McNeal 020 Pavilion – Atelier David Telerman

McNeal 020 Pavilion by Atelier David Telerman

McNeal 020 emerged from the desire of David Telerman and a private client based in France to build a perennial structure in the American desert, Southern Arizona, in response to the shared fascination for the surrealist nature, which brought years before artists such as Max Ernst in search of new forms. By bringing together the raw elements of the surrounding place, the building must offer a landscape to experience, as a photographer or a painter would do with their own means, with precise attention to the vastness of the desert, the weight of the wind, and the geometrical precision of the light.

The pavilion, all made of reinforced concrete cast-in-place, is composed of an inverted pyramid, digging into the ground and closed in the centre. At the top, extending from the roof, are four lines of various lengths flattened onto the ground: elongated lines leading the visitor; lines to walk above, to feel the verticality of a fragile body, the fear of falling down; lines below, to capture the ever-changing light, distorted shadows waving on the steps as precise pendulums.

Inside, a linear bench faces the door and the sunset light shining through. The underground structure, not visible entering the site from the East, gradually appears, revealing a breach, the steps, and the central space: the organization of procession.

Despite its apparent simplicity, the structure tends to express, almost in a primitive way, the contrast between nature that gradually disappears down the stairs in a quiet sound and the view of nature reappearing while climbing up the stairs, the reddish ground, heavy wind, and the mountains in the far end.

Architects: Atelier David Telerman
Area: 267 m²
Year: 2020
Photographs: iwan baan
Structural Engineering: Bollinger+Grohmann

written by : HAN Shuangyu
31 Aug 2021
published in : archdaily.com

Gallery of McNeal 020 Pavilion - Atelier David Telerman

North Perth House – Nic Brunsdon

North Perth House by Nic Brunsdon

Text description provided by Nic Brunsdon Architects. The North Perth House is an urban-in all project in inner-city Perth. Located on a small block, the design responds by providing a variety of spaces, determined by simple structural arrangement. Eyciencies of construction and economies of trade were key considerations in managing a tight budget and a difficult site with restricted access.

Concrete pre-cast panels are deployed to be both the finishing material and the building structure. Using this commercial construction system as the main conceptual organising principle, the project gained significant budget and time savings while maintaining legible design integrity and innovation in housing type.

There are only two-panel types in the project; one for the ground floor running east-west parallel to the street, and one for the first floor running north-south pointing to the city. The four panels on the ground floor support the four on the first floor and interlock like a lattice, secured by gravity with some lateral bracing.

On the ground floor, these panels demarcate layers of privacy from the street front back towards the rear of the property, each signifying a threshold leading deeper into the private life of the house—garage, Gallery, Vestibule, Kitchen, then Living and garden. On the first floor, the panels rotate 90 degrees, giving long views back to Perth city on the south side and welcoming northern light into bedrooms. Moments of overlap allow for interesting spatial dynamics and vertical and oblique views through and out of the house.

Each panel is punctuated with two types of the arch, a grand arch and a pedestrian arch. The grand arch is provided for the more significant gestures in the house – prospect from the kitchen, a sun-shade to the rear, a hidden robe, and a gallery window.

The pedestrian arch is for clean perpendicular travel. The pedestrian arch also maintains the length and width of the site. On opening the front door, an uninterrupted sightline is presented from the front to the rear of the lot. Similarly, on arriving on the first floor, the pedestrian arch presents the full width of the house. These are Important gestures on a constrained site of 9.5 x 23 metres.

When the arch is not required, it is filled with a timber inlay or insulated translucent polycarbonate sheet, keeping the opening legible. The material palette is deliberately restrained to these three treatments; raw concrete for the heavy and hard-working elements like the structural panels and the floor, timber for the intimate moments like furniture, kitchen joinery, balustrades and bedheads, and the translucent sheeting to mediate the hard east and west sun and provide soft light to the height of the interior spaces.

The simplicity of the design belies the complexity of the resulting spaces that are created; spaces that are compressed and dark, high and washed, raw and unfinished, and rich and intimate.

Architects: Nic Brunsdon
Area: 195 m²
Year: 2019
Photographs: Ben Hoskin
Lead Architect: Nic Brunsdon

written by : Hana Abdel
01 Apr 2021
published in : archdaily.com

Gallery of North Perth House - Nic Brunsdon

Garden House – Baracco+Wright Architects

Garden House - Baracco+Wright Architects

Text description provided by Baracco+Wright architects. This experimental and ‘sometimes’ house on Boon Wurrung land was conceived through the inclusion of it in the repair of the site’s ecosystem. Garden House architecture is one of the relationships that revisit the project of a theory of space, this time in the terms of its physical place and the life supported there. It is made with a mix of industrialized elements (the steel frame) and handmade (timber frame) without concern with itself and modes of making. The thinnest of physical boundaries (perhaps fabric is thinner), polycarbonate sheet, maintains transparency otherwise displaced by a building for the sustaining of life, rather than architecture’s own terms of the material theory of transparency.

Spatial boundaries are not achieved in usual architectural terms (walls, windows, and rooms, ceiling, and floor) but made by the vegetation on either side of the polycarbonate layer, not perhaps quite a wall – but together with the vegetation, an ill-defined wall is made that starts on the inside with the moat-like horizontal boundary achieved through the way the raised floor stops short of the polycarbonate.

The raised deck is another expanded threshold this time with the ground – allowing the unsealed ground and its floodwaters to carry through. The window that frames an interior’s relationship with nature is absent. The ontology is almost flat – nature is neither confined to containers or brought inside. This quality of space is evident in Rory Gardiner’s photographic technique where frames are often replaced by images that fill the view without edges so that it is sometimes unclear if you are looking inside or outside.

The tent has often been a reference for Baracco+Wright. This building could be thought of as a little more than a tent: a deck and raised platform, covered by a transparent ‘shed’, the interior perimeter ‘verandah’ is a garden (and spontaneous vegetation) space and living areas are dynamic yet subtly spatially defined; up, down, under, above. The soil and a natural ground line are maintained and carried through. In the temperate south-eastern Australian climate, one is a little cold and a little hot sometimes but mostly comfortable. The ability to hear the outside is something surprising in this house. Nature is noisy. To hear enables one to locate themselves in space outside your own body.

The story of the natural history of the site drove the decision-making. The site is part of a leftover heavily vegetated corridor in-between cleared grazing land. It is a historical anomaly, and it gives a glimpse into what used to be there, although it is now mostly altered through domestic gardens, human and (nonnative) animal activity. Small patches of the endemic vegetation remain, mainly tea-tree heath, among mown grass, introduced species and plants considered invasive weeds.

The site connects to its neighbouring vegetation and Westernport – a large tidal bay. The road now occupies the position of an ephemeral creek, and being downhill, the area can be seasonally wet and dry and can flood. It acts as a compromised wildlife corridor for animals travelling from nearby Gurdies Nature Conservation Reserve to the coast and perhaps most successfully supports birds.

Garden House Project Details by Baracco+Wright

Architects: Baracco+Wright Architects
Year: 2021
Photographs: Rory Gardiner

written by : Hana Abdel
14 Sep 2021
published in : archdaily.com

Edge House

Edge House by Hare And Klein

Nestled on a secluded cliff face, Edge House by Hare and Klein Architects is a luxurious modern oasis. This alterations and additions project was designed to capture both ocean views and the city skyline, and features huge outdoor living spaces, polished concrete flooring, natural stone benchtops, a sauna and wine cellar.

Build by: stratti building
Designer/Architect: Hare and Klein
Photographer: Smart Anson
Credit: N/A

published in : strattibuildinggroup.com

Gallery of Edge House by Hare and Klein Architects

Applications Now Open – Melbourne Design Week 2022

Applications are currently open to partake in Melbourne Design Week 2022. Commencing on Thursday 17 March next year, the dynamic international event will see an array of talks, tours, exhibitions and workshops running across the 11-day program.

“Melbourne Design Week is an event that brings together design practitioners, advocates, educators and industry,” describes Tony Ellwood AM, Director at NGV. “It’s a platform for robust dialogue imperative not only to creative practice but to all aspects of society.” First established in 2017, Melbourne Design Week 2022 has hosted over 800 events. Since then, several works featured throughout the week have been acquired for the NGV’s permanent collection.

Building upon the 2021 theme – ‘Design the world you want’ – 2022 will explore the two new pillars of ‘Civic Good’ and ‘Making Good’. Designers, institutions, galleries, retailers and individuals are invited to consider the ways design influences the everyday. Compellingly, they will be explored through a variety of design disciplines, including architecture, urban design, landscape architecture, industrial design and more. “There’s never been a more important time to reunite as a community to shape our future and shape a better world,” says Tony.

Run by the Victorian Government and delivered by Creative Victoria and the National Gallery of Victoria, the event is set to reaffirm the state as a leader within creative and design disciplines. “Design is an important and growing part of Victoria’s dynamic creative industries,” explains Minister for Creative Industries Danny Pearson MP. “It’s a major creator of jobs and a strong contributor to our state economy.” The event is calling on the industry to get involved – participation is free and widely encouraged from all aspects of the community. Danny continues, “design shapes how we live, the way we experience our environment and how we connect.”

Featured over the 11-days will be the $20,000 Australian Furniture Design Award, presented by the NGV and Stylecraft. Additionally, the Melbourne Design Week Award presented by Mercedes-Benz has also been confirmed, as well as exhibitions by Sydney-based Adam Goodrum and Arthur Seigneur at Tolarno Galleries, and Adelaide duo Daniel Emma at Sophie Gannon Gallery. The event will also incorporate both the Melbourne Design Week Film Festival and the Melbourne Art Book Fair.
The 2022 program similarly includes shows by Sydney’s collectible design gallery Sally Dan-Cuthbert and Adelaide’s JamFactory. Presentations by industry leaders, including Cult, Living Edge, Mobilia and more will take the stage, as well a new program of design showroom activations, purposed with bringing the design community together. Expressions of interest for the week are currently open. “Melbourne Design Week celebrates the power of design, showcases local and international design innovators,” says Danny, “and explores how we can design the world we want – a better, fairer more sustainable world.”

written by : Paula Pintos
9 SEP 2021
published in : thelocalproject.com.au

Melbourne Design Week 2022

Applications are currently open to partake in Melbourne Design Week 2022. Commencing on Thursday 17 March next year, the dynamic international event will see an array of talks, tours, exhibitions and workshops running across the 11-day program.

Agnes by Amok Studio

Agnes by Amok Studio

Text description provided by Amok Studio Architects. From the inception of Agnes, the focus was to create a venue that celebrates the theatre of wood-fire cooking and offers a genuine experience of sharing a meal. Our concept, “Back to Basics”, focussed on this, along with celebrating the raw beauty of the existing architecture. Guided by our concept and the budget, the design carefully integrated new contemporary elements within the existing building character. While respecting the old rather than replicating it, the design adopted a “bang-for-buck” approach and achieved an intriguing juxtaposition between raw rugged textures and simple yet elegant insertions.

The kitchen was a strong focus in the design process, with the dining spaces configured to maximise views to the impressive wood-fires. Surrounded by aged brick, concrete and render, the stairs constructed of steel and recycled timber connect guests to each of the unique spaces, some of which are encased within custom steel framing.

In the basement, the amenities adopt a controlled palette of rustic concrete, mirror and charcoal finishes. The carefully considered lighting design creates an atmosphere that is both moody and relaxing. At the same time, glimpses of the outside world are captured through steel windows, inspired by the industrial nature of the original architecture.

Agnes Project Details

PROJECT NAME: Agnes
PROJECT TYPE: Commercial Hospitality
LOCATION: Fortitude Valley, QLD, Australia
PHOTOGRAPHER: Cathy Schusler
ARCHITECTS: Amok Studio
CONSTRUCTION: Apollo Property Group
COLLABORATORS: Tyron Simon, Ben Williamson, Frank Li

20 Jul 2021
published in : amokstudio.com

Gallery of Agnes by Amok Studio

Meals on Wheels SA Head Office / JPE Design Studio

Meals on Wheels SA Head Office by JPE Design Studio

Text description provided by JPE Design Studio. The Meals on Wheels SA Head Office brings together administrative, office and commercial kitchen functions together in a consolidated cook and chill facility. Representing the expansion and modernisation of Meals on Wheels South Australia, this new two-storey commercial building expresses a sense of warmth, openness, and approachability that reflects the heart of this non-for-profit organisation. With a rich history dating back to 1954, it was important for this building to showcase the significance of Meals on Wheels and their role in serving the community.

Located on the apex of 2 major traffic corridors, the new central hub redefines the streetscape with an expressive façade that is textured, inviting and bold. The design utilises a refined materials palette of robust feature brickwork and bold transparent forms, which frame the activity within the street whilst expressing the structure. The feature truss supports the upper level, traversing the main driveway entry from Sir Donald Bradman Drive and emphasizing the presence of the building along the streetscape.

Meals on Wheels now has an enhanced identity and interface with the community. The consolidation and provision of a new multi-purpose facility provide an inspiring and unified workplace for staff. Kitchen and office spaces have been arranged around a central courtyard to encourage gathering, provide a flexible space to host events and enable incidental connectivity.

The effective spatial consideration ensures building connection and integration of inhabitants with the outdoor environment. The courtyard allows daylight and fresh air to flow into central spaces and throughout. This new building is a functional and purposeful response to the future of Meals on Wheels, incorporating flexible and adaptable spaces that can change over time. The design prioritises efficiency, diversity and connectivity with working environments that offer a contemporary workplace and nurture social interaction.

A true representation of their core values and identity, this new facility represents a new beginning for Meals on Wheels South Australia whilst responding to their legacy. The new central hub better caters to the organisations future, with a flexible environment that allows for more effective working and efficiency whilst providing a contemporary environment focused on people and the role Meals On Wheels has in supporting our community.

JPE Desig Studio Project Details

Winner of the inaugural SA Architecture Medal – 2021 SA Architecture Awards

Architects: JPE Design Studio
Year: 2020
Photographs: David Sievers
Interior Design: JPE Design Studio
Landscape Architecture: JPE Design Studio
Construction: Kennett
Project Management: Cushman & Wakefield

written by: Hana Abdel
17 Jun 2021
published in: archdaily.com

Gallery of Meals on Wheels by JPE Design Studio

Hide House by MRTN Architects

Hide House by MRTN Architects

Resembling a traditional bird watching hide, Hide House tucks its occupants away into a fire-resistant encasing shell, looking outwards and protected from the elements. MRTN Architects takes reference from the site’s topography and proposes a sweeping form that optimises views and a connection to place.

Sitting elevated over expansive plains, Hide House is located in Venus Bay and sits amongst soft undulating sand dunes. The sweeping form allows the predominant winds to brush past the home easily, uniquely responding to the terrain and directing views outward. In the same way, as bird or animal hide allows a safe and protected passage from which to engage with nature, the home is conceived from a similar origin, allowing owners and guests to feel immersed without feeling revealed to the elements. The combined use of textural and natural timber allows the volume to patina and age in place, fitting tonally with the surrounding dunes.

MRTN Architects brings a contemporary crispness to the rural and removed home, ensuring the elevated structure sits unassumingly in its setting.

Built by Kane Worthy Constructions, Hide House is divided into two main forms. A rectilinear base acts as the home’s foundation, covered in the same fire-resistant timber as the upper level, which then curves out towards the views over Andersons Inlet to the northeast. As a second home away from Melbourne, the owners can utilise the retreat as a place to disassociate from the city, embracing nature and even working remotely. Needing to open and flexibly change during popular seasons throughout the year, the spaces are planned to allow for expansion and contraction and zoning when family and friends visit.

Integral to the experience of the home is its views. Hide House has a front-row seat to the natural changes throughout the year. Resultingly, the structure tucks itself into the existing vegetation as much as possible, with smaller curated openings for viewing. Instead of proposing an outdoor space that would sit exposed, the dining and kitchen space open with built-in balcony railings to replicate the idea of an exposed deck.

A sense of containment within the whole is then reinforced, while an open connectedness encourages natural ventilation to pass through the home. As an extension of its remoteness, the structure sits protected from bushfires with its sustainably harvested and milled silvertop ash. Rainwater is harvested on site and the home’s energy is not connected to mains but, rather, self-sustained.

Hide House is a unique insertion into the Venus Bay landscape. Through the careful recreation of a traditional hide on a much larger scale, MRTN Apartments has crafted an ideal place to engage with nature.

Hide House Project Details

PHOTOGRAPHY Dave Kulesza
STYLING MRTN Architects
ARCHITECTURE MRTN Architects
INTERIOR DESIGN MRTN Architects
BUILD Kane Worthy Constructions

written by : Bronwyn Marshall
31 Aug 2021
published in : thelocalproject.com.au

Gallery of Hide House by MRTN Architects

Living Screen House – CplusC Architectural Workshop

Living Screen House by CplusC Architectural Workshop

Text description provided by CplusC Architectural Workshop. The stunning single-family residence located in North Bondi was designed both for easy entertaining and private family time. A narrow site with overlooking issues paired with a commitment to passive solar design and natural daylighting drove much of the resulting form. Due to the nature of the site, planning and time management was crucial in ensuring the project ran smoothly.

Conceptually, the spatial planning of the house separates the social and family spaces. Downstairs, the interconnected kitchen, living, dining and outdoor spaces create a highly interactive and engaged site designed to accommodate large groups. A unique above ground lap-pool that shares a clear wall with the social spaces acts as a visual connection between the interior and exterior spaces, refracting natural light throughout the house.

Pool

The pool was originally designed as a fully concrete structure and was adjusted to incorporate the striking acrylic wall after construction had commenced. A wide range of trades was involved in delivering the pool, including interstate specialist sub-contractors. The acrylic wall required that waterproofing was discretely integrated with the panels and structural columns to provide a smooth visual effect. This required a high degree of coordination and negotiation to bring together, as the tolerances were very tight.

Vertical Garden

Upstairs, the bedrooms overlook private green space in the form of either a yard or a vertical garden. The feature screens and custom planter beds ensure privacy from neighbours and pedestrian traffic and are fully plumbed, self-maintained and LED-lit. This project marked the first time the firm had used FRP screens as a facade material, and a certain amount of on-site experimentation was required to determine the best method of assembly and fixing.

The panels required a high level of preparation before installation, pre-drilling the holes to fix the custom FRP panels from the side with dual threaded screws. Coordination of the plumbing, lighting and landscaping was crucial for delivering this intricate system. In addition to resolving privacy issues, these planter screens enable additional landscaping possibilities on a narrow site.

Home Automation System

The home automation system incorporates a fully programmable Dali and Cbus system. The client is able to select from a wide range of pre-programmed lighting and audio settings, as well as set up their own custom ‘scenes’ to be operated with a single touch. It is also possible to activate fixtures remotely.

Materials

The craftsmanship of the build is elegantly revealed in the material palette, which includes unfinished Kobe boards, burnished concrete, expressed timber, Corten facade and steel and timber columns that celebrate the structural systems in the house. The decision to leave the materials exposed significantly increased the complexity of the build, as any flaws or short cuts in construction would be visible in the finished structure. Additionally, the primary timber/steel flitch structure that is expressed both inside and out resulted in extremely limited tolerances for cladding, lining and window installations, further adding to the construction challenge.

CplusC Architectural Project Details

Architects: CplusC Architectural Workshop
Area: 344 m²
Year: 2016
Photographs: Murray Fredericks, Clinton Cole, Michael Lassman, Ryan Ng, Jem Cresswell
Manufacturers: James Hardie Australia, Breezway, Caesarstone, Cemintel, Dulux, Ezarri, Lysaght, Polytec, Precision Flooring, RMS Marble, Skheme, Timbeck, western red cedar, Access Concrete, Aquaplex, Bondi Kitchens, Escenium HAUS, Fenix Interiors, Formply, Galloway Engineering, +9
Landscape Specialist: Junglefy
Lighting Consultant: Electrolight
Structural Engineer: SDA Structures

written by : Fernanda Castro
11 Apr 2021
published in : archdaily.com

Gallery of Living Screen House by CplusC Architectural Workshop

Anne Street Garden Villas – AOG Architects

Anne Street Garden Villas - AOG Architects

Text description provided by AOG Architects. Anne Street Garden Villas is a series of 7 social housing dwellings in Southport on the Gold Coast. The design was informed by ideas from our Density and Diversity Done Well Open Idea Competition entry, as well as stakeholder workshops and local social housing design reviews.

Anne Street Garden Villas is one of ten social housing demonstration projects being delivered by a collaborative partnership between the Housing Partnerships Office, Building Asset Services, and the Office of the Queensland Government Architect. The demonstration projects will inform the new design guidelines for future social housing in Queensland.

To create liveable, forward-thinking social housing, we were encouraged to challenge conventions of social housing and employ small design moves that we thought could have a big impact – especially when it came to giving tenants a sense of ownership over their residence.

In high-density social housing developments, tenants do not always feel settled in their own homes. There are so many small signals – like the large carpark fronting the street – that give the development an institutional feel. This not only makes it challenging for tenants to feel ownership and pride about their home, but it also creates a divide between the complex and the rest of the neighborhood.

Our initial feelings about this problem were confirmed via a series of human-centered design workshops. In these workshops, current social housing tenants revealed a clear desire for nesting and being part of a community, while still having the sense of autonomy we get from a traditional freestanding home.
With these findings in mind, we looked for ways to make the experience of entering the Anne Street Garden Villas more akin to the experience of coming home in the traditional sense. To facilitate this, we made 4 key design decisions.