Warning: This is going to be a very long post! It's my research on the Taringa House & Studio with a bit of analysis as I am planning to make a separate post on analysis with the drawings I've made. I've broken up the information (and reworded them of course, unless quoted) that I obtained from different resources to the three aspects, with each point referenced from the sourced site. To be safe I cited the information, and proper referencing of ALL the sources I used is at the end of this post. All pictures are also from the sites that I've used.
I finally found a book on Rex Addison. I'm going to check it out soon and add to my research if its relevant. But so far, here's what I got...
HOUSE AS AN ENVIRONMENTAL FILTER.
The site was the extended back garden of Addison's parent's home. The original home was sold as a subdivided lot and the new one was built in 1999. Overgrown palm trees and ferns fill the garden, fenced by retaining walls, paths and terraces built over the years by Addison's grandfather and father. Because of this historical and personal connection, there was a great consideration for existing trees and man-made features such as the garden terraces. On the far side of the gully, across the footbridge, is Addison's studio, which was built first in 1997. The studio has large windows as well as fibreglass wall sections which slope back to maximise natural illumination and access to views (Addison Associates 2010).
The roof is also sloped and punctured so that it catches light from the north. The translucent roof skirts admit more light in to the space as well. It responds to the sun and wind; and functions as rain water catchment (Skinner 1999).
The house blends in very well with the local environment through Addison's mastery of roof: gables, hips and valleys - hipped volumes centre buildings, gables energise them, valleys compress space, eave lines edit external views, diagonal members enliven rectilinear compositions. Addison's use of hardwood, exterior and interior plywood cladding and corrugated roof in the Taringa House are due to his familiarity of the materials (Down the Garden Path, 2000). He employed single skin construction - (I found out what it meant) of which hardwood studs are exposed externally by an internal skin of below-dado plywood. The house breathes easily through humid weather by means of raised ventilation ridges at high point of each roof gable. This structure allowed the deck to be raised up as well as the whole house which is supported by red columns (Skinner 1999). The house only goes up for two levels to avoid an overbearing dominance in the gully, focusing attention to the existing trees as well as capturing north-easterly sun and breezes (Neale 2005).
Double-hung window and sliding doors is made of translucent fibreglass, allowing natural light to come in. The interior is further illuminated by slatted or fretted skylights while lower down, translucent canopies over the bathroom and entrance act as light diffusers - reflecting the wood surfaces (Down the Garden Path, 2000). The plywood fixed externally create external storage niches. The footbridge and the barbeque area is made from concrete beam.
Experience in the house varies during the two different seasons of summer and winter. The structure is more delicate and permeable than the lightest of traditional Queenslanders during summer. In winter, a comodious hearth warms the place, which is also an incinerator for branches from the garden -- the large central fireplace.It is "a house designed for coolness, but is shaped by emotional warmth and snugness" (Skinner 1999).
HOUSE AS CONTAINER OF HUMAN ACTIVITIES.
The house is a contemporary South-East Queensland style, constructed for this specific context. Set up in a tripartite arrangement like a Queenslander house, it has a ground plane, elevated platform and sheltering roof (Skinner 1999).
For Addison, the task of the architect is "to address life's needs in a direct way, through attention to the brief and some of its more prosaic demands" (Neale 2005) -- should consider for the Cabin design. It is built to shelter Addison's family rituals and pleasures, however, Addison seems to be "most interested in the common features of his suburban house types rather than individual variations for each client" (Spence 1986) and so the Taringa house consists of only the necessary spaces.
Entry to the house is from a compressed opening on the south, which is connected to the living area flowing under exposed beams and rafters and is shared with the dining room and kitchen. Each space, however, is defined by the arrangement of furnitures (e.g the pantry distinguishes the kitchen from dining; the fireplace which gathers the spaces together) and the shifts in geometry of the roof (Down the Garden Path 2000). This arrangement accommodate for core functions (such as cooking, storage and bathing) which are distributed in ways that help order settings for living. These public spaces maintain a relationship to the outside garden as the living room become an elaborate veranda space (Musgrave 2006).
The private s
paces are located at the back of the building and are arranged in a more complex series of spaces, and to the east, is a semi-covered deck. Each room in the house has built-in seating, storage and recesses for artworks. Old garden paths set the circulation of the new house (Down the Garden Path 2000).
Twin spaces at either end of the studio provide work areas for architectural drawing and printmaking, and are joined by a central service area (Building on the Past, 2000). The Taringa house and studio forms a supple blanket for bubbles of activity; shaping the sensations of enclosure and exposure (Skinner 1999).
HOUSE IS A DELIGHTFUL EXPERIENCE.
One of the delightful aspect of the Taringa house is the expression of roof as site habitation. As stated previously, the roof is sloped and turned at valleys to give views back to the south into the garden, engaging the sensory experience of sight.
Inside the house, the well-lit living spaces emit a warm timber glow. The high ceilings are emphasised by exposed beams giving it a sense of openness. The window bay beside the entry, formally blurs roof into wall and visually links the house to its studio (Building on the Past 2000).
The skylights are also enchanting, in that they filter the light through the patterned panels of leaf forms of the cabbage tree palm (Building on the Past 2000). It is also heightened by the adjustable plywood panels which modulate light from the translucent ridge vent down to the dining area (Skinner 1999).
There is also a personal connection to this space for the user -- Addison. He comments, "the integration of house and studio into the garden marks a new chapter - enriching, I hope, for both us and the garden" (Skinner 1999). The house and studio add a new layer of life to a site that has been to three generations of living. The studio reflects the historical and personal connection Addison establishes in his works. The sweeping garden views are also a contributing element which is a constant reminder of the building's special context.
So that's it. Hopefully I've referenced the information correctly. I will now be using this information as background knowledge so I can analyse it and pick out the points to consider for my Cabin Design. phewww!
Addison Associates. 2010. Taringa House and Studio. http://www.rexaddison.com.au/buildings/taringa_house_and_studio.php (accessed February 26, 2010).
Building on the Past. 2000. Houses (23): 40-46. http://web.ebscohost.com.ezp01.library.qut.edu.au/ehost/detail?vid=4&hid=8&sid=8a2edf12-8993-48d8-9647-3454e36e284e%40sessionmgr14&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=anh&AN=4105414 (accessed March 4, 2010) from Australia/New Zealand Reference Centre.
Down the Garden Path. 2000. The Architectural Review London 208 (1244): 94-96. http://proquest.umi.com.ezp01.library.qut.edu.au/pqdweb?index=0&did=62751102&SrchMode=1&sid=4&Fmt=4&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1267152986&clientId=14394&cfc=1 (accessed March 4, 2010) from ProQuest.
Musgrave, E. eds. 2006. Architecture's responsiveness: Mapping change in the Queensland house. In Sub-tropical Cities 2006: International Conference on Achieving Sustainable Urbanism in the Sub-tropics, Brisbane Australia, September 2006. http://www.subtropicalcities2006.qut.edu.au/documents/Papers%20Page/Papers/Musgrave%20-%20Architecture's%20Responsiveness%20.pdf (accessed March 4, 2010).
Neale, D. 2005. Archetypal Addison. Architecture Australia 94 (3): 85-93. http://www.archmedia.com.au/aa/aaissue.php?issueid=200505&article=11&typeon=2 (accessed February 26, 2010).
Skinner, P. 1999. Jungle Rhythms. Architecture Australia (88) 4. http://web.ebscohost.com.ezp01.library.qut.edu.au/ehost/detail?vid=4&hid=8&sid=f5b104e1-8b7c-4d35-8937-8e425732ee98%40sessionmgr13&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#toc (accessed February 26, 2010) from Academic Elite Search.
Spence, R. 1986. Rex Addison's House. Architectural Review 180 (1077): 66-74.
I finally found a book on Rex Addison. I'm going to check it out soon and add to my research if its relevant. But so far, here's what I got...
HOUSE AS AN ENVIRONMENTAL FILTER.
The site was the extended back garden of Addison's parent's home. The original home was sold as a subdivided lot and the new one was built in 1999. Overgrown palm trees and ferns fill the garden, fenced by retaining walls, paths and terraces built over the years by Addison's grandfather and father. Because of this historical and personal connection, there was a great consideration for existing trees and man-made features such as the garden terraces. On the far side of the gully, across the footbridge, is Addison's studio, which was built first in 1997. The studio has large windows as well as fibreglass wall sections which slope back to maximise natural illumination and access to views (Addison Associates 2010).
The roof is also sloped and punctured so that it catches light from the north. The translucent roof skirts admit more light in to the space as well. It responds to the sun and wind; and functions as rain water catchment (Skinner 1999).
The house blends in very well with the local environment through Addison's mastery of roof: gables, hips and valleys - hipped volumes centre buildings, gables energise them, valleys compress space, eave lines edit external views, diagonal members enliven rectilinear compositions. Addison's use of hardwood, exterior and interior plywood cladding and corrugated roof in the Taringa House are due to his familiarity of the materials (Down the Garden Path, 2000). He employed single skin construction - (I found out what it meant) of which hardwood studs are exposed externally by an internal skin of below-dado plywood. The house breathes easily through humid weather by means of raised ventilation ridges at high point of each roof gable. This structure allowed the deck to be raised up as well as the whole house which is supported by red columns (Skinner 1999). The house only goes up for two levels to avoid an overbearing dominance in the gully, focusing attention to the existing trees as well as capturing north-easterly sun and breezes (Neale 2005).
Double-hung window and sliding doors is made of translucent fibreglass, allowing natural light to come in. The interior is further illuminated by slatted or fretted skylights while lower down, translucent canopies over the bathroom and entrance act as light diffusers - reflecting the wood surfaces (Down the Garden Path, 2000). The plywood fixed externally create external storage niches. The footbridge and the barbeque area is made from concrete beam.
Experience in the house varies during the two different seasons of summer and winter. The structure is more delicate and permeable than the lightest of traditional Queenslanders during summer. In winter, a comodious hearth warms the place, which is also an incinerator for branches from the garden -- the large central fireplace.It is "a house designed for coolness, but is shaped by emotional warmth and snugness" (Skinner 1999).
HOUSE AS CONTAINER OF HUMAN ACTIVITIES.
The house is a contemporary South-East Queensland style, constructed for this specific context. Set up in a tripartite arrangement like a Queenslander house, it has a ground plane, elevated platform and sheltering roof (Skinner 1999).
For Addison, the task of the architect is "to address life's needs in a direct way, through attention to the brief and some of its more prosaic demands" (Neale 2005) -- should consider for the Cabin design. It is built to shelter Addison's family rituals and pleasures, however, Addison seems to be "most interested in the common features of his suburban house types rather than individual variations for each client" (Spence 1986) and so the Taringa house consists of only the necessary spaces.
Entry to the house is from a compressed opening on the south, which is connected to the living area flowing under exposed beams and rafters and is shared with the dining room and kitchen. Each space, however, is defined by the arrangement of furnitures (e.g the pantry distinguishes the kitchen from dining; the fireplace which gathers the spaces together) and the shifts in geometry of the roof (Down the Garden Path 2000). This arrangement accommodate for core functions (such as cooking, storage and bathing) which are distributed in ways that help order settings for living. These public spaces maintain a relationship to the outside garden as the living room become an elaborate veranda space (Musgrave 2006).
The private s
paces are located at the back of the building and are arranged in a more complex series of spaces, and to the east, is a semi-covered deck. Each room in the house has built-in seating, storage and recesses for artworks. Old garden paths set the circulation of the new house (Down the Garden Path 2000).
Twin spaces at either end of the studio provide work areas for architectural drawing and printmaking, and are joined by a central service area (Building on the Past, 2000). The Taringa house and studio forms a supple blanket for bubbles of activity; shaping the sensations of enclosure and exposure (Skinner 1999).
HOUSE IS A DELIGHTFUL EXPERIENCE.
One of the delightful aspect of the Taringa house is the expression of roof as site habitation. As stated previously, the roof is sloped and turned at valleys to give views back to the south into the garden, engaging the sensory experience of sight.
Inside the house, the well-lit living spaces emit a warm timber glow. The high ceilings are emphasised by exposed beams giving it a sense of openness. The window bay beside the entry, formally blurs roof into wall and visually links the house to its studio (Building on the Past 2000).
The skylights are also enchanting, in that they filter the light through the patterned panels of leaf forms of the cabbage tree palm (Building on the Past 2000). It is also heightened by the adjustable plywood panels which modulate light from the translucent ridge vent down to the dining area (Skinner 1999).
There is also a personal connection to this space for the user -- Addison. He comments, "the integration of house and studio into the garden marks a new chapter - enriching, I hope, for both us and the garden" (Skinner 1999). The house and studio add a new layer of life to a site that has been to three generations of living. The studio reflects the historical and personal connection Addison establishes in his works. The sweeping garden views are also a contributing element which is a constant reminder of the building's special context.
So that's it. Hopefully I've referenced the information correctly. I will now be using this information as background knowledge so I can analyse it and pick out the points to consider for my Cabin Design. phewww!
h
REFERENCES:Addison Associates. 2010. Taringa House and Studio. http://www.rexaddison.com.au/buildings/taringa_house_and_studio.php (accessed February 26, 2010).
Building on the Past. 2000. Houses (23): 40-46. http://web.ebscohost.com.ezp01.library.qut.edu.au/ehost/detail?vid=4&hid=8&sid=8a2edf12-8993-48d8-9647-3454e36e284e%40sessionmgr14&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=anh&AN=4105414 (accessed March 4, 2010) from Australia/New Zealand Reference Centre.
Down the Garden Path. 2000. The Architectural Review London 208 (1244): 94-96. http://proquest.umi.com.ezp01.library.qut.edu.au/pqdweb?index=0&did=62751102&SrchMode=1&sid=4&Fmt=4&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1267152986&clientId=14394&cfc=1 (accessed March 4, 2010) from ProQuest.
Musgrave, E. eds. 2006. Architecture's responsiveness: Mapping change in the Queensland house. In Sub-tropical Cities 2006: International Conference on Achieving Sustainable Urbanism in the Sub-tropics, Brisbane Australia, September 2006. http://www.subtropicalcities2006.qut.edu.au/documents/Papers%20Page/Papers/Musgrave%20-%20Architecture's%20Responsiveness%20.pdf (accessed March 4, 2010).
Neale, D. 2005. Archetypal Addison. Architecture Australia 94 (3): 85-93. http://www.archmedia.com.au/aa/aaissue.php?issueid=200505&article=11&typeon=2 (accessed February 26, 2010).
Skinner, P. 1999. Jungle Rhythms. Architecture Australia (88) 4. http://web.ebscohost.com.ezp01.library.qut.edu.au/ehost/detail?vid=4&hid=8&sid=f5b104e1-8b7c-4d35-8937-8e425732ee98%40sessionmgr13&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#toc (accessed February 26, 2010) from Academic Elite Search.
Spence, R. 1986. Rex Addison's House. Architectural Review 180 (1077): 66-74.
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