The Western Sydney International Airport terminal has reached completion, marking Australia’s first new major airport in over half a century. Located in Badgerys Creek, the terminal is conceived as both a transport hub and civic landmark — an architectural statement grounded in place and shaped for the future of aviation.

First proposed by COX Architecture and Zaha Hadid Architects through a 2019 design competition, the project has since been carried forward by a collaborative team including Woods Bagot and builder Multiplex. The resulting terminal is a culmination of technical precision, spatial generosity, and cultural responsiveness, tailored to the evolving needs of Western Sydney.

‘This is a rare opportunity to define the next generation of airport design,’ says Cristiano Ceccato of Zaha Hadid Architects. ‘It’s a terminal that expresses both international ambition and a strong sense of place.’

images © Brett Boardman, Trevor Mein

a rhythmic design by zaha hadid, woods bagot & cox

Designing the expansive roofline of the Sydney Airport terminal, Zaha Hadid Architects, Woods Bagot, and COX take cues from the low-lying Cumberland Plain, echoing the contours of the land. Its ceiling, composed of sculptural, timber-lined modules, captures shifting daylight throughout the day. The filtered light creates a rhythm of brightness and shadow, offering both orientation and calm across the large volume of the departure hall.

Glass curtain walls along the perimeter draw in the landscape and provide views outward, ensuring a continuous connection between interior and environment. These gestures help shape a civic-scale structure that feels open and grounded, rather than monumental or imposing.

Working with construction company Multiplex, COX shaped the terminal as a contemporary expression of place. ‘The way light filters through the terminal shapes how people move, orient and feel,’ David Holm of COX explains. ‘For many, this space marks their first encounter with Australia, and we wanted that experience to feel unmistakably grounded in place.’

the Western Sydney International Airport terminal is Australia’s first major airport in over 50 years

a sustainable terminal for sydney

The roof canopy over the forecourt is configured by Zaha Hadid Architects, COX, and Woods Bagot to offer shelter and shade while guiding movement into the new Sydney Airport terminal. This threshold is conceived with attention to scale and detail, with natural materials and Indigenous design references shaping a quiet sense of welcome.

Warm timbers, etched details, and interpretive artworks are integrated throughout, creating an environment that honors the region’s heritage without relying on overt displays. Public consultation with Dharug custodians and First Nations consultant Murrawin informed many of the terminal’s symbolic and spatial elements.

This embedded cultural approach complements the terminal’s focus on intuitive, egalitarian movement. Sightlines are clear, signage minimal, and transitions between zones legible without requiring effort. As passengers move through arrivals, departures, and security checkpoints, the building’s architecture does the work of orientation.

its low-slung form and sculptural ceiling draw from the contours and light of the Cumberland Plain

Led by Woods Bagot, the design and delivery phase prioritized performance and longevity. ‘The ambition was to create a terminal that functions at a global standard while maintaining a distinct local identity,’ Neil Hill of Woods Bagot notes.

The architecture supports a modular expansion strategy, allowing for future growth in stages without the need for full redesign. Passive ventilation, water recycling, and energy-efficient systems earned the terminal a five star Green Star rating. From landside approach to baggage handling, every aspect was calibrated to optimize throughput and passenger comfort.

As Western Sydney International Airport prepares for its first flights, the terminal stands ready to support 24-hour international and domestic operations. Beyond its technical and environmental credentials, the project offers a new civic identity for one of Australia’s fastest-growing regions.

filtered daylight animates the terminal’s interior and guides passenger orientation

large glass walls maintain a visual connection to the surrounding landscape

the terminal favors intuitive navigation with open sightlines and understated signage

a modular layout and 5-star Green Star rating reflect long-term flexibility and environmental priorities

the terminal brings a civic-scaled space that blends global functionality with local cultural identity

project info:

name: Western Sydney International Airport

architect: Zaha Hadid Architects, Woods Bagot, COX

location: Sydney, Australia

construction: Multiplex

photography: © Brett Boardman, Trevor Mein 

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A quiet spatial pressure defines the first encounter of Panov — Scott’s Window Window Window House. It begins subtly with a lowered ceiling, a downward step, a line of shadow cast across the floor. The proportions are just enough to evoke a slight shift in perception, a nudge inward. The sensation is architectural rather than stylistic. Here, the Australian architects have composed a sequence of rooms that seem to slow time.

The newly added portion of the house is discreet in scale, embedded beneath the original structure and tracing its footprint. From the outside, its presence registers through fine adjustments to light and entry. From the inside, the atmosphere is shaped by how the window operates as an instrument—projecting outward, reframing the coastal canopy, tuning the interior to the shifting patterns of place.

images © Hamish McIntosh

Minimal Addition, Maximum Presence

In one room of Panov — Scott’s house in New South Wales, a window pulls forward into space and offers a ledge at the edge of the garden. The detail is pared back, yet it holds complexity in how it engages the body. This is a place to pause, to settle in briefly or linger with another, close enough to read the texture of leaves or listen for visitors along the ridge. The view expands gently, unspooling the distance between the beach, the trees, and the house.

The architects design the spaces to work in deliberate contrast. Contraction precedes openness. One room yields to another, modulated by thresholds and ceiling angles. Their approach draws from the architectural staging of places like the Laurentian Library, where compression and release are orchestrated to shape experience.

the new rooms are tucked beneath the original house with minimal impact on the site

panov — Scott Holds the Intangible

Designing the Window Window Window House, the brief for Panov — Scott was straightforward, calling for three new rooms and a relocated stair. However, the result does not rest in program. It resides instead in how subtly the additions register within the landscape, how lightly the structure touches the ground. The house remains close to the beach, but never declares itself. What has been added remains nearly invisible from a distance, nestled into the slope beneath the original timber frame.

This small act of expansion becomes a study in discretion. It is an architecture of minimal gesture, careful proportion, and quiet alignment with country. The project privileges the atmospheric over the formal. It draws its strength from how the body feels within it, how the light moves across a surface, how the wind is caught at the edge of a frame.

The new stair is practical, but even here, the space is tuned for pause. As visitors ascend, light draws the eye toward the upper landing, where materials soften the transition. White walls sit above timber, without ornament, allowing the window to do the expressive work. Throughout the house, the framing of views and the calibration of dimensions carry a calm but resonant charge.

each space is shaped by proportion and bodily awareness rather than surface expression

a projecting window creates a place to sit and observe the surrounding canopy

thresholds and ceiling angles guide movement and frame experience

Panov — Scott use architectural compression to heighten spatial perception

light and shadow are composed carefully throughout the interior

material simplicity lets the landscape take visual precedence

project info:

name: Window Window Window House

architect: Panov — Scott | @panovscott

location: Pearl Beach, New South Wales, Australia

completion: 2023

photography: © Hamish McIntosh | @hamishmcintosh

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George Kouparitsas Architects leads the transformation of the Dohori House, a five-bedroom residence located in one of Ascot’s most prestigious cul-de-sacs in Australia. The project involved reconfiguring a pre-war home to accommodate contemporary spatial requirements while maintaining its original street-facing character. The design approach emphasized contrast and continuity, integrating new structural elements behind the preserved facade.

A primary design strategy focused on articulating mass and void to establish a clear dialogue between old and new. The double-storey rear extension, constructed from cast-in-situ concrete, serves both structural and finishing roles. Its textured, monolithic form introduces a material contrast while remaining visually subordinate to the existing streetscape. This intervention allowed the original structure to remain a contextual anchor within the streetscape.

all images by Mitchell Kemp

George Kouparitsas reorganizes Dohori House’s internal layout

The design team at George Kouparitsas Architects reorganized the internal layout to accommodate a range of functions. Public and social spaces are located on the ground floor, including an open-plan kitchen, dining, and living area that connects directly to an outdoor patio, swimming pool, and outdoor kitchen. Supporting spaces, such as a guest bedroom, library, and home office, are also positioned on this level to support diverse usage. The upper floor contains five bedrooms, including a main suite, and additional living areas intended for family use.

Spatial planning was guided by the constraints of the narrow site and regulatory requirements related to the building’s pre-war classification. Design decisions were calibrated to ensure appropriate daylight access, ventilation, and privacy throughout the dwelling. The integration of new and existing built forms required coordinated structural and material resolutions. At the rear, a former horse stable was retained and repurposed as a home gym. At the front, a newly constructed carport complements the material and spatial language of the residence. The overall composition relies on a restrained palette, geometric clarity, and layered spatial hierarchy to reconcile historical elements with contemporary programmatic needs.

preserved pre-war facade maintains the home’s original street presence

cast-in-situ concrete forms define the new rear extension

contrasting materials create a dialogue between heritage and contemporary design

monolithic concrete volume positioned behind the original structure

open-plan living area connects directly to outdoor spaces

large window openings support daylight and ventilation

mass and void relationships shape the building’s formal expression

concrete, timber, and neutral tones create visual cohesion

clean lines and restrained finishes define the interior design

outdoor kitchen and swimming pool extend the social zone

project info:

name: Dohori House
architects: George Kouparitsas Architects | @georgekouparitsas_architect

location: Ascot, Australia

structure: Walvin Constructions | @walvinconstructions

photographer: Mitchell Kemp | @mkemp.co

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Australian studio Austin Maynard Architects unveils a new residence, titled Clarke, for a family confronting the limits of their long-loved home. After more than a decade, especially after enduring the isolating lockdown, its interiors no longer served the daily needs of two adults working from home and two teenagers. The solution was to expand the home with a space that is layered and considered.

Clarke began as a single-story weatherboard cottage in need of breathing room. Instead of erasing the past, the team worked with it, retaining the home’s bones while reimagining its function. The result is an intricately stepped extension unified by a rhythm of timber battens that blur the thresholds between architecture and utility, form and privacy, old and new.

The home’s overlapping forms, stepped and irregular, are brought together by a facade of rhythmic battens that trace the pitch of the original roof. Clarke’s visual identity emerges through coherence rather than contrast. The battens serve to unify the spaces, shade interiors, and create layered thresholds between inside and out. The pavilion-like lounge room is subtly elevated, opening outward onto the garden through a corner of full-height sliding glass.

images © Derek Swalwell

austin maynard architects celebrates indoor-outdoor life

For the owners of Clarke, the mandate for Austin Maynard Architects was both emotional and practical. ‘Alone together’ became the guiding ethos, a desire for connectedness without constraint. The brief balanced the need for social openness with the essential solitude of retreats, home offices, and teenager-scale autonomy. Inspired by their time in Japan, the family sought simplicity and a fluid choreography of indoor-outdoor life.

Circulation is carefully recalibrated. The reconfiguration of the entry bypasses private zones and leads instead to a light-filled heart. Three pocket gardens fracture the plan, enabling a series of layered views and natural cross breezes. Rooms unfold deliberately, moving from practical ground-floor functions to a light-footed upper volume: a self-contained apartment for the teens, complete with a hammock and a hidden pink retreat tucked beneath the original roof.

Clarke by Austin Maynard Architects reconfigures a suburban cottage into a layered and light-filled family home

nature is invited inward

No element in Clarke is overlooked by Austin Maynard Architects. From hot water tanks and heat pumps to bike sheds and trash bins, necessary services are embedded within the architectural envelope. Sliding batten screens conceal and clarify, maintaining visual coherence while allowing access when needed. Even these moments of pragmatism feel resolved and purposeful.

Where many additions open out to the backyard, Clarke lets the garden enter from all sides. Three strategically placed light wells act as small lungs, breathing light and green into the depth of the plan. This breaks down the traditionally linear logic of the central hallway, ensuring that every interior view reconnects with nature.

Here, individuality is acknowledged and spatialized. The teenager’s spaces accommodate difference with ease, offering quietude and color. The secret Pink Room, requested by one daughter and realized behind a discreet panel door, exemplifies the studio’s thoughtful delight in bespoke gestures. These surprises are never arbitrary, always informed by lived experience.

the design responds to a need for togetherness and retreat with spaces that support both privacy and connection

a new side entry and series of pocket gardens introduce light air and views deep into the plan

the layout avoids cavernous open plans by creating distinct yet fluid zones

essential services are concealed within the architecture behind sliding screens and integrated storage

sustainability measures include solar power, double glazing, thermal mass, and water recycling systems

the house reflects the family’s values of simplicity with a design that enhances daily living

the upper floor serves as a teen retreat complete with hammock study space and a hidden pink room

project info:

name: Clarke

architect: Austin Maynard Architects | @austinmaynardarchitects

location: Northcote, Melbourne, Australia

design team: Andrew Maynard, Mark Austin, Kathryne Houchin
builder: CBD Contracting
landscape architect: McNuttNDorff Landscapes
engineer: WebbConsult Engineers
traditional land owners: Wurundjeri Woi Wurrung People of The Kulin Nation

completion: January 2025

photography: © Derek Swalwell | @derek_swalwell

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Alexander Symes Architects reimagines a sharp, kite-shaped home once used as a wayfinding marker by local surfers in the coastal town of Mollymook, Australia. Known by locals as the Cake House, the unique geometry of the original structure became the anchor point for a sustainable, future-proof renovation. The updated residence sticks to the original footprint, operates entirely on electricity, and generates a net surplus of 7,000 kWh per year thanks to an on-site photovoltaic system. It balances passive design strategies with passive house principles, allowing the dwelling to operate in both high-performance sealed mode and naturally ventilated open mode, depending on the season.

all images by Barton Taylor

the residence achieves a projected negative carbon footprint

The Sydney-based Alexander Symes’ design team reused as much of the existing structure and materials as possible, including concrete, aluminum cladding, hardwood windows, and an in-ground 30,000-liter rainwater tank. New materials, including recycled hardwood cladding, carbon-neutral concrete, and tapware from Sussex, were chosen for durability and low embodied carbon. Instead of extending outward, the architects worked within the original building’s footprint, reshaping the landscape to form a coastal deflection berm that buffers surf surges and connects the house back to the land through outdoor rooms, stepped seating, and native planting.

The living spaces maximize sea views and natural light. A flexible layout supports large gatherings without feeling crowded, while the lower-level bedrooms form a thermal bunker—cool in summer, warm in winter, and structurally robust in a changing climate. The home achieves a projected negative carbon footprint over 55 years, continuing to offset carbon long after. The site, sitting in a designated 2100 Coastal Hazard Zone, also supports local biodiversity. A Norfolk Pine was replaced with an endemic species, monzonite rock from the site was reused for landscaping, and all new hardscaping features permeable surfaces. 

Alexander Symes Architects reimagines a sharp, kite-shaped home

the structure was once used as a wayfinding marker by local surfers in the coastal town of Mollymook

known by locals as the Cake House

the unique geometry of the original structure became the anchor point for a future-proof renovation

the updated dwelling sticks to the original footprint

Cake House operates entirely on electricity, and generates a net surplus of 7,000 kWh per year

the lower-level bedrooms form a thermal bunker

the design team reused as much of the existing structure and materials as possible

new materials include recycled hardwood cladding, carbon-neutral concrete, and tapware from Sussex

the architects worked within the original building’s footprint

project team:

name: Cake House

architect: Alexander Symes | @asa_alexandersymesarchitect
location: Mollymook, NSW, Australia

project architects: Haigen Sykes, Fergus Hayes-Sant

structural engineer: Geoff Metzler & Associates

interior designer: Inn. Studio | @inn._studio

builder: Skylar Construction 

photographer: Barton Taylor | @barton_taylor

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Australian firm FIGR Architecture Studio completes its Kross House, which seems to levitate above the landscape of Mount Martha, a coastal neighborhood in Victoria. Anchored by natural rock and held aloft by a singular V-shaped steel column, the single-story home gently hovers above the sloping site. With its pavilion-style layout split into distinct living and guest wings, Kross House balances retreat and interaction in one fluid, architectural gesture.

Blending nostalgia with a modern spatial logic, the project reimagines the classic beach house. It evokes the weatherboard language of coastal retreats, and is organized around a cruciform layout — a literal cross that dictates spatial flow along cardinal axes. Like the boardwalks found along Mount Martha’s shoreline, this intersection becomes a journey in itself, guiding inhabitants through breezeways, decks, and rooms that stretch into the landscape.

images © Tom Blachford

figr architecture studio emphasizes in-betweenness

With its Kross House, the team at FIGR Architecture Studio emphasizes in-betweenness. The cross-shaped core is a circulation space, a summertime breezeway, and a sheltered deck during colder months. These transitional zones demonstrate the project’s responsiveness to both site and climate, reinforcing a layered experience of indoor-outdoor living.

The architects employ timber not just as material, but as connective tissue. Cladding both interior and exterior surfaces, the timber creates a unified tactile experience, grounding the floating structure in the earthy tones of the surrounding bushland. Below, the undercroft — often forgotten or left to utility — has been reimagined as a secret garden, a contemplative hideaway that heightens the sense of retreat.

a breezy, modern beach house

Kross House introduces a triangular northern deck that FIGR Architecture Studio designs to open through operable sliding doors, dissolving the boundary between house and horizon. This gesture extends the living areas outward and invites in the rhythm of the coastal air. Elevated at the site’s highest point, the house commands views of the foreshore while concealing an 18-meter lap pool that stretches beneath the structure’s north-south axis.

The architects integrate sustainability into both daily life and long-term performance. Movement is encouraged through pathways that wind across the site, while passive design strategies harness prevailing breezes and solar orientation. A 20,000-liter water tank, solar panels with battery storage, and double glazing are part of a suite of energy-efficient features.

Kross House further demonstrates a commitment to local materials and low-impact construction. Timber-framed windows and cladding are sourced sustainably, while plasterboard has been eliminated entirely in favor of breathable finishes. The result is a house that is as conscious as it is composed.

The team extends its ecological sensitivity through its landscape, designed in collaboration with MUD Office. Here, native plantings support biodiversity, enhance ecological resilience, and create a living system that softens the edge between the built and natural environments.

With the project, FIGR Architecture Studio offers a contemporary take on coastal Australian living. Through its cross-shaped plan, timber materiality, and layered interaction with the landscape, it transforms a sloping site into a place of quiet drama, spatial clarity, and environmental intent.

project info:

name: Kross House

architect: FIGR Architecture Studio | @figr_architecture

location: Mount Martha, Victoria, Australia

landscape architect: MUD Office | @mudoffice

completion: 2024

photography: © Tom Blachford | @blachford

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Vipp arrives in Tasmania, curating a a bold, tunnel-like structure for its latest guesthouse. Designed by Hobart-based Room11 Architects, this off-grid concrete tunnel rises dramatically from the bushlands of Bruny Island, showcasing a blend of art, design, and nature. Perched over a sloping hill, the Vipp Tunnel frames the raw beauty of the Tasmanian landscape with brutalist design principles.

The Danish brand has expanded its portfolio to the Southern Hemisphere with this innovative guesthouse, where Room11 Architects has created a unique blend of concrete brutalism and organic surroundings. The Vipp Tunnel sits cantilevered over the rugged terrain of Bruny Island, offering stunning views of the D’Entrecasteaux Channel. ‘The dramatically elongated proportions of the structure respond to the landscape by purposely framing the D’Entrecasteaux Channel with a broad expanse of frameless glass,’ says Thomas Bailey of Room11.

images © Adam Gibson

vipp brings its minimalist style to tasmania

This 160-square-meter Vipp Tunnel guesthouse brings design-minded interiors to the wilderness of Tasmania. The space took three years to complete, and stands as a demonstration of the attention to materiality and detail by the Danish brand along with the architects at Room11. The tunnel stretches thirty meters (98 feet), with floor-to-ceiling windows and recessed steel doors allowing uninterrupted views of the surrounding landscape. The main living area is separated from the master bedroom and bathroom by an atrium, creating a unique sense of space and light. A glass-framed terrace at the end of the tunnel further emphasizes the feeling of being at the edge of the world.

In this Tasmanian project, the design ethos of Vipp is evident in the sleek, minimalist interior. The centerpiece of the main space is Vipp’s all-aluminum V3 kitchen, featuring a stainless steel counter that echoes the materiality of the surrounding architecture. Vipp furniture, including Swivel chairs upholstered in Australian sheepskin, enhances the raw concrete aesthetic of the structure. ‘Room11 has created a truly breathtaking piece of architecture, a space for reflection and escape, that perfectly complements Vipp’s design ethos,’ says Kasper Egelund, CEO of Vipp.

Vipp Tunnel is an off-grid guesthouse in Tasmania designed by Room11 Architects

powered by an entire facade of solar panels

Vipp Tunnel’s design prioritizes sustainability, making it a model for modern off-grid living in Tasmania. The entire western facade of the building is made from solar panels, providing energy for the guesthouse. ‘As far as we are aware, this is the first building to feature an entire facade created by solar technology,’ says Thomas Bailey. Additionally, the structure is elevated to minimize its environmental footprint, and the concrete panel design provides natural thermal insulation. The building runs on rainwater and is fully self-sufficient, offering guests a truly off-the-grid experience.

Danish artist Lin Utzon contributes her iconic ‘Cosmic Dancers’ series to the Vipp Tunnel’s surroundings. These large-scale, black-and-white ceramic sculptures are scattered among the property’s red gum trees, creating a harmonious connection between art and the Tasmanian bushland. Lin, daughter of famed architect Jørn Utzon, echoes her father’s philosophy of blending art and architecture in her work, making this collaboration especially poignant.

the concrete structure is cantilevered over Bruny Island’s rugged terrain

the guesthouse offers panoramic views of the D’Entrecasteaux Channel and surrounding landscape

Room11 focuses on craftsmanship, materiality, and blending architecture with nature

the Vipp V3 kitchen is the centerpiece of the minimalist interior design

the guesthouse is powered by an entire facade of solar panels and runs off-grid

the structure is elevated to minimize environmental impact and uses sustainable materials

project info:

name: Vipp Tunnel

designer: Vipp | @vipp

architect: Room11 Architects | @room11__

location: Tasmania, Australia

photography: © Adam Gibson | @adam.gibson.photo 

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Melbourne-based Pandolfini Architects draws inspiration from a diverse set of references, including ancient ruins and industrial structures, with the design of its Glen Iris House. This eclectic foundation informs the material palette and structural expression of the residence. The design embraces exposed, heavy materials, creating a durable and timeless design language.

The home is composed of three-dimensional geometric forms that extend across both interior and exterior spaces. Balances raw and refined materials, the project is designed to emphasize permanence and solidity. Its facade integrates a copper patina screen and a cantilevered brick-clad volume, establishing a dialogue with the Melbourne suburb’s streetscape, while a bush-hammered concrete blade wall marks the entry to hint at the material language within.

images © Rory Gardiner

three tiered pavilions form the glen iris house

Glen Iris House is structured by the team at Pandolfini Architects as an array of three tiered pavilions that respond to the long, rectangular site. A central barn-like living space is flanked by private quarters at the front and a garage at the rear. These volumes are linked by glazed passages, allowing for natural light and connectivity. A framework of bush-hammered concrete ribs defines the central pavilion, shaping both interior shared spaces and an arched promenade externally.

Internal courtyards provide privacy from the street and mitigate western sun exposure. These secluded retreats feature terracotta tiles and natural stone, reinforcing the home’s earthy material palette. The garage pavilion, designed to house the clients’ classic car collection, follows the same material logic, unifying the overall composition. Expressive design elements such as a sculpted fireplace stack and a curved staircase add dynamic sculptural qualities to the home.

Glen Iris House by Pandolfini Architects is inspired by ancient ruins and industrial structures

a palette of copper, travertine, and terracotta

A copper patina screen stretches across the ground floor of Pandolfini Architects’ Glen Iris House, referencing the overgrown front fences of the neighborhood while maintaining a setback to enhance the streetscape. Above, the cantilevered brick volume rests on a bush-hammered concrete blade, emphasizing the entry. The terracotta brickwork, laid in varied orientations, echoes the tiled roofs of adjacent houses, creating a dynamic surface for dappled light to interact with throughout the day.

The living pavilion presents as an exposed skeleton of robust concrete ribs, providing a protective shell for the refined interior. Bush-hammered concrete walls define structural zones, while interior materials such as travertine, American oak, and polished plaster contrast with the rough textures. These elements create a harmonious balance between raw materiality and crafted detailing.

The living pavilion is oriented towards the northern aspect, with deep-set glazing that moderates light exposure and frames views of the central garden and pool. Operable windows facilitate cross-ventilation, enhancing passive climate control. Durable, low-maintenance materials ensure the home weathers naturally over time. Integrated planter boxes and carefully curated openings establish a seamless connection between architecture and landscape.

the house features a geometric composition of raw and refined materials

three tiered pavilions follow the site’s contours with a central living space flanked by private quarters

travertine American oak and polished plaster contrast with rough textures

deep-set glazing in the living pavilion controls light exposure and frames garden views

a wall of bush-hammered concrete blades defines the entry

a copper patina screen and a cantilevered brick-clad volume form the facade

project info:

name: Glen Iris House

architect: Pandolfini Architects | @pandolfini_architects

location: Victoria, Australia

completion: 2023

photography: © Rory Gardiner | @arorygardiner

interior design, styling: Pandolfini Architects, Lisa Buxton Interiors | @lisabuxtoninteriors
landscape architecture: Mud Office | @mudoffice
engineering: Meyer Consulting
builder: DOME

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The new Sydney Fish Market by 3XN Architects, in association with BVN, and Aspect Studios, has reached a major milestone with the completion of its 200-meter-long floating roof canopy. Designed in collaboration with BVN, the sculptural roof is expected to redefine Australian city’s skyline, much like the Opera House did in 1973. With the completion of the fish market’s roof, the project shifts its focus from structural elements to internal finishes.

The monumental rooftop is designed to resemble the texture of fish scales with its rhythmic patterning and organic surface. A supporting framework consists of 594 timber beams, some extending up to 32 meters in length, completed in December 2024. The final phase of roofing includes waterproofing, scheduled to be completed in the coming weeks.

image © Multiplex Construction

Massive Roof Structure of over 400 panels

The Sydney Fish Market’s rooftop, designed by Danish practice 3XN Architects in association with BVN and landscape architects Aspect Studios, incorporates over 400 panels. Together, these contribute to a total weight of 2,500 tonnes. This significant engineering feat underscores the project’s complexity and scale. The team first unveiled the proposal in June 2017 before the rooftop design was revised in November 2018 to its current iteration.

Since the construction of the Sydney Fish Market began, the project has provided a substantial boost to the local economy. Delivery partner Multiplex has awarded over $670 million in contracts to Australian suppliers, covering services such as maritime piling, steel reinforcement, and the installation of roof cassettes.

the Sydney Fish Market’s new roof designed by 3XN is now complete | image © Multiplex Construction

3xn architects transforms Blackwattle Bay in association with BVN and Aspect Studios

The new Sydney Fish Market, designed by 3XN in association with BVN and Aspect Studios, will feature an expansive retail and dining space, including a fresh seafood market, restaurants, and a seafood school. This development is set to enhance Sydney’s global reputation as a premier seafood destination, attracting both residents and tourists. The Sydney Fish Market is a cornerstone of the broader Blackwattle Bay redevelopment. The project will create a connected waterfront promenade linking Rozelle Bay to Woolloomooloo, introduce 1,100 new homes on the former fish market site, and provide over 6,000 square meters of public space. These improvements will enhance pedestrian and cycling infrastructure along the bay.

NSW Premier Chris Minns emphasized the significance of the project, stating, ‘The revamped market will be truly spectacular, offering world-class, authentic seafood for an expected 6 million annual local and international visitors — ensuring it remains one of the most popular tourist destinations on offer in our harbour city.’

the 200-meter-long floating roof canopy marks a major construction milestone | image © Multiplex Construction

structural work is finished and internal finishes are now the focus | image © Multiplex Construction

the roof consists of 594 timber beams with some reaching 32 meters in length | image © Multiplex Construction

over 400 roof panels contribute to the structure’s total weight of 2,500 tonnes | image © Multiplex Construction

the new market will feature seafood retail, dining spaces, and a seafood school | visualization © Infrastructure NSW

the Blackwattle Bay redevelopment will include a waterfront promenade and new homes | visualization © Infrastructure NSW

project info:

name: Sydney Fish Market

architect: 3XN Architects | @3xnarchitects

location: Sydney, Australia

previous coverage: June 2017, November 2018

roof completion: December 2024

photography: © Multiplex Construction

collaborating architect: BVN Architecture | @bvnarchitecture

construction: Multiplex Construction | @multiplexconstruction__au

sustainability: GXN

landscape: Aspect Studios | @aspectstudios

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Sawmill Treehouse, a recently completed architectural project by Australian designer Robbie Walker, exemplifies how great design emerges from a strong collaboration between architect and client. The homeowner’s vision was simple — a compact residential retreat to share with family and friends. Rather than focusing on interior finishes or material selections, the client prioritized the site’s natural elements, sharing images of the trees and landscape instead of tile samples or countertop options. This approach underscored a design philosophy rooted in the surrounding environment rather than conventional luxury.

The treehouse is located at the beginning of a gully, where street water is discharged. The site offered one obvious flat area near the boundary, surrounded by towering trees. Instead of situating the structure on the flat land, Walker chose to elevate it among the trees, keeping it above the water and integrating it into the forest canopy. Four stilt-like columns, reminiscent of tree trunks, support the structure, while a facade of slatted steel panels allow light to filter through in an organic pattern, mimicking the effect of leaves. These slats also help regulate temperature, keeping the steel-clad building cool in the strong Australian sun.

images © Tasha Tylee

Compact Living in the sawmill treehouse

Designed by Robbie Walker as a minimal yet functional dwelling, Sawmill Treehouse includes just one bedroom, one bathroom, and an open kitchen and living area. The designer‘s decision to elevate the structure provides a unique treehouse experience while allowing for a covered garage beneath the living space. This garage, taking advantage of the site’s natural flat section, also houses a laundry and an outdoor kitchen concealed within the structure.

Due to the site’s high bushfire risk classification (BAL 40), all external materials needed to be non-flammable. This requirement led to the use of steel cladding, which also presented the challenge of excessive heat absorption. To mitigate this, Walker designed a system of steel slats that shade the building while allowing airflow to move through the space between the slats and the walls, reducing heat buildup and eliminating the need for air conditioning.

Sawmill Treehouse by Robbie Walker was designed as a compact retreat focused on nature

robbie walker’s Model for Sustainable Design

The client’s decision to build small, despite having ample space, reflects a commitment to thoughtful, sustainable living. In a market where real estate agents push for larger homes to maximize resale value, and where banks may undervalue compact homes in rural settings, resisting the pressure to expand was a courageous choice. The additional planning and permitting requirements for a small home do not necessarily translate to cost savings, making this project a testament to prioritizing quality over quantity.

While timber interiors were chosen for their sustainability, and steel was selected for its recyclability, the project’s most significant environmental impact comes from its restraint. By resisting the temptation to build beyond necessity, Sawmill Treehouse challenges the prevailing ethos of more-is-better, demonstrating that efficient, well-considered design can be just as impactful as material choices. In an era of increasing environmental awareness, this project stands as an example of how architecture can align with values of sustainability and thoughtful land use.

the client prioritized the site’s trees and landscape over interior finishes and materials

the structure is elevated among trees to avoid water runoff and integrate with the canopy

steel slats provide shade, regulate temperature, and mimic the effect of leaves

the design includes one bedroom, one bathroom, a kitchen, living space, and a garage below

the project challenges the conventional market trend of maximizing house size for resale value

restraint in building size demonstrates a commitment to sustainability and thoughtful land use

project info:

name: Sawmill Treehouse

designer: Robbie Walker | @robbiejwalker

location: Australia

engineer: Taylor Consulting Engineers

photography: © Tasha Tylee | @tashatylee

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