Cradle Mountain Park Centre
Project date: March 2012 - Category: Education , TourismJAWSARCHITECTS and Inspiring Place have developed a Master Plan for the Cradle Mountain Gateway zone, located on the disused, government owned airstrip airstrip just outside the northern entrance to the iconic Cradle Mountain Lake St Clair National Park.
A major site rehabilitation project, the zone comprises a new Park Centre, Café, Parks Administration, public amenities and a substantial car park which caters for visitors to the Gateway Zone and those transferring to shuttle buses into the National Park.
The new buildings are grouped around the end of the airstrip, set back from the edge of the forest to provide protection from the threat of bushfires.
Buildings contain embedded interpretation messages through form and detail, drawing on references to the local underlying alpine geomorphology and responding to the extreme weather conditions the area experiences.
Extending from an excavated rock face, a defensive perimeter wall reminiscent of a glacial-eroded head wall faces south. Extending this metaphor, the buildings wrap around and open onto a protected landscaped courtyard, a notional cirque which is contained at the northern end by an enclosing earth moraine.
The centre is conceived as an expansive veranda to provide shelter to pedestrian ways, the encompassing roof folding to the ground to keep a low profile with openings carefully placed to allow framed and filtered views to Cradle Mountain.
New buildings are single storey, the multi-faceted elevations clad in a skin of rough sawn Tasmanian Oak to create a strong material expression, the weathered natural materials all helping to reduce the visual prominence of the building in this pristine environment.
A major site rehabilitation project, the zone comprises a new Park Centre, Café, Parks Administration, public amenities and a substantial car park which caters for visitors to the Gateway Zone and those transferring to shuttle buses into the National Park.
The new buildings are grouped around the end of the airstrip, set back from the edge of the forest to provide protection from the threat of bushfires.
Buildings contain embedded interpretation messages through form and detail, drawing on references to the local underlying alpine geomorphology and responding to the extreme weather conditions the area experiences.
Extending from an excavated rock face, a defensive perimeter wall reminiscent of a glacial-eroded head wall faces south. Extending this metaphor, the buildings wrap around and open onto a protected landscaped courtyard, a notional cirque which is contained at the northern end by an enclosing earth moraine.
The centre is conceived as an expansive veranda to provide shelter to pedestrian ways, the encompassing roof folding to the ground to keep a low profile with openings carefully placed to allow framed and filtered views to Cradle Mountain.
New buildings are single storey, the multi-faceted elevations clad in a skin of rough sawn Tasmanian Oak to create a strong material expression, the weathered natural materials all helping to reduce the visual prominence of the building in this pristine environment.
STATUS:
Planning Approval Received 2012
Port Arthur Separate Prison B Wing
Project date: September 2011 - Category: Heritage , TourismThe construction of the Separate Prison based on the Pentonville system was strategically placed with the dominant structure on a rise for all to see from outside the imposing walls. The system that was enforced within the walls was that of a machine – a silent one in which those who were sentenced in the Separate Prison spent their time in solitude and silence.
After the prison was closed many of the buildings were gutted by large bushfires that raged through the site in 1895. During the twentieth century Wing A and C and the Chapel had been re-roofed and repaired, culminating in the most recent professional conservation and interpretation works.
B Wing has remained as a ruin, untouched in over 100 years.
The Separate Prison works conservation and reconstruction project was designed in stages by a team led by Tonkin Zulaikha Greer Architects (TZG).
Working to the staged concept plan and in consultation with TZG, JAWSARCHITECTS have documented B Wing as the final stage.
With many parts of the Port Arthur Site being restored and reconstructed there is a place for the retention of parts in ruin.
B Wing will be sheltered by a new steel framed translucent roof following the profile of the original, protecting the stonework and intact elements of the building.
A raised central walkway with railing limits public access to reduce damage to fragile building fabric.
Enlarged early interior images at both ends of the corridor aid interpretation of original prison use, while the translucent roofing continues the experience of the structure as ruin.
After the prison was closed many of the buildings were gutted by large bushfires that raged through the site in 1895. During the twentieth century Wing A and C and the Chapel had been re-roofed and repaired, culminating in the most recent professional conservation and interpretation works.
B Wing has remained as a ruin, untouched in over 100 years.
The Separate Prison works conservation and reconstruction project was designed in stages by a team led by Tonkin Zulaikha Greer Architects (TZG).
Working to the staged concept plan and in consultation with TZG, JAWSARCHITECTS have documented B Wing as the final stage.
With many parts of the Port Arthur Site being restored and reconstructed there is a place for the retention of parts in ruin.
B Wing will be sheltered by a new steel framed translucent roof following the profile of the original, protecting the stonework and intact elements of the building.
A raised central walkway with railing limits public access to reduce damage to fragile building fabric.
Enlarged early interior images at both ends of the corridor aid interpretation of original prison use, while the translucent roofing continues the experience of the structure as ruin.
ARCHITECTS IN ASSOCIATION:
Tonkin Zulaikha GreerSTATUS:
Construction Due 2012
Drift Cafe
Project date: May 2011 - Category: Interior , HospitalityDrift Café is located within the recently completed Devonport Surf Life Saving Club Redevelopment on Tasmania’s North West coast. Our client’s vision was to create an enticing space which offers a casual and fun dining experience to showcase seasonal local produce.
A stripped back aesthetic of polished concrete floors, exposed ducts, radiant ceiling heaters and bay lights is tempered by a playful layering of plywood, rusted steel screens, timber seating and fabric panels. The fusion of these warmer, textured elements creates a welcoming environment for relaxed, informal dining.
The cranked plan segregates different operations, orchestrating a movement sequence from the entry, past the bar to the restaurant space. Materials and furnishings take on a darker, more refined feel to help define the transition between zones.
Geometries and materials used in the base building are reinterpreted in the fit out, with rounded plywood panels that ‘drift’ over each other lining the walls and ceiling to help create a weathered character to the spaces and an allusion to surf culture.
Vertical openings in the aluminum skin of the building shell allow shafts of sunlight to animate the dining spaces, with subtle colour used as a backdrop to highlight fabulous views of the beach and headland beyond.
A glazed frontage connects internal spaces with a covered external terrace and semi-enclosed courtyard, contained by the adjacent Surf Club building to create a protective sun-trap for bathers. The external servery caters for barefoot customers, offering a selection of gourmet burgers, drinks and ice-creams; the boldly coloured interior acting as a beacon for eager diners.
A stripped back aesthetic of polished concrete floors, exposed ducts, radiant ceiling heaters and bay lights is tempered by a playful layering of plywood, rusted steel screens, timber seating and fabric panels. The fusion of these warmer, textured elements creates a welcoming environment for relaxed, informal dining.
The cranked plan segregates different operations, orchestrating a movement sequence from the entry, past the bar to the restaurant space. Materials and furnishings take on a darker, more refined feel to help define the transition between zones.
Geometries and materials used in the base building are reinterpreted in the fit out, with rounded plywood panels that ‘drift’ over each other lining the walls and ceiling to help create a weathered character to the spaces and an allusion to surf culture.
Vertical openings in the aluminum skin of the building shell allow shafts of sunlight to animate the dining spaces, with subtle colour used as a backdrop to highlight fabulous views of the beach and headland beyond.
A glazed frontage connects internal spaces with a covered external terrace and semi-enclosed courtyard, contained by the adjacent Surf Club building to create a protective sun-trap for bathers. The external servery caters for barefoot customers, offering a selection of gourmet burgers, drinks and ice-creams; the boldly coloured interior acting as a beacon for eager diners.
STATUS:
Completion 2011PHOTOGRAPHY:
Brett Boardman
Clarence Plains Child and Family Centre
Project date: April 2011 - Category: Education , Interior , Health CareEncompassing a number of outlying suburbs on the eastern shore of Hobart, the Clarence Plains district is spatially contained by a ring of rolling hills. The new Child and Family Centre will provide the community with a range of integrated services that support families with the health, care and education needs of children from birth to five years.
The centre’s welcoming plan of two opposing arcs embraces and connects with the local primary school, residential precincts and other community facilities to reinforce the notion of a community hub. The facility straddles an existing council walkway to incorporate an existing building, refurbished to become the new Neighbourhood Centre.
The design re-works local materials and forms, providing a building with a familiar and recognisable language to the residents, somewhat akin to the home environment. The roof form creates a memorable expression which resonates with the surrounding topography.
The layout of the centre juxtaposes an open plan model with designated spaces, a communal ‘lounge’ separating child-oriented areas from education, counseling and administrative spaces.
The interior explores the concept of the ‘Big House’, configured as a continuous, flexible space of experiences which encourage children’s learning through imaginative play. This concept extends to the exterior play spaces, a dynamic relationship with the landscape forming an integral component of the facility.
A timber portal frame marches through the centre, supporting clerestory windows to provide light from above and a connection with the sky, shown to enhance child development and well being. A neutral colour and material palette forms a latent canvas for the children to embellish.
The centre’s welcoming plan of two opposing arcs embraces and connects with the local primary school, residential precincts and other community facilities to reinforce the notion of a community hub. The facility straddles an existing council walkway to incorporate an existing building, refurbished to become the new Neighbourhood Centre.
The design re-works local materials and forms, providing a building with a familiar and recognisable language to the residents, somewhat akin to the home environment. The roof form creates a memorable expression which resonates with the surrounding topography.
The layout of the centre juxtaposes an open plan model with designated spaces, a communal ‘lounge’ separating child-oriented areas from education, counseling and administrative spaces.
The interior explores the concept of the ‘Big House’, configured as a continuous, flexible space of experiences which encourage children’s learning through imaginative play. This concept extends to the exterior play spaces, a dynamic relationship with the landscape forming an integral component of the facility.
A timber portal frame marches through the centre, supporting clerestory windows to provide light from above and a connection with the sky, shown to enhance child development and well being. A neutral colour and material palette forms a latent canvas for the children to embellish.
ARCHITECTS IN ASSOCIATION:
PTA ArchitectureSTATUS:
Construction 2011
Devonport Surf Life Saving Club Redevelopment
Project date: March 2011 - Category: Interior , Sport , HospitalityThe new Surf Life Saving Club will be the first project to be delivered by Devonport City Council from the Urban Design Framework for the Mersey Bluff, a prominent natural feature forming part of the foreshore reserve.
The design of the new building provides an abstract vehicle for experiencing the unique qualities of the dynamic coastal environment, establishing a strong connection with its setting whilst creating a bold image to assist with marketing and promotional activities.
Seen from all angles, the building is treated as a sculptural element carefully placed in the manicured coastal environment, the dynamic plan form drawing on the cusp of the beach and protective Bluff headland.
To facilitate separate identities, the development is composed of two distinct pavilions sharing a common foyer space; one to house the surf club, the other incorporating high quality restaurant and cafe facilities to serve the local beach users.
An aluminium skin wraps over each pavilion, the roof forms rising and falling to modulate the internal spaces and evoke notions of waves in motion.
The new building delivers a level of sophistication to meet evolving public expectations and provide security for the future of the surf club, a valued community asset.
The design of the new building provides an abstract vehicle for experiencing the unique qualities of the dynamic coastal environment, establishing a strong connection with its setting whilst creating a bold image to assist with marketing and promotional activities.
Seen from all angles, the building is treated as a sculptural element carefully placed in the manicured coastal environment, the dynamic plan form drawing on the cusp of the beach and protective Bluff headland.
To facilitate separate identities, the development is composed of two distinct pavilions sharing a common foyer space; one to house the surf club, the other incorporating high quality restaurant and cafe facilities to serve the local beach users.
An aluminium skin wraps over each pavilion, the roof forms rising and falling to modulate the internal spaces and evoke notions of waves in motion.
The new building delivers a level of sophistication to meet evolving public expectations and provide security for the future of the surf club, a valued community asset.
STATUS:
Completion 2011PHOTOGRAPHY:
Brett Boardman
Kingston High School
Project date: February 2011 - Category: EducationHASSELL in association with JAWSARCHITECTS were appointed to masterplan and design a new high school at Kingston to accommodate 700 year 7-10 students.
The form of an abstracted sine wave orders the buildings on the site, forming a community around a central learning spine at the heart of the school which operates as the main path of circulation traversing the site. The metaphor of the simple harmonic motion of the sine wave abstracts a mathematical phenomenon and relates it to the journey that the learner undertakes in the progression from Year 7 through to Year 10.
The school embraces the latest pedagogical thinking with project based learning in a flexible open plan learning environment moving away from the traditional classroom model. The design includes six “learning pods” and specialty buildings that accommodate Performance, Music, Drama, Food Technology, Design and Discovery Centre, Administration and General Learning Centre.
Sustainability is a key driver for the school with the site plan integrating the buildings into the landscape with sustainable materials, green roofs, rainwater harvesting, grey water recycling, vegetable and native gardens.
The design embraces passive solar and low energy design, utilising photovoltaic panels, good daylighting and focused views of the River Derwent from every building.
The school is co-located with the Kingborough Sports Centre, operating in a unique sharing arrangement with Kingborough Council whereby both the local community and the school will utilise the indoor and outdoor sports facilities, car parking and the school performance space.
The form of an abstracted sine wave orders the buildings on the site, forming a community around a central learning spine at the heart of the school which operates as the main path of circulation traversing the site. The metaphor of the simple harmonic motion of the sine wave abstracts a mathematical phenomenon and relates it to the journey that the learner undertakes in the progression from Year 7 through to Year 10.
The school embraces the latest pedagogical thinking with project based learning in a flexible open plan learning environment moving away from the traditional classroom model. The design includes six “learning pods” and specialty buildings that accommodate Performance, Music, Drama, Food Technology, Design and Discovery Centre, Administration and General Learning Centre.
Sustainability is a key driver for the school with the site plan integrating the buildings into the landscape with sustainable materials, green roofs, rainwater harvesting, grey water recycling, vegetable and native gardens.
The design embraces passive solar and low energy design, utilising photovoltaic panels, good daylighting and focused views of the River Derwent from every building.
The school is co-located with the Kingborough Sports Centre, operating in a unique sharing arrangement with Kingborough Council whereby both the local community and the school will utilise the indoor and outdoor sports facilities, car parking and the school performance space.
ARCHITECTS IN ASSOCIATION:
HassellSTATUS:
Completion 2011
Devonport Maritime Museum
Project date: February 2011 - Category: Civic , Heritage , TourismThe Devonport Maritime Museum is a major cultural asset for the city, housed in a heritage-listed building which was originally the Harbour Master’s residence.
JAWSARCHITECTS was engaged to enhance this facility through provision of additional display space and storage for the numerous artifacts and exhibits which the museum holds. A purpose-built interpretation space was also required to enable the many stories of Bass Strait to be told, including revealing the Julie Burgess, a restored ketch which plied the local waters, as the ‘last of its kind’.
The design of the interpretation wing preserves the natural setting in which the existing museum is placed, the grass of the parkland allowed to gently fold up and over the new addition. The insulative qualities of the green roof will provide a thermally efficient building, working in tandem with the natural ventilation strategy utilised to minimise purchased energy costs.
The low building edges soften the outlook to the museum from the adjacent houses and provide a viewing platform which offers a direct connection with Bass Strait not available from ground level. Drawing on boatbuilding craftsmanship, the fluid form and timber cladding evoke an experience of being within the hull of a ship; the building literally becomes a vessel for story-telling, forming part of that narrative.
The clear span space within provides flexibility for multiple configurations, opening onto an external terrace to allow views of the existing museum and signal station to become integral components of the interpretation experience.
The distinct form provides a strong vehicle for re-branding the museum, strengthening its position as a cultural tourism destination.
JAWSARCHITECTS was engaged to enhance this facility through provision of additional display space and storage for the numerous artifacts and exhibits which the museum holds. A purpose-built interpretation space was also required to enable the many stories of Bass Strait to be told, including revealing the Julie Burgess, a restored ketch which plied the local waters, as the ‘last of its kind’.
The design of the interpretation wing preserves the natural setting in which the existing museum is placed, the grass of the parkland allowed to gently fold up and over the new addition. The insulative qualities of the green roof will provide a thermally efficient building, working in tandem with the natural ventilation strategy utilised to minimise purchased energy costs.
The low building edges soften the outlook to the museum from the adjacent houses and provide a viewing platform which offers a direct connection with Bass Strait not available from ground level. Drawing on boatbuilding craftsmanship, the fluid form and timber cladding evoke an experience of being within the hull of a ship; the building literally becomes a vessel for story-telling, forming part of that narrative.
The clear span space within provides flexibility for multiple configurations, opening onto an external terrace to allow views of the existing museum and signal station to become integral components of the interpretation experience.
The distinct form provides a strong vehicle for re-branding the museum, strengthening its position as a cultural tourism destination.
STATUS:
Concept Design 2012
Spreyton House
Project date: January 2011 - Category: ResidentialPerched on the crest of a hill overlooking Devonport and the River Mersey, the Spreyton House skillfully integrates passive solar design with an informal courtyard lifestyle.
An asymmetrical cluster of living, sleeping, recreation and utility pavilions are zoned in a pin-wheel plan form, extending into the landscape to create a protected open space at the core.
This arrangement creates shafts of space between each pavilion that subtly draw the eye outwards to the surroundings and helps define the four wings as being formally and spatially distinct.
The main living areas utilise extensive glazing to the North to create a bright and open extroverted space, while the retreat spaces overlook a quiet introverted courtyard. An enclosed swimming pool is positioned on the south-western flank to help shelter this space from cold winds.
Large sliding screen doors open to allow cross ventilation and direct views from the protected central courtyard towards the magnificent vista.
A series of planar roofs create a strong horizontal emphasis with large overhangs used to protect the internal spaces from summer sun. Screens, louvres and trellises provide another layer of protection and help temper the robust wall materials to provide a relaxed atmosphere of sensual texture and light.
An asymmetrical cluster of living, sleeping, recreation and utility pavilions are zoned in a pin-wheel plan form, extending into the landscape to create a protected open space at the core.
This arrangement creates shafts of space between each pavilion that subtly draw the eye outwards to the surroundings and helps define the four wings as being formally and spatially distinct.
The main living areas utilise extensive glazing to the North to create a bright and open extroverted space, while the retreat spaces overlook a quiet introverted courtyard. An enclosed swimming pool is positioned on the south-western flank to help shelter this space from cold winds.
Large sliding screen doors open to allow cross ventilation and direct views from the protected central courtyard towards the magnificent vista.
A series of planar roofs create a strong horizontal emphasis with large overhangs used to protect the internal spaces from summer sun. Screens, louvres and trellises provide another layer of protection and help temper the robust wall materials to provide a relaxed atmosphere of sensual texture and light.
STATUS:
Documentation 2011
Royal Hobart Hospital Access and Patient Flow Unit
Project date: January 2011 - Category: Health Care , HeritageThe Tasmanian Government has resolved to retain and upgrade the Royal Hobart Hospital on its current site, maintaining the Heritage-listed Liverpool Street Forecourt and 1938 former Acute Wing as the primary public entrance to the hospital.
The design of the new Access and Patient Flow Unit extends the hospital footprint into the Forecourt, consolidating a number of dislocated administration functions into one unit which will be responsible for the admission and discharge of patients.
The new work has been respectful of and sympathetic to the character of the existing building with its strong symmetry, streamlined styling and horizontal emphasis, the curved form of the addition taking its cues from the layout of the original forecourt driveway.
The building is articulated as two symmetrical wings which highlight the existing central entry point as a contrasting vertical element. The existing canopy will be removed and relocated to increase the visibility of the Ola Cohn sandstone statues.
A new semi-circular steel and glass canopy extends over the kerb-side car spaces to allow patients to be dropped off or collected under shelter.
The leading edge of the main roof draws on the strong horizontal aesthetic of the balcony edge on the existing building, wrapping down at the sides to book-end the new additions.
Internally, the new work creates a warm and nurturing environment for both staff and patients whilst also providing a contemporary orientation space befitting of its status as the State’s leading public hospital.
Patient waiting areas and kiosk are placed within the continuous, transparent outer edge of the development to provide an external connection and promote a sense of wellbeing.
The design of the new Access and Patient Flow Unit extends the hospital footprint into the Forecourt, consolidating a number of dislocated administration functions into one unit which will be responsible for the admission and discharge of patients.
The new work has been respectful of and sympathetic to the character of the existing building with its strong symmetry, streamlined styling and horizontal emphasis, the curved form of the addition taking its cues from the layout of the original forecourt driveway.
The building is articulated as two symmetrical wings which highlight the existing central entry point as a contrasting vertical element. The existing canopy will be removed and relocated to increase the visibility of the Ola Cohn sandstone statues.
A new semi-circular steel and glass canopy extends over the kerb-side car spaces to allow patients to be dropped off or collected under shelter.
The leading edge of the main roof draws on the strong horizontal aesthetic of the balcony edge on the existing building, wrapping down at the sides to book-end the new additions.
Internally, the new work creates a warm and nurturing environment for both staff and patients whilst also providing a contemporary orientation space befitting of its status as the State’s leading public hospital.
Patient waiting areas and kiosk are placed within the continuous, transparent outer edge of the development to provide an external connection and promote a sense of wellbeing.
ARCHITECTS IN ASSOCIATION:
Vincent Chrisp ArchitectsSTATUS:
Concept Design 2011
Wellington Centre
Project date: January 2011 - Category: Commercial , HeritageThe Wellington Centre is a major mixed-use development seamlessly stitched into the heart of Hobart. The centre comprises specialty shops, a supermarket, car park and over 4,500 square metres of office space.
The design maintains the proportion of the surrounding streetscapes, creating a cohesive development by carefully incorporating new insertions adjacent to significant heritage buildings as a consistently scaled podium. Timber beams from an existing warehouse are envisaged to be recycled for incorporation into the new façade treatment.
The ground level retail arcade has a high degree of permeability, with three separate entrances providing pedestrian connections to surrounding streets, open spaces and two adjacent hospitals. The new arcades will provide a range of specialty retail tenancies and convenient access down to a basement supermarket.
At the upper levels, the larger office components are set back, articulated by a contemporary composition of intersecting volumes and externally expressed circulation elements. This approach seeks to minimise the impact of a significant extension to an existing car park which is absorbed within the complex.
The Hobart City Council will own the seven new levels of car spaces which connect to the Council’s Argyle Street Car Park and are accessed via the existing vehicle entrance and ramps. The car park is constructed of flat concrete floor plates to allow for future adaptation to alternate uses without major structural intervention.
An aerial linkway to the Royal Hobart Hospital was incorporated into the development to facilitate Department of Health and Human Services offices and medical consulting services within the office spaces.
The design maintains the proportion of the surrounding streetscapes, creating a cohesive development by carefully incorporating new insertions adjacent to significant heritage buildings as a consistently scaled podium. Timber beams from an existing warehouse are envisaged to be recycled for incorporation into the new façade treatment.
The ground level retail arcade has a high degree of permeability, with three separate entrances providing pedestrian connections to surrounding streets, open spaces and two adjacent hospitals. The new arcades will provide a range of specialty retail tenancies and convenient access down to a basement supermarket.
At the upper levels, the larger office components are set back, articulated by a contemporary composition of intersecting volumes and externally expressed circulation elements. This approach seeks to minimise the impact of a significant extension to an existing car park which is absorbed within the complex.
The Hobart City Council will own the seven new levels of car spaces which connect to the Council’s Argyle Street Car Park and are accessed via the existing vehicle entrance and ramps. The car park is constructed of flat concrete floor plates to allow for future adaptation to alternate uses without major structural intervention.
An aerial linkway to the Royal Hobart Hospital was incorporated into the development to facilitate Department of Health and Human Services offices and medical consulting services within the office spaces.
STATUS:
Construction 2012
Sandy Bay Houses
Project date: January 2011 - Category: ResidentialDemonstrating a sustainable approach to urban consolidation, this project provides four carefully sited and designed houses on a steep waterfront property overlooking the River Derwent.
An overall ‘pin-wheel’ site planning strategy has been implemented in order to place the four houses comfortably on the site, minimize the impact on neighbors, allow direct vehicular and pedestrian movement within the development and to maximise the river views from each house.
Presenting as single-storey elements to the street, the houses provide continuity to the streetscape, complemented by planting zones at the pedestrian entrances. The four houses are terraced down the site to work with the natural topography and offer the residents direct access to a variety of external spaces.
Exterior materials including lighter metal roof elements, exposed steel framework and timber cladding to the first floor sit over more solid plinths below, reducing the bulk and scale of each house.
The orientation of the internal spaces offers broad views of the River Derwent and Eastern shore; each house a tailored exploration of space, light and amenity. The natural interior palette acts as a backdrop to this view, while accent colours in key areas inject life into the space and reflect the individual character of the owners.
Large decks as well as areas of garden and terraces extend from the main living spaces to the north and east, providing good solar access for each of the houses. Regeneration of the endemic foreshore vegetation will soften the houses when viewed from the waterfront in contrast to a more structured approach to landscaping in and around the buildings.
An overall ‘pin-wheel’ site planning strategy has been implemented in order to place the four houses comfortably on the site, minimize the impact on neighbors, allow direct vehicular and pedestrian movement within the development and to maximise the river views from each house.
Presenting as single-storey elements to the street, the houses provide continuity to the streetscape, complemented by planting zones at the pedestrian entrances. The four houses are terraced down the site to work with the natural topography and offer the residents direct access to a variety of external spaces.
Exterior materials including lighter metal roof elements, exposed steel framework and timber cladding to the first floor sit over more solid plinths below, reducing the bulk and scale of each house.
The orientation of the internal spaces offers broad views of the River Derwent and Eastern shore; each house a tailored exploration of space, light and amenity. The natural interior palette acts as a backdrop to this view, while accent colours in key areas inject life into the space and reflect the individual character of the owners.
Large decks as well as areas of garden and terraces extend from the main living spaces to the north and east, providing good solar access for each of the houses. Regeneration of the endemic foreshore vegetation will soften the houses when viewed from the waterfront in contrast to a more structured approach to landscaping in and around the buildings.
STATUS:
Under Construction 2011
Hollydene
Project date: May 2010 - Category: Education , HeritageThe oldest part of Hollydene dates from the mid 1820s when earlier huts gave way to more substantial dwellings. Between 1910 and 1925 the original house disappeared behind several additions and a new façade, becoming the largest boarding house in Hobart.
Set to become an integral component of the new Medical Science research and teaching facility, Hollydene had become neglected when the site was purchased by the University of Tasmania.
The conservation and adaptation of Hollydene to provide a variety of student spaces was undertaken cautiously, doing as much as necessary, but as little as possible within a limited budget.
This approach involved judicious removal of some later additions, reconstruction of exterior rubble walls and application of a new lime-based render; the interior serving its new use through simply rewiring, patching, painting and laying new carpet.
Two paint schemes are used: the 1825 portions in colours used for its earliest coatings, and the 1910 buildings in colours of that era. The front veranda is a reconstruction based on a detailed 1910 photograph which also informed the selection of plants for the front garden.
The rejuvenated Hollydene highlights the contrasting eras of craftsmanship between old and new.
Set to become an integral component of the new Medical Science research and teaching facility, Hollydene had become neglected when the site was purchased by the University of Tasmania.
The conservation and adaptation of Hollydene to provide a variety of student spaces was undertaken cautiously, doing as much as necessary, but as little as possible within a limited budget.
This approach involved judicious removal of some later additions, reconstruction of exterior rubble walls and application of a new lime-based render; the interior serving its new use through simply rewiring, patching, painting and laying new carpet.
Two paint schemes are used: the 1825 portions in colours used for its earliest coatings, and the 1910 buildings in colours of that era. The front veranda is a reconstruction based on a detailed 1910 photograph which also informed the selection of plants for the front garden.
The rejuvenated Hollydene highlights the contrasting eras of craftsmanship between old and new.
ARCHITECTS IN ASSOCIATION:
LyonsSTATUS:
Completion 2010PHOTOGRAPHY:
Jonathan Wherrett
Marion Bay House
Project date: March 2010 - Category: ResidentialSituated on a rugged headland on the east coast of Tasmania, the Marion Bay House is designed to support an informal outdoor lifestyle, allowing the occupants to engage with the extended coastal site and embrace the typically diverse weather conditions of this region.
The design seeks to capture the spatial and physical qualities of the dramatic setting, evoke the experience of camping and incorporate an honest use of materials that refer to traditional shack structures and local rustic farm buildings.
The route to the house site is carefully orchestrated through the open bush, reinforcing the informal meandering required to move from the top of the property towards the coast.
This fluid movement continues into the building, the timber entry wall winding its way through the house to define a series of spaces which can accommodate a varying number of users, focus on a variety of exquisite views and capture the informality of the family’s past camping experiences.
Drawing on the layered skins of tent structures, the
camping analogy is explored further by notionally draping a tough protective metal ‘fly-sheet’ roof over a more permeable inner skin of timber and glass.
The roof and corresponding ceiling plane respond directly to the planning, lifting and compressing to harvest valuable rainwater, frame views and modulate the spatial qualities of the house.
A simple deck places the users within a viewing frame to experience the elements; the external expression of the house resonating with the powerful landform setting in which it is placed.
The design seeks to capture the spatial and physical qualities of the dramatic setting, evoke the experience of camping and incorporate an honest use of materials that refer to traditional shack structures and local rustic farm buildings.
The route to the house site is carefully orchestrated through the open bush, reinforcing the informal meandering required to move from the top of the property towards the coast.
This fluid movement continues into the building, the timber entry wall winding its way through the house to define a series of spaces which can accommodate a varying number of users, focus on a variety of exquisite views and capture the informality of the family’s past camping experiences.
Drawing on the layered skins of tent structures, the
camping analogy is explored further by notionally draping a tough protective metal ‘fly-sheet’ roof over a more permeable inner skin of timber and glass.
The roof and corresponding ceiling plane respond directly to the planning, lifting and compressing to harvest valuable rainwater, frame views and modulate the spatial qualities of the house.
A simple deck places the users within a viewing frame to experience the elements; the external expression of the house resonating with the powerful landform setting in which it is placed.
STATUS:
Documentation 2011
Mako Series Pre-Made Transportable Homes
Project date: March 2010 - Category: 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
Fahan School Gymnasium and Performing Arts Centre
Project date: February 2010 - Category: Education , Interior , SportOriginally a dairy farm, Fahan School is set among magnificent grounds and gardens in suburban Hobart.
Established in 1935, the school has since become an oasis hemmed in by encroaching houses.
The undeveloped western side of the school provided an opportunity for expansion and to create a focus to this edge, defined by Wayne Rivulet.
The Gymnasium and Performing Arts Centre were conceived as one project to maximize potential for linking spaces to add value for the school.
A strategy was developed to integrate the buildings with the terrain and establish a dynamic precinct, defined by movement within, under and between the structures.
The pre-cast concrete structure is integral, the materiality of both buildings drawing from the existing ground condition through the exposed dolerite aggregate.
Buildings are accessed by bridge and sunken into the hillside to aid their thermal performance, minimize the visual impact and contain noise.
The earth-covered roofs negotiate site levels, creating a unifying external space offering places of prospect, reflection and impromptu performance.
The circulation within is defined by ramps, stairs and corridors submerged into the ground, their external form configured as topography.
Natural light from above defines movement, bold colour creating inspiring spaces with a sense of delight.
Established in 1935, the school has since become an oasis hemmed in by encroaching houses.
The undeveloped western side of the school provided an opportunity for expansion and to create a focus to this edge, defined by Wayne Rivulet.
The Gymnasium and Performing Arts Centre were conceived as one project to maximize potential for linking spaces to add value for the school.
A strategy was developed to integrate the buildings with the terrain and establish a dynamic precinct, defined by movement within, under and between the structures.
The pre-cast concrete structure is integral, the materiality of both buildings drawing from the existing ground condition through the exposed dolerite aggregate.
Buildings are accessed by bridge and sunken into the hillside to aid their thermal performance, minimize the visual impact and contain noise.
The earth-covered roofs negotiate site levels, creating a unifying external space offering places of prospect, reflection and impromptu performance.
The circulation within is defined by ramps, stairs and corridors submerged into the ground, their external form configured as topography.
Natural light from above defines movement, bold colour creating inspiring spaces with a sense of delight.
STATUS:
Completion January 2010PHOTOGRAPHY:
Jonathan Wherrett
Rocherlea Primary School
Project date: February 2010 - Category: EducationThe outdated facilities at the former Rocherlea Primary called for rebuilding the school at the adjacent Brooks High School.
A row of Cypress Pine trees has played a prominent role in the identity and memory of the school for both students and the community.
The concept for the new school involved transporting this legacy, utilising the structure of pine trees as an organizational device, seeking to inspire, nurture and provide a welcoming community atmosphere.
The placement of the buildings is likened to a stand of pine trees, the roofs forming a protective canopy allowing light and breezes to filter through. Buildings align with the existing ring road, the entry pathway a pedestrian ‘street’ forming the spatial backbone of the school.
The pathway provides access into the public forecourt containing community orientated spaces.
The forecourt divides the learning areas into two distinct precincts; an infant orientated area and general student learning, each with tailored play gardens and activity zones.
Controlled by a common external form, each classroom unfolds its own identity to form a society of structures. A variety of material, colour, texture and scale has been used to encourage a positive learning atmosphere.
The buildings incorporate a number of passive energy saving features.
A row of Cypress Pine trees has played a prominent role in the identity and memory of the school for both students and the community.
The concept for the new school involved transporting this legacy, utilising the structure of pine trees as an organizational device, seeking to inspire, nurture and provide a welcoming community atmosphere.
The placement of the buildings is likened to a stand of pine trees, the roofs forming a protective canopy allowing light and breezes to filter through. Buildings align with the existing ring road, the entry pathway a pedestrian ‘street’ forming the spatial backbone of the school.
The pathway provides access into the public forecourt containing community orientated spaces.
The forecourt divides the learning areas into two distinct precincts; an infant orientated area and general student learning, each with tailored play gardens and activity zones.
Controlled by a common external form, each classroom unfolds its own identity to form a society of structures. A variety of material, colour, texture and scale has been used to encourage a positive learning atmosphere.
The buildings incorporate a number of passive energy saving features.
STATUS:
Completion December 2009PHOTOGRAPHY:
Ray Joyce, Fiona Graham
UTAS Sport and Recreation Redevelopment
Project date: January 2010 - Category: Education , SportThe Sport & Recreation building at the Sandy Bay Campus of University of Tasmania has been subjected to many ad hoc alterations and additions. This redevelopment allowed a more holistic approach to be taken, addressing fundamental inadequacies whilst creating a fresh identity to attract new members.
A stronger profile is created through the provision of high quality and fully accessible facilities, the natural ventilation and daylight strategy optimizing the functionality of the centre.
An expanded entrance provides a singular access point and a secure foyer, the external expression creating a strong presence. Particular components are articulated by abstract references to the structure of muscles and tendons, colour helping to convey a sense of activity and energy.
A major functional reorganization placed noisy activities centrally, with a layer of quieter activities positioned on external walls. Daylight is introduced to the centre of the building via a new stair, the void acting as a thermal chimney to assist with natural ventilation of the ground floor.
Upstairs, the end walls have been opened up with additional glass louvres introducing more daylight and efficient cooling of the space, supplemented by roof ventilators. An external sun shade controls glare and provides shading.
STATUS:
Completion January 2010PHOTOGRAPHY:
Jonathan Wherrett
Montpelier Project
Project date: January 2010 - Category: CommercialJAWSARCHITECTS were engaged by prominent Hobart developer, Sultan Holdings to design a major mixed-use complex on a vacant site within Sullivans Cove in Hobart.
The development, an important urban repair project, will transform the existing open car park into a building complex which offers new and exciting links and public spaces, giving access to a wide variety of commercial, retail, hospitality and entertainment uses, all located over a large underground public car park, with residential apartments above.
The new buildings along Montpelier Retreat have been designed to reflect the scale, pattern and materials of the historic Salamanca precinct in a contemporary manner and will create new life and activity at the street edge.
A significant new public space will be created, to be known as ‘Cottage Green’. Here the opportunity will be taken, using any archaeological remnants, to portray the story of the early days of settlement, encounters with the local aborigines and the development of ‘New Wharf’ and Salamanca Place.
The upper levels of the complex are set well back and are not generally visible from the streets surrounding the site. The apartments occupying these levels have been sculpted and fragmented so that when viewed from distant positions in the Cove, they will merge with the finer grain of residential roofs behind.
The development, an important urban repair project, will transform the existing open car park into a building complex which offers new and exciting links and public spaces, giving access to a wide variety of commercial, retail, hospitality and entertainment uses, all located over a large underground public car park, with residential apartments above.
The new buildings along Montpelier Retreat have been designed to reflect the scale, pattern and materials of the historic Salamanca precinct in a contemporary manner and will create new life and activity at the street edge.
A significant new public space will be created, to be known as ‘Cottage Green’. Here the opportunity will be taken, using any archaeological remnants, to portray the story of the early days of settlement, encounters with the local aborigines and the development of ‘New Wharf’ and Salamanca Place.
The upper levels of the complex are set well back and are not generally visible from the streets surrounding the site. The apartments occupying these levels have been sculpted and fragmented so that when viewed from distant positions in the Cove, they will merge with the finer grain of residential roofs behind.
STATUS:
Planning Approval Received June 2009
Burnie Surf Club Redevelopment
Project date: January 2010 - Category: Interior , SportThe surf club has over time become an integral part of the culture of the coastal city of Burnie. Idyllically situated midway along the North facing foreshore, the club has provided uninterrupted service to the community since the early 1960s. The importance of this culture is reflected in Council's decision to make it the centerpiece of a redeveloped waterfront on this prominent site.
The building has suffered many unsympathetic alterations and additions, visually separating the city and waterfront. In addition to the environmental and economic benefits, the important elements of the original building were retained to preserve the history of local surf culture on this site.
Two restaurants, a function room, gymnasium and public change facilities have been fused to the existing building; a sense of fun embedded into the complex through the nautical motifs on the change rooms and expressive sweep of the roof.
Two glazed circulation zones differentiate the existing and new fabric, with new elements set back so that the original surf club remains evident. The signature roof and cantilevered deck provide an important visual connection with the city centre whilst allowing uninterrupted views to the waterfront.
All elevations have been carefully designed to be experienced from all sides. Services are contained behind permeable screens, the timber slats and exposed steel acknowledging Burnie's industrial heritage and links to the local timber industry.
The redeveloped Surf club aims to create a memorable place for community events and activities – a valued and inviting destination for both locals and visitors.
The building has suffered many unsympathetic alterations and additions, visually separating the city and waterfront. In addition to the environmental and economic benefits, the important elements of the original building were retained to preserve the history of local surf culture on this site.
Two restaurants, a function room, gymnasium and public change facilities have been fused to the existing building; a sense of fun embedded into the complex through the nautical motifs on the change rooms and expressive sweep of the roof.
Two glazed circulation zones differentiate the existing and new fabric, with new elements set back so that the original surf club remains evident. The signature roof and cantilevered deck provide an important visual connection with the city centre whilst allowing uninterrupted views to the waterfront.
All elevations have been carefully designed to be experienced from all sides. Services are contained behind permeable screens, the timber slats and exposed steel acknowledging Burnie's industrial heritage and links to the local timber industry.
The redeveloped Surf club aims to create a memorable place for community events and activities – a valued and inviting destination for both locals and visitors.
STATUS:
Completion 2006PHOTOGRAPHY:
Bob Iddon
Mt Field National Park Visitor Centre
Project date: March 2009 - Category: TourismThis development fulfils a desire to provide improved visitor amenity to one of Tasmania’s significant tourist attractions and most loved National Parks.
The project consolidates a previously haphazard arrangement of Park management offices, visitor information, retail facilities and amenities into a single reception building with more accessible parking facilities.
The primary objective of the development was to retain or enhance the natural and scenic qualities of the area, with the design of the Centre reflecting the sites particular sense of place.
Careful consideration has been given to site the new building unobtrusively into the landscape, open spaces to the sun, shelter from the weather and to create areas that engage with the natural surroundings.
The form of the building reflects the duality of the landscape within the Park entry zone, acting as a transitional space between the introduced landscape and the native bush beyond.
The overall mass of the building is broken up into a number of separately articulated, but related parts to minimize its impact on the site. The building subtly refers to forms, colours and materials found within the park and reinterprets them in a contemporary manner.
The new Centre and associated landscape design provides a stimulating and visually cohesive environment for visitors to develop an understanding of the biodiversity of the Park and adjacent World Heritage Area.
The project consolidates a previously haphazard arrangement of Park management offices, visitor information, retail facilities and amenities into a single reception building with more accessible parking facilities.
The primary objective of the development was to retain or enhance the natural and scenic qualities of the area, with the design of the Centre reflecting the sites particular sense of place.
Careful consideration has been given to site the new building unobtrusively into the landscape, open spaces to the sun, shelter from the weather and to create areas that engage with the natural surroundings.
The form of the building reflects the duality of the landscape within the Park entry zone, acting as a transitional space between the introduced landscape and the native bush beyond.
The overall mass of the building is broken up into a number of separately articulated, but related parts to minimize its impact on the site. The building subtly refers to forms, colours and materials found within the park and reinterprets them in a contemporary manner.
The new Centre and associated landscape design provides a stimulating and visually cohesive environment for visitors to develop an understanding of the biodiversity of the Park and adjacent World Heritage Area.
STATUS:
Completion December 2000
Burnie Bowls Club
Project date: February 2009 - Category: Sport , HospitalityJAWSARCHITECTS was selected to design a new home for the Burnie Bowls Club which has been located on the Burnie waterfront since the turn of last century.
As landlord, Burnie City Council required a facility which could cater for the club’s needs and also accommodate a variety of other uses and functions to enhance the idea of a recreational and social hub on the new site.
The clubhouse functions are complemented with a new indoor green to enable year-round bowling, whilst a large Bistro area satisfies the club’s social requirements and offers a venue for other community activities and social events to take place.
Gathering the functional spaces together within a singular form unifies the site and allows the building to create a stronger connection with its setting. The expressive form responds to the wider context of the surrounding hills and nearby coastline, embracing the bowling greens to provide a sheltered sunny external terrace. In places the external envelope peels back to reveal an inviting inner core.
A simple, clear span structural system for the whole building was conceived to provide a light and spacious interior whilst allowing for a quick and efficient construction period on an extremely tight budget. The large roof overhangs provide shade and external weather protection, while still allowing passive solar gain in winter.
The use of a traditional roof shape in a contemporary manner allows an iconic, yet structurally simple form to become the defining identity for the club, embracing its history whilst helping it promote to a new generation of potential members.
As landlord, Burnie City Council required a facility which could cater for the club’s needs and also accommodate a variety of other uses and functions to enhance the idea of a recreational and social hub on the new site.
The clubhouse functions are complemented with a new indoor green to enable year-round bowling, whilst a large Bistro area satisfies the club’s social requirements and offers a venue for other community activities and social events to take place.
Gathering the functional spaces together within a singular form unifies the site and allows the building to create a stronger connection with its setting. The expressive form responds to the wider context of the surrounding hills and nearby coastline, embracing the bowling greens to provide a sheltered sunny external terrace. In places the external envelope peels back to reveal an inviting inner core.
A simple, clear span structural system for the whole building was conceived to provide a light and spacious interior whilst allowing for a quick and efficient construction period on an extremely tight budget. The large roof overhangs provide shade and external weather protection, while still allowing passive solar gain in winter.
The use of a traditional roof shape in a contemporary manner allows an iconic, yet structurally simple form to become the defining identity for the club, embracing its history whilst helping it promote to a new generation of potential members.
STATUS:
Completion February 2009PHOTOGRAPHY:
Bob Iddon
Otway Fly
Project date: January 2009 - Category: TourismAn iconic ecotourism destination in the Otway Ranges of southwest Victoria which combines the thrill and excitement of an elevated walkway through the tree-tops of Victoria’s finest stands of Myrtle, Beech and pristine forest.
The visitor centre is a low elegant Japanese style pavilion with robust rough sawn eucalypt columns on a rhythmical grid.
A crisp palate of greys and greens was drawn from the stunning surrounding forest to create a relaxed, yet contemporary and inviting space whilst providing a neutral backdrop where the foliage outside becomes the main focus for the visitor.
The visitor centre is a low elegant Japanese style pavilion with robust rough sawn eucalypt columns on a rhythmical grid.
A crisp palate of greys and greens was drawn from the stunning surrounding forest to create a relaxed, yet contemporary and inviting space whilst providing a neutral backdrop where the foliage outside becomes the main focus for the visitor.
STATUS:
Completion November 2004
Albuera Street Schoolhouse Apartments
Project date: January 2009 - Category: Residential , HeritageIn a city celebrated for its river and mountain views, lifestyle and wealth of heritage buildings, it is unusual to be involved in a project that celebrates all on such a grand scale.
The redevelopment of the 1913 Albuera Street Schoolhouse, once playground to Tasmania’s most famous export, Errol Flynn, provided a wonderful opportunity to bring these themes together. Peeling away layers of unsympathetic additions and alterations has revealed a beautiful shell.
This spectacular canvas has created an opportunity to highlight and contrast the existing fabric through an exploration of minimalist and refined architectural insertions within the original classroom volumes.
The resulting four contemporary apartments are dramatic and beautiful, the new paying reverence to the old. The created spatial experience has become an interplay of compressed and expansive volumes, light and shadow, texture and material, new and old.
The redevelopment of the 1913 Albuera Street Schoolhouse, once playground to Tasmania’s most famous export, Errol Flynn, provided a wonderful opportunity to bring these themes together. Peeling away layers of unsympathetic additions and alterations has revealed a beautiful shell.
This spectacular canvas has created an opportunity to highlight and contrast the existing fabric through an exploration of minimalist and refined architectural insertions within the original classroom volumes.
The resulting four contemporary apartments are dramatic and beautiful, the new paying reverence to the old. The created spatial experience has become an interplay of compressed and expansive volumes, light and shadow, texture and material, new and old.
STATUS:
Completion January 2004PHOTOGRAPHY:
Richard Eastwood
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
Dismal Swamp
Project date: January 2009 - Category: Tourism , HospitalityDismal Swamp is a polje or sinkhole like a giant colosseum, a cauldron starting with an unusual geological formation and mixing in a brew of the mythical and the majestic.
The architecture too, is a curious blend of buildings, sculpture and structures which accentuate and describe this wondrous place.
The Visitor Centre is perched high on the rim of the polje and floats amongst the tree tops overlooking the swamp below.
Curved Blackwood beams and crown-cut veneers sourced from the nearby forest echo an era when Coopers fashioned barrels from the Blackwood. This warm timber cocoon embraces the guest shielding them from the savage westerlies.
The natural spring of the endemic Celery Top Pine beams bounces and sways the springboard amongst the giant eucalypts. The slide slips sensuously through the forest canopy propelling the visitor at an alarming pace to commence an amazing journey of discovery in the ancient forest.
The floor of the sinkhole is a featureless, flat plane, forested with an endless stand of Blackwood. To be lost in this environment creates an overwhelming experience of disorientation and alienation.
The key concept behind the Dismal Maze is the notion of developing this disorientation further and pushing the boundaries of emotional response to this alien environment, creating in the visitor's mind, a disorienting experience.
A maze winds around the sink hole floor leading the visitor on a journey of experience. The maze and the elements that are located within it actively support and reinforce the range of information that makes up the Blackwood interpretation story.
The elements to be discovered within this maze are a series of extraordinary structures evidencing different methods of construction and materials and involve a range of interpretation methods appropriate to telling the Blackwood story in an innovative and exciting manner.
The architecture too, is a curious blend of buildings, sculpture and structures which accentuate and describe this wondrous place.
The Visitor Centre is perched high on the rim of the polje and floats amongst the tree tops overlooking the swamp below.
Curved Blackwood beams and crown-cut veneers sourced from the nearby forest echo an era when Coopers fashioned barrels from the Blackwood. This warm timber cocoon embraces the guest shielding them from the savage westerlies.
The natural spring of the endemic Celery Top Pine beams bounces and sways the springboard amongst the giant eucalypts. The slide slips sensuously through the forest canopy propelling the visitor at an alarming pace to commence an amazing journey of discovery in the ancient forest.
The floor of the sinkhole is a featureless, flat plane, forested with an endless stand of Blackwood. To be lost in this environment creates an overwhelming experience of disorientation and alienation.
The key concept behind the Dismal Maze is the notion of developing this disorientation further and pushing the boundaries of emotional response to this alien environment, creating in the visitor's mind, a disorienting experience.
A maze winds around the sink hole floor leading the visitor on a journey of experience. The maze and the elements that are located within it actively support and reinforce the range of information that makes up the Blackwood interpretation story.
The elements to be discovered within this maze are a series of extraordinary structures evidencing different methods of construction and materials and involve a range of interpretation methods appropriate to telling the Blackwood story in an innovative and exciting manner.
STATUS:
Completion December 2004PHOTOGRAPHY:
Richard Bennett, Nick Osborne
Tower Road Apartments
Project date: January 2009 - Category: Residential , HeritageThe 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
Kingborough Civic Centre
Project date: January 2009 - Category: Interior , CivicThe Kingborough Civic Centre provides a new heart for the Kingborough municipality; a place for ceremony, a place for community and commerce. The building becomes an integral piece in the complex jigsaw of a beachside town growing to become the urban centre, satellite residential township and commercial focus of the region.
The new Civic Centre consolidates a fragmented urban edge and is seen by Council as the catalyst for change and growth. Set back from the street frontage the building forms a transitional position from hard edge commercial alignment to allow vistas to St. Clements church spire. A small urban park and robust noble materials provide a solid presence, reinforcing the importance of local government in the community.
The new Civic Centre consolidates a fragmented urban edge and is seen by Council as the catalyst for change and growth. Set back from the street frontage the building forms a transitional position from hard edge commercial alignment to allow vistas to St. Clements church spire. A small urban park and robust noble materials provide a solid presence, reinforcing the importance of local government in the community.
PHOTOGRAPHY:
Richard EastwoodSTATUS:
Completion January 2000
Pier One Bar and Restaurant
Project date: January 2009 - Category: Interior , HospitalityAn exciting and rare brief for Tasmania has been the redevelopment of the Boardwalk at Wrest Point Casino for Federal Hotels. Situated on the foreshore of the River Derwent this innovative new bar and restaurant appeals to a demanding contemporary market.
STATUS:
Completion November 2002
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
Tahune Airwalk and Visitor Centre
Project date: January 2009 - Category: Tourism , HospitalityThe Tahune Airwalk takes the visitor on a thrilling ride through the giant eucalypts of the cool temperate rainforests of southern Tasmania.
A new experience; a new view of this beautiful world is accessible for all - from the very young to the very old. Perched over the understorey of Tasmania's richly diverse endemic rainforest species, a spectacular (if scary) view awaits the brave at the end of the cantilever some 40 metres above the banks of the majestic Huon River.
Return to relative comfort and safety for a coffee in the Visitor Centre for further close encounters with fiddleback Huon Pine, Celery top pine burled myrtle and figured eucalypt.
A new experience; a new view of this beautiful world is accessible for all - from the very young to the very old. Perched over the understorey of Tasmania's richly diverse endemic rainforest species, a spectacular (if scary) view awaits the brave at the end of the cantilever some 40 metres above the banks of the majestic Huon River.
Return to relative comfort and safety for a coffee in the Visitor Centre for further close encounters with fiddleback Huon Pine, Celery top pine burled myrtle and figured eucalypt.
PHOTOGRAPHY:
Richard EastwoodSTATUS:
Completion September 2001
Ricketts House
Project date: January 2009 - Category: ResidentialThe great Southern Ocean pounds relentlessly on the southern shores of Australia's island state. The Ricketts house is perched on the tertiary dunes at Clifton Beach with framed views to the surf. The house is slung from a crude timber frame which straddles the dunes.
A tough curved timber wall shields the house from the southerlies gusting off Storm Bay. The house presents its full length to the northern sun; the extensive glazing blurs the transition from interior to the coastal landscape
A tough curved timber wall shields the house from the southerlies gusting off Storm Bay. The house presents its full length to the northern sun; the extensive glazing blurs the transition from interior to the coastal landscape
STATUS:
Completion December 1998
University of Tasmania Union Bar
Project date: January 2009 - Category: Education , Interior , HospitalityThe Tasmania University Union activities centre was forced to suspend music concerts due to noise disturbance to surrounding residents. Addressing this situation, the new venue uses the practical constraints of acoustic and ventilation requirements as a catalyst for the architectural expression.
The acoustic containment problems were solved by burying the building under a post-tensioned concrete roof, covered with grass and endemic gardens. Raw concrete, exposed industrial services and shafts of daylight through rusted steel skylights highlight the powerfully restrained colour scheme.
The result is a dimmable, theatrical cave; the back-drop to a variety of vibrant gatherings. Internal surfaces are generally not parallel to improve diffuse reflection of sounds, with sliding wall panels allowing a variety of simultaneous uses day and night, the space opening out to sun-drenched, tiered courtyards.
Cut into the rocky hillside, the building’s immense thermal storage capacity maintains a generally stable internal temperature and adequate day-lighting enables the large spaces to be utilized for much of the time with very little electrical energy use.
At peak capacity, the space needs a very large quantity of air movement. All inlet and exhaust ducts have extensive acoustic absorption and a labyrinth pathway. Glazed roof lights and doors to the sunny courtyards are covered at night with lead lined acoustic panels.
The new TUU Bar now provides a durable and vibrant venue for up to 1200 patrons for functions as widely diverse as student exhibitions and performances, rock concerts and dance parties with sound levels of 110dB(A) inaudible in the surrounding residential areas.
The acoustic containment problems were solved by burying the building under a post-tensioned concrete roof, covered with grass and endemic gardens. Raw concrete, exposed industrial services and shafts of daylight through rusted steel skylights highlight the powerfully restrained colour scheme.
The result is a dimmable, theatrical cave; the back-drop to a variety of vibrant gatherings. Internal surfaces are generally not parallel to improve diffuse reflection of sounds, with sliding wall panels allowing a variety of simultaneous uses day and night, the space opening out to sun-drenched, tiered courtyards.
Cut into the rocky hillside, the building’s immense thermal storage capacity maintains a generally stable internal temperature and adequate day-lighting enables the large spaces to be utilized for much of the time with very little electrical energy use.
At peak capacity, the space needs a very large quantity of air movement. All inlet and exhaust ducts have extensive acoustic absorption and a labyrinth pathway. Glazed roof lights and doors to the sunny courtyards are covered at night with lead lined acoustic panels.
The new TUU Bar now provides a durable and vibrant venue for up to 1200 patrons for functions as widely diverse as student exhibitions and performances, rock concerts and dance parties with sound levels of 110dB(A) inaudible in the surrounding residential areas.
PHOTOGRAPHY:
Richard EastwoodSTATUS:
Completion December 2003
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 1995PHOTOGRAPHY:
Richard Eastwood
Corporate Office Fitout
Project date: January 2008 - Category: Commercial , InteriorThe original work to this corporate office focused on refurbishment of the public foyer space and boardroom. A sculptural wall was inserted into the tenancy, becoming a threshold between private, semi-private and public spaces. The form of the wall in the reception area is a series of planes which push out from the wall to create a dynamic interface with the public.
The wall modulates natural and artificial light in a variety of ways. Light sources are accentuated by utilizing screens to filter and bounce light into these changing planes. A ceiling pelmet acts as a light shelf and a double glazed translucent glass wall runs past the boardroom allowing connection to the workspace whilst maintaining visual and acoustic privacy.
The language of this redevelopment was used as a catalyst for another office refurbishment five years later.
Working within the confines of a single office, this component explores the prospect of the workspace as a consolidated joinery installation, a folding plane. The existing column provided a point of reference from which a continuous planar element wraps, turns and folds throughout the space. The folds provide for the necessary functional and storage requirements of a contemporary, corporate workspace, whilst subtly defining the public and private zones.
A sense of transparency, warmth and strength is imbued in the materials used which compliment the existing corporate colors.
The wall modulates natural and artificial light in a variety of ways. Light sources are accentuated by utilizing screens to filter and bounce light into these changing planes. A ceiling pelmet acts as a light shelf and a double glazed translucent glass wall runs past the boardroom allowing connection to the workspace whilst maintaining visual and acoustic privacy.
The language of this redevelopment was used as a catalyst for another office refurbishment five years later.
Working within the confines of a single office, this component explores the prospect of the workspace as a consolidated joinery installation, a folding plane. The existing column provided a point of reference from which a continuous planar element wraps, turns and folds throughout the space. The folds provide for the necessary functional and storage requirements of a contemporary, corporate workspace, whilst subtly defining the public and private zones.
A sense of transparency, warmth and strength is imbued in the materials used which compliment the existing corporate colors.
STATUS:
Completion December 2005PHOTOGRAPHY:
Ray Joyce
Louisville Point Golf Clubhouse
Project date: May 2007 - Category: Tourism , SportJAWSARCHITECTS was invited to prepare a concept for a new golf clubhouse on a magnificent setting on the east coast of Tasmania. The golf course and clubhouse are envisaged as the catalyst for an associated residential development and a number of supporting infrastructure buildings across the site.
A series of major geologic fractures have affected this region in its past, causing uplift (horst) and down-faulted (graben) block structures to characterise the landform seen today. The design uses this notion of the fracture, expressed as an abstract line in the landscape, to orchestrate pedestrian movement across the site and become a generator for the placement of buildings and spaces, the embedded meaning enriching the experience.
The clubhouse is seen as one of a series of points along a path and an extension of playing a round of golf, with changes of direction framing key landscape vistas and views of the course. The distinctive roof form emerges from the natural contours of the land, drawing on the horst and graben structures in its expression.
The site fracture also provides a means of resolving the competing dualities of the site in determining key functional relationships within the building. Spaces are located in a hierarchy that responds to their particular needs; being public or private, exposed or sheltered or with a focus on views or solar orientation.
This duality extends to the notion of landscape, with the conflict between the natural setting and the constructed landscape revealed through the fracture. The architecture seeks to capture the inherent qualities of the site and informal coastal lifestyle; the tactility of the landscape expressed through the palette of natural materials and finishes.
A series of major geologic fractures have affected this region in its past, causing uplift (horst) and down-faulted (graben) block structures to characterise the landform seen today. The design uses this notion of the fracture, expressed as an abstract line in the landscape, to orchestrate pedestrian movement across the site and become a generator for the placement of buildings and spaces, the embedded meaning enriching the experience.
The clubhouse is seen as one of a series of points along a path and an extension of playing a round of golf, with changes of direction framing key landscape vistas and views of the course. The distinctive roof form emerges from the natural contours of the land, drawing on the horst and graben structures in its expression.
The site fracture also provides a means of resolving the competing dualities of the site in determining key functional relationships within the building. Spaces are located in a hierarchy that responds to their particular needs; being public or private, exposed or sheltered or with a focus on views or solar orientation.
This duality extends to the notion of landscape, with the conflict between the natural setting and the constructed landscape revealed through the fracture. The architecture seeks to capture the inherent qualities of the site and informal coastal lifestyle; the tactility of the landscape expressed through the palette of natural materials and finishes.
STATUS:
Concept Design 2008
St Crispins Well Interpretation Platform
Project date: January 2007 - Category: TourismWellington Park drinking water catchments provide 20% of greater Hobart’s drinking water. St Crispins Well is one of nine intakes on Mt Wellington and is the only one that offers public access. A heritage-listed site, it has traditionally been a destination for local walkers and picnickers.
JAWS was engaged to lead the design team to create an enhanced public space which provides information regarding water supply and catchment management, to highlight the importance of the drinking water supply catchment, to provide information regarding the protection of the natural values of the area and to improve employee safety while undertaking routine cleaning and testing of the intake.
The design methodology employed a thematic approach to the site, using the platform as an interpretive medium to evoke an appreciation of the site and its natural features.
The siting of the platform and seat are designed not to impede on the view of the intake, providing a contemplative area to appreciate the natural values of the area whilst giving the visitor the desired experience and understanding the site.
The fluid form responds to the course of the rivulet by key messages inscribed into the fabric of the platform aim to avoid overt signage, instead offering a personal connection to the site and a valuing of its features.
A linking balustrade encourages movement up to obtain a closer view of the working infrastructure and a controlled access point for staff to access the intake for water quality sampling and cleaning.
The materials are in line with Wellington Park’s guidelines and include recycled plastic, local stone and natural timbers all with muted colours to ensure minimal visual intrusion on the natural values.
JAWS was engaged to lead the design team to create an enhanced public space which provides information regarding water supply and catchment management, to highlight the importance of the drinking water supply catchment, to provide information regarding the protection of the natural values of the area and to improve employee safety while undertaking routine cleaning and testing of the intake.
The design methodology employed a thematic approach to the site, using the platform as an interpretive medium to evoke an appreciation of the site and its natural features.
The siting of the platform and seat are designed not to impede on the view of the intake, providing a contemplative area to appreciate the natural values of the area whilst giving the visitor the desired experience and understanding the site.
The fluid form responds to the course of the rivulet by key messages inscribed into the fabric of the platform aim to avoid overt signage, instead offering a personal connection to the site and a valuing of its features.
A linking balustrade encourages movement up to obtain a closer view of the working infrastructure and a controlled access point for staff to access the intake for water quality sampling and cleaning.
The materials are in line with Wellington Park’s guidelines and include recycled plastic, local stone and natural timbers all with muted colours to ensure minimal visual intrusion on the natural values.
STATUS:
Completion 2008
College of Aluminium Training
Project date: January 2007 - Category: EducationIncat Tasmania’s phenomenal international success has spawned an unquenchable demand for aluminum welders, with the College of Aluminium Training established adjacent to the Incat facility in Hobart to satisfy this demand.
The form of the building is dictated by the functional requirements which define the plan and expression of each of the three principal elements.
The workshop is defined by a simple skillion portal cut into the ridge line. Incorporating welding bays and the full range of large scale production machinery, the workshop provides immediate access and direct visibility to the teaching areas.
Student and staff areas are located on the east and north elevations to gain the maximum benefit from direct sun and expansive views stretching from the Derwent River and to Prince of Wales Bay and Mount Wellington beyond. The two storey administration wing and gantry sheds form defining bookends to the composition. The administration wing responds to the arc of surveyor drive; the fluid plan and canopies inspired by maritime forms.
Construction materials have been selected to reflect contemporary industrial and marine detailing; an austere and robust palette of finishes which varies to suit the function of each building component. Administration and classrooms have an expressed steel frame with anodised aluminium cladding and window framing. The workshop has pre-cast concrete base walls topped with corrugated zincalume steel cladding on an exposed steel portal frame.
All services including reticulated gases, lighting, power and heating to the workshop are run overhead to allow maximum flexibility for future change in an industry constantly growing to meet the world demand for fast ferries.
The form of the building is dictated by the functional requirements which define the plan and expression of each of the three principal elements.
The workshop is defined by a simple skillion portal cut into the ridge line. Incorporating welding bays and the full range of large scale production machinery, the workshop provides immediate access and direct visibility to the teaching areas.
Student and staff areas are located on the east and north elevations to gain the maximum benefit from direct sun and expansive views stretching from the Derwent River and to Prince of Wales Bay and Mount Wellington beyond. The two storey administration wing and gantry sheds form defining bookends to the composition. The administration wing responds to the arc of surveyor drive; the fluid plan and canopies inspired by maritime forms.
Construction materials have been selected to reflect contemporary industrial and marine detailing; an austere and robust palette of finishes which varies to suit the function of each building component. Administration and classrooms have an expressed steel frame with anodised aluminium cladding and window framing. The workshop has pre-cast concrete base walls topped with corrugated zincalume steel cladding on an exposed steel portal frame.
All services including reticulated gases, lighting, power and heating to the workshop are run overhead to allow maximum flexibility for future change in an industry constantly growing to meet the world demand for fast ferries.
PHOTOGRAPHY:
Richard EastwoodSTATUS:
Completion January 1997
Godfrey Apartments
Project date: January 2007 - Category: Residential , Heritage17-21 Hunter Street is a four- storey sandstone building built between 1830 and 1840 and for much of its life was part of the Henry Jones IXL jam manufacturing complex.
In more recent years, the ground floor has become a Hobart institution as the 'Drunken Admiral' restaurant, while the upper floors have generally remained derelict and unoccupied.
The building is highly significant to the history and evolution of the Hunter Street precinct. To respect this significance, no changes have been made to the external walls, whilst a new lift, stair and five contemporary apartments have been inserted into the existing building shell.
Planning of the new spaces minimizes contact of new walls and fitments with the original building fabric and enabled the modern apartment installations to sit comfortably within the old stone walls.
In more recent years, the ground floor has become a Hobart institution as the 'Drunken Admiral' restaurant, while the upper floors have generally remained derelict and unoccupied.
The building is highly significant to the history and evolution of the Hunter Street precinct. To respect this significance, no changes have been made to the external walls, whilst a new lift, stair and five contemporary apartments have been inserted into the existing building shell.
Planning of the new spaces minimizes contact of new walls and fitments with the original building fabric and enabled the modern apartment installations to sit comfortably within the old stone walls.
STATUS:
Completion August 2005PHOTOGRAPHY:
Richard Eastwood
Port Arthur Museum
Project date: January 2006 - Category: Interior , Heritage , TourismDesigners JAWS2 worked collaboratively with Curator Julia Clark and Graphic Designer Lynda Warner to create an evocative interpretation experience that draws on the imagery of 'grinding rogues into free'.
In a darkened room, cases frame a single glowing object. This is the theme for each unit. On walking into the viewing space a background panoramic image reinforces the object theme and opens out to display an array of thematically linked artifacts.
This installation is all about new ways of learning how to interpret our past in our own manner.
In a darkened room, cases frame a single glowing object. This is the theme for each unit. On walking into the viewing space a background panoramic image reinforces the object theme and opens out to display an array of thematically linked artifacts.
This installation is all about new ways of learning how to interpret our past in our own manner.
Barrington Aged Care Facility
Project date: January 2006 - Category: Health Care , HeritageBarrington Lodge is an aged care facility owned and operated by the Salvation Army in New Town, Tasmania.
This project comprised a major redevelopment which increased the accommodation from around 10 to 60 beds, in the process raising the standards to contemporary levels.
Although situated on a large site, the design constraints were considerable: after excluding a steep portion of the site and taking into account high voltage cables, existing buildings, access issues and heritage constraints, the available site area proved to be very tight.
The original Barrington building has been retained, its setting and approach enhanced and its visibility form the street preserved. Barrington has been carefully integrated into the overall design and the many new building elements are respectful in their relationship to the heritage building.
Internally the planning layout has wide, well lit circulation areas, carefully positioned sitting and lounge spaces, enclosed gardens and generous common facilities - a pleasant environment for the residents and staff alike.
This project comprised a major redevelopment which increased the accommodation from around 10 to 60 beds, in the process raising the standards to contemporary levels.
Although situated on a large site, the design constraints were considerable: after excluding a steep portion of the site and taking into account high voltage cables, existing buildings, access issues and heritage constraints, the available site area proved to be very tight.
The original Barrington building has been retained, its setting and approach enhanced and its visibility form the street preserved. Barrington has been carefully integrated into the overall design and the many new building elements are respectful in their relationship to the heritage building.
Internally the planning layout has wide, well lit circulation areas, carefully positioned sitting and lounge spaces, enclosed gardens and generous common facilities - a pleasant environment for the residents and staff alike.
STATUS:
Completion 2005
TAFE Clarence Campus Redevelopment
Project date: January 2005 - Category: Education , HeritageThe original Clarence Campus buildings were constructed as Warrane High School in the early 1960's and passed to TAFE Tasmania in the 1980's. After twenty years under TAFE operations, the buildings had become under-utilised, poorly configured for contemporary Vocational Education and Training programs and contained finishes, fittings and building services that had reached the end of their life cycle.
A five-stage redevelopment program was undertaken to address these shortcomings. The sequence of work takes into account the relocation of groups to either vacate accommodation for redevelopment or occupy redeveloped spaces.
Apart from addressing the tangible inadequacies, the design approach has been to retain and highlight the framework and features of the original structures, with the addition a new layer of design elements.
The new works have consolidated the disparate buildings to create a new first point of contact and a social focus for the campus. The way-finding within the campus benefits from a unique address for each building and a completely accessible circulation path between all levels, including provision of a new lift to upper floors.
New external building elements allows for selective inclusion of natural light, modification of the internal environmental conditions and incorporate a passive approach to glare and heat control.
All the buildings are to have their own identity, linked by a common design philosophy. The key objective has been to transform the campus into an exciting and vibrant learning environment by employing light, colour and movement as design devices.
The planning of the new campus allows a greater interaction between the internal and external environments, both in the sense of direct physical access or in the form of views out to the surrounds. Feature lighting throughout the campus is individual to space and function. Sometimes colour is linked in, sometimes scale is manipulated, and sometimes distance. Variation and interest is the key.
Colour is used as a tool for creating character and identity. A common base palette will run continuously through the campus as a whole, not only to tie the campus together, but also for flexibility and ease of adaptability in the future. However, individual buildings display a distinctive interior colour palette, the purpose of which to provide a distinctive address for zones within the campus and its associated user groups.
Pattern is a tool employed to create movement and link the distinct components of the campus together; particularly in the selection and layout of carpets, but also in the design of the signage and building graphics.
A five-stage redevelopment program was undertaken to address these shortcomings. The sequence of work takes into account the relocation of groups to either vacate accommodation for redevelopment or occupy redeveloped spaces.
Apart from addressing the tangible inadequacies, the design approach has been to retain and highlight the framework and features of the original structures, with the addition a new layer of design elements.
The new works have consolidated the disparate buildings to create a new first point of contact and a social focus for the campus. The way-finding within the campus benefits from a unique address for each building and a completely accessible circulation path between all levels, including provision of a new lift to upper floors.
New external building elements allows for selective inclusion of natural light, modification of the internal environmental conditions and incorporate a passive approach to glare and heat control.
All the buildings are to have their own identity, linked by a common design philosophy. The key objective has been to transform the campus into an exciting and vibrant learning environment by employing light, colour and movement as design devices.
The planning of the new campus allows a greater interaction between the internal and external environments, both in the sense of direct physical access or in the form of views out to the surrounds. Feature lighting throughout the campus is individual to space and function. Sometimes colour is linked in, sometimes scale is manipulated, and sometimes distance. Variation and interest is the key.
Colour is used as a tool for creating character and identity. A common base palette will run continuously through the campus as a whole, not only to tie the campus together, but also for flexibility and ease of adaptability in the future. However, individual buildings display a distinctive interior colour palette, the purpose of which to provide a distinctive address for zones within the campus and its associated user groups.
Pattern is a tool employed to create movement and link the distinct components of the campus together; particularly in the selection and layout of carpets, but also in the design of the signage and building graphics.
STATUS:
Completion January 2006ARTISTS:
Kieran Bradley, Gerhard MurtzGRAPHIC DESIGNER:
James Newitt
Moorilla Estate Reception Centre
Project date: January 2003 - Category: Interior , Tourism , HospitalityMoorilla Estate, established in 1958, is Tasmania's oldest commercial winery and vineyard. Located 12km north of Hobart on a peninsula in the Derwent River, the estate has a significant physical and cultural context into which the new Moorilla Wine and Food Centre has been inserted.
The building occupies the apex of the site in both topographical and hierarchical terms to capitalise on sun and views of the river and the wider landscape and to provide a strong public face to the estate. It is also sited immediately adjacent to the outdoor wine making facility so that patrons have a direct interface with the winery at work.
The two storey building consists of an entry, reception, lobby and function rooms on the lower level and restaurant and wine tasting bar on the upper level. The 't' shaped plan was generated by acknowledging two perpendicular axis. One runs the length of the peninsula [entry axis] the other relates to the head of the peninsula where the dominant contour addresses the river [view axis].
The dominant element of the architectural expression is the roof plane which unites the parts, provides a gesture to entry and works as a contemporary verandah - providing shade to the extensive glazing and defining the outdoor dining decks.
The palette is concrete, steel, aluminium, timber and glass – all expressed honestly inside and out.
The Concert Stage at the Northern end of the green and the Micro Brewery at the southern end of the restaurant, complete the composition by using the ‘view axis’ as an ordering device.
The building occupies the apex of the site in both topographical and hierarchical terms to capitalise on sun and views of the river and the wider landscape and to provide a strong public face to the estate. It is also sited immediately adjacent to the outdoor wine making facility so that patrons have a direct interface with the winery at work.
The two storey building consists of an entry, reception, lobby and function rooms on the lower level and restaurant and wine tasting bar on the upper level. The 't' shaped plan was generated by acknowledging two perpendicular axis. One runs the length of the peninsula [entry axis] the other relates to the head of the peninsula where the dominant contour addresses the river [view axis].
The dominant element of the architectural expression is the roof plane which unites the parts, provides a gesture to entry and works as a contemporary verandah - providing shade to the extensive glazing and defining the outdoor dining decks.
The palette is concrete, steel, aluminium, timber and glass – all expressed honestly inside and out.
The Concert Stage at the Northern end of the green and the Micro Brewery at the southern end of the restaurant, complete the composition by using the ‘view axis’ as an ordering device.
ARCHITECTS IN ASSOCIATION:
Craig Rosevear Architects + Jacob Allom WadeSTATUS:
Completion November 2005PHOTOGRAPHY:
Brett Boardman
Coalmines Historic Site
Project date: May 2002 - Category: Heritage , TourismThe Coalmines Historic Site was Tasmania’s first operating mine, established as a much needed local source of coal, but also as a place of punishment for the “worst class” of convicts.
Along with the Port Arthur Historic Site, the Coalmines Site has recently been included in the Australian Convict Sites World Heritage Property.
In collaboration with a team of landscape planners and interpretation designers, providing access and interpretation infrastructure over the whole site, JAWSARCHITECTS created structures for the separate apartment ruins.
Once a large brick building containing 108 separate convict apartments the building was demolished after the end of convict occupation.
The few remaining underground tunnels now have grated walkways to protect the ground level fabric and a series of steel hoops to shore the brick tunnel structure.
Above ground the corners of the original brick walls are identified by red steel markers and fencing growing out of the rubble.
Along with the Port Arthur Historic Site, the Coalmines Site has recently been included in the Australian Convict Sites World Heritage Property.
In collaboration with a team of landscape planners and interpretation designers, providing access and interpretation infrastructure over the whole site, JAWSARCHITECTS created structures for the separate apartment ruins.
Once a large brick building containing 108 separate convict apartments the building was demolished after the end of convict occupation.
The few remaining underground tunnels now have grated walkways to protect the ground level fabric and a series of steel hoops to shore the brick tunnel structure.
Above ground the corners of the original brick walls are identified by red steel markers and fencing growing out of the rubble.
PENITENTIARY CHAPEL AND CRIMINAL COURTS
Project date: July 1995 - Category: Heritage , TourismThe Penitentiary Chapel was designed by colonial architect and civil engineer John Lee Archer, and is recognized as one of the very finest examples of Georgian ecclesiastical architecture in Australia. Building of the chapel commenced in 1831.
In 1860 two wings of the chapel were converted into courtrooms by the removal of the tiered pews and the erection of subdivision walls, removal of underground cells and digging of underground tunnels to enable prisoners to be brought directly from the gaol into the two docks, and the erection of court offices on the Campbell Street frontage.
The Gallows, last used in 1946, were deliberately burnt when the old gaol was demolished. The building continued on in use as Magistrate’s Courts until 1983.
A staged conservation program was undertaken over a period of some 7 years. The staging was necessary to enable the works to be undertaken within well established guidelines, but had to accommodate the vagaries of funding from various State and Federal Government Agencies.
Arguably the most exciting in technical and philosophical terms, a decision was made to retain the 1960’s caged walkway which revealed the brutal destruction of the vaulted brick cells beneath the sloping 1830’s chapel floor.
The conservation and reconstruction of the execution yard and scaffold posed some difficult moral and technical problems. The conservation team was strongly of the view that abhorrent though this execution yard was, it is fundamentally important to portray all aspects of history: good and bad.
In 1860 two wings of the chapel were converted into courtrooms by the removal of the tiered pews and the erection of subdivision walls, removal of underground cells and digging of underground tunnels to enable prisoners to be brought directly from the gaol into the two docks, and the erection of court offices on the Campbell Street frontage.
The Gallows, last used in 1946, were deliberately burnt when the old gaol was demolished. The building continued on in use as Magistrate’s Courts until 1983.
A staged conservation program was undertaken over a period of some 7 years. The staging was necessary to enable the works to be undertaken within well established guidelines, but had to accommodate the vagaries of funding from various State and Federal Government Agencies.
Arguably the most exciting in technical and philosophical terms, a decision was made to retain the 1960’s caged walkway which revealed the brutal destruction of the vaulted brick cells beneath the sloping 1830’s chapel floor.
The conservation and reconstruction of the execution yard and scaffold posed some difficult moral and technical problems. The conservation team was strongly of the view that abhorrent though this execution yard was, it is fundamentally important to portray all aspects of history: good and bad.
ARCHITECTS IN ASSOCIATION:
Forward Viney Woolan Architects
