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OR VIEW ALL PROJECTSOR GO BACK TO SEARCH RESULTSOR VIEW ALLPROJECTS BY ARCHITECT MARSH CASHMANTERRACE HOUSE PROJECTS2002 PROJECTSPROJECTS IN SYDNEYPROJECTS PHOTOGRAPHED BY WILLEM RETHMEIER |
Re-working the traditional Australian terrace structure, architects Marsh Cashman have put a new spin of individuality on a popular Sydney form.
The project is a result of a mutual bond between clients and designers, and a mutual love of art which framed this project. The highly informed clients (an art collector and an art historian) began over a discussion on books and ended up a 3 year undertaking.
Local authorities continually struggle to maintain neighbourhood character, streetscapes and reduce the bulk of new developments, - but in this case the council demanded that all 7 new terraces in this project development on the site be identical. The architects and the clients resisted and spent a long time fighting for individuality.
The result was a strikingly simple form within a row of non-descript 'minimal' beige facades.
The disturbance of the terrace model begins immediately with the entrance located off to the side of the street façade. This point of entry frees the plan and defines an initial departure point.
Stepping through the door onto a floating timber plane, the visitor is greeted by a heroic "Wall of Books". Set into rich timber joinery, this is the first formal "BOX" and contains a study.
It looks like the whole house is resting on this wall of books. - like the knowledge contained within the books was the "architectural foundation" of the building.
Beyond this area the space unfolds "like a terrace with the walls and floors removed.
Assembled as a series of manipulated planes and formal boxes around a deep void, the legibility of the spatial intent of the project is clear.
The concrete floor datum extends from just beyond the entrance and continues across the ground floor and through a fine glass wall, past the pool and garden, and wraps up into a small, enclosed volume to create an office at the rear of the site.
The long courtyard garden is read as a true uncovered piece of domestic space.
The counterpoint to the concrete floor is the vertical white wall defining the enclosure and creating the substantial voids that carve through the floor plates of the traditional terrace paradigm to combine with the interior. The walls richness is derived from very subtle variations of white and light grey as the wall folds and deflects to hold art, firplace, staircase and then wraps to form the ceiling and skylight.
Like a painting the resonance of the space changes as you move thorugh it.
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