Bustle House fmd architects

2018-05-28 17:00

 © Peter Bennetts

(Peter Bennetts)

架构师提供的文本描述。我们非常熟悉的一项任务是更新和扩建一个老化的，没有使用的19世纪维多利亚式阳台，在墨尔本内迅速发展成为一个更大更关心的话题，我们不断变化的社会如何生活，并回应老化和保存的建筑的过去。我们的反应来自于客户的坚定断言，即她只是这位“老太婆”的现任看门人；这座大楼的前身是她，将来肯定会继承她的职位。美，老化，实用，和连续性的探索，通过类比现有的房子，作为一个‘老妇人’与一件忙碌的衣服。

Text description provided by the architects. The very familiar task of renovating and extending an aging, unavailing nineteenth-century Victorian terrace in inner-Melbourne quickly developed itself into a larger and more concerning conversation about how our constantly changing society lives and responds to the aging and preservation of architecture of the past. Our response was inspired and directed by the client’s determined assertion that she was merely the current caretaker of this ‘old lady’; of this building that had preceded and would surely succeed her into the future. Beauty, aging, utility, and continuity were explored through the analogy of the existing house as an ‘old lady’ with a bustle dress.

 © Peter Bennetts

(Peter Bennetts)

 Ground Floor Plan

 © Peter Bennetts

(Peter Bennetts)

这所房子坐落在一座小山上，坐落在一个狭长的角落的边界上。考虑到维多利亚时代的“女士”，我们开发了我们的建筑素描，就好像它们是维多利亚时代女性的肖像一样-这些素描历史上被用来说明女性喧闹服装的显著时尚。作为一种自我表达的语言，这件熙熙攘攘的连衣裙成了建筑上的等价物，就像我们的延伸会给现有的房子增添个性和存在，而不会戏剧性地重塑它的身份和掩盖它的古老优雅。

Perched on a hill and on the boundary of an elongated corner site, the house was thought of through its side elevation. With the Victorian ‘Lady’ in mind, we developed our architectural drawings as though they were Victorian portraits of women taken in profile – drawings historically used to illustrate the pronounced fashions of women’s bustle dresses. Used as a language of self-expression, the bustle dress became the architectural equivalent of how our extension would add character and presence to the existing house without dramatically recreating its identity and cloaking its aged grace.

 Cross Elevation

交叉高程

内有厨房，餐厅，浴室和洗衣房，适度的增加是定位在后面的现有房子，集中到现场和伴随的花园。这也意味着扩建可以建造和模糊房子和后院以及邻近街道和社区之间的关系，这是对传统私人后院的一个重要想法。熙熙攘攘的语言被引用在延伸处的弯曲墙壁和窗户上，以及沿着房屋边界线摆动的木带上。它的语言是一列熙熙攘攘的火车，有木材栏杆，有花边，还有在刺绣过程中生长的树木。

Containing a kitchen, dining room, bathroom and laundry, the modest addition was positioned to the rear of the existing house and centrally to the site and accompanying garden. This importantly also meant that the extension could build and blur the relationship between the house and backyard and the adjacent street and community, an important idea in response to the traditional private backyard. The language of the bustle is referenced in the curved walls and windows of the extension and the ribbon of timber that oscillates along the side boundary of the house. The language is of the bustling train with the timber balustrade its lacework and the trees that grow throughout its embroidery.

 © Peter Bennetts

(Peter Bennetts)

这种完整的形象的马车连衣裙把这些建筑的补充，强调现有的房子，并修改它的现代需要。然而，他们也微妙地主张原来的家是一些未完成的东西，但却有着不可否认的美。我们增加的建筑不想重新塑造我们的建筑，我们也不想改变它的面貌或身份。相反，我们意识到允许房子优雅地老化，承认它的风化性质是一种美丽和尊重的东西。

This completion of the image of the carriage dress ties together these architectural additions to emphasize the existing house and modify it to its modern needs. However, they also delicately argue for the original home as something unfinished but with an undeniable beauty. Our architectural addition didn’t wish to re-shape who our building was, and we didn’t wish to change its face or identity. Instead, we were conscious of allowing the house to age gracefully by acknowledging its weathered nature as a thing of beauty and respect.