I am really inspired by architecture, especially when mixing the raw with simple, almost geometric shapes, like this lovely detail on the private house projected by Tobias Partners and located on the rocky shores of Bondi, Australia.
Showing posts with label Architecture - Australia. Show all posts
Showing posts with label Architecture - Australia. Show all posts
DEEPHOUSE
I am really inspired by architecture, especially when mixing the raw with simple, almost geometric shapes, like this lovely detail on the private house projected by Tobias Partners and located on the rocky shores of Bondi, Australia.
Primo Estate Winery / McLaren Vale (South Australia)
Primo Estate is a purpose-built tasting facility in McLaren Vale, South Australia. It is sited over a rise, away from the road, amongst eight hectares of cabernet sauvignon, shiraz and merlot vines. Its south façade overlooks the vines and the picturesque Willunga escarpment beyond.
The brief was straightforward – tasting rooms, offices, production areas and a home for a specially imported wood oven. The Italian clients also provided imagery of the things they admired; cloisters, centuries-old gates and doorways and views of the hilltop town of San Gimignano.
San Gimignano is an interesting precedent. It appears as a sculptural form in the landscape and appears as a closed, fortress-like township. On the other side of its walls, however, the town reveals itself as a warm, lively series of piazzas, streets and communal spaces. The robust, abstract exterior of the town has strong parallels with the early, rectilinear sculptures of Richard Serra and the Marfa works of Donald Judd.
These visual cues led to the configuration of Primo Estate as a sculpture within the landscape, housing an intimate piazzetta. The protective outer walls conceal a series of smaller-scaled communal spaces, well-suited to the regular harvest celebrations that Primo Estate host. This courtyard is defined by four simple elements, each serving a unique function and each expressed in a complementary material.
The main building is located on the southern side of the piazzetta and houses the tasting rooms and office areas. It is a masonry building with a series of deep reveals to the south which shade the glazing from late summer sun and have been set out to align with the rows of vines; a simple gesture that ties the building into its site and creates a strong dialogue between the interior tasting spaces and the landscape. In keeping with the masonry character of the building, the openings are tall and deep and finished in a heavily-textured stucco. The pivoting timber door to this building is deliberately massive and tactile. It weighs a quarter-tonne, with cast gunmetal handles that weigh more than 30 kilograms each.
In contrast, the eastern edge of the piazzetta is defined by a lightweight, metal-clad production shed. Simply detailed, this element is a practical shed used for the production of vinegar and, on occasion, large functions.
The long northern wall of the courtyard is clad in tallowwood. Its depth houses a long, recessed niche which serves as seating for outdoor functions and spillover seating for the tasting areas on busy days. The wall is given further depth and texture by cladding it in two different widths and thicknesses of timber, arranged in a random pattern. The wood is deliberately left untreated and will weather to a steely grey over time, much like the familiar boundary fences and head posts of the surrounding vineyards.
The tallest element in the composition is the western courtyard wall, designed to house the wood oven. Its height and prominence reference the protective walls of San Gimignano, while performing the pragmatic role of shading the piazzetta from the fierce western sun. The wall is five metres high, two metres thick and is constructed from local stone, hand-hewn on site by a team of local stonemasons.
To either side of the main complex are two remote timber structures that perform a dual role. On a day-to-day basis, they are the carports for visitors and staff. Once a year though, they house rows of specialized timber racks, used to partially dry cabernet sauvignon grapes for one of the label’s flagship wines.
© by Michael Edward Harvey
INFORMATION
Architect: Michael Edward Harvey
Location: McLaren Vale, South Australia
Collaborating Local Architect: Chapman Herbert
Client: Primo Estate
Project Area: 500 sqm
Project year: 2002-2006
Photographs: John Gollings
via ArchDaily
The brief was straightforward – tasting rooms, offices, production areas and a home for a specially imported wood oven. The Italian clients also provided imagery of the things they admired; cloisters, centuries-old gates and doorways and views of the hilltop town of San Gimignano.
San Gimignano is an interesting precedent. It appears as a sculptural form in the landscape and appears as a closed, fortress-like township. On the other side of its walls, however, the town reveals itself as a warm, lively series of piazzas, streets and communal spaces. The robust, abstract exterior of the town has strong parallels with the early, rectilinear sculptures of Richard Serra and the Marfa works of Donald Judd.
These visual cues led to the configuration of Primo Estate as a sculpture within the landscape, housing an intimate piazzetta. The protective outer walls conceal a series of smaller-scaled communal spaces, well-suited to the regular harvest celebrations that Primo Estate host. This courtyard is defined by four simple elements, each serving a unique function and each expressed in a complementary material.
The main building is located on the southern side of the piazzetta and houses the tasting rooms and office areas. It is a masonry building with a series of deep reveals to the south which shade the glazing from late summer sun and have been set out to align with the rows of vines; a simple gesture that ties the building into its site and creates a strong dialogue between the interior tasting spaces and the landscape. In keeping with the masonry character of the building, the openings are tall and deep and finished in a heavily-textured stucco. The pivoting timber door to this building is deliberately massive and tactile. It weighs a quarter-tonne, with cast gunmetal handles that weigh more than 30 kilograms each.
In contrast, the eastern edge of the piazzetta is defined by a lightweight, metal-clad production shed. Simply detailed, this element is a practical shed used for the production of vinegar and, on occasion, large functions.
The long northern wall of the courtyard is clad in tallowwood. Its depth houses a long, recessed niche which serves as seating for outdoor functions and spillover seating for the tasting areas on busy days. The wall is given further depth and texture by cladding it in two different widths and thicknesses of timber, arranged in a random pattern. The wood is deliberately left untreated and will weather to a steely grey over time, much like the familiar boundary fences and head posts of the surrounding vineyards.
The tallest element in the composition is the western courtyard wall, designed to house the wood oven. Its height and prominence reference the protective walls of San Gimignano, while performing the pragmatic role of shading the piazzetta from the fierce western sun. The wall is five metres high, two metres thick and is constructed from local stone, hand-hewn on site by a team of local stonemasons.
To either side of the main complex are two remote timber structures that perform a dual role. On a day-to-day basis, they are the carports for visitors and staff. Once a year though, they house rows of specialized timber racks, used to partially dry cabernet sauvignon grapes for one of the label’s flagship wines.
© by Michael Edward Harvey
INFORMATION
Architect: Michael Edward Harvey
Location: McLaren Vale, South Australia
Collaborating Local Architect: Chapman Herbert
Client: Primo Estate
Project Area: 500 sqm
Project year: 2002-2006
Photographs: John Gollings
via ArchDaily
Yarra House / Australia
Yarra House is timeless. The designer shows a sensibility for texture, refinement of decoration and an overall maturity to approach. The relaxed sophistication that characterizes Yarra House is borne through the seamless integration of the architectural envelope and the highly finessed interior. The jury commended the curation of the clients vivid art collection within the consummate decoration of the interiors.
© by Leeton Pointon Architects Pty Ltd, Susi Leeton Architects Pty Ltd & Allison Pye
INFORMATION
Leeton Pointon Architects Pty Ltd
Susi Leeton Architects Pty Ltd & Allison Pye
Peter Bennetts
© by Leeton Pointon Architects Pty Ltd, Susi Leeton Architects Pty Ltd & Allison Pye
INFORMATION
Leeton Pointon Architects Pty Ltd
Susi Leeton Architects Pty Ltd & Allison Pye
Peter Bennetts
David Luck House
Architect David Luck and his partner Robynne Kinnane lived in stables at the rear of this property, while their new two-storey home and office was built. A project spanning three years, Luck was both designer and builder, using his joinery skills to create a wood-lined living space for his work and family.
While the inner city site in South Yarra, Melbourne is compact, 5.5m x 21m, Luck’s ideas pushed well beyond the boundaries. 'We had high ambitions for this project. It wasn’t just about creating a functional home and office. I wanted this design to express my architectural ideas and the way I think,' says Luck.
Because of the size of the site, Luck kept the spaces as open-plan as possible. At ground level there’s a flexible area at the front of the building, a bluestone floor that is garage by night and a meeting room for clients during the day.
The ground floor also contains Luck’s office, defined by a wall of timber joinery and three work stations. There’s also a bathroom and second bedroom. And although space was limited, there was sufficient room for a long courtyard style garden, complete with outdoor bath and built-in bench seating.
‘Floating’ timber steps lead to a first floor almost completely lined with copper. At one end of this space is the main bedroom and bathroom, separated by a large pivoting door. The remainder of the floor is given over to the kitchen, dining and living areas. Replacing traditional rooms are ‘platforms’, one for the main bedroom, the other a media/second living area. To frame the views, as well as create privacy, Luck designed curved fin-like extensions, made from copper.
While the house is full of surprises, it’s the retractable roof that triggers the greatest reaction. 'When it’s open, you feel like you’re sitting on a veranda. And at night, the blinds drop to create a pure white space,' says Luck.
While the inner city site in South Yarra, Melbourne is compact, 5.5m x 21m, Luck’s ideas pushed well beyond the boundaries. 'We had high ambitions for this project. It wasn’t just about creating a functional home and office. I wanted this design to express my architectural ideas and the way I think,' says Luck.
Because of the size of the site, Luck kept the spaces as open-plan as possible. At ground level there’s a flexible area at the front of the building, a bluestone floor that is garage by night and a meeting room for clients during the day.
The ground floor also contains Luck’s office, defined by a wall of timber joinery and three work stations. There’s also a bathroom and second bedroom. And although space was limited, there was sufficient room for a long courtyard style garden, complete with outdoor bath and built-in bench seating.
‘Floating’ timber steps lead to a first floor almost completely lined with copper. At one end of this space is the main bedroom and bathroom, separated by a large pivoting door. The remainder of the floor is given over to the kitchen, dining and living areas. Replacing traditional rooms are ‘platforms’, one for the main bedroom, the other a media/second living area. To frame the views, as well as create privacy, Luck designed curved fin-like extensions, made from copper.
While the house is full of surprises, it’s the retractable roof that triggers the greatest reaction. 'When it’s open, you feel like you’re sitting on a veranda. And at night, the blinds drop to create a pure white space,' says Luck.
Drummond House, Perthshire
This new house in Perthshire is set in the middle of a field on a working farm, an environment that's about as far removed from the romantic notion of the 'rural idyll' as it is possible to be. Instead, it's the influence of strictly functional agricultural construction that shines through.
The Drummond House takes its visual cues from two existing barns on the site, a broad sweep of farmland. Architect Graeme Hutton describes the resulting house and workshop as being 'strangely familiar,' in that they take the raw brick and metal forms of the typical barn typology and give it a twist, with unexpected sheared and twisted forms.
Nicknamed 'The Shed', the three-bedroom house is intended to be submissive to its surroundings. 'In this instance the existing landscape was so commanding, of such scale, that primacy of thought was given to the formal and material quality of the finished object,' Hutton says, explaining that 'architects rarely discuss or readily acknowledge their initial visceral responses to a 'Place' in the design process.'
As a result, the Drummond House is deliberately earthy, its brick walls seeming to grow from the ploughed landscape. A zinc roof, supported by a steel frame, makes deliberate reference to the corrugated metal siding of the adjacent barn.
Inside, expansive windows reach down to the floor to bring the exterior right into the house.
Detailing is minimal throughout. Walls are finished without skirting boards, vertical surfaces are painted white and offset with bold pieces of modern furniture and lighting. In addition to the main house, with its open ground floorplan, double-height living area and three upstairs bedrooms (a guest room is provided downstairs), the adjacent garage contains a studio space.
The house was a collaboration between architects Graeme Hutton, Dean of the Dundee School of Architecture, and the late David Jameson of the University of Dundee and LJRH Chartered Architects.
The Drummond House takes its visual cues from two existing barns on the site, a broad sweep of farmland. Architect Graeme Hutton describes the resulting house and workshop as being 'strangely familiar,' in that they take the raw brick and metal forms of the typical barn typology and give it a twist, with unexpected sheared and twisted forms.
Nicknamed 'The Shed', the three-bedroom house is intended to be submissive to its surroundings. 'In this instance the existing landscape was so commanding, of such scale, that primacy of thought was given to the formal and material quality of the finished object,' Hutton says, explaining that 'architects rarely discuss or readily acknowledge their initial visceral responses to a 'Place' in the design process.'
As a result, the Drummond House is deliberately earthy, its brick walls seeming to grow from the ploughed landscape. A zinc roof, supported by a steel frame, makes deliberate reference to the corrugated metal siding of the adjacent barn.
Inside, expansive windows reach down to the floor to bring the exterior right into the house.
Detailing is minimal throughout. Walls are finished without skirting boards, vertical surfaces are painted white and offset with bold pieces of modern furniture and lighting. In addition to the main house, with its open ground floorplan, double-height living area and three upstairs bedrooms (a guest room is provided downstairs), the adjacent garage contains a studio space.
The house was a collaboration between architects Graeme Hutton, Dean of the Dundee School of Architecture, and the late David Jameson of the University of Dundee and LJRH Chartered Architects.
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