1998, Sydney
Woronora Bridge Sydney
Category: Porosity
2012
Warringah Expressway
2013
60-70 Salt Lake City
2005, NSW
The RG Rest Area Toilets reflect the commitment of the RTA to design in the field of road amenity. In developing RG Rest Area Toilets it was considered important that they be sophisticated and well-designed to reflect the journey of the motorist. This is a contrast with the vernacular architecture in the landscape such as the rustic shed. Instead the RG Toilets are more akin to car design and relate to landscape in a more conspicuous manner, engaging their function and place within the road system.
1998
Solar Sculpture design for Sydney M4 freeway adjacent to the Olympic site. This parasitic machine at the scale of the freeway was designed to power a wetland pumping system. Landscape design Oculus.
2007
The sound walls form an integral part of the architecture of the road and place of Canberra. The design of Canberra owes its form and mystery to Walter Burley Grif?n and Marion Mahony. Hidden within the interlocking curved and triangular geometry of Grif?n’s designs lie anthroposophical and philosophical meanings. Richard Goodwin has chosen to incorporate an interpretation of one of Grif?n’s most intriguing patterns into the pre-cast concrete sound wall panels.
Grif?n believed, as Richard does, that concrete re?ects the mechanical means of its production coupled with unique plastic qualities, which allow for patterning.
The net effect is to pay homage to Grif?n while at the same time creating new work which speaks of the mystery of Canberra as a place.
Theme: Walter Burley Grif?n.
Site: These walls are situated adjacent to the Australian Institute of Sport.
Form: An abstracted and enlarged interpretation of one of Walter Burley Grif? n’s concrete tile designs.
Materials: Precast Concrete panels.
Scale: Panels ranging from 2mh to 4mh x 7m long.
1992
For the Gore Hill Freeway, after two years of development Goodwin chose a design language in 3 parts. Firstly, concrete noise walls were utilised on a large scale. The surface of the concrete pioneered the use of bas-relief motifs. These repeating forms were an abstraction of this particular freeway in plan. The result is a rhythmic signature particular to Gore Hill. As the road becomes viaduct the walls change to lightweight versions supported by distinctive sculptural supports.
Secondly, historical reference was made to the architect Walter Burley Grif? n’s Incinerator building, via the use of one of his tile designs. The Grif?n Incinerator Building is located adjacent to the Freeway. Goodwin sourced the tile from the now demolished Pyrmont Incinerator and developed new moulds.
The third arm of the art/architecture language was the inclusion of Aboriginal rock engravings chipped into the ribbed retaining walls. These locally sourced and recorded images were chosen for their bold whale and shark forms. In one case the engraving was drawn from records as it is now destroyed. The others were recorded onto plastic on site. Positioned as they are at the gateways to the road they reinforce the idea of a distinct body or place with entrances and exits.
Of primary importance is the notion of the walls being perceived as a uni? ed whole – a synthesis of wall architecture, and motifs.
1993-96
Glebe Island Arterial Streetscape represents a milestone in collaborative design, which rethinks the leftover spaces beneath freeways. The site lies beneath the approach freeway to the Anzac Bridge and forms a separation between historic Pyrmont and the working waterfront with ? sh-markets. The needs of pedestrians, cars and light-rail required to be met via a new approach to road architecture.
The team included Conybeare Morrison and Associates, Context Landscape Architects and Richard Goodwin P/L Art and Architecture. During a six year design process the original road designs were changed to encompass a new pedestrian vision for this foreshore zone complete with sculptural installation by Richard Goodwin. The inclusion of such a permanent vision for a new “road architecture” was a first for the NSW Roads and Traffic Authority.
“I developed the sculptural component as a way of engaging the architecture of the freeway via prosthetic shapes attached to the forest of columns. The combination of aluminium wings, stone finished turrets and growing frames create a “pin-ball” machine of prosthetic devices which mediate between the pedestrian and the car to facilitate an increase in the permeability of the space.”
2006
Frankston Bridge
2011
Mighty High on Cockatoo Island
