BUCKY’S DOME & MEMORY

It is known as the Fly’s Eye Dome. Designed in 1965 by Buckminster Fuller, this over sixty-year-old concept still looks as fresh and ‘high tech’ today as it did in the 1960s. It is an elegant structure that still engages the eye with its clever intrigue, its organic organisation, where a set of standard panels bolt together to form a spherical dome covered with clear lenses – the bubble forms that give it its name.

The AI Overview presents us with the summary:

AI Overview

R. Buckminster Fuller designed the Fly’s Eye Dome in 1965. It was conceived as an "autonomous dwelling machine"—a portable, sustainable home featuring fiberglass panels with circular openings (oculi) designed for solar energy and water collection. While designed in 1965, prototypes were developed later, with production in 1979/80 and 1981. 

Key details regarding the design:

• Purpose: To create affordable, lightweight, and sustainable, self-sufficient housing.

• Structure: Known as a "Monohex" dome, constructed from fiberglass, it was designed to be easily transported and assembled.

• Design Influence: The openings, or "oculi" were designed to look like the lenses of a fly's eye, allowing for light and ventilation.

• Prototypes: Before his death in 1983, Fuller produced three prototypes of varying sizes (12, 24, and 50 feet).

The dome, that has become ‘historic,’ a relic of the past, was recently brought to one’s attention by the news item that reported that one fly’s eye dome had collapsed under the weight of the snow: Iconic Buckminster Fuller Sculpture Collapses Under Heavy Snow - https://news.artnet.com/art-world/snow-smashes-buckminster-fuller-sculpture-2749337. North America has been experiencing some extreme weather:

• Heavy snow has caused the collapse of Buckminster Fuller’s Fly’s Eye Dome at the LongHouse Reserve in East Hampton, New York.

• The structure is one of just five extant versions of the historic structure, which the architect envisioned as a model for low-cost, portable housing. 

• The organization plans to repair or rebuild the structure, and will fundraise to cover the costs.

The historic blizzard that struck the East Coast on Sunday into Monday has claimed at least one art historical victim: a Buckminster Fuller fiberglass structure that collapsed at Long Island’s LongHouse Reserve in East Hampton.

While the collapse is concerning, being one of just five extant versions of the historic structure, structural failures are always interesting to review as they highlight the weakness in an assembly. Here one can see the line along which the stresses concentrated and failed. It is the transition zone between the base of the sphere and its domed top surface – the plane at the centre of the dome parallel to the ground surface it stands on.

The interesting detail in this image is the extra bracing that has been installed at all of the bolted junctions – twin rods/ties that connect the rims of the circular voids. These read as struts that bridge the link and connect to the oculi, but are probably members that can be in tension or compression depending on the various stresses causing the distortions. One wondered why these props might be there, as they are not in the original design: see – https://designdistrict.com/stories/the-dome-deconstructed. What might Buckminster Fuller have had to say about this addition to his work? Was it the lack of the stiffening that the missing infills might have provided that necessitated these extra pieces?

This failed, strutted dome at the LongHouse Reserve did not have any closures on the ‘eyes,’ leaving one to wonder exactly how the snow might have accumulated on the remaining structure to cause the catastrophic failure. There appeared to be more voids than solid areas to collect the falling snow, so what might the problem have been? The question is: did the extra struts act as snow retainers in the same way that the snow rails on a roof hold the snow mass to act as insulation? Might the structure still be standing if the extra pieces had not been added?

One wondered why this framing had been fitted. Could it have been over-cautious local bylaws that insisted on the added support? Had other domes failed? The AI Overview suggested the answer with the usual pragmatic-sounding, 'matter of fact' certainty that these statements have:

AI Overview

Buckminster Fuller’s Fly’s Eye Dome features external bracing to enhance structural integrity, allowing the lightweight, portable structure to withstand high winds, snow loads, and extreme weather. These braces, often part of a re-engineered system, provide necessary rigidity to the fiberglass panels, ensuring durability and stability. 

Key reasons for the external braces include:

• Structural Reinforcement: The dome is a "thin-shell" structure, and external bracing adds essential support to the lightweight fiberglass, crucial for withstanding extreme environmental conditions.

• Hurricane Mitigation: Modern, re-engineered versions of the dome include reinforced, externalized support structures to meet specific, high-velocity wind codes, such as those in South Florida.

• Design Integrity: While the dome relies on its triangular geometry for strength, the external components help maintain the form and structural, load-bearing capacity. 

The Fly's Eye Dome, designed around 1965, was intended as an affordable, portable, and self-sufficient home. The design focuses on "doing more with less"—using minimal materials to create maximum space and strength, which sometimes requires external strengthening to handle real-world loads.

Did this extra bracing prove to be the problem here with the extreme weather? One might never know, as there are many other questions that need answering.

Looking at this dome once more brings to mind the swinging sixties with its enthusiasm for ideas and excitement for theories, interests that seem to have faded today into an intrigue with morphing and mangling to create AI’s bespoke best astonishment with things sloping, twisted, stepped, and skewed. There was a rigour to the sixties that was experimental in one way, but committed, truly seeking something in the ‘other,’ searching for meaning with an integrity of intent. Sullivan’s form follows function might have stimulated this approach, but interest grew into the search for embodied qualities in architecture that came to be seen as involving space. Sigfried Giedion wrote the influential Space, Time and Architecture in 1941, (Harvard University Press), and Bruno Zevi wrote the classic Architecture as Space in 1948, translated and published by Horizon Press, New York in 1957. Meaning was seen to be embodied in this space; this evanescent nothingness of form was seen to be held as ephemeral substance in its surrounding vacancy. Aldo van Eyck took matters a little further, including experience in this intellectual interpretation, noting the change most succinctly in his phrase: place not space - (in the inspiring Team 10 Primer: Alison Smithson, MIT Press, 1974) - embodying the totality of experience, not just the thoughtful appreciation of an abstraction structured as a void. Architectural studies developed this theme, and reached out into archaeology and semiotics, even engaging with tradition in the idea of an architecture without architects, (Architecture Without Architects Bernard Rudofsky, Museum of Modern Art, 1964), suggesting a native, naïve, natural meaningfulness, with design method studies bringing other matters into play with the aim of attending to these interests: but who cares about method today?

Architectural texts were published regularly, raising and addressing theories and concepts – e.g. Complexity and Contradiction in Architecture Robert Venturi, Museum of Modern Art, 1966; and Body, Memory and Architecture, Bloomer and Moore, Yale University Press, 1977 – in a way that leaves us looking at a great void today, a hollowness, with our publications being more picture books for coffee-table admiration with boastful reviews than experimental, considered hypotheses exploring ideas. Bucky’s dome brings it all to mind once more with its rigour – the desire to involve and be involved in concepts and ideas for their integral resolution and natural wonder, rather than to be entertained with the presentation of expressively different options to ponder, with the only struggle being the task of finding references in shallow explanations for these quirky, bespoke forms inspired remotely by the new mysteries of AI or CAD.

There is meaning in Bucky’s dome, an inner wholeness, a necessity that still stimulates and reverberates with its rigour, all driven by Bucky’s searching mind, his clear rationally reasoned concept with its inherent, functional beauty. Fiddle with this and one gets a collapse. Was there evidence of failure seen at some time that might have prompted the additional pieces? Was it like Wright’s Falling Water balcony that sagged and required clever engineering to stabilise it; or was this a matter of complying with rigid, conservative regulations? Might it simply be climate change, with unexpectedly large quantities of snow being dumped in the new extremes of weather?

Whatever it might have been, the failure has raised memories of the past that leave one wonder about where we are today; where we might be going; and what we have lost. While the structure of form drove Fuller to resolve his pursuits with a natural ease and elegance, today, over sixty years later, we know and care little for this, dealing only with the form of structure, appearances rooted in their AI beginnings that ‘think’ very little about architecture as experienced space or place, by body or memory, or of any complexities and contradictions. The amazement lies in the mysteries and attractions of the morphing, nowhere else; just where meaning might be located and how it could be made manifest is an irrelevance.

THE LIST

Asking AI about books on architectural theory today, we get the usual unequivocal, ‘wise guy’ summary and schedule that includes Bachelard’s 1958 book; Alexander’s 1977 publication; Ching’s 1979 tome; Pallasmaa’s 1996 study; and Zumpthor’s 2006 ponderings, with the latter now being twenty year’s old. It is interesting to note that Venturi’s Complexity study is fifty this year:

AI Overview

Modern architecture theory books focus on sustainability, human-centered design, and the digital, with key titles including A Theory of Architecture by Nikos Salingaros, Adaptable Architecture by Schmidt and Austin, and The Architecture Concept Book by James Tait. These works, alongside classics like Pallasmaa’s The Eyes of the Skin, emphasize sensory experience and environmental responsiveness.

Here are top architecture theory books and resources relevant today, divided by focus:

Contemporary Theory & Practice

• A Theory of Architecture

   by Nikos A. Salingaros: Provides a, scientifically-grounded framework for design focusing on human needs, rather than style.

• Adaptable Architecture

   by Robert Schmidt III & Simon Austin: Examines how to design buildings for longevity and sustainability.

• People-Centered Architecture

   by Milton Shinberg: Focuses on designing based on human perception and practical, user-focused research.

• The Architecture Concept Book

   by James Tait: A guide to creative strategies, practices, and design approaches.

• The Pocket Universal Principles of Architecture

   by Cruz Garcia & Nathalie Frankowski: A guide to 100 essential concepts, methods, and relationships in design.

• Is Architecture Art?

   by John Macarthur: Explores the intersection of aesthetics, science, and art in contemporary practice. 

Essential Contemporary & Modern Theory

• The Eyes of the Skin

  : Architecture and the Senses by Juhani Pallasmaa: A crucial text on phenomenology and sensory experience in design.

• Thinking Architecture

   by Peter Zumthor: A, personal reflection on the thought process and atmosphere in architecture.

• Elements of Architecture

   by Rem Koolhaas: A, detailed analysis of the fundamental components of buildings.

• Modern Architecture: A Critical History

   by Kenneth Frampton: A definitive,, study of the development of modernism. 

Foundational & Conceptual

• A Pattern Language

   by Christopher W. Alexander: A seminal work on community-driven design and spatial organization.

• The Poetics of Space

   by Gaston Bachelard: A study of how spaces, (like homes) affect human psychology and memory.

• Architecture: Form, Space, & Order

   by Francis D.K. Ching: A fundamental,, visual guide to architectural principles. 

Key Themes in Today's Theory

• Sustainability & Adaptability: Focusing on, energy efficiency, lifecycle, and sustainable materials.

• Human-Centered/Psychological: Understanding how, spaces affect behavior and emotion, with, roots in, phenomenology.

• Digital & Algorithmic: Exploring, how technology is changing, design methods and, spatial perception.

• Context & Urbanism: Analyzing, how buildings fit into, larger, urban, contexts.

• 
  

ARCHITECTURAL DESIGN – SIMULTANEOUS TRUTH

Architecture has a history of explaining itself through other disciplines. It has been called ‘frozen music’ by Goethe,# and likened to language and its rules, involving semiotics, semantics and symbolism. Architecture is a complex matter that, like issues of taste, requires a set of descriptive analogies in order to try to get close to the richness and depth of the experience, as one sees with wine tasting. This reference to other matters outside of the discipline is not unlike the attempt to explain the sound of an antique viola: see - Australian Chamber Orchestra welcomes 416yo Italian viola into its collection https://www.abc.net.au/news/2026-02-25/416yo-maggini-viola-now-in-aco-golden-age-instrument-collection/106379198: "The sound is mysterious and dark, these instruments are much like humans in terms of complexity, how it looks is almost how it sounds — I would say dark chocolate, caramel, red wine" : see also - https://voussoirs.blogspot.com/2024/06/country-outside-inside-place.html.

So it is in architecture that the complexity of the involvement in all of its abstract diversity, in the experience of its creating, making, and functioning, uses other experiences to enrich its understanding.

Sean ODell

Internally, ODell is known as Orion's "architect", but he is not an architect in the conventional sense.

Instead, he is a system architect, whose role is to ensure that the spacecraft balances all of its technical requirements.

The words of the space engineer/architect, Sean ODell, who overviews systems for the Artemis II moon mission are interesting in this regard: see - "They'll be flying in our baby" says Artemis II spaceship's architect  https://www.dezeen.com/2026/02/25/orion-spacecraft-artemis-ii-nasa-lockheed-martin-interview/ -

Instead, he is a system architect, whose role is to ensure that the spacecraft balances all of its technical requirements – of which there are around 35,000 in total, encompassing everything from power and weight to lighting and ergonomics.

"It's the effort of coming up with an integrated design that balances all of the competing things that need to all be true simultaneously in order to have a system that can do this mission," he explained.

Sometimes, that effort means tearing things up and starting again. For instance, in the early days of the Orion programme, the intention was for the capsule to touch down on land in order to avoid the corrosive qualities of seawater.

"But we got down the road of trying to land on land and just came to the position where the technology that we needed for that was just too heavy," said ODell.

"And so there was a time when we had to decide that to live within the mass constraints that we have, we had to change to a water landing."

Architectural design can be seen as this efficient and effective embodiment of complexity without compromise – see: https://voussoirs.blogspot.com/2017/12/frank-lloyd-wright-accommodating.html - the balance of competing things that need to all be true simultaneously. These words provide some sense of what design is about. Architectural design is not self-expression or the hunt for the bespoke; although it is a hunt - see: https://voussoirs.blogspot.com/2021/08/design-as-dreaming-hunt-not-hunting.html - an understanding that is not too different to the space engineer’s strategy:

Designing involves pondering a gossamer of possibilities; alighting on several irreconcilable possibilities that give rise to quasi-predictions; no one is committed: something quite new might drift into conversations, other predictions tentatively reached; a new consensus might appear to be forming. Some of the most important variables are subtle, elusive, and extremely hard or impossible to assess with finality, but they are gauged by a sense of rightness.

Variables are considered as a composite, in parallel, and with the help of a blending of the metaphysical and the obviously pragmatic. The mistake of seeking rationally to focus on any one consideration that is held as primary has to be avoided. The decision - like the action from which it is inseparable - is always alterable, remaining highly sensitive to so many shifting considerations. One has to be always ready to change a decision about the right procedure or action. There is no space left for a "plan," only for a bundle of open-ended and nonrational possibilities.

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The famous quote, "Music is liquid architecture; architecture is frozen music," is primarily attributed to the German philosopher and writer Johann Wolfgang von Goethe. He described this concept to describe how the harmony, rhythm, and structural, and spatial arrangements of buildings evoke an emotional experience similar to music.

BRADFIELD CITY - HOW MIGHT ONE BEST DWELL?

There are not too many opportunities to design a new city these days, but when such an occasion arises, one might hope that the issues that complicate and frustrate city living in today’s dense settlements might be attended to rather than having all of the problematical clichés of these places reproduced in the new plans. Alas, the planned new city currently referred to oddly as Bradfield City seems to be an exercise in traditional planning, incorporating every commonplace notion of this profession’s catalogue rather than any rethinking of city dwelling. Just as smaller residential developments are blocked out in the way that all our suburbs are presently subdivided, this city has accumulated its own blocking system as the idea.

The name itself is a worry. As well as being self-referential in its title, somewhat like having a car branded as a Toyota Prius Car; or a book titled as The Book of Jokes Book, the naming has all of the qualities of a brand, something descriptively mundane like Greenacres. There is a strange self-consciousness assertiveness about this title that seems as though it might be better used in a Hollywood movie; or does one say Netflix these days? One can imagine the scripted Yankee drawl saying, “I’m aff ta Bradfield City ta hun ‘m doownn,” with a fake determination as the cameras roll on, off into the visual drama of highway traffic to illustrate the words.

 “I’m aff ta Bradfield City ta hun ‘m doownn."

Does this ‘sense of the movies’ reference come from the design team? The texts – see: Plans unveiled for Australia’s first new city in over 100 years

https://www.dezeen.com/2026/02/11/plans-unveiled-australias-first-new-city-100-years/ . . . and Bradfield City Master Plan

https://www.nsw.gov.au/about-nsw/precinct-development/delivering-bradfield-city-centre/master-plan , explains that Bradfield City has been designed by the US firm SOM and the Australian architects Hassell:

American studio SOM and Australian studio Hassell have revealed plans for Bradfield City, a new, 114-hectare city in western Sydney, which is set to include 10,000 homes, a university campus and a two-hectare park.

Yet again we have that Aussie cringe where local architects have to team up with an overseas architectural firm in order to be considered for any project of any size in this country, as if the local architects might not be competent enough, or carry the required stature or reputation. Whose local standing can beat that of any import? – cringe! Given the events in the world these days, one might wonder why anyone might team up with a US firm. Could pressure be bought to bear to have the city named after the person who claims to be the world leader and constantly seeks naming rights over nearly everything and anything that might be accessible to such indulgent fantasies? Goodness, what with the strategies that seem to be like blackmail that are used as coercion in such cases, anything might be possible here.#

Bradfield City.

Western Sydney International Airport.

Being Planned to be located beside the recently-completed Western Sydney International Airport, does not seem to be a good start for any city. Usually international airports are distanced from cities rather than having cities designed to be beside such noisy transport nodes. Given this, one wonders; what are the main strategies for designing this city? Does one shape it around flight paths? Looking at all of the published illustrations that have been provided by SOM - The renders are courtesy of SOM – (what has Hassells input been?) – one sees a collection of what might be AI illustrations of typical portions of cites that we know today, showing places that could be anywhere, with a bit more stylish green being enjoyed by designer people. The collection of rendered buildings seems to only illustrate the usual clutter of ad hoc, random development that our ad hoc, random planning has allowed to generate; there is not one glimpse of any road or vehicle to be seen. Yet modern cities use transport roots as their backbone; their scaffold; their arteries and veins. The most isolated, private place is linked into this transport connectivity that has its own necessities and dominating demands. How is this situation going to be managed in Bradfield City? We just do not seem to be being told anything but that the city will be good – liveable is the usual word these days, with awards being delved out for ‘the most liveable city’ - Smart technologies included throughout to enhance liveability.

How is dwelling going to be managed side by side with the chaos of traffic as we know it in every city today? We cannot ignore this shambles; or should not, as it shapes every action and activity in city lives. Is this existing city chaos merely going to be reproduced and expanded in this new centre? The illustrations all show lovely pedestrian experiences, but where are the cars? How are they managed? Are they all just out of frame?

Bradfield City.

Canberra.

The planning illustrates a variety of typical notions that one can see in designed cities. There are ‘Camillo Sitte’ type intersections that make little sense for traffic, other than that of Medieval pedestrians; and there is the stylised geometric layout that one sees in Canberra with main axes and a concentric octagonal arrangement of pieces. What happens to vehicular flows? Does one think about the noise; the intersections; the pollution when mapping out these diagrams? The success of the city will depend on how the options for both cars and people are intertwined so that both can operate effectively and efficiently, which, in the case of the pedestrian, includes the well-being of citizens; their calm contentment.

Camillo Sitte.

We need better than this; we need plans with vision, that engage hope fruitfully and accommodate it with a natural ease; plans that can be enforced to give places that can truly enrich rather than ones that we might feel relaxed and comfortable with, as we find ourselves happily agreeing with the presentation of the familiar. We need better than AI’s visual slop, for this is what the place looks like now: self-assured planning images that aim to sell the idea, not define any real outcome. We need clarity, not muddled ‘perhaps’ and ‘maybes’ that mislead with broad generalities that miss the very heart of what a city might be – a place for people to live in and thrive.

Streets are the framework of the modern city, forming its life-giving thoroughfares and pathways that connect everything on a hierarchy of use, ranging from the motorway to the lane. They are the main public places of the city. Approach any city by vehicle and one experiences that change from highway to city transition, that fades into the maze of inner city streets and lanes. One’s full attention is given to the flow through these zones irrespective of the context, be it a new suburban area or an ancient cathedral city. The challenge is the same; to find how to get to the destination; and when one finally achieves this, the next challenge is where to park, a proposition that might only restart the challenge of directions. The core experience of place is the driving, the directions, the seeking of the destination and a place to park. Yet we see nothing of any vehicle in this plan. Even arriving in a city by plane or train, one immediately seeks access to its transport system, be this public transport or private vehicles. One connects with the arteries that link to the finer connectivity until one gets to where one desires to be via the veins.

Planning a city needs to manage the experience of place, not only as a lovely green and pleasant area, but also as the hustle and bustle of traffic, and the management of vehicular accommodation. There is some general talk of the concept of a ten minute city, where everything is only a ten minute away from a residence, but how might this plan out? What happens when one walks out from one’s front door? How is one engaged with place that is a segment of the city? New cities should grasp the nettle and do more than reproduce our current failures, no matter how stylish or green these visions might be able to be made. The question needs to be entertained: how might one best dwell in a city?

It is sad to read that First Nations cultural values [will be] integrated into planting, materials, art, lighting, signage, and language. No doubt everyone involved will recite the mantra about recognition of country etc. – see: https://voussoirs.blogspot.com/2024/06/country-outside-inside-place.html – but to have cultural values involved in this simplistic, trite way, perhaps as street names and decorative pieces, only seriously devalues the subtlety and richness in this reference, turning it into a decorative indulgence, a part of the Public art featured throughout – box ticked.

The list continues with just about every other cliché that can be envisaged – see below. It is a real concern: Bradfield City will prioritise design excellence, unique character, rich culture, and seamless connectivity. The descriptions remind one of a typical planning assessment for any development, full of motherhood statements relying on sounding good, impressive, with no real plan for implementation or enforcement, with the only ambition being the acceptance/approval of the plan. We need much better than this shallow blurb and pattern-making that tries so hard to tell everyone that it will embody everything anyone can think of - to be an "inclusive and climate-resilient" city shaped by indigenous connections to Country – a term used by First Nations peoples to refer to the lands, waters and skies.

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23 FEB 26

It is not a fanciful concern: see -

Trump Tower planned for Surfers Paradise will be Australia’s tallest building and ‘best resort’, local developer claims

https://www.theguardian.com/australia-news/2026/feb/23/trump-tower-surfers-paradise-gold-coast-development-australia?CMP=Share_AndroidApp_Other

. . . shaped by indigenous connections to Country.

'The elephant in the room.'

https://www.nsw.gov.au/about-nsw/precinct-development/delivering-bradfield-city-centre/master-plan

Bradfield City Master Plan

Discover the vision for Bradfield City with our Master Plan, guiding sustainable growth, innovation, and vibrant community development.

About the Master Plan

The Master Plan provides a framework for Bradfield City's growth into a vibrant, 24-hour, 7-day hub of culture, creativity, and innovation within a parkland setting.

Bradfield City - Illustrative Master Plan

Key features

Bradfield City will prioritise design excellence, unique character, rich culture, and seamless connectivity. The Bradfield Centre Master Plan outlines these key elements.

Design

We’re embedding world-class technology, innovative buildings, and vibrant landscapes to create a city that thrives on design excellence.

Our commitment to sustainability and designing with Country supports bold goals for net zero emissions, climate resilience, energy and water efficiency, and the use of sustainable materials. Green spaces will feature across the city, including on the ground, walls, and rooftops.

By integrating cutting-edge technology, we’re building smarter solutions that help people, businesses, and the environment succeed together.

• 2 million square metres of gross floor area available for development.

• Space for over 80 buildings exceeding 40 metres (15 storeys and above).

• Circular economy principles supported by the design.

• 80% green roof coverage or bio-solar systems to combat urban heat.

• Climate-resilient features designed to maximise energy efficiency and regulate temperatures.

• First Nations cultural values integrated into planting, materials, art, lighting, signage, and language.

• Smart technologies included throughout to enhance liveability.

Character

Bradfield City will offer more than 30% public open space, major event and cultural areas, and a wide range of retail and dining options. It’s designed as a place to live, work, gather, play, and stay.

Located next to the Western Sydney International Airport, the city will also be a hub for tourism and entertainment, attracting visitors from near and far.

We’re fostering new industries, jobs, and skills through a world-class research and education ecosystem, connected to global expertise and opportunities.

• 36 hectares of open space, waterways and playgrounds.

• 2-hectare Central Park.

• 2.2 km Green Loop prioritising First Nations culture throughout the city.

• Average 40% tree canopy cover for a green cool city.

• Major event and dedicated cultural spaces.

• Public art featured throughout.

Movement and connectivity

A highly accessible and connected city for everyone.

Green pedestrian pathways and dedicated cycling lanes will create a people-first network across the city.

Major bus, road, and metro interchanges at the city’s centre will link residents, workers, and visitors to Greater Sydney and the world via the new Western Sydney International (WSI) Airport.

• Pedestrian-friendly design, with most areas accessible within a 5-minute walk from the Metro Station.

• 5-minute metro connection to the WSI Airport.

• Electric Vehicle (EV) charging stations, designed to support future transport needs.

• 17.8 km of bike trails and lanes for easy and sustainable travel.

https://www.dezeen.com/2026/02/11/plans-unveiled-australias-first-new-city-100-years/

Plans unveiled for Australia's first new city in 100 years

American studio SOM and Australian studio Hassell have revealed plans for Bradfield City, a new, 114-hectare city in western Sydney, which is set to include 10,000 homes, a university campus and a two-hectare park.

Planned to be located beside the recently-completed Western Sydney International Airport, the Bradfield City masterplan proposes an urban landscape roughly 50 kilometres west of Sydney's central business district, conceptualised as "Sydney's new urban heart".

The masterplan forms one of Australia's largest urban development projects and, once complete, will be the country's first major city built in over a century, according to SOM.

Key aspects of the development will include the creation of 10,000 new homes, a 2.2-kilometre Green Loop park, a two-hectare Central Park and four major civic centres.

SOM and Hassell designed the proposal in collaboration with cultural design partners Djinjama and COLA Studio to be an "inclusive and climate-resilient" city shaped by indigenous connections to Country – a term used by First Nations peoples to refer to the lands, waters and skies.

"To design a new city is both a rare opportunity and a profound responsibility," senior associate principal at SOM Michael Powell said.

"Bradfield City is a chance to shape a vision with Country and community, embedding resilience, sustainability, and innovation into every layer of the city."

At the centre of the development, the First Land Release, also known as Superlot 1, will encompass a 5.7-hectare site described by SOM as Bradfield City's "civic heart".

This central area will be the proposal's first stage and is set to contain 1,400 homes alongside a university campus, offices, retail space, a hotel and public space.

Renders of the First Land Release depict a series of high-rise blocks situated along tree-lined streets and interspersed with expansive green areas.

Complementing the city's green areas, a timber pavilion will shelter a gathering space for the community beneath an interlocking timber structure and woven canopy.

According to SOM, this pavilion design draws on the Aboriginal principle of "enoughness" or taking only what is needed, with the studios opting for low-carbon and high-performance materials.

Other sustainability strategies include the use of passive design solutions, green roofs and solar panels throughout the city's infrastructure to improve their environmental performance.

"We set out to create a precinct where nature and urban life are intertwined, ensuring Bradfield City feels welcoming, sustainable and uniquely of its place," principal at Hassell Kevin Lloyd said.

The Bradfield City development is being developed by developer Plenary and has been backed by more than $1 billion in Australian public investment. Its first stage of development is planned to roll out over the next five years.

The renders are courtesy of SOM.

The void: art imitating life - Country.