Figure 1. View of the cabin from the studio.
ALMOST DONE! yay...
Here's my Cabin for [Rex Addison]... haha.
As a result from integrating the aspects of environmental filter (firmness), container for human activities (commodity) and delightful experience (delight).
Figure 2. Site plan showing the neigbouring house, the exemplar,
showing the contours and climatic responses.
The cabin will be situated next to the original exemplar house, the Taringa House and Studio by Rex Addison, so that it will also be in a special context where there is a gully and lots of existing trees. This also allows the cabin to make connection to this historical and personal attachment embedded in the exemplar house. Even more so, the cabin will be placed on a slightly higher altitude than the exemplar house for a much broader view of it (see Figure 2 and 3).
Figure 3. CABIN ROOF PLAN with surrounding trees and the gully.
As seen in the below image, the Cabin and studio is orientated towards the north to take advantage of the good sunlight. Part of it is cut out on the south-easterly side and covered by windows to let the breeze through. There is still the separation and connection between the studio and the cabin encouraging a journey to these spaces. A walk through the footbridge to get to the studio will certainly be a delightful experience, offering views from every direction and bringing to attention the special context of the place - the gully. The studio is almost as big as the house just like in the exemplar to note the importance of work and creativity in Addison's life.
Figure 4. Cabin & Studio floor plans showing relationship of spaces with each other and with the external surroundings.
As the resident enters from the south, they are directed straight away to the living room, where there is a mini-garden and pathway lit up by the translucent roof above, leading to the outside deck - where there is an ongoing relationship between the inside and outside (also see Figure 5). The living room shares the space with the dining area, which then leads the resident to the kitchen where it is defined by the cooking bench. At the centre of the cabin is a little fireplace which also gathers the living spaces together.
Figure 5. The interior mini-garden and foot path connecting to the veranda. Translucent fibreglass roof above bring light down to it.
The stairs on the west lead the resident upstairs, where they will find a number of paths to take: to the bedroom, the en-suite bathroom or the balcony. It is a more complex arrangement, being familiar only to the resident. See images below.
Figure 6. Sections for the cabin, showing the amount of
light coming through and its sources.
The connection to the outside is maintained by the balcony upstairs and the veranda as the extension of the bedroom and the living room respectively.
The Cabin and Studio is raised on support columns to elevate them, allowing them to get a view over the site - especially over to the exemplar house and garden next to it.
Figure 7. Sections for the studio showing the
amount of light coming through and its sources.
The roofs are sloped towards the north to capture the sun during winter, but are low enough to avoid the summer sun. There is also sloping towards the south for the studio to give views back to the cabin house. The eaves are also extended in the western and eastern side to protect from harsh sun. The surrounding trees will also help with this. There are two protruding roofing which capture more daylight down to the house filtered by the skylights. See image below.
Figure 8. Elevations for the cabin showing materials, roof form and
relationship of spaces with each other.
Figure 9. Elevations for the studio showing materials and roof form.
The western side of the cabin and studio is full of window openings to emphasise its connection to the exemplar. These openings, however, are shaded by wide eaves or timber louvres at the side to protect it from the harsh western sun.
The skylights will create a silhouette of palm tree leaves and diffuse light everywhere in the living and dining area (see Figure 10). The long glass doors separating the inside to the outside veranda and glass windows also allow much of the daylight in. There is a big window on the bedroom side to overlook the exemplar house on the other side (see Section A in Figure 6).
Figure 10. The skylights in the living area. Light is diffused
in different direction. Light also comes from windows.
Use of natural materials will blend in well with the local environment (i.e timber decking, beams and louvres). Overall, the cabin and studio offers a unique response to the Queensland climate through its sloping roofs and local material use, as Addison did in the Taringa House & Studio.
Figure 11. Exterior of Studio, very high up above the ground,
standing among the trees and only accessible through the footbridge.
Here's my Cabin for [Rex Addison]... haha.
As a result from integrating the aspects of environmental filter (firmness), container for human activities (commodity) and delightful experience (delight).
Figure 2. Site plan showing the neigbouring house, the exemplar,showing the contours and climatic responses.
The cabin will be situated next to the original exemplar house, the Taringa House and Studio by Rex Addison, so that it will also be in a special context where there is a gully and lots of existing trees. This also allows the cabin to make connection to this historical and personal attachment embedded in the exemplar house. Even more so, the cabin will be placed on a slightly higher altitude than the exemplar house for a much broader view of it (see Figure 2 and 3).
Figure 3. CABIN ROOF PLAN with surrounding trees and the gully.As seen in the below image, the Cabin and studio is orientated towards the north to take advantage of the good sunlight. Part of it is cut out on the south-easterly side and covered by windows to let the breeze through. There is still the separation and connection between the studio and the cabin encouraging a journey to these spaces. A walk through the footbridge to get to the studio will certainly be a delightful experience, offering views from every direction and bringing to attention the special context of the place - the gully. The studio is almost as big as the house just like in the exemplar to note the importance of work and creativity in Addison's life.
Figure 4. Cabin & Studio floor plans showing relationship of spaces with each other and with the external surroundings.As the resident enters from the south, they are directed straight away to the living room, where there is a mini-garden and pathway lit up by the translucent roof above, leading to the outside deck - where there is an ongoing relationship between the inside and outside (also see Figure 5). The living room shares the space with the dining area, which then leads the resident to the kitchen where it is defined by the cooking bench. At the centre of the cabin is a little fireplace which also gathers the living spaces together.
Figure 5. The interior mini-garden and foot path connecting to the veranda. Translucent fibreglass roof above bring light down to it.The stairs on the west lead the resident upstairs, where they will find a number of paths to take: to the bedroom, the en-suite bathroom or the balcony. It is a more complex arrangement, being familiar only to the resident. See images below.
Figure 6. Sections for the cabin, showing the amount oflight coming through and its sources.
The connection to the outside is maintained by the balcony upstairs and the veranda as the extension of the bedroom and the living room respectively.
The Cabin and Studio is raised on support columns to elevate them, allowing them to get a view over the site - especially over to the exemplar house and garden next to it.
Figure 7. Sections for the studio showing the
amount of light coming through and its sources.
The roofs are sloped towards the north to capture the sun during winter, but are low enough to avoid the summer sun. There is also sloping towards the south for the studio to give views back to the cabin house. The eaves are also extended in the western and eastern side to protect from harsh sun. The surrounding trees will also help with this. There are two protruding roofing which capture more daylight down to the house filtered by the skylights. See image below.
Figure 8. Elevations for the cabin showing materials, roof form andrelationship of spaces with each other.
Figure 9. Elevations for the studio showing materials and roof form.
The western side of the cabin and studio is full of window openings to emphasise its connection to the exemplar. These openings, however, are shaded by wide eaves or timber louvres at the side to protect it from the harsh western sun.
The skylights will create a silhouette of palm tree leaves and diffuse light everywhere in the living and dining area (see Figure 10). The long glass doors separating the inside to the outside veranda and glass windows also allow much of the daylight in. There is a big window on the bedroom side to overlook the exemplar house on the other side (see Section A in Figure 6).
Figure 10. The skylights in the living area. Light is diffusedin different direction. Light also comes from windows.
Use of natural materials will blend in well with the local environment (i.e timber decking, beams and louvres). Overall, the cabin and studio offers a unique response to the Queensland climate through its sloping roofs and local material use, as Addison did in the Taringa House & Studio.
Figure 11. Exterior of Studio, very high up above the ground,standing among the trees and only accessible through the footbridge.
