The Cottage School is a unique, small, independent, secular, community primary school. It is located in Queen Street, in Kangaroo Bay. The school prioritises the environment as a critical framework for learning.

Cohabiting a series of Federation weatherboard worker's cottages, the School has established a unique pedagogical structure which borrows heavily from the intimacy and domesticity of its setting.

A new Green Cottage 'addition' was conceived as a unifying element between the existing external teaching and play environments, and the domestic scale of the original cottage. A verandah forms an extension of the educational realm, for woodwork, seating, and water play. Along this covered edge, an operable facade serves as a 'streetscape' for displays, and encourages imaginative play at thresholds. The sensorial environment is carefully orchestrated, through subtle acoustic and lighting. The new interiors are composed through a singular, warm and calming palette, which 'backgrounds' the experience of learning.

2024 AIA Tasmanian Chapter Jury Citation:

"The Cottage School is a small, independent primary school providing a curriculum focused on the holistic development of young people. The jury was impressed by the way in which the architects embraced their client’s ethos and their skill in translating this into an informed and purposeful solution.

The architects and school collaborated to produce a master plan and order of priorities that intelligently developed opportunities latent in the scale of the existing buildings and setting. At its core, the project demonstrates the capacity of well-crafted environments to foster student engagement and nurture learning.

Outdoor classrooms and play areas, and a new ‘veranda’ transitioning between indoor and outdoor spaces, inspire, delight and encourage imaginative play. The role of the natural environment in stimulating the senses has been skilfully incorporated in partnership with the landscape architect.

The versatile new and repurposed internal spaces have been orchestrated with an understanding of scale, detail, acoustics and colour to create an exceptional teaching and learning environment"

COMPLETED 2023

PROJECT CREDITS:

Builder: Jackman Builders Pty Ltd.

Engineer: Aldanmark Consulting Engineers Pty Ltd.

Landscape Architecture: Playstreet.

Photographer: Adam Gibson

AWARDS:

2024 AIA (Tas) Award for Educational Architecture

Conceived as a brick villa, James Street is located on an overshadowed and compact site, on the urban rim of Launceston’s colonial streetscapes.

The condition of the tight site, topography, and the presence of a century-old walnut tree is resolved in a strategy of walled courtyards, terraces, and volumes which abut the street edge.

From the street, walled courtyards elongate the entry sequence into the private realm. Quieter, immersive needs are oriented toward the light of walled courtyard gardens.

Elevated brick terraces and gardens allow for measured access to sunlight and aspect, and create daily connections to the streetscape. The walnut tree is used as a seasonal hinge for the composition of these courtyards and rooms, around which the interior volumes and gardens coalesce. This offers an unanticipated sense of expansion to the interiors, which is magnified by a subdued and dark palette that lofts towards the higher volumes.

AIA Tasmanian Chapter 2024 Jury citation:

"The Tasmania Medal is only awarded to projects of exemplary standard, acknowledging architecture that transcends the everyday and elevates our lived experience to a higher plane. The James Street house exhibits these values.

Like the song that inspired its brief, this new residence is a delicate and intricate composition of nuanced and contrasting spatial qualities.

On entry to its walled and private realm and then ascending through its three levels, a sequence of sensory experiences unfolds. Spaces compress and release, volumes overlap and extend then dissolve into adjacent courtyards, intimate landscapes or extended views that anchor the house in its broader civic context. Other spaces revolve around a retained 100-year-old walnut tree, which filters light and records seasonal change.

The interior is dark-coloured and textured: a highly crafted and intimately detailed stage set for the life of its owners.

Externally, the house is sculpted in carefully curated custom brick, referencing the masonry tradition of the region. It perches quietly and confidently within its hilly residential setting while the surrounding courtyard gardens form a private oasis. This is a masterclass in contemporary residential design."

COMPLETED 2023

PROJECT CREDITS:

Builder: Anstie Construction Pty Ltd.

Engineer: Aldanmark Consulting Engineers Pty Ltd.

Photographer: Adam Gibson

AWARDS:

2024 AIA (Tas) Tasmanian Architecture Medal

2024 AIA (Tas) Esmond Dorney Award for Residential Architecture – Houses (New)

In considering the 2023 NGV Triennial themes of Memory, Matter and Magic, we ask, ‘What does Country remember?’

Cloaked in a fine bronze mesh, a simple triangulated form circumscribes a vast field, which gathers the elements of the garden in an encompassing light, creating a kind of sensorium, and chamber for the Memory of Country.

Upon the floor of the field, a vast circular carpet of Murnongs (microseris walteri), endemic grasses and companion perennials grow.

In the overwhelming density of green, pockets of blooms emerge throughout the seasons of the pavilion. The Murnongs present their own reality, blossom in their own time, and transition to seed. That seasonality is itself an event. The bronze mesh captures the seed on the breeze. A meandering river of ash, and crushed charcoal snakes through the Murnong field, recalling the Birrarung.

The pavilion is sited asymmetrically to the primary alignment of the NGV, to tangentially propel the sense of movement into the interior of the field. The pavilion is approached from the NGV galleries, past a ceremonial smoking pit, which is sentinel to the experience of entering the pavilion proper. The structure makes no penetrations into the floor of the courtyard, being configured as a large ringed ‘raft’, which experientially collects the various elements of the site. The structure is compartmentalised, for remote prefabrication and ease of removal.

The materials of the proposal are deployed judiciously, for heightened experiential impact through minimum means. As ancient alloys of copper, contemporary brass and bronze are manufactured with recycled, salvaged materials. Upon decommissioning, these materials also have a completely salvageable yield. There is no redundancy in the material, and full circular economy with high recovery rates are maintained. Materials are durable, memorable, and purposeful in the context of the proposed use, particularly considering the likely intensity of visitor engagement. All other materials and components are detailed for ease of disassembly, and either stockpiling or redistribution to the construction market.

The primary materiality of the proposal is the Murnong field itself. Deploying a coconut-fibre underlay as a protective root barrier to the existing garden – the growing profile and horticultural infrastructure will be repurposed by Worawa Aboriginal College as part of the expansion of their existing facilities.

The modularity of the proposal allows for calibrations of the scale, in order to meet viability.

As the decommissioning phase approaches, Murnong are proposed to be harvested by the students at Worawa Aboriginal College, who will then brand and sustainably package the seed, plants, and scented essential oil for resale within the NGV Gallery Shop.

This offers a durational and performative quality to the engagement with the pavilion throughout its life.

It is proposed that proceeds from the sale of the Murnong Seeds and Plants, Essential Oil and the Catalogue, go to Worawa Aboriginal College to support the educational programs for young Aboriginal women.

JURY CITATION

"Designed for the 2023 Architecture NGV commission, this scheme is just as conceptually rigorous in its decommissioning and circularity of materials as in its built form. In today’s climatic context, the intent and purpose of a temporary pavilion is being questioned. This project provokes visitors, architects and clients to raise their expectations for the construction methodologies and civic duty of future pavilions, and to seek a greater return for the health of the environment and society from temporary projects.

The jury also commended the potential economic generosity of the project, with the proceeds from the sale of its central murrnong plants and seeds going toward educational programs for young Aboriginal women at Worawa Aboriginal College"

- AIA Unbuilt Prize

COLLABORATORS

Dr Lois Peeler AM

CLIENT
Commissioned by the National gallery of Victoria

The Unconformity engaged Taylor and Hinds to help facilitate an exploration about the spatial legacy and prospective adaptation of the Unconformity’s existing office: a late 19th Century non-conformist Church Hall, formerly St Andrews Presbyterian Church at 35 Cutten Street. A set of propositional thematics were established which were shaped by spatial observations about the character of the hall and the wider context of timkarik | Queenstown.

The Hall harbours secrets, and communal memory in its body. It holds these memories in a way that echoes the manner of the Mountains guarding the ore. This awareness of undisclosed and protected memory, that is difficult to access for ‘outsiders’, echoes within the Unconformity’s core mission of acting as a cultural conduit into Western Tasmania.   

The often-overcast skies above timkarik | Queenstown casts a sombre, gothic pall across the town. Likewise, in the dark depths of the earth – the ore is sought, and when found, brought toward the light. These are sensorial encounters that materialise out of an interiority of adits and shafts. Along these lines, the new architecture of the community must manifest atmospheres of feeling, rather than purely forms - working with the experiential dialogue of the dark and the light.

UNBUILT

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.

2019 AIA Tasmanian Chapter Awards Jury Citation:

"krakani lumi is extraordinary in a number of ways. It adds to the body of architectural knowledge by deploying an inventive use of lightweight half domes hung within cartesian boxes. The spaces recall ancient connections to shelter, place and country, without being imitative. The sensitive siting, placing and orientation of the ensemble appears to complete a composition already suggested by the existing landscape. This is further heightened in the inventive details; where edges dissolve, where buildings open and close, and where the ground itself is revealed as an engaging view. To have achieved all this without the use of glass is a huge success. A timeless, almost primal place is, very suitably, delivered to its community."

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.”

COMPLETED 2017

PROJECT CREDITS:
Builder: AJR Construct.
Engineer: Aldanmark Consulting Engineers Pty Ltd.
Photographers: Adam Gibson & Jordan Davis.

AWARDS:

2019 AIA (Tas) - John Lee Archer Triennial Prize.

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

c1842/2019

Purchased by new owners in 2017, this small four-room Georgian cottage was in a state of dilapidation and was at risk of ruin.

Constructed in 1842, the cottage had been in generational ownership for over a century, and retains much of its original fabric.

Through a program of careful restoration and repair, the exterior was reconditioned and a series of judicious erasures of the accumulated layers of building-fabric was made in order to uncover the original Georgian aspirations of the interior.

The tendencies of the Van Diemonian Georgian are peculiar; there is an underlying sense of subtlety and delicacy, which is also economic and purposeful.

The generations of families who previously occupied this house over two centuries were blacksmiths, carpenters and pastoralists. Their memory is recast in the new work through a series of finely crafted insertions, which provide contemporary amenity and create a delicate scaffold to the rooms.

2020 AIA Tasmanian Chapter Awards Jury Citation:

“Bozen’s Cottage speaks quietly of its Colonial Georgian design and history as a convict-built cottage that has had 180 years of continuous occupation. The north-eastern elevation, however, begins to reveal the insertions for contemporary living, carefully crafted by Taylor + Hinds Architects. The project commenced by stripping back the unsympathetic accretions and original fabric being carefully conserved through traditional techniques. This effort gave rise to the opportunity to make full use of the two large windows and generous window seats to the north-eastern elevation: a move which redefines the qualities of these living spaces to be light-filled and relieved of burdensome furnishings.”

COMPLETED 2019

PROJECT CREDITS:
Builder: Jackman Builders Pty Ltd.
Engineer: Aldanmark Consulting Engineers Pty Ltd.
Photographers: Adam Gibson, Michael Wee

AWARDS:

2023 AIA (Tas) - The Henry Hunter Triennial Prize

2020 AIA (National) - The Lachlan Macquarie Award for Heritage Architecture

2020 AIA (Tas) - The Roy Sharrington Smith Award for Heritage

2020 AIA (Tas) - People’s Choice Award

This small addition creates modern amenity for an emblematic Federation villa in West Hobart. An existing asymmetrically fronted, white-painted weatherboard house maintains the civic quality of the period through fine timber details, and fretwork. As an extension of the foundation, a new sandstone terrace is made at the rear, to anticipate a white ‘weatherboard’ extension, which sleeves from the northern façade of the original house, and wraps to create a new high-ceilinged timber-lined living room. A single large window catches sun, and borrows light from adjacent deciduous trees.

The new cladding plays with the scale of the original weatherboard and operable awning shutters allow easy management of privacy and light.

The new interiors are populated by a series of purposeful insertions, which clarify modes of occupation of the rooms. Within the new bathroom, a brass screen separates laundering and ablutions, and casts a soft, warm light across spaces for bathing.

2020 AIA Tasmanian Chapter Awards Jury Citation:

“This Federation weatherboard house is situated on the slopes of Lower Jordan Hill Road, overshadowed to the north and suffering the all-too-common problems of lacking light, garden access and modern amenities. Offsetting the new amenity and creating a protected terrace is central to the success of this project. The terrace allows northern light into the living spaces, the exaggerated volume of which allows an abundance of sunlight deep into the house. Timber walls and ceiling make for a soothing interior. Likewise, the contrasting clean white kitchen finishes provide a sense of calm. This is room-making at its finest.”

COMPLETED 2020

PROJECT CREDITS:


Builder: Dean Scurrah Builders Pty Ltd.


Engineer: Aldanmark Consulting Engineers Pty Ltd.


Photographers: Adam Gibson, Michael Wee

AWARDS:

2020 AIA (Tas) - The Edith Emery Award for Residential Architecture Houses (Alterations and Additions)

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.

COMPLETED 2018

PROJECT CREDITS:
Builder: AJR Construct.
Engineer: Aldanmark Consulting Engineers Pty Ltd.
Photographer: Adam Gibson

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 performance.  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.”

COMPLETED 2016

PROJECT CREDITS:
Builder: Southcoast Builders Pty Ltd.
Engineer: Aldanmark Consulting Engineers Pty Ltd.
Photographer: Adam Gibson

AWARDS:

2017 AIA Esmond Dorney Award for Residential Architecture – Houses (New).

COMPLETED 2019

PROJECT CREDITS:
Builder: Southcoast Builders Pty Ltd.
Engineer: Aldanmark Consulting Engineers Pty Ltd.
Photographer: Adam Gibson

A small addition to an original 1890s worker’s cottage forms an armature around an existing Pepper Tree (Schinus Molle), opening the original interior toward the amenity of sunlight and the garden. As old as the original house, and gnarled from the pressure of under-nourished growth, the tree casts a particular shadow, of long filtered strands of light, through gently draping boughs. Providing a focus both for the interior as well as for a new garden, the tree acts as a veil of privacy from neighbouring residences, and forms a filigree boundary to the domestic life harboured by the house.

Upon a concrete and white brick foundation, a new kitchen, bathroom and laundry extend from the original ordered plan - both increasing the thermal mass and anchoring the house into the north-facing rear garden. The addition develops an arboreal plan form, of branching wall elements which search for light and relation between the social and bathing spaces with the central focus of the tree and garden.

Circumscribed by the canopy, a curved translucent wall of frosted glass brick refracts and diffuses the light at varying degrees - magnifying the constant shifts in the silhouette of the tree, and making it an occasion within the most intimate rooms of the house.

COMPLETED 2019

PROJECT CREDITS:
Builder: Southcoast Builders Pty Ltd.
Engineer: Aldanmark Consulting Engineers Pty Ltd.
Photographer: Matt Sansom

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. “

COMPLETED 2017

PROJECT CREDITS:
Builder: AJR Construct.
Engineer: Aldanmark Consulting Engineers Pty Ltd.
Photographers: Adam Gibson

AWARDS:

2018 - AIA Roy Sharrington Smith Award for Heritage

This masterplan for an existing high profile community housing site, was generated to increase the housing yield and quality of the shared public realm.

The site has offered maisonette model living for nearly 70 years, and the proposed masterplan sought to clarify and consolidate the amenity of shared gardens, while reinforcing and heralding the sense of community at the site’s margins.

The Masterplan increased the accommodation yield of the site from 85 to 150 sole-occupancy dwellings, with a pro rata increase of 200% in car parking spaces, while simultaneously increasing the quality of the shared realm.

Two cardinal plan types were generated, associated with generous open-air stair access, shared between ‘neighbourhoods’ of residents, with generous prospects offered from the individual apartments. All front doors are visible across the site. This planning strategy, recalling the social thresholds of the tenement housing, increases social gradients and neighbourliness.

This resulted in equitable outcomes for existing residents and, as a demonstration project, appealed to the Tasmanian Government as a ‘leading’ scheme to fund.

COLLABORATORS

Partners Hill

TIMELINE

Masterplan 2020

CLIENT

Housing Choices Tasmania

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.”

COMMENCED 2019

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.”

COMPLETED 2016

PROJECT CREDITS:
Builder: Dean Scurrah Builders 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 makes 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.”

COMPLETED 2014

PROJECT CREDITS:
Builder: Southcoast Builders Pty Ltd.
Engineer: Aldanmark Consulting Engineers Pty Ltd.
Photographer: Jonathan Wherrett

AWARDS:

2018 AIA James Blackburn Triennial Prize

2015 AIA Esmond Dorney Award for Residential Architecture – Houses (New)

2015 Intergrain Timber Vision Awards — Residential Interior

2015 Intergrain Timber Vision Awards —Residential Exterior; commendation

2015 Houses Awards — New House Over 200 Square Metres; finalist

2015 Think Brick Awards — Kevin Borland Masonry Award; commendation

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.

COMPLETED 2014

PROJECT CREDITS:
Builder: Dean Scurrah Building.

Engineer: Aldanmark Consulting Engineers Pty Ltd.

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.

COMPLETED 2007.

PROJECT CREDITS:
Builder: Century Construction Pty Ltd
Engineer: Gandy and Roberts Consulting Engineers Pty Ltd.

Photographer: Poppy Taylor