In the inner-city Melbourne suburb of Collingwood – an eclectic and creative neighbourhood with gritty industrial roots – is a monolithic new building of concrete, glass and metal that interrupts a quiet section of the skyline.

Designed by local architecture and interior design studio Carr for developer and client Figurehead, 116 Rokeby is an office building that aims to push commercial architecture and interiors in a new direction of sustainability, longevity and innovation, according to the studio.

Despite designing the first building of scale on Rokeby Street, Carr director Stephen McGarry says the building does not seek to scream “look at me”. Based on principles of “critical regionalism”, 116 Rokeby’s composition responds to its context from a fabric and climatological viewpoint.

“The repetitious form [and] the use of a monochromatic palette of raw concrete and metal work allows the building to sit quietly within the urban context,” he tells Australian Design Review.

“The passive measures on the façade, whether that be the double skin on the north or the fixed-angled sun shading blades on the east and west, have real purpose.” 

This is just one of the ways “the tactile surpasses the visual” at 116 Rokeby, says McGarry. 

“The passive nature of the façades are hard at work, not needing intricate layers, sun shading devices, colour or an architectural gesture to say ‘look at me’.”

Rokeby’s form and façades

116 Rokeby features robust tower and podium forms and expresses strong architectural repetition on the façades.

To the west and east, the façades are akin to the fragmented and industrial palette of Collingwood and designed to combat heat gain while maintaining views and daylight. 

This is complemented by a diaphanous, operable double-skin façade to the north, also used as an architectural device to control heat gain, daylight, glare and air quality, while naturally ventilating the floor plates. 

Meanwhile, the southern façade acts as a canvas for a commissioned artwork titled ‘Reflections of a Breathing Space’ by Nyul Nyul Saltwater man Lowell Hunter and Worimi man Gerard Black. Imprinted into the concrete façade, the work will “respectfully and permanently” acknowledge the Traditional Custodians of the land on which 116 Rokeby sits, the Wurundjeri Woi Wurrung people, says McGarry. 

Breathing space

The artwork reflects Carr’s overall design intent for 116 Rokeby. With this project, the studio sought to create a ‘breathing space’ – shaping spaces to harness the fundamental characteristics of abundant natural light, controlled fresh air, adaptability in space and environmental sustainability – all set within a strong built form. 

Punctuations in the podium slabs create a series of light wells to permeate through to the ground floor spaces.

“In considering buildings as a sun-dial, the form reads solid on the west and east from various vantage points for solar protection, but opens up on the north through the use of clear glass within the double skin to allow maximisation of light into the tenancies, while allowing clear view from within,” McGarry says.

With a core focus on sustainability, 116 Rokeby has ‘Climate Active Carbon Neutral’ status certified by the Australian Government, with a Platinum WELL Certification and 5.5 NABERS Energy Rating. The project incorporates a passive approach to the building massing and articulation, efficient lighting, smart controls, photovoltaics, significant landscaping and an all-electric building approach. All of these initiatives aim to ensure the spaces positively impact the well-being of the end user. 

Amenities

For local residents, the ground plane retail tenancy with the ability to adapt from day to night hopes to offer another space to activate the streetscape. The early conceptual design worked towards a good level of porosity, clear sightlines into the building, illumination and signage.

Also situated on the ground floor is an end-of-trip facility that houses changing rooms, showers, bicycle and parcel storage. 

Landscape strategy was another important consideration in this project, undertaken in collaboration with Eckersley Garden Architecture. Despite the site constraints and minimal opportunity for deep soil planting, significant landscaping is proposed for the ground floor, podium and rooftop levels, with a series of raised concrete planters, integrated seating and layered planting mix.

Moving up the building, a range of amenities are located throughout. This includes a rooftop space with outdoor meeting areas, alongside a large communal kitchen and bookable flexi-space for tenants. 

Carr’s team will put these amenities to the test when its office relocates here from the CBD later this year.

“The move to 116 Rokeby represents the next stage of Carr’s evolution and reinforces Carr’s philosophy to shape spaces to harness the fundamental characteristics of natural light, adaptability, and environmental and social sustainability,” McGarry says.

Photography by Rory Gardiner with Colby Vexler.

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