Prahran House by Pandolfini Architects and Sophie Davies

prahran house sophie davies interior design

Prahran House by Pandolfini Architects and Sophie Davies

Extending a traditional and quaint Victorian-era cottage, Prahran House is given a new and more generous life to accommodate its growing young family. Pandolfini Architects and Sophie Davies balance the character and charm of heritage elements with a contemporary crispness for a revised relevance.

Located in its namesake, the heritage cottage sits nestled in amongst similar era homes, all retained through their own interpretive lenses. Although reflective of the original origins of the residence, the owners’ growing family required the footprint to be expanded to allow for a comfortable habitation of their coming chapters.

While keeping the heritage frontage in place, the addition expands on the previous two-bedroom home and adds an additional bedroom and bathroom, opening generously through a shared living zone into a beautifully curated courtyard garden setting. With architecture by Pandolfini Architects and interior design by Sophie Davies, the team worked to infuse some of the original charm of the home with a balanced openness, allowing the family to come together and be apart as needed.

A careful crafting of the original home, Prahran House is built by Davies Henderson with landscape design by famed landscape architect Paul Bangay. Important to the extended narrative was keeping the home’s character and detailed elements, maintained by ensuring every new gesture felt deliberate and as an evolution into the new. Purchased with a 1990s extension already added to the rear, the first step saw its removal to make way for a set of cohesive and binding principles.

Like any modern home, guaranteeing an open and connecting living space was crucial to allowing occupants to come together and balance out the other more separated areas in the process.

A key part of the brief for the family of four was that the new had to feel like a natural progression of the old and not feel distinctly different or in competition. Looking to European influences, as well as a seamless integration of heritage and contemporary additions, the proposal takes a formalised approach with traditional moments, timber crafted features and a palette that emphasises personality. Oak timber flooring binds each of the spaces throughout, whilst polished nickel fixtures and fittings, stone and specialised plaster finishes add a variety of textures, balancing one another.

By retaining the essentials and building outward and upward, Prahran House nurtures the essence of the original home. Pandolfini Architects and Sophie Davies add a sense of connection and identity of its current custodians, in keeping with the original framework of the residence.

Project Details

PRAHRAN, VIC, AUSTRALIA

PHOTOGRAPHY Alex Reinders
STYLING Sophie Davies
ARCHITECTURE Pandolfini Architects
INTERIOR DESIGN Sophie Davies
BUILD Davies Henderson
WORDS Bronwyn Marshall
LANDSCAPE DESIGNER Paul Bangay

10 Feb 2022
published in : thelocalproject.com.au

Gallery of Prahran House Project by Pandolfini Architects

Deakin Law School Building by Woods Bagot

Deakin Law School Building by Woods Bagot

Woods Bagot’s Deakin Law School Building introduces a sculptural and coiled learning environment to reconcile the university’s splintered Burwood Campus in Melbourne. Creating a beacon and gateway to the Elgar Road Precinct the building provides a point of orientation, wayfinding, and enhanced campus experience. The Deakin Law School Building’s arresting geometry arose from the innovative blend of learning spaces held within. Each space addresses a different emerging methodology of teaching, doing away with the traditional lecture theatre in the process.

The building delivers five levels of flexible, media-rich learning spaces that cut across the continuum of formality and informality, with students able to move seamlessly between modes of learning. Technology bars, group pods, and individual spaces create opportunities for connection, collaboration, or private study.

Two levels are dedicated entirely to student support and health and wellbeing services, with spaces allocated for student retreat and contemplation on campus. The Wellness Garden, nestled between the building and Gardeners Creek Reserve, features native plants, stones, a deconstructed creek, and tiered seating. While the winter garden on level five provides a space high above the trees, with a vertical plant wall and floor-to-ceiling glass louvers.

Three larger experimental Premier Learning Spaces challenge conventional learning typologies – a large, tiered presentation space is designed to serve as collaborative space when not in presentation mode; large group working spaces can operate as informal learning spaces when not timetabled.

Set apart from this main rectilinear teaching wing and in an orchestrated contrast of masses, the Premier Learning Space is clad in zinc and articulated as curved organic extrusions. Each response to the site’s sloping landscape, moving students energetically through the space and spiraling upward to frame a different view of the precinct. Sitting on the Northwest edge of the university’s Burwood Campus, the law school site was largely disassociated from much of the campus due to the waterway that schisms the campus in two.

A new link bridge completed during the Law Building’s construction sought to provide a connection back to the Elgar Road Precinct. With an understanding of the proposed bridge design, Woods Bagot this constraint as an opportunity for the building to form a mediation role within the campus, an organizational framework for the public realm, and the existing campus infrastructure. The building’s striking form and glinting materiality serve as a form of wayfinding, ushering students across the link bridge and creating a campus traversability that had never existed before.

The first large general-purpose learning and teaching space added to the campus in a decade, Woods Bagot has created a learning landmark that embodies the university’s commitment to evolving pedagogies. A campus catalyst and arresting arrival point within the university’s Elgar Road Precinct, the building’s impact extends well beyond its perimeter.

Project Details

BURWOOD, AUSTRALIA

Architects: Woods Bagot
Area: 18350 m²
Year: 2020
Photographs: Peter Bennetts
Manufacturers: Autex, Interface, Jardan, Knauf, Laminex, Lotus, Maharam, Tacchini, Walter Knoll, Axona Aichi, Ihreborn, JSB, Kvadrat, Light project, LuxFX, Swiss Design, Thinking Works, This Weber, VMZINC, Versalux
Landscape: Aspect Studios

8 Feb 2022
published in : archdaily.com

Gallery of Deakin Law School Building by Woods Bagot

Speising Fire Station by Illiz Architektur

Speising Fire Station by Illiz Architektur

Text description provided by Illiz Architektur. When the alarm sounds at Vienna’s Speising Fire Station, the firefighters have just 30 seconds to get ready and turn out. When every second counts, the primary task of the architect is to ensure optimum process efficiency and so tactical functionality. At the same time, the brief for this vital infrastructure project, a building that is staffed 24 hours a day and 365 days a year, called for a distinctive architectural design.

The revamped station comprises three spatial/functional units: vehicle hall, high-activity areas, and quiet rooms. The space in the late 19C building at the rear of the site, which extends back some distance from the street, has been reorganized and is now fully usable. The common areas and kitchen with adjoining dining room and outdoor terrace are located on the ground floor; the six quiet “ready rooms” for the twelve firefighters are accommodated upstairs.

The new single-story vehicle hall faces the street. Now connected by a low-level “linking structure”, which also forms the main fire station entrance, both the hall and the original building remain recognizably independent structures. The watch commander’s office is strategically positioned close to this main entrance, between the vehicle hall and the common areas.

The thermally decoupled design of the vehicle hall is both efficient and sustainable. A high degree of prefabrication was chosen in view of the short construction time, with precast concrete elements and hollow-core slabs spanning the 12-meter-wide hall, where three red fire engines stand ready to turn out at a moment’s notice. Arrayed along the rear wall is a series of red lockers. Elsewhere, the interior of the hall is dominated by fair-faced concrete, a non-flammable material that conveys a sense of safety.

To the left of the hall, a high entry gate regulates access to the interior courtyard, which provides space for staff parking and training exercises. To the right, a change in facade height indicates the lower ancillary rooms behind.

The new build presents a continuous face to Speisinger Straße and gives the forecourt a newfound clarity. While the outsized vehicle hall, rising to a height of six meters, blends into the larger urban context, the functional building envelope with its characteristically high folding garage doors provides a very individual stamp. The column-and-architrave style facade creates an unexpectedly tectonic effect and the functional drop-in facade height creates a welcome gap at the junction with the adjoining firewall on the right.

The choice of the classic yellow so often found on Viennese facades – and which dominates in Speising – helps tie the new building into its surroundings. This strong primary colour brings together the various metal elements of the facade and gives Speising Fire Station its own distinctive character. Taken as a whole, the project offers a protective, public-service space for the firefighters who regularly risk their own lives to save those of others.

Speising Fire Station Project Details

WIEN, AUSTRIA

Architects: Illiz Architektur
Area: 605 m²
Year: 2021
Photographs: tschinkersten
Lead Architect: Daniel Sutovsky
Building Physics: RWT plus ZT GmbH
Electrical Engineering: Woschitz Engineering ZT GmbH
Construction Work: Steiner Bau GesmbH

written by : Paula Pintos
8 Feb 2021
published in : archdaily.com

Gallery of Speising Fire Station by Illiz Architektur

Skylark Cabin by Barry Connor Design

A Unique Residential Experience –Skylark Cabin by Barry Connor Design

Strongly connected to its location, Skylark Cabin provides a unique residential experience. Barry Connor Design creates a home immersed in the ever-changing environment of the Ben Ohau Mountain Range.

Settled into the foothills of Twizel, Canterbury, Skylark Cabin is revealed as a poignant retreat. Escaping from the stresses of urban life, the structure functions as an off-grid cabin, complete with a luxurious outdoor bath to enjoy the natural sky reserve in serenity. Sitting on the intersection of sightlines to Backbone Peak and the Ben Ohau Mountain Range, the cabin is designed to effectively respond to its location; following the trajectory of the sun during different times of the year, the cabin makes the most of the interplay between light and shadow, inside and out.

As seen from the road, Skylark Cabin presents as an intriguing structure. At just under four metres in height, the home is elevated from the foothill in the shape of two rectangles, slightly skewed. Upon closer inspection, the angular building emerges as a compact residence – just under 50 square feet – with orange accents on the wood façade to represent the client’s love of the colour.

Barry Connor Design uses larch for the cabin exterior; the durable nature of the material withstands exposure to the weather on the reserve. The form of the home is intentionally sharp; gutters and downpipes are contained within the cavity of the rainscreen rather than left out to feel the full force of the wind.

Architecturally, Skylark Cabin encourages residents to enjoy the surrounding landscape. Windows of various sizes throughout the home make for particular, defined views of Backbone Peak and the Ben Ohau Range, whilst an open sightline from the bedroom to the reserve – passing through the living room – allows the cabin to borrow visual space from the outdoors. By providing many vantage points, Barry Connor Design makes residents privy to moments of natural beauty, such as when the wind runs through the tussock grass or snow comes to rest on top of a hill.

Split into two zones of living – cleaning-sleeping and living-kitchen-dining – Skylark Cabin encourages a simple, unhurried way of life. Upon entering the property, a casually styled bedroom lies to the right with an ensuite and laundry unit tucked behind. Turning left from the entryway leads residents into the main living area, which is combined with kitchen and dining facilities. Sheets of beech plywood along the walls and ceiling pull natural colours into the cabin, whilst a large skylight above the bed alludes to the night sky in an oversized, telescopic fashion.

Throughout the home, Barry Connor Design maintains a comfortable and sophisticated aesthetic, with the edges of the plywood sheets highlighting the geometric proportions of the structure. By creating a cabin that bears witness to its ever-changing external environment, Barry Connor Design ensures that the experience of Skylark Cabin is like no other.

Project Details

PHOTOGRAPHY LIGHTFORGE PHOTOGRAPHY
ARCHITECTURE BARRY CONNOR
DESIGN DEVELOPMENT BARRY CONNOR
DESIGN VIDEO CADRE
WORDS SARA JACOB

written by : SARA JACOB
6 Feb 2022
published in : thelocalproject.com.au

Gallery of Skylark Cabin Project by Barry Connor Design

The Brook House by small.

The Brook House by small.

Text description provided by Small architects. The Brook sits in a paddock atop an old Gasometer among the ruins of a flour mill. It is situated in Rosebrook, South West Victoria, on the traditional lands of the Gunditjmara people.The Brook was designed to capture the remarkable wetlands surrounding the Gasometer, with windows that frame the Moyne river, lush paddocks and the occasional passing dairy cow.

The brief was further determined by the dimensions of a truck trailer, which is the most suitable size for a tiny home. While it was important to create a home that could be transported beneath power lines, it was also essential that the space felt generous and open. The solution came in the form of a telescopic frame with a retractable roof and cog system, which lowers the roof for transport and raises it on location, creating a high-ceilinged living space. The system is the central design feature of the home.

Multi-use and intersecting spaces are the focus of the interior in order to maximize the utility of the limited footprint. Staggered flooring creates opportunities for storage and seating as the rooms transition from kitchen to lounge, and mezzanine office to the bedroom. The sliding door closes off the bathroom but reveals hidden storage in the kitchen.

The double-height gives the lounge an additional sense of space. It features a split-level office, where the mezzanine floor becomes a seat for the study and the desk becomes the guardrail. It is a small space, but it feels much larger, given it shares the height of the lounge. The lower section is encased by steel glass windows and pivot doors. Copper and ply louvers run horizontally along with the glass, hiding fly wire but coaxing the south-westerly breeze to travel up through the building.

Material availability and selection were inspired and informed by the rural setting. Folding into the landscape of rusted red farm sheds and weather-beaten coastal buildings, the Brooke consists of locally sourced or recycled elements that reflect its locale. Thin strips of locally felled cypress make up the exterior cladding. As it greys from the wind and the rain, it will resemble a house of twigs, twisting and slightly bowing against the oxidizing copper, gradually melding into the landscape.

The floor-to-ceiling windows mean the building is flooded with natural light by day, so the interior materials chosen are warm, textured and dark. Local volcanic rock lines the bathroom, concrete and galvanized steel details throughout with recycled hardwood from building demolition. The staircase at the entrance and deck are all completely recycled from nearby concrete cow troughs and mesh from an abandoned pig shed.

Project Details

Architects: small.
Area: 27 m²
Year: 2021
Photographs: Derek Swalwell
Lead Architect: Nick Lane

written by : Hana Abdel
6 Feb 2022
published in : archdaily.com

Gallery of The Brook House Project by small.

The Brook sits in a paddock atop an old Gasometer among the ruins of a flour mill. It is situated in Rosebrook, South West Victoria, on the traditional lands of the Gunditjmara people.The Brook was designed to capture the remarkable wetlands surrounding the Gasometer, with windows that frame the Moyne river, lush paddocks and the occasional passing dairy cow.

Nickson 61 Commercial Building by Smart Design Studio

Nickson 61 Commercial Building by Smart Design Studio

Text description provided by Smart Design Studio architects. Located at the meeting point of commercial and residential zones in busy and vibrant Surry Hills, Nickson 61 presented an ideal opportunity for the adaptive reuse of existing building stock to provide a significant architectural contribution to the area. The site is located on a corner at the end of a row of terraces towards the southern end of Nickson St. It is visible from busy Cleveland St and is adjacent to both commercial and residential properties. The site contained a late-19th century terrace and a three-meter-wide vacant end lot. This lot was originally occupied by a free-standing dwelling that had been demolished to make way for an access lane.

The traditional typology for a corner site within this conservation area is the corner shop – a modest-scale building that reinforces the corner and provides public amenity and personality to the urban precinct. The design establishes a contemporary version of this typology, addressing the traditional angled corner boundary form and responding to the typical brickwork construction of the corner building. The bold new peeling form completes the row of the terraces and provides contrast to the existing built form that was restored to its original Victorian detail. The sculptural form is carefully considered to retain the expression of the adjacent terrace envelope, while strategic slots in the façade curve out to open to the street corner and sky.

At an urban scale, the key objective was to revitalize the residential accommodation in response to the increasing density of the area and demand for adaptive re-use of existing housing stock. Two new high-quality residential units are provided on the two upper floors. Residential entry to the building is via the front door of the existing terrace, ensuring privacy & separation from the corner commercial entry while maintaining an active residential frontage to the street. The first-floor balcony overlooking Nickson St retains the existing terrace balcony. The upper floor level is built within the existing roof form to retain the scale of the existing street frontage and established building pattern.

The small-scale ground floor and basement single commercial space, compatible with mixed-use of the surrounding area, provides engagement and activation to the street. The commercial entrance is located on the corner of the site, highly visible and separate from the residential entry. Along with the bold form of the new infill, this establishes a dialogue between the commercial buildings of Cleveland St.

Although this area prohibits commercial development, we were able to achieve planning approval through strong arguments for street engagement and sophisticated transitions between residential and commercial Nickson 61 is a contemporary, bespoke contribution to Surry Hills. It offers clever reuse of existing building stock to provide boutique commercial and residential space that typifies the vibrant mixed-use character of the suburb and provides a bold formal addition to the architecture of the area.

Nickson 61 Project Details

SURRY HILLS, AUSTRALIA

Architects: Smart Design Studio
Area: 211 m²
Year: 2021
Photographs: Romello Pereira
Manufacturers: AutoDesk, Austral Bricks, Bentley, Boral, Lysaght, Skheme, Viridian, Airlite, Bluestone, City Scape Steel, Fielders, Make
Builders: Jackal Constructions

written by : Hana abdel
1 Feb 2022
published in : archdaily.com

Gallery of Commercial Building by Smart Design Studio

Located at the meeting point of commercial and residential zones in busy and vibrant Surry Hills, Nickson 61 presented an ideal opportunity for the adaptive reuse of existing building stock to provide a significant architectural contribution to the area. The site is located on a corner at the end of a row of terraces towards the southern end of Nickson St. It is visible from busy Cleveland St and is adjacent to both commercial and residential properties.

Bright and Breezy – The Third by Dalecki Design

Bright and Breezy – The Third by Dalecki Design

The Third by Dalecki Design is a bright and beaconing addition to a character-rich home driven by purpose, integrity and connection.

Dalecki Design’s interest in the adaptive reuse of existing homes is evident in the skilful integration of old and new – and this addition to a Federation home in Perth’s inner-north is no exception. Beyond the home’s traditional frontage, Dalecki Design has confidently introduced a contemporary articulation of space that connects with the outdoors, drawing in natural light and ventilation and supporting the daily rituals of family life.

Frustrated by the constrained and poorly-lit qualities of the original house, the clients and their growing family sought light-filled spaces for living and entertaining. Dalecki Design corrected the impractical planning by establishing the front portion of the house as a private zone, creating a new entertaining and living zone at the rear, and introducing a multi-purpose activity room and two external living spaces at the centre of the house – an intermediary area that becomes a vehicle for light entry and engagement across the site.

“The clients had lived in the house for some time,” reveals designer Janik Dalecki, “so they knew the quirks of the site, including the sun and breeze paths and wanted to make the most of these opportunities.” Connections between indoor and outdoor spaces gradually increase as one moves deeper into the home. A passage of window seats between old and new directly addresses the winter courtyard and creates different frames as you pass by. This culminates in a dramatic expansion of space as one reaches the lofty proportions of the living spaces, offering clear sightlines across the rear deck and garden beyond.

The addition unfurls as a series of interconnected and purposeful spaces for living. A dramatic curved ceiling intersects a linear skylight channel spanning the length of the room – flooding the main living spaces with northern light while creating a chimney effect by drawing in fresh air from ground level openings and allowing warm air to escape. “The sculpted ceiling brings a refined and elegant sensibility to the space, while offering great amenity,” reflects Janik.

Further bolstering connections between inside and out, The Third follows a seamless material logic. “Face brickwork continues across both the dining and living areas, with light materials enhancing the bright and airy feel of the home,” Janik explains. Consistent details, such as the similarly styled fireplaces in the living area and external winter courtyard, give a sense of cohesion, while warm and tactile finishes, including polished concrete floors, sage-toned cabinetry and timber accents, elevate the experience of home with a sense of timelessness and approachability.

Employing a restrained approach to detailing, materiality and form whilst elegantly referencing the character of the original home, The Third is a sophisticated response to the clients’ brief with a distinctly Australian feel. “Overall, I feel the home provides separation and contrast and speaks directly to the needs of the clients” muses Janik. With reason and purpose in every decision, the overall impact is pared-back and relaxed – an inviting family home that supports the joy of suburban living.

The Third Project Details

PHOTOGRAPHY Dion Robeson
STYLING Matt Biocich
ARCHITECTURE Dalecki Design
INTERIOR DESIGN Dalecki Design
BUILD Integrated Construction
WORDS Hayley Curnow

written by : Hayley Curnow
29 Jan 2022
published in : thelocalproject.com.au

Gallery of The Third by Dalecki Design

Stomping Ground Brewery by studio Y + PlaceFormSpace

Stomping Ground Brewery by studio Y + PlaceFormSpace

Text description provided by Studio Y and PlaceFormSpace architects. The location of the development is unique – situated amidst an outer suburban industrial and residential area, it was critical to create a welcoming, inclusive, and energetic gathering place, allowing locals to enjoy the same experience of the Stomping Ground inner city venue.

The existing conditions and relating structure of the current building had to be carefully investigated and incorporated into the architectural design. The large site meant that zoning had to be exceptionally considered to ensure sections felt intimate but also retain the open-plan beer hall experience. Minimal finishes create a contemporary industrial feel whilst the found items take inspiration from the original factory.

A mesmerising full height timber grid structure is the main architectural feature, it was designed to be modular and exposed, visually linking the outdoor and indoor spaces. Internally it serves a practical purpose, carrying and services such as lighting, AV, brewery mechanical equipment and beer pythons, with planters as a secondary functional use.

Externally the grid is used to support retractable roofs, translucent roofs, and walls. Intertwined with the landscaping, it allows the space to develop character and evolve over time. All connections are bolted, and the timber beams can be re-sed at the end of the building’s lifespan or when a different use is required.

The separate function area was designed to be elegant and timeless whilst remaining flexible. The high ceilings, vertical pendants, feature arches, custom distressed paint and private bridal suite all enhance the unique space whilst paying homage to the original building.

The beer hall staircase leads up onto a bridge above the brewery area. It links to the amenities area and offices and offers an elevated perspective of the beer hall as well as insight in the brewery area from atop. The u-shaped bar separates the beer hall from the beer garden and is one of the key and central elements of the space. The hero bar is clad in existing switchboards and the existing blue floor paint is also a nod to the warehouse aesthetic.

Every light fitting across the project has their own story. The lighting concept was designed to replicate the idea of a sunset beer session. All light fittings were tailored to have layers of optimised filters that replicate the natural colours of a sunset. In a commitment to sustainability and integration, the lighting designers, ambience took the extraordinary step of making a number of the light fixtures themselves including the refurbishment of original factory light fixtures.

Architects: PlaceFormSpace, studio Y
Year: 2021
Photographs: Derek Swalwell
Interior Design: Studio Y
Lighting Design: AMBIENCE
Builder: MIC Projects

MOORABBIN, AUSTRALIA

written by : Hana Abdel
27 Jan 2022
published in : archdaily.com

Gallery of Stomping Ground Brewery by studio Y and PlaceFormSpace

Graffiti House by Durack Architects

Graffiti House is the amalgamation of a brief which sought to convert an existing clothing warehouse into a home that was both a refuge punctuated with moments of intimacy while also a series of spaces with a sense of drama and connection with the outdoors. The project had a shaky start on-site and not long into the construction the original builder became insolvent. Fortunately, Durack Architects shares an office with a respected builder who was able to take over the works and bring the project back to life.

The conversion of the building into a new 3 bedroom home was a deliberate attempt to prioritize spatial quality over floor space. The clients were a couple with no children and a modest brief looking to make the most of the large open spaces on a modest Sydney budget.

The client had a love of utilitarian warehouse buildings and was adamant that the feel of the original space was not lost through the renovation.

While the original structure had a singularly dramatic presence it also was at risk of being spatially amorphous and without definition. To address this the existing volumes were maximized and defined by a u-shaped mezzanine which contains the plan and is in part suspended from the existing steel roof structure.

While creating a home with a real sense of connectedness this introspective plan has also encouraged intimate spaces wrapped around a protected and elevated courtyard.

While the planning was an integral component of the adaptive re-use of the building it was important that it be complemented with appropriate structure, detailing, and materials.

A sharp, utilitarian industrial aesthetic was employed with exposed steelwork and timber joists along with industrial grating for screens and balustrades typically used as flooring in factories. This was continued into the finer detail with rumbled brass tap fittings and joinery handles.

A relationship has been created between the home and the park through the breaking down and opening up of the facade through the raised landscaped courtyard.

The removal of this section of the elevation floods the interior double-height voids with a dappled light while also offering from the park a filtered glimpse into this new home. Paying homage to the diverse and textured community of St Peters this extensive facade over-looking Simpson Park has undergone a facelift with a piece of a commissioned street art collaboration between a gallerist client and local artist Alex Lehours.

Architects: Durack Architects
Area: 339 m²
Year: 2021
Photographs: Katherine Lu

written by : Hana Abdel
26 Jan 2022
published in : archdaily.com

Gallery of Graffiti House Project by Durack Architects

Sense of Self Bathhouse – Setsquare Studio + Chamberlain Architects + Hearth Studio

Sense of Self Bathhouse - Setsquare Studio + Chamberlain Architects + Hearth Studio

Sense of Self Bathhouse redefines the wellness experience. bathhouse designed in collaboration by Hearth Studio, Chamberlain Architects and Setsquare Studio.

Healthy hedonism: Sense of Self Bathhouse redefines the wellness experience with an inclusive, immersive and design-led model for self-care.In a converted warehouse in Melbourne’s inner-north the ‘Sense of Self’ bath house comprises of; a large mineral bath, Hammam Steam room, Finnish sauna, light-filled vegetated courtyard and cold plunge pool.

‘Sense of Self’ was an unprecedented opportunity to explore the relationship of the (naked or near-naked) body to space, inviting guests to better connect with themselves and their immediate physical world. Sitting beyond the current definition of ‘wellness’, an idea largely defined by the term ‘beauty’ and translated spatially as a solitary activity within a stark white environment, the brief for SOS was to create an empathetic space that engaged in a new idea of well-being – community, acceptance and restoration. An immersive environment that encourages healing, rest and connection.

Taking the notion of empathy, the design placed an emphasis on the aspirational task of designing for every ‘body’. Eradicating the demarcation of floor plans based on gender or physical ability the design implemented communal change rooms, communal toilets (with only ambulant wc’s) and accessible communal bathing with a variety of entry options. Conceptually the layout centres around the sequence of rituals embedded in the bathing experience. Prioritizing the relationship between body and physical space, using design to guide users through the order to which a bathhouse experience unfolds.

Looking to draw from, rather than replicate, existing bathhouse cultures around the world, the design extrapolates ‘bathhouse’ to its very essence; being that of water. The concept derives materials and form from understanding water as both a movement and a driver for growth, healing and nourishment. Drawing physical materials from concepts such as refraction, still, power, buoyancy and erosion.

Decorative glass and digital projections play with the refraction of light, while the water wall and flowing fabric curtains represent the power of water. Elemental materials such as concrete, travertine and sandstone are cast and carved in such a way that they are encouraged to wear and chip as they would in the natural environment. Vegetation embodies water as restorative.
This design aims to define and cultivate communal bathing in Australia.