Based on a set of principles that are designed to provided visual clarity between the parking spaces and main street shops, and ease of movement through the town square, the design incorporates a stair-case that runs the full-width of the 63m wide paved area; possibly the widest steps in the state… These also provide a north-facing seating area.

Mulloway has been working on this project in collaboration with Outerspace Landscape Architects and Aurecon, and the project was funded through the Places for People programme.

The plan will also contribute to shaping the identity and function of the trail, by considering how audiences may interact with interpretive facilities, including potential off-site methods such as through the internet. The team are currently engaging in consultation with the project steering group and stakeholders, and are visiting sites along the rail corridor to analyse the physical conditions and heritage assets to identify opportunities.

I spent last year learning about the complexities of social issues, both at the local and international level. I learnt the application of community development models in public consultation processes and a ‘rights-based’ approach to project management. I also studied the role policies play in making changes for a better social outcome. During my time in Sydney, I also worked as an architect with Constructive Dialogue Architects (CDA), gaining experience on various design projects for social welfare agencies including St Vincent de Paul and the Salvation Army.

Development is crucial for progress and advancement, but can development exist alongside social justice? Where does my (the architectural) profession sit within the argument for development? Can an architectural practise be profitable, but also work with a social conscience? Can design help deliver better outcomes for social programs, and if so, how can we emphasis the need for investment in capital works?

My (limited) time working with CDA began exploring some of the questions above and I hope I can continue my research in finding how social justice can fit within the architectural framework here at Mulloway.

All said, I am now also a proud mother of a 6 month old Eleanor!

Aimed at both locals and visitors to the region, the display points to what can be seen in the Barossa today, illustrates the importance of the wine industry, and provides the historical context underpinning each of these.

The installation retains views of the existing German-style architecture and creates an unusual, internalising object to draw visitors into and around the space. Materiality is derived from both stainless wine-making equipment and viticulture textures. Showcasing the decorative crown worn by former Queens of the Barossa Vintage Festival, restored to public view since it was retired in 1999, the exhibition also incorporates touch-screens, providing detailed information on towns and wine dynasties. An interactive map illustrates the geographic overlay of landscape, people and wine.

We hope you can make it along too.

15@roarkus moss
theme: “ADRENALIN”
when: Friday, 9th September 2011, 6pm
where: Roarkus Moss, 45 Green Street, Brompton (around the back)
byo drinks (beer wine). nibbles provided.

We are currently in the curatorial process. If you would like to present your work at this event or in the future please let Emily know – emily.paech@mulloway.com

The square, adapted from a degraded former railway reserve, is designed to support a range of functions; it can be considered an outdoor art gallery, event space, playground and museum/interpretive centre. The gently sloping rampway inserted along the northern edge of the square is intended to provoke people’s response to living in the outback and reveal the landscape.  The ramp structure integrates a ramped viewing platform, new public toilets, interpretation and playspace.

Tied to a larger vision and long-term framework for the development of the town, this proposal is a collaborative effort between the team of Mulloway Studio and Lorraine Edmunds, together with Johannes S Sistermanns, and input from the community, OCA, DPLG, and other stakeholders.

Another successful ‘15’ event was held in our Peel Street Studio last night.

Responding to the theme ’Ensconced’ a range of fantastic speakers from a large variety of disciplines presented their work, thoughts or musings in 15 x 15 second images. The line-up included Katie Cavanagh (digital media), Evette Sunset and Laura Wills (visual art), Paul Kloeden (historian), Daniel Fighera and James Baker (architecture), JoAnne Bouzianis-Sellick and Alison Wotherspoon (film) and Gemma (yarn-bomber).

There will be another ‘15’ event coming up in the middle of the year. If you would like to know more about these events, or are interested in hosting, curating or presenting at a future ’15’, please email: emily.cookes@mulloway.com

‘15’ aims to become a platform where both young and the experienced designers can come together informally to talk about their work. The premise of ‘15’ is that at each event a theme is set. The theme acts as a guideline, and is open for interpretation.

The theme for this event was “Disposable”. Presenters came from a range of disciplines including animation, graphic design, architecture, journalism, museum collections and others.  ”Disposable” presenters were  Chris Edser, Yianni Hill, Mark Pharoah, Ianto Ware, Matthew Stuckey + Joel Knaap, Tim Simpson, Ellen Buttrose,  Connor Tomas O’Brien, Kiri Olney, Sue Phillips and Michael Pilkington.

Past presentations were themed Giraffe, Ikea, Milk, SMLXL, TLC, Pretty Ordinary and Alchemy.  The next 15 is anticipated in February 2011.

Resolving the interrelationship between natural and cultural heritage values and uses is at the core of the project. The team is currently undertaking stakeholder consultation and site analysis.

Students are asked to develop a museum in an adjacent warehouse and propose small interventions into the site itself that reveal the significance and outstanding universal values of the place. The studio investigates working within existing fabric and interrogates the politics of the presentation and re-presentation of history.