A series of cabins - these structures provide accommodation for couples at the bend of river, just north of Bicheno.
The buildings establish a strong engagement with the wider site, through a series of interior strategies and plan relationships that create unique and memorable experiences for guests.
The compact massing of the exterior form belies a complex and surprising interior structure – heightened by the materiality of the rooms.
Connections to the wider site are made to focus certain landscape qualities, which serve to background the occupation of the rooms. The sense of interiority is most strongly experienced in the most intimate parts of the plan, where detailing sets a relief for the seasonal inhabitation of the interiors.
Upon the gentle shoulder of a hill, which forms part of an estate of a Benedictine Priory, a Lady Chapel for the celebration of The Annunciation is proposed.
Set amongst open pasture, and approached across the lower slopes, the chapel is entered through a low-lit cloister, into a gilded space for intimate Monastic worship.
The space of this chapel is conceived as an instrument for praise. It is a space of acoustic luminosity, able to hold enveloping silence for private prayer, as well as to reverberate with the collective praise of the Monks. The Chapel is designed with a long reverberation-time, to amplify the chorus as if joined by voices in Heaven - just as in the ancient spaces of Christian worship across the world.
A single low opening in the base of the chamber is aligned to sunrise on March 25th, the Feast Day of the Annunciation. At Lauds, the chapel interior is most intensely illuminated by the rising sun: In this epochal moment, the illumed figure of the Archangel Gabriel is visiting the Blessed Virgin Mary, and to her annunciates the Divine will...
“Hail Mary, full of Grace.”
krakani lumi - wukalina
krakani-lumi - 'resting place' - is a standing camp within the wukalina/Mt William National Park for a cultural walk that is guided and operated by the Aboriginal Land Council of Tasmania. The project has been designed over a number of years in close consultation with the Land Council, and the broader Tasmanian Aboriginal community.
The project is strongly informed by the siting, materials and traditional half-domed forms of ancient Tasmanian Aboriginal shelter. These traditional interiors are held by a robustly detailed charred timber clad exterior. When not in use, the exterior conceals and protects the experience of the rich timber interior and becomes a shadow against the coastal banksia that surrounds the site.
2018 AIA Tasmanian Chapter Awards Jury Citation:
“As we walk the coastal track approaching the standing camp, it is clear that this is a special place, a wild and ancient backdrop with distant views to the Furneaux Islands. Every detail of the project adds weight to the notion that the architects have formed a close bond with the palawa community and have created an authentic fusion of ancient culture and modern amenity. The results of this deep, collaborative process exist in the rich, timber-lined hal-dome – a place for storytelling and the scent of melaleuca oil from the timber lining of the sleeping huts. The standing camp is testament to the outstanding success that can be achieved through collaboration, sensitivity and superb design, krakani lumi is instantly recognizable as great Australian architecture.”
PROJECT CREDITS: Builder: AJR Construct. Engineer: Aldanmark Consulting Engineers Pty Ltd. Photographers: Adam Gibson & Jordan Davis.
2018 WAF - World Architecture Festival - Highly Commended - Use of Certified Timber.
2018 AIA - The Nicholas Murcutt Award for Small Project Architecture.
2018 INDE Award - The Best of the Best.
2018 INDE Award - The Building.
2018 AIA (Tas) - Colin Philip Award for Commercial Architecture
2018 AIA (Tas) - Peter Willmot Award for Small Project Architecture
2018 Sustainability Awards - Public & Urban Design
2018 Australian Timber Design Awards - Peoples Choice Award
2018 Australian Timber Design Awards - Rising Star Award
Originally serving as the Head Lighthouse Keepers Quarters, luwa was built in 1889 by Glaswegian Master-mason James Galloway. It forms part of Tasmania’s most substantial and distinctive Victorian period lighthouse precinct, and is listed on the Tasmanian Heritage Register, the Australian Heritage Register, and as a Commonwealth Heritage place. The lighthouse is still operated by the Australian Maritime Safety Authority. Returned in 2012, the area is now owned and managed by the Aboriginal Land Council of Tasmania and co-named larapuna. As well as painstaking restoration of the existing heritage fabric of the cottage, a series of careful timber interventions have been made to the interiors, which reference both the Victorian Italianate detailing and the material culture of the palawa – Tasmania’s Aboriginal people. A c.1975 flammable liquids and tractor store has also been converted into associated guide accommodation.
2018 AIA Tasmanian Chapter Awards Jury Citation:
“The main lighthouse keeper’s cottage at larapuna is significant for its maritime and Aboriginal cultural heritage. The brief called to repair the cottage and to accommodate ten guests and their guides. The architects’ approach displays clear strategies for undertaking the project, including removing unsympathetic additions and retaining original Victorian-era features. New joinery interventions throughout are restrained and consistent in their materiality and detail, yet playful and subtly infused in maritime references and tectonic metaphor representative of palawa culture. The inherent simplicity of this project belies the architects’ rigorous approach to the restoration of the existing building and their delightful yet controlled touch in respect to the new joinery interventions. “
2018 - AIA Roy Sharrington Smith Award for Heritage
The approach to the design of this house centered around its small scale.
Situated on a dramatic site, overlooking the southern Tasmanian township Franklin and the Huon River, the project takes in a 270 degree prospect across southern Tasmania, while affording privacy from an existing house – which serves as the main residence on the property.
The plan geometry hinges from the contour, creating a new living platform – the eastern edge of which aligns with the axis of Grey Mountain. The northern edge of the house orients back toward the midday sun and terrain, creating a private outdoor terrace to the north.
Rooms are huddled about a centripetal plan, reducing circulation space, while maximizing outlook.
This strategy offers a sense of an expansive interior in a tight plan, which is further emphasized by the contrast between the dark interior palette of the house, which highlights the play of sunlight upon the landscape.
2017 AIA Tasmanian Chapter Awards Jury Citation:
“With both a modest budget and genuine size constraints, this project demonstrates the emergence of a new small house type. It is important to recognize the significance of this tiny house to this genre. The recent presumption of one house to one site is now increasingly challenged by this occupation model, which conceptually reaches back into the historic tradition of land and property sharing. A huge effort by the architects ensures that this unassuming house is very well built and detailed, with evidence of concerted attention to detail and good environmental performamce. Landscape, furniture, lighting and amenities are all astutely addressed in a modest way, which belies the depth and rigour involved. This house is an exceptional example of Tasmanian architects’ authenticity and ability to deal with real problems at a small scale with very limited budgets.”
2017 AIA Esmond Dorney Award for Residential Architecture – Houses (New).
Longview Avenue House
In creating a new living space, and updated interior to a 1950s house in Sandy Bay – this project seeks to work within the strategies set by the architect and original owner – Edith Emery.
The original house possesses a strong architectural character, and the relationships to materials, gardens and the wider region of the city are all important factors in the new work.
The first move carries the existing stepping brick foundation further up into the rear garden, to create a new indoor and outdoor living platform. Upon this, a white timber framed addition is made – referencing the original strategy of white painted openings elsewhere. The addition is kept low, to preserve the original roof line, and reduce the mass of the extension into the garden.
Internally, new joinery elements are made of stained Tasmanian Oak and Blackwood, and detailed to acknowledge the texture of the original house.
2017 AIA Tasmanian Chapter Awards Jury Citation:
“The reorganisation of living spaces and connections to outdoor areas and views has been thoughtfully, economically and expressively undertaken in the alterations and additions at Longview Avenue Garden Room. The architects’ carefully considered respect and understanding of the attributes of the original Edith Emery house have resulted in the accomplished achievement of a sense of effortless inevitability in the completed work.”
PROJECT CREDITS: Builder: Dean Scurrah Builders Pty Ltd. Engineer: JSA Consulting Engineers Pty Ltd. Photographer: Adam Gibson
AWARDS: 2017 AIA Edith Emery Award for Residential Architecture – Houses (Alterations and Additions).
This house for a young family is located near surf beaches south of Hobart. It is situated on the edge of Pipeclay Lagoon, behind a stretch of exposed coastline. The property has an existing cottage and a number of large Tasmanian Blue Gums.
Using the trees as ‘anchors’ for the plan, the new house is sited across a central zone of the site.
The northern walls are clad in Tasmanian hardwood, which are ‘carved’ to create deep window reveals providing shade, seating and storage. A skin of blockwork affords protection from the prevailing inclement weather.
The roofline lifts to bring additional daylight into the plan. This results in an undulating profile that poetically references the lagoon and rolling landscape beyond.
2015 AIA Tasmanian Chapter Awards Jury Citation:
“This family home is located south of Hobart between Pipe Clay Lagoon and Storm Bay. The clients asked for a warm, robust house that maks strong connections with the surrounding environment and coastal community.
The architects have listened. They have sculpted openings to acknowledge intimate features and chosen materials that make grand gestures and connections with the broader landscape. The house cradles, protects and delights. This is a timeless work at ease in its’ place.
The jury members were enchanted by the house and were reluctant to leave.”
2018 AIA James Blackburn Triennial Prize Jury Citation
“This house, designed by Taylor and Hinds Architects early in their emerging practice, sits as the edge of Pipe Clay Lagoon. The property had an existing cottage and a number of large Tasmanian Blue Gums, informing a pattern of occupation on the site. The effortless plan, with subtle angles and tectonic material expression, achieves a high quality of architecture with a tight budget. Structural blockwork faces the weather while Tasmanian Oak cladding is employed to the sheltered side, defining the outdoor deck. Windows are cut into deep, timber-lined reveals, creating protection and shadow. The roof form angles up to bring daylight into strategic areas of the modest plan. From approach, the profile undulates against the sky, reflecting the adjacent rolling landscape, adding another layer to this exemplary solution.”
2015 Houses Awards — New House Over 200 Square Metres; finalist
2015 Think Brick Awards — Kevin Borland Masonry Award; commendation
Sandy Bay House
This project seeks to understand the ways in which a house can act to mediate and orchestrate an encounter with a powerful view.
Recalling earlier experiences of landscapes, and particularly sea-cliffs in southern Tasmania, we have proposed a kind of ‘landscape interior’ that holds the view between two mezzanine ‘cliffs’. This strategy results in an increased wall length internally, thereby also increasing the potential for engagement with more discrete oblique views over the Derwent River and wider cityscape.
PROJECT CREDITS: Builder: 2H Pty Ltd. Engineer: JSA Consulting Engineers Landscape: Playstreet Urban Design Photographer: Jordan Davis
The premise of this house is based on finding a balance of sun and view on an elevated and largely sloping bushland site.
A square plan affords equal access to easterly views, and northerly sun, while also minimising circulation space.
Entry to the house is made through a deep timber threshold from the south, into a predominantly Blue Gum and white interior. The re-encounter with the aspect across Pipeclay Lagoon is emphasised at the edge of the plan by a long low timber window seat.
The house is ‘veiled’ with a timber screen that extends from the board and batten cladding above, tying the house back into the fine filigree quality of the surrounding bushland.
PROJECT CREDITS: Engineer: Aldanmark Consulting Engineers Pty Ltd. Builder: Dean Scurrah Building. Photographer: Jonathan Wherrett
This small house, on an elevated and sloping site above Hobart, peeks from the canopy edge of a large existing gum tree.
A living-room platform extends out over a spectacular panorama of the city and surrounding landscape, and captures all day sun in winter. Additional sleeping spaces are located below.
Sheltered from inclement southerly weather by the adjacent gum, the house is clad externally with salvaged celery top pine, an extremely durable and high-quality Tasmanian timber. Internally the house is finished in a simple palette of white walls, recycled jarrah floors, and hoop-pine joinery.
PROJECT CREDITS: Builder: Century Construction Pty Ltd Engineer: Gandy and Roberts Consulting Engineers Pty Ltd.
Photographer: Poppy Taylor
Churchill Avenue House
The additions to this existing double brick home in Lower Sandy Bay sought to re-establish links to the garden and Derwent River which had been lost for forty years. The extension cups the original house and progressively changes floor levels to mediate the connection with the existing garden level below.
In terms of material, the extension was conceived as a timber element, that wraps the massive brick core of the original house.
Internally, the living areas are lined with plywood, lending the space a sense of warmth against a frequently brooding river and sky.
PROJECT CREDITS: Builder: 2H Pty Ltd. Engineer: Aldanmark Consulting Engineers Pty Ltd. Photographer: Jordan Davis