Part A: Archetype - St Lucia House

St Lucia House 2000 - Elizabeth Watson-Brown

FRONT CLOSE - UP
qag.qld.gov.au (accessed March 23, 2011)

Environmental Filter

The Cabin for Architect Elizabeth Watson Brown is located in the Mt-Methodology where the climate is sub-tropical and the prevailing wind direction is north. As seen in the image below, the house is located in a small site off the Hierarchy Highway.

As a result of the north orientation the Cabin benefits from excellent wind and sun positions. The house acts as an environmental filter with its split-level open space design. The operable full height glass walls maximises cross ventilation and air movement through the house. Having glass increases the solar gain during winter periods and allows good ventilation during summer. Furthermore, the sloped roof of the Cabin allows the flow of wind and the rain water acting as an environmental filter (can be clearly seen on the analysis diagrams) There is a large Poinciana tree located in the north of the site providing shade and breeze.

The main design aim was to allow close interaction with the surrounding nature and the spectacular view. The use of full height operable glass windows generates a feeling of being outdoors when inside. The glass allows the occupants to enjoy the sun as it rises and sets.

                                                   A house is a container of human activities

The cabin contains a ground floor and a mezzanine floor, on the ground floor there is space for living, dinning, preparing meals, a space for working and a space for reflecting.

The main entry to the house is through the living area of the cabin. Then it follows into the dinning and meal preparation areas. These areas are designed close together to encourage open plan living, just like in the St.Lucia house. Another main reason for having open plan living is because this Cabin is designed for a couple. As it is the architect and her husband that live in the space it allows sufficient space for interaction.

The spaces for living, dinning and meal-preparation have been elevated 60cm above the ground as a split-level design. As seen in the floor plan below, there are stairs from the main living area leading into the working area. The reason for doing this is because I believe it’s important to have a separated area for working (need solitude and peace). As seen in the exemplar by Elizabeth Watson B Architect, the study area is located in a semi-private location.

The working space leads the occupant into the outdoor reflecting area covered with a pergola. I tried to create a link between the outdoors and the reflecting space + working spaces. The pergola area has been covered with timber strips creating a semi-outdoor area. The idea behind have the reflection area semi-outdoor is to allow the Architect to think peacefully under the shade of the majestic branches of the Poinciana tree.

From the living and working spaces there is a staircase leading the occupants into the Mezzanine floor. This floor contains a space for sleeping

abluting and another deck area for reflection. I believe the sleeping space is a major part of the daily human activities. The bedroom located on the upper level allows privacy to the occupants whilst still being open to the rest of the house. The bedroom located in the split-level (Mezzanine floor) creates a vertical arrangement allowing many different social settings. The husband in the bedroom can still see/communicate with the wife in the kitchen/living area.
 

Delightful experience

The Cabin is located on the suburban areas of Mt-Methodology just off the Essential Exists on Hierarchy highway (can be seen on the site map above). It is placed in the middle of a small land approximately 350 square meters. The construction lies on a flat land overlooking the majestic Poinciana tree, which is the main view of the Cabin.

The Cabin was designed to harmonize with its surrounding. By the choice of raw material and full height glass windows; it blurs the edge between inside and outside. Both the pergola and the deck have timber strips of wood creating a play of vertical and horizontal lines. I have tried to follow the characteristics of Elizabeth Watson Brown’s architecture of playing with vertical and horizontal lines. I think this is a very simple method of adding interest to the design by using repetition of vertical and horizontal lines.

 

The small scale Cabin with its wooden, steel and glass materials will gradually change colour to interact and fit in with the existing Poinciana tree and the colours of the surrounding landscape.

The scenery from the Poinciana tree branches can be seen from every window of the Cabin, integrating the nature into the interior of the house. It’s almost like you are living outside when you are inside.

The Cabin is 5.4 meters high with the Mezzanine floor dividing some spaces at 3 meters. Some places of the house contain void areas giving a sudden surge of volume and spaciousness (because of the high ceiling). The first floor has been elevated by 60cm in the living, dining and kitchen areas to further enhance the split level design.

The Mezzanine floor creates shadowy patterns into the lower floor. From the ground floor this Mezzanine floor looks like a floating level. The walkway is built in the centre of the Cabin with horizontal beams of timber for support (can be seen in the floor plan). These timber beams act as a delightful device creating shadowy patterns to the lower floor.

As seen my Elizabeth Watson Brown’s architecture, the main principles of the Cabin is to be simply yet intriguing and with intricate details.

Part A: Archetype - Suitcase House

SUITCASE HOUSE 2002 - GARY CHANG

EXTERIOR FRONT VIEW

mimoa.eu (accessed March 23, 2011)

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.

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.htmMinnett, E., & Zhang, K. (n.d.) Suitcase House. Retrieved March 15, 2010,
http://www.ejmartdesign.com/sh.html

  

ELEVATIONS

 

Requirements + Outputs

Project 1 Part A : Archetype - Requirements + Outputs

This project aims to establish an understanding that architectural design is informed through the availability and analysis of exemplary knowledge.  Project 1 includes the assessment items of observation and analysis exercises, contributing and leading to an integrated design of a
Cabin for an Architect.

Part A

I am required to individually select three of the exemplar buildings for further study.

Aspects of my particular exemplar to be researched are:

• a house as an environmental filter
• a house as a container of human activities
• a house as a delightful experience

Week Two : Tutorial Activity

 TASK ONE: WHAT DO YOU KNOW?

Tutors will give all Students a ‘post-it’ note. On this ‘post-it’ note, Students are required to quickly jot down or sketch the single most important thing that you already know about the Topic for Project 1’, before the Tutorial Group starts to explore this. Then we all had 1 minute to read out your ideas/ show your sketch and explain them to the Tutorial Group. Once we had have done this, we had to add your ‘post-it’ note to an informal collection of ‘post-it’ notes, created by our Tutorial Group. 

TASK TWO: RESEARCH APPROACH

Brainstorming ideas of the three interrelated and critical House Design concepts.
 

QUESTION 2.1 ::
‘What do we mean when we say that A HOUSE IS AN ENVIRONMENTAL FILTER’?

Some ideas that started the discussions…

• systematic design logic
• building performance
• climatic filter
• structural resolution
• technology
• resources
• macro-environment [orientation, sun-movement, sun-control, ventilation, wind, rainfall, noise, climate, weather etc.]
• microenvironment [unique site conditions including access, the topography of the land, aspect, views, vegetation,neighbours, day lighting, relationship to site context etc.

QUESTION 2.2 :: ‘What do we mean when we say that A HOUSE IS A CONTAINER OF HUMAN ACTIVITIES’?

Some ideas that started the discussions…

• spatial relationships
• adjacencies
• circulation
• functionality
• context
• family profile & needs
• zoning of activities [public, semi-public, operative, semi-private & private]
• space distribution & collocation
• schedule of areas

QUESTION 2.3 ::
‘What do we mean when we say that A HOUSE IS A DELIGHTFUL EXPERIENCE’?Some ideas that started the discussions…

• expression
• aesthetics
• composition
• materials
• structure
• tectonics
• materiality
• sensory experiences [sight, smell, touch, sound & taste]

TASK THREE: WEB 2.0

Project 1 Work on the Internet, using Web 2.0 Technologies and Social Media:

 

QUESTION 3.1 ::

‘What do the terms “Web 2.0 Technologies” and “Social Media” mean to you?’

QUESTION 3.2 :

: ‘Who currently uses Web 2.0 Technologies and Social Media, and how are you using it?’

QUESTION 3.3 :

: ‘What are some good examples of freely available and easily accessible Sites for publishing your ideas… and where are these located?’

QUESTION 3.4 ::

‘How should your Tutorial Group approach this component of the Project – will you agree on a Common Approach, or will each Student define their own unique approach?’

Part A: Archetype - Brookes Street House

BROOKES STREET HOUSE 2006 - JAMES RUSSELL ARCHITECT

 

FRONT VIEW

http://www.jamesrussellarchitect.com.au/broadchurch.pdf (accessed March 18, 2011)

COMMERCIAL SPACE OPENING/LANDSCAPE FORECOURT

http://www.jamesrussellarchitect.com.au/ (accessed March18, 2011)

SURROUNDING VIEWS

http://www.jamesrussellarchitect.com.au/ (accessed March18, 2011)

SURROUNDING OUTLOOK OF EXTERIOR DINING & KITCHEN AREA / CLOSE UP

http://www.jamesrussellarchitect.com.au/broadchurch.pdf  (accessed March18, 2011)

PLAY ROOM WITH NORTHERN LOUVRE WALL & CABINET WINDOW ENCASING VIEW OF CHURCH WINDOW

http://www.jamesrussellarchitect.com.au/reformation.pdf (accessed March18, 2011)

KITCHEN / LIVING AREA

http://www.jamesrussellarchitect.com.au/ (accessed March18, 2011)

UNDERWALK WAY AND BRIDGE 

http://www.jamesrussellarchitect.com.au/reformation.pdf (accessed March18, 2011)

James Russell is known for his innovative and bold design approach towards residential architecture in subtropical urban and suburban environment. The architect operates his design practices from a studio located on the same inner city block as the Brookes Street House (2006). – Place Making

The Brookes Street House makes an outstanding presence and contrast by being wedged between two 19th Century heritage listed buildings. Situated in the Fortitude Valley, this modern design is secluded within it’s surroundings and serves as a cubby-like home for a family of four.

Russell's approach of a small-scale proposal enhanced the experience of the surrounding listed buildings. The side openings and windows of the north and south frames this captured experience of being trapped in a wonderland. It is a perspective of scale and being enclosed around gigantic surroundings. One of the focus schemes was to create a secure and green inner sanctum amidst the chaos of two major arterial roads that feed the city of Brisbane. The site was originally a car parking space, wedged between the listed buildings. The site's total width is 5.6 metres. The building is set back over 16m to create entry across a forecourt. This unites the listed buildings, the office in front of the church and our home and office.

This residences composes the purpose of work and play for the family. The layout works out to divide the two purposes within the two pavilions across a grass court. Although the two spaces may be separated however they are thoughtfully levelled for the family to view from a distance. The court is the heart of the house and the draw for light and ventilation. "James Russell embraces two historical churches to create a light-filled, lantern-like residence in Brisbane's Fortitude Valley." - Alice Hampson. From the first of the two pavilions, there is a relationship with the street to the south west and grass court to the north east. This pavilion houses the living/kitchen space at court level together with a mezzanine bed over. Across the court is the children's playroom rolling onto the court and two bedrooms over.

“The entrance to the home is subtle: once through the threshold, one enters a private and secure world.” “Only the family know about the front door It’s the only part of the house we need to lock.” As you make your way up a narrow internal stair flanked with charcoal tiles brings you into the kitchen and to a look out of the grassed central courtyard below. “Once you’re inside and upstairs, there is a strong sense of refuge, says Russell. “It’s a safe vantage point – you say goodbye to the city when you arrive in this space.”

AU::16 Brookes Street House Drawings

SPACES OF ACTIVITIES

http://www.jamesrussellarchitect.com.au/(accessed March 19, 2011)

SECTION OF SPACES

http://www.jamesrussellarchitect.com.au/broadchurch.pdf  (accessed March18, 2011)

THREE - DIMENSIONAL VOLUMETRIC  EXTERIOR REPRESENTATION

MIX MEDIA OF WATER COLOUR AND PASTELS

THREE INTERRELATED AND CRITICAL HOUSE DESIGN CONCEPTS

House as an environment filter

The residence of Brookes Street House is uniquely wedged between two heritage-listed century churches. It acts as an environmental filter and refuge from its surrounding chaos of the Fortitude Valley. With surrounding busy roads of two major arterial roads feeding the Brisbane city traffic, this environmental filter manages separate from the outside world by hiding the family away from the noise offence and traffic and retreating them to a tranquillity atmosphere. Appropriate materials of honed-slab platform, grounded on a plinth of stone; a stand-alone frame of bolted galvanised steel, a roof design for the morning sun and with secondary lift to let in quarrelled stone have been selected to suit the subtropical environment.

 “The street presence is surprisingly discreet. Russell’s home yields the foreground to both 19^th century buildings, an effect exaggerated by stacking a recessed office space and house entry gate at ground level under the glazed double-height residential elevation, and by ensuring that the roof is not visible from the street – it appears only as a transparent wall defining an edge – although the steel anchors attached to the church’s buttresses, supporting the double height glazing, are manipulated awkwardly.” (Hampson, n.d.)

“A saw-tooth roof provides generous northern skylight illumination, while a double-height louvered northern wall filters out the residential building along the boundary, revealing cameos of urban living at night.” (Hampson, n.d.)

“A simple yet elegant of screens, frameless glass panels, flaps and louvers provide an ambiguous boundary between inside and out.  The section is carefully adaptable to suit the penetration of light and control of sun, while giving a compact sense of vertical scale.” (James Russell Architect, n.d.)

The heart of the house is “a central courtyard with a grass floor elevated above parking. It provides a green sanctuary for the family, and visually connects the living and sleeping areas.” (James Russell Architect, n.d.)

The use of an Eames plywood chair migrates between the “grown-up” lounge area and the children’s muck-about zone across the grass. Russell has drawn ideas from his family weekends at the beach and has incorporated elements into the veranda space. “Push-out timber windows regulated shade, moonlight and rain, and are reminiscent of beach shacks.” (Hampson, n.d.) Courtyard bedroom edges emulate veranda space, with open slatted flooring and blank timber flaps as windows. “Russell likens the house to a boat: “the occupant is required to be an active participant, adjusting openings to suit changing weather seasons.” (Hampson, n.d.)

House as a container of human activities

James Russell has designed the Brookes Street House to inhabit the roles of a family home as well as an office/business image. In order to blend in with its surroundings, one of the challenges was to design the roles of a home within such a small space.  However, Russell has managed to dwell many human activities in his small building.

This residence composes the purpose of work and play for the family.  The layout works out to divide the two purposes within the two pavilions across a grass court. Although the two spaces may be separated however they are thoughtfully levelled for the family to view from a distance. The court is the heart of the house and the draw for light and ventilation.

"James Russell embraces two historical churches to create a light-filled, lantern-like residence in Brisbane's Fortitude Valley." - Alice Hampson.

From the first of the two pavilions, there is a relationship with the street to the south west and grass court to the north east. This pavilion houses the living/kitchen space at court level together with a mezzanine bed over. Across the court is the children's playroom rolling onto the court and two bedrooms over.

“Above the living areas are the sleeping areas, the children's above the playroom, and the parents's suspended over the kitchen and lounge.  A narrow bridge connects the two bedroom wings and overlooks the grass.  Bathrooms and the laundry are concealed in cupboards running along the side of the bridge.” (James Russell Architect, n.d.)

House as a delightful experience

The most delightful experience of this residence was to discover where it is. With its setback of 16 meters, you would hardly notice it was carefully wedged in the midst of cathedrals and city traffic. It was surprise to come across this secret-like pathway to such a special space. It seem secluded from its surroundings. Like no one knows you are there. Its main delight was to act as a sanctuary and a light-filled lantern within this old- fashioned street. (Hampson, n.d.)

Russell invested in appropriate material to attain the qualities and experiences of comfort and delight. Timber structure, flooring, lining, screens and journey lend a wonderful sense of craft to this spatially expensive yet intimate house.  New and old coexist happily with borrowed spaces between.  A robust exterior defines a more delicate and enriching interior.

Another delight is comprised with in the heart of the residence. Create a secure and green ‘inner sanctum’ amidst the chaos of the two arterial roads. (Hampson, n.d.) “Landing on a roofless patch of green grass one level above the street is a delightful surprise, especially given the dense inner unban context.” (Hampson, n.d.)

“1889 ecclesiastical stained-glass from Munich serves as domestic-scaled decoration for the courtyard and playroom, dramatically bathing the house in coloured light when offices in the old church are unpredictably used at night.” (Hampson, n.d.)

This space gives out the sense of security and tranquillity. “Once you’re inside and upstairs, there is a strong sense of refuge, says Russell. “It’s a safe vantage point – you say goodbye to the city when you arrive in this space.” “The entrance to the home is subtle: once through the threshold, one enters a private and secure world.” (Hampson, n.d.)

References:

James Russell Architect. n.d. Brookes Street House. http://www.jamesrussellarchitect.com.au/ (accessed March 13, 2011).

Domain Design, 2010, James Russell Architect, http://www.domaindesign.com.au/searchResults/1/James-Russell-Architect.html (accessed 11th March 2011)

Hampson, A. n.d. The Reformation, http://www.jamesrussellarchitect.com.au/reformation.pdf (accessed on the 15th March 2011)

James Russell Architect n.d. Broad Church. http://www.jamesrussellarchitect.com.au/broadchurch.pdf (accessed March 23, 2011)