Ridge Road Residence by Studio Four

This rural residence outside Melbourne by architects Studio Four features a blackened timber exterior and terraces that step down a hill (+ slideshow).

Ridge Road Residence by Studio Four

Ridge Road Residence is located in the grounds of a golf course on Mornington Peninsula and sits beside a tea tree on a gently sloping site.

Ridge Road Residence by Studio Four

Studio Four rejected the raised podium approach adopted by other houses in the area and instead planned a building that staggers down on a series of split levels. The terraces sit at the lowest levels, surrounded by long grasses that protect them from the prevailing winds.

Ridge Road Residence by Studio Four

An open-plan living and dining room opens out to one of the terraces, which is framed by a cube of timber columns and joists.

Ridge Road Residence by Studio Four

Inside this room, a double-height window stretches across the end wall to frame a view of the nearby tea tree.

Ridge Road Residence by Studio Four

“We sought to create a quality of space that provides a sense of sanctuary, enclosure and comfort,” say the architects. “Emphasis was placed upon capturing the varying qualities of light, the scale and proportions of space, and providing a tangible connection with the building’s surrounds, both in topography and landscape.”

Ridge Road Residence by Studio Four

The kitchen runs along the rear of the living room, against a wall of matte black panels that conceal utility rooms. An ensuite bedroom is located just beyond and is raised up to become the uppermost level.

Ridge Road Residence by Studio Four

Blackened timber clads the entire exterior, while each window has dark-tinted glass intended to reflect the surrounding landscape. “By using pared-back forms and detailing and a restrained palette of materials the emphasis becomes not on the insular and what has been ‘designed in’, but what nature has provided,” add the architects.

Ridge Road Residence by Studio Four

All windows are full height to maximise daylight into the house, while concrete floors and thick block walls help to hold in the heat.

Ridge Road Residence by Studio Four

Other black houses we’ve featured recently include a weekend house in Chiba and a writer’s hideaway in upstate New York. See all our stories about black houses.

Ridge Road Residence by Studio Four

See more houses in Australia, including an isolated hilltop house with a dramatic cantilever.

Ridge Road Residence by Studio Four

Here’s a more detailed project description from Studio Four:


Site Context

It is difficult to gain more than a glimpse of the dwelling through the surrounding vegetation. Where the house is visible, it blends within the landscape, the black timber cladding and dark reflective glass selected to help dematerialise the building form from its natural surrounds.

The front elevation comprises solely of blackened timber walls, punctured only to signify the entry. From the street the scale of the house is deceptively modest, the second, lower level is non apparent. The building form sits low, within the existing native grasses, promoting opportunities to connect intimately with the landscape.

Ridge Road Residence by Studio Four

Conceptual Framework

The site for this new house is located within the Moonah Links golf course, on the Mornington Peninsula. A simple brief and program requirements, teamed with a dramatic site characterised by a steep slope and a single tea tree, enabled the design to become an exploration into enclosing the basic rituals of domestic life within restrained building forms, whilst at the same time exposing the building’s program to varying levels of interaction with the surrounding landscape, both immediate and beyond.

In stark contrast to the surrounding houses, which attempt to cancel out the sloping topography by creating a podium level at which the outdoor areas sit exposed high above ground level, the design for this house adopted a gentler strategy, with the building form spilling down the slope to terminate in a series of terraced decks. These low lying decks provide privacy from the golf course below, whilst the surrounding native landscape shelters the outdoor areas from harsh prevailing winds.

Varying levels of interaction and connection with the landscape, both real and perceived, drove all aspects of the design, from the channelled views of the horizon upon entry, through to the double height picture window that captures the full proportion of the tea tree, and the direct and intimate connection provided by the low level decks.

Ridge Road Residence by Studio Four

Program Resolution

We sought to create a quality of space that provides a sense of sanctuary, enclosure and comfort. Emphasis was placed upon capturing the varying qualities of light, the scale and proportions of space, and providing a tangible connection with the building’s surrounds, both in topography and landscape. Through the building’s design, the client is able to experience many aspects of the surrounding landscape, whether it be a direct or perceived experience, whilst at the same time maintaining a high level of privacy from the golf course below.

The form of the building was also driven by the desire to separate the public and private zones of the residence. The kitchen, dining and living spaces are combined to create a single, fluid area, delineated only by a gentle level change and a fireplace / storage element. These elements provide the level of intimacy required by the client whilst also allowing the advantages provided by open planning.

The panelised matte black wall to the kitchen conceals a powder room, laundry and butler’s pantry, providing the high level of functionality required, while maintaining the calm qualities of the open plan space.

Ridge Road Residence by Studio Four

Cost / Value Outcome

Our challenge was to demonstrate that a custom architectural solution could achieve our client’s budget whilst responding directly to the essence of the site and its location. The house demonstrates that we could not only capture the sense of place, but we could also deliver a competitive cost effective solution. By using pared back forms and detailing and a restrained palette of materials the emphasis becomes not on the insular and what has been ‘designed in’, but what nature has provided and drawing this readily available ‘genius loci’ inside for all to experience.

Ridge Road Residence by Studio Four

Sustainability Statement

The design for this house stems from an exploration into the absence of what is not necessary, in both building form and detail, which is at the core of sustainable design.

Renewable timber was selected as the primary building material. Used both internally and externally, its natural aesthetic properties are complemented by the low energy levels required in its production, which significantly reduce the environmental impact of the building.

The design located the eastern end of the lower level below the natural ground line, with concrete slab flooring and block work walls providing a high thermal mass, to balance the large expanses of glazing to the north and west. The upper level is cantilevered, with the timber construction incorporating high levels of insulation throughout.

With views to the golf course to the west, all windows and glazed doors were double glazed with high performance glass, enabling a strong connection to the landscape without compromising the integrity of the building fabric. The existing tea tree became a critical element to the locations of windows, providing sun shading to the internal living areas. Access to daylight was maximised, with all windows full height, and predominantly openable to maximise natural ventilation throughout.

These core sustainable design principles were teamed with underground water storage, water saving fixtures, low voc paints and materials, to complete the sustainable approach. Following completion of the house, the site is being re-vegetated with native species endemic to the local area.

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“East London has a good vibe for any creative industry” – Magnus Pettersen

Designer Magnus Pettersen talks about his Locker side table and how he was attracted to east London because it has a “good vibe for any creative industry” in this movie filmed by Dezeen.

"East London has a good vibe for any creative industry" - Magnus Pettersen

“I’m attracted to east London due to the feel of the whole place, and also it’s a good vibe for any creative industry whether it’s furniture design, graphic design or even advertising,” says Pettersen.

"East London has a good vibe for any creative industry" - Magnus Pettersen

He contributed a blackened ash and aluminium side table from his Locker furniture series to the Stepney Green Design Collection.

"East London has a good vibe for any creative industry" - Magnus Pettersen

“The inspiration for the series came from those industrial lockers you find in factories in the sixties,” he explains, also citing the luxury of eighteenth century France and the proportions of designs from the mid-twentieth century as muses.

"East London has a good vibe for any creative industry" - Magnus Pettersen

The aluminium used for the side table drawer, anodised to create a unique colour, is punctured with small holes and folded over at the top to create the drawer handle. Pettersen’s studio is in Stoke Newington, east London, close to Dezeen’s office.

"East London has a good vibe for any creative industry" - Magnus Pettersen

The Stepney Green Design Collection consists of 10 products selected by Marcus Fairs of Dezeen from creatives who live near to VIVO, a new housing development in the east London district. The project also includes objects chosen by east London bloggers Pete Stean of Londoneer and Kate Antoniou of Run Riot.

"East London has a good vibe for any creative industry" - Magnus Pettersen

The collection is on show at the Genesis Cinema, 93-95 Mile End Road, Whitechapel, London E1 4UJ, from 10am to 10pm every day until January. After this, the objects will be given to VIVO residents.

"East London has a good vibe for any creative industry" - Magnus Pettersen

See all the items in the Stepney Green Design Collection here and watch the movies we’ve featured so far here. The music featured in the movies is by American designer and musician Glen Lib. You can listen to the full track on Dezeen Music Project.

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Onjuku Surf Shack by BAKOKO

Black-stained cedar clads this weekend house at the beach in Chiba, Japan, by Tokyo studio BAKOKO (+ slideshow).

Onjuku Surf Shack by BAKOKO

Architects Kayoko Ohtsuki and Alastair Townsend of BAKOKO designed the house for a Tokyo-based couple that wanted a second home by the sea. “He envisioned a rustic retreat where he can throw parties on deck and she wanted a high-spec kitchen, a luxurious bath with a view and her own hobby room for sewing projects,” explained Townsend. “We developed a compact design to accommodate their varied interests with the flexibility to informally sleep five or six guests.”

Onjuku Surf Shack by BAKOKO

The entrance to the house is tucked inside a traditional Japanese genkan; a porch where residents can take off their shoes.

Onjuku Surf Shack by BAKOKO

Most of the ground floor is taken up by a double-height living and dining room, which opens out to the sheltered deck that stretches across the facade. “To maximize solar exposure, the glazed facade is angled south, shaded by a projecting eave during hot summer months,” said Townsend.

Onjuku Surf Shack by BAKOKO

Stairs lead up from the living room to a spruce-clad mezzanine that is used as both a guestroom and a home office.

Onjuku Surf Shack by BAKOKO

From here, a ladder leads up through a pivoting skylight so that residents can climb up onto the roof and survey their surroundings.

Onjuku Surf Shack by BAKOKO

The bathroom is at the corner of the ground floor, beside a window that faces out onto a small walled garden.

Onjuku Surf Shack by BAKOKO

The house also features an outdoor shower, as one of the residents is a keen surfer.

Onjuku Surf Shack by BAKOKO

Townsend told Dezeen how the project was “almost aborted after the March 2011 earthquake,” as the disaster forced the clients to rethink what the house might have to withstand. He explained how the house was designed with earthquake and typhoon-proof foundations and in the end the clients chose to proceed with the construction.

Onjuku Surf Shack by BAKOKO

Other Japanese weekend houses we’ve featured include a woodland summerhouse and a house of two blocks beside Tokyo Bay.

Onjuku Surf Shack by BAKOKO

See more stories about holiday homes or see all our stories about Japanese houses.

Onjuku Surf Shack by BAKOKO

Here’s some extra information from BAKOKO:


Onjuku Surf Shack
2012 Onjuku, Japan

Onjuku is a popular seaside resort and fishing town on Chiba’s Pacific coast, about an hour and a half by train from Tokyo. The beach house is sited behind a bluff, 300 meters from Onjuku’s famous white sand beach. Built for an international couple (the husband is a lifelong surfer who live and work in Tokyo), this weekend getaway may become a permanent residence once they reach retirement.

Onjuku Surf Shack by BAKOKO

The home’s concealed entrance is served by a Japanese genkan, a porch separating the home proper from a built-in shed for stashing surfboards and bicycles. This tunnel-like outer porch connects the gated rear entryway and the wooden deck which incorporates a built-in seat and planter. Timber shutters slide across the entire southern eave, securely locking-down the home to protect it from the seasonal typhoons.

Onjuku Surf Shack by BAKOKO

From the road, the home maintains an intentionally low profile. Its austere stained tongue and groove cladding is sourced from native Japanese cedar.

Onjuku Surf Shack by BAKOKO

Returning from the beach, a private outdoor shower leads directly into the tiled bathroom. An intimate garden provides a tranquil backdrop to the sunken bathtub.

Onjuku Surf Shack by BAKOKO

The home’s dark exterior skin contrasts with its light and airy interior. The double-height living space is occupied by a spruce-clad box that supports a loft space above and contains the master bedroom, WC, and bathroom below. Careful detailing has incorporated the staircase and doors that close flush to conceal these private rooms.

Onjuku Surf Shack by BAKOKO

Sitting at the built-in desk upstairs, one can gaze out the sea for inspiration. The shallow pitched roof is accessible via a ladder extending into a large pivoting skylight.

Onjuku Surf Shack by BAKOKO

Since the home is intended for casual entertaining, the loft spaces and a timber-lined lower study double as occasional guest rooms.

Onjuku Surf Shack by BAKOKO

The home is predicated on passive design principles. Generous south-oriented glazing is shaded by the eaves in summer. Cross ventilation captures cool sea breezes. Slotted perforations milled into the wooden balustrade promote air circulation and cleanly conceal mechanical air conditioning units. In winter, the wood-burning stove provides renewable heat energy.

Onjuku Surf Shack by BAKOKO

Above: ground floor plan – click above for larger image

Onjuku Surf Shack by BAKOKO

Above: first floor plan – click above for larger image

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by BAKOKO
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CLF Houses by Estudio BaBO

Architects Estudio BaBO clad these three wooden houses in Patagonia, Argentina, with black-painted cypress so that they would look “as monolithic as possible” (+ slideshow).

CLF houses by Estudio BaBO

“Some of the traditional wooden houses of the area are painted black, and we tried to replicate that effect,” architect Francisco Kocourek told Dezeen.

CLF houses by Estudio BaBO

All three houses have pine frames and wooden walls, and only the roofing is metal. “We used to live and work in Norway where building entirely with wood is quite common,” explained Kocourek.

CLF houses by Estudio BaBO

The rectangular houses are joined to one another, but are staggered to frame outdoor spaces at the front and rear.

CLF houses by Estudio BaBO

Intersecting angled roofs disguise the boundaries between the different dwellings and create sloping ceilings in some of the rooms.

CLF houses by Estudio BaBO

Entrances are located beneath recessed porches, which give each house a partially sheltered driveway.

CLF houses by Estudio BaBO

More cypress wood can be found inside the houses, where it is used for flooring, skirting boards, doors and window frames.

CLF houses by Estudio BaBO

Ground-floor living rooms and kitchens face each other across small, partially covered patios that are walled on three sides and open out to the gardens.

CLF houses by Estudio BaBO

Upstairs, bedrooms and bathroom sit beneath the slanted ceilings, which are covered with chunky chipboard.

CLF houses by Estudio BaBO

Located in a neighbourhood sparsely populated with detached houses, the units were built according to new planning regulations instated to encourage row houses.

CLF houses by Estudio BaBO

Other projects clad in blackened wood that we’ve featured include a pointy gallery and studio in Japan and a sauna that can be towed like a sled.

CLF houses by Estudio BaBO

See all our stories about blackened wood »

CLF houses by Estudio BaBO

See all our stories about Argentina »

CLF houses by Estudio BaBO

The information below is from the architects:


CLF Houses

The project is located on a plot along a low density residential street in the neighborhood of “El Once”, approximately 400 meters off the principal boulevard of Villa La Angostura. In spite of its apparent centric location, there is a predominance of small isolated and unaligned single family houses, empty “urban” plots and large private properties. In addition to these characteristics you will find the compacted rubble of the street, the absence of sidewalks, urban furniture and light points and the great profusion of trees give the area an unstructured and open character. A recent change in the regulations was made to modify this situation. The goal is to achieve a higher density in the area, without intention of creating an urban street section, by encouraging the construction of new row houses. This change comes with a very strict set of rules regarding the choice of materials, the use of colors in the facade and the angles of the roof.

CLF houses by Estudio BaBO

Isometric diagram

The assignment was to design and build three units of row houses, each one of two floors. The program consists of a living room, dining room, kitchen, toilet, and laundry room on the ground floor and two bedrooms and a complete bathroom on the upper floor. A patio is incorporated in each of the units to enrich the visual connections and to open up the ground floor. It also allows a solution for the heights in the project to satisfy both the program and the regulations. The decision is also taken to step the units linearly freeing one of the sides of the patio. These operations guarantee a greater and more homogeneous natural lighting of the units and allow the visual impact of the project and its immediate environment to be minimized. Indirectly a greater privacy in the garden expansions is achieved, and the visuals from the living rooms are controlled. Volumetrically the project is articulated to be understood as one unit. The inclined planes of the roofs link the units together and the walls are understood as a result.

CLF houses by Estudio BaBO

Ground floor plan – click above for larger image

One of the challenges presented was to build the whole project entirely of wood, including the structure and all enclosures and finishes. Despite the profusion of wood as a material in the south of Argentina, the lack of specialized knowledge and of a specialized industry narrow its uses to isolated structural elements and interior and exterior finishes, often presenting pathologies caused by their poor implementation. An integral system used in Norway based on the indications and experience of the “Norges Byggforskningsinstitutt” (Research Institute of the Construction of Norway) was chosen for the project. The system was adapted to the climatic (higher temperatures, more intense rain, less accumulation of snow), the physical (need for calculating seismic proof structures, different types and quality of wood) and human (unskilled labor, need to assemble a workshop under construction) reality of Argentina.

CLF houses by Estudio BaBO

First floor plan – click above for larger image

The system is based on a structure entirely made of wood which extends to its wooden finished facade. Between the layers a contiguous, controlled air chamber the constant ventilation of the wood is guaranteed, keeping it from rotting, prolonging exponentially the life of the project and the materials. The system also ensures a continuous and substantial layer of insulation, avoiding any cold bridges and providing high interior comfort and energy saving. The windows are solved with double glazing. The heating in the project is solved with a combination of a radiant floor and a strategically located, high-performance salamander. The material palette and colors are reduced to a minimum of black, white, wood and metal. The facade is made of cypress painted black and the separation of the planks is based on the module of the metal plate covering the roof. All interior walls are white, the floors are made in black granite on the ground floor and parquet made of cypress on the upper floor. All the rest of the woodwork is made in natural cypress.

CLF houses by Estudio BaBO

Cross section – click above for larger image

The objective was to analyze and understand the potential of this type of program and the different typologies regarding their placement and appropriation of the land and the resolution of the spatial relationship established between the different units. The approach to the materialization of the project from the details and from the adaptation of a constructive system borrowed from a different background was a unique consequence of the desire to use local materials. For this the application of the system on the site had to be carefully considered in order to be able to transcend the abstraction of our drawn intentions.

Type: Row houses
Architecture: Estudio BaBO
Team: Francisco Kocourek, Francesc Planas Penadés, Marit Haugen Stabell
Collaborators: Marcos Buceta
Construction: Arq. Francisco P. Kocourek
Structure: Ing. Julio C. Pacini
Location: Villa la Angostura, Neuquén, Argentina
Plot Area: 1040 m2
Built Area: 310 m2
Project Year: 2009
Construction Year: Jan 2010 – May 2011

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Locker by Magnus Pettersen for the Stepney Green Design Collection

Locker by Magnus Pettersen for the Stepney Green Design Collection

Hackney designer Magnus Pettersen will contribute a side table from his Locker furniture collection to the Stepney Green Design Collection curated by Dezeen.

Locker by Magnus Pettersen for the Stepney Green Design Collection

The table is made from blackened ash wood, with anodised aluminium used for the feet and the perforated drawer front.

Locker by Magnus Pettersen for the Stepney Green Design Collection

Pettersen’s collection of storage furniture also includes a large two-door cupboard, a low four-door cupboard and a chest of drawers (from left to right above).

Dezeen has been commissioned to curate a collection of products designed by east London creatives that live near to new housing development VIVO and we will be publishing more designs as they are added to the collection during the next month. See all the stories we have published so far here.

The designs will be on show as part of a collection of 30 works of art, fashion, sculpture and furniture celebrating local talent that will be exhibited at the Genesis Cinema in October and then donated to the VIVO residents – find out more here.

Pettersen also designed a set of concrete desk accessories that we’ve featured previously.

See more designs in the Stepney Green Design Collection »
See all our stories about furniture »

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Australia House Gallery and Studio by Andrew Burns

Australian architect Andrew Burns has completed a pointy gallery and studio for artists-in-residence in Japan to replace one that was destroyed during the major earthquake of last year (+ slideshow).

Australia House Gallery and Studio by Andrew Burns

The first Australia House was created in 2009 inside a 100-year-old farmhouse in Niigata Prefecture to provide a place where Australian artists could engage with Japanese communities in the production and exhibition of their work.

Australia House Gallery and Studio by Andrew Burns

Following the earthquake, a competition was launched to design a replacement that would be completed in time for the fifth Echigo-Tsumari Art Triennale taking place in the region over the summer.

Australia House Gallery and Studio by Andrew Burns

Burns’ design for the new Australia House Gallery and Studio is a two-storey triangular structure with a charred wood exterior and a steep pointed roof.

Australia House Gallery and Studio by Andrew Burns

The gallery is located in a double-height space on the ground floor and is overlooked from the living quarters on the floor above.

Australia House Gallery and Studio by Andrew Burns

Above artwork: Mountain home – dhirrayn ngurang by Brook Andrew

A strong timber frame increases the stability of the building, so that it can be used as a refuge during any future natural disasters.

Australia House Gallery and Studio by Andrew Burns

Above artwork: Mountain home – dhirrayn ngurang by Brook Andrew

We’ve also featured a series of artists’ studios on the picturesque Fogo Island in Canada – see them here.

Australia House Gallery and Studio by Andrew Burns

See more stories about studios for artists »

Australia House Gallery and Studio by Andrew Burns

Photography is by Brett Boardman.

Here’s some text from Andrew Burns:


New Australia House Gallery & Studio Opens in Niigata Prefecture, Japan

Andrew Burns’ new Australia House gallery & studio project has opened to wide acclaim on 28 July 2012 at the start of the 5th Echigo-Tsumari Art Triennale. This is one of the world’s largest international art festivals, held every three years in the Echigo-Tsumari region, encompassing Tokamachi City and Tsunan Town in Niigata Prefecture.

Australia House Gallery and Studio by Andrew Burns

Australia House will be a focus for the special & continuing dialogue between the peoples of Australia and Japan. Its design takes into consideration environmental sustainability and natural disaster-prevention and reflects a merging of Japanese and Australian culture. The building includes galleries and residential space for Australian artists to stay, work and exhibit and will allow collaborative projects between Japanese and Australians.

The new building replaces the original Australia House which collapsed soon after a powerful aftershock on 12 March 2011.

Burns’ design proposal for Australia House was selected unanimously from among 154 international entries in an international design competition by judges Professor Tom Heneghan, Fram Kitagawa, General Director of the Echigo-Tsumari Art Triennale and Tadao Ando, Jury chair and Pritzker Prize winner. The design reflects the Triennale’s theme of “Human Beings are part of Nature”. Other entries included Brit Andresen, Sou Fujimoto, Peter Stutchbury with Janet Laurence, Sean Godsell, John Wardle.

Australia House Gallery and Studio by Andrew Burns

‘This building extends our focus as a practice on developing innovative, contemporary, socially engaged processes that go beyond the everyday to explore how we relate to our world, and build communities,” said Andrew Burns.

“I am particularly in the cross-over between culture, art and design, and what that says about who we are today. I see enormous potential to take these ideas and further develop them in an international context,” he added.

Artist Brook Andrew was selected as the Australian artist to present in the Echigo-Tsumari Triennale this year, leading to an exciting and rare collaboration between architect and artist during the final resolution of the building design.

The Australia House project is supported by the Tokamachi City Government, International Culture Appreciation and Interchange Society, Inc., the Australia-Japan Foundation, and the Australian Embassy Tokyo.

Andrew Burns Architect collaborated with accomplished Japanese architects Souhei Imamura of Atelier Imamu and Sotaro Yamamoto, Atelier Sotaro Yamamoto for the delivery of the project.

Australia House Gallery and Studio by Andrew Burns

About the design of Australia House

‘It has been an extraordinary privilege to design this important cross-cultural centre, and to be part of the Echigo-Tsumari Triennale, one of the leading visual arts festivals in the world,“ says Burns.

‘Architecture is not simply about shelter, or building, or fashion, or the person who designed it – architecture fundamentally shapes the way we live, how we experience the world, and our place within it.”

Australia House – literally – physically manipulates the way the visitor connects with the landscape, using large screens and windows. Its triangular form obviates the traditional four walls concept, and blurs the lines between artwork and gallery space.

Australia House Gallery and Studio by Andrew Burns

Site plan – click above for larger image

‘My hope is that this humble wooden building, part farmhouse, part gallery, and part site specific artwork, gives each person who enters it the opportunity to glimpse the world around him or her, and him/herself within it, a in new way, ‘ Andrew Burns said.

Oneʼs perception of the building alternates between the dynamic appearance of an art object and the familiar presence of a rural dwelling. The roof rises steeply to the daikoku-bashira, which becomes a charged element within the gallery space. The triangular form creates a long dimension and widening perspective within compact space. The internal spaces are calibrated to amplify the experience of landscape.

Australia House Gallery and Studio by Andrew Burns

Ground floor plan

The building provides opportunities to alter the physical experience of place and time by shifting panels and walls, against the background of a landscape and its dramatic changes over the four seasons. This is a deep rural landscape which changes throughout the year – from intense heat and green in the summer months, to up to 3 metres of snow in the winter.

The appointment of Melbourne-based artist Brook Andrew has resulted in a close collaboration on the final aspects of design. ‘Brook’s interpretation of the architectural design has uncovered further possibilities for the project, “ says Burns. “

‘Throughout, we have sought to establish a dialogue between the visitor, the building, the artwork and its site, so that each person takes away from it a different experience.”

Australia House Gallery and Studio by Andrew Burns

First floor plan

Judges comment:

Here is what Tadao Ando, Chair of the judging panel for the Australian House competition, said in September 2011:

‘It is difficult to form a triangle. However, that difficulty can create interesting architecture. I find the approach to this house attractive and the different elements well arranged. The idea of dealing with snow is thoughtful, considering that the site is located in a heavy snowfall region. It would be fantastic if only the triangular roof was visible as the rest of the house is covered with three-metre-high snow.’

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The Bergen Safe House by Max Rink, Rachel Griffin and Simon de Jong

The Bergen Safe House

The charred exterior of this temporary pavilion in Bergen, Norway, references 16 major fires that have taken place in the city since the twelfth century.

The Bergen Safe House

Named the Bergen Safe House, the wooden tower was designed and assembled in four days by Dutch architects Max Rink and Simon de Jong and designer Rachel Griffin.

The Bergen Safe House

The burnt outer layer forms a protective skin around the wooden walls that resists insects, rot and any future fires.

The Bergen Safe House

A series of wooden platforms create up to 11 stepped levels inside the pavilion and can be moved into numerous configurations to suit different activities.

The Bergen Safe House

The pavilion is currently located in Vågsbunnen square and is open to the public 24 hours a day.

The Bergen Safe House

See more stories about projects that feature blackened wood »

The Bergen Safe House

Here’s some more information from the architects:


The Bergen Safe House is a temporary multi-purpose city structure, designed and built by Max Rink (SPRIKK), Rachel Griffin (Earnest Studio) and Simon de Jong (de+ge architects) during a 4-day competition in Bergen, Norway. The structure uses the protective qualities of burnt wood, while simultaneously serving as a monument to Bergen’s venerable history of city fires.

The Bergen Safe House

The relationship between man and fire is an old one, characterized by a balance of safety and destruction. Fire provides warmth and comfort, yet the city of Bergen has burned to the ground 16 times in the last 800 years.

The Bergen Safe House

The Bergen Safe House embodies this dichotomy. Made entirely of 5 x 5 cm beams, the exterior facade of the structure is burned so that the outermost layer of the wood turns to charcoal. This charcoal layer protects the structure from future fires, rot and insects, while leaving the interior enclosed, untouched and safe.

The Bergen Safe House

The interior of the Safehouse consists of multi-level moveable platforms that can be arranged in different configurations. In this way, space is provided for sleeping, seating, working and socializing for up to 28 people, as well as allowing for a way to move vertically through the space.

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Rachel Griffin and Simon de Jong
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Seasons by Valentin Loellmann

German designer Valentin Loellmann used hazel branches to create the knobbly legs of these benches, tables and stools.

Seasons by Valentin Loellmann

The naturally uneven legs were charred to black before being treated with wax.

Seasons by Valentin Loellmann

Polished oak was used for the seats and tabletops.

Seasons by Valentin Loellmann

We’ve previously featured a set of polyester-coated furniture by Loellmann.

Seasons by Valentin Loellmann

See all our stories about blackened wood »

Here’s some more information from the designer:


The project Seasons presents two interconnected collections by Valentin Loellmann which reflect a search for a system that depends on organic dynamism rather than geometric dictation, aiming to open up a space where design might not only mould nature, but also be moulded by it.

The collection Fall/Winter consists of stools, benches and tables with different dimensions, functions and structures. Although diverse in size and set-up, all pieces are characterised by a similar working process in which mortise-and-tenon joints are used to connect hazel branches to an oak top.

A mixture of sawdust and glue is used to fill and round off these connections, resulting in an aesthetic, organic form in which no sharp edges remain.

The pieces are burned and treated with wax, after which the top is sanded, polished and treated with oil. The hazel branches, chosen for their strength and straightness, introduce a natural dynamic into the final structure and give each piece a distinct recognisable character. Each piece is hand-made, marked and numbered.

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Tutukaka House by Crosson Clarke Carnachan Architects

Wooden shutters fold, tilt and slide open to let in the sun and keep out the burglars at this weekend cabin in New Zealand by architects Crosson Clarke Carnachan.

Tutukaka House by Crosson Clarke Carnachan

Located on the northern tip of North Island, the single-storey house has an entirely wooden structure with a black-stained facade.

Tutukaka House by Crosson Clarke Carnachan

Rooms are arranged either side of a corridor that spans the house, with bedrooms at the back where they face the ocean.

Tutukaka House by Crosson Clarke Carnachan

The open-plan kitchen and living room is located at the front and opens onto a barbeque deck that can also be screened behind folding shutters.

Tutukaka House by Crosson Clarke Carnachan

Other houses that can be closed up like bunkers include a residence with a steel drawbridge-like hatch and a house that transforms into a fortress by night.

Tutukaka House by Crosson Clarke Carnachan

See more projects in New Zealand »

Tutukaka House by Crosson Clarke Carnachan

Photography is by Simon Devitt.

Tutukaka House by Crosson Clarke Carnachan

Here’s some extra text from the architects:


Tutukaka House

Architect: Ken Crosson, Crosson Clarke Carnachan Architects Auckland

Tutukaka House by Crosson Clarke Carnachan

Designed as a refuge from the frenetic city lives of the owners, the Tutukaka House provides relaxed holiday living.

Tutukaka House by Crosson Clarke Carnachan

The plan is organised around a central spine, with spaces orientated to specific views.

Tutukaka House by Crosson Clarke Carnachan

The open plan living area flows seamlessly onto a generous northern open deck to the view, and an alternative sheltered space with bbq and outdoor fireplace, to the north-west.

Tutukaka House by Crosson Clarke Carnachan

The bedrooms are in contrast more protected, with shutters that lift up to provide protection from summer sun, maintaining cooler temperatures.

Tutukaka House by Crosson Clarke Carnachan

Materials are primarily timber, with stained shiplap cladding and plywood linings.

Tutukaka House by Crosson Clarke Carnachan

Exposed structure is saligna, and flooring is kwila.

Tutukaka House by Crosson Clarke Carnachan

Click above for larger image

Translucent elements are used in parts of the roof and cladding, introducing a delicate light quality to the circulation space and outdoor fire area.

Tutukaka House by Crosson Clarke Carnachan

Click above for larger image

The house closes down with the use of sliding panels and hinged shutters, ensuring security is maintained when not in use.

Tutukaka House by Crosson Clarke Carnachan

Click above for larger image

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Carnachan Architects
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House in Futako-Shinchi by Tato Architects

House in Futako-Shinchi by Tato Architects

Wooden stairs climb up through a narrow lightwell inside this house by Japanese studio Tato Architects.

House in Futako-Shinchi by Tato Architects

Located in Kanagawa, Japan, the house contains three storeys with split levels, some of which are connected by small wooden step-boxes.

House in Futako-Shinchi by Tato Architects

A glass-fronted bathroom is at the uppermost level and opens out onto a rooftop courtyard.

House in Futako-Shinchi by Tato Architects

The main bedroom is slightly sunken underground on the lowest level and is lined with timber.

House in Futako-Shinchi by Tato Architects

The house is positioned at the end of a long driveway and has a charred cedar facade.

House in Futako-Shinchi by Tato Architects

Tato Architects also recently completed a hillside house on top of a glass box – see it here.

House in Futako-Shinchi by Tato Architects

See all our stories about Tato Architects »

House in Futako-Shinchi by Tato Architects

Photography is by Mitsutaka Kitamura.

Here’s some extra information from the architects:


Many of urban housing lots in Japan these days have been divided into pieces to leave small, narrow spaces, where, in general, various functions are laid out around a stairway in the center of a single room. This may be a solution to fully utilize the limited space.

House in Futako-Shinchi by Tato Architects

My concern is whether it is comfortable to be in the house with the stairway and other details of the house always in sight. I dared divisions to limit the visibility to give a sense of expanse to the existing space.

House in Futako-Shinchi by Tato Architects

I coordinated, in a solid space of 4.8 by 7.4 meters floor space and 8.2 meters in height, six levels of floor, a stairwell through three floors with a skylight covering the top, another stairwell through two floors with another skylight covering the 1.5 by 1.5 meters top, an enclosed sun deck, etc.

House in Futako-Shinchi by Tato Architects

I used material serving both as structural member and fire resistant board for the basis of wall surface treatment to comply with strict fire prevention regulation, which allowed using finish of a broiled cedar of high durability and of a calm appearance.

House in Futako-Shinchi by Tato Architects

When you step in the entrance hall, you will be facing an atelier of concrete floor the level of which is the same as the outside ground surface. The client will ride his motorbike in for maintenance or for storage and for enjoying DIY hobbies there. On the left provided is a bedroom of half underground, where the entire interior is finished with paulownia wood for humidity control.

House in Futako-Shinchi by Tato Architects

From a little leveled up floor you will be stepping up to the dining and kitchen on the second floor, or further turn around and step up by three to the living room, or further turn right to the stairwell, or further turn to step up to the third floor. You will be thus rising spirally.

House in Futako-Shinchi by Tato Architects

The living room of open atmosphere with direct sunlight introduced through the three windows, the dining room of calm atmosphere with the skylight six meters above through which the sunlight is reflected down to fill the room with constant softness all the time, and a bathroom on the top floor filled with sunlight and yet privacy is secured – all these rooms of different nature are combined with coordination.

House in Futako-Shinchi by Tato Architects

The inside of the stairwells cannot be seen from each room but the sunlight is delivered to each room through the skylights and through the stairwells. This invisibility together with leaking light is giving a sense of ever expanding space in a small building.

House in Futako-Shinchi by Tato Architects

Project Name: HOUSE IN FUTAKOSHINCHI
Location: Kanagawa, Japan
District: a residential district
Use: House

House in Futako-Shinchi by Tato Architects

Site Area: 77.627áu
Bldg. Area: 35.05 áu
Gross Floor Area: 92.45áu
Bldg. Coverage Ratio: 60%
Gross Floor Ratio: 200%

House in Futako-Shinchi by Tato Architects

Bldg. Scale: Stories above Ground 3/ Stories below Ground 0
Structure: Wooden
Max. Height: 8.244m
Landscape Area: 0áu
Parking Lot: 2Cars

House in Futako-Shinchi by Tato Architects

Architects: Yo Shimada
Project Team: Tato Architects
Construction: Masashi Ouji
Complete year: 2010
Client: Anonymous
Design Period: May.2008-Apr.2009
Completion Period: Sep.2009-Jan.2010