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Good conservation is about more than protecting historic fabric. It’s about creating the conditions for heritage places to thrive into the future.

Through a series of Victorian case studies, members of the RBA team will explore practical conservation works, methods for managing significance, and the relationship between conservation and design.

Join us this Thursday, 13 August at 12pm as part of the Australian Institute of Architects Heritage CPD Series.

rba was thrilled to provide heritage architecture and conservation expertise to the iconic @thequeenscliffhotel. Read about this project on our website now.

Architects @molecule_studio
Builder @builtbywilson
Photography @diannasnape

We’re all familiar with the beautiful sash window, but have you heard of a Yorkshire sash?

Unlike the classic sash with its cords, pulleys and counterweights gliding vertically, the Yorkshire sash slides sideways. Sliding windows first appeared in France in the 16th century, while the counterweighted sash we know well emerged in London after the Great Fire of 1666.

The Yorkshire sash found its niche in rural cottages and farmhouses, where its simple, sturdy form was a perfect match for thick stone walls.

They were far less common in Australia, but surviving examples can still be found in heritage places like Pastoria Homestead (H1179), where rba carried out historical research and conservation works in 2024.

Read the full story of the Yorkshire sash at the link in bio.

Image Captions:

3. Glazed Verandah with horizontally sliding windows, Pastoria Homestead

4. Glazed verandah to east elevation, Pastoria Homestead

5. Horizontally Sliding windows to upper level, Castlemaine Station Signal Box A

6. Early traditional sash windows, Broughton House

7. Triple Yorkshire Light window with two horizontally sliding sashes, Guildhall, Carlisle, Cumberland, Edward Arthur 'Evacustes' Phipson, 1905

8. Sliding windows to upper level, Sun House, Frognal Way, Hampstead (1936) by Maxwell Fry

9. Details for a metal horizontally sliding window for house at Chipperfield, Hertfordshire, E Maxwell Frym, 1935

When it comes to learning about modern heritage, Los Angeles offers an abundant classroom.

Following a competitive selection process, rba Principal Phillipa Hall was chosen to complete the Getty Conservation Institute’s prestigious 'International Course on the Conservation of Modern Heritage' in LA, along with a select group of peers from around the world.

After three months of online study, the course culminated in a two week intensive where Phillipa had the opportunity to gain some hands-on experience in applying her studies.

Highlights include timber and concrete conservation at the Salk Institute, as well as the conservation management of the Eames House (which survived the recent LA wildfires, emphasising the risks faced by heritage buildings in an age of climate change).

Work included assessing the significance of the Santa Monica Civic Auditorium, a classic Streamline Moderne building that was home to the Oscars from 1961 to 1968. Participants developed management policies for the building’s owners and proposed contemporary activations that could breathe new life into the site.

The course also addressed one of conservation’s growing challenges: concrete. Through a dedicated workshop, Phillipa and her peers learned to visually and forensically assess deterioration, as well as how to select and test concrete mixes and finishes to match existing materials.

The Getty Conservation Institute (GCI) is a program of the world-renowned J. Paul Getty Trust, which also operates the Getty Museum: one of the most visited cultural institutions in the USA. With strong expertise in modern architecture, the GCI is dedicated to advancing conservation practice through scientific research, education and training, and field projects.

Phillipa’s learnings have already informed rba’s approach on several current projects, including the Werribee Hangar relocation and the Nicholas Building, bringing deepened expertise and fresh thinking.

@gettymuseum

Can heritage move?

While not desirable, relocating a heritage place may be necessary to return a building in uninhabitable and poor condition back to everyday use, particularly when the alternative is complete demolition (Burra Charter, 2013).

This is the case for the large aircraft hangar at the former Werribee Satellite Aerodrome (VHR H1884), which had been previously proposed for demolition due to its poor structural condition.

Alongside MHPL Heritage Engineers, rba resolved a solution where appropriate conservation could support deconstruction, remediation, and reconstruction to facilitate saving the structure and giving the site new use(s) including:

A new school for the Riverwalk Estate,

The relocated hangar to be used by
@b24liberatoraustralia as a museum.

Image Descriptions:

1 / 2. Due to shortages of metals and long-span timbers during WWII, and the urgency for quick construction, small unseasoned timber segments were used for the very large span trusses- a groundbreaking technique for Australia at the time. As it dried, the timber shrank and warped, resulting in a highly advanced but ‘wonky’ roof structure. For conservation works to be successful, the moisture content must be carefully controlled so that the hangar can be reconstructed in the same state as it was prior to deconstruction.

3. The subject hangar (Hangar 1) in its present location. The highly significant timber structure, originally spanning nearly 40m, will be restored to function as originally designed and remain a landmark within the new Riverwalk Estate.

4. In order to thoroughly understand the Hangar’s structure, a point cloud model was created. Achieved by laser-scanning the hangar’s interior, a point cloud is a set of data points which represent a 3D object when merged together.

5. The project team consisting of rba’s Roger Beeston and Phillipa Hall, @melbournewater, and contractors SFPJV

Located some 375 kilometres east of Melbourne and near Australia’s Snowy River National Park, the township of Orbost was once a crucial point for the export of timber from mills in the East Gippsland region. Originally, the Bairnsdale to Orbost railway line was sponsored as a speculative venture by the Victorian Legislative Assembly during the 1880s. However, it wasn’t until adaptive trestles (or bents) were developed in 1912 that responding to such topographical height variations became feasible, allowing for the opening of the railway line in 1916.

The Snowy Rail Bridge Restoration Project comprises the adaptive reuse of the longest remaining timber trestle bridge in Victoria at 770 metres. The restoration project brought about the adaptation of the bridge as a publicly accessible part of the East Gippsland Rail Trail, a walking and biking track which follows the route of the former Bairnsdale to Orbost railway line.

Exhibiting a high degree of integrity, the bridge serves as an exemplar of technical significance highlighting the innovation and ingenuity of early Victorian rail structures. The line played a crucial role in ending the isolation of forest communities along its length and was associated with the development of East Gippsland trade with urban markets.

With the proposed remediation works and the implementation of a continuous programme of maintenance and repairs, the design life of the bridge is in the order of a further 60 years. The project was an opportunity to use heritage assets in a way that activates and enhances engagement within the local community.

Click the link in our bio for the full story!

Drone footage captured by AUAV, property of Save the Snowy Rail Bridge Association

Sources:
A Ward & Associates 1988, Study of Historic Railway Buildings and Structures for V/Line

rba, Heritage Impact Statement

VHD, Statement of Significance

Earlier last month, rba’s Lachlan McMullin attended the @longfordacademyinc, an intensive program exploring the science and practice of building materials conservation at the World Heritage Listed @brickendonestate. A key focus of the course was understanding and reversing inappropriate twentieth-century interventions that can unintentionally accelerate the deterioration of heritage fabric. Common examples include the application of cement render, the use of cementitious mortars, and the use of acrylic paints, all of which can trap moisture and contribute to long-term material decay.

As a case study, the course examined rising damp and salt attack at a historic Cookhouse, noting that acrylic paint had prevented the wall from 'breathing', trapping moisture within the masonry and thus providing an avenue for salt attack. In this instance two immediate approaches were taken as initial works to halt damage to the wall:

i) strip the acrylic paint from the wall using a poultice - a gentle approach that ensures the brick is not damaged.

ii) use a captive head washer to suck salt from the bricks and mortar - many passes are required, and then repeated after a few weeks.

Further interventions, such as raking out and repointing the mortar and the inclusion of a damp proof course, may be considered as appropriate next steps.

RBA Architects is occasionally presented with the opportunity to work on projects internationally. In 2016, Roger Beeston was invited to join the Myanmar Heritage Preservation Limited (MHP) to work on the adaptive reuse of the largest and most significant British colonial era building in Myanmar, the Yangon Secretariat.

The Secretariat is closely tied to the colonial rule of Myanmar along with its struggle for independence. From the death of Aung Kyaw during student led protests in 1938, the assassination of the revolutionary and activist General Aung San in 1947, and the formal handover of power six months later, the place has borne witness to and been a catalyst of many defining historic events.

Over time the condition of the Secretariat degraded and it fell into disuse, ultimately being acquired by an investor with a vision of its commercial adaptive reuse which prompted rba’s engagement to advise on its potential for reuse and, importantly, its accurate and authentic conservation. While the research and our involvement in the execution of the project was deeply interesting, executing our sensitive vision for the Secretariat was ultimately not supported, and we moved on from the project after some months.

To learn more about the history and conservation of The Secretariat, click the link in our bio

Image Captions:
1. Early 20th century photograph
2. Dilapidated sections
3. Central void
4. Damage to original fabric
5. Interior spaces
6. 1910 photograph (Arnold Wright)

In 2015 rba was engaged to prepare a Conservation Management Plan (CMP) for the Harry Norris designed Majorca Building in Flinders Lane (1927-31). This was in response to the poor condition of the original faience clad facades along with concerns about the condition of the later 1980s works.

To ensure informed decisions were made on its future protection and management, in addition to assessing the condition of the building fabric, we undertook detailed historic research tracing its inception to the flourishing soft goods ‘rag’ trade era of Flinders Lane, Melbourne’s evolving fashion industry, advances of concrete and steel, and the growing influence of American interwar architecture.

It is within this context that Harry Norris brilliantly captured this in-vogue and moderne culture of Flinders Lane with his design. With its bright blue faience façade being its most distinguished feature, the Majorca Building is an interesting contrast to Norris’s nearby plain grey faience clad Nicholas Building.

Follow the link in our bio to learn more about the conservation of the Majorca Building and the history of Flinders Lane’s ‘rag’ trade.

Image Captions
1. Main Entry to Centre Place
2. Flinders Lane elevation
3. Faience Detail
4. Majorca Building from Degraves Street
5. Flinders Lane in c.1914
6. Harry Norris - original 1928 elevations

To our peers, clients and collaborators: thank you for your trust, creativity and partnership.
Wishing you a bright, restorative festive season and an uplifting start to 2026

Our offices will be closed between 20th December and 4th January.
We look forward to reconnecting in the new year.

🎅#christmasinmelbourne #melbournearchitecture #heritagearchitecture #happyholidays

A thematic history tells the story of a place by following themes rather than dates, analysing how recurring patterns have shaped its character and identity over time. In 2014, RBA was commissioned to prepare the Thematic History of Mount Alexander Shire, led by Roger Beeston, Anthony Hemmingway, Erin Williams and Kim Burrell. Our team surveyed the entire shire, exploring its cultural landscapes and the four distinct geological substrates (sedimentary, granite, basalt and alluvium), and how each has influenced land use. Sedimentary ground, for instance, was heavily subjected to gold mining, resulting in irregular lots, settlements and survey patterns. The granite, basalt and alluvial landscapes were more suited to agriculture, grazing and industry, with larger landholdings and a more organised development.

Understanding what occurred across these environments revealed several key themes that guided the Shire’s growth:

1. Living with the Environment
2. Inhabiting the Land
3. Transport and Communications
4. Agriculture and Utilising Natural Resources
5. Industry and Business
6. Building Townships
7. Governing
8. Community life
9. Cultural Life

For instance, regular and reliable transportation began with Cobb & Co coach routes in 1854, before giving way to an expanded railway network in 1862. Places such as the former Cobb & Co stables at Taradale are tangible connections to the Shires thematic history. In addition, the shire supported various industrial and agricultural activities like grazing, grain production, orchards, fruit growing, beekeeping and even medicinal gardens.

However, the most transformative event in the Shire’s history was the Gold Rush, drawing upwards of 35,000 people globally, whose arrival introduced a wide range of cultural practices, traditions, and religions. After those from the UK, the second largest migrant group were the Chinese, who suffered discrimination and injustice to an extent not experienced by other migrants.

Continued in comments...

In 2013, Roger Beeston presented at the University of Melbourne on the complex relationship between heritage conservation and environmentally sustainable design (ESD). He argued that expecting all heritage places to comply with contemporary ESD standards risks undermining their cultural significance, particularly when the inherent passive qualities and embodied energy of historic buildings are overlooked.

ESD itself is not a new idea. Long before mechanical systems, architects relied on orientation, thermal mass, shading, natural light and ventilation to create buildings that were self-sufficient. Frank Sargood’s 19th-century Rippon Lea estate is a prime example, incorporating water harvesting, waste reuse for gardens, and a stormwater irrigation system. After decades of dependence on mains water, the National Trust restored these systems in response to drought and rising costs, and the estate is now 98% self-sufficient.

Other heritage places also reveal early ESD principles: the Australian Club and Scottish House used light wells to draw daylight deep into their interiors, while Parliament House introduced passive air-conditioning as early as 1859. Good ventilation was also central to hospital design from the mid-19th century. At the former Victoria Police Hospital, a proprietary system consisting of wall tubes, roof-mounted ventilators and ducting created effective passive ventilation was deployed. Although partly removed in the 1950s, RBA’s conservation management plan recommended reinstating this installation, likely the ‘Boyle System’, to enhance functionality and reduce reliance on intrusive modern air conditioning.

Understanding a heritage building’s passive systems is essential, as modern interventions can be harmful both aesthetically and physically. For example, sealing masonry or timber-floored buildings and adding mechanical ventilation can trap moisture, increase dampness, and limit a building’s ability to breathe, ultimately damaging its fabric.

ESD within heritage contexts is never a one-size-fits-all. Interventions must be minimal, tailored and reversible, particularly as ESD technologies continue to evolve.

Continued in comments...

Same Tiger, Different Stripes

As we continue to bend and adapt to the dramatically changing contemporary world, after 25 years, rba has doubled down on an identity refresh - which we’re now launching.

Consistent with our developed approach to heritage places, rather than turfing out the old for the sake of the new, we’ve sought to embrace what’s enduring and valuable about our beloved existing branding, while updating and adaptively reusing it to suit the contemporary environment of 2025. The results reflect, we believe, the thriving, modern energy of our practice today, while honouring the legacy that has shaped our story.

A huge thank you to Sally and Henry @nexus_designs for capturing the genius loci of rba so perfectly.

#rbaarchitects #melbourneheritage #melbournearchitecture #melbournedesign

Herringbone strutting is a traditional form of timber bracing, recognized by its characteristic cross brace arrangement between joists. Developed in Britain in the late 19th century, it was designed to prevent movement and torsion, while leaving room for services between the joists. The technique soon appeared in Australian carpentry, with early Melbourne examples seen in two RBA projects - the Alfred Stables at Alfred Hospital (1870s) and Dan Murphy’s basement in the Prahran Arcade (1890).

The herringbone pattern itself predates this technique altogether. First seen in textiles more than 2,800 years ago, herringbone woven artefacts have been discovered in the Hallstatt salt mines in Austria and later in northern Italy. Its interlocking form offered both strength and a sense of movement, qualities that would later inspire builders and architects.

By the Roman era, the pattern evolved into opus spicatum, a term coined by 1st century Roman Architect Viruvius. Translated to ‘spiked work’, the arrangement of bricks alluded to the ears of wheat and the symbol of Ceres, the Roman deity of agriculture and fertility.

Opus spicatum was used in paving Rome’s vestibules, porticoes, courtyards and other public spaces, most notably Trajan’s forum completed in 112 CE. Centuries later, Brunelleschi famously revived the technique in the brickwork of Florence’s cathedral dome (1436), where the spiraling herringbone allowed the world’s largest brick dome structure to support itself without external buttresses.

Celebrated for its strength and interlocking form, the herringbone pattern would later inspire the development of herringbone bracing in the 19th century, and structures like the geodesic dome in the 20th century.

Follow the link in our bio to learn more about the history and wonders of the herringbone pattern

The Castlemaine Goods Shed has seen some dramatic changes over time – a train thrown through its northern end, a wing demolished, and now - transformation into a vibrant performance venue.

A project that celebrates the building’s continued evolution, the recently completed second stage of adaptive re-use works have seen archaeological investigations, structural stabilisation, reinstatement of original colour schemes and the insertion of a thoughtfully considered performance space that will ensure the viability and sustainability of this iconic heritage asset. RBA are honoured to have worked alongside a fabulous project team including @cumulus_studio @mccorkell_constructions and @rpinfrastructure to realise this vision for the @castlemainefestival

The energy was electric at the opening of the venue on October 12, attended by Roger Beeston, where the community came together to explore the space and eagerly anticipates the 50th anniversary of the Castlemaine State Festival in 2026.

Image captions in comments.

#castlemaine #castlemainestatefestival #adaptivereuse #communityarts #heritagearchitecture #goldfieldsvictoria #victoriaaustralia

The striking landmark red brick 27.5 metre tall boiler house chimney in Highett (HO11) is the last remaining structure of the former 1938 gasworks. As a possible local comparator to Bologna’s famed medieval brick towers, the Highett structure presented fundamental conservation challenges similar to those faced by the Italian icons.

Conserved as part of the residential redevelopment of the broader site, the chimney has undergone major conservation and structural remediation works, led by RBA and structural engineer Joe Spano and carried out by Heritage Building Services.

The works included some initial deconstruction followed by the reconstruction of the missing corbelled crown, brick and concrete cancer repairs, and the introduction of a particularly innovative bespoke internal reinforcement system to meet contemporary wind and earthquake performance standards.

The successful conservation of this historic industrial chimney comes at an important moment, as another historic chimney in Brunswick, the former Hoffman Brickworks stack, has recently made headlines for its ongoing structural issues and mounting repair costs. The successful remediation of Highett’s chimney demonstrates that with thoughtful heritage-led engineering and conservation, these industrial relics can be preserved while enabling urban renewal and adaptation of these sites.

#industrialheritage #urbanrenewal #heritageconservation #adaptivereuse #builtheritage #historicengineering #structuralengineering #gasworks

#ingegnariaconsultants #heritagebuildingservices

Now open on Bourke Street, MECCA’s stunning three-level emporium is more than just a retail destination. Set within a beautifully restored, heritage-listed Art Deco icon, this flagship is a bold tribute to Melbourne’s vibrant architectural past and cultural identity described by MECCA founder Jo Horgan as a ‘love letter to the city.’ Through expert heritage conservation and visionary design, MECCA and RBA Architects have revived the landmark former Coles Store, bringing the building’s rich and storied past to the forefront through meticulous conservation and collaborative design approaches.

Together RBA Architects, MECCA, Studio McQualter, Traditional Restoration Company, Balineum, Darwen Terracotta, and others have championed a conservation-led approach that honours Melbourne’s architectural legacy while creating a unique space for contemporary connection, creativity, and commerce. It’s a striking demonstration of how adaptive reuse can honour and elevate a cherished piece of Melbourne’s architectural heritage.

📍 Discover how MECCA’s Bourke Street is redefining what it means to be a modern cultural ambassador. Full story via link in bio. @meccabeauty @studiomcqualter @sarah_balineum @darwenterracotta #MECCA #meccabourkestreet #traditionalrestorationcompany #MelbourneArchitecture #HeritageRevival #ArchitecturalConservation #AdaptiveReuse #ArtDecoMelbourne #ArtDecoArchitecture #RBAArchitects #BourkeStreetMall #Faience

This Saturday 26 July, RBA director Roger Beeston and stone mason Oli Clack from @ocstonemelbourne will be presenting the conservation works at the Mar Thoma Church, former College Church, as part of Open House Melbourne. Drawing on their direct involvement in the project, Roger and Oli will offer insight into heritage conservation and the craftsmanship required, discussing the techniques and processes used in the conservation of the tower’s crown and lantern.

Tours run from 12pm, 1pm, 2pm + 3pm

#openhousemelbourne #storiesofthecity

Slide 2: Peter Bennetts, 2024

Wattle and daub is a vernacular construction method that evolved independently across multiple cultures and continents. The weaving together of timbers into a framework infilled with earthen plaster has provided for robust wall construction for millennia. Transmitted to Australia via British colonists in the late 18th century, the technique was adopted in early colonial settlements as a practical response to material scarcity and labour limitations. While Indigenous Australian communities did not employ wattle and daub in the European tradition, they developed complex and environmentally responsive architectural systems, including interwoven frameworks and layered organic cladding, as documented by Paul Memmott in Gunyah, Goondie + Wurley: The Aboriginal Architecture of Australia.

In the Victorian context, wattle and daub persisted into the mid-19th century, primarily within modest domestic and agricultural structures. Rare, surviving examples, including McCrae Homestead (H0291) and De Arths Dairy Hut on French Island (HO1), demonstrate the technique’s adaptation to local conditions. As Professor Miles Lewis has argued, these buildings constitute ‘hybrid types’ that reflect a convergence of imported construction knowledge and vernacular innovation.

To learn more about the history and use of wattle and daub, follow the link in our bio 🔗

#wattleanddaub #australianheritage #vernacular #ethnoarchitecture #mileslewis #paulmemmott

Recognisable by their distinctive wedge shape, voussoirs are the fundamental building blocks of the arch. Locked in place by a keystone at the apex and springers at the base, they distribute weight efficiently through a curved form. Perfected by the Romans and later refined in Gothic architecture, voussoirs enabled strong, elegant arches in buildings, bridges, and cathedrals. By the late 18th century, British bricklayers adapted the method using standard bricks and thick mortar joints to create flat and segmental arches.

These traditions arrived in Australia with British settlement, where voussoirs featured widely in colonial infrastructure and continued as part of the nation’s architectural legacy. Notable examples include the bluestone arches of the Malmsbury Viaduct (1859) and stylised forms at Flinders Street Station (1909). Though modern materials have supplanted traditional masonry, voussoirs remain in use structurally and as an enduring architectural reference.

To learn more, follow the link in our bio.

#voissours #romanarchitecture #arches #heirtagearchitecture #australianheritage #australianarchitecture

This weekend, we’re pleased to contribute to The Alchemy of Gold.

Part of the National Trust’s Australian Heritage Festival, The Alchemy of Gold is a series of lectures, workshops, and field visits taking place across Castlemaine from 16 to 18 May, exploring how the discovery of gold in the 1850s transformed Victoria.

Three of our team members, including Director Roger Beeston, will present on Saturday, May 17:

Anthony Hemingway shares insights into the Castlemaine Railway Station Precinct, revealing how archival research informed the 2024 Conservation Management Plans and helped uncover the evolving layers of this key site.

Roger Beeston and Katrina Place Dernelley reflect on domestic life in the goldfields and the conservation of Specimen Cottage, Bendigo—one of the region’s earliest surviving homes—and what it reveals about the history and architecture of the Goldfields.

We look forward to joining our peers in sharing meaningful ideas, insights, and conversations. We can't wait to see you there!

#alchemyofgold #goldfieldshistory #heritagefestival #nationaltrustvic

Image 1: Victorian Goldfields Railway at Castlemaine Station, RBA, 2023
Image 2: 'The Railway Station, Castlemaine, Vic,' The Rose Series, circa 1920s, SLV
Image 3: Specimen Cottage, RBA, 2020
Image 4: S T Gill, 'Digger's Hut Canvas and Bark,' 1852, SLV

The Joseph Reed-designed façade of the former Bank of NSW, originally built in 1856 and relocated to the University of Melbourne in the 1930s, remains a key heritage feature of the campus despite the demolition of the Old Commerce Building in 2013. The façade was originally dismantled in 1933 and stored for five years before being incorporated into Percy Everett’s design for the Commerce Building’s western elevation. Although the Commerce Building was not heritage-listed, the façade was protected under the Melbourne Planning Scheme’s Heritage Overlay (HO335), ensuring its conservation as part of the redevelopment for the new Faculty of Architecture, Building, and Planning (ABP).

As part of this redevelopment, RBA Architects provided expert heritage advice to assess, document, and conserve the façade. The previous restoration efforts had caused damage, with incompatible repairs accelerating the deterioration of the historic sandstone. The conservation work, undertaken by IG Parker Stonemasons, focused on stabilizing and protecting the façade, which was then carefully integrated into the design of the new ABP building by John Wardle Architects and NADAAA. The design guided by the heritage significance of the place, embraced the opportunity to strengthen the context between the new and the old ensuring that Reed’s 19th-century design remains a defining presence within the University’s campus.

Follow the link in our bio to learn more about the history and conservation of the Joseph Reed Façade.

#josephreed #unimelb #heritagearchitecture #conservationarchitecture #melbourne #melbournehistory #stonemasonry @wardle.studio

The Japanese Room at the University of Melbourne was designed by Japanese architect Shigeru Yura, who, alongside Architecture Faculty head Brian Lewis, helped shape the Faculty of Architecture, Building and Planning (FABP) in the 1960s. Yura designed the Japanese Room in the shoin-zukuri style based on the Katsura Imperial Villa in Kyoto. The room features timber and paper sliding doors, a Japanese cedar ceiling, and decorative wallpaper with gold-thread motifs incorporating traditional shoin-style elements.
When the original faculty building was set for demolition in 2012, the University, in partnership with John Wardle Architects and NADAAA, relocated the Japanese Room and Garden to the rooftop of the new FABP building. This involved designing an exterior enclosure for the formerly internal space, integrating it with the associated Japanese garden. Although not heritage-listed, the University recognized its significance and commissioned RBA to prepare a Conservation Management Plan, which documented its cultural importance and guided its preservation.
To learn more, read our blog at the link in our bio.
@wardle.studio @acahuch #unimelb #japanesedesign #wabisabiinteriors #japanesearchitecture #shigeruyura @york240

Utsushi is a Japanese concept of reinterpretation, replication, or transformation that preserves the essence of the original, fostering a dialogue between past and present to ensure continuity through adaptation. This philosophy is integral to traditional Japanese arts, including pottery, calligraphy, and Noh theatre, where practitioners create works that honour past masters while incorporating new interpretations.

The Burra Charter, guiding Australian heritage practice, emphasises the role of use in preserving heritage places. Disused sites may suffer deterioration, while adaptive reuse — giving places new, compatible functions — ensures their longevity. Just as utsushi preserves cultural continuity through adaptation, good heritage practice acknowledges that redundant heritage places must evolve to remain relevant.

While balancing contemporary use with historical integrity is challenging, examples like the adaptive reuse of the Former Mounted Police Stables by Kerstin Thompson Architects, the Stables at the Alfred Hospital by Architects EAT (led by Albert Mo), and of Jack’s Magazine, a former gunpowder storage facility highlight how this is best achieved and result in the reinvigoration of the place.

To learn more about Utsushi in practice, follow the link in our bio 🔗

#adaptivereuse #heritagearchitecture #utsushi #sustainablearchitecture

@kerstin_thompson_architects @albertmoarchitects

In 1984, legendary street artist Keith Haring left his mark on Melbourne, creating a bold and dynamic mural on the walls of Collingwood Technical School. Completed in just one day, this vibrant artwork—featuring Haring’s signature dancing figures, caterpillars, and computers—embodied his vision of making art accessible to all and was a foremost piece of public artwork in the country. The Collingwood mural is one of three, and the largest of these, projects Haring undertook in Melbourne during his three week stay. Only 31 known public murals by Haring survive worldwide and the sole example surviving in Australia, is a landmark of 1980s street art and was added to the Victorian Heritage Register in 2004.
After three decades of UV exposure, the inherently short lifespan of the acrylic paint resulted in the deterioration of the pigments, but to varying degrees in each colour (the yellow base with red and green characters).
Thanks to a dedicated conservation efforts by rba, Arts Victoria (now Creative Victoria), the Keith Haring Foundation, the City of Yarra and others as well as previous interventions by Andrew Thorn, the mural was carefully conserved by Italian specialists, led by Antonio Rava, in 2013. Now a treasured landmark and the only surviving Haring mural in Australia, it continues to celebrate his legacy and the power of public art.

To find out more, read the link in our bio

#keithharing #melbournearchitecture #melbournestreetart

St James Old Cathedral, now at the corner of King and Batman Streets, is the oldest church in Melbourne. Originally established on a five-acre site at Bourke and William Streets in 1837, it began as a timber structure before being replaced by a Georgian/Regency style stone building, designed by Robert Russell. It is a rare example of the style in Melbourne that is more common in NSW and Tasmania because it is generally associated with the decades before Victoria’s colonisation.

The foundation stone was laid in 1839 by Gov. Charles Joseph La Trobe, with construction undertaken in two stages. Charles Laing completed the work after disputes over the design led to Russell’s replacement. The unfinished church opened for worship in 1842 and in 1847 became Melbourne’s first Anglican Cathedral after it was proclaimed a city.

After the opening of the larger St Paul’s in Flinders Street in 1891, the cathedral status was transferred from St James. Struggling with a dwindling congregation, maintenance issues, and urban development pressures, St James narrowly avoided demolition after being condemned in 1912. Instead, it was painstakingly dismantled and relocated stone by stone and reconstructed at its current site in West Melbourne, reopening in 1914 with a remodelled tower and other modifications.

In 2009, after many years of neglect and several dangerous spalling events, urgent stone repairs were initiated to the tower. To secure funding, rba prepared a CMP and conducted thorough investigations into the condition and provenance of the stone masonry which guided the repair works.

These investigations revealed five types of stone: basalt and four types of sandstone. The walls were constructed principally of ferruginous sandstone, notable for its reddish-brown hue caused by high mica content. This unusual stone is thought to have been quarried near the Maribyrnong River in Ascot Vale. St James is only one of two surviving examples in Melbourne to be constructed of ferruginised sandstone.

The finished work, completed in 2012, embodies a core tenant of our heritage conservation practice: doing as much as necessary and as little as possible.

In celebration of peace, joy, and eternal love this holiday season, wishing you all happy holidays and a wonderful new year!

Please note that our office will be closed from the 23rd December 2023, to the 6th of January 2024.

Pictured: Springthorpe Memorial, designed by Harold Desbrowe Annear, 1897 (VHR no. H0522)
Image Credit: Peter Bennetts, 2024

2024 has been another remarkable year for RBA. In addition to a wide and interesting array of projects and sites, we also celebrated 30 years of built heritage conservation.
The trialling and integration of new and emerging digital technologies, such as AI, Point Cloud, Photogrammetry, BIM, dynamic multidimensional databases, and GIS has been critical and influential to our workplace this year.
2025 will continue this momentum with projects starting or continuing on site, including adaptive reuse of Doherty’s Ruin into a café, relocation of the imposing timber framed Werribee aircraft hangar, seismic strengthening of the Highett Gasworks chimney, and reconstruction of Malmsbury Railway Station, following a fire. We are commencing several residential concept designs, work at the Melbourne Town Hall and at the University of Melbourne, upgrading of a group of historic cast iron toilets and continuing our work at Wilsons Promontory Light station.
Heritage reviews for Alpine Shire and the City of Wodonga, alongside assessments in Ballarat and Geelong, ensure that culturally significant places continue to be recognised and protected. Conservation Management Plans for Kuring-Gai, Doherty’s Ruin and Hambleton House, provide the research and management policies to guide responsive architectural proposals by rba and others.
Continued growth and learning are a core RBA value. Ashleigh expanded her expertise in materials conservation at the Longford Academy, while Phillipa was accepted into the prestigious Getty Institute’s Course on the Conservation of Modern Heritage. Paula trialled innovative Life Cycle Assessment technologies to enhance sustainable design outcomes, and Chami expanded her GIS mapping skills.
Our completion of the draft of our Reconciliation Action Plan marks a significant step in our commitment to reconciliation. And we recently announced the launch of our new website www.rbaarchitects.com.au
As we celebrate these milestones, we recognise our team’s dedication, innovation, and passion and look forward to the challenges, learnings, and successes to come.

In 2008, RBA conducted an independent peer review for the City of Boroondara, located within the land of the Wurundjeri Woi-wurrung people, assessing 21 properties facing objections to proposed heritage controls.
The amendment to apply these controls aimed to provide heritage protections to 207 properties
altogether, recommended in earlier studies from the 1990s, that had not yet been implemented. Council received 22 objections during the amendment’s exhibition period, prompting the need for an independent review of 21 specific properties. RBA’s task involved reviewing the previous research and citations and detailed site inspections to evaluate the integrity, intactness and heritage value of each site.
The review revealed that 19 of the properties were in excellent condition and retained much of their original features, showcasing styles from the Victorian to postwar periods, each
contributing a distinct architectural character to the municipality.
Among the noteworthy examples was a house on Holroyd Street, Kew, an unusually late example of the Streamlined Moderne style. This house was constructed during the latter years of World War II, a period when building activity was heavily restricted, making such examples exceptionally rare.
Another significant property was the now celebrated 1960s modernist house on Studley Park Road, Kew, designed by architect Theodore Berman, who is better known for his Featurist-style commercial buildings. This residence stands out as an example of Berman’s purer approach to modernism, showcasing clean, functional lines distinct from his commercial works.
A rare Mediterranean-style house located on Bradford Avenue, Kew, was identified as significant, with few comparable examples in Melbourne, making it a unique element of the
area’s architectural diversity.
Peer reviews provide a valuable opportunity to critically reassess heritage evaluation methods
and help bridge the gap between heritage professionals and the public. RBA’s review ultimately supported heritage protections for 19 properties, and the majority of these recommendations were endorsed by the review panel, leading to their inclusion in the Heritage Overlay.

In 2007, the Shire of Strathbogie commissioned RBA Architects to conduct a heritage study to identify and assess culturally significant sites across this northeastern Victorian region. Prior to the study, only 29 individual sites within the shire had heritage protections, leaving many significant locations unrecognised and vulnerable. The study unfolded in two stages: the first involved drafting a thematic history of the shire and identifying sites of potential heritage value, while the second stage entailed a detailed assessment of these sites for possible inclusion in the Heritage Overlay schedule.

The Shire of Strathbogie is located in northeastern Victoria on the traditional lands of the Taungurung people and is named after the Strathbogie Ranges to its east. Following colonisation, the shire’s development, influenced by its location along the Hume Highway, centred around agriculture and the timber industry.

Community consultation was integral to the study, ensuring that the identified sites held local cultural value. Through this collaboration, RBA identified over 750 places of potential heritage significance, with 55 individual places ultimately granted heritage protection in 2017 based on the findings and recommendations from Stage 2 of the study. An additional 9 precincts were recommended, but were removed from Amendment C04.

Among the sites assessed in the study are notable examples of Strathbogie’s historical infrastructure and rural architecture. The Mt Hut (or Mountain Hutt) Weir, built around 1890, is the region’s first major weir and one of Victoria’s earliest concrete dams. It remains remarkably intact and continues to function as a water source despite its proximity to the larger GA Waterhouse Reservoir.

At Baldavin Park homestead, an early timber outbuilding—possibly dating to the 1870s during the property’s original lease by Jim Moreley—retains its original timber shingles, making it a rare, well-preserved structure. Similarly, Balmattum School No. 743, used from 1885 to 1950, remains intact with an attached residence, exemplifying the modest, utilitarian design of late 19th-century rural schools.

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Voussoirs: An engineering legacy

Specimen Cottage - Conservation Management Plan

Developing the Goldfields - The Castlemaine Railway Station

The Joseph Reed Facade, University of Melbourne - Recontextualizing Heritage

The Japanese Room, University of Melbourne - Deconstruction and Reconstruction

Utsushi: Work derived from and inspired by tradition

Keith Haring Mural, Collingwood - Street Art Conservation

Connecting People to Place - former College Church, Parkville

2023 AIA Victorian Architecture Awards

Roger Beeston chairs the Heritage Jury for the 2020 AIA Victorian awards