Positioned in the exclusive end of St Kilda Road’s northern precinct, 332 St Kilda Road is the boulevard’s newest A Grade commercial tenancy offering. 

Architecturally designed by Gray Puksand, the building is undergoing a major refurbishment with a key focus on the new way of working, incorporating open work spaces and more amenity than ever before.

Broached is curating a suite of artworks – paintings and digital – for BGT’s 332 St Kilda Road.

Image: Bryan Spier’s painting Principles of Arcturian Colour Theory, 2019, in situ at 332 St Kilda Road.

Broached has created a Cultural Strategy for the commissioning of public artwork at Green Square, which will complement a wonderful building designed by Furtado Sullivan for Mirvac.

The site is located in the growing inner-city suburb of Green Square, approximately 4km south of the Sydney’s CBD, adjacent to Green Square’s Public Library and Square and across the road from the train station. 

Broached has been working with Lowe Living to commission artist Lisa Young, and her collaborators Kerry Kounnapis and Huw Smith, to create a new sculptural work on the corner of Clarendon and York Streets in South Melbourne.

Emerald Place will be an iconic new commercial and residential building designed by Woods Bagot, and the work will occupy the street frontage on busy pedestrian thoroughfare.

Danie Mellor and Yhonnie Scarce have each developed projects that celebrate Gadigal Country flora, and reinstate it into the lived experience of place around the Tank Stream, through photographic treatment and sculptural intervention respectively.

Daniel Crooks and Amrita Hepi have each developed projects that use technology to explore ideas of communication and mediation, embedding their works within the fabric of the building. Both artworks are specifically developed to engage a passing, pedestrian audience quickly, leaving an indelible after-image to accompany them on their journey. 

Due for completion in 2026.

Through discussions with Broached Commissions, Charter Hall have identified the opportunity for a number of art commissions, visible from within and outside 480 Swan Street. The following are confirmed and in process:

• Permanent sculptural commission for the corner of Swan and Burnley Streets
• Maquette of the permanent sculptural commission for the ground-floor foyer of 480 Swan Street
• Mural or wall-treatment for the curved wall of the ground-floor foyer of 480 Swan Street
• End of Trip Windows vinyl treatment, facing Burnley Station, viewable internally and externally

Broached worked with Charter Hall and all stakeholders and the entire design team to deliver narrative driven works that related directly to the rich history of the site. The Uniting Church and Charter Hall wanted Reconciliation with the Kulin Nation to be at the heart of the art commissioning. Broached worked with Maree Clarke to deliver several artworks from a Kulin Nation perspective, including a collaborative work with designer Trent Jansen.

150 Lonsdale Street was formerly home to the Bureau of Meteorology, and Broached commissioned Stanislava Pinchuk to crate an interactive data mural on its facade. The work compares daily temperatures to historic norms, layered on the facade of what was once the BoM offices. 

Artworks below by Maree Clarke, Maree Clarke & Trent Jansen, Stanislava Pinchuk, Humans Since 1982.

Broached delivered a range of integrated and free standing artworks that reflected upon the history of the site and dealt with its environmental constraints. 

Artworks below by John Warwicker, Yhonnie Scarce, Reko Rennie & Stanislava Pinchuk, Oculus, Grace Lillian Lee and Lisa Young.

Artworks below by AMKK and Reko Rennie.

The Subiaco Oval was in the process of being decommissioned and transformed into a park, with the surrounding lands that were once occupied by a grandstand to be replaced by high-rise apartment buildings. 

Broached assisted the landscape architecture firms to understand how to decolonise the area from a landscaping approach and to honour the pre-colonial history whilst understanding their design approach perpetuates a relationship to colonial strategies that date back to the late 18th C emergence of modern landscape architecture. 

Image: Subiaco Oval masterplan by UDLA + Oculus.

Racing is undergoing a radical transformation and the Melbourne Racing Club, who own the course, understood that a major rethink of the nature of membership to such a club was required as they developed plans for a substantial redevelopment of the historic grounds. 

Broached was engaged to create a comprehensive strategy of how the architecture and landscaping could speak to new ideas of membership. Through our research we developed a simple position: the horse is the most important domesticated animal in the history of civilisation, it fundamentally altered war, mobility and agriculture. No racecourse speaks to this broad history and how thoroughbred racing was and continues to be a celebration of this role. Our recommendations were central to the briefing of architects and other central team members in forming a design for the new grandstand and surrounding grounds. 

Image: Running of the Caulfield Cup in 1895, by David Syme & Co.

Within the alcoves of the Lands Building are figures, carved from sandstone, who are memorialised for their great achievement in opening up the frontier lands of Australia. This is a building that celebrates the exploits of colonisation, preserving the records of land acquisition and exchange.  

Broached worked on a narrative that synthesized the colonial history with the interior demands of a contemporary five-star hotel. This narrative was used by Bar Studio as a bed of creative and historical knowledge from which to pull inspiration and direction.

The result was a Creative Director’s statement that articulated numerous storylines, reflecting upon the more progressive figures during the cut and thrust of colonial expansionism. Bar Studio, who are sensitive to issues of colonisation, utilised this creative direction as a catalyst for aspects of their design response. 

Broached was commissioned to produce furniture for the Molonglo Group Headquarters in Canberra after designing pieces for Hotel Hotel. The creative director’s statement we authored was used to inform the furnishings in collaboration with Adam Goodrum and Trent Jansen. It was then used as a central document in the rebranding of the company by U-P.

Broached worked closely with Molonglo Group co-director, Nectar Efkarpidis, and graphic design studio U-P to create an editorial position that blended genealogy – Molonglo being a family business – with marking of place and a fascination with the crafted artefact.  

Together, Broached, U-P and Nectar developed the briefing documents that resulted in the beautiful rebranding for Molonglo Group in 2013. This was replaced by the Times New Roman narrative driven design before being replaced once more by the current design, still active early 2019. 

Designers 

Adam Goodrum 

Trent Jansen 

U-P

It quickly became clear that the philosophical position of the Molonglo Group is closely aligned to that of Canberra’s original architects, The Burley Griffins. Walter and Marion Griffin were fascinating people and designers. They delved into the natural habitat of the places they lived. Their philosophy was one of communal harmony and integration. As architects, they saw the necessity of unifying the natural environment with the built. These are all qualities that define the best parts of Molonglo Groups development model.

Broached undertook a lengthy research and development process, assisting our assembled design team in aligning their creative responses to the decorative language of the Burley Griffins. This approach was realised in Lucy McRae’s feature wall behind the reception desk; in the Monster Kitchen tables and chairs, plus the outdoor concrete benches by Adam Goodrum; and in the Charles Wilson couches. All have a common language, stemming from our interrogations of the Burley Griffins.  

Designers

Lucy McRae

Adam Goodrum 

Charles Wilson

This video explores the intense subjective contribution each chef makes to the creation of their own restaurant. McRae explores this idea through her iconic sci-fi visual style by having the protagonist clone herself in food products and then digest the clone, like a chef creating a menu out of their personal desires and then tasting it. 

The video was purchased by the National Gallery of Victoria and presented on the renowned fashion website Nowness. 

Broached offered creative direction on a pop-up bar in Melbourne, local artisanship a focal point. We worked with the always fantastic Bluebottle, Kano Hollamby and long-standing collaborator Geoffrey Nees to create the interior experience.

A feature piece in the temporary bar was a life-size illustration of every popular jacket style witnessed by each generation of family leadership behind the Ketel One brand. 

Collaborators

Bluebottle

Geoffrey Nees

Kano Hollamby

In February 2010, Broached was engaged as to serve as Creative Director and deliver the entire festival for that year, with the organisation finding themselves running a deficit for that year and having just let go of their entire creative team. 

With only seven months to realise the festival, Broached worked with a new creative lineup to deliver an exciting festival, on time and on budget, through the curation of a program that saw massive elevation of both media coverage and ticket sales to all events. 

Broached delivered narrative depth, engaging the world’s best creative teams and applying marketing initiatives to a variety of misschu projects, from art & design, marketing activities and editorial ghost writing. All projects were initiated by Nahji Chu and researched by Broached, giving each one both a strong form and team to deliver it.  

Sometimes it can take a year or more to fully inhabit the voice of a company leader who wants a creative direction added to their market position. With misschu, we started slow, initially delivering editorial assistance and then building to the realisation of video art and photography commissions with our creative engagement culminating finally in a misschu cookbook.  

Unfortunately, the over-expansion of the business stopped the realisation of the book whilst we were halfway through writing. If there is another Vietnamese-Australian refugee hospitality entrepreneur who is ready for a book, we have fifty percent of one ready to go!  

Gustav Mahler wrote Kindertotenlieder at a time when he was childless. When his daughter died at age five, he reportedly said that the grief of losing a child went well beyond poetry or music. Kindertotenlieder was Mahler’s great act of hubris and only the impact of losing his own child made him realise how shallow even his wonderful song cycle was in comparison to the grief he felt.  

The installation created the perfect solitary listening environment for Kindertotenlieder; a room for the sounds of male hubris.  

Architectural design, by Eriko Watanabe & Igor Kebel of  XO Projects. 

As an interactive installation, wedged audience members – fourteen at a time – between a digital ceiling and an industrial floor. The fourteen strangers, lying on a rotating turntable, were pressed so close to the digital projection screen above them that it was not possible to see the entire image. The result was a breakdown of assumed access to the entire media narrative

Joy Ride was a motion control ride designed to break down the expectation of spectacle. The carnival promise was systematically inverted; the ride was not fast but rather slow, melodic and often times melancholic. The experience of the screen was compressed and not complete. The huge eight-metre portable box was branded ‘Joy Ride’ but provided an intimate, disconcertingly gentle subversion of our expectations for narrative escapism via screen content.

This project as a substantial technical undertaking. Its execution required mechanical, software and electrical engineers, architects and projection experts. All the intricacies of these practical elements delivered a fun experience; at the 2003 Singapore Festival alone ten thousand people jumped on over two weeks.

Collaborators 

Sir Jonathan Mills

Tao Weis

Toby Reed

Dylan Brady

Geoffrey Nees

Matthew Ngui

OverLogo provided a giant billboard in what was, then, one of the darkest and most dynamic laneways in the city – now AC/DC Lane. While framing the laneway in the realm of high art, OverLogo was, in turn, designed to be framed by the ravages of the city

Laneways are also where objects are discarded, thrown into bins. The daily ticket has been thrown away (except by those mad hoarders) and so too the form of economy that saw the value of public utilities being owned by the government, and of individuals providing hospitality within those spaces.  

Over its brief life eighteen-month life, OverLogo was vandalised by night club goers and battered by garbage trucks. It became tattered at its edges, just like the small yellow paper ticket it was an enlarged emblem of.

Designed by and co-conceived with Jan van Schaik.

Collaborators 

Jan van Schaik