The Hardt Peninsula House by Sean Godsell Architects 2000 2002 located in Mornington Peninsula Victoria. 3 4 Peninsula House by Sean Godsell Architects (2000   2002) located in  Mornington Peninsula, Victoria, Australia Architecture Courtyard Design Glass Interior Design Landscape Minimal Modern Nature patterns Steel Wood  Victoria Steel Sean Godsell Architects Earl Carter australia   Image of Peninsula House by Sean Godsell Architects 2000 2002 located in Mornington Peninsula Victoria. 3 4

Peninsula House by Sean Godsell Architects (2000 – 2002) located in  Mornington Peninsula, Victoria, Australia

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Peninsula House by Sean Godsell Architects (2000 – 2002) located in  Mornington Peninsula, Victoria, Australia | The Hardt

 

Peninsula House by Sean Godsell Architects (2000 – 2002) located in  Mornington Peninsula, Victoria. The home is a 98 ft x 23 ft (30m x 7.2m) oxidized steel portal structure has been embedded into the side of a sand dune. This structure forms the ‘exoskeleton’ of the house upon which the weather controlling outer skin – operable timber shutters, glass roof, and walls are all mounted. The sleeping room is an inner room accessed by a private stair. These notions of inner room (moya) and enclosed verandah (Hisashi) were explored in an earlier work (the Carter/ Tucker house) where the idea of fluid (aisle) space formed the basis of the design for that building. Whereas in the Carter/Tucker house the three primary spaces were treated equally in dimension and volume, in this house the three primary spaces are different in dimension, volume and quality of light – the living room is very light, the bedroom is moderately light and the library is dark by comparison. The verandah has become further abstracted in this work to become the protective outer layer of the building. There is no distinction in that sense between the function of the roof and the function of the walls. The house itself is the nurturing inner room, protected from the elements by a coarse outer hide. The interplay of the occupant between these two elements activates the simple form of the building (by the opening and closing of the façade) and transforms it into an organic domain. This effect is further accentuated by the emptying and filling of the building with light, filtered through the timber screens, which maps the course of the day and the time of the year in the shape and extent of the shadows cast by the screens.

 

 

This is a further investigation into the similarities between the enclosed verandah of the traditional Japanese house and the ‘sunroom ‘ of the Australian house. My interest lies in the iconic nature of these elements in both cultures – Asian and European – and the common architectural ground which they afford to the region.

Construction: 2001-2002

Structure: steel portal frames with lightweight infill walls

Materials: oxidized steel, jarrah [timber] screens, concrete

 

 

Photos by Earl Carter

 

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The Hardt unnamed file2 889x675 Peninsula House by Sean Godsell Architects (2000   2002) located in  Mornington Peninsula, Victoria, Australia Architecture Courtyard Design Glass Interior Design Landscape Minimal Modern Nature patterns Steel Wood  Victoria Steel Sean Godsell Architects Earl Carter australia   Image of unnamed file2 889x675

Innovation Center UC – Anacleto Angelini (2014) by Alejandro Aravena | ELEMENTAL

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Located in Vicuña Mackenna, Macul, Santiago, Chile, Innovation Center UC – Anacleto Angelini (2014) by Alejandro Aravena | ELEMENTAL | The Hardt

 

 

Located in Vicuña Mackenna, Macul, Santiago, Chile, Innovation Center UC – Anacleto Angelini (2014) by Alejandro Aravena | ELEMENTAL. In 2011, Angelini Group decided to donate the necessary funds to create a center where companies, businesses and more in general, demand, could converge with researchers and state of the art university knowledge creation. The aim was to contribute to the process of transferring know-how, identifying business opportunities, adding value to existing resources or registering patents in order to improve the country’s competitiveness and consequently its development. The Universidad Católica de Chile would host such a center and allocated a site in its San Joaquin Campus.

 

 


 

Our proposal to accommodate such goals was to design a building in which at least 4 forms of work could be verified: a matrix of formal and informal work crossed by individual and collective ways of encountering people. In addition to that, we thought that face to face contact is unbeatable when one wants to create knowledge, so we multiplied throughout the building the places where people could meet: from the elevator’s lobby with a bench where to sit if you happen to run into somebody that has interesting information to share, to a transparent atrium where you can sneak into what others are doing while circulating vertically, to elevated squares throughout the entire height of the building. The reversal of the typical office space floor plan (replacing the opaque core with transparent curtain wall glass perimeter by an open core with the mass strategically opened in the perimeter) responded not only to functional reasons but to the environmental performance and character of the building as well.

 


 

This building had to respond to the client’s expectation of having an innovation center with a “contemporary look”, but the uncritical search for contemporariness has populated Santiago with glass towers that due to the desert climatic local condition have a serious greenhouse effect in interiors. Such towers spend a huge amount of energy in air conditioning. The way to avoid undesired heat gains is not rocket science; it is enough to place the mass of the building on the perimeter, have recessed glasses to prevent direct sun radiation and allow for cross ventilation. By doing so we went from 120 kW/m²)/year (the consumption of a typical glass tower in Santiago) to 45kW/m2/year. Such an opaque facade was not only energetically efficient but also helped to dim the extremely strong light that normally forces to protect interior working spaces with curtains and blinds transforming in fact, the theoretical initial transparency into a mere rhetoric. In that sense, the response to the context was nothing but the rigorous use of common sense.

 

 


 

On the other hand, we thought that the biggest threat to an innovation center is obsolescence; functional and stylistic obsolescence. So the rejection of the glass facade was not only due to the professional responsibility of avoiding an extremely poor environmental performance, but also a search for a design that could stand the test of time. From a functional point of view, we thought the best way to fight obsolescence was to design the building as if it was an infrastructure more than architecture. A clear, direct and even tough form is, in the end, the most flexible way to allow for continuous change and renewal. From a stylistic point of view, we thought of using a rather strict geometry and strong monolithic materiality as a way to replace trendiness by timelessness.

 

 
© Nico Saieh

 

 


 

 

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