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2.1.15
2.1.16
2.1.17
2.1.18
Fig. 2.1.15: Public House, William Tozer Architecture and Design, 2006. The sculptural appearance of
the rectilinear and orthogonal ceiling plane above the kitchen is accentuated by its continuity with the
perpendicular wall plane enclosing the adjacent dining area.
Fig. 2.1.16: Semi-detached, William Tozer Architecture and Design, 2005. The frameless articulation of
the roof-light creates the illusion that it is an incision in a plastic solid, and so contributes to the
sculptural quality of the ceiling as an abstract plane.
Fig. 2.1.17: Sleeper, William Tozer Architecture and Design, 2007. Shadow gaps to the top of the joinery
units and internal walls that divide the interior spaces contribute to the impression that the ceiling is a
single uninterrupted plane at the scale of the whole building.
Fig. 2.1.18: Stereoscope, William Tozer Architecture and Design, 2008. The trussed roof structure is
curated into the new project with a white paint finish but is otherwise treated as a found-object, and its
existing geometry utilized to signal that it is distinct from the sculptural composition of the new
rectilinear and orthogonal elements.
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2.1.19
2.1.20
2.1.21
Fig. 2.1.19: In the Fold, William Tozer Architecture and Design, 2006. The ceiling is expressed as a
continuous folded surface of maple incised by roof-light openings.
Fig. 2.1.20: Public House, William Tozer Architecture and Design, 2006. A stair enclosure above one of
the dining areas is given a rectilinear and orthogonal form and detailed with shadow gaps, so as to
appear as part of the sculptural composition of new walls and ceilings.
Fig. 2.1.21: Open End, William Tozer Architecture and Design, 2004. Ornate cornices to the existing
ceilings are retained so as to highlight their separation from the sculptural composition of rectilinear
planes formed by the new insertions.
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The polished concrete floor of Hackney House (2002) is treated similarly to Composite House,
as distinct from the main white volume of the project, but possesses a sculptural quality as an
unbounded surface—in the case of Hackney House running from the interior to the exterior,
where it folds up to form a staircase and retaining wall. The development of the treatment of
floor planes as smaller-scale sculptural elements can be traced from Hackney House through
the Pavilion (2005), Diorama (2005), Lightbox (2005), Sleeper (2007), Landscraper (2007),
Artefact (2007) and Stereoscope (2008) projects to Composite House. By contrast, the concrete
floor of Autonomous Fragment (2007), and the timber floors of Karntner House (2005), Tabula
Rasa (2006), and Sleeper (2007) are all articulated as curated found objects and so have the
status of furnishings.
Fig. 2.1.22: Sleeper, William Tozer Architecture and Design, 2007. The materiality of the timber floor of
Sleeper signals its status as furnishing rather than sculptural element.
Fig. 2.1.23: Sleeper, William Tozer Architecture and Design, 2007. The cedar decking, which forms the
floor to the external spaces of the Sleeper project, is conversely articulated as a small-scale sculptural
element, continuous with the treatment of the adjacent walls.
2.1.22
2.1.23
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2.1.24
2.1.25
Fig. 2.1.24: Aggregate House, William Tozer Architecture and Design, 2009. The materiality of the
timber floor of Aggregate House signals its status as a found-object furnishing, and its distinction from
the new sculptural elements is punctuated by the use of shadow gaps to the internal walls.
Fig. 2.1.25: Pavilion, William Tozer Architecture and Design, 2005. Floors of polished concrete and
timber decking are expressed as autonomous planes of different materials. They are given a sculptural
quality by the absence of changes to their articulation, both at their edges and where they meet other
building elements.
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2.2
Staircases, Joinery and Fixtures
Staircases, joinery and fixtures are variously treated sculpturally or as furnishings in Composite
House. Unlike the walls, floors and ceilings, however, the status of furnishing is not limited to
components of the original building, and new elements are articulated as furnishings through
detailing that visually foregrounds their functional status. The evolution of these details is
evident in the preceding and subsequent projects, alongside examples of existing staircases,
joinery and fixtures that are assigned the same status through their articulation as found
objects. As a new-build project, the re-reading of the Müller House (1930) in these terms could
be seen as more directly informed by examples of these elements from Composite House.
However, Loos’s design methods for designating some of the staircases, joinery and fixtures of
the Müller House as furnishings is in some respects more akin to the found-object examples.
The stringers and other fixtures and fittings of the main staircase of Composite House are
concealed in order to visually suppress its functionality and enable it to be read as a small-scale
sculptural element. While new, the handrail is attached to the adjacent wall of the original house
and so assigned the same status of furnishing. By contrast, the staircase from the garden to the
basement is clearly articulated as a functional building component—through its contrasting
galvanised steel material and exposed details—and so operates as a furnishing rather than as
an element of the sculptural composition of the house.
Fig. 2.2.1: Composite House, William Tozer Architecture and Design, 2008. This colour photograph
highlights the materiality of the timber open-riser staircase, leading up from the ground-floor living
space, and the stainless steel kitchen joinery—both of which are treated as small-scale sculptural
elements. The structure of the staircase is bolted into the existing brickwork boundary wall and the new
balustrade wall, and concealed by the floorboard cladding, giving the impression of staggered and floating
abstract planes of timber.
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