ARCHITECTURE AND ART
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Chapter Two
ARCHITECTURE AND ART:
Composite House
My practice was established in 2002, and has to date focused on single residential buildings—
most of them extensions and refurbishments—and small commercial projects. The scale of the
projects was intentionally restricted until recently, on the basis that a premature expansion in
the size of the buildings or practice could dilute or destroy the development
of a distinct design
culture. The appendix of projects commences with a list of all of the projects referred to in this
chapter, indicating the type of building and the date of its completion on site. Each of the
projects bears its own name, rather than the name of its client or street, in recognition of its
status as piece of artwork, as distinct from its role as a building. Also included in the appendix is
a statement about each work, produced either after its realisation as a building—in order to
guide the design of the next project—or during its own inception or production, to direct its own
realisation.
In this respect, while each of the projects has an autonomous design agenda, they
can also be understood as collectively constituting a single project or body of creative work. The
engagement of an architect is understood in my practice as comprised of two quite separate
components, an appointment and a commission, pertaining to quite distinct roles as a
professional and designer respectively. Our clients for Composite House seemed to have
independently reached a very similar conception of the process—explicitly stating that they saw
their role as briefing us on what they needed and wanted, and the architect’s as developing a
design to respond to this. Like all of the projects in the practice, Composite House involved all
members of the studio, which at the time comprised myself, and four other members of staff at
various stages. The project was the last in which I undertook all of the initial sketches, client
meetings and site inspections, and involved staff only in documentation and supporting my
role—a process that has since changed, as outlined in the Conclusion, at least in part due to the
progressive conclusions of this research. The site for the project was an existing three-storey
Victorian house, which was entirely demolished with the exception of the street elevation, and
portions of the rear elevation and roof.
A number of years prior to the establishment of my practice, an interest developed in my
speculative work in the potential for architectural design strategies to be developed from the
inherent characteristics of a project—such as site, programme, representation and
construction—rather than from external inspiration. The rectilinear external form of Composite
House references the white, rendered, flat-roofed, single-storey rear closet wings of Victorian
houses like the one to which it is attached. Axonometric drawings of staircases are the
inspiration for the staggered stacks of small-scale rectangles that provide access between each
level of the house, and the absence of visible detailing recalls the drawn condition. Exposed
brick walls make visible the construction of the building, the bleached finish of the timber floor
attempts to capture the appearance of unfinished sanded pine floorboards, and black flood-
lamps of the type used on the building site are fitted permanently as a literal remnant of the
construction process. In a broader sense, Composite House openly draws upon the design of
previous projects, composed—as the name of the building suggests—to form a new
composition that acknowledges the serial nature of the architectural design act.
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