This blog is designed for the documentation and presentation of DAB310 Project 1 - ‘The Architectural Apprenticeship”. The brief of this project is to design an architect’s cabin over a 5 week period. The project is divided into 3 distinct phases, each of which contribute to the overall design process;
- Part A - Archetype: Archetype Research
- Part B - Analysis: Analysis of Archetype
- Part C - Application: Application of Analysis
This project emphasises the fundamental role of research and analysis in the design process, and their application to Architectural practice. Each student is required to select and research three exemplary houses. The analysis of these houses is then to be considered in terms of three specific concepts relating to the house;
- A house is an environmental filter;
- A house is a container of human activities, and;
- A house is a delightful experience.
These three criteria constitute the underlying fundamental theme throughout all the phases of the project. Following the initial phase of research, each student will then select one specific house to thoroughly analyse in perpetration to become the architect’s ‘apprentice’ in the final portion of the project when the research and analysis are applied to the design of an architects cabin.
Monday, March 22, 2010
Project 1 Part A: Archetype
Part A of this project involves researching 3 existing houses, two from Australia and one international. This part of the project demonstrates the importance of architectural precedent and exemplary knowledge. The three house which I have selected are;
- Suitcase House, Edge Design (Gary Chang), Shuiguan, China, 2002.
- Marika Alderton House, Glenn Murcutt, Eastern Arnhem Land (Northern Territory), 1994.
- Lake Weyba House, Gabriel Poole, Sunshine Coast (Queensland), 1996.
- Suitcase House, Edge Design (Gary Chang), Shuiguan, China, 2002.
- Marika Alderton House, Glenn Murcutt, Eastern Arnhem Land (Northern Territory), 1994.
- Lake Weyba House, Gabriel Poole, Sunshine Coast (Queensland), 1996.
Suitcase House, Edge Design (Gary Chang), Shuiguan, China, 2002.
The Suitcase house in Shuiguan, China is an experimental house design within an architectural commune of hotel accommodation, situated near the Great Wall of China. The house was designed by Gary Chang of Hong Kong based company Edge Design, and its principal feature is its adaptable interior elements, which can be folded out, slid away and hidden completely. As such the house design is essentially a long box within which the interior structure can be adapted to suit the needs of the user.
A House as an Environmental Filter
The long house has a North – South orientation maximizing sun light in the mild climate. The double glazed windows around the facade can open out, however the house is much more about retaining heat, and as such responds to its environment very differently to the Australian examples. There is also a flat roof terrace along the entire length of the building. However the building could just as well be located in a city as within the Chinese countryside, suggesting that the focus was primarily on the adaptability of the interior rather than environmental responsiveness.
A House as a Container of Human Activities
Because of its changeable nature, the Suitcase House represents a very different approach to considering the house as a container of human activities. The flexibility of the internal structure means that the house is essentially one large polyvalent space. When the user wants to sleep, a bed can be extruded from beneath the floor, and during the daytime it can be folded in again to produce additional floor space. In the same way walls/ partitions can be introduced to divide the space and create privacy and individual areas. As the building functions as a hotel, it can adapt to hold any amount of people between a small family and a large group. In addition to standard living spaces the house also includes options for a Study, Music Chamber, Meditation Chamber, and a fully-equipped Sauna.
A House as a Delightful Experience
Due to its use as a holiday hotel the Suitcase House is certainly designed with the notion of a delightful experience in mind. The adaptability of the suitcase house must certainly evoke pleasure amongst its inhabitants through a sense of control, efficiency and even novelty. Moreover, the timber interior and exterior are simple and have a natural feel. The windows also allow views of the Great Wall from most areas within the house.
References
Chang, G. (2001). EDGE The SuitCase House Beijing, China. Retrieved March 15, 2010,
http://www.arcspace.com/architects/Edge/SuitCase/
Chang, G. (2002). Suitcase House Hotel Badaling Shuiguan/Beijing 2001/2002. Retrieved March 15, 2010,
http://www.archphoto.it/IMAGES/garychang/chang.htm
Chang, G., Chang, H., & Satoshi, A. (2002). Suitcase House Hotel Badaling Shuiguan/Beijing 2001/2002. Retrieved March 15, 2010,
http://www.archphoto.it/IMAGES/garychang/changweb/FrameSet.htm
Minnett, E., & Zhang, K. (n.d.) Suitcase House. Retrieved March 15, 2010,
http://www.ejmartdesign.com/sh.html
A House as an Environmental Filter
The long house has a North – South orientation maximizing sun light in the mild climate. The double glazed windows around the facade can open out, however the house is much more about retaining heat, and as such responds to its environment very differently to the Australian examples. There is also a flat roof terrace along the entire length of the building. However the building could just as well be located in a city as within the Chinese countryside, suggesting that the focus was primarily on the adaptability of the interior rather than environmental responsiveness.
A House as a Container of Human Activities
Because of its changeable nature, the Suitcase House represents a very different approach to considering the house as a container of human activities. The flexibility of the internal structure means that the house is essentially one large polyvalent space. When the user wants to sleep, a bed can be extruded from beneath the floor, and during the daytime it can be folded in again to produce additional floor space. In the same way walls/ partitions can be introduced to divide the space and create privacy and individual areas. As the building functions as a hotel, it can adapt to hold any amount of people between a small family and a large group. In addition to standard living spaces the house also includes options for a Study, Music Chamber, Meditation Chamber, and a fully-equipped Sauna.
A House as a Delightful Experience
Due to its use as a holiday hotel the Suitcase House is certainly designed with the notion of a delightful experience in mind. The adaptability of the suitcase house must certainly evoke pleasure amongst its inhabitants through a sense of control, efficiency and even novelty. Moreover, the timber interior and exterior are simple and have a natural feel. The windows also allow views of the Great Wall from most areas within the house.
References
Chang, G. (2001). EDGE The SuitCase House Beijing, China. Retrieved March 15, 2010,
http://www.arcspace.com/architects/Edge/SuitCase/
Chang, G. (2002). Suitcase House Hotel Badaling Shuiguan/Beijing 2001/2002. Retrieved March 15, 2010,
http://www.archphoto.it/IMAGES/garychang/chang.htm
Chang, G., Chang, H., & Satoshi, A. (2002). Suitcase House Hotel Badaling Shuiguan/Beijing 2001/2002. Retrieved March 15, 2010,
http://www.archphoto.it/IMAGES/garychang/changweb/FrameSet.htm
Minnett, E., & Zhang, K. (n.d.) Suitcase House. Retrieved March 15, 2010,
http://www.ejmartdesign.com/sh.html
Marika Alderton House, Glenn Murcutt, Yirrkala Community, Eastern Arnhem Land (Northern Territory, Australia), 1994.
Glenn Murcutt’s Marika Alderton House was built in Eastern Arnhem Land, Northern Territory in 1994. The clients for the project were an aboriginal woman and her non-indigenous husband. The area is tropical and monsoonal and the site is by a beach in an otherwise undisturbed natural environment. Murcutt spent three years researching aboriginal culture and experiencing the way of life and needs of his clients. As such, the design is both climatically and culturally responsive.
A House as an Environmental Filter
The Marika Alderton House is a notable and challenging example of a house as an environmental filter. The house opens out on every side to produce natural ventilation throughout. As such, the building acts more or less as an open shelter raised off the ground evoking the form of the traditional, bark roofed shelters of the Yirrkala people for similar practical reasons. “It gives protection from the sun, insects and the wet (up to half a meter of water can flow under the building during tidal surges). And like the bark shelter, the house is open at each end, oriented to the prevailing summer and winter breezes; the long facades face North and South, which minimises sun entry.”(Beck & cooper, 2005) Consequently, this house not only has a minimal impact on its surroundings (Murcutt’s motto is ‘touch the earth lightly'), but also utalises its surrounding environment to the fullest extent. It provides shelter from sun and rain without having to be closed up, is built in accordance with cyclone safety codes, and the wooden floor is spaced to allow sand to drop through and cool air from below to be drawn up by exhaust fans in the roof.
A House as a Container of Human Activities
The house is very sparsely furnished and simple in form as well as being extremely open to the landscape. It caters to the activities and necessities of the clients. The Spatial quality of the house is extremely simple and attentive. There is a large focus natural materials and textures, an open plan and a unity with the surrounding environmental context. The house is foremost a home for the clients, but also acts as a location of social activity within the community.
A House as a Delightful Experience
The simplicity of Murcutt’s design, its relation to context and its environmental effectiveness evoke a sense of delight in the buildings harmony with nature. The building also seems to have a simultaneous sense of subtly – through its materiality, modesty and handling of space – and a strange sense of monumentality – through its relation to the land. The idea of delight in Murcutt's design is not based upon the impression it creates or its aesthetic proporties but rather primarily on what it is like to live in.
References
Beck, H., & Cooper, J. (2005). Glen Murcutt: A singular architectural practice. Hong Kong: The Images Publishing Group Pty Ltd.
Dovey, K. (1996). Architecture for the Aborigines. Retrieved March 15, 2010,
from http://www.archmedia.com.au/aa/aaissue.php?issueid=199607&article=13&typeon=3
Fromonot, F. (2003). Glen Murcutt. London: Thames & Hudson.
Sydney Architecture. (n.d.) Glenn Murcutt. Retrieved March 15, 2010,
from http://www.sydneyarchitecture.com/ARCH/ARCH-Murcutt.htm
A House as an Environmental Filter
The Marika Alderton House is a notable and challenging example of a house as an environmental filter. The house opens out on every side to produce natural ventilation throughout. As such, the building acts more or less as an open shelter raised off the ground evoking the form of the traditional, bark roofed shelters of the Yirrkala people for similar practical reasons. “It gives protection from the sun, insects and the wet (up to half a meter of water can flow under the building during tidal surges). And like the bark shelter, the house is open at each end, oriented to the prevailing summer and winter breezes; the long facades face North and South, which minimises sun entry.”(Beck & cooper, 2005) Consequently, this house not only has a minimal impact on its surroundings (Murcutt’s motto is ‘touch the earth lightly'), but also utalises its surrounding environment to the fullest extent. It provides shelter from sun and rain without having to be closed up, is built in accordance with cyclone safety codes, and the wooden floor is spaced to allow sand to drop through and cool air from below to be drawn up by exhaust fans in the roof.
A House as a Container of Human Activities
The house is very sparsely furnished and simple in form as well as being extremely open to the landscape. It caters to the activities and necessities of the clients. The Spatial quality of the house is extremely simple and attentive. There is a large focus natural materials and textures, an open plan and a unity with the surrounding environmental context. The house is foremost a home for the clients, but also acts as a location of social activity within the community.
A House as a Delightful Experience
The simplicity of Murcutt’s design, its relation to context and its environmental effectiveness evoke a sense of delight in the buildings harmony with nature. The building also seems to have a simultaneous sense of subtly – through its materiality, modesty and handling of space – and a strange sense of monumentality – through its relation to the land. The idea of delight in Murcutt's design is not based upon the impression it creates or its aesthetic proporties but rather primarily on what it is like to live in.
References
Beck, H., & Cooper, J. (2005). Glen Murcutt: A singular architectural practice. Hong Kong: The Images Publishing Group Pty Ltd.
Dovey, K. (1996). Architecture for the Aborigines. Retrieved March 15, 2010,
from http://www.archmedia.com.au/aa/aaissue.php?issueid=199607&article=13&typeon=3
Fromonot, F. (2003). Glen Murcutt. London: Thames & Hudson.
Sydney Architecture. (n.d.) Glenn Murcutt. Retrieved March 15, 2010,
from http://www.sydneyarchitecture.com/ARCH/ARCH-Murcutt.htm
Lake Weyba House, Gabriel Poole, Sunshine Coast (Queensland, Australia), 1996.
The Lake Weyba House was designed by the Gabriel & Elizabeth Poole Design Company as a home for Gabriel and his artist wife Elizabeth in 1996. The sub-tropical context of the Sunshine Coast allowed Poole to exercise his capabilities as an architect of “lightweight housing attuned to the environment.” (Walker, 1998).
A House as an Environmental Filter
The design of the house aims to harness the natural attributes of light, wind and rain and utilise them in a controlled way within the building. The house is orientated to the North-West to achieve the best possible sun path and natural lighting, while still providing effecient shading. “The rear sides from which the prevailing south-easterly weather originates were protected by largely solid walls and the roof lines sloped downward into the wind”(Walker, 1998), while the northern face is exposed to the outside, though still shaded from direct sun.
There are large openings and windows to produce optimal air flow/ventilation and capture the prevailing breezes (though screens can be used to ‘filter’ mosquitoes). However these openings can also be controlled and moderated using the roll down doors which span the front of the entire living building. This results in a house which can be opened up to its environment and closed off from it as desired, and the external influences of light, wind, weather and temperature can be mediated between absolute and minimal exposure. In winter the lower angle of the sun allows the metal roller doors to act as solar heat collectors as well. A small gap between the roof and the ceiling allowed for ventilation and heat dissipation. The house is lightweight and is elevated off the ground in order to reduce the impact on the natural surroundings which are left untouched around the building.
A House as a Container of Human Activities
The most prominent feature of the Lake Weyba house is its division of space. The house is divided into 3 buildings with each one representing a specific set of activities; sleeping, bathing and living. Notably the room for bathing is placed in the middle of the 3 and contains a large bath - a plunge pool - as well as toilets, shower , laundry wardrobes and storage. Rather than designating these elements as functional, ‘servant’ spaces, they are afforded a central role and even celebrated. This bath, according to Poole, was crucial for cooling off in the hot summer months on the Sunshine Coast. The living building contains a lounge area, kitchen, studio and long deck.
A House as a Delightful Experience
Perhaps the most delightful element of the Lake Weyba House is its relationship with its surroundings. The design seems to be in tune with the environment, and the form and materiality of the building appear natural and appropriate to the context, though still evocative. The sloped roofs (at an angle of 27°) allow for rain collection in the water tanks at the bottom, but also create a clearstory which allows a view of the sky from each building. The intention behind this was that regardless of what eventually happens on the vacant neighboring properties the users will always have an unobstructed view of the sky. A large iron wood heater is a distinctive feature of the living area. Here Poole has once again turned a functional element into a focal point of the interior. The bedroom and living room both have cantilevered bay windows in which people can sit, walled by a window, and an inbuilt steel bench runs the entire length of the veranda
References
Architecture Australia. (2010) Gabriel Goes Gold. Retrieved March 15, 2010,
from http://www.archmedia.com.au/aa/aaissue.php?issueid=199801&article=11&typeon=2
Gabriel & Elizabeth Poole Design Company. (n.d.) lakeweyba. Retrieved March 15, 2010,
from http://www.gabrielpoole.com.au/lakeweyba.html
Gabriel & Elizabeth Poole Design Company. (n.d.) Philosophy. Retrieved March 15, 2010,
from http://www.gabrielpoole.com.au/philosophy.html
Hyatt, P. (2000). Local heroes: architects of Australia’s Sunshine Coast. Sunshine Coast, Australia: Craftsman House
Walker, B. (1998). Gabriel Poole. Noosa, Australia: Visionary Press
A House as an Environmental Filter
The design of the house aims to harness the natural attributes of light, wind and rain and utilise them in a controlled way within the building. The house is orientated to the North-West to achieve the best possible sun path and natural lighting, while still providing effecient shading. “The rear sides from which the prevailing south-easterly weather originates were protected by largely solid walls and the roof lines sloped downward into the wind”(Walker, 1998), while the northern face is exposed to the outside, though still shaded from direct sun.
There are large openings and windows to produce optimal air flow/ventilation and capture the prevailing breezes (though screens can be used to ‘filter’ mosquitoes). However these openings can also be controlled and moderated using the roll down doors which span the front of the entire living building. This results in a house which can be opened up to its environment and closed off from it as desired, and the external influences of light, wind, weather and temperature can be mediated between absolute and minimal exposure. In winter the lower angle of the sun allows the metal roller doors to act as solar heat collectors as well. A small gap between the roof and the ceiling allowed for ventilation and heat dissipation. The house is lightweight and is elevated off the ground in order to reduce the impact on the natural surroundings which are left untouched around the building.
A House as a Container of Human Activities
The most prominent feature of the Lake Weyba house is its division of space. The house is divided into 3 buildings with each one representing a specific set of activities; sleeping, bathing and living. Notably the room for bathing is placed in the middle of the 3 and contains a large bath - a plunge pool - as well as toilets, shower , laundry wardrobes and storage. Rather than designating these elements as functional, ‘servant’ spaces, they are afforded a central role and even celebrated. This bath, according to Poole, was crucial for cooling off in the hot summer months on the Sunshine Coast. The living building contains a lounge area, kitchen, studio and long deck.
A House as a Delightful Experience
Perhaps the most delightful element of the Lake Weyba House is its relationship with its surroundings. The design seems to be in tune with the environment, and the form and materiality of the building appear natural and appropriate to the context, though still evocative. The sloped roofs (at an angle of 27°) allow for rain collection in the water tanks at the bottom, but also create a clearstory which allows a view of the sky from each building. The intention behind this was that regardless of what eventually happens on the vacant neighboring properties the users will always have an unobstructed view of the sky. A large iron wood heater is a distinctive feature of the living area. Here Poole has once again turned a functional element into a focal point of the interior. The bedroom and living room both have cantilevered bay windows in which people can sit, walled by a window, and an inbuilt steel bench runs the entire length of the veranda
References
Architecture Australia. (2010) Gabriel Goes Gold. Retrieved March 15, 2010,
from http://www.archmedia.com.au/aa/aaissue.php?issueid=199801&article=11&typeon=2
Gabriel & Elizabeth Poole Design Company. (n.d.) lakeweyba. Retrieved March 15, 2010,
from http://www.gabrielpoole.com.au/lakeweyba.html
Gabriel & Elizabeth Poole Design Company. (n.d.) Philosophy. Retrieved March 15, 2010,
from http://www.gabrielpoole.com.au/philosophy.html
Hyatt, P. (2000). Local heroes: architects of Australia’s Sunshine Coast. Sunshine Coast, Australia: Craftsman House
Walker, B. (1998). Gabriel Poole. Noosa, Australia: Visionary Press
Project 1 Part B: Analysis
For Part B of the architectural apprentice project i have decided to select Gabriel Poole's Lake Weyba House. This will involve further analysis and study based largely on the drawings and documentation of the house.
Gabriel Poole
Gabriel Poole is an established Australian architect based on the Sunshine Coast, Queensland. His architecture is most notable for his innovative, responsive house designs, in tune with their environmental context. He was the winner of the 1998 RAIA Gold Medal. He runs the Gabriel and Elizabeth Poole Design Company with his wife Elizabeth – an artist. Their official website outlines his philosophy and 3 simple design considerations which are inherent within his work; “Gabriel Poole leans strongly toward innovation in his architecture and implementation of lightweight building systems that preserve site terrain. Design for climate without the need to resort to air conditioning.
- Air flow and ventilation
- Site aspect to suit the climatic and environmental conditions
- Provision for natural light and shade" (Poole, n.d.)
Site Plan: This is a site plan of Gabriel Poole's Lake Weyba House. As no site information has been published by Poole, this drawing is an approximation based on a view from Google maps.
Floor Plan:
North Elevation:
East Elevation:
Section:
Exterior Perspective:
Gabriel Poole
Gabriel Poole is an established Australian architect based on the Sunshine Coast, Queensland. His architecture is most notable for his innovative, responsive house designs, in tune with their environmental context. He was the winner of the 1998 RAIA Gold Medal. He runs the Gabriel and Elizabeth Poole Design Company with his wife Elizabeth – an artist. Their official website outlines his philosophy and 3 simple design considerations which are inherent within his work; “Gabriel Poole leans strongly toward innovation in his architecture and implementation of lightweight building systems that preserve site terrain. Design for climate without the need to resort to air conditioning.
- Air flow and ventilation
- Site aspect to suit the climatic and environmental conditions
- Provision for natural light and shade" (Poole, n.d.)
Site Plan: This is a site plan of Gabriel Poole's Lake Weyba House. As no site information has been published by Poole, this drawing is an approximation based on a view from Google maps.
Floor Plan:
North Elevation:
East Elevation:
Section:
Exterior Perspective:
Key Aspects of the Lake Weyba House Design
Division of Space: The division of the house into 3 buildings for distinct activities is probably the most determinative factor of the design on the end product.
Sloped Roofs: The sloped roofs of each building play several different roles in both the functionality and form of the house, serving both climatic and aesthetic purposes. The diagonal supports of the roofs, which can be observed in elevations, also offer a nice counterpoint to the rectilinear layout of the plan.
Preservation of the Natural Context: Relation to the surrounding landscape is one of the central elements to Poole's Architecture. The Lake Weyba House is raised off the ground and the surrounding nature is left untouched.
Rectilinear Layout: The three buildings are laid out along the central axis of the walkway. However they balance this linear format by extending outwards, perpendicular to the axis to produce a more balanced plan.
Indoor/Outdoor Relationship: The Lake Weyba house blurs the distinction between outside and inside through its open form and outdoor circulation. The front building can open out entirely to the outside, and the separate buildings necessitate that moving through the house requires movment between the outdoors (although covered) and indoors.
Sloped Roofs: The sloped roofs of each building play several different roles in both the functionality and form of the house, serving both climatic and aesthetic purposes. The diagonal supports of the roofs, which can be observed in elevations, also offer a nice counterpoint to the rectilinear layout of the plan.
Preservation of the Natural Context: Relation to the surrounding landscape is one of the central elements to Poole's Architecture. The Lake Weyba House is raised off the ground and the surrounding nature is left untouched.
Rectilinear Layout: The three buildings are laid out along the central axis of the walkway. However they balance this linear format by extending outwards, perpendicular to the axis to produce a more balanced plan.
Indoor/Outdoor Relationship: The Lake Weyba house blurs the distinction between outside and inside through its open form and outdoor circulation. The front building can open out entirely to the outside, and the separate buildings necessitate that moving through the house requires movment between the outdoors (although covered) and indoors.
Site Analysis
Site Analysis
Topography
Chosen Cabin Location: My chosen cabin site is located on the North-Eastern side of Mount Methodology, near the linearity lookout and Fibonacci falls. This position will alow the cabin to utilise both the sun path and the views of the city to the east, and countryside to the North West.
The 'Neighborhood'
Topography
Chosen Cabin Location: My chosen cabin site is located on the North-Eastern side of Mount Methodology, near the linearity lookout and Fibonacci falls. This position will alow the cabin to utilise both the sun path and the views of the city to the east, and countryside to the North West.
The 'Neighborhood'
Cabin Design
Site Plan
Floor Plan
Key
Elevation:
Section:
Perspective Experiment: Although i did not get time to produce a quality, rendered, finished perspective of my cabin design i have used a partial drawing to demonstrate the layout; specifically concerning the role of the hillside and the central walkway.
Floor Plan
Key
Elevation:
Section:
Perspective Experiment: Although i did not get time to produce a quality, rendered, finished perspective of my cabin design i have used a partial drawing to demonstrate the layout; specifically concerning the role of the hillside and the central walkway.
Cabin Design
Within my cabin design, most of the original design concepts from Part B have been maintained in some way and simply adjusted to the context of both the brief and the site. The spaces are divided by the same functional categories and the rectilinear layout is still present. However the positioning of the buildings on the axis has been adjusted to the context of both the brief and the site. The 3 rooms are now staggered more so and the axial walkway has become a second deck as well, giving it a central role in the house. This deck and the bedroom now have a view of their own, towards the vegetation and stream, while the front deck, (perpendicular to the side one) has a view towards the city.
House as an environmental filter
Within all of Poole’s architecture the house aims to harness the natural attributes of light, wind and rain and utilise them in a controlled way. While I obviously have less knowledge of this than the architect, I was able to maintain his methods within the cabin design.
The North- Easterly orientation of the house on the mountain was a direct consideration of the path of the sun. The openings within the rooms, particularly the clearstory areas in the sloped roofs also allow for considerable ventilation and air flow.
The roofs have enough overhang to keep out the high midday sun in the summer from the interiors. However, as in the original Lake Weyba house design, the lower winter sun can get into the interiors & provide warmth and light.
The shade structure in the central foreground of the cabin elevation was an essential addition to the architect's cabin as the long and wide side deck would be exposed to the afternoon sun. I have attempted to design a shade structure which is in keeping with those already present on the front deck, but without being completely the same. Due to its height, it does not obstruct the view from the deck, and its inward slope allows it to provide some shelter from rain as well.
House as a container of Human activities.
The Architect’s cabin maintains the distinctive division of three spaces which was central to the original house. This format is good for a subtropical climate in that the circulation spaces are outdoors, which contributes to the outdoor/indoor relationship prevalent within the Lake Weyba House. The enlarged side deck was a way of ensuring that the house retained this aspect (represented in the diagrams) seeing as the courtyard was no longer appropriate on a sloping hill. The effect of the sloping site was that the front building was raised significantly higher off the ground than the back one in order to minimise the amount of stairs required.
As in Poole’s original Lake Weyba design, nothing of the house is reduced to the role of ‘servant’ space, but rather each is given importance. Just as Gabriel Poole promoted the bath and the wood fire heater to central roles, I have tried to establish the walkway as a central feature of the house through its role as both the connection between the three spaces and a place in itself.
House as a delightful experience.
I tried to pay particular attention to the detailing in the Lake Weyba House. The timber slats along the railing of the new walkway were inspired by the architect’s use of timber slats in a window in the bathroom of the original house. In a small photograph of this feature the spaced wooden slats produce an elongated pattern of shadow on the wall and the floor. I felt that the pattern was certainly a delightful, non-physical, element of the design, and that the afternoon sun would produce a similar effect upon the deck on a daily basis.
The structural system of the roofs which is retained from the Lake Weyba house is also an interesting formal feature, as the play of various diagonals gives the building a dynamic aspect which is a good counterpoint to its simple, rectilinear plan. In elevation, the stepping of the buildings down the slope adds to this sense.
Note on Drawings
The Lake Weyba house has a considerable lack of good quality formal documentation, and as such the analysis process comprised of a lot of tracing and retracing, as well as interpretation. This was actually a productive element of the project for me, as the constant attention to detail and consideration required taught me more about interpretation and representation which were valuable things to learn.
Subscribe to:
Posts (Atom)