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The concept for the 1500 seat auditorium was to generate the sense of a rainforest canopy also referred to in the poem. The ironbark folds are shaped to optimise acoustic conditions for opera, ballet, dance, drama, symphony and musicals, using a system of sliding baffles behind perforations in the timber to adapt resonance to each performance mode.
 
The Glasshouse Theatre is the first in Australia to be able to stage opera, dance, ballet, symphony, theatre and amplified musicals all at world-class level. This is achieved by several innovations - a system of adjustable acoustic baffles behind perforated timber walls around the theatre, a flexible hanging baffle over the stage, and an unconventional proportioning of the theatre which has no seat further than 28 metres from the stage, generating an unprecedented intimacy between performer and audience.
 
We extend our thanks to @lendlease and all those involved for their fantastic job of the timberwork designed for acoustic performance.
 
Photography: @christopherfrederickjones
 
Designed by @blightrayner in partnership with @snohetta .

The inspiration for the undulating façade was a poem written by First Nations Elder and Artist Lilla Watson about the river fronting the Glasshouse precinct. 
It talked of the image of viewing fish swimming through the ripples of the river, and we conceived the idea of viewing people in the foyers in the same way through rippled glass, creating a sense of ‘public’ theatre. 
Of course, it is also an abstraction of a stage curtain through which people in the street gain glimpses through to what’s occurring inside.

Designed by @blightrayner in partnership with @snohetta

Photography: @christopherfrederickjones

#architecture #brisbane #blightrayner #glasshousetheatre

Sharing a great photo by @davidkellyphotographer of the Glasshouse Theatre, capturing the essence of the design.

Image: @davidkellyphotographer

Designed by @blightrayner in partnership with @snohetta

360 Queen Street by #charterhall. A busy lobby isn’t just movement — it’s proof of success.

When a CBD building hums with activity, it tells you everything about how the space performs. Flow, energy, and constant occupation aren’t accidental; they’re the result of considered design that invites people in and keeps them moving through.

This is where architecture proves its worth — not in empty perfection, but in how well it holds life.

A thriving lobby doesn’t just support a project… it defines its success.

Architecture by @blightrayner
Imagery by @scottburrowsphotographer

360 Queen Street by #charterhall. A busy lobby isn’t just movement — it’s proof of success.

When a CBD building hums with activity, it tells you everything about how the space performs. Flow, energy, and constant occupation aren’t accidental; they’re the result of considered design that invites people in and keeps them moving through.

This is where architecture proves its worth — not in empty perfection, but in how well it holds life.

A thriving lobby doesn’t just support a project… it defines its success.

Architecture by @blightrayner
Imagery by @scottburrowsphotographer

Congratulations to @michaelraynerarchitect, who has been named one of three Urban Design Champions at the 2026 Australian Urban Design Awards.

This award recognises Michael’s decades-long leadership in urban design, particularly for Brisbane and across Queensland, and through architecture, planning, policy advocacy, education and social impact work.

He joined Shelley Penn AM and Rob McGauran on stage to receive this prestigious award, co-convened by @institute_architects_aus,@aila_national and @pia_planning.

#BlightRayner #AustralianUrbanDesignAwards #UrbanDesign #Leadership #Architecture

The Canopy Café is the latest addition to St Margaret's Anglican Girls' School campus. The new café reimagines the traditional school tuckshop, combining functionality, purposeful planning and contemporary design to create a space that integrates seamlessly into the campus.⁠
⁠
A key objective of the project was to support the school community by providing a place for primary and secondary students to connect, unwind and socialise. Positioned in a central location beneath established fig trees, the café offers both indoor and shaded outdoor environments for students and staff to take a break from the classroom.⁠
⁠
Bligh Tanner supported the project from concept design through to construction, delivering structural and civil engineering services for the café and the connecting amphitheatre.⁠
⁠
Client: @stmargaretsags⁠
Architect: @blightrayner⁠
Building Contractor: @fara.fitout.refurb.construct⁠
Project Management: DMA Partners⁠
⁠
📸@christopherfrederickjones⁠

The Canopy Café is the latest addition to St Margaret's Anglican Girls' School campus. The new café reimagines the traditional school tuckshop, combining functionality, purposeful planning and contemporary design to create a space that integrates seamlessly into the campus.⁠
⁠
A key objective of the project was to support the school community by providing a place for primary and secondary students to connect, unwind and socialise. Positioned in a central location beneath established fig trees, the café offers both indoor and shaded outdoor environments for students and staff to take a break from the classroom.⁠
⁠
Bligh Tanner supported the project from concept design through to construction, delivering structural and civil engineering services for the café and the connecting amphitheatre.⁠
⁠
Client: @stmargaretsags⁠
Architect: @blightrayner⁠
Building Contractor: @fara.fitout.refurb.construct⁠
Project Management: DMA Partners⁠
⁠
📸@christopherfrederickjones⁠

The Canopy Café is the latest addition to St Margaret's Anglican Girls' School campus. The new café reimagines the traditional school tuckshop, combining functionality, purposeful planning and contemporary design to create a space that integrates seamlessly into the campus.⁠
⁠
A key objective of the project was to support the school community by providing a place for primary and secondary students to connect, unwind and socialise. Positioned in a central location beneath established fig trees, the café offers both indoor and shaded outdoor environments for students and staff to take a break from the classroom.⁠
⁠
Bligh Tanner supported the project from concept design through to construction, delivering structural and civil engineering services for the café and the connecting amphitheatre.⁠
⁠
Client: @stmargaretsags⁠
Architect: @blightrayner⁠
Building Contractor: @fara.fitout.refurb.construct⁠
Project Management: DMA Partners⁠
⁠
📸@christopherfrederickjones⁠

The Glasshouse Theatre emerges as a luminous addition to Brisbane’s South Bank, where the built environment meets the fluid rhythm of the river. Inspired by the prose-poetry of Aboriginal Elder Aunty Lilla Watson, the undulating glass exterior acts as a translucent veil, catching the light and reflecting the vibrant energy of the precinct. Inside, the experience shifts from airy transparency to a grounded, protective cocoon. The 1,500-seat auditorium fosters a rare intimacy, featuring rich ironbark walls and rainforest green carpets. Every detail, from the seven skylights representing Queensland’s watersheds to the floating 6-meter cantilever, reinforces a deep connection to place and a commitment to world-class performance.

via #urdesignmag
architects @snohetta and @blightrayner
images @christopherfrederickjones

#Architecture #Snøhetta #BlightRayner #BrisbaneArchitecture #CulturalDesign #SustainableDesign #PerformingArts #GlassArchitecture #Meanjin #UrbanInnovation #AcousticDesign #QPAC

The Glasshouse Theatre emerges as a luminous addition to Brisbane’s South Bank, where the built environment meets the fluid rhythm of the river. Inspired by the prose-poetry of Aboriginal Elder Aunty Lilla Watson, the undulating glass exterior acts as a translucent veil, catching the light and reflecting the vibrant energy of the precinct. Inside, the experience shifts from airy transparency to a grounded, protective cocoon. The 1,500-seat auditorium fosters a rare intimacy, featuring rich ironbark walls and rainforest green carpets. Every detail, from the seven skylights representing Queensland’s watersheds to the floating 6-meter cantilever, reinforces a deep connection to place and a commitment to world-class performance.

via #urdesignmag
architects @snohetta and @blightrayner
images @christopherfrederickjones

#Architecture #Snøhetta #BlightRayner #BrisbaneArchitecture #CulturalDesign #SustainableDesign #PerformingArts #GlassArchitecture #Meanjin #UrbanInnovation #AcousticDesign #QPAC

The Glasshouse Theatre emerges as a luminous addition to Brisbane’s South Bank, where the built environment meets the fluid rhythm of the river. Inspired by the prose-poetry of Aboriginal Elder Aunty Lilla Watson, the undulating glass exterior acts as a translucent veil, catching the light and reflecting the vibrant energy of the precinct. Inside, the experience shifts from airy transparency to a grounded, protective cocoon. The 1,500-seat auditorium fosters a rare intimacy, featuring rich ironbark walls and rainforest green carpets. Every detail, from the seven skylights representing Queensland’s watersheds to the floating 6-meter cantilever, reinforces a deep connection to place and a commitment to world-class performance.

via #urdesignmag
architects @snohetta and @blightrayner
images @christopherfrederickjones

#Architecture #Snøhetta #BlightRayner #BrisbaneArchitecture #CulturalDesign #SustainableDesign #PerformingArts #GlassArchitecture #Meanjin #UrbanInnovation #AcousticDesign #QPAC

The Glasshouse Theatre emerges as a luminous addition to Brisbane’s South Bank, where the built environment meets the fluid rhythm of the river. Inspired by the prose-poetry of Aboriginal Elder Aunty Lilla Watson, the undulating glass exterior acts as a translucent veil, catching the light and reflecting the vibrant energy of the precinct. Inside, the experience shifts from airy transparency to a grounded, protective cocoon. The 1,500-seat auditorium fosters a rare intimacy, featuring rich ironbark walls and rainforest green carpets. Every detail, from the seven skylights representing Queensland’s watersheds to the floating 6-meter cantilever, reinforces a deep connection to place and a commitment to world-class performance.

via #urdesignmag
architects @snohetta and @blightrayner
images @christopherfrederickjones

#Architecture #Snøhetta #BlightRayner #BrisbaneArchitecture #CulturalDesign #SustainableDesign #PerformingArts #GlassArchitecture #Meanjin #UrbanInnovation #AcousticDesign #QPAC

The Glasshouse Theatre emerges as a luminous addition to Brisbane’s South Bank, where the built environment meets the fluid rhythm of the river. Inspired by the prose-poetry of Aboriginal Elder Aunty Lilla Watson, the undulating glass exterior acts as a translucent veil, catching the light and reflecting the vibrant energy of the precinct. Inside, the experience shifts from airy transparency to a grounded, protective cocoon. The 1,500-seat auditorium fosters a rare intimacy, featuring rich ironbark walls and rainforest green carpets. Every detail, from the seven skylights representing Queensland’s watersheds to the floating 6-meter cantilever, reinforces a deep connection to place and a commitment to world-class performance.

via #urdesignmag
architects @snohetta and @blightrayner
images @christopherfrederickjones

#Architecture #Snøhetta #BlightRayner #BrisbaneArchitecture #CulturalDesign #SustainableDesign #PerformingArts #GlassArchitecture #Meanjin #UrbanInnovation #AcousticDesign #QPAC

The Glasshouse Theatre emerges as a luminous addition to Brisbane’s South Bank, where the built environment meets the fluid rhythm of the river. Inspired by the prose-poetry of Aboriginal Elder Aunty Lilla Watson, the undulating glass exterior acts as a translucent veil, catching the light and reflecting the vibrant energy of the precinct. Inside, the experience shifts from airy transparency to a grounded, protective cocoon. The 1,500-seat auditorium fosters a rare intimacy, featuring rich ironbark walls and rainforest green carpets. Every detail, from the seven skylights representing Queensland’s watersheds to the floating 6-meter cantilever, reinforces a deep connection to place and a commitment to world-class performance.

via #urdesignmag
architects @snohetta and @blightrayner
images @christopherfrederickjones

#Architecture #Snøhetta #BlightRayner #BrisbaneArchitecture #CulturalDesign #SustainableDesign #PerformingArts #GlassArchitecture #Meanjin #UrbanInnovation #AcousticDesign #QPAC

Very exciting to attend the Gala Opening of our Glasshouse Theatre and see it in action.

Designed by Blight Rayner Architecture in partnership with @snohetta

📸1 by Peter Wallis

#glasshousetheatre #architecture #queensland #performingarts #brisbane

Very exciting to attend the Gala Opening of our Glasshouse Theatre and see it in action.

Designed by Blight Rayner Architecture in partnership with @snohetta

📸1 by Peter Wallis

#glasshousetheatre #architecture #queensland #performingarts #brisbane

Very exciting to attend the Gala Opening of our Glasshouse Theatre and see it in action.

Designed by Blight Rayner Architecture in partnership with @snohetta

📸1 by Peter Wallis

#glasshousetheatre #architecture #queensland #performingarts #brisbane

Brian Robinson, ‘Floriate’, 2026

Brian Robinson is of the Kala Lagaw Ya and Wuthathi language groups of the Torres Strait and Cape York Peninsula. He is a multiskilled artist whose diverse practice spans painting, printmaking, sculpture, and design, all infused with the rich essence of his Torres Strait Islander heritage. Based in Cairns, he experiments with his art, merging reality and fantasy while drawing inspiration from the captivating myths, legends, and traditional motifs of his culture. Robinson's dynamic creations have garnered widespread acclaim, finding homes in private collections and major institutions in Australia and around the world, making him a significant figure in the contemporary art scene.

Brian’s latest sculpture ’Floriate’ relates to the QPAC curatorial rationale, and Brian’s concept design focuses on seven different flowering plants that grow in abundance across the state of Queensland, one in each of the seven culturally significant watershed ecosystems.

With UAP as the Public Art Manager, ‘Floriate’ began with Brian’s exquisite drawings from which UAP’s Design and Pattern Making teams developed the model with a robotically milled polystyrene pattern, which served as the foundation for a unique creation. Our pattern-making department refined and finished the pattern, then skinned the surface with Lino to mimic Robinson’s typical 2D carving practice in 3D. Robinson then carved unique minaral (designs) into the surfaces, enhancing the pattern's visual appeal and adding intricate details that infused it with energy. Once perfected, the finished patterns prepared for casting and moulded.

Robinson, along with our Brisbane team, worked with the Queensland Performing Arts Centre (QPAC) and the Queensland Government to bring life to the Glasshouse Theatre.

-

Image Credit: Rachel See, courtesy of UAP | Urban Art Projects

-

@atqpac @qldgov @artsqueensland @onespace_au @blaklash_
#BrianRobinson #Floriate #GlasshouseTheatre #QueenslandPerformingArtsCentre #Onespace #QueenslandGovernment #Blaklash #Snohetta #Blightrayner #RoboticallyMilled #PolystyrenePattern #PatternMaking #MadeByUAP #UAP #UrbanArtProjects #IncredibleThings

Brian Robinson, ‘Floriate’, 2026

Brian Robinson is of the Kala Lagaw Ya and Wuthathi language groups of the Torres Strait and Cape York Peninsula. He is a multiskilled artist whose diverse practice spans painting, printmaking, sculpture, and design, all infused with the rich essence of his Torres Strait Islander heritage. Based in Cairns, he experiments with his art, merging reality and fantasy while drawing inspiration from the captivating myths, legends, and traditional motifs of his culture. Robinson's dynamic creations have garnered widespread acclaim, finding homes in private collections and major institutions in Australia and around the world, making him a significant figure in the contemporary art scene.

Brian’s latest sculpture ’Floriate’ relates to the QPAC curatorial rationale, and Brian’s concept design focuses on seven different flowering plants that grow in abundance across the state of Queensland, one in each of the seven culturally significant watershed ecosystems.

With UAP as the Public Art Manager, ‘Floriate’ began with Brian’s exquisite drawings from which UAP’s Design and Pattern Making teams developed the model with a robotically milled polystyrene pattern, which served as the foundation for a unique creation. Our pattern-making department refined and finished the pattern, then skinned the surface with Lino to mimic Robinson’s typical 2D carving practice in 3D. Robinson then carved unique minaral (designs) into the surfaces, enhancing the pattern's visual appeal and adding intricate details that infused it with energy. Once perfected, the finished patterns prepared for casting and moulded.

Robinson, along with our Brisbane team, worked with the Queensland Performing Arts Centre (QPAC) and the Queensland Government to bring life to the Glasshouse Theatre.

-

Image Credit: Rachel See, courtesy of UAP | Urban Art Projects

-

@atqpac @qldgov @artsqueensland @onespace_au @blaklash_
#BrianRobinson #Floriate #GlasshouseTheatre #QueenslandPerformingArtsCentre #Onespace #QueenslandGovernment #Blaklash #Snohetta #Blightrayner #RoboticallyMilled #PolystyrenePattern #PatternMaking #MadeByUAP #UAP #UrbanArtProjects #IncredibleThings

Brian Robinson, ‘Floriate’, 2026

Brian Robinson is of the Kala Lagaw Ya and Wuthathi language groups of the Torres Strait and Cape York Peninsula. He is a multiskilled artist whose diverse practice spans painting, printmaking, sculpture, and design, all infused with the rich essence of his Torres Strait Islander heritage. Based in Cairns, he experiments with his art, merging reality and fantasy while drawing inspiration from the captivating myths, legends, and traditional motifs of his culture. Robinson's dynamic creations have garnered widespread acclaim, finding homes in private collections and major institutions in Australia and around the world, making him a significant figure in the contemporary art scene.

Brian’s latest sculpture ’Floriate’ relates to the QPAC curatorial rationale, and Brian’s concept design focuses on seven different flowering plants that grow in abundance across the state of Queensland, one in each of the seven culturally significant watershed ecosystems.

With UAP as the Public Art Manager, ‘Floriate’ began with Brian’s exquisite drawings from which UAP’s Design and Pattern Making teams developed the model with a robotically milled polystyrene pattern, which served as the foundation for a unique creation. Our pattern-making department refined and finished the pattern, then skinned the surface with Lino to mimic Robinson’s typical 2D carving practice in 3D. Robinson then carved unique minaral (designs) into the surfaces, enhancing the pattern's visual appeal and adding intricate details that infused it with energy. Once perfected, the finished patterns prepared for casting and moulded.

Robinson, along with our Brisbane team, worked with the Queensland Performing Arts Centre (QPAC) and the Queensland Government to bring life to the Glasshouse Theatre.

-

Image Credit: Rachel See, courtesy of UAP | Urban Art Projects

-

@atqpac @qldgov @artsqueensland @onespace_au @blaklash_
#BrianRobinson #Floriate #GlasshouseTheatre #QueenslandPerformingArtsCentre #Onespace #QueenslandGovernment #Blaklash #Snohetta #Blightrayner #RoboticallyMilled #PolystyrenePattern #PatternMaking #MadeByUAP #UAP #UrbanArtProjects #IncredibleThings

Brian Robinson, ‘Floriate’, 2026

Brian Robinson is of the Kala Lagaw Ya and Wuthathi language groups of the Torres Strait and Cape York Peninsula. He is a multiskilled artist whose diverse practice spans painting, printmaking, sculpture, and design, all infused with the rich essence of his Torres Strait Islander heritage. Based in Cairns, he experiments with his art, merging reality and fantasy while drawing inspiration from the captivating myths, legends, and traditional motifs of his culture. Robinson's dynamic creations have garnered widespread acclaim, finding homes in private collections and major institutions in Australia and around the world, making him a significant figure in the contemporary art scene.

Brian’s latest sculpture ’Floriate’ relates to the QPAC curatorial rationale, and Brian’s concept design focuses on seven different flowering plants that grow in abundance across the state of Queensland, one in each of the seven culturally significant watershed ecosystems.

With UAP as the Public Art Manager, ‘Floriate’ began with Brian’s exquisite drawings from which UAP’s Design and Pattern Making teams developed the model with a robotically milled polystyrene pattern, which served as the foundation for a unique creation. Our pattern-making department refined and finished the pattern, then skinned the surface with Lino to mimic Robinson’s typical 2D carving practice in 3D. Robinson then carved unique minaral (designs) into the surfaces, enhancing the pattern's visual appeal and adding intricate details that infused it with energy. Once perfected, the finished patterns prepared for casting and moulded.

Robinson, along with our Brisbane team, worked with the Queensland Performing Arts Centre (QPAC) and the Queensland Government to bring life to the Glasshouse Theatre.

-

Image Credit: Rachel See, courtesy of UAP | Urban Art Projects

-

@atqpac @qldgov @artsqueensland @onespace_au @blaklash_
#BrianRobinson #Floriate #GlasshouseTheatre #QueenslandPerformingArtsCentre #Onespace #QueenslandGovernment #Blaklash #Snohetta #Blightrayner #RoboticallyMilled #PolystyrenePattern #PatternMaking #MadeByUAP #UAP #UrbanArtProjects #IncredibleThings

Brian Robinson, ‘Floriate’, 2026

Brian Robinson is of the Kala Lagaw Ya and Wuthathi language groups of the Torres Strait and Cape York Peninsula. He is a multiskilled artist whose diverse practice spans painting, printmaking, sculpture, and design, all infused with the rich essence of his Torres Strait Islander heritage. Based in Cairns, he experiments with his art, merging reality and fantasy while drawing inspiration from the captivating myths, legends, and traditional motifs of his culture. Robinson's dynamic creations have garnered widespread acclaim, finding homes in private collections and major institutions in Australia and around the world, making him a significant figure in the contemporary art scene.

Brian’s latest sculpture ’Floriate’ relates to the QPAC curatorial rationale, and Brian’s concept design focuses on seven different flowering plants that grow in abundance across the state of Queensland, one in each of the seven culturally significant watershed ecosystems.

With UAP as the Public Art Manager, ‘Floriate’ began with Brian’s exquisite drawings from which UAP’s Design and Pattern Making teams developed the model with a robotically milled polystyrene pattern, which served as the foundation for a unique creation. Our pattern-making department refined and finished the pattern, then skinned the surface with Lino to mimic Robinson’s typical 2D carving practice in 3D. Robinson then carved unique minaral (designs) into the surfaces, enhancing the pattern's visual appeal and adding intricate details that infused it with energy. Once perfected, the finished patterns prepared for casting and moulded.

Robinson, along with our Brisbane team, worked with the Queensland Performing Arts Centre (QPAC) and the Queensland Government to bring life to the Glasshouse Theatre.

-

Image Credit: Rachel See, courtesy of UAP | Urban Art Projects

-

@atqpac @qldgov @artsqueensland @onespace_au @blaklash_
#BrianRobinson #Floriate #GlasshouseTheatre #QueenslandPerformingArtsCentre #Onespace #QueenslandGovernment #Blaklash #Snohetta #Blightrayner #RoboticallyMilled #PolystyrenePattern #PatternMaking #MadeByUAP #UAP #UrbanArtProjects #IncredibleThings

Brian Robinson, ‘Floriate’, 2026

Brian Robinson is of the Kala Lagaw Ya and Wuthathi language groups of the Torres Strait and Cape York Peninsula. He is a multiskilled artist whose diverse practice spans painting, printmaking, sculpture, and design, all infused with the rich essence of his Torres Strait Islander heritage. Based in Cairns, he experiments with his art, merging reality and fantasy while drawing inspiration from the captivating myths, legends, and traditional motifs of his culture. Robinson's dynamic creations have garnered widespread acclaim, finding homes in private collections and major institutions in Australia and around the world, making him a significant figure in the contemporary art scene.

Brian’s latest sculpture ’Floriate’ relates to the QPAC curatorial rationale, and Brian’s concept design focuses on seven different flowering plants that grow in abundance across the state of Queensland, one in each of the seven culturally significant watershed ecosystems.

With UAP as the Public Art Manager, ‘Floriate’ began with Brian’s exquisite drawings from which UAP’s Design and Pattern Making teams developed the model with a robotically milled polystyrene pattern, which served as the foundation for a unique creation. Our pattern-making department refined and finished the pattern, then skinned the surface with Lino to mimic Robinson’s typical 2D carving practice in 3D. Robinson then carved unique minaral (designs) into the surfaces, enhancing the pattern's visual appeal and adding intricate details that infused it with energy. Once perfected, the finished patterns prepared for casting and moulded.

Robinson, along with our Brisbane team, worked with the Queensland Performing Arts Centre (QPAC) and the Queensland Government to bring life to the Glasshouse Theatre.

-

Image Credit: Rachel See, courtesy of UAP | Urban Art Projects

-

@atqpac @qldgov @artsqueensland @onespace_au @blaklash_
#BrianRobinson #Floriate #GlasshouseTheatre #QueenslandPerformingArtsCentre #Onespace #QueenslandGovernment #Blaklash #Snohetta #Blightrayner #RoboticallyMilled #PolystyrenePattern #PatternMaking #MadeByUAP #UAP #UrbanArtProjects #IncredibleThings

Brian Robinson, ‘Floriate’, 2026

Brian Robinson's artwork serves as a vital symbol of the rich cultural knowledge and stories of the First Nations peoples connected to what is now known as Queensland. It stands as a significant marker of heritage, embedding these narratives within the public domain and ensuring their survival across generations.

As a key feature of the new Glasshouse Theatre at the Queensland Performing Arts Centre (QPAC), the sculpture invites fine-grain interaction and engagement, fostering connections among all who visit, including Brisbane residents, domestic travellers, and international visitors alike. In doing so, it weaves First Nations culture into the very fabric of the place, promoting understanding and appreciation for the deep history and ongoing significance of Indigenous perspectives.

-

Image Credit: Photos by Rachel See, courtesy of Brian Robinson and UAP | Urban Art Projects

-

@atqpac @qldgov @artsqueensland @onespace_au @blaklash_
#BrianRobinson #Floriate #GlasshouseTheatre #QueenslandPerformingArtsCentre #Onespace #QueenslandGovernment #Blaklash #Snohetta #Blightrayner #FirstNations #TurrbalAndJagera #Heritage #Engaging #IndigenousPerspectives #MadeByUAP #UAP #UrbanArtProjects #IncredibleThings

Brian Robinson, ‘Floriate’, 2026

Brian Robinson's artwork serves as a vital symbol of the rich cultural knowledge and stories of the First Nations peoples connected to what is now known as Queensland. It stands as a significant marker of heritage, embedding these narratives within the public domain and ensuring their survival across generations.

As a key feature of the new Glasshouse Theatre at the Queensland Performing Arts Centre (QPAC), the sculpture invites fine-grain interaction and engagement, fostering connections among all who visit, including Brisbane residents, domestic travellers, and international visitors alike. In doing so, it weaves First Nations culture into the very fabric of the place, promoting understanding and appreciation for the deep history and ongoing significance of Indigenous perspectives.

-

Image Credit: Photos by Rachel See, courtesy of Brian Robinson and UAP | Urban Art Projects

-

@atqpac @qldgov @artsqueensland @onespace_au @blaklash_
#BrianRobinson #Floriate #GlasshouseTheatre #QueenslandPerformingArtsCentre #Onespace #QueenslandGovernment #Blaklash #Snohetta #Blightrayner #FirstNations #TurrbalAndJagera #Heritage #Engaging #IndigenousPerspectives #MadeByUAP #UAP #UrbanArtProjects #IncredibleThings

Brian Robinson, ‘Floriate’, 2026

Brian Robinson's artwork serves as a vital symbol of the rich cultural knowledge and stories of the First Nations peoples connected to what is now known as Queensland. It stands as a significant marker of heritage, embedding these narratives within the public domain and ensuring their survival across generations.

As a key feature of the new Glasshouse Theatre at the Queensland Performing Arts Centre (QPAC), the sculpture invites fine-grain interaction and engagement, fostering connections among all who visit, including Brisbane residents, domestic travellers, and international visitors alike. In doing so, it weaves First Nations culture into the very fabric of the place, promoting understanding and appreciation for the deep history and ongoing significance of Indigenous perspectives.

-

Image Credit: Photos by Rachel See, courtesy of Brian Robinson and UAP | Urban Art Projects

-

@atqpac @qldgov @artsqueensland @onespace_au @blaklash_
#BrianRobinson #Floriate #GlasshouseTheatre #QueenslandPerformingArtsCentre #Onespace #QueenslandGovernment #Blaklash #Snohetta #Blightrayner #FirstNations #TurrbalAndJagera #Heritage #Engaging #IndigenousPerspectives #MadeByUAP #UAP #UrbanArtProjects #IncredibleThings

Brian Robinson, ‘Floriate’, 2026

Brian Robinson's artwork serves as a vital symbol of the rich cultural knowledge and stories of the First Nations peoples connected to what is now known as Queensland. It stands as a significant marker of heritage, embedding these narratives within the public domain and ensuring their survival across generations.

As a key feature of the new Glasshouse Theatre at the Queensland Performing Arts Centre (QPAC), the sculpture invites fine-grain interaction and engagement, fostering connections among all who visit, including Brisbane residents, domestic travellers, and international visitors alike. In doing so, it weaves First Nations culture into the very fabric of the place, promoting understanding and appreciation for the deep history and ongoing significance of Indigenous perspectives.

-

Image Credit: Photos by Rachel See, courtesy of Brian Robinson and UAP | Urban Art Projects

-

@atqpac @qldgov @artsqueensland @onespace_au @blaklash_
#BrianRobinson #Floriate #GlasshouseTheatre #QueenslandPerformingArtsCentre #Onespace #QueenslandGovernment #Blaklash #Snohetta #Blightrayner #FirstNations #TurrbalAndJagera #Heritage #Engaging #IndigenousPerspectives #MadeByUAP #UAP #UrbanArtProjects #IncredibleThings

Brian Robinson, ‘Floriate’, 2026

Brian Robinson's artwork serves as a vital symbol of the rich cultural knowledge and stories of the First Nations peoples connected to what is now known as Queensland. It stands as a significant marker of heritage, embedding these narratives within the public domain and ensuring their survival across generations.

As a key feature of the new Glasshouse Theatre at the Queensland Performing Arts Centre (QPAC), the sculpture invites fine-grain interaction and engagement, fostering connections among all who visit, including Brisbane residents, domestic travellers, and international visitors alike. In doing so, it weaves First Nations culture into the very fabric of the place, promoting understanding and appreciation for the deep history and ongoing significance of Indigenous perspectives.

-

Image Credit: Photos by Rachel See, courtesy of Brian Robinson and UAP | Urban Art Projects

-

@atqpac @qldgov @artsqueensland @onespace_au @blaklash_
#BrianRobinson #Floriate #GlasshouseTheatre #QueenslandPerformingArtsCentre #Onespace #QueenslandGovernment #Blaklash #Snohetta #Blightrayner #FirstNations #TurrbalAndJagera #Heritage #Engaging #IndigenousPerspectives #MadeByUAP #UAP #UrbanArtProjects #IncredibleThings

Brian Robinson, ‘Floriate’, 2026

Brian Robinson's artwork serves as a vital symbol of the rich cultural knowledge and stories of the First Nations peoples connected to what is now known as Queensland. It stands as a significant marker of heritage, embedding these narratives within the public domain and ensuring their survival across generations.

As a key feature of the new Glasshouse Theatre at the Queensland Performing Arts Centre (QPAC), the sculpture invites fine-grain interaction and engagement, fostering connections among all who visit, including Brisbane residents, domestic travellers, and international visitors alike. In doing so, it weaves First Nations culture into the very fabric of the place, promoting understanding and appreciation for the deep history and ongoing significance of Indigenous perspectives.

-

Image Credit: Photos by Rachel See, courtesy of Brian Robinson and UAP | Urban Art Projects

-

@atqpac @qldgov @artsqueensland @onespace_au @blaklash_
#BrianRobinson #Floriate #GlasshouseTheatre #QueenslandPerformingArtsCentre #Onespace #QueenslandGovernment #Blaklash #Snohetta #Blightrayner #FirstNations #TurrbalAndJagera #Heritage #Engaging #IndigenousPerspectives #MadeByUAP #UAP #UrbanArtProjects #IncredibleThings

Designed by Brisbane-based architects Blight Rayner in collaboration with Snøhetta (Oslo), the QPAC Glasshouse Theatre is an architectural feat with its already iconic curved glass façade.

The waves and ripples of the glass reference the adjacent Brisbane River and is a nod to the flowing lines of theatre drapes and stage curtains.

Materials used in the Glasshouse Theatre take inspiration from many of the characteristics of Queensland, including locally sourced grey Ironbark timber, green auditorium carpet that references the state’s rainforests, and gold foyer carpet and sand-coloured precast concrete which is a nod to its beaches.

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@blightrayner @snohetta #GlasshouseTheatre #atQPAC

Blight Rayner is incredibly proud to announce that Michael Rayner has been awarded the Lifetime Achievement award at the 20th Lord Mayor’s Business Awards Gala held last Thursday night. This honour is a testament to his profound impact on shaping Brisbane’s urban and cultural landscape.
In accepting the award, Michael spoke about the values that have guided his career, saying:
“My journey over the past 35 years in Brisbane has largely been about asking myself ‘what else?’. It has been an evolutionary journey first as an architect then adding urban design, then advocacy and policy-influence, then educating aspiring architects, designers, and finally social causes, the latter particularly for homeless youth and victims of domestic violence. Now I do them all but still ask myself ‘where else can I make a positive impact, especially in the face of increasing challenges of climate change, of housing unaffordability and homelessness, and to mental and physical wellbeing in our society?’ I am convinced that design can play a massive role in addressing these issues.”
@brisbanebusinesshub @brisbane.lordmayor #LMBA2025

Blight Rayner is incredibly proud to announce that Michael Rayner has been awarded the Lifetime Achievement award at the 20th Lord Mayor’s Business Awards Gala held last Thursday night. This honour is a testament to his profound impact on shaping Brisbane’s urban and cultural landscape.
In accepting the award, Michael spoke about the values that have guided his career, saying:
“My journey over the past 35 years in Brisbane has largely been about asking myself ‘what else?’. It has been an evolutionary journey first as an architect then adding urban design, then advocacy and policy-influence, then educating aspiring architects, designers, and finally social causes, the latter particularly for homeless youth and victims of domestic violence. Now I do them all but still ask myself ‘where else can I make a positive impact, especially in the face of increasing challenges of climate change, of housing unaffordability and homelessness, and to mental and physical wellbeing in our society?’ I am convinced that design can play a massive role in addressing these issues.”
@brisbanebusinesshub @brisbane.lordmayor #LMBA2025

Blight Rayner is incredibly proud to announce that Michael Rayner has been awarded the Lifetime Achievement award at the 20th Lord Mayor’s Business Awards Gala held last Thursday night. This honour is a testament to his profound impact on shaping Brisbane’s urban and cultural landscape.
In accepting the award, Michael spoke about the values that have guided his career, saying:
“My journey over the past 35 years in Brisbane has largely been about asking myself ‘what else?’. It has been an evolutionary journey first as an architect then adding urban design, then advocacy and policy-influence, then educating aspiring architects, designers, and finally social causes, the latter particularly for homeless youth and victims of domestic violence. Now I do them all but still ask myself ‘where else can I make a positive impact, especially in the face of increasing challenges of climate change, of housing unaffordability and homelessness, and to mental and physical wellbeing in our society?’ I am convinced that design can play a massive role in addressing these issues.”
@brisbanebusinesshub @brisbane.lordmayor #LMBA2025