months ago I visited Battersea Power Station, Coal Drops Yard and The Standard (one I worked on back 2015). These adaptive reuse projects entice people to visit. They’re bold. They tell a story.

The bricks and mortar honour the past, but the playful elements like chimney lift shaft, themed bar, encircling shared street and basketball courts engage with the city in a contemporary way.

We’re lucky in Sydney: we can learn from international projects like these (the pros and cons) to apply thinking to White Bay Power Station, Newtown Tram Sheds and North Eveleigh, to name a few. Heritage isn’t a burden, but an opportunity to reinterpret and reimagine.

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Why Australian cities should become vertical, multi-dimensional experiences

“On a recent trip overseas, I finally experienced the spectacle of the city of Hong Kong. Sipping on a beer from an upper floor bar, I was engrossed by immense, vertical cityscape – made even more intriguing by thick layer of fog below. I was guided up narrow stairwells to rooftop parks and podium bars, seemingly hidden from its meandering streets. I watched kids playing cheerfully in inner city parks, next to teenagers during an intense game of basketball. The word “vibrant” sprang to mind. Although I promised myself to stop using it.

I thought back to life in the Sydney CBD. It seemed dull by comparison. Suits by day, commuters by night – scrambling to get home before the peak hour rush. Yes, a few bars with a steady flow into the evening. But surely it could be so much more? I imagined ascending Sydney’s tallest towers for live music, swimming pools with panoramic harbour views, dazzling art installations hanging from grey infrastructure, and colourful playgrounds set in-amongst the buildings ensuring play, fun and joy isn’t just something for the weekends.

Surely, Sydney could be so much more. And why wouldn’t it?…”

Blog post written for Hoyne about Sydney from some recent insights from Hong Kong. Read the full article here.

Autopsy on a Dream

“It might be wondered looking at it… whether people’s monuments accurately reflect their natures; whether this sheery mess, this hollow gesture, this smiling shrug of the ideals we trade, is a mirror of its makers. Likely because of its brilliant outside is likely now to bring them universal calumny. And it might be wondered too whether such things never come to pass. Because they require the cooperation of fallible men and the leadership of inspired men who can only finally repel because of their obsession. But, it stands a frosty, glad symbol of whatever you like. Destroyed by cussedness. Betrayed by cowardice. Brought to this quietus by the politics that giveth and the politics that taketh away. Hallelujah, we guess. Hosanna, to whatever’s possible, in the best of all possible climates. She’ll do mate. Or will she? “

In 1968 an Aussie in London called John Weiley decided to make a film on the construction of the Sydney Opera House. He pitched his idea to young film maker, David Attenborough, who thought it was an amazing idea. Despite Australian ABC’s opposition, they managed to interview some of most of the key designers and politicians at a point when the entire project was in shambles. The film was super critical of the NSW government and was supportive of Utzon - the architect who had just lost his job on the building. After 2 years of scripting, interviewing, filming and editing, Weiley finished his project and took a trip to Greece. Upon his return to London, he learned that it had been destroyed. There was no trace of the reel and no one would tell him where it went. To this day he doesn’t know what happened, but suspects foul play.

… Almost 45 years later in 2012 an email showed up in Weileys inbox asking if he was the man who made the Opera House film. Collecting archived footage in London, someone had stumbled across a reject reel. It was pieced together and broadcast in 2013.

Here it is in all its glory. One of the best docs I’ve ever seen.

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