The design of this family house acknowledges the legacy of the brick homes that populate this established suburb in Melbourne’s east. The starting point for the design came from a series of drawings found in The State Savings Bank of Victoria’s Design Book: Housing Loan Conditions from 1941. This book contains “thirty designs of modern dwellings” by the bank’s in-house architect G. Burridge Leith – designs that shaped the suburban streetscape of this area.
Rooms within the house are organised as simple boxes that slip past each other, creating a complex play of openings that draw light and ventilation into the centre of the house. Golden cream brickwork and raw concrete are used together with ribbed and clear glass to create a minimal yet warm palette that is coherent with and respectful of neighbouring houses. Within the boxes, curved brickwork achieves a sense of movement along the central hallway and lends a gentle asymmetry to the composition.
Spatially, the home responds to the steeply sloping block and the client’s brief for an elegant yet relaxed home that accommodates meals with a large extended family. A stepped plan allows the kitchen, dining and living rooms on the upper level to take advantage of the northerly aspect and calm treetop views, while a terrace on the lower level connects to the pool and the garden below.
The design of this family house acknowledges the legacy of the brick homes that populate this established suburb in Melbourne’s east. The starting point for the design came from a series of drawings found in The State Savings Bank of Victoria’s Design Book: Housing Loan Conditions from 1941. This book contains “thirty designs of modern dwellings” by the bank’s in-house architect G. Burridge Leith – designs that shaped the suburban streetscape of this area.
Rooms within the house are organised as simple boxes that slip past each other, creating a complex play of openings that draw light and ventilation into the centre of the house. Golden cream brickwork and raw concrete are used together with ribbed and clear glass to create a minimal yet warm palette that is coherent with and respectful of neighbouring houses. Within the boxes, curved brickwork achieves a sense of movement along the central hallway and lends a gentle asymmetry to the composition.
Spatially, the home responds to the steeply sloping block and the client’s brief for an elegant yet relaxed home that accommodates meals with a large extended family. A stepped plan allows the kitchen, dining and living rooms on the upper level to take advantage of the northerly aspect and calm treetop views, while a terrace on the lower level connects to the pool and the garden below.
The design of this family house acknowledges the legacy of the brick homes that populate this established suburb in Melbourne’s east. The starting point for the design came from a series of drawings found in The State Savings Bank of Victoria’s Design Book: Housing Loan Conditions from 1941. This book contains “thirty designs of modern dwellings” by the bank’s in-house architect G. Burridge Leith – designs that shaped the suburban streetscape of this area.
Rooms within the house are organised as simple boxes that slip past each other, creating a complex play of openings that draw light and ventilation into the centre of the house. Golden cream brickwork and raw concrete are used together with ribbed and clear glass to create a minimal yet warm palette that is coherent with and respectful of neighbouring houses. Within the boxes, curved brickwork achieves a sense of movement along the central hallway and lends a gentle asymmetry to the composition.
Spatially, the home responds to the steeply sloping block and the client’s brief for an elegant yet relaxed home that accommodates meals with a large extended family. A stepped plan allows the kitchen, dining and living rooms on the upper level to take advantage of the northerly aspect and calm treetop views, while a terrace on the lower level connects to the pool and the garden below.
This proposal for a temporary pavilion in the grounds of Melbourne’s National Gallery of Victoria (NGV) explores how an impermanent structure might be expressed in a fluid and temporal way.
The design references important moments in the NGV’s collection and its architecture to conceive an evocative and memorable site-specific installation.
A new gallery space is defined by walls of sheeting water. Willem de Kooning’s Standing Figure is enclosed within the walls. One-way glass mirrors on the ceiling and the end wall engage the viewer in a game of light, space and optical illusion, and re-present the sculpture in a new paradigm. The kinetic installation is intended to provide an emotional spatial experience that propels the audience to engage with the artwork and interact with the cascading water.
Architecturally, the installation mirrors the proportions of Roy Grounds’s Great Hall and draws inspiration from the enduring appeal of the water wall at the gallery entrance. It is also inspired by artworks from the NGV collection, including Bill Viola’s Ocean without a shore and Donald Judd’s Untitled (1969–71).
The Water Gallery is accessed using bright yellow umbrellas, creating a sense of joy and theatre through the audience’s interactions with both the gallery and the art that it holds.