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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Woods Bagot has completed its Sydney Central Station renovation, part of the Sydney Metro project, Australia’s largest infrastructure development. The project has transformed Sydney’s transport landscape, adding 31 metro stations and more than 66 kilometers of new rail. Central Station, the core of the city’s rail network, plays a vital role in accommodating 40,000 metro passengers per hour, a 60 percent increase in capacity.

The renovation, a collaborative effort between Woods Bagot and John McAslan Partners, with construction by Laing O’Rourke, is described as a ‘once-in-a-century’ development as it has enhanced the station’s capacity and functionality. Woods Bagot Principal and Transport Lead John Prentice emphasizes that the design approach centers on customer experience, incorporating open spaces like the new Northern Concourse roof and Central Walk to improve flow and navigation within the station.

images © Trevor Mein

sydney central station’s Century-Defining Upgrade

The station’s new additions by architecture and design studio Woods Bagot, including metro platforms and concourses, are designed to be both functional and sculptural, blending with the station’s historic architecture. Prentice notes that material selection is key to grounding the design in its local context, providing a civic quality that complements the station’s heritage.

The highlight of the renovation is the construction of two new metro platforms beneath the existing Intercity platforms 13 and 14. These new platforms create a major interchange, connecting metro services with suburban, intercity, and regional rail lines. What’s more, the 19-meter-wide Central Walk concourse eases congestion and improves pedestrian flow. This concourse connects Chalmers Street and Sydney Light Rail to the new metro platforms, offering better access to suburban platforms 16-23 and incorporating escalators and lifts.

Woods Bagot has announced the completion of the Sydney Central Station renovation

Integration with Sydney’s History and Design

Woods Bagot Global Design Director Domenic Alvaro explains that the material choices for the project are inspired by Sydney’s history, with a focus on a fluid, efficient commuter experience. The station’s design aims to rival iconic train stations around the world, delivering a functional and aesthetically pleasing transport hub for Sydney. The renovation also includes the creation of a new North-South Concourse and the refurbishment of the Northern Concourse. This upgrade replaces dark pedestrian tunnels with a bright, open public space inspired by the great train halls of the world. Improved orientation and new connections between surrounding precincts will enhance accessibility and ease of use.

The reimagined Northern Concourse honors the station’s Edwardian architecture. The new roof design, featuring kite-shaped skylights, contrasts with the heritage sandstone buildings, creating a modern yet respectful addition to the historic station. The project has earned a 6-Star Green Star Design and As Built rating, with sustainability at the core of the design.

the project is part of the larger Sydney Metro, Australia’s biggest infrastructure development

the renovation increases station capacity by 60 percent, accommodating 40,000 passengers per hour

two new metro platforms are built under existing intercity platforms to create a major interchange

a new 19-meter-wide central walk concourse improves pedestrian flow and access to platforms

the design blends modern functionality with the station’s historic architecture

the new north-south concourse features bright, open spaces and improves connections between precincts

project info:

project title: Sydney Central Station

architecture: Woods Bagot | @woodsbagot

location: Sydney, Australia

completion: August 2024

photography: © Trevor Mein | @trevormein

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With architecture by Woods Bagot and and interiors by Mitchell & Eades, boutique hospitality group Six Senses presents a supertall skyscraper that unites ultra-luxury living with a wellness-centric philosophy. Construction on the Six Senses Residences Dubai Marina is already underway in the emirate, slated to stand at 517 meters tall and take the title of the world’s tallest residential tower upon completion in 2028.

Its slender silhouette towers above the Marina skyline crowned with a tapered peak. Within, across its 122 stories, 251 residences ranging from deluxe residences and half-floor penthouses to triplex Sky Mansions will unfold alongside ‘layers’ of communal spaces. Each dwelling offers residents a holistic and sustainable lifestyle experience, infused with biophilia and classical feng shui elements alongside bespoke amenities promoting residential health.

all renders by Mitchell & Eades

world’s tallest residential tower bridges luxury and wellness

Developed in collaboration with UAE-based real estate developers Select Group, architecture studio Woods Bagot, and WSP Middle East, Six Senses Residences Dubai Marina will embrace sweeping vistas of the Marina, Palm Jumeirah, coastline, and beyond across all of its residences. The two- to four-bedroom residences, ranging from 1,977 square feet to 5,773 square feet, are fitted with bespoke timber joinery and delicate bronze accents that cast a warm, golden glow, harmonized with sleek metallic accents. Ample sunlight bathes the interiors, filtering through full-height windows and doors that open onto expansive balconies positioned at opposite ends.

The four- and five-bedroom duplex and triplex Sky Mansions are spaciously abundant, with open-plan programs integrating living areas, study spaces, gyms, and cinema rooms. Residents of the duplex and triplex Sky Mansions, which range from 8,997 square feet to 14,102 square feet, have access to an array of extensive luxury amenities crafted to enhance longevity, wellness, and human connection.

Six Senses Residences Dubai Marina will become the world’s tallest residential tower

designed by woods bagot with wsp middle east

Four levels on the upper section of the Six Senses Residences Dubai Marina integrate fitness facilities, entertainment, landscaped social spaces, wellness treatment areas, and more. The Connectivity level embodies a hive of interaction that combines productivity and leisure with a strong sense of community. Amenities include a residents’ lounge, meeting rooms, study area, games room, cinema, and an outdoor gym. The Balance level is curated to offer an all-encompassing fitness and wellness journey where residents can enjoy hydrotherapy treatments and saunas and an infinity pool with sun loungers.

The Longevity level, serene and holistic, features a longevity clinic, crystal sound healing room, hyperbaric treatment rooms, massage treatment rooms, fitness studios, and a gymnasium. At the Horizon level on the 109th floor, the design team has created a retreat from the vibrant cityscape where jacuzzis and a pool are accompanied by a sunrise yoga deck amid landscaped gardens.

slated to stand at 517 meters tall with 122 stories

architecture by Woods Bagot

the project unites ultra-luxury living with a wellness-centric philosophy

the Horizon level is a wellness retreat amid landscaped gardens

a natural material palette

all residences and amenities embrace scenic vistas

four high levels integrate fitness facilities, wellness treatment areas, and more

amenities include saunas and pools

251 residences ranging from deluxe residences

infused with biophilia and classical feng shui elements

project info:

name: Six Senses Residences Dubai Marina

location: Dubai, UAE

architecture: Woods Bagot, WSP Middle East

interior design and renders: Mitchell & Eades

developer: Select Group

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Just in time for the completion of its textural facade, SHoP Architects opened the doors of Brooklyn’s first ‘supertall’ tower for an early glimpse of its interiors. Since the completion of its crown earlier this year, New Yorkers have regarded the new landmark as a modern ‘Tower of Sauron’ — an apt comparison as the architects at SHoP drew inspiration from the dark edge of Gotham city. In contrast to the tower’s intentionally foreboding exterior, its interiors are luminous and welcoming. These include public spaces by Woods Bagot along with three completed model residences by local practice Gachot Studios.

The timing of SHoP Architects‘ skyscraper coincides with its ultra-thin 111 West 57th Street tower which now stands at Central Park South. SHoP Architects’ founding principal Gregg Pasquarelli notes the dialogue between the two projects, that the Manhattan tower exudes a sense of sophisticated luxury over the coolness and edge of its Brooklyn cousin.

image © Max Touhey

the welcoming lobby interiors by woods bagot

Krista Ninivaggi of interiors studio Woods Bagot worked closely with the team at SHoP Architects to harmonize the spaces with the new tower and its historic context in Downtown Brooklyn. Details in the lobby are designed as an homage to the landmark, 1859-era Dime Savings Bank from which it rises — hexagonal motifs along the tiled flooring reflect those preserved within the bank, while custom furnishings are crafted to evoke the image of rolled coins. Another playful detail includes an array of ‘dimes’ which wrap the vaulted ceiling of the elevator hall, a reminder of the bank’s philosophy that patrons could open an account with just a dime. The warm, white-oak paneling which wraps the lobby interiors takes on a texture designed as a direct reflection of the fluted facade of the new tower.

Woods Bagot lobby | image © Adrian Gaut

the completed facade by Shop Architects

From its interiors to its facade, the design of the Brooklyn Tower establishes a dialogue between the borough’s history and its promising future. SHoP Architects draws influence from the hexagonal forms, and unique patterning discovered within the preserved interior of the Dime Savings Bank. Interconnected hexagons are integrated even into the overall volume of the tower, its figure blurred with its rhythmic texture and cascading setbacks, resulting in a skin that shimmers with an interplay of bronze and black hues.

This composition shifts from all angles, the diverse array of fluted, cylindrical, and triangular shapes framed by large glass panels. Before transitioning into the darkened stainless steel and bronze facade, the unique choice of materials begins with white marble ‘convexacave’ columns at street-level (see designboom’s coverage here). Here, classical design is translated through a contemporary lens and fabricated with advanced, digital techniques. 

Woods Bagot lobby | image © Adrian Gaut

gachot studios’ model residences

The focus of the Brooklyn Tower is to provide new homes to Downtown Brooklyn with welcoming, moderin interiors. The team notes that JDS Development requested the same level of quality given to a luxury tower along Central Park. Manhattan-based firm Gachot Studios has curated each residence, incorporating an elegant aesthetic and a strong connection to the tower’s distinctive hexagonal structure. With 10′-3″ ceilings, the residences have been carefully planned to make the most of the tower’s exceptional viewpoints, ensuring that the expansive city and water vistas can be enjoyed to the fullest through floor-to-ceiling windows. Many of the units open onto multiple different views across Brooklyn and the city beyond, from Fort Greene Park just next door to the distant silhouette of the Verrazano Bridge on the horizon.

Woods Bagot lobby | image © Adrian Gaut
Woods Bagot lobby | image © Adrian Gaut

Woods Bagot lobby | image © Adrian Gaut

Gachot Studios model residence | image © Nicole Franzen

Gachot Studios model residence | image © Nicole Franzen

project info:

project title: The Brooklyn Tower

architecture: SHoP Architects | @shoparchitects

location: 9 Dekalb Avenue, New York, NY

interior design (model residences): Gachot Studios | @gachotstudios

interior design (public spaces): Krista Ninivaggi of Woods Bagot| @woodsbagot

developer: JDS Development Group

real estate firm: Douglas Elliman Development Marketing

construction manager: JDS Construction Group

original architect: Mowbray & Uffinger

landscape architecture: HMwhite

previous coverage: November 2015, September 2021, March 2022, February 2023

photography: © Max Touhey, Adrian Gaut, Nicole Franzen, Kelly Marshall

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With architecture by Diller Scofidio + Renfro and Woods Bagot, a First Nations cultural center dubbed ‘Tarrkarri’ will take shape in southern Australia. The landmark work of architecture is planned for the city of Adelaide, and will showcase the past, present and future of Aboriginal cultures alongside contemporary artworks and cross-disciplinary events. While construction began in December 2021 and was slated to complete in 2025, the museum had encountered significant roadblocks since its initial launch in 2018. 

Most recently — in October 2022 — significant cost increases have put a hold on construction as the South Australian government launches a review of the project. While $200 million was allocated from both state and federal government in 2020, the total cost is now estimated at nearly $250 million. SA Premier Peter Malinauskas comments that the current budget will only deliver a state significant center, rather than an internationally renowned institution.

images courtesy Lot Fourteen

tarrkarri first nations center: ‘good isn’t good enough’

The Tarrkarri Centre for First Nations Cultures takes influence from aboriginal cultures across South Australia with both its form and programming. Its name means ‘the future’ in Kaurna language, whose traditional lands include the Adelaide Plains. Its architecture, designed by Diller Scofidio + Renfro expresses pleated facade channels which nod to the temporary shelter structures created by Aboriginal peoples. Meanwhile, a basket-like nest of columns are planned to frame and anchor the central space. Discover the project’s design through designboom’s previous coverage here.

‘A centre celebrating the longest continuous culture on earth, celebrating 60,000 years of history, situated within one of Adelaide’s most significant locations, must do justice to the cultures that it seeks to represent,’ says Peter Malinauskas as construction holds. ‘In that context, good isn’t good enough.’

the radial design evokes the U.S. Olympic & Paralympic Museum by DS+R in Colorado (see here)

the architecture draws influence from aboriginal structuresthe museum is planned to take shape with nesting parts

project info:

project title: Tarrkarri First Nations Cultural Centre

architecture: Diller Scofidio + Renfro | @diller_scofidio_renfro and Woods Bagot | @woodsbagot

location: Adelaide, Australia

previous coverage: June 2018, February 2021, August 2021

visualizations: courtesy Lot Fourteen

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a triumphant and sculptural form, woods bagot completes a university building for deakin law school in melbourne. the new law building introduces an iconic new landmark for the area, creating a point of orientation for students and visitors to the elevated campus. the structure is expressed as two distinct pieces — a softly spiraling zinc-clad volume, and a tower of fluted concrete and vertical strip windows.

images by peter bennetts | @peterbbennets

soft forms in zinc and concrete

designing the deakin law school building, the architects at woods bagot employ soft and sinuous forms. the three stacked zinc volumes host the building’s ‘premier learning spaces’ while the adjacent tower with its rounded edges and nested components host the ancillary programming. these learning spaces are organized across five levels, with functions including a lecture hall and amphitheater, study areas, a ‘technology bar,’ and group working pods.

commenting on these functional learning elements, the team at woods bagot note that each space addresses a different approach to large format teaching. in the process, the team aims to do away with the traditional lecture theater.

zinc panels wrap the curving surfaces

the architects at woods bagot terminate the stacked zinc volumes by slicing the ends — capping these faces with enormous sheets of glazing. this strategy orients the occupant of the spiraling building within the site, and opening up the otherwise solid volume. while the stacked volumes appear to nestle against the concrete tower, the two elements open into each other, as the tower offers vertical access throughout the project with a dynamic staircase.

the design team integrates garden areas for all seasons across the project. along the ground floor, a wellness garden integrates native plant life. meanwhile, a fifth floor winter garden displays a large, vertical green wall and glass louvres. these spaces allow students a relaxing retreat, a place to take time out.

the stacked zinc volumes are sliced and capped with large sheets of glazing the tower houses a dynamic stair, servicing all levels of the zinc volumes.

the tower’s height is enhanced with vertical fluting

project info:

project title: deakin university law school

architecture: woods bagot

location: melbourne, australia

landscape: ASPECT studios

completion: 2021

photography: peter bennetts | @peterbbennets

The post woods bagot completes its deakin law building with fluted concrete and zinc appeared first on designboom | architecture & design magazine.

north terrace: with water feature and cantilevered the radically open ground level arrival galleries evokes a sense of welcome
all images courtesy of DS+R and woods bagot

DS+R and woods bagot mention that a large portion of the plot will be decorated with a combination of plants and vegetation, paving, walls, terracing, seating, along with a range of water features, welcoming people in. meanwhile, a series of interconnected pathways will wind around the building and flow into smaller, peaceful areas throughout the site, in order to enable visitors to take time out from the city environment and immerse themselves into the landscape.

since the reference design for the building was unveiled in february 2021, the concept has developed through deeper and wider engagement with aboriginal communities as part of the collaborative design process. ‘driven by truth-telling and transparency and staying true to the original design narrative, the design has been led by engagement with the aboriginal reference group,’ shares rosina di maria, principal designer of woods bagot. creating stronger connection to country, the feature gallery is now completely outdoors, and the building more decisively originates from the earth with columns that appear to grow from out of the ground.

creating a stronger connection to country the cantilevered feature gallery is entirely outdoors and structural columns appear to grow from out of the ground

di maria also says the team is aware of the profound responsibility. ‘this project is a path to reconciliation, an important moment in setting the future for aboriginal and non-aboriginal people,’ she explains.‘we’re designing a vessel to hold—to nurture and care for—the stories of the world’s oldest and resilient, continuous culture on earth. the design must speak to the whole nation and especially aboriginal and torres strait islander peoples across australia,’ she adds.

aerial view with AACC wholly connected to the landscape

aerial view: nestled within the immersive gardens, the open-air amphitheater will host welcome to country and other events

project info:

name: aboriginal art and cultures center (AACC)
architects: diller scofidio + renfro (DS+R) and woods bagot
location: adelaide, australia
area: 123800 sqm 
expected completion: 2025

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grounded on kaurna land, the design of the 11,500 square meter (123,785 square foot) building originates from the aboriginal conception of the elements that link us to place: earth, land, and sky. the design team explains that the narrative for the building is based on the deep aboriginal connection to country, place, and kin, with connected layers being the foundation of the design.

all images courtesy of DS+R and woods bagot

DS+R and woods bagot say that the lower level galleries and terraced landscapes are carved from the earth, providing indoor exhibition spaces, performance spaces, and a gathering area for ‘welcome to country’ ceremonies within the outdoor amphitheater. meanwhile, reveals in the upper galleries frame views oriented to the sky and natural surroundings, while also exposing the activity within. in total, the AACC offers 7,000 square metres (75,347 sqf) of exhibition space — ranging in terms of size, height, and light quality, while all offering views of the natural surroundings.

at the heart of the building is a flexible, three-story gathering and performance space that visitors spiral around as they make their way to different levels. for both the structure and the façade, the design team drew inspiration from the temporary shelters created by aboriginal peoples across australia, known by names such as ‘wurlie’ and ‘humpy’. a basket-like nest of columns shapes the central space and anchors the entire building, placing storytelling at the heart of the building. draped onto this structure is a softly shimmering woven skin that tilts open to connect aboriginal art and cultures back to the public and to country.

‘we’re thrilled to be part of this ground-breaking vision to create a place of pride that authentically honors the oldest living cultures on the planet,’ says DS+R partner charles renfro. ‘this first-of-its-kind project has taken on a new life with our continued collaboration with the aboriginal community and other stakeholder groups, as well as our australian design partner woods bagot. the AACC will welcome visitors through a radically open ground floor, into a safe space with storytelling at its heart. it will be a building of the 21st century, while remaining agile enough to allow future generations to evolve their own storytelling.’

construction is set to get underway later in 2021 with the center scheduled to open in early 2025. the design collaboration between DS+R and woods bagot started with the competition winning entry for ‘adelaide contemporary’, which can bee seen on designboom here.

project info:

name: aboriginal art and cultures centre (AACC)
location: adelaide, australia
architects: diller scofidio + renfro (DS+R) and woods bagot
status: construction set to start later in 2021 with opening scheduled for early 2025
more info: DS+R’s website

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all images courtesy of woods bagot

the previously inaccessible historical site of howard smith wharves was transferred to brisbane city council from the queensland government in 2004 on the proviso that it be turned into a public park with limited commercial development. woods bagot‘s masterplan fulfills the stipulation that only a maximum of 10% of the site can be occupied by new buildings. as such, the architects have dedicated most of the land to green public open space and repurposed existing structures, while they adopted a rustic palette that unifies the overall composition and harmoniously binds old with new. the introduction of exhibition space, hotel, restaurants and bars, activate and complement the new public spaces along the riverfront.

one of the highlights of the precinct is the 1,500 sqm exhibition space, howard’s hall, which takes its cues from the simple functionality of the nearby wharf structures. the building features a saw tooth roof, partially retractable floor-to-ceiling windows to maximize the riverfront views and operable walls to maximize flexibility. throughout the entire project, woods bagot retained as much of the original and existing building fabric, materials, existing structure, detailing and openings as possible. materials not fit for their original purpose were adapted for other uses on site, and minimal materials were removed.

careful urban and landscape design has seen the site complete brisbane’s pedestrian links to new farm river walk and brisbane CBD through the creation of a shared pedestrian and cycle path through the center of the site. two new public lifts further activate the waterfront location, enhance safety and usability. as a result, the previously inaccessible site now accommodates for an estimated 21,000 visitors per week. the redevelopment also addresses waste from business operations, and employs ways to reduce it. 95% of all food waste is composted on site, while all glass, cardboard and some plastics are separated and recycled. the precinct brewery and coffee roastery produces goods on-site for restaurants and event catering with on-site gardens contributing to the production of fresh food as well as supporting local growers and makers.

project info:

name: howard smith wharves

architect: woods bagot (precinct masterplanning and concept design, architecture – howard’s hall)

urban design/ landscape architect/ heritage advisor: urbis

building certifier & DDA: mckenzie group

flood study consultant: WBM BMT

structural & civil engineers: robert bird group

services engineers: EMF griffiths ((mech/elec/hyd/vertical transportation/ESD)

traffic engineering: TTM

kitchen consultant: FSDA – food service design australia

acoustic consultant: max winders & associates

quantity surveyor: WT partnership

surveyor: DTS

project manager: howard smith wharves nominees

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all images courtesy of woods bagot

woods bagot has unveiled a design that reinstates the arches of the former grote street façade (partially demolished in the 1960s), adding a new social and commercial precinct supported by publicly accessible spaces on the ground floor and podium roof terraces. at the same, biodiverse roof terraces are to be planned as a green hub for lifestyle and hospitality experiences. the firm, which was founded in adelaide in 1869 with the purpose of designing for the future growth of the city and its people, has also planed for potential connections from the existing public car park over the market and 260 new parking spaces to provide much needed relief to the currently overloaded car park.

‘our design team has a local connection to this project,’ explains woods bagot associate principal and the project’s design leader, alex hall. ‘we live here, and visit the market regularly. this is an opportunity we meet with pride, sensitivity and a genuine desire to shape and evolve our city for the better.’

‘as part of a broader vision to attract the best and brightest people, the city’s intent is to transform the market precinct into one of australia’s most recognised lifestyle destinations,’ adds hall. ‘woods bagot proposes to capture the spirit of the market in the arcade redevelopment. the design for the new arcade will seamlessly integrate with the existing adelaide central market, which is being left untouched, by creating a continuous connection between the two neighbors.’

with construction set to break ground in 2021, woods bagot will now embark on a detailed design involving engagement with all stakeholders, the city of adelaide, and ICD property developer, to deepen its understanding of what’s needed – working through the entire planning process and guidelines. ‘the adelaide central market arcade has been a prominent community space for 150 years,’ says ICD property managing director, matthew khoo. ‘what we intend to do is enhance the existing structure by restoring and protecting heritage items and building complementary new assets that will become new amenities for the community to enjoy.’

project info:

name: central market arcade redevelopment

architect: woods bagot

location: adelaide, australia

client: ICD property with joint venture partner nanshan singapore, on behalf of city of adelaide

project manager: sinclair brook

status: winning competition design, construction begins 2021

value: 400 million AUD

GFA/ area: 11,000 sqm

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