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last year, examines one of the mostcompact and sustainable cities in theworld, Hong Kong, in his piece aboutthe recently published book The Makingof Hong Kong: From Vertical to Volumetric.The book was co-authored by three membersof ABP: Barrie Shelton, Justyna Karakiewiczand myself, and draws on our individualexperiences and insights into possiblelessons for sustainable city form. Finally,on the theme of cities and urban environments,Hannah Lewi encourages us to experiencearchitecture at the street level by takingher iPod walking tour which she uses inher teaching and can be downloadedfrom the Apple App Store.There are many ways in which your supporthas significant impact for our students.This is evident in the piece on Identity,Diversity and the Metropolis: The InauguralHon. Evan Walker Design Studio Exhibition,a studio and exhibition led by Jefa Greenaway.Supported by the Christopher Wren Clubin honour of one of their members, theexhibition showcased student work fromthe 2010 Master of Architecture studiowhich focused on indigenous place-making.You can read about it on page 25.We are always pleased to engage with ourlarge alumni community. One example ofthis was the presentation of a special filmevent, held in March, showcasing ArchiReview films of the 1950s and 1960s,created by some of Australia’s foremostarchitects and designers from this ‘goldenera’. The screening was a huge successwith over 200 alumni attending and drewinterest from ACMI and the InternationalMelbourne Film Festival. Peter Jones,who coordinated the event, gives a detailedreview of this special night on page 22.In this issue, we also profile the achievementsof one of our newest staff members, DrMarcus White, who has been named theNational Emerging Architect of the Year atthe Australian Achievement in ArchitectureAwards presented in March, and one of ourtalented MSD students, Luciana Fornari,recipient of a prestigious MacGeorgeTravelling Scholarship.The cover of this edition of Atrium featuresa photograph of an installation on St Kildabeach, which was designed, fabricatedand constructed by a group of studentswho participated in a Digital Design andFabrication summer workshop led byour Ex-Lab (Experimental Design Lab).The installation was part of the 2011St Kilda Festival and exposed the workof our students to a public audience inthe thousands. It is another example ofour Faculty’s diverse studio and workshopoutcomes engaging with people beyondthe university.Our rich events culture continues in 2011.Check out the ‘From the Faculty’ sectionin this issue to read more about our recentand upcoming exhibitions, public lecturesand other activities. You can also visit ourwebsite to access our regularly updatedcalendar of events: http://www.msd.unimelb.edu.au/events/.Please do come to visit us and enjoysome of our extensive offerings.Tom KvanFront Cover Image:Photography by Jas Johnston

Nader Tehrani VisitScott DrakeDuring the week of March 21 to 25, theFaculty was pleased to host the visit ofNader Tehrani, principal of Boston basedNADAAA Architects, and head of theDepartment of Architecture at MIT.Much of the week was spent workingin collaboration with John Wardle andAssociates, the two practices havingjoined forces to with the commission todesign the new building for the Facultyof Architecture, Building and Planningat the University of Melbourne. Otherevents included the first of this year’sDean’s Lecture Series, a floor talk forthe opening of an exhibition of NADAAA’swork in the Wunderlich Gallery, and astudio session with masters studentsfrom the Melbourne School of Design.The Dean’s lecture, held on the Tuesdayevening and attracting an audience ofnearly 500 people, commenced as aconversation between Nader and JohnWardle. The discussion began with theissue of legibility, the communicationof both design ideas and the processof making through architecture. Tehraninoted that regardless of the architect’sintention, the public reads architecture,but in many different ways. No longerdoes a single code or languagecommunicate to a united audience,who are now equipped broader accessto knowledge and culture. But regardlessof the reading, it is always the case thatthe visceral, the tactile, and the experientialare always embedded in architecture.This physicality is what connectsarchitectural ideas and their manifestationthrough construction.Ironically, it is processes of digital fabricationthat have focused attention on theimportance of details. While the digitalextends techniques of repetition andmass production that characterizedmodernism, it also opens up the possibilityof a new kind of craft. This is not a nostalgicregression to handmade artifacts, buta situation where the hand of the artisancan be captured through digital fabricationtechniques. Tehrani noted that the computercame into architectural education shortlyafter his own graduation. In contrastto the mythologies that the resultantautomation would diminish the importanceof authorship, it had instead created anew space in which human touch couldbe expressed. The ability with digitalfabrication to craft the processes ofdesign and making, rather than the finalproduct, meant that architects couldbe secure about the role of the authorwithout being sentimental about it.The fact that digital fabrication allowsdirect translation from idea into realitymeans that it can overcome linearprocesses of idea generation, followedby documentation, followed by fabrication.It is now possible for the detail to be thegenerator of the design; no longer theend point or expression or a prior idea,it is instead the site of ideation, a codefor what is possible in architecture.Wardle then asked about the idea oflongevity or adaptability; the contrastbetween design for purpose (such aswith a new building) and design fortimelessness. Tehrani suggested that thelatter had often been misinterpreted asrelevance to any time or any period, butthat it was best understood through workthat speaks directly to its time but whichhas the ability to resonate with issues thatare relevant architecture over the long term.In the rest of his lecture – titled “Practicalpedagogies and pedagogical practices”– Tehrani addressed themes learnt fromthe intersections of teaching and building.Beginning with images of Wardle’s work,he identified themes that paralleled thoseof his own practice: issues of construction,of the body in architecture, and ofspecification as a mechanism for building.He explained how these issues had beenlargely overlooked at the time of his owneducation, which was instead characterizedby a shift from the Postmodernist interestin historical typologies into the challengesfaced by architecture in the light ofpost-structuralist and deconstructivisttheory. Neither, he argued, properly>

Since the late 1980s, successiveState Governments have embarkedon a relentless program of civicprojects which have changed theface of Melbourne.Transforming MelbourneSEAN SWEENEYIn this article I will outline the significantand ongoing transformation of Melbournethat occurred while I was Director of MajorProjects Victoria.As the article ‘Today’s City Created in thePast’ published in the last edition of AtriumAtrium reveals, the modern transformationof Melbourne began in the 1980s with thevisionary work of Evan Walker and DavidYencken. It was their leadership in urbanplanning which initiated Melbourne’s rejuvenation.The Cain Government soon displayed similarleadership by promulgating a special purposeproject delivery unit which was tasked withdelivering projects of such significance andpotential risk that they needed a specialfocus. This unit was initially called the Officeof Major Projects, which evolved into whatis now known as Major Projects Victoria (MPV).It is a point worth noting that planning withoutexecution remains a largely academic exercise.Since the late 1980s, successive StateGovernments have embarked on a relentlessprogram of civic projects which have changedthe face of Melbourne. The reason mostpeople join the construction industry and,the reason most senior people within theindustry remain, is it is one of the few industrieswhere you have the chance to leave yourmark in a visible way. For practical peoplethis is an enormous motivator. The opportunityto make a difference at MPV was a bigattraction for me.Around the same time as I joined MajorProjects Victoria, I enrolled at the thenMelbourne University Private in a Masterof Public Infrastructure. I thought this wouldcomplement the role I was embarking onwith Major Projects Victoria. On submissionof my draft Master’s thesis, I was encouragedby my supervisor Associate Professor ColinDuffield to consider doing a PhD. A numberof my peers politely informed me thatembarking on such a commitment at thisstage of my career was an indulgentfolly: one that held few practical benefits.The reality, as it turned out, could not havebeen further from the truth.Early in my tenure, I read a quote by JohnDenton about the impact that major civicprojects have on us. In this quote he notedthat these major projects become the visiblereminder of successive governments and,in this way, become a legacy of the successivegovernments for the people they serve. Thisquote affected my view of the role of MajorProjects Victoria in a profound way. It is fairto say that most project delivery organisationsare driven to strive for outcomes in terms oftime and cost on a project by project basis.They seldom think in terms of the legacythat their projects will represent. GivenMajor Projects Victoria’s potential to impactMelbourne’s built environment, I believe itwas crucial that we viewed our role in termsof the legacy we would leave behind. Thissubtle change of thinking affected everythingwe did from then on.>

Atrium16 | 2011PAGE08 | 09THE UNIVERSITY OF MELBOURNEFACULTY OF ARCHITECTURE, BUILDING & PLANNING1.

2. 3.Another major change in thinking duringmy time as Executive Director of MajorProjects Victoria was in our relationshipwith University of Melbourne. Webelieved that it was crucial to engagewith and support the activities ofUniversities who taught the futurepractitioners of our industry. Beingenrolled in a PhD at Melbourne madeit the obvious institution for me to focusthis engagement.Two areas of interest were design qualityand sustainability. In both these areasMajor Projects Victoria worked activelywith the University on post graduatedesign collaborations. Two significantexamples of this were the support andinvolvement MPV had with two postgraduate design projects: one underthe direction of Professor Chris Ryan andthe other led by Professor Catherin Bull.These projects considered two major sitesin inner Melbourne: the land to the eastof Federation Square and the land to thenorth of Southern Cross Station. Boththese sites were being analysed by MPVto assess what could be done with them.The outcomes of these design projectschallenged my paradigms about whatwas possible and appropriate use forboth sites. These collaborations betweenMPV and the Faculty of Architecture Buildingand Planning were high positive andproductive experiences for me and theysubtly impacted their thinking in regardto these sites and our analysis of them.While this was occurring, I was proceedingwith my own PhD research which triggeredanother change in my thinking. A PhDhighlights the importance of researchand data. The construction industryis generally resistant to both. However,this exposure changed my approachto dealing with many of the problemswe faced delivering our major projects.I was also fortunate to have workedfor Major Projects Victoria from 2004 to2011. I was involved or responsible forthe delivery of a suite of CommonwealthGames projects including the Athlete’sVillage, the Swimming Pool and WilliamBarak Bridge, The Austin and MercyHospital, The Australian Synchrotron,the redevelopment of the MelbourneShowgrounds, The Melbourne RecitalCentre/Melbourne Theatre Company,The Melbourne Convention Centre andthe new sports stadium (AAMI Park).Projects under way when I left MPV inFebruary included redevelopments ofHamer Hall and the Melbourne ParkTennis Centre.My farewell function was held in theRedmond Barry Room on Level 46 of 50Collins Place, which overlooks the YarraRiver. From this vantage point, I countedalmost 20 projects which Major ProjectsVictoria has completed over the past 20years in that immediate vicinity. Thereis no other city in Australia that has hadsuch a sustained and intense periodof “city building”. Going back to JohnDenton’s quote - what sort of a legacywere we leaving behind? I was enormouslyproud that in the last three years of mytenure, projects managed by MajorProjects Victoria had won over 40international, national and state awards.These projects have greatly contributedto Melbourne’s built environment andhave enhanced its justified reputationas the design capital of Australia.Sean Sweeney is an alumnus ofthe Faculty of Architecture, Buildingand Planning.Images 1. Melbourne Recital Centre/MTC2. AAMI Park 3. Melbourne Convention CentreAll photographs by Peter Glenane

Atrium16 | 2011PAGE010 | 11 | 02THE UNIVERSITY OF MELBOURNEFACULTY OF ARCHITECTURE, BUILDING & PLANNINGCorbett Lyon leads MArch Studio:‘Mutations, Hybrids and New Species’LOUISA RAGASOne of the defining aspects of the MelbourneSchool of Design (MSD) is the inclusionof successful practitioners to lead designstudios within our Master’s programs. MSDstudents are not only taught by world-classacademics on staff, but have the opportunityto take individual subjects, such as theMaster’s Architecture Thesis studio, whichare facilitated by highly experiencedpractitioners and innovative design thinkers.Their creative and technical expertise andindustry knowledge is of immense value toMSD students, who are about to embark ontheir own professional careers. As part of ouraim to produce world-class graduates, theinvolvement of practitioners in our graduateprograms ensures they are industry focused.Professor Philip Goad, Director of the MSD,believes that involving leading architectsin the MSD’s studio program is vital inextending students’ understanding of designprinciples and current industry challenges.‘One of the key aims of the MelbourneSchool of Design is to foster strongrelationships with leading design practitioners,to get them into the design studio andfacilitate direct contact with students overan entire semester. In this way, leadingdesigners can explore and speculatetogether with graduate students on possibledesign futures. The benefits are great. It’snot about traditional design instruction buta form of collaborative design research. Thisis the culture that we want to see developand thrive within the MSD: the studio asdesign laboratory.’Professor, architect and creator of thestunning Lyon House Museum, CorbettLyon is one such local practitioner who,along with graduate architect ChristinaBozsan, led a Master of ArchitectureThesis studio in 2010 with the intriguingtitle ‘Mutations, Hybrids and New Species:Typological Speculations on the Future City.’Corbett Lyon is a Director of Lyons, anarchitectural and urban design practicebased in Melbourne. The firm designsprojects which are expressive of a contemporaryexperience of local and global culture -a world of ideas, new media, technologiesand rapidly changing urbanism. Lyons isalso interested in the history and cultureof ideas and how ideas can be used to createmeaningful contemporary architecture.The ‘Mutations, Hybrids and New Species’studio reflects this commitment to ideasand how they define the design process.Corbett challenged the students to explorethe genealogy and taxonomy of architecturaltypes, focusing on how these have evolvedand transformed in response to context,social and political drivers, the advent ofnew technologies and altered cultural andeconomic conditions. Students had to locatethemselves within this research frameworkto make speculations on new typologies:grafted/recombined hybrids, geneticallymodified mutations and emergent newspecies in response to a self-definedforecast of future realities and needs.As Corbett stated in his studio outline:‘The concept that architecture imitatesnature is not a recent revelation. It’s an ideathat has deep roots in the philosophicalstudy of architecture and this approachprovided a means to answer such questionsas: What are the generators for the futurecity? What are the generators for thesenew types? What is the new DNA?’Early in the studio, students developed theirtheoretical research component in groupsof three or four. These concepts were thenindividually expanded and developed intodetailed design propositions. The resultingdesigns were an urban proposal, a newbuilding or a small insertion, with the levelof resolution appropriate to the scale ofintervention/insertion/scheme/policy.‘I was delighted that ABP ProfessorialFellow, Corbett Lyon accepted the invitationto lead an MArch Design Thesis Studiosays Professor Goad. ‘Professor Lyon is notonly an outstanding architect and a gifteddesign teacher. Our students relished theircontact with him and the relevance of hisstudio’s intellectual challenge. They wereencouraged to experiment and test theirpropositions. This is exactly the sort ofdesign practice that we want to promotein the MSD: design as an ongoing processof iteration and exploration. It’s a form ofpractice that will ensure our graduatesearn a distinctive form of leadership withintheir chosen profession.’Giovanni Veronesi, a student who undertookLyon’s studio believed that the design studiooffered some great opportunities forreflective thinking:‘It helped me to understand what are myambitions and goals are as an architect…Nothing is radically new or original, it isa consequence of what preceded it. Inresponse to this cardinal principle, to achieveubiquity in time and context, a design needsto grasp the fertility of the forces that generatedthe present, mastering and reverberatingthem in to the future. Understanding suchforces and how they interact has been thefirst hermeneutical research part of thisstudio … The key advice came during astudio session where I was reminded of thepoignancy of need as an architectural goal.’Corbett Lyon also inspired manygraduating MSD students whenhe delivered his Occasional Addressat the University of Melbourne Conferringof Degrees Ceremony in December2010. You can read an edited versionof his speech on Page 11.ImagesStudent work from the Mutations, Hybridsand New Species studio 1. Art work in the Docklandsby Sheng Dongqing 2 & 3. Waterlily City by Xiliu.1. 2. 3.

Atrium16 | 2011PAGE12 | 13THE UNIVERSITY OF MELBOURNEFACULTY OF ARCHITECTURE, BUILDING & PLANNINGGender-InclusiveCities and the Rightto the CityCarolyn Whitzman‘Gender Inclusive Cities’ is a three year(2009-2012) action research project fundedby the UN Trust Fund to Eliminate ViolenceAgainst Women. It is also the name ofa MSD Travelling Studio in Montreal thatis being coordinated by myself and ClareNewton in July 2011.The action research project is beingcoordinated by Women in Cities International,a knowledge exchange network based inMontreal, involving both researchers andgrassroots women’s organizations fromaround the world. I have been involved inWomen in Cities International since its creationin 2002, when it developed the first InternationalConference on Women’s Safety. The ThirdInternational Conference on Women’s Safetyrecently took place, in November 2010 inDelhi, India.The Gender Inclusive Cities research projectworks with four cities that have previouslyundertaken work on preventing public violenceagainst women, using partnerships betweenlocal government and grassroots communityorganizations as a mechanism. The fourcities involved are: Delhi, India; Rosario,Argentina, Dar es Salaam, Tanzania; andPetrovadodsk, Russia.The aim of the project is to create citiesthat are inclusive and respect the right of allpeople, including women, to live, work andmove around without fear or violence. GenderInclusive Cities seeks to identify the factorsthat cause and perpetuate inequalitiesand exclusion, as well as the policies andprogramme approaches that enhancewomen’s inclusion and “right to the city’.The first stage of project consisted ofdeveloping baseline indicators of genderedfear and violence in the four cities usingsimilar methodological tools: communitymapping, street surveys, focus groupdiscussions with groups ranging frommunicipal councillors to domestic workersand homeless people, and policy reviews.This critical work has been completed andis published on the Women in Cities website:http://womenincities.org/pdf-general/gicp_baseline.pdfThe second stage of the project is to pilotinterventions designed to reduce the publicvulnerability and exclusion women and girlsface, and promote their access to andunderstanding of their rights. There will bean evaluation of the effectiveness of the toolsdeveloped, and also a preliminary sense ofwhether these interventions are making a realimpact on women’s differential use of, andcomfort in, public space.The Travelling Studio we are conducting inJuly is a unique opportunity for MelbourneSchool of Design students to engage withsome of the researchers from Women inCities International and also to examine arange of issues in relation to a neighbourhoodin transformation in Montreal. Theneighbourhood, Pointe St. Charles, isa post-industrial working class communityfacing gentrification and also threats toheritage. Housing, sustainable transport,and economic transformation issues willbe examined through a gender lens, aswell as access to public space and to localdecision-making.For more information on this research project:Women in Cities International:http://www.femmesetvilles.org/Upclose podcast on Gender Inclusive Cities:http://upclose.unimelb.edu.au/episode/351Gender Inclusive Cities on youtube:http://www.youtube.com/watch?v=ec3f1Ph1F_8Dr Carolyn Whitzman is an AssociateProfessor of Urban Planning.

Images supplied by Carolyn Whitzman

Atrium16 | 2011PAGE016 | 17 | 02THE UNIVERSITY OF MELBOURNEFACULTY OF ARCHITECTURE, BUILDING & PLANNINGfactor mega-projects, quirky designs andmind-boggling general statistics of growthand development; and too little is turning tomore fundamental aspects of urban structure,specific morphologies, component typologiesand systems, and how these come togetherto work effectively as compact city forms.Our backgrounds and beliefs brought ustogether to investigate the experience ofone city, Hong Kong, in the making of smallfootprint urban forms. We are fully aware thatit is the product of unique circumstances: theplantation of a tiny Western (British) colonialsettlement in an Eastern (Chinese) culturalsetting, and waves of refugees flooding intoa tight physical island-and-peninsular settingof rugged hills and little level land. In our book,we step back before British settlement to showthat multi-level high-density structures withmulti-level movement were a rural ‘volumetric’building phenomenon in the immediateregion where Hong Kong grew.This the starting point for our portrayal ofHong Kong as a volumetric as well as verticalcity – where form, movement infrastructureand activities are widely configured to operateincreasingly in a 3D and multi-directionalmanner – hence our title. Volumetric qualitiesare now evident in all kinds of structures andinfra-structures, across urban Hong Kong:elevated express walkways, elevatedescalator streets, tower and podium centres,multi-level market and mixed use communitycentres, drive-up high-rise warehouses,multi-level transport systems in all sensesof the word (operating at and across manylevels with vehicles that are themselvesmulti-deck, including double-deck elevators inbuildings), etc. Further we analyse such formsin many illustrations, using consistent graphictechniques in shades of red and black.We argue that higher densities are necessaryfor more than ecological reasons extendingthese to include changes in demographicstructure, economic organisation andassociated lifestyles. We project HongKong as deserving of more attention fromdesigners and planners, speculate on itsfuture forms, and at least imply overtadaptation for other places.Lastly, the publication is part of an ongoingprogram of investigation of Asian andvolumetric ‘working models’ – city quartersand their building and space typologies.Further, the program includes graduate‘Travelling Studios’ with other leadinguniversities from the Asian regionand beyond - thus integrating teachingand research.The Making of Hong Kong: from Verticalto Volumetric is by Barrie Shelton, JustynaKarakiewicz and Thomas Kvan and publishedby Routledge, London & New York (2011).For further details visit:www.makingofhk.com/makingofhk.swfBarrie Shelton is Associate Professorof Urban Design.The co-authors of The Makingof Hong Kong – Barrie Sheltonand Justyna Karakiewicz andTom Kvan – with Professor GlynDavis, Vice-Chancellor of theUniversity of Melbourne (2ndfrom left)Image oppositeHAW’s Foyn-JohansonHouse (2009) in Northcote

Atrium16 | 2011PAGE018 | 19 | 02THE UNIVERSITY OF MELBOURNEFACULTY OF ARCHITECTURE, BUILDING & PLANNINGStudent Profile:Luciani Fornari ColomboLouisa RagasLuciani Fornari Colombo is an internationalPhD student in the Faculty of ArchitectureBuilding and Planning and a recent recipientof a prestigious Norman MacGeorge TravellingScholarship. With a passion for the architectureof Mies van der Rohe, Luciani travelled tosome of the great design centres of NorthAmerica to investigate the phenomenonof ‘theoretical projects’. Atrium spoke toLuciana about her research, the work ofMies van der Rohe and the value of travel.A: Describe your research topic andwhat you hope to uncover and achieve:My thesis looks at the phenomenon‘theoretical projects’: projects undertakenas a self-imposed challenge to developgeneric architectural ideas able to inspirefuture designs. In order to achieve a deeperunderstanding of this phenomenon, Iadopted as a case study Mies van derRohe’s theoretical projects. There is abundantliterature on this architect’s work, but so farnone have looked at it from this perspective.In this sense, the role of theoretical projectsin his career has been largely overlooked.In my thesis, I argue that theoretical projectsare important as a tool in the developmentof architectural ideas and can provide themeans for its more efficient application inarchitectural practice, research, teaching,exhibition, publication, and competition.In Australia, for example, competitionssuch as the AA Prize for Unbuilt Workhave stimulated the production of theoreticalprojects, by seeking speculations on thefutures of architecture. Yet, not all projectspresented in such events are theoretical.Theoretical projects are not only unbuilt.Images1& 2. Farnsworth House (1946-51, Plano)3. Federal Center (1959-64, Chicago)4. IIT Robert F. Carr Memorial Chapelof Saint Savior (1949-52, Chicago)5. Seagram Building (1954-58, New York).All photographs by Luciana F. ColomboA: As a Norman MacGeorge Scholarshiprecipient you were able to conductsignificant research overseas’. Wheredid you travel to and what did why?For two months, I travelled throughoutNorth America to consult Mies van der Rohe’soriginal drawings, office papers, and otherrelevant documents. These documents areavailable in renowned institutions such asthe Museum of Modern Art in New York, theCanadian Centre for Architecture in Montreal,the Library of Congress in Washington DC,and the Art Institute of Chicago. In thesecities, I also interviewed historians andarchitects who had the opportunity to meetMies personally or who have outstandingknowledge on his work. Among thehistorians interviewed are Phyllis Lambert,founder and director of the Canadian Centrefor Architecture, former Mies’s client, andcolleague; Barry Bergdoll, Chief Curatorof Architecture and Design at the Museumof Modern Art in NY, and Professor ofarchitectural history at Columbia University;Franz Schulze, Professor of Art Emeritus atLake Forest College and Mies’s biographer;and Kenneth Frampton, Ware Professor atColumbia University. Among the architectsinterviewed are Arthur Takeuchi, AssociateProfessor at the Illinois Institute of Technologyand Mies’s former student; and Dirk Lohan,Mies’s grandson, who worked with Mies inprojects such as the New National Gallery inBerlin. In addition, renowned architects suchas Stanley Tigerman and Bernard Tschumihave shared their own experiences in thedesign of theoretical projects.A: How did this international trip expandyour conceptual ideas and enhanceyour research?My thesis has benefited immensely from thisresearch trip. I discovered theoretical projectsthat Mies designed along his career thanI had previously identified through readilyavailable sources. Access to primary sources,Mies’s own explanations of his theoreticalprojects, has also been illuminating. Theseexplanations can be found in Mies’s letters,which are unpublished and only available inarchives such as at the Library of Congress.The insights and support from the intervieweeshas been very important as well.A: Would you encourage other Universityof Melbourne students to apply for aNorman MacGeorge Travelling Scholarship?This scholarship is remarkably generous,making a research trip of considerable durationin high-cost cities possible. In my case,it afforded more than financial aid. Asa member of the scholarship committee,Prof. Graham Brawn, kindly introduced meto a potential interviewee. After receivingthe interviewee’s positive response, I wasencouraged to invite other participants and,like this, to include interviews in my fieldworktrip. This enabled me to meet prestigiousscholars and architects, and to receive theirvaluable contributions.A: What are your career goals onceyou complete your PhD?I would like to publish the thesis as a bookwith prestigious publisher. I would also liketo pursue an academic career, and to keepin touch with the architectural practice, perhapsthrough theoretical projects. As my researchdeals with the work of an internationallyrenowned architect, and with a phenomenonof generic nature, I believe its outcomeswill be relevant to different places around theworld, including my home country of Braziland Australia. I hope that in a general sensemy work will serve life, and its daily challenges.As Mies van der Rohe once stated, ‘Life iswhat matters, in its fullness, in its spiritualand concrete interconnection’.Luciana is supervised byAssociate Professor Julie Willis.

Atrium16 | 2011PAGE020 | 21 | 02THE UNIVERSITY OF MELBOURNEFACULTY OF ARCHITECTURE, BUILDING & PLANNINGMSD Dean’s Honours Awards 2010:Celebrating Academic Excellence and InnovationThe Faculty of Architecture, Buildingand Planning celebrated the outstandingacademic achievements of MelbourneSchool of Design (MSD) students and staffat the annual Dean’s Honours Awards inMay. The annual Awards are an opportunityto reflect on and celebrate the achievementsof our brightest postgraduate studentsand inspirational academic staff. The Dean’sHonours Awards have a strong tradition,with many recipients being amongst ourmost accomplished alumni, working acrossthe built environment professions both inAustralia and overseas’. Various awardswere presented on the night by Facultystaff members, with Professor Tom Kvangiving awards to our highest-achieving MSDstudents who made the Dean’s Honours List.DEAN’S HONOURS LISTGraduate Diploma in Property ValuationJoong KewkMaster of Architecture (200 point)Year 1: Edward Blanch, MatthewChamberlain, Christopher Loh, LindseyOng, Sonya Parton, Robert VentrescaYear 2: Madeleine Beech, JoanneNataprawira, Justin Bolton, Marina Carroll,Anna Jeffery, India Mackie, Stephanie PooleMaster of Architecture (300 point)Year 1: Joshua HaddadMaster of ConstructionManagement (200 point)Year 1: Sudha VenkateshYear 2: Sida GuoMaster of ConstructionManagement (300 point)Year 1: Christina VasinMaster of Property (200 point)Year 1: Cameron JonesYear 2: Danielle LawesMaster of Property (300 point)Year 1: Michael ProsserMaster of LandscapeArchitecture (200 point)Year 1: Carlia BatesYear 2: Caroline LuizMaster of LandscapeArchitecture (300 point)Year 1: Kira GroverYear 2: Dermot EganMaster of LandscapeArchitecture (300 point)Year 3: Fiona JohnsonMaster of Urban PlanningYear 1: Madeleine Beart, Paul FleckneyYear 2: Jason Gilbert, Elanna NolanMaster of Planning and DesignMillie RamsayMaster of Urban DesignYear 1: Kristie HowesIn addition, over 20 students were recognisedfor their achievements in a particular subjector discipline. This suite of awards is stronglysupported by benefactors, including highprofile companies and organizations suchas Bates Smart Pty Ltd, AECOM, AustralianInstitute of Building and the AustralianProperty Institute. Partnerships such asthese reflect our Faculty’s strong connectionswith the built environment professions,and demonstrate that the industry sees thebenefit of investing in the futures of talentedstudents. The winners of these awards areoutlined below:ARCHITECTURERAIA/Bates Smart Graduate Prize:Joanne NataprawiraElizabeth Bennett Prize for ComputerApplications: Kean FooLANDSCAPE ARCHITECTUREThe Neil Fraser Award for SustainableLandscape Design: David HeymannAECOM Australia Prize for Urban Designand Landscape Architecture: Caroline LuizPROPERTY AND CONSTRUCTIONAustralian Institute of Building Prize:Marcus JankieChartered Institute of Building Award(UG): Marcus JankieChartered Institute of Building Award(PG Coursework): Sudha VenkateshAustralian Property Institute: Carl BarrileCorenet Global Corporate Real Estate(CRE) Award: Peck SamHansen Yuncken Prize: Annie Chanand Angela JosephHarry Wexler AIQS Prize: Melissa EvansRoyal Institute of Chartered Surveyors Prize:1) Excellence in Property: Benjamin Hui2) Excellence in Quantity Surveying:Ario WibowoURBAN PLANNINGErnest Fooks Memorial Award:Madeleine BeechFACULTY RESEARCH AWARDSDean’s Prize for PublishedPostgraduate ResearchFirst Prize: Crystal LegacyEqual Second Prize: Stephen Pascoeand Milinda PathirajaJohn Grice Award: Award for excellencein a PhD or Masters’ thesis completed inany given year by a research postgraduatestudent in Architecture - Dr Iris Levin AzrielGraham Treloar Fellowship for EarlyCareer Researchers: Dr Stanislav RoudavskiAcademic staff were also recognised fortheir achievements in creating and facilitatinginnovative curriculum and teaching and acrossthe disciplines in Architecture, Buildingand Planning.Full details of the award winnersare on the ABP website.The Faculty of Architecture, Buildingand Planning gratefully acknowledges thebenefactors of the 2010 prizes and awards:Mrs Noemi FooksMrs J A StosiusAlasdair and Jenny FraserAustralian Institute of BuildingAustralian Institute of Quantity SurveyorsAustralian Property InstituteBates Smart Pty LtdChartered Institute of BuildingCoreNet Gobal (Australian Chapters)Graham Treloar FellowshipHansen Yuncken Pty LtdRoyal Australian Institute of ArchitectsRoyal Institute of Chartered Surveyors

Atrium16 | 2011PAGE022 | 23 | 02THE UNIVERSITY OF MELBOURNEFACULTY OF ARCHITECTURE, BUILDING & PLANNINGReel ReunionPETER JONESOn 25 March 2011, 40 alumni celebrated50 years since commencing architecturestudies in 1961. The reunion compass wasextended forward and back a decade toinvolve another 100 alumni – all associatedwith ten unique films created between1953-1967 by University of Melbournestudents and graduates.For this special film event, people flew infrom the U.K, Mumbai, Singapore, Perth,ACT and Sydney. The screening was heldin the Prince Philip Theatre and was hostedby the Melbourne School of Design (MSD)and Faculty of Architecture, Building andPlanning. Tom Kvan, Dean of the Faculty,and Philip Goad, Director of the MSDintroduced the evening.Twelve alumni recalled what it was like tohave been part of these productions: PeterMcIntyre (1953, 1958); Robin Cuming (1953);Howard McCorkell (1959); Chris Seddon(1960); Tamara Winikoff, Anne Cunninghamand Claudia Esdaile (1961); Stephen Adorjan(1963); Max Hipkins (1964); Hugh O’Neill(1965); Tony Green (1966) and GarryMartin (1967).The audience responded to the universalthemes captured in the short films – attitudesof cynicism to advertising; philistinism todomestic architectural heritage; ultra-emphasison competitive sport; prudery in the arts;sexism; governmentalism in education;facadism in our lives; economic rationalismand racism for visiting students andimmigrants. Were they ‘boat people’who clambered down from Polywoodside –captured as a Dickensian before-shot ofwhat years later needed a National trustrestoration committee with Peter McIntyrechair? Homage was paid on the night tohis special success – the spawning of theMouldie generations. What was that in thefilm he was malevolently mixing in a beaker?Thanks were given to those who carriedthe cans safely for half a century. Eric Kerrwove camera for the five early films. MrsMuriel Kerr rummaged and retrieved them.Gary Patterson nurtured the other five. Ibuttonholed Nigel Buesst, who directed theprofessional nip, tuck and metamorphosisinto the form seen that night. Nigel wasthe cinematographer who shot Façade andyears later Squizzy Taylor. Another RevueFilm photographer from outside was theavant-garde John Scott who filmed Johnis an Architecture Student, 1965. His worklater made the cover of Time. StudentRussell Hagg directed the 1960 and 1961films and later worked with Kubrick. The1963 student film – A ½ hour of a day inthe life of Robin Beckett was said to havebeen shown at the Cannes Film Festival.The challenge after our one-night festivalwas put for the next generations of alumnito reintroduce the student films of the ‘70’sto ‘90’s. The last frame was played by 1995.Old celluloids in their cans, never die – sowe were fortunate to have encouragementfrom those of the Australian Centre for theMoving Image (ACMI) in conjunction with`Australiamediateque National Film and SoundArchives to foster-home the original masters.Some might say these short films were,‘every day’. Others might say it anotherway – that this giant pile of celluloid containedthat tiny bit of … MAGIC.Peter Jones was co-producer, vibesplayer and actor in the 1964 architecturalstudent film Façade.1. 2.Images 1. Peter Jones, Peter McIntyre, Ondine McGlashan2. Dr George Michell, Peter Jones, Sally Anderson

We’re inthis togetherThe Faculty of Architecture, Building andPlanning has always received generoussupport from alumni, friends and industrypartners to create opportunities for ourtalented students.As a Faculty, we are committed to ensuringthat our students - the next generationof built environment professionals -understand the need for sustainablesolutions in the creation of urban centres.Now more than ever we have an opportunityto make a significant impact on ourenvironmental and social futuresby managing urban change.But how do we do this? One key wayis by ensuring that our students developinterdisciplinary knowledge, wheresustainability principles are embeddedas a way of thinking and collaborationis the preferred mode of practice. Toachieve this it is clear we must createa new, flexible academic space andan inspirational, world-class curriculum.If you are interested in obtaininga special DVD showcasing the 10architecture films please contact ABPevents - abp-events@unimelb.edu.auIf you have already registeredyour interest, you do not needto do so again.We have embarked on creating a newbuilding for the Faculty which will be uniquein Australia: it will be a centre of transformationaleducation and research into sustainablecities and an exemplar of sustainableinfrastructure. In particular, it will allowstudents and researchers to exploresustainability issues across multipledisciplines in a living and pedagogicalbuilding that can be adapted to changingneeds, designed to provide ongoingfeedback to students and researchers forreal-time learning. Therefore, the facilityitself will be the platform for trainingour future leaders engaged in planning,designing and constructing cities andcommunities here and abroad.We invite you to join with us to supportour endeavours. By supporting ourcommunity of students and researchersand our building project, you are makinga significant investment in the educational,environmental and economic health ofthe built environment professions forfuture generations.

Atrium16 | 2011PAGE024 | 25 | 02THE UNIVERSITY OF MELBOURNEFACULTY OF ARCHITECTURE, BUILDING & PLANNINGYES! I want to support the Faculty of Architecture, Buildingand Planning, University of Melbourne through my gift of:Here is my single gift of:$100 $250 $500Chancellor’s Circle$1,000 $2,500 $5,000 Other $Please establish a recurring gift (Visa or MasterCard only):$20 $30 $50 $75$100 $250 $500Chancellor’s Circle > $1,000 Other $Monthly orAnnually for:1 year 2 years 3 yearsEnclosed is my cheque or money order(Payable to University of Melbourne) orPlease charge my credit card:Visa MasterCard American ExpressAccount NumberExpiry Date /Name as appears on cardSignaturePlease direct my support to:Scholarships Research New BuildingThe Faculty’sHighest PrioritiesThe Catherin Bull Scholarshipin Landscape ArchitectureImages1. Detail of project by Tara Ward2 & 3. Details of project by Aaron HealyIn publications and donor honour rolls, I/we wish my/our nameto read as follows:Please do not publicly acknowledge this gift.I am considering leaving a bequest to the Universityand would like some further information to be sent.Please return your form to:University of Melbourne Advancement OfficeUniversity of Melbourne VIC 3010 AustraliaTel: +61 3 8344 1751 Fax: +61 3 9348 0013Email: university-fund@unimelb.edu.auURL: www.unimelb.edu.au/givingThe University of Melbourne is a certified DGR. All gifts over $2.00to the University are tax-deductible in Australia. ABN: 84 002 705 224The University of Melbourne must comply with the Information Privacy Principlesof the Information Privacy Act 2000 (Vic) when collecting, using or handling personalinformation. Your details will not be passed on to a third party in breach of privacy laws.The University’s privacy policy is available at http://www.unimelb.edu.au/unisec/privacy.

Identity, Diversity andIndigenous Place-makingin MelbourneLouisa RagasMelbourne School of Design studentsrecently showcased their vision of whatit means to be Aboriginal in an urbancontext as part of the Inaugural Hon.Evan Walker Design Studio Exhibition– ‘Identity, Diversity and the Metropolis’.Thirteen Master of Architecture studentswere challenged to come up with alocation and designs for an Indigenouscommunity and cultural centre to be basedin Melbourne. The final exhibition in theWunderlich Gallery featured designsfor community centres, museums andlandscaped urban precincts, on varioussites from Birrarung Marr, to the northbank of the Yarra and Gertrude Streetin Fitzroy.The studio was led by alumnus JefaGreenaway, Director of GreenawayArchitects and a Project Architectat SJB Architects and explored waysthat architecture and design industrycould better represent Indigenous identityin urban spaces.‘Students were asked to consider exactlywhat constitutes the notion of ‘Aboriginality’and how it could be best representedthrough built forms,’ said Jefa. ‘It’s aparticularly acute issue, given the dearthof Aboriginals directly involved in the keydesign profession of architecture. Thelack of an identified architectural traditionresponding to the majority of urbanisedAboriginals is significant. The notion of anAboriginal gathering place is gaining greatmomentum. While an important area ofengagement, the prospect of representing adiversity of people, languages and culturesrequires balance.’‘The students really engaged with theseissues that face urban construction. Onesuggested a location opposite Governmenthouse as a commentary on power, with thesite bordered by the parliament building,the city grid and the church.’Jefa is a descendant of the Wailwan/Gamillaraay people and the only registeredIndigenous architect practicing in Victoria.He noted that the students’ work reflectedjust how powerful architecture can be inrepresenting cultural identity. ‘The needto question, engage and dissect the notionof the urban context as it relates to a peoplewho have confronted issues of culturaldiscontinuity, contested histories andthe erasure of important places of identity,memory and meaning was central tothis studio.’‘The final designs were all quite unique,and students were encouraged to designfrom the inside out. You have to make surethat something like this works from withinfirst, that’s the living breathing aspect of thecultural centre. While architecture symbolicallycan be an agent of change and offer thepotential for re-asserting a sense ofself-determination and identity, the studiotackled the challenge of avoiding ‘primitive’,‘traditional’ or ‘bush’ connotations that fallwithin the realm of cliché, kitsch orpatronising references.’This intriguing exhibition highlighted thepower of architecture and sensitive urbandesign to reflect and nurture a specificcultural identity. As Jefa wrote in theexhibition catalogue:‘Architecture can become significantlypowerful, visible and transformative,offering places to the forgotten, reflectsocial, political and economic realities,conflicts and desires. While architecturesymbolically can be an agent of changeand offer the potential for re-asserting asense of self-determination and identity,the studio tackles the challenge of avoiding‘primitive’, ‘traditional’ or ‘bush’ connotations.’The genesis of the studio came from anARC Linkage Grant, ‘Indigenous Placemakingin Melbourne’, with Melbourne City CouncilIndigenous Arts Program, the VictorianTraditional Owners Land Justice Groupand Reconciliation Victoria. The aim of thisresearch has been to advance the conceptof a gathering place or cultural centre inMelbourne for Aboriginals from all aroundthe state.The studio is named in recognition ofThe Honourable Evan Walker, ProfessorialFellow in Architecture at the Universityof Melbourne, where he was Dean ofthe Faculty of Architecture, Building andPlanning from 1991-1995. The exhibitionwas generously supported by theChristopher Wren Club.The students involved in the ‘Identity,Diversity and the Metropolis’ studiowere: Alison Castles, Rebecca deHaas, Hangfang Ge, Aaron Healy, AdityaKuthalam, Fong Chin Lee, StephanMoravski, Joanne Frances Nataprawira,Ashleigh St Clair, Lena Wang, Tara Ward,Shanshan XieIylia, Dhamiri Zakaria andLinna Zheng.Jefa Greenawayseizes a 2011 DuluxStudy Tour PrizeAt the recent Australian Achievementin Architecture Awards (AAAA), runby the Australian Institute of Architects,Jefa was one of four architects to receivea coveted Dulux Study Tour Prize. Thisprestigious prize will take Jefa on a whirlwindtour to the design centres of London,Barcelona and Copenhagen. He will meetleading international architects and visitlandmark sites such as the places asthe Tate Modern, 2012 Olympic Site, theBarcelona Pavilion, and the Bella Sky Hotel.

Atrium16 | 2011PAGE26 | 27THE UNIVERSITY OF MELBOURNEFACULTY OF ARCHITECTURE, BUILDING & PLANNINGFrom the FacultyWELCOMEBOOKSDr Marcus White joined the Faculty at thebeginning of the year as Lecturer – DigitalDesign in Architecture. Marcus was namedthe inaugural National Emerging Architectof the Year at the Australian Achievementin Architecture Awards (AAAA), run by theAIA in March. Sponsored by Lockwood,the award was judged on a range of criteria,including contribution to communityactivities related to architecture,involvement in official AIA activities andshowcasing excellence in architecturalpractice, research or education. You canread more about Marcus on page 17.Also at the 2011 Australian Achievementin Architecture Awards, alumnus AnnaRubbo was a recipient of the NevilleQuarry Architectural Education Prize andalumnus Jefa Greenaway was presentedwith a Dulux Study Tour Prize. Jefa is thefirst indigenous registered Architect inVictoria and jury of Dulux Study Tour feltthat Jefa’s ‘solid project experience andas the director as of his own practice, hasbegun to chart a direction to cementhimself as a contemporary emergingarchitectural practice.’The Elisabeth Murdoch Chair in LandscapeArchitecture appointment has beenfinalised. Professor Gini Lee, currentlyProfessor of Landscape Architecture atQUT, will join the Faculty in July of this year.Professor Miles Lewis will be retiring on30 June, after 42 years with the Faculty.Miles will continue to be connected to theFaculty, through his various with teachingand research activities. We will be celebratinghis many achievements and contributionsin coming months.CONGRATULATIONSCongratulations to Jillian Wallisswho won the Edward Brown Award forTeaching Excellence. This is a significantachievement and reflects the excellentcontribution that Jillian has made toteaching in the Faculty.Congratulations to recent Master of UrbanPlanning graduate Elanna Nolan, who wasthis year’s recipient of the Women’s PlanningNetwork Rising Star Scholarship. Elannawon for her essay entitled ‘Goingto Town: gender, youth and the city.’Congratulations also to alum AlexandraChu (BArch Hons 1997) founder of theAnken Group, who won the Australia PostSustainable Development Award at theAustCham Australia China BusinessAwards for the Group’s showcase AnkenGreen warehouse.UPCOMING EVENTSDean’s Lecture Series 2011James TimberlakePartner, Kieran Timberlake, PhiladelphiaTuesday 23 August, 7pmCarillo Gantner Theatre, Basement,Sydney Myer Asia CentreLorenzo CastroArchitect, BogotaTuesday 4 October, 7pmCarillo Gantner Theatre, Basement,Sydney Myer Asia CentreFor full event details and to register visit:http://www.msd.unimelb.edu.au/events/deans-lectures/ABP Alumni Retrospective SeriesExhibition: ARM Architects –They’re not butchers are they?6 June -1 July 2011Wunderlich Gallery, Architecture Building“The architecture of Melbourne-basedAshton Raggatt McDougall (ARM) is likeno other in Australia. It may have nocounterpart anywhere in the world.”(Professor Phillip Goad, New Directionsin Australian Architecture, 2001)For an up to date listing of all Facultyevents visit: www.msd.unimelb.edu.auThe Making of Hong Kong: From Verticalto Volumetric, co-authored by BarrieShelton, Justyna Karakiewicz and ThomasKvan, was launched by Professor GlynDavis, Vice-Chancellor of the Universityof Melbourne in late February. The book,published by Routledge, examines HongKong, one of the most compact cities andsustainable cities in the world. The launchwas a huge success with over 100 alumni,staff, practitioners and friends the eventheld in the Atrium. The space was adornedwith illustrations by Justyna Karakiewiczfrom the book printed on huge banners.Read Barrie Shelton’s article on pages 14-16.Another book recently published byRoutledge is Urban Coding and Planning,which features entries by Qinghua Guoand Barrie Shelton. Qinghua Guo writeson the historical interplay of planning andcoding in Beijing from the Ming to Maoeras, including the period of Japaneseoccupation. Barrie provides the Australiancase study, tracing the ‘pendular swings’in spatial concepts and planning ideasthat have underpinned the framing ofcodes for Adelaide’s ‘Square Mile’ sincethe city’s foundation.Robert Crawford’s new book Life CycleAssessment in the Built Environment waspublished in March by Spon Press (Taylorand Francis). Life cycle assessment enablesthe identification of a broad range ofpotential environmental impacts occurringacross the entire life of a product, from itsdesign through to its eventual disposal orreuse. The need for life cycle assessmentto inform environmental design within thebuilt environment is critical, due to thecomplex range of materials and processesrequired to construct and manage ourbuildings and infrastructure systems.

EXHIBITIONS,EXPEDITIONS andLECTURESABP’s Ex-Lab (Experimental Design Lab)launched into the year with a summerworkshop on Digital Design andFabrication: an intensive 4-week coursewhich introduced architecture studentsto advanced digital modeling andparametric design software. Thirty fivestudents participated in the workshopwhich culminated in the design, fabricationand construction of an installation on StKilda beach, as part of the 2011 St KildaFestival in February. The installation is thecover image of this edition of Atrium.The Identity, Diversity and The Metropolis:The Inaugural Hon. Evan Walker DesignStudio Exhibition, led by Jefa Greenawayfollowed in March. This intriguing exhibitionof student work from the 2010 Masterof Architecture studio of the same namefocused on indigenous place-making.Jefa Greenaway, Director of GreenawayArchitects, is a descendant of the Wailwan/Gamillaraay people and the only registeredIndigenous architect practicing in Victoria.The exhibition was generously supportedby the Christopher Wren Club.On 25 March we presented a uniquecinematic event – a screening of short filmsby University of Melbourne architecturestudents from the 1950s and 1960s. Thescreening showcased a collection of filmscreated by some of Australia’s foremostarchitects and designers from this ‘goldenera’. Identities such as Robin Boyd, JohnGollings, Dimity Reed and John Denton, aswell as Melbourne architectural landmarks,were captured in these films in a periodbefore the extensive urban transformationsof the 1970s. Over 250 alumni and friendsfilled the Prince Philip Theatre and enjoyedthe cinematic experience which wasenhanced by a lounge area, wherecocktails and choc tops were served.Read more about the event on page 22.We launched the 2011 MSD Dean’sLecture Series in March with a lecture byAmerican architect Nader Tehrani. The talkfeatured an introductory conversation withJohn Wardle. There was a high levelof interest in this event, with the CarrilloGantner Theatre almost full to capacityand over 200 people having registeredbefore any active promotion was undertaken.Comments afterwards noted that it wasthe best lecture on architecture many hadattended. Nader has also spent time duringhis visit engaging with students in a studiosession and giving a floor talk as partof his exhibition currently showing in theWunderlich Gallery. Read more aboutNader’s visit of pages 4-6.Colombian landscape architect MarthaFajardo presented the 2nd lecture in ourDean’s Lecture Series in early May. Thefocus of her talk was the transformationswhich have recently taken place in Bogotá,Medellin and Cartagena in regard to transport,public spaces, art and culture, education,social urbanism and social inclusion.The Faculty launched an exciting newseries called the MSD Director’s Series inApril, which will feature four yearly lecturesby some of Australia’s leading thinkersin contemporary design, architecture andplanning. This inaugural series began withTimothy Hill, who delivered an irreverenttalk on the Oxo measuring cup to anexclusive audience at the Robin BoydHouse in South Yarra. ‘To be fully charmedby the Oxo measuring cup requires someimaginative role playing as a cocktailbartender, since its appeal is experientialrather than graphic,’ says Timothy. Timothyis a Director at Donovan Hill, is one ofAustralia’s leading architectural practices,whose output encompasses furniturecommissions, public art projects, theBrisbane City Centre Master Plan, landscapes,laboratories, commercial office towersand domestic houses.Clare Newton was in South Africa in lateMarch as a Visiting Board member on avalidation visit to the School of Architecture,Planning and Geomatics at the Universityof Capetown. She also attended a specialmeeting of the South African Council forthe Architectural Profession in Capetownwhich reviewed the relationship betweenthe South African accreditation systemand the Commonwealth Associationof Architects. Clare is Chair of the CAAValidation Panel.Jianfei Zhu spoke on ‘Scale and State:Beijing of the 1420s’ at a Conference atWolfenbüttel in Germany on 17 March. Thetalk was part of the joint research projectsponsored by the University of Freiburg,Leiden University and the ChineseAcademy of Social Sciences on theformation of statehood in late imperialChina and early modern Europe.Alan March travelled to Florence in Aprilto attend the IDER 2011 conferenceon international disaster response andplanning, hosted by the University ofFlorence, Centre for Civil Protection andRisk Studies (CESPRO).The main themeof the conference was ‘CommunityResilience’ – the impact of climate changeand natural and man-made disasters.Richard Tomlinson was in Singaporerecently and delivered two talks at NationalUniversity Singapore (NUS). One talk wasfor the Master of Science Environmentstudents and one for Master of PublicAdministration and Master of Public Policystudents in the Lee Kuan Yew School ofPublic Policy.

PAGE028 | 02contactFaculty of Architecture,Building & PlanningUniversity of MelbourneVictoria 3010 Australiaphone + 61 3 8344 6417www.abp.unimelb.edu.auPublished by the Faculty ofArchitecture, Building and PlanningCo-editors: Louisa Ragas& Michele BurderDesign: Studio BinocularAuthorised by ProfessorTom Kvan, Dean Facultyof Architecture, Building& Planning, May 2011ISSN 1447-1728The University of MelbourneCRICOS provider code: 00116K