
English: 
so for me in essence a super house is
something that is beyond the everyday
you know we're very used to certain
conventional ways of living but clever
architects can interpret the sight the
brief the materials and they can deliver
it in a way that is quite it takes people
 beyond but in a beautiful way
and is very adaptive to their lifestyle we
did have a certain criteria around
around what we were looking for and
connection to nature was actually really
major and it does provide quite a thread
throughout the book and the exhibition
when you look at that that connection so
excite was very important this 360
delivery of form was very important a
great interior was important but also
that it had something to hook on to
conceptually so that might be an idea

English: 
So, for me, in essence
a super house is something
that is beyond the everyday.
You know, we're very used to certain
conventional ways of living.
But clever architects can interpret
the site, the brief, the materials
and they can deliver it
in a way that is quite...
It takes people beyond,
but in a beautiful way
and is very adaptive
to their lifestyle.
We did have a certain criteria
around what we were looking for.
And connection to nature
was actually really major.
And it does provide quite a thread
throughout the book
and the exhibition
when you look at that connection.
So site was very important.
This 360 delivery of form
was very important.
A great interior was important.
But also that it had something
to hook onto conceptually.
So that might be an idea
that was delivered
through technology or through craft.

English: 
And so it meant that
it just had to have one central idea
that took it beyond the everyday.
Look, to me there are many things
that would make a house
a super house,
that would elevate it to that level.
And, you know, it can be in terms
of the location, the construction,
the elevation, the dimensions.
All of those things
would make a house a super house.
But for me, the really important
element is the emotional one.
I need to have that emotional
attachment to a house as well.
It can tick all the boxes
in terms of its construction
and size and everything,
but it needs to have
an emotional appeal to me as well.
A super house to me
is something that's actually able
to stand on its own two feet
and really have its own personality
and demonstrate
this kind of clear thinking

English: 
that was delivered through technology or
through crafts and so it meant that it
just had to have one central idea that
took it beyond the everyday
to me there are many things that would
make a house a super house that would
elevate it to that level and you know it
can be in in terms of the location the
construction the elevation the
dimensions all of those things would
make a house a super house but for me
the really important element is the
emotional one I need to have that
emotional attachment to a house as well
it can tick all the boxes in terms of its
 construction and size and everything
but it needs to have an emotional appeal
to me as well a super house to me is
something that's actually able to stand
on its own two feet and really have its
own personality and its and demonstrate
this kind of clear thinking and it's

English: 
anything that really responds to the
brief the client the context and and and
create something that we haven't seen
before it's it's it's uniquely relevant
for that project to me is super house is
a architectural perfect storm it's got
everything going it's got the right
materials it's got the right sides got
the the right feel and I think most
importantly for me it challenges the
conventions of how you think a house
should be and then once you get there
you go I don't yeah I get this I could
live here this is like the perfect space
it's the space where you go it's the
house that gives you envy I think the
most important thing is super house
should have is a place for all your old
junk so that you can chuck it all in
here and no one complains that it's in
the living space so this is what I love
the term super house I don't think has

English: 
that really responds to the brief,
the client, the context
and create something
that we haven't seen before -
it's uniquely relevant
for that project.
To me, a super house
is an architectural perfect storm.
It's got everything going.
It's got the right materials,
it's got the right site,
it's got the right feel.
And I think most importantly for me,
it challenges the conventions
of how you think a house should be.
And then once you get there you go,
"Oh, no, yep, I get this.
"I could live here.
This is, like, the perfect space."
It's the space where you go...
(GASPS)
It's the house that gives you envy.
I think the most important thing
a super house should have
is a place for all your old junk
so that you can chuck it all in here
and no-one complains
that it's in the living space.
So this is what I love.
The term 'super house'

English: 
anything really to do with the design of
a building I think through design houses
can be super as an outcome and we would
never sit down roll up our sleeves and
say let's make this one a super house I
think the super house is a combination
between a client their brief
and the architectural response to it
well I think what's great about the
houses in this exhibition is they just
take a different perspective on everyday
living and I think that's why people can
identify with it they can think oh I
could live like that or I couldn't you
know when I talk to young Bentham about
his tiny highs I said how did you deal
you know with children and staff and so
forth and and those are you know real
issues and but they were prepared to
live that way and I think it's that
creativity of approach and again the
openness to how things might be or could

English: 
I don't think has anything really
to do with the design of a building.
I think, through design,
houses can be super as an outcome.
And we would never sit down,
roll up our sleeves
and say,
"Let's make this one a super house."
I think a super house
is a combination
between a client, their brief, and
the architectural response to it.
I mean, I think what's great
about the houses in this exhibition
is they just take a different
perspective on everyday living.
And I think that's why people
can identify with it.
They can think, "Oh, I could live
like that." Or, "I couldn't."
You know, when I talked
to Jan Benthem about his Tiny House,
I said, "How did you deal,
you know, with children and stuff
"and so forth."
And those are,
you know, real issues.
But they were prepared
to live that way.
And I think
it's that creativity of approach
and again the openness
to how things might be or could be

English: 
that really helps
push these concepts forward
and allows you to have something
that is personally 'super'.
A house I visited
on Sydney's Northern Beaches
almost 16 years ago,
was probably my first encounter
with a super house.
It was an extraordinary place,
designed by the architect
Richard Leplastrier.
And set back just from the beach,
hidden there amongst the palms,
totally dictated by the weather
and by the geography of the area.
The house was just, to me,
an absolute gem.
And I have never forgotten it.
I can remember
sitting there in that home
as clearly today
as if it was yesterday.
And it was just remarkable
because it, to me, represented
a whole new way of living.
And it was my entree
into a whole new continent
and a whole new hemisphere.
And for me that was
definitely a super house.

English: 
be
that really helps push these concepts
forward and allows you to have something
that is personally super a house I
visited on Sydney's Northern Beaches
almost 16 years ago was probably my
first encounter with a super house it
was an extraordinary place designed by
the architect Richard Laplace 3a and set
back just from the beach hidden there
amongst the palms totally dictated by by
the weather and by the geography of the
area the house was just to me an
absolute gem and I have never forgotten
it I can remember sitting there in that
home as clearly today as if it was
yesterday
and it was just remarkable because it to
me represented a whole new way of living
and it was it was my entree into a whole
new continent and a whole new Hemisphere
and for me that was definitely a super

English: 
My super house, it's the Sheats
Goldstein house by John Lautner.
And Lautner designed the house
from inside out
and everything within it.
So it was a complete package.
And kind of sounds a little bit like
a major control-freak moment,
where, you know, everything -
the house itself,
including all the furnishings
and little accessories -
are designed for it.
But it's an amazing achievement.
You know, back in the '60s
they probably weren't concerned
with safety like we are now.
I think I've seen some images
of people walking around
and, you know, being able to almost
fall, you know, to their mercy
down into the...you know,
into the bush.
But we have to navigate all of these
rules and regulations nowadays
and still come up
with something extraordinary.
It kind of sucks.
I think Lautner was probably
a rock star of architecture.
There was a bit of, "I don't care -
I just want to make it cool."
(CHUCKLES) So...
What would be,
in my view, a super house
would be OMA's Bordeaux House.
And it is... You know, the brief...

English: 
house my super house it's the sheets
Goldstein house by John Lautner and
Lorton are designed the house from
inside out and and and everything within
it so it was a complete package and kind
of sounds a little bit like a major
control freak moment but you know
everything the house itself including
all the furnishings and little
accessories are designed for it but it's
an amazing achievement you know back in
the 60s there probably weren't concern
with them with safety like we are now I
think I've seen some images of people
walking around and you know being able
to almost fall
you know to their mercy down into the
you know into the bush but we have to
navigate all of these rules and
regulations nowadays and still come up
with something extraordinary kind of
sucks
I think Lautner was probably a rock star
of architecture it was a bit of I don't
care I just want to make it cool so what
would be in my view a super house will
be over maize Bordeaux house and it is
you know the brief or I should decline

English: 
Actually, the client for that house
is a paraplegic person
and his family.
And the unique nature of the brief
necessitated the architect
to totally rethink
how the house is organised
horizontally and also vertically.
And what OMA did
was to design a very large
four- by four-metre platform,
which also acts as a room.
And that platform is really a lift
at the same time
in the centre of the house.
And it totally...by putting it
in the centre of the house,
it totally structures the house
around that lift,
around that platform.
And in doing so just reorganises
and rethinks what a house...
..you know,
rethinks a traditional house
purely because of
the unique nature of the brief.
Well, I think there are
so many incredible examples,
you know, around the world.
But the one that I feel connected
to, are super houses for me,
are these traditional island homes
built, you know,
often by the occupant and owner,

English: 
for the house is a paraplegic person and
his family and the unique nature of the
briefing it has necessitated the
architect that totally rethink how the
house is organized Horizonte and also
vertically and what I'm a did was to
design a very large four by four meter
platform which also acts as a room and
that platform is really a lift at the
same time that there's in the center of
the house and it totally by putting it
in the center powers it totally
structures the house around that lift
around that platform and in doing so
does reorganizes and we thinks what a
house in everything's a traditional
house Dulli because of the unique nature
of the brief well I think that there are
so many incredible examples you know
around the world but the one the one
that I feel connected to you know super
houses for me
yeah are these traditional Island homes
built you know often by the occupant and

English: 
owner you know with very basic materials
that have been collected salvaged from
the place itself often where they there
is the traces of hand at every level of
making where they've you know cobbled
the place together with with friends and
family I think it's the fingerprints of
of a human endeavor or of activity of
their and that those fingerprints or
traces are important because they reveal
authenticity it doesn't remove the story
the human story and narrative if I think
places need to have a human story and
narrative and they need and that's how
we generate this kind of visceral
response to the things
it was very important to me that small
spaces had cut a role to play in this
exhibition as well because I think
that's the the way things are trending
and the ingenuity required from
architects to deliver something small

English: 
you know, with very basic materials
that have been collected,
salvaged from the place itself,
often where there is
the traces of hand
at every level of making.
Where they've cobbled the place
together with friends and family.
I think it's the fingerprints
of human endeavour,
of activity, of their...
And those fingerprints or traces
are important
because they reveal authenticity.
It doesn't remove the story,
the human story and narrative.
I think places need to have
a human story and narrative.
And they need...
And that's how we generate this
kind of visceral response to things.
KAREN: It was very important to me
that small spaces had a role to play
in this exhibition as well
because I think that's the way
things are trending.
And the ingenuity required
from architects
to deliver something
small and powerful
is a great example
of how their thinking is expressed.

English: 
and powerful it is a great example of
how the thinking is expressed and so in
in the exhibition we have we have
several great examples that are very
diverse so one is in Ireland and it's
the Golding summer house which is tiny
and was originally built really as a
sort of party house really as a dance
floor cantilevered over a river it it
did the winter is sort of a period of
ruin and is recently being been revamped
to have a more domesticated feeling that
it now has a you know a bedroom and a
small kitchen and bathroom but it
remains this kind of wonderful museum
pavilion suspended over over the river
in a way that it's very unusual in
Ireland particularly in that period and
then on the other hand you have in a
very dense urban environment you have
Dominic alvaro small house which was a
tremendous global success and an
award-winning project and that was
taking a sort of almost unbuildable tiny

English: 
And so in the exhibition
we have several great examples
that are very diverse.
So, one is in Ireland.
And it's the Goulding Summerhouse,
which is tiny
and was originally built really
as a sort of party house
really as a dance floor
cantilevered over a river.
It did go into
sort of a period of ruin
and has recently been revamped
to have a more domesticated feel,
in that it now has a bedroom
and a small kitchen and bathroom.
But it remains this kind of
wonderful Miesian pavilion
suspended over the river
in a way that is
very unusual in Ireland,
particularly in that period.
And then on the other hand
you have...
..in a very dense urban environment
you have Domenic Alvaro's
Small House,
which was a tremendous global
success and award-winning project.

English: 
And that was taking a sort of almost
unbuildable tiny car park site
and turning it into something
through clever planning,
into something that was
light-filled and quite beautiful.
Yeah, I mean we'd been looking
in Surry Hills
and we found this particular site.
It was a seven- by six-metre site.
But it was in a laneway.
It wasn't on a primary street.
And it was also adjacent
a 12-storey office building.
And it was essentially an empty
car park for two or three cars.
But at the same time,
seven by six metres,
whilst the perception
is that is actually small,
for me,
I saw that as a key opportunity.
And it did...immediately upon
visiting the site, it was,
"Actually,
this is quite substantial."
If you took
a six by six by six volume,
it's quite a substantial volume.
And most living spaces
in modern apartment buildings
don't even get anywhere near
six metres.

English: 
car park site and turn it turning it
into something through clever planning
and into something that was light filled
and and quite beautiful
yeah I mean we we've been looking in
Surry Hills and we found this particular
site it was a seven by six meter side
but it was in a laneway
it wasn't on the on a primary street and
it was also adjacent a 12-story office
building and it was essentially an empty
car park for to two or three cars but at
the same time 7 by 6 meters whilst the
perception is that is actually small for
me I saw that as a key opportunity and
it did immediately upon visiting the
site was actually this is quite
substantial if you took a six by six by
six volume it's quite a substantial
volume and most living spaces in modern
apartment buildings don't even get
anywhere near six metres my first

English: 
My first reading was, "Wow,
this is amazing. This is huge.
(LAUGHS) "This is a big space.
"I could really manage this
quite neatly."
And the fact that I was surrounded
by tall buildings
also gave me the confidence
that actually the height
won't become an issue.
Once you get elevated
over the second level,
it has an amazing view
back to the CBD.
That started to set where
we may locate the living space.
And then we had the living space
and entertainment and sleeping,
so that they just become zones.
And so we thought, "Well,
we don't want the sleeping zone
"to be elevated on the rooftop.
"We want it to be more of
a sanctuary and more low down."
It was really about getting that
living and entertainment elevated
as high as we could
because you move
either up to the roof terrace
or down to a living space.
So the kitchen
then became the sort of hub
between the three living spaces.
So, actually, low down
it's quite solid, the house.

English: 
reading was well this is amazing this is
huge this is a big space I could really
manage this quite neatly and the fact
that I was surrounded by tall buildings
also gave me the confidence that
actually the height won't become an
issue once you get elevated over the
second level it has an amazing view back
to back to the CBD that started to sit
where we might locate the living space
and then we had a living space and
entertainment and sleeping so that they
just become zones and so we thought well
we don't want the sleeping zone to be
elevated on the rooftop we want it to be
more of a sanctuary and more low down it
was really about getting that living and
entertainment elevated as high as we
could because you move either up to the
roof terrace or down to a living space
or the kitchen then became this sort of
hub between the three living spaces so
actually low down it's quite solid the
house sits there punched windows it's

English: 
quite protective it is this idea of a
sanctuary let you go into this concrete
bunker and inside is this sanctuary of
of your home in the city and then as you
move out from the lower levels it just
opens up to being very light very
spacious the ambient daylight was
tastic we actually built the house in
four days because of the small footprint
because of the repetition we built
off-site we fabricated everything
off-site we assembled it all on-site
proofing prefabricated so it was you
know lift one two three four and the
entire house was built yeah you have to
close the road and that's expensive but
you're only doing there four times so we
delivered a building for the cost of an
apartment and delivered the finishes and
all of the the value adds that I wanted
in in the project so it works really
hard this more like it works very hard

English: 
They're punched windows.
It's quite protective.
It is this idea of a sanctuary.
Like, you go into
this concrete bunker
and inside is this sanctuary
of your home in the city.
And then as you move out
from the lower levels,
it just opens up
to being very light, very spacious.
The ambient daylight was fantastic.
We actually built the house
in four days.
Because of the small footprint,
because of the repetition,
we built off site.
We fabricated everything off site.
We assembled it all on site,
prefabricated,
so it was, you know,
lift one, two, three four,
and the entire house was built.
Yeah, you have to close a road
and that's expensive,
but you're only doing that
four times.
So we delivered a building
for the cost of an apartment.
And delivered the finishes
and all of the value-adds
that I wanted in the project.
So it works really hard,
Small House.
Like, it works very hard
on many levels.

English: 
And I think that's what makes it
a super house.
It's not so much
that a super house is super
in terms of big or impressive,
it's about,
"Does it work for my life?
"And can it adapt
to my changing life?"
So, I might, you know, have kids,
or kids might leave
or I might feel like at certain
times I'm working a lot from home
or we're out of home a lot.
So, you know, can it expand
and contract with me
as my life continues?
So, that is something...
That adaptable home
and that home that really suits
the kind of life I want to live -
that's a super house.
The Trunk House
is located in a forest
in the Central Highlands
of Victoria.
It's a stringy bark forest,
so there's almost no ground cover,

English: 
on many levels and I think that's what
makes it a super house it's not so much
the super houses is super in terms of
Bhrigu impressive it's about does it
work for my life and Canada adapt to my
changing life so I might you know have
kids or kids might leave or I might feel
like it at certain times I'm working a
lot from home or we're out of home a lot
so you know can it expand and contract
with me as my as my life continues so
that is something that adaptable home
and that home that really suits the kind
of life I I want to leave that's a super
house the trunk house is located in a
forest in the central highlands of
Victoria it's just stringing back
forests so there's almost no ground
cover it's just just the trees you know
quite a you know very under present

English: 
canopy as well but I guess from the
outset ourselves architects and the
clients were keen to integrate the house
into the context of the forest so that
at certain points the structure of the
house is almost a confusion or a
blurring between the structure of the
house and
the trucks in the forest with the
engineer pedophilic Shetty we came
across the idea of using the tree trunks
of our vacations to act as supporting
members for the house I mean it's the
kind of project where we really needed
the right engineer and the right builder
and the right craftsman become sculptor
to put the bifurcations together you
don't want it to look too rustic

English: 
it's just the trees and quite
a very omnipresent canopy as well.
But I guess from the outset
ourselves as architects
and the clients
were keen to integrate the house
into the context of the forest.
So that at certain points
the structure of the house is
almost a confusion, or a blurring
between the structure of the house
and the...the trunks in the forest.
With the engineer, Peter Felicetti,
we came across the idea of using
the tree trunks or bifurcations
to act as supporting members
for the house.
I mean, it's the kind of project
where we really needed the right
engineer and the right builder
and the right craftsman-cum-sculptor
to put the bifurcations together.
You don't want it to look too rustic
or too kitsch.

English: 
you know - kitsch so you get someone
with the skill to be able to to work
these bifurcations and join the tops and
the columns which have different
diameters and cross-sections to join
them so it looks like a fluid form takes
a lot of skill and time the house is
basically you know one giant trusts so
it's very strong even though the the men
was a you know they're only about that
that diameter they're quite thin but but
very strong it's a very small house
that's the size of an apartment
basically because it's a weekend but we
don't tend to see that as a limitation
in the interior and living areas that
it's all timber and that was even a
conscious affect the timber lining

English: 
So to get someone with the skill
to be able to...
to work these bifurcations
and join the tops and the columns,
which have different diameters
and cross-sections
to join them
so it looks like a fluid form,
takes a lot of skill and time.
The house is basically,
you know, one giant truss,
so it's very strong
even though the members are,
you know...
..they're only about that diameter.
They're quite thin but very strong.
It's a very small house.
It's the size of an apartment,
basically, because it's a weekender.
But we don't see that
as a limitation.
In the interior, in the living
areas, it's all timber.
And that was a conscious effect.
The timber lining internally
on the living room walls
is stringy bark.

English: 
So when the trees were removed to
make way for the house construction
there was a milling machine
that came on site,
milled down those stringy bark
trees that were removed.
Those boards were seasoned
over about eight months or so.
We weren't exactly sure
what kind of figuration we'd get,
or grain, after they'd been milled.
But we were really pleased, because
the grain has a lot of character.
So, to apply the term
'super house' to the Trunk House,
for me is about the idea
that this house is about going into
a forest and developing a concept.
In this case, using bifurcations,
using forms in the ecology
in a very primary sense
to create the concept of the house.

English: 
internally on the living room walls is
stringy bug so when the trees were
removed to make way for the house
construction it was a milling machine
that came on site milled down those
stringy back trees that were removed
those boards were seasoned over about
eight months or so
they weren't exactly sure what kind of
figuration would get more grain after
they've been milled but we were really
pleased because the grain has a lot of
character so to apply the term super
house to the trunk house for me is about
the idea that this house is about going
into a forest and developing a concept
in this case using bifurcations using
forms in the ecology in a very primary
sense to create the concept of the house

English: 
well you know the first time I looked
the site up it was some it was like sort
of going into God's country it's looks
like this I haven't really been to any
other places like that before
so you sort of enter the valley and you
really feel like you're in this
incredibly secluded area and you also
feel like you're in a very it's not only
sort of more inspiring its beauty but
you've got the its flanked by two large
mountain ranges so you really feel like
you're very safe and secure and on the
side there's a creek that runs through
the site and so one of the very
important parts of the brief was that
the house had to be sited near the creek
we oriented the house along the axis
that along the axis of the mountains
because it was formed such a strong line
it was very hard to ignore it so that
that became the sort of access for the
whole design and we had to incorporate
to sort of stone cottages that were part
of the sort of history of the site and
apparently they'd been Bushrangers in

English: 
Well, the first time
I looked at the site
it was, um...
..it was like sort of
going into God's country.
It's this, like, this...
I haven't really been to
any other places like that before.
So you sort of enter the valley
and you really feel like you're
in this incredibly secluded area.
And you also feel like
you're in a very...
It's not only sort of awe-inspiring
in its beauty, but you've got...
..it's flanked by
two large mountain ranges,
so you really feel like you're
very safe and secure on the site.
There's a creek
that runs through the site
And so one of the very important
parts of the brief
was that the house
had to be sited near the creek.
We oriented the house
along the axis of the mountains.
Because it was...
formed such a strong line
it was very hard to ignore it.
So that became the sort of axis
for the whole design.
And we had to incorporate
two sort of stone cottages
that were part of
the sort of history of the site.
And apparently there'd been
bushrangers in the area

English: 
the area that had hidden out quite a
famous bushranger was there so we kind
of felt it was very important to
maintain the cottages as as part of the
house I'm sort of very fascinated with
the idea of grafting so the idea of
grafting in in Japanese gardens where
they there's an existing sort of tree
and they might sort of chop it all
they'll alter it in some way or they
might add another piece to it and so the
new piece becomes part of almost part of
the whole so you wouldn't really know
so that that approach was taken so that
the the new part of the house sort of
almost becomes part of the old part so
that the two cottages are sort of framed
by by the new house but they become like
sort of these jewel like sort of special
kind of parts of the house there's quite
deep overhangs on the roofs that's
really protecting you and from rain and

English: 
that had hidden out,
quite a famous bushranger was there,
so we kind of felt
it was very important
to maintain the cottages
as part of the house.
I'm sort of very fascinated
with the idea of grafting.
So the idea of grafting
in Japanese gardens
where they...there's
an existing sort of tree
and they might sort of chop it
or they'll alter it in some way
or they might add
another piece to it.
And so the new piece
becomes almost part of the whole
so you wouldn't really know.
So that approach was taken.
So the new part of the house
sort of...almost becomes
part of the old part.
So that the two cottages
are sort of framed by the new house,
but they become, like, sort of
these jewel-like sort of special
kind of parts of the house.
There's quite deep overhangs
on the roofs
because it's really protecting you
from rain and sun
as a sort of shelter.
The roof of the house is angled

English: 
some sort of shelter the roof of the
house is angled so that they perfectly
frame the mountain range so you sort of
see the whole top of the mountain range
see so it's not cut off halfway there
sort of angling right up so that you
sort of see the whole mountain range the
new materials we still wanted to use
something that was almost part of the
site as well so even though it's a light
material we used iron bark which is a
reference to a lot there's a lot of iron
bark trees in the area rough sawn iron
bark
it's used externally everything inside
the house is very sort of smooth and
jewel-like
and we've used black but ply along the
bedroom wing there's also a bit of
rammed earth that we used in the house
so we've used sort of local earth and
did lots of experimentation with
different types of rammed earth walls
and the colour kind of it's quite
related to the colour of the earth yeah
we've also used brass mesh on all the
outside sort of deck areas which give
you protection from the mosquitoes and

English: 
so that they perfectly frame
the mountain range
so you sort of see
the whole top of the mountain range,
it's not cut off halfway.
They're sort of angled right up
so that you sort of see
the whole mountain range.
For the new materials
we still wanted to use something
that was almost part of the site
as well.
So even though
it's a light material -
we used ironbark,
which is a reference to...
..there's a lot of ironbark trees
in the area -
rough-sawn ironbark
is used externally.
Everything inside the house
is very smooth and jewel-like.
And we've used blackbutt ply
along the bedroom wing.
There's also a bit of rammed earth
that we used in the house.
So we've used sort of local earth
and did lots of experimentation
with different types
of rammed earth walls.
And the colour
kind of is quite related
to the colour of the earth, yeah.
We've also used brass mesh on all
the outside sort of deck areas,
which give you protection

English: 
the insects and flies and that sort of
thing but also enable you to look
outside sort of almost like you're in
your own little world but you can look
out but you don't really feel like
you're you're being observed yourself
the surroundings become the thing that
you really look at rather than the
inside of the house it's almost like a
sort of frame for looking for looking at
the outside so the house itself has is
quite zen-like and quite has a sort of
sense of calm
it was just great working on a project
where you're in such a fabulous place
it's quite a privilege to be able to
design something that is really sort of
particular than that area are in very
special better and
becomes part of the area so I think
that's quite a great opportunity for an
architect so we know that humans and you

English: 
from the mosquitoes and the insects
and flies and that sort of thing,
but also enable you to look outside
sort of almost like
you're in your own little world
but you can look out,
but you don't really feel like
you're being observed yourself.
The surroundings become the thing
that you really look at
rather than the inside of the house.
It's almost like a sort of frame
for looking...
..for looking at the outside.
So the house itself is quite
Zen-like and has this sense of calm.
It was just great
working on a project
where you're in
such a fabulous place.
It's quite a privilege
to be able to design something
that is really sort of
particular to that area
and very special to that area
and becomes part of the area.
So I think that's quite a great
opportunity for an architect.
So, we know that humans
and, you know...respond to places.
And I think super houses

English: 
are these places that we immediately
feel a visceral response to.
We don't necessarily
always know why.
We might think
it's because of concrete
or the way
that a circulation space works
or an incredibly crafted material.
But there are other aspects
that are less obvious
but are as critical
in terms of building a sensibility
and a feeling of comfort
within a space.
I designed the Croft House, which
is near Phillip Island in Victoria.
It's on a pretty exposed part
of the coastline that faces east,
so the winds blow offshore there,
which makes it a bit easier
because you can just face the view
and have the wind behind you.
The way it came about
was I was there for three days
and I didn't mind being...
..embarrassing myself
by looking like an idiot

English: 
know you know respond to places and I
think super houses are these places that
we immediately feel a visceral response
to we don't necessarily always know why
we might think it's because of concrete
or the way that a circulation space
works or an incredibly crafted material
but there are other aspects that are
less obvious but you know as critical in
terms of building a sensibility and the
feeling of comfort within a space I was
on the Croft house which is near Phillip
Island in Victoria it's on a pre exposed
part of coastline and faces east so the
winds blow offshore there which makes it
a bit easy because you can just face the
view and have the wing behind you where
I came about was I was there for three
days and I didn't mind being
embarrassing myself by walking like an

English: 
walking around and looking confused.
So, I pretty much just did that.
And I knew the...
I was there with the owners
and we were staying there
in the old place that was there.
And I knew they were
worried about me. (LAUGHS)
But on the third day
of looking silly
and wandering around thinking...
..I realised that a very unique
thing was happening there
where the trees
were all bending towards the ocean,
so the wind was coming from behind.
And so a scheme really needed
to put its jacket up to the...
..collar up to the wind
and protect itself in that way.
The idea of a courtyard house
was a pretty good model
because you could make
a protected place.
And so there were a few experiments
of, "Can I do a courtyard house
"that doesn't have redundant space
in long corridors,

English: 
idiot walking around and looking
confused so I pretty much just did that
and I knew that I was there with the
owners and we were staying there in the
old place that was there and and I knew
they were worried healthy but on the
third day looking silly and wandering
around thinking I realised that a very
unique thing was happening there with a
weather Trey's world bending towards the
ocean so the wind was coming from behind
and so a scheme really needed to put its
jacket up to the collar up to the wind
and protect itself in that way the idea
of a courtyard house was a pretty good
model because you could make a protected
place and so there was a few experiments
of can I do a courtyard house that
doesn't have redundant space in long
corridors doesn't have the double-headed

English: 
blinkers because the courtyard houses
give me this
you know shuts off all of that can i
tape it off and just make it disappear
hollow out the ends you know maybe a
bathroom would work well in the end sure
enough did work well so I understand
that it seems that this is a complete
thing that's been placed and then the
owners have had to somehow find a way of
living in this form but it didn't evolve
that way I mean sure enough as that
shape evolved there was long bananas
washed up kind of sea cucumbers there
was you know until it was practically it
started as a exercising passive solar
Shore and the owners don't use in
heating or any cool and that works by

English: 
doesn't have
the double-headed blinkers?"
'Cause the courtyard house
is giving you this...
..you know, shuts off all of that.
"Can I taper it off
and just make it just disappear,
"hollow out the ends?
"You know, maybe a bathroom
would work well in the end."
Sure enough it did work well.
So I understand that it seems
that this is a complete thing
that's been placed
and then the owners
have had to somehow find a way
of living in this form.
But it didn't evolve that way.
I mean, sure enough,
as that shape evolved,
there was long bananas,
squashed up kind of sea cucumbers.
There was... You know,
until it was practical, so... Yeah.
It started as a...um, an exercise
in passive solar, for sure.
And the owners don't use
any heating or any cooling.

English: 
And that works by having a lot of
thermal mass for thermal inertia,
and well insulated.
And I think the form probably does
a little bit for wind-chill.
These forms probably do a lot
to shoot the breeze over
and not really take the heat
out of the building.
And that was a part of
the looking at the croft houses,
hundreds-year-old croft houses,
on the north of Scotland,
ground-hugging things.
So, this landscape's evolving
in a certain way with erosion,
the geology, fertility
of the ground, the winds and rain.
And so what if this architecture
was to look at these natural systems
and try and work in with them
and to have them
generate the architecture?
So, a super house to me
steps away from convention.
And in a way it's almost endemic,
it's evolved in a place.

English: 
having a lot of thermal mass furthermore
inertia and well insulated and I think
the form probably does a little bit for
windchill these forms probably do a lot
to shoot the breeze over and not really
take the heat out of the building and
that was part of the looking at the
Croft house of hundreds you know
Croft houses on the north of Scotland
and ground-hugging things so this
landscape is evolving in a certain way
with erosion the gel and geology
fertility of the ground winds and rain
so what if this architecture was to look
at these natural systems and try and
work in with them and to have them
generate the architecture so I super has
to me steps
away from convention and in a way it's
almost endemic it's evolved in a place

English: 
Those kind of qualities,
I think we all innately really enjoy
because if we go travelling
it's those, "Look at how these guys
are living here."
You know, that kind of uniqueness.
And it's not to say
the generic modernism
isn't exciting too
and doesn't have a role to play,
but me personally, I'm interested
in how it's twisted and evolved
and part of the system of a place,
culturally and physically.
Look, I think contemporary design
is very respectful now
towards tradition
and towards the past.
And nothing excites me more
than when I see a project
come across my desk
of a beautiful old house that has
been very sympathetically restored
with a modern extension.
I like the journey that that
can take you on through the home.
And I actually do like it very much

English: 
those kind of qualities I think we all
innately really enjoy because if we go
traveling
it's those look at how these guys are
living here you know that kind of
uniqueness and it's not to say that
generic modernism isn't exciting - and
doesn't have a role to play but me
personally interested in how it's
twisted and evolved and part of a system
of a place culturally and physically
look I think contemporary design is is
very respectful now towards tradition
and towards the past and nothing excites
me more than when I see a project come
across my desk of a beautiful old house
that has been very sympathetically
restored with a modern extension I like
the journey that that can take you on

English: 
through the home and I actually do like
it very much when there are two distinct
halves to the house where the the old
hat the old half the traditional half
has its own distinct personality and
then you sort of cross the threshold
into the contemporary but it's done in a
seamless way and it's done in a
respectful way that really respects the
heritage of the original home we
suffered the design of the scholar house
in 2009
it's a terrace house which is located in
in Balmain and the inner-city fabric in
Sydney is pretty well intact and I think
it's important to remain tane the the
front facade
especially when they've formed out of a
continuation of a row terraces I think
that's very very important
and not ain't it not only to maintain
the the tourist hospice art but also the
form of the other more the main body of
the terrace house I think you know that
that's very very important because what
we were interested in is a counterpoint

English: 
when there are two distinct halves
to the house
where the old half,
the traditional half,
has its own distinct personality
and then you sort of cross
the threshold into the contemporary.
But it's done in a seamless way,
and it's done in a respectful way
that really respects
the heritage of the original home.
We started the design
of the Skylight House in 2009.
It's a terrace house
which is located in Balmain.
And the inner city fabric in Sydney
is pretty well intact.
And I think it's important
to maintain the front facade,
especially when it forms part of
a continuation of a row of terraces.
I think that's very, very important.
And not only to maintain
the terrace house facade,
but also the form of the...or the
main body of the terrace house.
I think, you know,
that's very, very important.
Because what we were interested in
is a counterpoint

English: 
between in a traditional form the
traditional facade and how that
counterpoints or how that is juxtaposed
against aid we're not quite a
contemporary interior what we decided to
do was to invert the terrace house
traditionally in the two-story
terrorists you know here you have the
living rooms on the ground floor and the
bedrooms on the top floor and we
basically flipped that we put the living
rooms on the top floor many to take
advantage of the views towards
Parramatta River toward the front of the
house and also to take advantage of the
sculptural reforms you know sort of
sculptural skylights most terrace houses
you don't see the sky because you're
bounders had built up you know houses
built up along the boundary so that's
quite a rare experience so we wondered
we wanted to be able to see the sky that
was very important and our general
approach you know during the design
process was to really look at the
housing section rather than the plan
because it's all about the light coming
down to the top is all about the
vertical circulation as the living rooms
from the top floor rather than the

English: 
between, you know, the traditional
form, the traditional facade,
and how that counterpoints,
or how that is juxtaposed against
quite a contemporary interior.
What we decided to do
was to invert the terrace house.
Traditionally
in a two-storey terrace
you have the living rooms
on the ground floor
and the bedrooms on the top floor.
And we basically flipped that.
We put the living rooms
on the top floor,
mainly to take advantage of the
views towards Parramatta River,
towards the front of the house
and also to take advantage
of the sculptural roof forms,
you know, sort of
sculptural skylights.
In most terrace houses
you don't see the sky
because your boundaries
are built up.
You know, houses are built up
along the boundary,
so it's quite a rare experience.
So we wanted to be able to see
the sky. That was very important.
And our general approach, you know,
during the design process,
was to really look at the house
in section rather than the plan
because it's all about
the light coming down from the top.
It's all about
the vertical circulation
as the living rooms are on the top
floor rather than the ground floor.

English: 
So, as you enter
through the front door,
you enter into
a three-storey-high space,
you know, top-lit by the skylights.
And then you rise up
the flight of stairs.
And as you reach the top of
the stairs where the living room is,
you're adjacent to a lovely tree
in the middle of the courtyard.
And that's very different
from a traditional
terrace house experience.
You know, the skylight
isn't just a simple device
which allows light to come in,
it's a volumetric device
which uplifts and sculpts the space
at the same time.
And by placing a sheet of glass
on the outside of the opening,
you eliminate the frame.
So the frame
doesn't interrupt the view
between the inside and the outside.
So, in our case,
what we were able to do,
by eliminating the frame
you get the white roof forms
juxtaposed against the blue sky.
So the experience is quite surreal.
You can only achieve that
through the detailing,
by placing the pane of glass
on the outside of the opening.

English: 
ground floor so as you interfere the
front door you enter into a three storey
high space you know poppy apply the
skylights and then you rise up the
flight of stairs and as you reach the
top of the stairs with the living room
ease your your adjacent to a lovely tree
in your mother the courtyard so and
that's very sort of different from a
traditional terraced house experience
you know the scar lie isn't just a
simple device which allows light to come
in
it's a volumetric device which are
beliefs and sculpts the space at the
same time
and by placing a sheet of glass on the
outside the opening you eliminate the
frame so the frame doesn't interrupt the
view between the the inside and the
outside so in our case what we were able
to do by limiting it frame you get the
the white roof forms juxtaposed against
the blue sky so the experience is it's
quite surreal you can only achieve that
through the detailing by placing the
painted glass on the outside of the
opening you know I'm most happy with the

English: 
You know, I'm most happy with
the way the light enters the house.
And secondly I'm very happy
with the way we engaged
with the urban fabric
and we respected
the traditional terrace house form
and the facade.
But at the same time,
we've introduced contemporary spaces
within the house.
So it's that sort of juxtaposition
which we're most happy with also.
I was recently lucky enough
to go to Richard Rogers' house
in Chelsea in London.
And talking about super houses,
it was extraordinary,
absolutely extraordinary.
You know, he's a great architect
and his home represents
everything that he's ever done.
And you walk up to it and it looks
like a typical Georgian house
and then you open the door
and it's splashes of colour.
Behind it is this, you know,
enormous triple space, white room.

English: 
way the life end of the house and
secondly I'm very happy with the way we
engage with the urban fabric and we
respected the additional terrace house
for money and the facade by the same
time we've introduced continuous phases
within the house so is that some
adjusted position which were most happy
we have also
I was recently lucky enough to go to
Richard Rogers house in Chelsea in
London and talking about super houses it
was extraordinary absolutely
extraordinary and it's a great architect
and this home represents everything that
he's ever done and you walk up to it and
it looks like a typical Georgian house
and then you open the door it's splashes
of color and so behind it is this
enormous triple space white room super a

English: 
per plant open planned but super livable
and I think that respect from nod to the
past that's what makes it bring it
because you don't know what to expect
he's a big name of international
architecture and he said bitties own
home that isn't cozy in any way but yet
it is cozy because somehow his talent is
to make cavernous spaces full of glass
and steel and white walls feel like you
could happily live there and read a
paper and feel on top of the world
I'm gonna talk a little bit about
concrete because I'm obsessed with it
there there is something about concrete
in terms of its transgression as a
natural material and as a man-made
material but it's a capacity to sculpt
and form its imperfection it's one of
those things that has a reach level of

English: 
Super open plan,
but super livable and...
I think that respectful nod
to the past,
that's what makes it brilliant,
because you don't know
what to expect.
He's a big name of international
architecture and he's...
But his own home
that isn't cosy in any way,
but yet it is cosy
because somehow his talent
is to make cavernous spaces full
of glass and steel and white walls
feel like
you could happily live there
and read a paper
and feel on top of the world.
I'm gonna talk a little bit
about concrete,
because I'm obsessed with it.
There is something about concrete
in terms of its transgression
as a natural material
and as a manmade material
but its capacity to sculpt and form,
its imperfection.
It's one of those things
that has a rich level of patina.

English: 
patina and there is something about that
tactility of materials I mean concrete
but also worn you know timber that grows
over time or mild steel that begins to
rust
it tells an authentic story it tells a
story of you know of things our
activities evolving over time it's not
looking to and begin to transparent it
tells you the truth about what it is
even precast panels in that are you know
formed up in factories will all have
their own level of you know of patina
and history and narrative and story in a
steady much like the fingerprints of
humans
I guess the provocation of this project
for us was that the client have lived on
this site for many years I think 25
years we felt there was an opportunity

English: 
And there is something about
that tactility of materials.
I mean, concrete but also worn
bit of timber that greys over time
or mild steel that begins to rust,
it tells an authentic story.
It tells a story of, you know,
of things...our activities
evolving over time.
It's not looking to...
And it's transparent. It tells you
the truth about what it is.
Even precast panels
that are formed up in factories
will all have their own level of...
you know, of patina and history
and narrative and story
and aesthetic.
Much like
the fingerprints of humans.
I guess the provocation
of this project for us
was that the client had lived
on this site for many years,
I think 25 years.
We felt there was an opportunity
to provoke the client
into doing a house

English: 
that was much more suited to the
collection of art that they had...
..a substantial collection of art.
We challenged them,
or provoked them,
into thinking about what we could do
and what we could achieve
if we started again on this site.
And as a little bonus,
the house next door came up for sale
and so we suggested that it might be
a nice idea to purchase that
and instead of going for the usual
ridiculous idea of a tennis court
that we actually bridge a house
across two sites.
So that was the start
of this project for us.
POLLY: Yes, so I guess there were
a couple of major
conceptual driving forces.
And the site itself was one of them
because it's actually
almost on a cliff.
It's a very steep site.
We knew we had to have something
that would step down the site.
But we wanted the building to really
contribute to the surroundings.
And it's in a context of a lot
of very large, very nice houses.
But they're all very nice
when you're inside the house.
And all they do to the street
is create a blank wall.

English: 
to provide the client into doing a house
that was much more suited to the
collection of art that they had a
substantial collection of art we
challenged them or provoked them into
thinking about what we could do what we
could achieve if we started again on
this site and as a little bonus the
house next door came up for sale and so
we suggested that it might be a nice
idea to purchase that and instead of a
going for the usual ridiculous idea of a
tennis court that we actually reach a
house across two sites so that was that
was the start of this project for us yes
I guess there are a couple of major
conceptive driving forces and the site
itself is one of them because it's
actually almost honor honor on a cliff
it's very steep site we knew we had to
have something that would step down the
site but we wanted the building to
really contribute to the surroundings
and anything it's in a context of a lot
of very large very nice houses but
they're all very nice as when you're
inside the house and all they do to the
street is create a blank wall and we've

English: 
set out to really do something a lot
more sculptural that could really
contribute back to the street we wanted
to I guess create a sculpture that was
livable very important for our clients
that this was not an art gallery it was
a home so in a sense we wanted Pauline I
wanted to create the scholar in the
landscape and then show the clients how
we can make
we looked at many different artists we
loved the goo she was one of them and
against Noguchi for us had sculpture
that was linked and connected and
created voids and for us just beauty so
you know looking at the Noguchi and we
started off with this original idea
about you know when you try and step
something down it starts to create these
holes and volumes and that actually was
more about not so much even what we were
building but the spaces we were creating

English: 
And we set out to really do
something a lot more sculptural
that could really contribute
back to the street.
CLINTON: We wanted to, I guess,
create a sculpture that was livable.
Very important for our clients
that this was not an art gallery -
it was a home.
So in a sense we wanted -
Polly and I wanted -
to create the sculpture
in the landscape
and then show the clients
how we could make that a home.
We looked at many different artists
that we loved.
Noguchi was one of them.
And I guess
Noguchi for us had sculpture
that was linked and connected
and created voids
and for us just beauty.
POLLY: You know,
looking at the Noguchi,
we started off with
this original idea about, you know,
when you're trying
to step something down,
it starts to create these holes
and volumes
that actually was more about not
so much even what we were building,
but the spaces we were creating.

English: 
We started to shift things around
to get things to functionally work
and get the towers and things
to work.
And then finally...
And it was really out of responding
both to the brief, the sun,
the privacy -
all those sort of things
that make an actual house -
turn something from a sculpture
to a house.
Responding to all those elements
is what ended up getting us
this sort of final form
that twisted for the sun
and twisted for the headland view.
And functionally fitted
all the different pieces in it.
- Yeah, it was an absolute process.
- And made the client happy.
And make the client happy.
Well... (LAUGHS)
Very important.
POLLY: When we put the notion
to them
that the house could actually
also be a sculpture itself
in the landscape
and really contribute,
that they were excited by that idea.
And I don't know
how many clients would be.
So that's true credit to them.
CLINTON: It's fantastic
that they took it on.
They had the courage to do that.
I think people don't read this
as a house necessarily.
They're looking beyond it
and they're looking around it
as a sculpture.

English: 
we started to shift things around to get
things to functionally work and get the
towels and things to work and then
finally and it was really out of
responding both to the brief the sun the
privacy or all those are the things that
make an actual house turn something from
a sculptor to a house responding to all
those elements is what ended up getting
us a sort of final formed twisted for
the Sun and twisted for the headland
view and functionally fitted all the
different pieces in it so yeah I made a
client happy but very important when we
put the notion to them that the house
could actually also be a sculpture
itself in the landscape and really
contribute that they were excited by
that idea I don't know how many clients
would be so that's true it's true credit
to them fantastic that they they took it
on they had the courage to do that then
I think people don't read this as as a
house necessarily they're looking beyond
it and they're looking around it as a
sculpture but even when you come inside

English: 
the house and again Kali talks about the
obsession with you when you come into
this house you don't see with you and it
was we were very adamant that you
wouldn't just have that typical open the
door huh you so they actually I blocked
of you
and turning turning Carol now : that
walk Clinton's walk right I think it's
history so how could you do this we've
got this beautiful view and you walk
into this house and you put a wall in
the way but of course the viewers
revealed URL so just this tiny slice
them that sends you long but it's not
the big well the the choice of concrete
was fairly simple really because we
needed a material that you would read as
sculptural so roof and wall and ceiling
and and surfeit it all had to be the
same material now course concrete is
perfect for them because you form it up

English: 
But even when you
come inside the house -
and again, Polly talks about
the obsession with view -
when you come into this house
you don't see the view.
And it was...
We were very adamant
that you wouldn't just have
that typical open the door...
(GASPS) "The view."
So they actually...
- I blocked the view, and...
- Put the artwork there.
Tony and Carol
now call that wall Clinton's wall.
They think it's hysterical that,
"How could you do this?
"We've got this beautiful view
"and you walk into this house
and you've put a wall in the way."
But of course the view is revealed
everywhere else in the house.
Yeah, you get
that little snippet of it,
just this tiny slice
that sends you on.
But, yeah, it's not the big wow.
CLINTON: The choice of concrete
was fairly simple really
because we needed a material
that you would read as sculptural.
So roof and wall
and ceiling and soffits and...
..all had to be the same material.
Now, of course concrete
is perfect for that
because you form it up
in those shapes.

English: 
in those shapes there's a real strength
and solidity to it and yet there's a
delicacy around it as well so the way
the glass slides into the concrete even
the detailing of the balustrade is this
great contrast between the robust nature
of the material and the delicacy of
certain elements and with with the out
because the art is spectacular
primarily cubist realism in his contrast
with this really robust building so I
think it is audacious to do a house like
this in this location in Sydney and then
we were given an award a local council
award for this house for the
contribution to the built environment
now that is amazing because my second
said let's be honest when we bring our
first meetings with the client regarding

English: 
There's a real strength
and solidity to it
and yet there's a delicacy
around it as well.
So the way the glass
slides into the concrete.
Even the detailing
of the balustrades.
There's this great contrast between
the robust nature of the material
and the delicacy
of certain elements
and with the art,
because the art is spectacular -
and they are primarily
cubist, or cubism -
again is contrasted
with this really robust building.
So I think it is audacious
to do a house like this
in this location in Sydney.
And then we were given an award,
a local council award
for this house,
for contribution
to the built environment.
Now, that is amazing, because...
- Mosman is very conservative.
- Let's be honest, when we...
Our first meetings with the client
regarding our design,

English: 
our design we weren't particularly
positive about how this might be
received at council so we had to say to
our client look baby steps here because
we might fall over the first hurdle but
the house was embraced by the planners
from day one and we had no problem with
approval and here it is an audacious
house for this part of the world
official concrete is great because as I
get older I realize maintenance is
always an issue so you build a concrete
house and you choose not to paint it all
you got to do is hose it and I see I see
so much beauty in concrete and why is
that those great brutalist buildings
that I grew up with so you know schools
were brutalist the cinema was brutalist

English: 
we weren't particularly positive
about how this might be received
at council.
So we had to say to our client,
"Look, baby steps here
"because we might fall over
at the first hurdle."
But the house was embraced
by the planners from day one.
And we had no problem with approval.
And here it is, an audacious house
for this part of the world for sure.
Concrete's great
because as I get older I realise
maintenance is always an issue.
So, you build a concrete house
and you choose not to paint it,
all you've got to do is hose it.
And I see so much beauty
in concrete.
And why is that?
It's those great brutalist buildings
that I grew up with,
so, you know, schools were
brutalist, the cinema was brutalist,
my university was brutalist.

English: 
my university was brutalist and so it
there's a real nostalgic feel Paul for
me for Brutalism and then oh if I see it
in a domestic setting I don't have a
problem with it but I don't know I'm a
modernist so there's there's no way I'm
not gonna subscribe to the fact that you
can live in a concrete box with glass
windows and you know there's some soft
furnishings salts everything
Linda's house was conceived to be part
of a very ancient landscape and the
Victorian coastline is typify die
secondary and tertiary June systems that
give a undulation and a soft roll to the
landscape and we wanted the house to be
part of that not to reflect it but to be
part of that landscape and in fact go

English: 
And so it...there's a real nostalgic
feel...pull for me for brutalism.
And then if I see it
in a domestic setting,
I don't have a problem with it.
But I'm a modernist.
So there's not way I'm not going to
subscribe to the fact
that you can live in a concrete box
with glass windows
and, you know, just...
Some soft furnishing
solves everything.
The Flinders House was conceived to
be part of a very ancient landscape.
And the Victorian coastline
is typified by secondary
and tertiary dune systems
that give an undulation
and a soft roll to the landscape.
And we wanted the house
to be part of that.
Not to reflect it,
but to be part of that landscape
and in fact go further

English: 
and appear as if it was built
millions of years ago
covered over
and then eroded away and exposed
like it had been
part of a skeletal remain
of an ancient marine creature.
The brief for this house
was quite an open idea.
There was some pragmatic things
about the number of bedrooms
et cetera.
But they use it as a beach house
but it's more than a beach house
for them.
The house is more of a vehicle
for them to use as a family
but also to use
with extended family and friends.
So it's more of a sanctuary
or a haven for them
to come down and have
the opportunity to be alone
or with a large group of people.
The design of the house is based on,
to a degree, a sense of mystery.
So on arrival there's a blank wall
and a door in it,

English: 
further and appear as if it was built
millions of years ago covered over and
then eroded away and exposed like it had
been part of a Skeletor remain of an
ancient marine creature the brief for
this house was quite an open idea there
were some pragmatic things about the
number of bedrooms etc that they use it
as a beach house but it's more than a
beach house for them the house is more
of a vehicle for them to use as a family
but also to use with extended family and
friends so it's more of a sanctuary or a
haven for them to come down and have the
opportunity to be alone or with a large
group of people the the design of the
house is based on to a degree a sense of
mystery so on arrival there's a blank
wall and a door in it which is a bit
like a small proscenium arch in a

English: 
theatre and when you draw the curtains
or open the door it exposes you to a
magnificent view so there is kind of an
excitement attached to that a quiet
excitement on the Victorian coastline
where the view is is usually where the
weather comes from so we've provided
North facing courtyards that are
protected from the southerly weather
where the swimming pool is for example
so there are all different places that
you go to around the house
depending on climate and also that
facilitates a sense of Zoning throughout
the house so everyone's got privacy so
it's effectively or like to boomerang
shapes with a little zipper of glass
between us that gives people aspect and
view without others being able to look
look at them through the design of a

English: 
which is a bit like a small
proscenium arch in a theatre.
And when you draw the curtains
or open the door,
it exposes you
to a magnificent view.
So there is kind of an excitement
attached to that,
a quiet excitement.
On the Victorian coastline,
where the view is
is usually where
the weather comes from.
So we've provided
north-facing courtyards
that are protected
from the southerly weather
where the swimming pool is,
for example.
So, there are all different places
that you can go to around the house,
depending on the climate.
And also that facilitates a sense
of zoning throughout the house.
So everyone's got privacy.
So it's effectively
like two boomerang shapes
with a little zipper of glass
between it
that gives people aspect and view
without others
being able to look at them.
Through the design
of a house like this
you simply can't see
from one end to the other.

English: 
There's mystery that activates
your engagement with the house.
So the visceral quality
of the body in the building
is part of that mystery,
so that you can't necessarily know
what the plan of the building's
like.
You actually have to be active
in seeking that out
and moving through the building.
Because of the curves within
the building and the timber beading,
we can disguise doors.
So you just see the shape
of the wall and a series of handles,
but you don't see a wall
with a frame with a door in it.
So the sculpted form is highlighted
by the use of materials.
I think there are dramatic moments
in this house
and things like the stair
to the upstairs bedroom

English: 
house like this you simply can't see
from one end to the other there's
mystery that activates your engagement
with the house so the visceral quality
of the body in the building is part of
that mystery so that you can't
necessarily know what the plan of the
buildings like you actually have to be
active in seeking that out and moving
through the building because of the
curves within the building and the
timber beading we can disguise drawers
so you just see the shape of the wall in
a series of handles but you don't see a
wall with a frame with a door in it so
the sculpted form is highlighted by the
use of materials I think there are
dramatic moments in this house and
things like the stair to the upstairs
bedroom could be you know there could be

English: 
could be, you know...there could be
a bit of Gone With the Wind in that.
The bathrooms
are quite brightly coloured.
They were meant to be jewel-like.
There was meant to be
a touch of Hollywood, maybe,
on the Victorian coastline.
I mean, I walk into the bathrooms
and I always smile when I see them
because there's something...
..there is something
kind of luscious about them.
But the materiality is quite simple.
The scale of the building
is based on a range of activities.
And sometimes our client - just
the two of them might come down.
And so there's intimate
cave-like areas
where they can retreat to and feel
like they're in an intimate space.
And also their children
have their own private area.
So they can retire to that
and they can
have their friends down
and go crazy
in another part of the house

English: 
a bit of Gone with the Wind in that the
bathrooms are quite brightly colored
they were meant to be dual like there
was meant to be a touch of Hollywood
maybe on the Victorian coastline I mean
I walked into the bathrooms and oh I
smile and I see them because there's
something there is something kind of
luscious about them but the materiality
is quite simple
the scale of the building is based on a
range of activities and sometimes times
our client like just the two of them
might come down and so there's intimate
cave-like areas where they can retreat
to and feel like they're in an intimate
space and also their children have their
own private area so they can retire to
that and they can have their friends
down and go crazy in another part of the

English: 
house while other things are happening
elsewhere and then there's more space if
other families are down here so it's
designed so that if you are here alone
you don't feel like you're rattling
around the house there are spaces to go
that you always feel comfortable in the
materiality of the building does make
some reference to bleach driftwood or or
old whale bones
but also it's in a monochromatic palette
which is what our work is about every
time of day it looks slightly different
I think the house still looks quite
fresh and there's a timelessness about
it which is embedded in our work we
we're not architects that respond to
style or decoration on a building the
building is what it is it's a sculptural
form and they're designed to look better

English: 
while other things
are happening elsewhere.
And then there's more space
if other families are down here.
So it's designed
so that if you're here alone
you don't feel like
you're rattling around the house.
There are spaces to go
that you always feel comfortable in.
The materiality of the building
does make some reference to bleached
driftwood or old whale bones,
but also
it's in a monochromatic palette,
which is what our work is about.
Every time of day
it looks slightly different.
I think the house
still looks quite fresh.
And there's a timelessness about it
which is embedded in our work.
We're not architects that respond to
style or decoration on a building.
The building is what it is.
It's a sculptural form
and they're designed to look better
as they get older.

English: 
I mean, if we had to drill down
a super house to three things,
my...one of my most important would
still be the connection to site
and connection to nature.
Because that just brings
something...the other quality.
That's not always possible
if you're in an urban environment.
And then I would say
it was the management of light.
Because in a way that can still
draw in the experience of nature
even in somewhere
that is more urban.
And the third one I think
is that kind of
indefinable quality of poetry
or something that actually
when you go into a space
gives you an uplifting feeling.
Because that was another aspect
that was very important.
These places should have a quality
that is awe-inspiring
and just to capture something
that makes you feel different.
And I think if architects
succeed in doing that,
they've really, really
done their job.

English: 
as I get older I mean if we had to drill
down a super house just to three things
my one of my most important would still
be that the connection to site and
connection to nature because that just
brings something the other quality
that's not always possible if you're in
an urban environment and then I would
say it was the the management of light
because in a way that can still draw in
the experience of nature even in in
somewhere that it is more urban and the
third one I think is is that kind of
indefinable quality of poetry or
something that actually when you go into
a space gives you an uplifting feeling
because that was another aspect that was
very important these places should have
a quality that is all inspiring and just
to capture something that makes you feel
different and I think if you if
architects succeed in doing that they've
really really done their job

English: 
and then on that concrete house miss
Eddie house I mean that's got yeah give
me that now I don't care whether the
children hurt themselves I just think
it's just extraordinary
give me time so every day beautiful
beautiful basil

English: 
And the... You know, that concrete
house...the Masetti House.
I mean, that's...
You know, I'd go,
"Yeah, give me that now.
"I don't care whether the children
hurt themselves."
I just think
it's just extraordinary.
Give me concrete every day.
Beautiful. Beautiful. Beautiful.
