Dedicate to “all those who served, suffered and died”, the Vietnam Memorial resolves the occasionally conflicting needs of public interpretation of this contentious war on the one hand, and the more private commemoration of the war veterans on the other.

The memorial incorporates text, representational artwork and sculpture in an organic unified whole. A surrounding moat of water defines the solemn contemplative centre; this domed ’island’, linked to Anzac Parade by a broad ramp, is the focus of the rotated triangular composition.

The ring of granite stones suspended between the three 9m high concrete ‘stelae’ contains a roll of names of those killed in the war, and symbolises the journey from earth to heaven. The focus of the memorial is a 1967 photograph of Australian servicemen at Phouc Tuy in Vietnam, sandblasted into 200 triangular polished granite slabs, each a different size. A second stele wall shos a selection of contemporary quotations, spelled out in stainless steel letters set into the concrete. The third wall, behind the focal monolithic granite ‘altar’ is blank.

Constructed of high-quality off-form concrete, black granite and stainless steel, the project required sophisticated 3D modelling for the detailing of its complex curved surfaces.

The design responds to the symbolically powerful Napier Waller mosaics and figurative windows that line the domed Hall. The Tomb itself takes the form of an excavated tumulus, in red Rosso Daniel marble. The gilded inscription was hand-drawn and carved.

Four 11 metre tall freestanding pillars are placed in the adjoining niche, each symmetrical with the mosaic-clad mullions of the three major stained glass windows. These pillars represent, in material form, the four Platonic elements – glass for water, stone for earth, nickel silver for fire and jarrah timber for air. Their pure abstract presence enriches the representational complexity of the mosaic and stained glass, and the careful selection of materials, including pure white hand-cast glass, confirms the dominant red-gold colour of the original mosaics.

On 11 November 1993, the 75th anniversary of the Armistice, the Tomb was the focus of a full state funeral of the Unknown Soldier, exhumed from a World War 1 grave at Villiers Bretonneux in France.

With a primary focus on the Worship Space, the design aims to achieve a unified and functional whole on this constrained site, signalling the broader outreach of St Barnabas with its progressive young congregation and nationally significant history.

The Worship Space is conceived as a regular square plan, able to accommodate a wide range of seating configurations and suited to large and small congregations, with a tall volume framed in masonry and full of glass and light. It is a ‘lantern building’ symbolic of the Light of God – shining outwards from the centre, and at the same time descending from the heavens.

The design uses contemporary forms and materials but is not experimental or overtly complex, to contain costs and reduce risk. It uses timeless and well-tested materials and details to achieve a balance between the past and future, a true landmark and signal for the Church.

The new development utilises original support structure and references the Neo-Gothic massing of the original design, abandoned in the Great Depression. To achieve a maximum number of high-quality apartments, a system of two-level units was developed with corridors and lift access at every second floor. The whole building is within a 45° sloping height-limit plane, which preserves solar access to Wynyard Park south of the site.

The elevation created by the sequence of double-storey apartment boxes continues the proportions of the Perpendicular Gothic façade below, emphasising its verticality and creating a dynamic silhouette. Evocative roof forms are developed as a series of sky follies leaning over each of the rectilinear ‘towers’, with the northernmost looking towards the Harbour. The double storey facade spaces enhance views to the sky and the city. Integrating natural ventilation, openable sliding doors and shading elements, the attached wintergardens function as an acoustic buffer and a passive solar system to allow daylight to penetrate deep into the apartments.

The new towers use sandstone colours to connect to the restored stone base, as well as expanses of seamed zinc and brilliant glazing. The interplay of solid and light, zinc and glazing combined with the irregular rhythm of coloured glazing panels, blinds and shutters, creates an elevation that reflects the vitality of the urban setting.

The work includes the conception and design of the new waterfront urban spaces to the Terminal’s north and south and the major reconstruction of the building itself. The new square has been a major part of the life of the city since its creation, notably being the scene of the party which awaited the announcement of the Olympic bid.

In 1998, Tonkin Zulaikha Greer were engaged by The Sydney Ports Corporation to undertake feasibility studies and schematic design for the $25m refurbishment of the building to update its shipping facilities and incorporate a major ‘destination retail’ facility.

A wide variety of dwelling types, with a high level of passive thermal comfort and privacy have been organised into eight fingers across the 2.2 hectare site. Natural materials, characteristic of Fremantle and the Australian Beach, are proposed both for their durability and to enhance the immediacy of the natural world.

Over 50,000 square metres of new accommodation is planned in four medium-rise buildings, with uses ranging from commercial office space to new facilities for the University. The project has a symbolic role to signal the University’s presence with four glass beacon towers, recalling Macquarie’s shining lighthouse which is the badge of the University.

Around the buildings are highly-developed landscaped courtyards, each relating to specific public uses.

The scheme provided an extensive and completely public environment by opening the site up from Pitt Street through to George Street. By refacing the tower, wintergarden spaces were added to each guest room.