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OR VIEW ALL PROJECTSOR GO BACK TO SEARCH RESULTSOR VIEW ALLPROJECTS BY ARCHITECT WILKIN + PINI ARCHITECTSHOUSE PROJECTS2010 PROJECTSPROJECTS IN SYDNEYPROJECTS PHOTOGRAPHED BY BRETT BOARDMAN |
This project is fundamentally, on the surface, a basic alteration to a standard turn of the century inner city semi. What makes this project rise above the basic is its manipulations in section crafting intricate volumes within volumes in a meagre max 3.75m width footprint.
The project is akin to a jewelry box; a life size model, built piece by piece, panel by panel, stick by stick . The philosophy of this project centres on a basic premise. Every incision into the plan and section is about the borrowed view – each incision in the 'skeleton' of the house opens to focus the view to tree, roof and sky.
This notion extends not only to the primary public spaces but unpredictably to the utilitarian spaces of the both the kitchen and bathroom. Perhaps not an unusual concept until it is put into the context of a tight and dense urban scape. The form of the main space was initially a response to the protection of winter sun to our Southern neighbour. The internal volume was then sculpted out of the residual form, removing the typical junction between wall and roof.
Light and shadow, formed by the various elements – dowel handrail and stair, mezzanine edge and treads, screen and sculptures, bend and warp as they are cast through the volume. As the mezzanine volume is suspended within the main volume of the dwelling so too is the stair suspended at the intersection of both volumes. The steel and timber stair is suspended across the space rather than in line with the room (which would have been the default response), thereby maximising the useable area at the mezzanine level whilst providing a sculptural element within the main volume – the stair and mezzanine edge appear to float within the living area.
The mezzanine is an insertion into a sculpted white space in contrast the mezzanine itself is a timber form suspended within. Interestingly the softly curved section is read primarily in shadow rather than in light - the shadow cast by the dowel elements allow the form to be read while full sun challenges the perception of the form of the space. The timber elements of the bathroom and kitchen are also inserted volumes but this time the insertion is in the existing skeleton. To emphasis the insertion it is conceived as two timber lined jewellery boxes.
To this end the floors, walls and joinery are all crafted in timber and sit free of the walls and ceiling of the volume of the existing house. Importantly the choice to execute the windows as such a major focus of spaces which typically may not have windows let alone celebrate them, reflects the first principle of view to sky and tree. This makes the typically dark, narrow hall evident in nearly all terraces of this type to appear much more integral to the main spaces and therefore de-compartmentalises the typical terrace plan.
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