Finalist 2024

BryMay Theatre

Sagar Talwai / Joshua Roberts / Dr Ding Wen ‘Nic’ Bao (Supervisor) / Geng ‘Greg’ Gong (Supervisor) , RMIT University, School of Architecture and Urban Design

Restoration, Urban Renewal, Engagement Spaces, Amphitheatre Staircase, Forms of Entertainment and Hospitality, Innovative Brick Wall, Historical Building, Melbourne Architecture.

BryMay Theatre, located at 560 Church Street in Cremorne, Melbourne, draws architectural inspiration from its context alongside significant heritage-listed buildings, formerly the Bryant and May Redheads match factory. The theatre aims to attract both locals and visitors, featuring a distinctive external amphitheatre staircase connecting the ground floor to the rooftop via a mid-level balcony. The design includes a brick façade and interior timber that reflect the site’s history in match making. Notably, chimney tower forms with functioning lanterns articulate the structure, accompanied by interior spaces featuring red finishes that guide occupants during events.

Design Brief:

‘BryMay Theatre’ is a project undertaken as part of RMIT Architecture Bachelor’s design studio ‘[RE]TECTONICS’. The project involves creating a logical design for the community of Church Street, Cremorne, Melbourne situated alongside heritage buildings. The type of program required for the area was very flexible, however ideas for the design were encouraged to provide programs that tackled what the site and surrounding context was lacking. In this case, it was greenery, and more spacious areas of movement for the community, as the site was considered to be situated in a tight grid of buildings. The lack of greenery contributed to a sense of hostility to pedestrians, which is further affected due to the dense vehicular traffic of Church Street. Our goal was to develop a building design that not only mitigates these issues but also serves as a compelling attraction for Cremorne residents.


This project was developed by:

Design Process

We identified several key themes and architectural concepts, exploring them through a series of precedents. Given the site’s history as a former match factory, we aimed to integrate elements of this heritage into the architecture through form, materiality, and concept. For instance, a vertical articulation in the form echoed the arrangement of matches in a matchbox, while the use of timber and brick evoked the color and texture of Redheads matches. Additionally, we sought to create a sense of porosity and warmth, akin to the intimate glow of a candle lit by a match.

Public space was a priority to counterbalance the area’s lack of communal areas. These principles guided our design process significantly. Throughout the project, we advanced in stages, regularly receiving guided feedback from studio leaders. These discussions were pivotal in refining our ideas to align with the brief’s objectives. Our work encompassed site analysis, feasibility studies, research on precedents and materials, and the iterative development of forms, illustrated through diagrams and drawings. A mid-semester review prompted further refinements, focusing on enhancing various aspects of the theatre design under the guidance of practicing architects and studio leaders.

Parametric design for the theatre’s facades was a key focus, reflecting the studio course’s emphasis. We integrated parametric brick arrangements, creating wave-like patterns on major facade walls. Overall, the experience was both challenging and rewarding, pushing us to develop a cohesive and innovative design that tested our creativity and work ethic. It underscored the value of collaboration in achieving collective design goals.

Design Excellence

The design of BryMay Theatre exemplifies excellence through its thoughtful organization into distinct ’Back of House’ and ’Front of House’ spaces. Located on the West side, the ’Back of House’ areas are intentionally discreet, featuring brick window and door shrouds that enhance a sense of privacy and exclusivity essential for the theater staff. In contrast, the ’Front of House’ spaces on the East and South sides boast expansive entrances, transparent glass walls, grand timber columns, and dramatic arches facing external courtyards, offering a warm and inviting experience for all visitors.

The integration of additional amenities such as a bar and restaurant alongside the main theater program is seamlessly connected within the heritage ’BryMay Hall’. This historic building, once a dining hall for Bryant and May match factory workers, has been revitalized with a modern design approach that honors its legacy.

Central to the design’s excellence is the amphitheater staircase ascending from ground level to the publicly accessible rooftop via a mid-level balcony. This feature not only enhances the building’s functionality by providing alternative access routes but also serves as versatile gathering space for both planned events and spontaneous activities. These elements collectively transform a historically stagnant site into a vibrant cultural hub, inviting the public to engage with a renewed environment designed for both practical use and aesthetic enjoyment.

Design Innovation

Our design for BryMay Theatre innovatively integrates the site’s rich history of match making through meticulous attention to materiality and thematic narratives inspired by matches. This approach is evident in several architectural elements, such as the chimney towers adorned with functioning lanterns located near the northern section of the site, adjacent to the amphitheatre staircase. The decision to incorporate these chimney tower forms pays homage to the historic ’B&M Chimney Stack’ on the west side, once part of the match factory complex.

The functioning lanterns within the towers serve both practical and symbolic purposes, acting as beacons that subtly evoke the imagery of lit match sticks. Additionally, the interior spaces feature a palette of red hues and timber batons, directly referencing the colors and materials associated with RedHead match sticks. Rather than merely mimicking historical forms, BryMay Theatre engages with the site’s context and history through its visual and experiential qualities.

By carefully intertwining historical references with contemporary design sensibilities, our approach not only celebrates the site’s heritage but also creates a distinct and immersive environment. BryMay Theatre strives to evoke the essence of match making not just through its physical forms, but through a thoughtful exploration of the site’s narrative and cultural significance.

Design Impact

Our design is strategically situated in an underdeveloped area of Church Street, Cremorne, Melbourne, aiming to transform it into a welcoming and vibrant space deeply integrated with its surroundings. The East and South side entry courtyards serve as seamless extensions of the site, guiding locals towards the theater building and fostering community interaction.

Vibrant lanterns act as beacons, drawing the public towards the theater, while the amphitheatre staircase not only provides additional space but also functions as dynamic stages for live performances and events on the rooftop. The parametric wavy brick facade reflects the energy of theatrical performances, revitalizing the neglected one-way street.

South side double-height arches act as a welcoming threshold, bridging the exterior courtyard with the interior lobby and encouraging engagement. The mid-level balcony, linked to the amphitheatre staircase, creates versatile gathering spaces accessible to the public. Overall, BryMay Theatre addresses the shortcomings of its previous iteration by introducing greenery, enhancing pedestrian movement through courtyards, and serving as a cultural attraction as Cremorne’s first concert theater hall. It revitalizes the area, offering open spaces amidst dense urban grids and fostering community engagement through cultural activities.

Student Design 2024 Finalists

The Citarum Current Collection

Monash University / Anja Johansen / Citarum Action Research Program (CARP)

REVR

Alexander Burton

RE:CML (2024)

RMIT Architecture and Urban Design: Interior Design / Xiaoni Bai / James Carey (Supervisor)

A Vehicle for Co-Design : Designing an Accessible Makervan with People with Intellectual Disabilities

Jacqueline Johnstone, Monash University Human-Centred Computing / Kirsten Ellis, Monash University Human-Centred Computing / Swamy Ananthanarayan, Monash University Human-Centred Computing / Troy Mcgee, Monash University / Wallara Australia

Sorbet

Sze Tjin Yek

PIVOT

Maya Schwalb

Ridgeline Tactile Pack

Makushla Harper / Supervisors: Dr Emma Luke & Dr Soumitri Varadarajan

Rigrowing City

Zhuoran ‘Amanda’ Chen / Zixin Wang / Dr Ding Wen ‘Nic’ Bao (Supervisor), RMIT University, School of Architecture and Urban Design

Six Sticks

Kaspian Kan

The BiliLumen Phototherapy Lamp

Shashank Rathor / Whistle Design Group

Beyond the Masterplan

Jessica Riazaty / Professor Mark Jacques

Jordana Marks

Jordana Marks / Supervised by Joshua Riesel and Charlie Richardson

IMITATION

RMIT School of Architecture and Urban Design: Interior Design / Xiaoni Bai / Linda Raimondo (Tutor)

CryoCare: Reimagining Antibiotic Delivery in the Community

Geoffrey Thompson / Rowan Page / Ben Rogers / Monash Design Health Collab / Monash Health / ALPAKA Gear

Luis Perkins

Nurture: Building a Sensory Connection to Nature

Otherworldly Expedition: The Sentient City

RMIT Architecture and Urban Design: Interior Design / Anh Tran / Dr. Andy Miller (Supervisor)

Wonki

Wonki / Shadowboxer