An Architect’s Own House


An Architect’s Own House, We’re in the monitor Peninsula Victoria, which faces the Great Southern Ocean with all its ferocity and salt-encrusted atmosphere. And as a result of its location, this project is about its place. In 1997, the site denuded a series of dunes and spotting of tea trees and wattles. And that’s what drew us to this site was this undulation and the primitive nature. And it inspired the whole construction methodology, not trying to beat or compete with the landscape letting it win, letting the house recede, and allowing detail to dominate. This has been deliberately built across four stages. Time is a precious component of its equation.

The first stage was two simple shacks, one for living in the room I’m in now and one for sleeping in. It was designed on scruples and the robustness of the construction to this day still exists, something that I thought was critical in viewing the quality that you let the dunes run through their house and the houses about screw piling delicately into the landscape. After experiencing the intensity of the weather, following ten years, we realized that we needed to recede to the north. So stage two is about putting in the pool and the cabana area to enjoy the sunshine without the wind intensity. The alignment of the collection and stage two was deliberate isn’t direct access of the bifurcation between the old original sex that connects the water with the ocean and glass allow that to happen.

The two moments were apart from the timber shield, An Architect’s Own House

We allowed last to break through and connect water to water. Twenty years onwards, the families increased. My wife Grace and her children needed more areas. So we knew that below this house below this slab, there was an undercroft area which we occupied underneath the grand stairs. Much to my surprise was this peculiar space that we converted into a terrarium, its new atmosphere. When you open the sliding doors, you get hit with a sense of smell of moisture. It stimulates your olfactory, a hidden mind of memory. So I open the sliding door, and I feel like I’m in a rainforest in Tasmania. But I’ve just underneath in my living space.

We created an area of the hermit of privacy and intimacy in direct contrast with the immediacy of the landscape. So we’re building up a series of experiences and emotions, and stage three was the more quiet contemplative phase. Finally, the garden needs to be part of the overall consideration when you convert a check to a villa. We were conscious of not disturbing the landscape, not shifting the consoles of the dunes, making sure we didn’t interrupt too much of that movement was critical. So it feels like the house has settled finally settled into the landscape.

The bifurcated entrance is about controlling sensation, An Architect’s Own House

As you arrive in St. Andrews along the long driveway and upper ramp, you’re still unaware of any context. Then descending to avoid in a narrow space surrounded by Jarrah stairs, and then into again, the undercroft, which is peculiar, unconventional space, and at night lit up, it feels like an installation that you’re leaving in nature in the middle of the night, which also sets off a peculiarity of the energy of the landscape. The first idea of the house was a leaning house to reflect the tea trees that have bent over backward over centuries of wind. An Architect’s Own House.

Then upon reflection because of the orientation of the site, Southwest being the ocean, that it became a mirror of the sea in many ways. So we protected the north part of ours with shutters and actuated louvers and allowed the Southwest to be a transparent veil with this galvanized steel window that sucks in nature into the interior. Just said about sunset, the sun is just at the right angle, where it presents itself horizontally and creates this incredible interior glow. The jar that’s uncoated begins to develop the honey patina, and the whole interior emanates warmth.

The invention of LED strip lighting saved me from the tyranny of Downlighting

We’ve concealed it throughout the whole residence. You can’t see it. It’s in the pelmets. It’s hidden behind skylights, its underpants rails. The lighting is the art that this house, both day and night, adopts and plays with—this something about the reductive accumulation of materials here. The need for functionalism and meaning and purpose. Every material does its job. It’s not doing more than that. It’s not pretending to be more than water. It is cero was one of the essential selections that we made in the process. We know it ages weld and coastal environments. We know its use on all jetties because it Gray’s in this silvery manner.

And then on the interior, it glows to Golden, we then added rust to it, I’ve worked out a way of sealing it to hold the rust to a certain point. And then the juxtaposition of the galvanizing of the screw piles to make sure that they endure through the climate, then created a trilogy of materials of cool grey, warm rust, and timber. That both Silver’s and goes to Golden is natural pallets of materials. You could feel through the whole journey in the house. An Architect’s Own House.

Often get asked what the favorite part of the house is, and in many ways, it’s negative

It’s the garden, the space around it, not the actual home itself, that we can connect continually to the landscape. There isn’t this one incredible moment. And maybe that’s my favorite part of the house, that it doesn’t dominate. The lesson that this house has taught me the most is searching a bit deeper. Not only is the sense of quietness, essential and deep reflection of detail and material. But also a holistic overview of what architecture can bring to your spirit. The negative, the favorable the garden, your connection to the family, materials, and light. That’s what this house is when everybody visits it. With worldwide delivery available, have the hardcopy print publications delivered straight to your door three times a year with an annual subscription. Head to the description of this video to subscribe to the tri-annual print publication.

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