Mako Series Pre-Made Transportable Homes
Project date: March 2010 - Category: Residential , Modular HousingJAWSARCHITECTS in association with Eco Cabins have released their new range of pre-made Transportable homes.
After identifying modular housing as a flexible, simple and environmentally sustainable alternative to onsite construction, our design team has developed the MAKO series of houses with modular interchangeable components. The system adopts the benefits of EcoCabins’ prefabrication systems while allowing for an individual design response to site orientation, views and solar aspect.
The result of this collaboration is affordable, attractive architect designed sustainable homes – MAKO.
JAWSARCHITECTS have developed a series of standard modules based on a 1.2m grid. These modules can be arranged to provide a number of design possibilities to suit your specific requirements and site constraints.
The modular system provides flexibility whilst taking the guesswork out of design and budgeting.
Further information on design options, pricing and specifications can be obtained from JAWSARCHITECTS or Eco Cabins.
STATUS:
Completion January 2010PHOTOGRAPHY:
Scott Verdouw
Sandy Bay House
Project date: January 2009 - Category: ResidentialCurrently under construction, this house on the suburban fringe of Hobart explores the idea of the architectural promenade as a means of understanding the building and its immediate context as well as defining its place in the greater landscape.
The house is sited at the bottom of the eastern face of Porter Hill on the edge of a bush reserve. The site has commanding views over the houses below across to the eastern shore of the River Derwent and down to Bruny Island.
The design of the house has been driven to a large degree by recognition of the potential bushfire threat faced by the site's proximity to the large area of bushland to the south and west.
From the access driveway, the house steps up the hill in a series of gently curving forms that arc around the site to form a protective semi- enclosed central courtyard.
Conceptually, a linear plan has been transformed by wrapping it around a pivot point. This provides a means of offering a more diverse range of visual connections to the landscape and physical links to outside spaces.
The house is organized over two main levels, with additional minor changes in level acting as subtle zoning devices within each that offer access to a number of different external spaces.
The building is conceived as a series of concentric layers, sliding past one another to define movement patterns, provide solidity or transparency, enclosure or spatial continuity. Stairs, hallways, ramps and decks are located to allow the user to experience the geometry of the house and integrate the external spaces with the interior.
The layering of the house seeks to form a dialogue with the local geography, echoing the folds of hills that surround the Derwent estuary.
Conversely, radial walls define rooms or dissect the curves to create opportunities of counter-movement and to connect spaces.
External materials finishes are robust and subdued, providing a neutral palette in the bush environment.
Masonry perimeter walls on the south and west faces form a defensive barrier to the predominant weather systems and potential bushfire threat. Double-glazed windows in these walls create opportunities to engage with the adjacent bushland, yet still provide adequate protection against these hazards.
Roofs all fall away from these parapet faces into the central courtyard in order to avoid gutters or eaves facing potential fire frontages that might normally be vulnerable flame ingress points.
Rainwater is allowed to fall from these roofs and is collected in a drainage swale as part of the landscape works.
Spaces fronting the central courtyard to the north and east are predominantly glazed, allowing passive solar gain in winter, but shaded by extended eaves to provide summer sun protection.
The building is constructed with etched bluestone concrete block as the predominant external wall finish. Feature stone walls, small areas of steel cladding and cement sheet will complement the blockwork in selected areas to help define the layering of the building.
The house is sited at the bottom of the eastern face of Porter Hill on the edge of a bush reserve. The site has commanding views over the houses below across to the eastern shore of the River Derwent and down to Bruny Island.
The design of the house has been driven to a large degree by recognition of the potential bushfire threat faced by the site's proximity to the large area of bushland to the south and west.
From the access driveway, the house steps up the hill in a series of gently curving forms that arc around the site to form a protective semi- enclosed central courtyard.
Conceptually, a linear plan has been transformed by wrapping it around a pivot point. This provides a means of offering a more diverse range of visual connections to the landscape and physical links to outside spaces.
The house is organized over two main levels, with additional minor changes in level acting as subtle zoning devices within each that offer access to a number of different external spaces.
The building is conceived as a series of concentric layers, sliding past one another to define movement patterns, provide solidity or transparency, enclosure or spatial continuity. Stairs, hallways, ramps and decks are located to allow the user to experience the geometry of the house and integrate the external spaces with the interior.
The layering of the house seeks to form a dialogue with the local geography, echoing the folds of hills that surround the Derwent estuary.
Conversely, radial walls define rooms or dissect the curves to create opportunities of counter-movement and to connect spaces.
External materials finishes are robust and subdued, providing a neutral palette in the bush environment.
Masonry perimeter walls on the south and west faces form a defensive barrier to the predominant weather systems and potential bushfire threat. Double-glazed windows in these walls create opportunities to engage with the adjacent bushland, yet still provide adequate protection against these hazards.
Roofs all fall away from these parapet faces into the central courtyard in order to avoid gutters or eaves facing potential fire frontages that might normally be vulnerable flame ingress points.
Rainwater is allowed to fall from these roofs and is collected in a drainage swale as part of the landscape works.
Spaces fronting the central courtyard to the north and east are predominantly glazed, allowing passive solar gain in winter, but shaded by extended eaves to provide summer sun protection.
The building is constructed with etched bluestone concrete block as the predominant external wall finish. Feature stone walls, small areas of steel cladding and cement sheet will complement the blockwork in selected areas to help define the layering of the building.
STATUS:
Under Construction 2010
Ricketts House
Project date: January 2009 - Category: ResidentialPerched off the edge of the tertiary sand dunes - slung from a timber frame, a tough timber wall shields this beach house from the southerlies gusting off Storm Bay.
STATUS:
Completion December 1998
Albuera Street Schoolhouse Apartments
Project date: January 2009 - Category: Residential , Interior Design , HeritageIn desperate need of a new life, this Heritage listed school building has been transformed into elegant , contemporary apartments that allow the original classroom volumes to be read.
STATUS:
Completion January 2004
Storm Bay 2
Project date: January 2009 - Category: ResidentialThe Storm Bay development in the beachside suburb of Taroona has provided an opportunity to resuscitate a neglected corner hotel and consolidate the adjacent streetscapes.
The surrounding suburb is a varied mix of turn of the century, pre & post war, 1950's – 60's though to present dwellings incorporating well established tall trees and settled gardens.
Incorporating the original Taroona Hotel, the development includes fourteen residential apartments of various size, two serviced apartments, a café and lounge bar. Three distinct apartment types are available in separate groups spread over the site, each responding to its immediate location, but incorporating similar design themes. The architecture of the whole site is generally one of restrained clean lines and functional spaces, responding to the surrounding residential areas with consideration to natural sunlight, outdoor entertaining areas and a focus to the superb outlook over the River Derwent towards Storm Bay.
The original hotel dates from circa 1946 and is an interesting example of "post war streamline moderne" architecture.
The new commercial section of the scheme creates a clear distinction between the post war structure and the new architecture. The new additions are of a comparative scale to the hotel, maintaining a consistent height to the Channel Highway streetscape.
The design of the two new residential buildings refer to the general design principles of the existing hotel, but
develop a more contemporary architectural language.
The apartments sited along Channel Highway are again of a comparative scale and set back to the existing hotel, with landscaping at the main entrance. Materials are contemporary and simple, yet expressed as natural elements.
The Jenkins Street townhouses are reduced further to a domestic scale and architecture,
The shared outdoor spaces at Storm Bay have been designed to complement the architecture, provide a beautiful and low-maintenance public/private interface, promote harmonious pedestrian and vehicular movement through the site and contribute to the broader landscape of Taroona.
Private garden spaces will use a combination of low-maintenance local native species and exotic plants in beds, with grass lawn areas, built-in garden furniture, paved entertaining spaces and brush fencing.
There are three interior concepts which have been developed for the apartments. Each concept is uniquely different yet encompasses the same materials and finishes. A basic palate of earthy tones has been incorporated with warm and neutral materials to create contemporary, spacious and elegant spaces, with each palate evoking a different atmosphere. Fittings and appliances with simple, clean lines emphasise a modern and functional aesthetic.
The surrounding suburb is a varied mix of turn of the century, pre & post war, 1950's – 60's though to present dwellings incorporating well established tall trees and settled gardens.
Incorporating the original Taroona Hotel, the development includes fourteen residential apartments of various size, two serviced apartments, a café and lounge bar. Three distinct apartment types are available in separate groups spread over the site, each responding to its immediate location, but incorporating similar design themes. The architecture of the whole site is generally one of restrained clean lines and functional spaces, responding to the surrounding residential areas with consideration to natural sunlight, outdoor entertaining areas and a focus to the superb outlook over the River Derwent towards Storm Bay.
The original hotel dates from circa 1946 and is an interesting example of "post war streamline moderne" architecture.
The new commercial section of the scheme creates a clear distinction between the post war structure and the new architecture. The new additions are of a comparative scale to the hotel, maintaining a consistent height to the Channel Highway streetscape.
The design of the two new residential buildings refer to the general design principles of the existing hotel, but
develop a more contemporary architectural language.
The apartments sited along Channel Highway are again of a comparative scale and set back to the existing hotel, with landscaping at the main entrance. Materials are contemporary and simple, yet expressed as natural elements.
The Jenkins Street townhouses are reduced further to a domestic scale and architecture,
The shared outdoor spaces at Storm Bay have been designed to complement the architecture, provide a beautiful and low-maintenance public/private interface, promote harmonious pedestrian and vehicular movement through the site and contribute to the broader landscape of Taroona.
Private garden spaces will use a combination of low-maintenance local native species and exotic plants in beds, with grass lawn areas, built-in garden furniture, paved entertaining spaces and brush fencing.
There are three interior concepts which have been developed for the apartments. Each concept is uniquely different yet encompasses the same materials and finishes. A basic palate of earthy tones has been incorporated with warm and neutral materials to create contemporary, spacious and elegant spaces, with each palate evoking a different atmosphere. Fittings and appliances with simple, clean lines emphasise a modern and functional aesthetic.
STATUS:
Stage 1 Completion November 2008ARCHITECTS IN ASSOCIATION:
Stuart Tanner Architects, Jacob Allom Wade
Tower Road Apartments
Project date: January 2009 - Category: ResidentialThe Tower Road Nurses' Home was constructed in the mid 1950s with a powerful horizontal aesthetic, positioned on high ground on the northern edge of New Town, an inner suburb of Hobart.
By the end of the century, the building had outlived its original purpose and languished empty and neglected.
A small development group purchased the unwanted building and broke new ground for Hobart by converting it to suburban apartments.
A typical floor which once accommodated 32 nurses now comprises 5 or 6 apartments – 23 in all. The design emphasis is on liveability rather than overt luxury.
While new architectural elements such as balconies and canopies signal the new use, the raw strength and lines of the building continue to assert its original character.
By the end of the century, the building had outlived its original purpose and languished empty and neglected.
A small development group purchased the unwanted building and broke new ground for Hobart by converting it to suburban apartments.
A typical floor which once accommodated 32 nurses now comprises 5 or 6 apartments – 23 in all. The design emphasis is on liveability rather than overt luxury.
While new architectural elements such as balconies and canopies signal the new use, the raw strength and lines of the building continue to assert its original character.
STATUS:
Completion November 2005PHOTOGRAPHY:
Richard Eastwood
Torquil Canning House
Project date: January 2008 - Category: ResidentialTo live in Hobart is to live in the shadow of the wall. To its west, Hobart is defined by the escarpment of Mount Wellington, its physical dominance forming a protective shield from the fury of the Roaring Forties. The easterly aspect with its breathtaking views across the Derwent estuary to Bruny Island belies the adversity of the site, subject to extremes of weather including winter snowfalls.
Situated in its foothills and placed on a shelving of the steep pastoral landscape, an existing bluestone cottage constructed by the owner becomes a latent genesis for the composition.
The house comprises a sequence of three distinct pavilions, set within and forming a series of courtyards nestled into an existing escarpment and connected by a circulation spine running along the contours of the hillside. The soul of the house finds its ultimate expression in the massive bluestone entrance wall running perpendicular to the main axis.
In microcosm, the north wall of the house draws on the memory of the moutainscape, its strong lines abstracting the harmonious counterplay of tectonic forces evident in the mountain’s form, connecting the house emphatically to its cultural and physical contexts. Anchored firmly to the cutting at its western end, the tapered and angled form works against the natural slope of the land ultimately reconnected as the site falls away.
Deep reveals, fractured incisions in the face of the wall, help define its strength with the play of light and shade. Penetration of the wall, marked by a simple canopy, reveals a number of dualities evident in the building. The solidity of the wall becomes a counterpoint to the transparency of the glazed pavilions beyond. A feeling of openness is generated by a plan that alternates built form with open space, constantly balanced by the reassuring presence of the wall. From within the main pavilion, the introspective nature of the courtyards is countered as the wall is read again, its plastic expression embracing the views and extending the spatial dynamics of the room beyond its physical boundaries to the infinite horizon.
The traditional loadbearing construction technique evident throughout the building uses a shutter system developed by the owner, providing an equal proportion of stone and mortar. The natural textures and colours of the materials imbue the house with an austere luminosity and warmth when illuminated through the large expanses of glass, creating an ethereal light and a monastic silence.
Situated in its foothills and placed on a shelving of the steep pastoral landscape, an existing bluestone cottage constructed by the owner becomes a latent genesis for the composition.
The house comprises a sequence of three distinct pavilions, set within and forming a series of courtyards nestled into an existing escarpment and connected by a circulation spine running along the contours of the hillside. The soul of the house finds its ultimate expression in the massive bluestone entrance wall running perpendicular to the main axis.
In microcosm, the north wall of the house draws on the memory of the moutainscape, its strong lines abstracting the harmonious counterplay of tectonic forces evident in the mountain’s form, connecting the house emphatically to its cultural and physical contexts. Anchored firmly to the cutting at its western end, the tapered and angled form works against the natural slope of the land ultimately reconnected as the site falls away.
Deep reveals, fractured incisions in the face of the wall, help define its strength with the play of light and shade. Penetration of the wall, marked by a simple canopy, reveals a number of dualities evident in the building. The solidity of the wall becomes a counterpoint to the transparency of the glazed pavilions beyond. A feeling of openness is generated by a plan that alternates built form with open space, constantly balanced by the reassuring presence of the wall. From within the main pavilion, the introspective nature of the courtyards is countered as the wall is read again, its plastic expression embracing the views and extending the spatial dynamics of the room beyond its physical boundaries to the infinite horizon.
The traditional loadbearing construction technique evident throughout the building uses a shutter system developed by the owner, providing an equal proportion of stone and mortar. The natural textures and colours of the materials imbue the house with an austere luminosity and warmth when illuminated through the large expanses of glass, creating an ethereal light and a monastic silence.
STATUS:
Completion January 2006
