Gerard Reinmuth is an academic, architect, designer and director of TERROIR, an Australian practice with offices in Sydney, Hobart and Copenhagen. The practice is built upon a research culture that crosses both research by design and research into practice and the profession.
Gerard’s research therefore spans architectural practice (including sustainability, procurement practices and larger questions of agency) and research by design. His primary practice research focus is the agency of the architect in the making of the city and the broad bandwidth across which this agency may be effected, while his design research work extends poetics to organization. He regularly writes and comments on issues affecting the profession and teaching of architecture to equip students for the challenges of working in the globally interconnected society of the 21st century.
Gerard is the inaugural Professor of Practice at UTS, where he coordinates the Practice stream of subjects and teaches in the Master’s degree design studios, thus mirroring his two key research areas in his teaching commitments. He has taught and lectured at schools of architecture in Australia and Europe, including the Aarhus School of Architecture where as Visiting Professor he was co-founder of the International Studio and wrote a book on the school.
Gerard held the Creative Directorship of the Australian 2009 National Architecture Conference (Parallax), was co-curator of the Australian Pavilion at the 2012 Venice Biennale and has been on numerous juries and advisory panels.
Can supervise: YES
Reinmuth, G 2019, 'Impractical Genius: Jørn Utzon's Sydney Opera House and Can Lis, Mallorca.', Architectural Review, pp. 16-25.
On October 2018, the Sydney Opera House celebrated the 45th anniversary of its opening by Queen Elizabeth in 1973. However, unlike the 40th, and the impending 50th for which large plans are afoot, the 45th anniversary was to be a mellow affair, until interrupted by a major controversy over the desire by the racing industry to use the shells as a projection screen to advertise the new Everest Cup horse race. A Unesco-listed icon was to provide a surface onto which the barrier draw for this race would be announced, live.
Public condemnation was swift, but the projections went ahead, approved by a Liberal (conservative) government – the same party that sacked the building’s architect Jørn Utzon in 1966. The vexed relationship between the building and its owner, and protocols around how it should be treated, continue more than half a century since Utzon won the competition in 1956.
These intergenerational political failures around the treatment of the building and its author (and the cultural conditions underpinning them) have been covered exhaustively in a series of books and films. We know that the project lost its way due to a number of client changes – a key factor being the forced resignation of major advocate Eugene Goossens following pornography charges. This period also included a change in brief, most famously switching the opera and concert halls – and resulting in the dismantling and trashing of an entire flytower (worth a million Australian dollars in 1966).
Reinmuth, G 2017, 'Relationality and Architecture: How Refocusing The Discipline Might Reverse The Profession’s Seemingly Unstoppable Trajectory Of Decline', Architectural Theory Review, vol. 21, no. 1, pp. 89-107.View/Download from: Publisher's site
Hyungmin Pai, author of The Portfolio and the Diagram, suggests World War I and the Great Depression revealed “to many architects that the traditional strategy of autonomy had become ineffectual amidst a social agenda maximising efficiency and production”. Pai links the major reformation of the discipline that subsequently took place to this questioning of the profession’s relevance. Eighty years later, as the most recent financial crisis was starting to bite, five publications were released, each of which questioned the role of the discipline and profession in the light of a similar questioning of the disjunction between the activities of the profession and issues of increasing inequity worldwide. Although each publication was the culmination of years of research, the simultaneous release of these manifestos over a three-month period from the summer of 2008 is nothing short of extraordinary. This moment framed the subsequent decade of debate around the content and role of the profession and disciplinary boundaries. Conclusions are few, but the need for a disciplinary and professional transformation of equal consequence to that which occurred in the 1930s remains. This essay works through key arguments to conclude that, as in the 1930s, the focus in the discipline on the object needs to be supplanted by a focus on how architecture works with relationality, such that objects are understood as after-effects of these relations, and thus the profession is structurally recast in this context.
Reinmuth, G 2011, 'Future Shocks', Conditions Magazine, vol. -, no. 8.
Reinmuth, G 2010, ''Sustainability' as an aesthetic problem', Conditions, vol. -, no. 03, pp. 35-39.
Holst, M & Reinmuth, G 2009, 'Spatial Intelligence: new futures for architecture', Architecture Review Australia, pp. 18-19.
Reinmuth, G 2009, 'Can we open up the dialogue?', Monument, vol. -, no. 90, pp. 114-114.
Note from one of the creative directors of the 2009 RAIA National Conference
Reinmuth, G 2009, 'In the public eye', Monument Magazine, vol. -, no. 92, pp. 44-45.
A quality approach to public architecture, with public interest at heart, should be the rule, not the exception.
Reinmuth, G 2009, 'Light and Magic: Swan Street House Review', Architecture Review Australia, vol. -, no. 110, pp. 84-91.
A new project in Perth from architects Iredale Pedersen Hook radically interprets suburban convention to deliver a residence that is anything but ordinary.
Reinmuth, G 2008, 'Fatal Distraction: carbon credits, green building and the business of sustainability', Architecture Review (AR) Australia, vol. -, no. 105, pp. 40-42.
Reinmuth, G 2006, 'Land values', Monument Magazine, vol. -, no. 71, pp. 56-62.
The Kia Ora Homestead in rural New South Wales by Paul Berkemeier references the seductive charm of John Lautner's work while exploring an alternative landscape tradition for Sydney.
Reinmuth, G 2006, 'Model-making as thinking', [Inside] Australian Design Review, vol. -, no. 44, pp. 36-36.
Comment on the exhibition 'Supermodels' curated by Sam Marshall.
Reinmuth, G 2003, 'Beautiful Minds', Monument, vol. -, no. 57, pp. 104-104.
Review of the 2003 RAIA national Conference
Reinmuth, G 2003, 'Creative tension', Monument, vol. -, no. 55, pp. 58-61.
Dale Jones-Evans continues to shape the direction of residential development in inner-Sydney's Surry Hills. 'Heavy metal' offers commentary on his latest project METALIKA.
Reinmuth, G 2003, 'Product Lines', Monument, vol. -, no. 53, pp. 93-93.
review of exhibition by John Vella at University of Tasmania, Academy Gallery
Reinmuth, G 2020, 'The Spatial Framework' in GANSW (TBC), URO, Melbourne.
What are the new ways in which architects might participate in the reorganisation of the city? As we move to greater focus on the need to change systems to address climate change, the question is what these systems might look like, at what scale might they be applied, and what role might they play in the discursive arena of the public service and Government.
Reinmuth, G 2019, 'On Instruments' in Mackenzie, A (ed), Terroir Instruments, URO, Melbourne.
TERROIR was founded in 1999 by Richard Blythe, Scott Balmforth and Gerard Reinmuth – who had met a decade earlier when studying at the School of Architecture in their hometown, Hobart. Like in other small cities in large landscapes – Reykjavik, Queenstown, Nuuk, Alice Springs – architecture and its potential is understood through a different lens. The urban conditions in Hobart could be described as collections of small buildings, battling to hold it together in the face of something much larger. What matters, in these contexts, is the context. Visceral engagements with landscape and climate bind everything – cultural practices, aesthetic sensibilities and basic matters of human safety when subject to the power of extreme weather. Retrospectively, it can be understood that a childhood spent growing up in a landscape of incredible drama and power, and of a relentless topographical complexity, impacts on work that takes place in that place. Tasmania became an international flashpoint for environmental concerns in the early 1980s when the campaign to save a river system in the state’s (now world heritage listed) southwest wilderness resulted in a change of federal government and cancellation of a proposed dam. Children who had not yet reached high school were exposed to debates around ‘saving the environment versus creating jobs’, ‘the value of landscape’ and others. These debates contributed to the evolution of a language around the importance of place and, as a result, the Australian Greens political party was formed. Put simply, the message that emerged from the Gordon-below-Franklin Dam campaign was that place really matters. For would-be architects, it was understood that any intervention in the material world should strive to enhance place and connect visitors with it.
Reinmuth, G 2019, 'On Third Spaces' in Terroir Third Spaces, URO, Melbourne.
The last two decades have seen an unprecedented consolidation of private wealth which in turn has induced a distortion in what we understand as public and private. This has impacted on our relationship to government but also to private organisations which have, in many contexts, come to supplant government. For example, while governments struggle to build infrastructure, the IT infrastructure of a handful of social media organisations that collect and deal in our data – monetising our very selves – have balance sheets greater than entire countries. This has also had a spatial impact, with spaces that we still might call ‘public’ now controlled by large developers or retail landlords and are policed according to criteria established by the owner, not government.
Whether it’s Thomas Piketty describing the consolidation of capital, Slavoj Žižek on post-politics, David Harvey on loss of our rights to the city, or Douglas Spencer exploring the capture of the profession by the logics of neo-liberalism, the message is the same. The broad restructuring of society has fundamentally changed our relation to capital and the demands those with capital make on society are more radical than ever. One of the key changes is in the demands that those with capital make of us and our ability to resist or act otherwise
Reinmuth, G 2019, 'Redirecting the city?' in Roggema, R (ed), Contemporary Urban Design Thinking: The Australian Approach, Springer International Publishing, pp. 95-117.View/Download from: Publisher's site
Instruments are fundamental to TERROIR’s practice. While they have played a determining role within the development of specific projects, they have not been explored in a more extended account. The aim of this
discussion is to place the instrument within a larger discursive context. We find that instruments have an abstract dimension as they form part of the discourse of architecture.
The opening questions situate the ‘instrument’ in relation to other central
concepts – e.g. ‘function’, ‘type’, ‘typology’ – before moving through issues ranging from criticality to pedagogy. Central to the discussion is the development of concept that while always specific – insofar that for each
of the projects in the book the instrument plays a central role – the instrument cannot be restricted to the simply pragmatic. That is, the instrument has an abstract quality, which is to say it is generative and thus not merely functional. The instrument is not that which instrumentalises function.
Reinmuth, G 2017, 'Spatial Frameworks: City Strategies in the 21st Century' in Hyungmin, P & Choi, H (eds), Imminent Commons: Communing Cities, Actar, New York, pp. 115-118.
The Biennale curators suggest that a new cosmology and new cosmopolitics is required in this age of the Anthropocene – a claim that demands of the discipline of architecture a response, and perhaps also a strategy for engagement. There is no question of the discipline’s capacity to make a profound contribution to this remaking of the world. Rather, the dilemma is whether there is an inclination to participate. The issues the curators raise are not in themselves new, but can be understood as increasing in urgency. Despite this, the architectural profession continues to focus its disciplinary self-image on the production of objects, while a political project of this scale must be met with a spatial engagement that operates at a scale larger than building.
The Spatial Framework attempts a synthesis of spatial intelligence with substantial engagement processes across the political and bureaucratic realms, to foster the equitable distribution of commons. This model holds the possibility of the reorganisation of relations – and thus the enactment of a new cosmology and cosmopolitics - through an alignment between a political project and specific spatial context.
Reinmuth, G & Finney, TL 2015, 'Agency, Redirected' in Mitsogianni, V, Bates, D & Ramirez-Lovering, D (eds), Studio Futures:Changing Trajectories in Architectural Education, Uro, Melbourne, pp. 133-140.
Throughout much of the twentieth century, the design studio has been an important locus of invention and experimentation in architecture: both smelter and test-bed for new ideas. But with recent developments in digital technology, new materials and construction practices, shifts in the client-architect relationship, and architectural practice subject to evermore-onerous procurement models, is the studio model still relevant?
This paper asks what the role and responsibility of the architect are in the future of housing in Australia. Three decades of neo-liberal and fragmented policies have resulted in a housing crisis in terms of affordability and suitability. By looking back to the Bauhaus we trace a history of the architects’ vision of a future of housing and its often hostile political and public reception. Measures proposed by Gropius and Meyer around ‘new ways of living’, namely the potential of prefabrication, standardisation and industrial reform in particular were received with great criticism. In the Australian context, a century on, the role of the architect in the discourse on the future of housing is astoundingly undervalued and contested. With an ecology of factors contributing to the current capitalist housing free-market – driven by developers, the financial sector, spatial regulation and the market itself (passively accepting a one-fit housing product tailored to the ‘nuclear family’), the architects’ skill in spatial innovation to solve the aforementioned crisis is seemingly bound.
This paper is based on a research project recently undertaken for the New South Wales Government’s Housing Agency, Landcom. Specifically, the research considered how Sydney’s housing crisis in affordability (which is most visible) is coupled to a crisis in diversity (which is interrelated but less visible in the public discourse). With the housing industry in Sydney delivering a single product; a standard apartment differentiated only by the presence of one, two, or three bedrooms - the market finds itself unable to accommodate the expanding set of ‘family types’ now prevalent in contemporary society. Our research addresses this demographic ‘diversity gap’, identifying those stranded between formal social housing (which they cannot qualify for) and the market itself (which they cannot afford), and simultaneously unpacks how spatial knowledge, while central, is but one contributor in a...
Reinmuth, G 2014, 'Undermining Architecture: Redressing the mythologies of Can Lis.', 4th International Utzon Symposium, International Utzon Symposium, UNSW, Sydney Opera House.
Jørn Utzon is rightly celebrated for a portfolio of work that has inspired many of us. However, the quality of the work and the evasive and poetic terms in which Utzon himself discussed it has done much to obscure a precise understanding of his method. The result has been two decades of mythologizing, much of which has been based in speculation and with minimal engagement with primary sources. The result is that we have never been further from understanding what Utzon might do now. Two recent visits to Can Lis revealed a range of building changes and adjustments - mysteries which have not been adequately accounted for. Questions prompted by these 'mysteries' led to a process of engaging with a number of primary sources including Jan and Kim Utzon and corroborating their alternate accounts of Can Lis' design and construction. This process has revealed that very little of the scholarship around the project is accurate, leaving serious questions around the basis upon which Utzon's legacy is understood and calling into question, by implication, much of the scholarship around his entire oeuvre. This paper will present the findings from the Can Lis case study and in doing so will focus on aspects of Utzon's working method which are little understood and reported. The paper will reinforce how Can Lis has survived as a masterwork even when the current house bears little resemblance to his actual design and will open an entirely new course of discussion regarding what Utzon might do now.
Finney, TL & Reinmuth, G 2013, 'Agency, Redirected', Proceedings of the 7th International Conference of The Association of Architecture Schools of Australasia, Association of Architecture Schools of Australasia Annual Conference (AASA), The Association of Architecture Schools of Australia, Melbourne, Victoria, pp. 406-425.
In response to changes in both the practice of architecture and changes in terms of architectures field of operation: the global economic, political and cultural context of its production, the following paper proposes to re-examine the inherited unit system of the graduate educational M.Arch design studio. Contrary to `alternate modes of practice' that propose in critiquing the profession, an abandonment of the discipline of architecture, this paper instead calls for a clarified return in the educational context to architecture's core material and spatial skill set redirected relative to the animating diagrammatic condition that since the 19th century has relied on architectures capacities in material and organizational experimentation to build cities.
Reinmuth, G 2019, 'Lund Statshallen', N/A.
Reinmuth, G 2019, 'National Museum of Finland', N/A.
The National Museum of Finland is a major institution sited in the centre of Helsinki, across the road from Aalto’s Finlandia Hall. The museum was designed by Herman Gesellius, Armas Lindgren and Eliel Saarinenin the national Romantic Style popular in Scandinavia, - and particularly Finland - in the early 1900s. A key part of the project was the garden, recently completed to Saarinen and his collaborator’s design.
Requiring a major new gallery to allow the exhibition of contemporary objects, while at the same time improving security, conservation and storage, meant that the program had to be located in the garden, and connect into an existing lift centrally located within it. The design needed to resolve this inherent conflict.
We propose a building that is part of and reinforces the garden. Specifically, the plan weaves through the centre of the garden and navigates the elliptical paths designed by Saarinen and recently realised. Where the program insists upon traversing these paths, the building is cut to allow it to pass.
The copper skin and faceted curves are both a homage to Finlandia Hall opposite but also ensure the building merges with the garden over time. Pockets of the façade are reserved for wall covering plants, completing the fusion of building and park.
Reinmuth, G 2019, 'TERROIR Instruments', URO, Melbourne.
Reinmuth, G 2019, 'TERROIR: Third Spaces', URO, Melbourne.
Reinmuth, G 2019, 'Warriewood Valley Community Centre', N/A.
Competition winning proposal for new Community Centre in Warriewood, NSW
Reinmuth, G 2018, 'Castle Cove House'.
Reinmuth, G 2018, 'Geelong Waterfront', N/A.
The Geelong Waterfront Safe Harbour Project is a major redevelopment of the heart of the Geelong waterfront precinct which lies just north of the CBD and overlooking Corio Bay. This project arose from a prior master plan work that identified problems with public access, safe harbour and major events infrastructure that should be addressed.
The precinct is home to the Royal Geelong Yacht Club (RGYC) and marina, the Victorian Sailing School (VSS) and the Fisherman’s Basin area which includes both recreational and commercial vessels. The precinct hosts major events, such as the annual Festival of Sails which attracts over 100,000 visitors and a range of Sailing Regattas including State, Nationals and World Championships. The RGYC and VSS also provide maritime education for the community.
Central to unlocking the key access issues is the location of the RGYC which currently creates a physical barrier between the east and west waterfront precincts, obstructing the public realm. The challenge is how, in addressing the complex logistics of the RGYC and neighbouring maritime uses, could the public realm be enhanced in a safe and accessible way?
Terroir’s winning proposal suggested a new elevated experience up and over the site, re-connecting the promenade and significantly increasing the waterfront public realm by over one hectare of new public space. The shape of the public realm has evolved from the provision of a diverse range of public experiences at upper levels while also addressing the logistical constraints of the working yacht club and marina yard below. The elevated public realm provides new viewing opportunities for the public - both to the activities in the RGYC marina yard below and the breadth of Corio Bay in the distance.
Reinmuth, G 2018, 'Kulkransporet'.
Our team’s strategy focused on understanding the bridge in the context of the reorganisation of the whole site, considering it in the larger context of the Aarhus coast to the south and north and how this slightly isolated but well-located precinct might contribute to the city as a whole. With key connectivity matters understood, we then worked with varying plot sizes to ensure diverse forms of occupation, including an attempt to make sense of a bank headquarters (building footprint, occupants, public domain constraints) in this neighbourhood.
Reinmuth, G 2018, 'Penguin Parade Visitor Centre'.
The building sits at the nexus between 3 landscapes: dunes, headland and wetland, linking these landscapes like a brooch that gathers these together and responds to each in specific ways – formally and experientially. The power of the three landscapes is acknowledged in the homogenous zinc cladding to the building that increases its abstraction while providing a constant against which the three landscapes are registered.
Reinmuth, G & Reinmuth, G 2018, 'Puffing Billy Lakeside'.
The complex brief resulted in a building larger than any that would have historically been located on the railway line. The decision was therefore made to insert a new geometry and spatial experience disolacated from the smaller old stations, but one which depended on the relation between visitors and the platform for its logic. The project brings together train enthusiasts and local park goers, creating a unique tourism amenity offering which collects the many users of the site in a single but complex building.
Reinmuth, G 2017, 'Koondrook Wharf'.
The project consists of a new wharf, a plaza on the land adjacent to an old wharf and associated buldings and a connective tissue between in the form of a timber platform that weaves between the trees in the tidal zone. Materials used were sourced locally, including the redgum timber, cut and milled only a few kilometres away. The design strategy is a continuation of TERROIR's "third space" project, where community and free access spaces are carved out of architectural projects regardles sof the brief. The Koondrook Wharf sees the deployment of this idea in its most pure form, where the whole project is goven over to public access and unprogrammed spaces to be occupied by the public as they wish.
Reinmuth, G 2017, 'Princes Park Amenities'.
Our strategy in this context was to provide the amenities without providing a building, per se. The amenities were conceived as an elaboration of the 1930s earthworks (the last major reconfiguration of the park), re-organising the topography to reveal a single elevation to the public thoroughfare. The dark precast panels tie into the dolerite walls which distinguish the park, while the green comb that fronts the toilet entry completes the abstraction with its elimination of visible doors and hardware.
Reinmuth, G 2016, 'Can Lis: essays, Interviews, Bagatelles', Can Lis: essays, Interviews, Bagatelles, Aarhus School of Architecture, Aarhus.
Reinmuth, G 2015, 'Cowes Cultural Centre'.
Cowes Cultural Centre is a refurbishment of these existing buildings but with the reorganisation of key public functions around a new "Great Hall" that formalises an existing laneway through the site and acts as a catalyst for connecting the town’s main street through to a new transit centre and community services planned to the east.
Reinmuth, G 2015, 'Heavy Metals LAB', Heavy Metals LAB, MONA.
Reinmuth, G 2015, 'NRAS Housing'.
Located centrally in Hobart's CBD, the student housing development will include 430 self-contained apartments, student services and retail. The scheme will play an active role in the development of the city.
A key component of the design is the extension of the public realm through the site, encouraging the broader community to engage with the university. The student housing development will employ sustainable design strategies to achieve a five-star Green Star rating for environmental design.
Reinmuth, G 2015, 'Third Space Portfolio'.
NRAS Housing, Cowes Cultural Centre, Shellharbour Anglican College
Reinmuth, G & TERROIR 2015, 'Bispebjerg Hospital, Somatic Wing', Public Exhibition and Publication.
Bispebjerg Hospital is a major new addition to the central Copenhagen Hospital.
Reinmuth, G & TERROIR 2015, 'Shellharbour Anglican College'.
Shellharbour is a new school building that reconfigures existing practices in low-cost school procurement.
Reinmuth, G & TERROIR 2015, 'The Intergenerational City'.
This project arose from a request from the Urban Ministry of the Danish Government to develop an approach in increase intergenerational mixing within Danish cities.
Reinmuth, G, TERROIR & Reinmuth, G 2015, 'White Bay Power Station: Urban Design Framework', Public Exhibition and Launch, October 30.
The WBPS UDF is a new methodology for the guidance, control and assessment of major urban development projects procured by Government.
Reinmuth, G 2014, 'Rouse Hill Anglican College'.
Reinmuth, G 2013, 'Aarhus Student Housing', Aarhus City Architecture Award.
Our student housing project at Aarhus Harbour - designed in association with CUBO Arkitekter - has been awarded by the Municipality of Aarhus for its high design quality and subsequnt enhancement of the city. The building - now dubbed Vulkanen (The Volcano) by residents has becomes a much loved place to live on the harbour, given it has a far higher level of amenity than is usual for modest, subsidised housing projects of this type. The awards are presented at a ceremony on the harbour as part of World Architecture Day.
Reinmuth, G 2013, 'Claremont College', Randwick, Coogee Bay Road.
TERROIR was initially engaged for a small refurbishment project, the success of which led to a larger suite of projects intended to bring together all of the disparate parts of the school into a coherent campus and which creates a support structure for the enactment of the schools key values; learn,life,light,love. To create a unified campus from a series of alternations and additions, a clear unifying strategy was required. This came in the form of a clear approach to pedagogy and social development, encapsulated in the schools key values and supported by research into international developments in education spaces. In particular, Parkash Nair & Annalise Gehling's writing on 21st century learning provided a galvanizing moment for the client, architect and project management team around a vision for interpreting and reconfiguring the existing building fabric of the school. The introduction of tablet technology in teaching practices has allowed the spatial experience of learning to evolve. No longer does the teacher become the sole point of focus in the classroom both in terms of space and guidance but rather, supported by the distributed information access possible with tablets, enables the teacher to work as a facilitator or manager of learning.
Reinmuth, G, Balmforth, S, Blythe, R & Wardle Achitects, J 2013, 'Institute for Marine and Antarctic Studies'.
Reinmuth, G & - 2012, 'Helsingør School (DK)', Helsingør Town Hall, Helsingør Kommune, -.
Reinmuth, G & Jensen, BB 2012, 'Possible Greenland', Conditions Magazine, Publication for the Danish Pavilion at The Venice Biennale (Architecture) 2012, Conditions Magazine, Oslo, Norway, pp. 1-258.
Reinmuth, G, Balmforth, S & Blythe, R 2011, 'Bispebjerg Brief'.
Reinmuth, G, Balmforth, S & Blythe, R 2011, 'Tornhuset (Sweden)', -, -.
Reinmuth, G, Balmforth, S & Blythe, R 2009, 'Burnie Makers' Workshop', Burnie, 2 Bass Highway.
Burnie Makers’ Workshop represents a major investment in the future of a town on the north-west coast of Tasmania coming to terms with its post-industrial reality. Until recent times, the town has been known primarily for its key large-scale industries and the servicing of these via the port area. The largest of these industrial plants is the pulp and paper mill on the waterfront.
Over recent years, a local initiative, Creative Paper, has value added to the base level industrial paper production with high quality products. In addition, the role of the town as a gateway to the fertile farming lands of Tasmania has not been forgotten. This twin focus – traditional and creative industries – provided the basis for the project. TERROIR transformed the brief for a visitor centre into a living room for the town built around these two functions, providing both cultural and tourist amenities.
The building is understood as part of the collection of industrial objects along the coast, re-imagined as giant ‘toys’ (Schaik, Timms). Our ‘toy’ is a lighthouse of sorts, perched on the western headland above the beach, a sentinel both for passing ships and for the locals whom we hope will make this the living room of the city.
Five key functions each occupy an arm of the building with the central space providing access and general orientation. The radiating arms generate a series of spaces of different orientations and enclosure to be used all year round.
Reinmuth, G, Balmforth, S & Blythe, R 2009, 'Smith St (ware)house', Hobart City, North Hobart.
This project is a conversion of a former plumbing supplies store and warehouse in Hobart into a residence. The narrow inner city street where the project is located has a contrast of industrial and residential uses however this is the first house in the street to be located within an industrial building. The street faÃ§ade is left in original condition, and an industrial garage door to the street lifts to reveal a domestic program within. This new program occupies its existing context in a light manner, exposing much of the original materials and detailing of this humble industrial building. Where existing elements are modified, this occurs The contribution of this project is related to its further elaboration on the field of urban renewal and in particular the specific potential of existing inner city sites to adapt to new residential programs, thus increasing the density of the inner city, but in a highly sustainable manner where existing fabric is re-used and new insertions are minimal in nature. This project suggests that opportunities exist in Hobart which had not been understood previously, for transformative programs which increase density. The significance of this project lies in its specific design approach, and the potential it demonstrates for more sustainable inner city renewal projects which re-use existing fabric in a complete and almost unedited way. The project shows that an alternate aesthetic sensibility to the norm for residential work is required if such transformations are to take place.
Reinmuth, G, Balmforth, S & Blythe, R 2007, 'TERROIR: Cosmopolitan Ground', DAB Documents, Sydney, pp. 1-177.
Cosmopolitan Ground suggests a mode of collaboration between architecture and philosophy, where both professions retain their autonomy but are enriched via their reference to one another. It achieves this through its collection of essays juxtaposed against contemporary architectural work by Terroir, an Australian architectural practice whose buildings are the result of research in philosophy, art and popular culture. Terroir was formed in 1998 and simultaneously opened two offices - in Sydney and in Hobart. The practice was formed in response to the interests of the three partners, whose combined interests and fields of activity encompass all aspects of architectural practice including teaching, writing, architectural, urban and interior design and project management and procurement. The works explored in this book - both completed buildings and competition entries - have been underpinned by RMIT University's invitational postgraduate programme. These works include the award-winning Peppermint Bay restaurant in Woodbridge, south of Hobart; designs for COFA, Canberra Library and Prague Library; and a number of inner city projects currently under construction. It also features pieces from exhibitions and installations. Cosmopolitan Ground is designed to express Terroir's design process, and contains a collection of images of their buildings as well as the ideas behind them. Specifically, the book sets extended essays from key philosophers in parallel to descriptions of the practice's work.
This project was submitted for a competition in 2006 to design the new Prague National Library. The project was shortlisted in the competition. Faced with the challenge of designing a national institution for literary works for this country led to a reflection on the contribution made by key works in the history of Czech literature, the potential of the site itself and an analysis of the spatial and cultural modes of inhabiting the city. Archives contain secrets, histories yet to be challenged and re-presented. The idea of the archive is not situated in the preservation of this material however but in the moment of its opening up - of revealing, of bringing a new light to things that have lain still for so long, protected. This reading of the archive was considered in the context of Prague - a city of dark tucks and folds; the folds of valleys that protect a castle, dark histories over laying creativity. These are the secrets of an archive tucked under the corner of the velvet blanket of the park, clustered in the shadows made below the fold. Their existence is revealed via ruptures in the park's surface, while their potentiality emerges as each cracks open in the lightness of the moment. In this reading of the city and its transformation into a spatial response lies its significance to the discourse on the interrelation between building and place (Benjamin) and on the reconsideration of the library itself (Benjamin).
Reinmuth, G, Balmforth, S & Blythe, R 2006, '86-88 George Street', CIty of Sydney, 86-88 George Street.
This refurbishment of a state listed heritage building has set a new benchmark for contemporary work in Sydney's historic Rocks precinct. The existing building is in two parts, both of which have heritage listings with the heritage fabric consisting only of the perimeter walls. The project therefore emerged from graphic illustrations of the extent of heritage fabric which resulted in two key interventions - one inside the existing walls and one outside - became the primary areas of focus. Internally, the foyer was conceived as a bridge that leaves George Street to connect with the existing lift core. Initial investigations of a Scarperian 'tub' (Murphy) gradually evolved into a singular folded concrete tube that provides a dramatic 'pause' between street and office. Externally, an existing triangular remnant of street configurations was developed into a new public space, understood as part of the complex cut and folded landscapes characteristic of the Rocks area. A small canopy sits in the north-east corner of the space which has similarly evolved from a mapping of sun, wind and tenant use requirements. While the materiality of this canopy ties it to the Harbour Bridge and other steelwork interventions in the Rocks, its scale renders it with a 'toy'-like quality (Schaik, Timms). The project's significance is evidence in its numerous awards for design and sustainability: the Environ BPN Sustainability Award; the Energy Australia National Trust Heritage Award for Conservation Energy Management and as the first State heritage listed building to be awarded a 5 star Green Star office design rating.
Reinmuth, G, Balmforth, S & Blythe, R 2006, 'Commonwealth Place Kiosks', Canberra, Foreground of Old Parliament House.
Canberra is distinctive in international terms as a planned city. At the centre of the planning geometry sits the nations Parliament House. Its foreground consists of a range of buildings containing Australia's major public institutions - a sort of 'architectural zoo'. Each of these public buildings has scale and gravitas - mostly concrete sculptural works containing the High Court, National Gallery, and so on. The termination of this axis occurs in the form of the National War Memorial. The brief required amenity buildings to be located in the foreground of old Parliament House. These buildings are small in size and of a 'prosaic' use. Thus, the design proposition was an exploration of the tensions that exist within the brief itself. How does one install a toilet just meters from the central axis connecting our Parliament and lake? The uncanny (Vidler) nature of the planned city and the formal nature of the setting resulted in small, blank timber boxes that read as sculptural installations within this largest of sculpture parks. The potential for absurdity when Griffin's overarching geometry of the city plan is pushed to the limits, exploited in small adjustments to these seemingly regular objects that, when seen at close range, defy explanation (Powell). The uncanny silence of the objects is counterpointed by a surprise - the hidden system of coloured tubes which filter light in a dispersed manner, a scaling up of the dappled shade of the trees adjacent.
Reinmuth, G, Balmforth, S & Blythe, R 2006, 'Maitland City Bowls Club', Maitland City, Arthur Street.
An existing bowling Club requested a significant transformation to address energy and occupation issues while providing an iconic new form that signaled a new identity. Three key elements emerged as essential to the initial phase of work as they could achieve this transformation in a clear and direct manner: a new roof, new servicing, and a new facade to the bowling greens. The high visibility of the site, the opportunity to respond to the greater landscape context, the need to manage changing servicing requirements, and the need to open up the building to more light and space, led to the conclusion that a major new roof element was necessary and could form a major part of rebranding the club for the future. Functionally, this roof acts a new "backpack" of sorts, enabling and containing new and more efficient building services, while also acting as a giant rain harvester, and as a solar parasol protecting the building from the harsh Maitland sun. The contribution of this project is in the field of urban renewal, as an exemplar of the reuse and recycling of non-significant buildings to achieve a maximum material re-use and the significant sustainability benefits of this approach. The significance of this project is as a demonstration of a new design approach (the 'backpack') which deploys a challenging aesthetic approach to enable the retention of existing fabric and the addition of key elements necessary to see the revitalization of a building past its standard life.
Reinmuth, G, Balmforth, S & Blythe, R 2003, 'Peppermint Bay', Kingborough, 3435 Channel Highway.
Peppermint Bay is a building which provides a threshold for visitors to the inspiring landscape and produce located in the valleys south of Hobart. The building is a key part of Tasmania's tourism infrastructure, providing a restaurant, retail outlet, garden (including sculpture park) and destination for a ferry journey from the capital city to the site. This winding journey from city to the peninsula by boat or car is continued at the site in a labyrinthine path through the garden, culminating at a 100 year old oak tree. This path also structures the building's internal arrangement and for further development of the site and garden over time. The project contributes to Australian architecture at many levels, from its parametrically designed grey metal roofscape (gathering of all roof and wall elements, exhausts, and entry and exit sequences into a single folded plate), its response to landscape, drawing on the Northern Romantic Tradition, (Rosenblum) in painting to inform its response to Tasmania's stunning landscape. A series of structural, material and detailing innovations have also been attributed to the project. The significance of the project is in the contribution it makes to the discourse on response to landscape in Australian architecture (van Schaik) and in particular to the sub-group of Tasmanian architecture. This significance can be evidenced in the substantial body of awards, publications and critical commentary (nationally and internationally) that the building has received.
Reinmuth, G, 'AAA exhibitions 2005-09', Custom's House, Sydney.
Reinmuth, G, 'Danish Design at the House', Exhibition at the Sydney Opera House, Sydney.
Gerard Reinmuth was Head Curator of a major exhibition celebrating the 40th anniversary of the Sydney Opera House. He was assisted by co-curator Karen Kjaergaard. The exhibition opened as part of a weekend of events centred around a celebratory visit by the Danish Crown Prince couple, HRH Prince Frederik and HRH Princess Mary who attended the opening of the exhibition on October 25. The exhibition features a cross section of Danish design innovations in a thematic structure which relates to the innovations which make the Opera House such a relevant and inspiring building today, some 40 years after its completion. The thematic structure also provided a frame to invite six young Danish architects to work on specific elements of the exhibition in collaboration with the curators: Materiality (Thomas Bo Jensen); Craft (CITA); Pragmatism (Claus Pryds); Human (Johannes Pedersen, NORD Architects); Technology (David Garcia, MAP Architects); Desire (Mette Weinberg).
Reinmuth, G, 'Energy', Energy, Maxxi, Maxxi, Rome.
TERROIR have taken part in the major archietcture exhibition at the MAXXI in Rome for 2013, Energy: Oil and Post Oil. The exhibition comprises three parts. Two of these relate to photographic documentation of gas stations past and present, while the third component features future visions from seven international architects. TERROIR is part of an illustrious group including Sou Fujimoto, Noero Architects, MODUS and Lifethings. TERROIR's project explores the uncertainty around the post-oil era and suggests a momumental architecture for an era of sustainable energy. Our proposal suggests that Australia's highways are connected as one giant energy distribution system, resulting in a series of "fuel stations" inspired by Yugoslav war moments of the Soviet era and Mad Max.
Reinmuth, G, 'Maitland Stage 3'.
Stage Three of our Maitland City Bowls project is under construction.
After winning a masterplan competition in 2005, we have now worked for 7
years with the Maitland City Bowls team. Stage One resulted in a major new
verandah and public space which connected the club back to the bowling greens,
while Stage Two provided a new entry.
Stage Three is the largest to date and involves a major reconfiguration of the
food and beverage and events faclities in the Club.
Reinmuth, G, 'Stockholm on the Move', Stockholm on the Move, Fargfarbriken, Stockholm.
The project is hosted by Fargfabriken, an architecture, art and urbanism organisation in Stockholm who is partnering with the City of Stockholm on a long term initiative to foster debate about the city's development. This debate is occuring in the context of the 2030 Plan for Stockholm and consists of forums, symposia, design studios and exhibitions. Gerard's role was as studio leader for one of four studios that produced work for an exhibition at Fargfrabriken from October to December 2012. Gerard's group addressed the VULNERABLITY of Stockholm, tested through the scenario of a mass arrival of 100,000 immigrants. Through TERROIR's research strategy for projects, the group explored a vast array of issues from the potential for using unoccupied office buildings for housing to the black market which exists in this social democracy for access to housing, so limited is the supply in Sweden's capital.
Reinmuth, G, 'Terroir', Living the Modern_AUSTRALIAN ARCHITECTURE, Hatje Cantz, Deutsches Architektur Zentrum DAZ.
The exhibition 'Living the Modern_Australian Architecture', curated by Dr Claudia Perrin for Deutsches Architektur Zentrum DAZ, 12. September - 11. November 2007, shows for the first time in Germany on this scale the Australian Architecture of the 'Progressive Modernism' by means of excellent architectural examples in a range of housing projects. Twenty-five young and also established architecture offices, who have transformed, interpreted, used, reformed and converted aspects of modernism within the past 15 years, deliver insight to the culturally and environmentally specific development of modern architecture in Australia. Through the detailed presentation of nearly 50 housing examples, a very personal Australian way of life and building culture will be opened for public viewing. The projects have been grouped into six categories, or keywords, intended to further the discussion on various aspects of modernism: Minimal, Sculptural, Frames, Interaction, Landscape, and East/West. Additionally, the survey is supplemented by prior examples of modernism from the 1950s to the 1980s, presenting works of Glenn Murcutt, Harry Seidler, Gabriel Poole, Sydney Ancher, Neville Gruzman, Stan Symonds and Robin Boyd. While following different theories, the architects represented in the exhibition all still remain bound to the location in which they build. Australian architects have developed a completely extraordinary and strong sense of their surrounding environment. Each house reacts and interacts differently with its specific surroundings, and would not function in another location. For this reason Australian architecture cannot be 'internationalized', but better described as 'Contemporary Progressive Modernism'.
Reinmuth, G, 'Terroir House', Building Blocks, Fargfabriken, Fargfabriken Gallery, Stockholm.
'Building Blocks', an exhibition curated by Karin England, investigated accepted roles in the design process, speciï¬cally the relationship between architect and client through the pairing of children as clients with architects. The premise was that a child's limited architectural reference and relative freedom of choice might reveal new solutions for living, and from this adults might also be challenged to think about their chosen environments in a new way by looking beyond conventions of taste, fashion and tradition. In our case the project also presented an opportunity for exploring the spatial intelligence of children. Paired with a child who lived in the city of Aarhus as a client, we asked the question, how does spatial intelligence (van Schaik) travel? How do we export our spatial intelligence in a meaningful way? Our 'client' lived in an apartment, but with dreams of attics and basements (Bachelard) and castles and princesses. Thus, the project became something of an exercise in translation and transformation, as a spatial sensibility borne in the mountains of Tasmania was put to service for a 6-year old who lives in the flat landscape of Jylland. These conversations with the child led to the creation of a 'castle' with a distinctly mute 'outer' and a rich and unexpected 'inner' (Stamm). The castle and its inner were designed according to a dimensional system based on the child so only she and those younger could comfortably occupy the space, thus inviting play and exploration out of reach of adults. The project also extends the idea of the toy (Timms; van Schaik) in our work. Significance exists in the way that the translation of spatial sensibility which are so critical in the contemporary practice environment are explored.
Reinmuth, G, Balmforth, S & Blythe, R, 'Installation by TERROIR', Portraits + Architecture, National Portrait Gallery, National Portrait Gallery, Canberra.
The National Portrait Gallery exhibition Portraits + Architecture explored the relationship between creative thinking and identity, incorporating new photographic portraits of seven leading Australian architect teams with commissioned photographic portraits by seven Australian photographers. The architect teams are known for their contemporary and highly distinctive work. They have made significant contributions to Australian architecture and design culture. The photographers work across a spectrum of fine art, commercial, and design practice. Each architect team was asked to create an installation that reflected their creative philosophy. TERROIR believe that the practice of architecture is the production of knowledge. The team's architectural projects therefore included the 'discussions, lectures, research, exhibitions and explorations that work through the issues relevant to each project'. TERROIR collaborated with artist John Vella to create a screen-based installation for the exhibition which looped through a range of conversations on architecture and practice thus contributing a major piece of primary source material on their practice. Significance exists in the creation of an original work which illuminated the collaborative practices of TERROIR in both video and photographic form. The potential of collaboration between complementary artistic practices is also evident in the blurred authorship of a work between three architects, a videographer and photographer.
Reinmuth, G, Balmforth, S & Blythe, R, 'TERROIR', 11th Venice Architecture Biennale, Australian Institute of Architects (RAIA), Venice.
The Biennale is the most important event on the international contemporary architecture calendar, visited by thousands of the world's most influential architects, designers, urban planners, developers and critics. The 11th International Architecture Exhibition, directed by Aaron Betsky, took place in Venice from 14 September to 23 November 2008. The Australian Pavilion contained an exhibition, entitled 'Abundant' curated by a creative team led by Neil Durbach, of 180 Australian practices and interpretative models based on an existing project and responding to the director's theme: 'Out there: architecture beyond building'. and TERROIR had 4 models exhibited, each of which was drawn from a different project. However, the models were all built from the same (box board) material which is associated with the work of the practice (Blythe) and all deconstructed and reconstructed key organizational aspects of the projects, thus contributing a taxonomy of key TERROIR projects which together were no longer single projects but 'one project'. The research goes further than simple formal manipulations but shows the potential for persistent and related strategies and spatial arrangements commonly held between projects to be articulated.
Reinmuth, G, Balmforth, S & Blythe, R, 'TERROIR', Venice Biennale of Architecture.
Reinmuth, G, Balmforth, S & Blythe, R, 'TERROIR NSW and TAS', Out from Under: Australian Architecture Now, AIA San Francisco, AIA San Francisco.
The aim of this exhibition, curated by Anthony Burke, was to recast a dominant understanding of Australian architecture within an international context. Rather than the bush and beach identity for which Australian Architecture is known, the focus was on design innovation. At the forefront was the aim to present experimental work for its design innovation in materials technologies, aesthetics and new understandings of the urban task of architecture. From over 50 expressions of interest, 16 practices were chosen through the exploration of new attitudes, images and aesthetic values that they bring to Australian architecture. TERROIR's work was selected for the exhibition due to the contribution of the practice in marking out new territory in Australian architecture in terms of response to landscape, form, materials and the cultural agency and/or potential of the strategic project. A core part of TERROIR's contribution to the exhibition was in the form of a sculpture titled 'model graveyard' which featured a random selection of model parts from the floor of TERROIR's model-making studio. Thus, the significance of this project is not only in regard to the contribution made by the works themselves but in terms of the revelations made about our creative process and the collaborative way that models are used to inform spatial, formal and material choices about the work.