Eleven Barrack by the Bentley Group occupies a heritage-listed former bank in Sydney’s CBD, reimagined through a refined collaboration between H&E Architects and Pascale Gomes-McNabb Design. This adaptive reuse project retains the gravitas of the original sandstone structure—its soaring ceilings, marble columns, and civic scale—while introducing a contemporary material palette and a layered, atmospheric interior. Bespoke silk lanterns by Moya Delany hover in the dramatic volume, creating a moody vertical rhythm that contrasts with the solidity of the existing fabric. The design negotiates heritage and innovation with restraint, turning a once-institutional space into an intimate, elevated dining environment. Eleven Barrack exemplifies how adaptive reuse can respectfully transform historic architecture into vibrant, sensory public space without compromising its legacy.

Allan Border Oval Pavilion unites sporting and community functions beneath a singular pitched roof that echoes the form of the two previous pavilions on this site. A robust concrete podium supports the expansive, centrally supported roof, creating an inclusive “umbrella” for community activities while providing an enduring formal presence within the Heritage context of Mosman Park.

More than a sports facility, the pavilion serves as a dynamic community hub, hosting cultural and civic events such as citizenship ceremonies, International Women’s Day breakfasts, and local group meetings. The generous canopy and integrated surrounding landscape support a variety of activities, including fitness training, basketball, children's play, and social gatherings, enhancing the site’s ongoing contribution to public life.

Perched on a 100-acre mountaintop, this off-grid dwelling is shaped by its panoramic views and raw landscape. Framed by old-growth forest and blackbutt trees, the house sits lightly on land, shaped by bushfire resilience, solar access, and site-responsive orientation. A central courtyard with 12m pool anchors four interconnected zones: a treehouse-like bedroom wing, sunken living pavilion, utility level, and linking outdoor spaces. Recycled blackbutt, charred cladding, raw concrete, and dark steel reflect the forest’s material palette. Sliding openings and glass louvres enable passive ventilation and seamless landscape engagement. The home is entirely self-sufficient, with 13kW solar, battery storage, 150kL water tanks, and on-site treatment. Elegantly restrained, the project dissolves boundaries between architecture and place, atmosphere and infrastructure.

Murray Fredericks Receives Best Photography Award

Photographer Murray Fredericks traded traditional black-and-white landscapes for something far more elemental—setting fire to dead trees in an Australian lake to create haunting, ephemeral sculptures. His Blaze series is part protest, part poetry.

Curious how he pulled it off?