Light is encouraged from above and the side, dispersed through new and existing openings.
2018 VICTORIA ARCHITECTURE AWARDS SHORTLIST: Interior Architecture
Cork dapples the indirect light, glass balusters capture and hold the light like a candle, lime based paint hold light to layered, existing surfaces.
To connect the user with the hallway (typical of terrace housing) attempts to slow down the typical rushed transition. The change of state from outside to inside is now visually linked from front to back. Hallways, stairways, landings, entries are no longer isolated experiences, they are vestibules connected by replanning and additions in order to psychologically connect the occupant with the place they have chosen as their home.
The existing conditions of the Victorian terrace house in Melbourne’s inner suburb of Princes Hill, provided a combination of Victorian grandeur of scale and materiality, 1980s rear extension as well as more recent piecemeal additions, consisting of multiple rises and falls between spaces, clustered programming, lack of natural light (synonymous with terrace houses), vast, under-utilised spaces and a strangely elevated, dark and unwelcoming kitchen.
The highly resolved and rationalised response sought to promote and celebrate key features of the Victorian terrace house; original staircase, high ceilings, ornamental detail and connection to rear garden and light well as well as attempted to reinstate order, eliminate unnecessary changes in level and resolve the misplaced, dominating program of kitchen, laundry and bathroom (all located centrally, around the heritage staircase).
Access from the front door to the rear garden is now achievable on one level, without interrupting doors or program, the concept of ‘passage’ was achieved with a new infill concrete slab connecting the original terrace hallway to the shell of the 1980s extension. Key program elements were relocated in a light filled extension in the southern light well, housing a laundry, bathroom and separate shower, which can open and close depending on use in order to provide borrowed light to the corresponding dark party wall.
The circulation of the new scheme promotes and celebrates the heritage staircase, following the removal of cupboards and stair additions, careful refurbishment of the staircase created enough space to transition underneath and experience the original structure and materials, combined with a non-competing new addition of timber, steel and glass balusters. Original brickwork and later steel additions have been exposed and promoted.
BUILT AREA: 150m² / STAGE: COMPLETED 2017 / TYPOLOGY: RESIDENTIAL ALTERATION AND ADDITIONS / LOCATION: PRINCES HILL, VICTORIA, AUSTRALIA
Atmospheres created, enabling the user to connect with place and locality.
Architecture and Landscape to replicate the process of production (agriculture) through the formal composition, aesthetics and spatial alignment. The selected materials are pared back, but carefully detailed and positioned. The modest presence of the architectural form contributes to the respect for the land that the user will easily connect with during their stay.
BUILT AREA: 700m² / STAGE: COMPLETED / TYPOLOGY: HOST FARM / LOCATION: MORNINGTON PENINSULA, AUSTRALIA
The amphitect polygon form is strong. Roof is soft, delicate and interacts with canopy above.
Response addressing bush fire regulations and strategy, hinterland location with protected and exposed areas between GWZ and residential zoning, capturing views to French Island and Philip Island. Thirty metre trees and site composition contribute to an adaptable retreat, capable of forecasting and responding to extreme conditions.
BUILT AREA: 300m² / STAGE: CONSTRUCTION DOCUMENTATION / TYPOLOGY: RETREAT / LOCATION: RED HILL, MORNINGTON PENINSULA, AUSTRALIA
Circulation encourages interaction between users in light filled public areas and private antes.
WORLD INTERIORS NEWS INTERIORS AWARDS LONGLIST 2014: Residential Interiors
Neo Gothic inspirations drawn from the history of Hawthorn developed an aesthetic and form, aspiring to promote design for context and local significance. Challenging historic boundaries, the response seeks to engage the modern user as well as the existing fabric of the tight streets leading down to the Yarra river. Local bricks, concrete and steel form the basis of the dramatic response to site conditions.
Lobby spaces are connected by central staircases through six levels. Top levels open to far reaching views. Lower levels connect with the street and leafy surrounds. The larger of the two residences has oversized vertical openings to enhance and engage with proportions of the scheme, the central axis connects to these openings throughout. The smaller scheme recesses larger openings to connect with the skyline to the West and Port Philip Bay to the South.
Circulation encourages interaction between users in light filled public areas, with private spaces connected through darker ante spaces. The proximity to the heritage listed 'The Hawthorns' on Creswick Street inspired a reinterpretation of Gothic Revival. The significance of a number of listed buildings in close proximity to site is magnified by the nature of growth in Hawthorn. The form is intended to appear as a single home, in keeping with the historic context.
BUILT AREA: 792m² / STAGE: COMPLETED 2013 / TYPOLOGY: MULTI-RESIDENTIAL / LOCATION: HAWTHORN, VICTORIA, AUSTRALIA
The romantic ideals of the scheme are based in the low-lying connection to the ground.
The inner courtyards act as a cooling and shading mechanism in summer as well as bringing the landscape and surrounding paddocks into the heart of the home.
The existing residence is disconnected with the surrounding environment. The new forms seek to shift away, maximising views and connections across and through the site. The design is split into two levels, with upper and lower elements, connected by a central stair and linear ramp.
The two new forms are proportionally thin and long, encouraging interaction with surrounding paddocks, allowing for areas of the building to be isolated depending on season and use, much like the areas of the working farm this building occupies.
The heavy structural concrete wall on the west begins the placement of the upper building, connected by a steel structure, allowing for shallow long forms to follow the natural contours, with lighter weight inner areas falling away with the landscape. The new entrance splits the old and the new, with new solid brickwork connecting back to the existing residence. The upper connection with the existing building is based on material articulation and window size proportions.
The lower building is partially embedded in the ground to the south in order to allow for seamless interaction with the foreground and background across the lower roof from the upper building.
Materials have been locally sourced in order to compliment the rural glow of the paddocks, red clay soil and cattle of the abutting landscape.
BUILT AREA: 600m² / STAGE: COMPLETED 2015 / TYPOLOGY: RESIDENTIAL ADDITION / LOCATION: HARKAWAY, VICTORIA, AUSTRALIA
Construction techniques reflect a sense of place, drawing inspiration from impressionist paintings
Masculine and feminine programs articulated through form, structure and materiality. Transparency of strong materials and solidity of lightweight materials combine to reveal and conceal key public and private programs and functions. Light is articulated through improved placement of forms and circulation. Street and neighbourhood connection is increased.
The intentionally modest design embraces primitive construction techniques in order to reflect a sense of place, drawing inspiration from impressionist paintings, especially those depicted at nearby Gardner's Creek in the late 19th Century. These paintings captured untouched landscapes, an understanding of Australian light and nature and an awareness of potential settlement. Suburban streets like this one, typically encompassing Melbourne, often fail to exhibit a connection to place, favouring ‘styles’ over suitability.
The site is located in close proximity to the ‘Box Hill artists’ camp’ in Gardner’s Creek, this was the site used by renowned Australian painters such as Tom Roberts and Frederick McCubbin. The relevance of this historic connection was barely evident on early site inspections and it was through the design development stages that this connection became more prominent through the architecture of this project. The existing semi detached 60s brick home had been renovated in the early 2000s, with a first floor addition, creating dark and often under-utilised ground floor spaces. 20% of the ground floor space that could be retained and was lifted with new surface finishes, the remaining 80% required a full re-design. The existing ‘front door’ opened into a sitting room and the dining room was relocated to the east, where the kitchen was previously located. This allowed us to create a lobby, a space that would allow the comings and goings of a busy family to flow uninterrupted, in turn creating private and semi private programs to exist.
Private, darker spaces were located to the north, with brighter and larger public spaces located to the south, closer to the existing rear garden. The palette uses native silky oak timber veneer, water based wood washes and deep navy and black backdrops attempting to imitate the deep Australian night sky.
The internal and external palette are inspired by colours found in the Australian impressionist paintings. They are calm and reflect all tones of a landscape painting including the exterior colour that is reminiscent of canvas tents used by the 19th century local painters at their camp. The solid timber posts holding up the shading structure were hand selected from reclaimed local wharf stock.
BUILT AREA: 250m² / STAGE: CONSTRUCTION / TYPOLOGY: RESIDENTIAL ALTERATION + ADDITIONS / LOCATION: BOX HILL SOUTH, VICTORIA, AUSTRALIA
The design of the house is to replicate the experience of the site.
The journey through the scheme slowly reveals different elements, replicating the journey of travelling across the sloping site.
The roof lines follow the angles of the surrounding hinterland.
The scheme is split into two forms, set at 90 degrees to one another. An upper element begins the journey through the scheme, capturing vista views north, east and west. A staircase connects the two forms, following the change in grade.
The upper form is proportionally high, creating a sparse, dramatic entrance to the scheme, transferring the user into an atmospheric environment.
The lower horizontal form sits close to the ground, forming both a summer and winter room. The program requires the user to connect and interact with the landscape on a regular basis. Typical external finishes and products have been utilised both internally and externally.
The natural contours are expressed. Materials are predominantly locally sourced and are finished with a palette maintaining and respecting the calmness of the coastal village.
BUILT AREA: 500m² / STAGE: COMPLETED 2015 / TYPOLOGY: RESIDENTIAL (NEW) / LOCATION: SHOREHAM, MORNINGTON PENINSULA, AUSTRALIA
Provides space for workshop, car and boat and wine cellaring from the surrounding vineyard.
BUILT AREA: 140m² / STAGE: COMPLETED / TYPOLOGY: RURAL OUTBUILDING / LOCATION: SHOREHAM, MORNINGTON PENINSULA, AUSTRALIA
Highlighting the disconnection city dwellers experience away from natural conditions.
PROJECT: CITY WOODLAND
The design seeks to create a forest like experience in central London, increasing in density at the key gateways.
The approach to the gateways intensifies for the shopper, who will be immersed under enlarged Christmas tree trunks and canopies. The design is based on the most prevalent Christmas tree in the United Kingdom, the Norway spruce and the branches, bark and proportions are synonymous with Christmas. The branches do not need to be adorned with additional lights as the branches and trunks form the basis of the decoration and spectacle. From a far, the shopper will experience the height of the trees.
The daily reveal moment will be the increase (‘growth’) in height of the main (more realistic in appearance) tree, utilising upward facing light beams. Each night, the tree will reach the maximum height at 9pm (or adjusted to match the Christmas opening hours of the shops) and will reduce in height until 12am.
The large, central trunk at main junctions, symbolises the Christmas tree and shoppers with presents underneath. The scheme can be increased in scale accordingly and when more money becomes available. All parts are component based and can be manufactured in controlled conditions and suspended above Oxford Street.
Suspended light units will provide the main light source for the trees and will shine light in an upward and downward direction and will seek to represent a forest at street level. These will be suspended from cables fixed to surrounding buildings. Shoppers will walk around and through the forest. Existing trees along Oxford Street and side streets will add to the spectacle. Branches of the canopy will consist of modular casing and will be lit from within to provide an even, 3-dimensional appearance.
The central ‘main’ trees will look to utilise projections onto a canvas, possible holograms and light beams to add height. The premise behind the scheme is to offer the shopper in Oxford Street a novel experience of a forest in an urban environment and a close connection to a Christmas tree on a large scale. The light-filled urban forest will also highlight the disconnection city dwellers experience away from natural conditions. The scheme would benefit from an aromatic sensory experience provided at the main junctions. Visitors would smell pine needles as they arrive or leave Oxford Street at the key gateways. This could be achieved through natural oils from the pine needle, deposited in pods and vessels.
The light beams are designed to face upwards and downwards and will emit soft light, with the intensity of light increasing towards the key gateways. This urban forest of light would be unique to London.
BUILT AREA: THE WESTEND / STAGE: COMPETITION / TYPOLOGY: CHRISTMAS LIGHTS / LOCATION: CENTRAL LONDON, UNITED KINGDOM
There will be a million fragments of light that transfer through the design.
PROJECT: THE WALL
The Wall is to enhance the process and experience of prayer at both individual and communal scales. We researched prayer in order to further understand different procedures that have been used over hundreds of years and have assisted people with their commitment to prayer and appreciation of its values. One such area of research has been prayer and church building. Specifically the arrival at the Tower, transition into the Nave, journey through to the Chancel and the purposefully designed Apse that directs the users gaze towards the sky. Proportion, solidity, beginning and end, two sidedness and openings of these elements have been translated into the design. We identified thresholds that bind these spaces together, those that connect prayer and architecture as one because of their transient, ephemeral and ‘in-between’ nature. In one sense, we have deconstructed typical spaces that place prayer and unraveled them to become a physical journey amongst the English landscape.
Users are encouraged to begin their journey of prayer at one of the twelve ramps. These represent the struggles and challenges of prayer. They vary in length like that of a prayer and continue gradually along a path that appears unknown. Collectively the ramps represent the Nave of a church, a place of congregation where people can share their experiences of prayer and recognize overlap and relationship. Once the trying path has almost ended, the user will be overwhelmed by the solidity of the brick elevation presented in front of them. This brick ‘Chancel’ is the threshold from where prayer has been taken and then processed into a moment of realization, a breakthrough of prayer and the sensation of answered prayer.
The Wall is fragmented. There will be a million fragments of light that transfer through the design from sunrise to sunset to represent the million answered prayers and presence of God. This can be experienced online digitally; each ‘light’ could change depending on time of access (eg. day or night). We also propose to investigate a ‘no Wi-Fi’ zone to the east of the ‘Chancel’ to not only add intrigue to the scheme but also enhance the connection to prayer, contentment and rejuvenation.
Visitors that engage at ground level are able to freely walk through the field, under the ‘chancel’ from the ‘nave’ to the ‘apse’. This experience illustrates the impact of human prayer on The Wall. The ramps (prayers) are structural supporting The Wall shows that prayer needs to be continued and nurtured in order to keep faith, belief and community strong.
When people view or visit this proposal, they will be given a sense of overwhelming presence, a feeling of collectiveness on earth and perspective on life and God.
The primary steel structure frame has been designed at 1000mm steel sections for this concept stage. The secondary framing would support the cladding and substrate. The ‘Chancel’ is clad with local brick slips and the surround to the ‘Chancel’ is applied with ‘Keymer’ clay shingles that are spaced to allow light to be filtered through.
We understand that the major costs of this scheme are in the supply and installation of the brick slips and Keymer shingles. The design of the structure is economical and can be standardized as required. The ramps can be detailed with finesse or left more rudimentary. These will be designed to fix to cables in tension that are suspended off from the structural steel frame.
BUILT AREA: 100m² / STAGE: COMPETITION / TYPOLOGY: MONUMENT / LOCATION: MOTORWAY(S), UNITED KINGDOM
Designed to act as a human hive / beacon for visitors and guests. Concept based on movement and signalling of bees and wildlife to and from installation.
BUILT AREA: 100m² / TYPOLOGY: INSTALLATION / LOCATION: RURAL FIELDS, VICTORIA, AUSTRALIA
Individual isolation is achieved by stepping inside each ‘hiatus’
PROJECT: NGV: A 'FIELD' IN MELBOURNE
The user of the garden is attempting to seek relief from the urban environment, including the inner rooms of the gallery. Skyscrapers pierce the inner sanctuary of the garden, inhibiting the ideals of an intended sanctuary.
The users visual field is confused by interruptions and disturbances from buildings, noise and unwanted distraction.
A proposed field (the proposal) in the arts precinct of Melbourne is designed to provide both group and individual isolation from disturbance.
A digital world saturated by information and intrusion informed the design response to counteract unintended surroundings and provide clarity to the user, seeking escape in a framed setting.
The proposed refuge in the equiset garden of the National Gallery of Victoria is designed to provide group isolation from visual disturbance by utilising carefully placed site lines, existing trees and gardens, the moat and the orientation of the garden. When standing in the delineated central zone, 13 organised responses provide a series of hiatuses to the incidental visual interruptions in the garden, offering the user a chance to escape and experience the garden, as intended.
Individual isolation is achieved by stepping inside each ‘hiatus’, providing a visual link to the sky only and acoustic tranquility.
The form and the materiality of the proposal have been designed to provide the intended screening from visual disturbance at a macro scale and noise disturbance at a micro scale.
The proposal seeks to create 13 individual elements to obstruct and create a cohesive environment.
Natural light is able to pass through to enhance the detachment from the urban environment.
The individual design of each form is based on the individual interruptions and non-confrontational form to contribute to a tranquil setting. The elements are carefully articulated to screen and work in harmony with the existing garden elements of trees, bushes, sculptures and water.
The user begins the journey from the small glass foyer between the great hall and the outdoor terrace. A lightweight tunnel is proposed to direct visitors into the central zone of the field.
Users are then able to experience the field of only existing garden elements and the architectural installation / response.
The scale of the responses directly link to the experience within the central zone. For example, the 297 metre high Eureka tower is connected through site lines, creating a 7 metre high visual interruption within the users visual field.
Users are encouraged to utilise digital devices (for example, tablets and smart phones) to interact with the visual field.
Locally sourced basalt forms the material for the mesh covering. The basalt woven textile is a lightweight screening solution, requiring minimal structural components and works in harmony with the intentional environmental elements of grass, trees, water and blue stone.
Construction is component based and can be assembled and disassembled using simple techniques and processes. Post use, the framework components can be reused and the woven textile coverings can be reused in the construction industry (for example, as form work for concrete).
Further development will explore the interactive capabilities of the digital user interaction and wider online exposure for the response.
BUILT AREA: 100m² / STAGE: COMPETITION / TYPOLOGY: INSTALLATION / LOCATION: NATIONAL GALLERY OF VICTORIA, AUSTRALIA
Indigenous connections to Lake Burley Griffin
PROJECT: THE LODGE
Response to competition brief to replace the functions associated with the Prime Minister's Lodge in Canberra. The scheme is split into a series of elements, with key relationships to the lake, topography, climate and setting.
STAGE: COMPETITION / TYPOLOGY: MIXED / LOCATION: ATTUNGA POINT, LAKE BURLEY GRIFFIN, CANBERRA
Honeyman + Smith embrace and encourage total architecture for projects and design specific furniture items for projects, encompassing the concept at a micro scale.
Item 1 - Lobby Chair, Revival, designed 2012. Materials: Reclaimed Stringybark. Manufacturer: Benjamin Baldwin Furniture and Goods, East Brunswick, Victoria.
Item 2 - Produce display, Journey, designed 2014. Materials: Reclaimed Kauri and Queensland Maple. Manufacturer: Benjamin Baldwin Furniture and Goods, East Brunswick, Victoria.
Our office works through projects and briefs of varying scales and type. Initial ideas are translated utilising a progressive approach to problem solving through rigorous analysis and design.