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      Revival Projects' Zero Footprint Repurposing hub saves construction waste from landfill

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      Australian building company Revival Projects has turned a warehouse that is set for redevelopment into a hub for repurposing construction and demolition waste, which is open to the public during Melbourne Design Week.

      Melbourne Design Week describes the Zero Footprint Repurposing hub as one of the world’s first free hubs dedicated to the storage and reuse of demolished material.
      Revival Projects aims to save these materials from landfill by making them more accessible to architects, designers, builders and manufacturers.
      The Zero Waste Repurposing hub is located in Collingwood, Melbourne on the site of a future developmentThe Zero Footprint Repurposing hub stores materials from projects around Melbourne, with Revival Projects facilitating large-scale repurposing initiatives from various sites.
      “For repurposing of existing materials to be a fundamental element of new design, storage of a large amount of demolished materials is necessary, often for many months or several years, while the project comes to life,” Revival Projects founder Robbie Neville told Dezeen.

      “The idea of this costly storage is often a prohibitive issue, so we have offered the industry free storage of materials in our Collingwood space, if they are going to repurpose those materials back into their project.”
      The hub provides free materials storage space for architects and developers working on sites around Melbourne”We present this dramatic commercial offer with zero obligation to engage us for any of our services – which include structural engineering, commercial and domestic building, and joinery and furniture making – so we are effectively removing that prohibitive issue of space, with no strings attached,” he continued.
      The Zero Footprint Repurposing hub is located in Collingwood, in a 100-year-old, 1,500-square-metre warehouse that Revival Projects will occupy until its slated demolition in 2024.
      Revival Projects is working with the architects of the future development, Grimshaw, to repurpose the existing materials from the warehouse into the new buildings.
      The space is decorated with murals and artworks that communicate the company’s missionThe hub also currently stores material from architects and developers including FJMT, Edition Office, BAR Studio, Hip V. Hype, Kerstin Thompson Architects, ANPlus Developments and Bayley Ward Architects.
      The interior of the space is decorated with murals, art, quotes, installations and materials that communicate the project’s vision.

      Construction industry “doesn’t know where it stands when it comes to carbon emissions”

      “Our mission here is to revolutionise the way our industry approaches existing materials,” said Revival Projects founder Robbie Neville. “We are disrupting centuries of traditions based on reckless consumption of natural resources.”
      According to RMIT, 20.4 million tons of waste were generated from construction and demolition in Australia in 2017, including through works such as road and rail maintenance and land excavation, and about one-third of this ended up in landfill.
      The construction and demolition waste at the hub comes from sites around MelbourneThe waste from these activities include bricks, concrete, metal, timber, plasterboard, asphalt, rock and soil.
      A registered builder, Neville founded Revival Projects in 2016, after four years of running his own salvage missions but becoming frustrated that the construction industry was not geared for reuse.
      The company has since channelled salvaged waste into interiors and architecture projects such as RM Williams stores around Australia and the Industry Beans cafe in Fitzroy, Melbourne.
      Architects and developers are able to store materials from demolition at the hub free of chargeThe practice also worked with Hip V. Hype on a 2020 demolition and salvage for a block of 22 apartments the property developer is building in South Melbourne. For that project, Revival Projects established an earlier iteration of the Zero Footprint Repurposing hub beside that site.
      Additionally, the practice runs workshops out of its hubs, focusing on different sectors of the community that are underrepresented in the construction industry, such as women.
      The current Zero Footprint Repurposing hub at Islington Street, Collingwood is part of the programme at Melbourne Design Week, with an open day happening on Friday 25 March and a panel discussion at 5pm.
      Revival Projects also runs workshops out of the hubThe hub was awarded the 2022 Melbourne Design Week Award, with National Gallery of Victoria director Tony Ellwood calling it “a project of ambitious scale with global importance”.
      The construction industry accounts for 38 per cent of global greenhouse gas emissions, partly because of the cost of creating new materials.
      According to a 2021 report published by the World Business Council for Sustainable Development, buildings equivalent to a city the size of Paris are being built every week, but less than one per cent of them are even assessed to determine their carbon footprint.
      The photography is by Sean Fennessy.
      Melbourne Design Week is on from 17 to 27 March 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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      Theatrical curtains drape around Dame bar by Bergman & Co

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      A “rather fabulous” fictitious muse influenced the design of this richly decorated bar and restaurant in Melbourne by local interiors studio Bergman & Co.

      Dame recently opened in the IM Pei-designed Collins Place, a mixed-use complex in the East End of the city.
      Dame is located in IM Pei’s Collins Place complexThe concrete development was completed in 1981, so Bergman & Co looked to this decade for inspiration when devising a concept for the bar’s interior.
      “The narrative of Dame is centred around a fictitious 1980s muse; a powerful, well connected and rather fabulous woman,” said the team, led by director Wendy Bergman.
      A curvaceous pink marble bar counter sits in the centre of the spaceThe fictional character’s power and femininity are reflected in elements like the curved bar counter, made from blush-toned marble.

      Her portrait, painted by local Melbourne artist Stacey Rees, hangs behind the bar to tie the concept together.
      Blush curtains provide a backdrop for communal diningPale pink curtains divide the space from the building lobby and are draped dramatically to create an entryway.
      Diners are presented with multiple seating options around the restaurant’s glazed periphery.
      Glass block table legs nod to the building’s gridded architectureCommunal tables feature dark wooden tops and glass block supports, nodding to the gridded architecture of the setting.
      Above, pendant lights created in collaboration with Melbourne design studio Please Please Please are delicately suspended like pieces of jewellery.

      Pink marble and patchy concrete emulate ancient Rome in Melbourne’s Pentolina pasta bar

      Banquette seating wrapped in dark textured fabric creates cosy booths, while more casual round tables are paired with wicker-backed chairs.
      “A sumptuous banquette setting finished in rich, earthen tones creates a subtle sense of nostalgia, warming the building’s otherwise restrained palette of architectural finishes,” said Bergman & Co.
      Upholstery for banquettes was chosen to create a “sense of nostalgia””Quilted upholstery and 1980s-inspired furniture complete the aesthetic tableau, offering an elevated, all-day dining space,” the studio added.
      Glossy red table lamps and pendants are also scattered through the space, uniting a palette that feels rich and warm against the building’s grey terrazzo flooring.
      Pink marble tables are accompanied by wicker-backed chairsPink marble is similarly used at Melbourne’s Pentolina restaurant, designed by Biasol.
      Other dining and drinking establishments with notable interiors around Australia’s second-largest city include Studio Esteta’s Via Porta and Three Blue Ducks by Pattern.
      The photography is by Eve Wilson.

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      Danielle Brustman creates yellow highlights in sunny Melbourne hair salon

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      Yellow-tinted glass partitions and droplet-shaped mirrors give a unique personality to Australian hair salon Mitch Studio, renovated by interior designer Danielle Brustman.

      Mitch Studio is located in a double-storey 1950s building in the Melbourne suburb of Ashburton, in a shopfront that had already operated as a hairdressers for a number of years.
      Danielle Brustman wanted to use Mitch Studio’s brand colour, yellow, in the interior designBrustman’s client wanted to update the space to reflect their brand, which uses yellow as its signature colour. The designer set out to give the space a fresh and modern feel while using the sunny hue as a key part of the colour palette.
      The designer started by gutting the space entirely, leaving only the original concrete floor, which has been polished to achieve its final look.
      The reception area includes a custom-built retail display shelf and a six-globe chandelier by EntlerShe reconfigured the layout across two floors: on the ground floor is the reception and waiting area along with hair washing and cutting stations – the latter separated with the distinctive yellow glass partitions.

      The partitions create privacy and personal space while also, Brustman points out, proving useful when social distancing is required.
      The ground floor area includes hair washing and cutting stationsThe droplet-shaped mirrors at these stations were chosen to give the salon a bespoke touch, while referencing ideas of water and washing.
      “There is something lovely about the way the droplet mirrors create an infinity effect in the space, adding to the spaciousness,” Brustman told Dezeen.
      The space is designed to facilitate an easy flow of movement for the stylists throughout the dayAll the joinery on the ground floor is bespoke, including a reception desk clad in mustard-yellow glass mosaic tiles and a retail display shelf with similar white tiles.
      Most of the surfaces and finishes are in white, as is the sculptural six-arm chandelier by US design studio Entler.

      Qali hair salon by Studio Roslyn is “the lovechild of art deco and Cyndi Lauper”

      Upstairs, there are additional haircutting stations along with bathrooms, a kitchen and a small worktable – meant for customers who want to pull out their laptops while waiting for their hair treatments to take effect.
      The haircutting stations here have a different configuration, facing each other but divided by mirrors. Completed with pale moulded plywood chairs, they give the space an almost cafe-like appearance.
      The upstairs haircutting stations have a different configuration”We wanted to keep the spaces light and airy with a great deal of airflow and enough room for the clients and staff to feel spacious and comfortable in their surrounds,” Brustman said.
      She also paid attention to the employees’ workflow and aimed to design the space to be intuitive and relaxing for them. For instance, there are hair-recycling bins integrated into the joinery, so that stylists can dispose of waste on the spot.
      There is also a worktable that customers can use while they wait for their hair dye to takeBrustman is a Melbourne-based interior designer whose previous work has included the Brighton Street Early Learning Centre – a childcare centre with a different bright colour palette in every room.
      The photography is by Nicole England.

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      Studio Four opens up “dark and compartmentalised” 1970s residence in Melbourne

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      A series of portal openings improve connections between rooms and bring extra light into this 1970s residence in Melbourne renovated by Australian practice Studio Four.

      Studio Four aimed to renovate the home, which was designed by Australian architect Wayne Gillespie in 1972, to improve the internal plan and bring it up to date for contemporary living.
      A series of portal openings provide views of the garden beyond (top and above)”While the existing house was of solid build, the interiors felt lightweight by comparison and did not flow or function as desired,” said Studio Four.
      “Some spaces, in particular the existing kitchen, were dark and compartmentalised and did not fully harness the possible connections with the garden.”
      Solid wood furnishings create a sense of warmth in the otherwise monochrome kitchen
      Located in the city’s South Yarra neighbourhood, the Cunningham Street Residence was designed by Gillespie as his first independent project and his first home.
      The architect, who died in 2001, was known for his use of pure, clean lines, and combining classical design features with modern technology.
      A planter is integrated between the dining table and kitchen island”The client’s brief was to provide a holistic solution,” explained Studio Four.
      “Their brief was to strengthen Gillespie’s original vision, as opposed to creating an alternate vision that would directly contrast it.”
      The kitchen was relocatedStudio Four replanned the rooms to enable the occupants to spend time both together and separately.
      For example, the existing kitchen was relocated to the centre and rear of the home so it could be used as a central space for the family to gather in.

      Ruxton Rise Residence in Melbourne is arranged around a planted courtyard

      To make the spaces appear larger and more connected with each other and the outside space, the architects inserted a series of portal openings between the spaces.
      It decorated the spaces with a palette of light and neutral colours.
      One of the portals features an integrated reading nook”The design response reflects the integrity of the existing built fabric. The focus is on the experience rather than the form, and all emphasis is placed on the quality of the experience rather than a visual statement,” concluded the studio.
      “The result is a house where the architectural form and its interiors act as one, and the transition between built form and landscape is blurred.”
      The bedroom features panoramic views of the trees outsideStudio Four, which is led by directors Annabelle Berryman and Sarah Henry, has a track record of creating homes that blur indoor and outdoor space.
      Previous residential projects include an all-white family home with a garden at its centre, and a grey-brick home with a central olive tree-dotted courtyard.
      Photography is by Shannon McGrath.

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