PART 1A - Archetype Research of the Casa Tolo House

As an Environmental Filter
Alvaro Leite Siza Vieira's Casa Tolo is unique in its advantageous manipulation of architectural form to replicate and correspond to the existing topography of a rather difficult site in Northern Portugal. Rather than cantilevering out or digging into the site, this weekend house acts as a stairway into nature through a combination of tumbling concrete blocks and staircases cascading effortlessly down the almost 33 degree site (Pearson, 2006, 128). The external form provides a semi-public walkway through the site, presenting the user with breathtaking south facing views whilst the internal spaces tease with glimpses of the view (Slessor, 2007, 39). The roof walkway is also designed as a series of gardens which mediate temperature but also turns the spaces into outdoor rooms indicative of the spaces beneath (Pearson 2006, 128). Despite the almost bunker-like appearance, natural light animates and characterises the interior through huge window cuts in the concrete formwork.

An Aerial View of the Site
Image Source: Fernando Guerra Photography

The Cascading Concrete Form
Image Source: Fernando Guerra Photography

The View Down the Slope
Image Source: Fernando Guerra Photography

As a Container of Human Activities
Designed as a weekend family retreat, the house might not be suitable for every person, but is a great piece of architecture nonetheless. Each concrete block contains a particular function whilst the flat roofs provide patio spaces above. The sequence of interior spaces follows the slope with an office beginning the journey at the summit. This drops down to the main living, dining, and kitchen area which is partially dug into the earth. The three bedrooms are identical cubes with staggered 45 degree orientations to the main axis of the house creating private zones for dress and laundry (Slessor, 2007, 41). A water pool concludes the slope, whilst intermediate levels offer spaces for sitting, reflecting, tanning, and outdoor showering (Pearson, 2006, 129).

Long Section and Floor Plan
Image Source: Architectural Review, 2007, p40

As a Delightful Experience
In the traditional Portuguese way, materials and construction techniques evident are very basic. Raw concrete dominates with its sheer mass indicating geological permanence whist parts of the flat roof are grassed over to soften the loud impact upon the landscape. The interiors are white walled and wooden floored creating a sense of neutrality for an unpretentious lifestyle. Internal stairs are given lightness through an uninhibited cantilever appearance (Slessor, 2007, 41). However this house is as much about the journey as it is the materials and tectonics. From the street the facade is almost invisible and appears as a concrete slab with a bunker like entrance. The house (both internally and externally) then takes the user on a journey down the slope, revealing breathtaking views from all angles (Pearson, 2006, 130).

The Interior Living Space
Image Source: Fernando Guerra Photography

Siza Plays with the Human Journey
Image Source: Fernando Guerra Photography

The Bunker-like Facade
Image Source: Fernando Guerra Photography

References
Slessor, C. 2007. Stair Master. Architectural Review 221(1323): 38-44.

Pearson, C.A. 2006. In Northern Portugal Alvaro Leite Siza Vieira Cascades Casa Tolo Down a Steep Slope Through Terraced Gardens. Architectural Record 194(4): 128-135.

PART 1A - Archetype Research of the Canoe Reach Residence

As an Environmental Filter
The open courtyard at the heart of the Canoe Reach Residence by Brian Steendyk forms the key living space and strongly embraces the qualities of the surrounding environment by opening the entire plan of the house to the natural elements of Brisbane's subtropical climate whilst also giving shelter and protection. A glass and steel pavilion is located in such a way as to protect the open courtyard from western afternoon sun and provide all day shade for the swimming pool beneath. Both visually and spatially, this space creates a strong connection between the building and nature (Steendyk Design, 2010). The U-shape of the building in plan also possesses a powerful ability to focus the user's attention towards the river, which can be seen from most of the rooms within, meaning it is perfectly oriented to view the parkland opposite, launch boats, or watch passing river traffic along either reach of the river (Abell, 2008, 74). The house is never more than one room deep, so visual connections between the interior and exterior spaces is unparalleled. Another objective was to embed the building down into the riverbank to connect it with the earth, give more flexibility with building height, and reduce the profile of the building from the street. As for materials, elegant natural blackbutt wood joinery and the combination of matt and gloss tiles of the entry tunnel which dances off the rivers surface gives the structural elements an effortless correlation with the surrounding natural elements. Natural texture and touch have been considered throughout, from the consistent detail of the joinery right through to the rough off-form concrete coloured in an earth tone.

The Street Facade Embedded in the Earth
Image Source: Christopher Frederick Jones

The Open Courtyard Space
Image Source: Christopher Frederick Jones

As a Container of Human Activities
The family oriented clients for this project needed a house that would grow with them and their children and meet their desire for living spaces with strong links between indoors and out. This was translated by Brian Steendyk into an array of functional and flexible open spaces. The entrance tunnel punctures the street facade half a level below the central court, kitchen, living pavilion, lounge box, and library. The children's bedrooms are located at the back of the U-shaped plan half a level higher, whilst the main bedroom is positioned at the highest point of the house. This half level system is height efficient, whilst it also creates connections to the central open court. A fly roof hovers over the courtyard which achieves both a private and climatically calm daily living space. Sloping steeply with a western aspect, the site was coupled with a riparian setback, minimum occupiable height requirements for flooding, height restrictions, sewer easement issues, and privacy issues with an adjoining house (Abell, 2008, 74). However the design succeeds in meeting the requirements of a modern family primarily through the flexibility of the open plan which also allows for future family development.

Ground Floor Plan
Image Source: Brian Steendyk

Rendered Elevation
Image Source: Brian Steendyk

As a Delightful Experience
Canoe Reach Residence is a unique design that provides the occupants with an array of different spatial qualities traditionally valued by people of South East Queensland. When arriving at the site the building appears to be a one storey occupancy shielded by the earth. Yet as you enter and pass through the confines of the narrow tunnel your expectations are blow away as you are opened up into the surprisingly light and airy space of the courtyard beyond. Upon entering the building, there is a grand sense of elegance as you become aware of the buildings scale and detail, its earth colours, and natural textures and materials. The fly roof and natural ventilation make all spaces within the building physically pleasant and it also allows for an abundance of natural light to penetrate into the space in the changing subtropical conditions. The view lines to the river are also maximised through the open plan. The definition of public and private spaces is also made obvious in plan by the closed rooms surrounds the open court at stepped levels (Steendyk Design, 2010).

The Light Open Experience of the Courtyard Entry

Image Source: Christopher Frederick Jones

The House Opens to the River

Image Source: Christopher Frederick Jones

References
Abell, J. 2008. A Bend in the River, in Houses issue 63: 72-78.

Steendyk Design. 2010. Canoe Reach Residence Info. http://www.steendyk.com/mainpage.htm (accessed March 3, 2010).

PART 1C - Application of Analysis Architects Cabin

Design Inspiration & Elementary Symbolism
Key parts of the design revolve around existing technologies, both natural and man made. Through exploration of a range of design elements (pictured below) I have created a design that is both symbolic, and direct in it's approach to the philosophy of the Bark Design practice. The most obvious part of the building's form I have chosen to manipulate is the roof structure. The central pole is designed to support the substantially organic and wave-like pattern. The structure itself is intended to mimic the affects of trees in the original design both climatically and formally. The roof is supported much like the bone structure in a leaf whilst the central pole which supports is a symbol of the tree trunk. The forms have been abstracted and the appropriate man made technologies (pole and steel supporting rods which are good in both tension and compression) have been employed.

The Form of the Fly-Roof will Mimic a Leaf's Bone Structure
Image Source: http://www.kewlwallpapers.com/images/wmwallpapers/Dew-Drops-Green-Leaf-1.jpeg

The Organic Abstract Form of the Roof will Replicate this Carton Lip Fold
Image Source: http://rarebirdfinds.typepad.com/rare_bird_finds/images/2008/08/21/milkcarton.jpg

Suspended Roof Technologies in Application
Image Source: http://farm4.static.flickr.com/3026/2922207096_8d38a39003.jpg

Firmness, Commodity, & Delight Synthesis
This project aims to address the key elements of the original Bark Studio house whilst providing a unique interpretation of the designed aspects. The following synthesis outlines the design approach in terms of the building as an environmental filter, a container of human activities, and as a delightful experience.

As an Environmental Filter
There are a range of environmental related elements in the original design which have been explored further in the diagrams which follow.

These include:

• A distinctively subtropical design approach
• Direct integration with the natural environment
• Minimisation of environmental impacts (including sustainability and on site)
• Flooding natural light
• Passive solar integrating wide eaves
• Natural cross ventilation through louvres and windows
• Natural finishes to materials
• Seamless connection between inside and out
• Maximised view lines
  

Application Analysis: As an Environmental Filter

As a Container of Human Activities
The design brief for architects Lindy Atkin and Stephen Guthrie was to encompass a studio space as a working environment for their emerging architectural practice. This new project encompasses an identical brief but on a smaller more individual scale.

Ideas explored:

• Flexibility of work and living space
• Open plan living
• Incorporation of functional spaces including kitchen and bathroom
• Definition of private and semi-private spaces
  
• Privacy provided the manipulation of structure and materials
  

Application Analysis: As a Container of Human Activities

As a Delightful Experience
The house should act as a getaway from the typical urban office setting one would expect to experience in an architect’s office. The following explores the space as a delightful experience confirming this concept.

Elements explored:

• Flooding natural light
• A sense of lightness
• Flexibility of uses including spaces for reflection
• A specific take on the rectilinear geometric form
• Simplicity of structure
• Honest representation of the material palette (Woods & Steel)
  
• Natural ventilation and passive cooling
  

Application Analysis: As a Delightful Experience

Final Application: Cabin for the Architect

Architects Cabin: Exterior Perspective

Architects Cabin: Site Plan Selection

Architects Cabin: Site Plan

Architects Cabin: Section A-A

Architects Cabin: South West Elevation

Architects Cabin: North East Elevation

Architects Cabin: Floor Plan

PART 1B - Analysis of Archetype Bark Studio

Analysis Sketches: As a Delightful Experience

Analysis Sketches: As a Container of Human Activities

Analysis Sketches: As an Environmental Filter

Bark Studio: Exterior Perspective

Bark Studio: Site Plan

Bark Studio: North East Elevation

Bark Studio: Detailed Cross Section

Bark Studio: Interior Section

Bark Studio: Mezzanine Level Floor Plan

Bark Studio: Ground Level Floor Plan

PART 1A - Archetype Research of the Bark Studio House

As an Environmental Filter
Bark Design Architects very own studio house in the Noosa Hinterland region of South East Queensland is one which typifies the practice’s distinctively subtropical design philosophy. “Bark’s aim is to create buildings that are designed from the inside, out. Responding directly to the needs of the people who use them, buildings integrate directly with the natural environment, insuring minimal environmental impacts and sustainability. Visually structures speak of lightness and transparency. Natural light, passive ventilation and cooling are fully explored to respond to the subtropical climate” (Bark Design, 2009). One of the key features of the structure is its ability to respect and float effortlessly between two mammoth bloodwood eucalypts. The visually striking elevated steel exoskeleton juxtaposes with both the natural materials and finishes used elsewhere in the design as well as with the environment itself. The floating design pays respect to the natural slope of the site as well as the root systems of the surrounding trees (Radar Projects, 2001). The open plan, and vast glass expanses also makes the building as much about the outside as the inside, with a seamless connection between the two allowing for breathtaking framed views across the North Coast landscape and the Pacific Ocean beyond (Guthrie & Atkin, 2006). Louvres are also utilised to maximise natural ventilation whilst the large glazing panels allow for the unlimited penetration of natural light into all parts of the building. The modular sized structure also allows for materials to be used efficiently and in a sustainable way.

The Modular House floats between Two Trees
Image Source: Bark Design Architects

The Interior Space overlooks the Pacific Ocean
Image Source: Bark Design Architects

As a Container of Human Activities
The design brief for architects Lindy Atkin and Stephen Guthrie was to encompass a studio space as a working environment for their emerging architectural practice, as well as providing flexibility between work and living resulting in a ‘shop-house’ typology (Guthrie & Atkin, 2006). The structure serves as both an architectural studio for six, and a living and sleeping space for two (Cilento, 2009). The open plan studio space fronts the small scale kitchen, bath, and library which run the length of the space. The smaller mezzanine level which is hidden amongst the trees provides a space for quiet reading, sleeping and bathing. The solid plywood facade acts to enclose the space from the road providing privacy and protection from the western sun (Radar Projects, 2001). In summary, this space succeeds in becoming a flexible and light space which functions perfectly as an architect's studio retreat ideal as a get away from the stereotypical office environment.

The Ground Plan is Open and Flexible
Image Source: Stephen Guthrie & Lindy Atkin

In Section the Building Effeciently Maximises Space
Image Source: Stephen Guthrie & Lindy Atkin

As a Delightful Experience
Most obviously, this house provides a tranquil getaway from the typical urban office setting one would expect to experience in an architect’s office. From the natural light that floods into the space through the surrounding windows, to the breathtaking framed views of the immediate landscape and the distant Pacific Ocean, this house works by challenging the concept of a traditional work environment by providing a pleasant experience of lightness and flexibility. At every join and detail, glass surfaces juxtapose cleanly with steel, aluminium, timber, and plywood, giving a clear and honest expression of materials and a simple, legible structure (Guthrie & Atkin, 2006). Clean lines and rectilinear geometry are also key features of the design which acts as a modular pod juxtaposing with nature. Natural ventilation and high roofs throughout the space provides a pleasant and natural working space.

The Pure Interior Frames the Environment
Image Source: Bark Design Architects

A Rectilinear Geometry is Experienced Throughout
Image Source: Peter Hyatt Photography

References:

Guthrie, S. & Atkin, L. 2006. Sunshine Coast Studio House. in UME issue 20: 2-7.

Cilento, K. 2009. The Studio of Bark Design Architects. http://www.archdaily.com/39543/the-studio-of-bark-design-architects/ (accessed March 2, 2010).

Bark Design Architects. 2010. Projects - Commercial - Bark Studio. http://www.barkdesign.com.au/ (accessed March 2, 2010).

Radar Projects: Noosa Studio. 2001. Architecture Australia. 90(5): p48.

Hyatt, P. 2003. High Modernity. in InDesign issue 14: 96-98.