Asher
3:07 pm
1:41 pm
by Asher | Oct 30, 2018 | Architecture, Courtyard, Landscape, Minimal, Modern
Crescent House (2013) by Andrew Burns Architect located in Sydney, Australia | The Hardt
Crescent House (2013) by Andrew Burns Architect located in Sydney, Australia. ‘Crescent House’ is the first in an annual series of temporary pavilions to be installed at Sherman Contemporary Art Foundation in Paddington, Sydney. The aim of this ‘Fugitive Structures’ program is to engage a wide audience with architectural thought. Two arcs are set within an apparently simple rectilinear form. The arcs bisect, creating a pair of infinitely sharp points and a threshold to the space beyond. This combination of fragility and robustness seeks to charge the conversations within the space with a particular quality. Slide thru TheHardt.com to check the rest of the project. Link. Bio. Click. The #homedesign #homedecor #courtyard #australia #australian
The structure has an ambiguous presence; between architecture and art object. Through framing, it transforms an ordinary rose apple hedge into a landscape of beauty. The pavilion responds to elemental themes; darkness and light, the wonder offered by the night sky and the burnt quality of yaki-sugi (charred cedar) recalling the presence of bushfires on this continent. The pavilion and has been initiated and supported by Sherman Contemporary Art Foundation, BVN Donovan Hill, Andrew Cameron Family Foundation and the Nelson Meers Foundation.
© Brett Boardman
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Asher
8:58 am
8:58 am
by Asher | Oct 1, 2018 | Architecture, Art, Design, Interior Design, Landscape, Minimal, Modern, Wood
Australia House (2012) by Andrew Burns Architect located in Urada, Niigata, Japan | The Hardt
Australia House (2012) by Andrew Burns Architect located in Urada, Niigata, Japan. The project was initiated following the collapse of the original Australia House (a 100-year-old Japanese farmhouse). It is essentially a disaster recovery project, but of a cultural type. The structure has been overdesigned so it can function as a refuge during future disasters.
Less than one year from the announcement of a competition to completion of construction. This required fantastic groundwork from the Australian Embassy, Tokyo, and rapid construction by the local contractors, Iizuka Constructions and Onojeima Constructions. Simple clear geometry that creates possibilities, rather shutting them down through excessive architectural authorship… The main gallery focusses on the embankment, rather than the dramatic valley view. In this way the embankment, tilted up, becomes the third wall of the gallery, creating opportunities for artists and curators to engage with the landscape.
By focussing on an ordinary view, rather than an extraordinary view, it seeks to remind us of the value of ordinary, local things, post GFC and post great east Japan Earthquake. A unique collaboration between artist and architect to embed a permanent work within the gallery. The work can be concealed by a large cedar clad panel. It is my hope that a new permanent work will be embedded in the gallery space at each Triennale, so in 15 years time you could walk into the space and reveal 6 compelling permanent works.
The design resonates with the many utilitarian structures in the region, a steep roof, direct expression and located close to the road so as to be easy to access during snowfall. I did not so much as reference these buildings when I was designing it, but followed the same basic logic that they follow. The steeply pitched roof form rises to the daikoku-bashira (king post), creating a tall gallery space within a compact volume. Despite its size (120 sqm), this building conveys an institutional quality, although it also has the ambiguous presence of a rural structure and an art object.
© Brett Boardman
Aesthetically and Geographically Related Projects:
