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April 17, 2024

These City of Adelaide Prize finalists are keen for your vote

Architecture in the public realm adds to the vibe of a city. So, with public voting now open for the City of Adelaide Prize, we asked each finalist why their project deserves your vote.

  • This article was produced in collaboration with Australian Institute of Architects | SA.
  • Above picture: Peter Clarke

The soul of any city is formed in the daily, incidental interactions between it and its inhabitants. The buildings that provoke wonder, spaces that wrap around us and the public art with a clear intention to delight.

The best of these projects are celebrated in the City of Adelaide Prize, one of the categories in this year’s prestigious South Australian Architecture Awards Program.

This publicly voted for prize recognises innovative projects that enliven the City’s public spaces and engage with the community.

Everyone who votes is entered into the draw for two adult entry tickets to Monarto Safari Park (valued at $90).

To help you decide who to vote for, we checked in with this year’s finalists to learn more about their projects.


Picture: Andre C

By Studio Tristan Kerr
Tristan Kerr, Artist

A brief history of your company and its work in Adelaide?

I’ve operated as a sole practitioner in design, public art and sign-painting for a number of years. My work is driven by an inherent interest in experimentation and learning. Often producing type-based work across digital, 2d painted form and large-scale murals.

What does this project say about your practice?

The Power people project combined my passion for history, typography and the intensity of large-scale painting. Combining architectural LED neon lighting was equally challenging – working closely between the lighting programmer and electrician was crucial to achieving the best outcome.

I thrive in these opportunities as it requires creative problem solving, organisation and endurance.

Whereas does your design excel?

Working between a number of disciplines has allowed me to bring a deep understanding and multi-faceted approach to my work, from developing a concept and idea to executing it in large-scale form.


The City of Adelaide Prize is open until May 31, voters go in the draw to win a double pass to Monato Safari Park. Vote now.

Vote for Power People Installation here.


Picture: Saul Steed

By Grieve Gillett Architects
Paul Gillett, Director

A brief history of your company and its work in Adelaide?

Grieve Gillett Architects is an award-winning architectural, interior design, heritage and urban design practice based in Adelaide. We have 40 years of multidisciplinary experience across a wide range of projects in various sectors, including arts and cultural projects, heritage, education, healthcare, justice, commercial, civic and residential projects and urban design.

Working through architecture we believe in its capacity to create an enduring and equitable world, caring about the spaces between the buildings as well as the buildings themselves.

What does this project say about your practice?

The exhibition design was a highly collaborative process between the exhibition curator and architecture & interiors team, with careful consideration of the exhibition’s curation concept, the progression through the exhibition, sightlines, colour, context and lighting.

The research-led and cross-disciplinary approach yielded unconventional design solutions to capture the audience’s imagination. The design concept was informed by our architectural historical knowledge and personal experience of team members having travelled in Mexico for several months.

Demonstrating our commitment to the local arts sector, GGA contributed to the vibrant event program through guest lectures and guide briefings, highlighting the intersection between art, architecture and exhibition design.

Where does your design excel?

The renowned Jacques & Natasha Gelman Collection of Mexican Modernism had not been exhibited in this type of theatrical setting previously. Rooted in an understanding of the historical context, Frida & Diego: Love & Revolution pays homage to the couple’s life in art and in the artistic community they constructed around themselves as the central narrative in the carefully considered exhibition design.

Unashamedly bold and stimulating, the exhibition moves seamlessly from large political and social themes to international modernism to Mexican interpretation of modernism (Mexicanidad) to Mexican provincial fashion and domestic spaces. The exhibition design supports and reinforces the exhibition and exhibited works without competing with them.

Vote for Frida & Diego: Love & Revolution Exhibition here.


Picture: Peter Clarke

By COX Architecture
Adam Hannon, Director

A brief history of your company and its work in Adelaide?

COX Architecture is a national design studio with 60 years of practice history.

Our work in Adelaide began with public architecture projects including the National Wine Centre (2001) and Adelaide Oval Western Stand (2010).

We established our Adelaide Studio in 2010 and have continued to work on public architecture projects including the Adelaide Oval Redevelopment (2014), Adelaide Botanic High School (2019) and Her Majesty’s Theatre (2020).

Our Adelaide studio aims to make a positive contribution to the progression of South Australian architecture and its role in shaping our state’s future.

What does this project say about your practice?

The redevelopment of 60 King William Street demonstrates our studio’s commitment to designing and delivering uniquely South Australian architecture. We have been fortunate to work with our client Charter Hall who established a strong vision from the outset to deliver a project that delivers long term and sustainable outcomes for our city.

Where does your design excel?

The 60 King William Street project interconnects and re-energises an important urban precinct in the heart of the Adelaide CBD.

The project contributes a positive new presence to King William Street through the restoration of the Sands McDougall building and creation of a sandstone podium and contemporary commercial tower.

The building incorporates a wide range of sustainability measures including all-electric plant, thermally high-performing façades and indoor environment quality relating to natural daylight, aspect and air quality for tenants. As a mixed-use commercial building, 60KW sets a new benchmark for sustainability.

Vote for 60 King William Street here.


Grieve Gillett Architects
Paul Gillett, Director

What does this project say about your practice?

Grieve Gillett Architects has a long history of association with JamFactory, from the original studio development, to the Seppeltsfield destination site to multiple Tarnanthi Festival exhibitions.

In celebration of 20 years of ceramics at Ernabella Arts, GGA co-created with JamFactory and the artists an exhibition of significant artworks, drawing on the relationship between the artwork, community and landscape.

GGA also has a long history of working with APY Lands communities and other First Nations peoples. Our design ethos mirrors that of the featured artworks, being specific in reflecting place, physical and historical context.

Where does your design excel?

Resourceful, like the artists themselves, the exhibition achieved a big impact within the tiny materials budget. With no painted or applied finishes throughout, the honesty of materials stays true to the origin and language of the artworks.

Critical to the brief was a low-impact solution featuring reusable elements such as the modular plinth, which was designed in conjunction with a local water tank manufacturer to be demountable and reconfigured into smaller raised garden beds for the Pukatja community.

Other materials were chosen for their recyclability and sustainable production, with forms conceived to minimise waste from offcuts. Rooted in a sense of place, the Ernabella Arts exhibition design transforms a single room gallery space with the nature, people and built form of Pukatja.

Vote for JamFactory Tarnanthi: Ernabella Arts Exhibition here.

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