Key design outcomes include:

Strong integration of Indigenous culture through a co-design process with Traditional Owners. The elegant station canopies reflect the wings of Bunjil, embracing and welcoming travellers, while providing a unique and distinctive identity.

Extensive green roof over station buildings is a first in Victorian rail architecture, providing visual, sustainability and habitat benefits, while reflecting layers of Country.

A new V/Line ‘Modal Hub’ Station with side platforms and dual vertical transport configuration.

Publicly accessible Eastern Station Building houses waiting room with amenities, bike storage and PSO. Western Station Building is used by V/Line staff, and houses ticket office, general office and staff amenities.

New through-links and concourse deliver a safe active transport precinct with direct sight lines and broad passages, from adjacent residential areas and integrated intermodal transport exchange.

The largest precinct of the 80+ Level Crossing Removal projects, the new plaza and landscaped spaces link the north and south residential areas into an extended public realm with stations entries and civic concourse.

Contributing to our success and efficient project delivery has been our engagement with LXRP, MTM, DoT, Traditional Owners and Council stakeholders.

Key outcomes include:

New rail station with a distinctive address aligned with local character and heritage. Functionality to Local Station requirements including customer and staff facilities, vertical transport, and operational amenities.

Retention and repurposing of the existing heritage station building within the new development.

A new plaza and landscaped spaces link the east and west open spaces into an extended public realm, framing the station as a pavilion in the park.

Slender, elegant canopies maximise views through the precinct. Canopy soffit colours are generated from local heritage, landscape and maritime themes, while sitting discreetly within the precinct.

To allow the key elements of the heritage station to predominate, a consistent organising device of charcoal steel frame to the platforms, lifts, support building and parkiteer was devised with a restrained infill palette. In addition, new elements echo the proportions of the heritage station building.

Vertical transport and lowered platforms enjoy open, uninterrupted sightlines from the public plaza for natural surveillance and security.

Integrated artwork reflects the unique rail heritage of the area, complementing First Nations artworks and interpretation assets within the landscaped precinct.

The design approach recognises the differing characteristics and demands of each site and adopts a range of conceptual techniques – either creating a bold counterpoint, treading lightly upon the landscape or subsumed within the natural environment.

The Twelve Apostles is distinctive and dramatic, perched on top of the cliffs, to fully experience the scale and drama of the magnificent landscape.

Minimising its visual and physical impact upon both the landscape and the town, the Port Campbell Creek Pedestrian Bridge sits lightly above water and sand. The bridge opened to the public in June 2020.

The proposal for the Loch Ard Blowhole Lookout is discreetly nestled among the coastal vegetation on the very edge of the blowhole, hidden from the approaching paths, to provide a surprising and thrilling experience. Completion 2025.

In association with Arup and McGregor Coxall.

An elegant, twisting plane, the 200-metre-long bridge connects both sides of the broad highway entering Hobart, providing a distinctive entry portal to the city.  The four-metre-wide bridge emerges from the ground as an angular shard of metal, forming the vertical retaining wall at the base of the ramp.  The plane slowly leans back, momentarily reaching a horizontal position at the end of Anzac Parade, before continuing to twist and slowly rising to near vertical as is terminates on the western side.

The bridge design responds to the duality of the site in form and materials.  The two planes echo each other, twisting in parallel and flanking the bridge deck.  This duality and contrast is reinforced at night, with the functional and feature lighting strategy illuminating the lighter, ‘internal’ surface, while leaving the darker soffit in shadow.

In association with Arup, Inspiring Place and local architects BPSM.

An elegant and organic form with a sinuous silhouette and slender profile, the design creates an original expression with multiple layers of interpretation.  It occupies the broad river with size and dignity that appropriately relates to the scale of the location and the Stadium.

Designed in collaboration with Italian engineering company, DEAL, the bridge will link East Perth with Perth Stadium, stretching 400 metres across the Swan River.  The journey is enhanced with landscaped ‘pause points’ creating a unique crossing experience which delivers shade and shelter to the 14,000 fans on event days and community uses throughout the year.

The unique tensile membrane skin over the curving masts are backlit with colour change LEDs, to transform the night experience and reinforce the distinctive asymmetric composition.

The urban design minimised visual clutter and the impact of significant structural elements upon both motorists and the community.  An architectural language was developed with the objectives of consistency, legibility and visual reinforcement, to provide an understandable driving environment.

Continuity in colour, materials and form supported these objectives throughout the project, further reinforced by distinctive features at key locations.

At the meeting of two major road systems, a key decision point, two triangular wedges up to 96 metre long define the two routes and at the largest and most complex traffic interchange in the city, Montague Street, two 32 metre high portal structures flank the multiple routes.

The building design incorporates a strong visual motif which becomes the marker for the bus station and the wider re-development of a whole city block.  The façades to Franklin and Grote Streets are designed as contemporary metallic screens alluding to the extruded shapes of vehicles. Whilst in no way intended as a literal device, it is nevertheless hoped that they will convey a message or signal association with transportation.  The carpark and the elevated accommodation block sit behind the screens.

Denton Corker Marshall was responsible for all urban design and freeway architecture input including elevated structures, barriers, retaining walls, noise walls and ancillary elements.

Key strategic urban design objectives were developed – consistency, legibility, wayfinding, sustainability – forming the basis of this and subsequent freeway projects.

Landscape, lighting and the Fin Wall are used to reinforce the alignment of the freeway as it turns north and assists with ‘wayfinding’ in the complex freeway interchange.  Pioneering ESD solar power initiatives were integrated into the noise walls.

At 520 metre long, with a 185 metre main span, the harp-configured support cables are suspended from two reinforced concrete towers rising 70 metres above the river.

Located in a sensitive woodlands precinct, the bridge responds to its distinctive setting.  Its curvilinear approach follows the natural grade, with the attendant shelter structures reflecting landscape characteristics.

This landmark project features a number of environmentally sustainable design elements, including an integrated solar panel bus shelter.

The bridge was Australia’s first for foot, bicycle and bus only traffic and has won critical acclaim around the world and in Australia for excellence in design and engineering.

The brief called for the re-use of the remaining sections of a decommissioned railway bridge.  The design comprises two distinct sections: the 145 metre long existing structure and a new curved 80 metre ramped link.  The ramp takes up level changes and creates a point of arrival at the south bank.  They are joined seamlessly, with an emphasis on volume and containment, within the curved and sinuous form.

The two parts become a unified sculptural form, suggesting a new connection, or a knot, between the old and new, past and future.  As an object, it appears as a delineated structure, sensuous in volume, light and linear.  Space seems atmospheric, dynamic and transitional.

The bridge has not only become a symbol of the Docklands precinct, but of Melbourne itself.