© Adam Letch

(亚当·莱奇)

架构师提供的文本描述。坐落在悉尼广阔的天然海港北面的海湾里，这个地方毗邻一个休闲公园和一个公共码头，一直延伸到海湾。这个元素形成了一个地块的轴线，而一个原始的海滩，就在网站的正前方，形成了另一个。

Text description provided by the architects. Set in a north-facing cove in Sydney’s vast natural harbour, the site borders a recreational park and a public pier which juts out into the bay. This element forms one axis for the site whilst a pristine beach, directly in front of the site, forms another.

 © Adam Letch

(亚当·莱奇)

 Ground Floor Plan

 © Adam Letch

(亚当·莱奇)

从主公园的高度来看，这座新建筑是平面的集合；空间、隐私和门槛上的游戏。石墨灰色的帆屏(由“凯恩迈尔”制作，这是新西兰为“指环王”电影开发的一种聚碳酸酯链邮件)被安装在离家不远的地方，为道路提供了隐私。木材覆盖层，抹灰的质量墙，一层木头覆盖的松软，以及通过帆幕打穿的海湾窗户的夸张的鳃，都被分层到更多的飞机上。这个游戏创造了深度在另一个线性的外观，并提供隐私，同时最大限度地光和景观的公园。

From the principle park elevation that the new building appears as a collection of planes; a play on space, privacy and threshold. Graphite grey sail screens (made from “Kaynemaile,” a polycarbonate chainmail developed in New Zealand for the Lord of the Rings movies) are rigged just off the house providing privacy from the road. Timber cladding, plastered mass walls, a wood-clad soffit and the exaggerated cill of a bay window punched through the sail screens, are layered into further planes. This game creates depth in an otherwise linear façade and provides privacy whilst maximising light and views to the park.

 © Adam Letch

(亚当·莱奇)

在这个立面上，楼梯间是全玻璃化的，但被保护地包裹在木窗的斗篷里。这个轻轻弯曲的轮廓与周围的水晶盒形成对比，并在正式入口和上面的卧室之间进行中介。

Set into this façade the stairwell is fully glazed; but wrapped protectively in a cloak of timber louvres. This gently curved outline contrasts with the surrounding crystalline box and mediates between the formal entrance and bedrooms above.

 © Adam Letch

(亚当·莱奇)

入口处距离海湾90度，离公园很近。靠水的坡道，缓缓地倾斜到前门；小小的上升增加了到达的感觉。在这里，房子的“U”字形图变得清晰；入口是两翼之间的连接，由一个内部的花园隔开，就像一个内部的海港，可以通过空间看到远处的海湾。从院子里可以看到，楼上一堵厚厚的空白墙似乎压在了一楼的玻璃上，放大了下面的海湾景色。

Entry is at 90 degrees to the Bay, off the park. A ramp, edged by water, slopes gently up to the front door; the little rise adding to the sense of arrival. Here the “U” shaped plan of the house becomes clear; the entrance is a link between two wings, separated by an internal garden which, like an internal harbour, allows views through the spaces to the bay beyond. Seen from the courtyard a massive blank wall of the upper storey seems to weigh on the glazed levity of the ground floor, amplifying the bay view beneath it.

 © Adam Letch

(亚当·莱奇)

房子的海湾边是一个开放的平面空间。楼梯，而不是墙壁，把高高的厨房和家庭用餐从更正式的地方划分出来。这些楼梯将海角伸向花园，形成一条轴线，将视线吸引到视野中，并提供与旁边公共道路的隐私。花园高高耸立在拖曳道之上，为海滩提供额外的隐私，并从内部消除花园与海湾之间的区别。这一点在水池中得到了强调，它向水的方向和延伸使两者之间有了明确的联系。

The bayside wing of the house is one open plan space. Stairs, rather than walls, delineate the raised kitchen and family dining from more formal areas. These stairs extend seawards into the garden forming a line of axis drawing the eye out to the view and providing privacy from the public road alongside. The garden is raised above the towpath to provide additional privacy from the beach and to dissolve the distinction between the garden and bay from within. This is emphasised in the pool whose orientation and extension towards the water makes a clear connection between the two.

 © Adam Letch

(亚当·莱奇)

一个过度航行的木材屋顶天篷连接街道边的花园和海滩。它渗透到内部，出现在奇怪的时刻，它保护和定义了内部和外部空间的集合。从水里看，它是一个决定性的主题；它表现出轻盈，反映了大海和树木的树冠。

An oversailing timber roof canopy connects the street side to the garden and the beach. It permeates the interior, presenting itself at odd moments, it protects and defines the collection of internal and external spaces composed beneath. From the water it is a defining motif; expressive of lightness, reflective of the sea and the canopies of the trees.

 © Adam Letch

(亚当·莱奇)

从街道和海湾的角度来看，这座房子的另一个主要立面是玻璃化的低层建筑，下面是洁白的墙壁、黑色的窗框和船帆屏风。一棵大型的礼来山丘树被保存下来，并将其固定在海拔高度的街道边.

From the street and bay view, the other predominant elevation of the house, the largely glazed lower story is lost below crisp white walls, black framed window boxes and sail screens. A large Lilly-Pilly tree was preserved and frames the street side of the elevation.

 © Adam Letch

(亚当·莱奇)

材料是精心选择的地点，房子的使用木材，白色的墙壁和石灰华地板反映了海边的环境。快门混凝土被用作一种有趣的口音，它和渲染的墙壁一样，看起来几乎是柔软的，质感与清晰的屏幕和铝的褶皱形成鲜明对比。

Materials were carefully chosen to site the house; the use of wood, white walls and travertine floors reflect the seaside setting. Off-shutter concrete is used as a playful accent which, like the rendered walls, appears almost soft and textured in contrast to crisp folds of screen and aluminium.

 © Adam Letch

(亚当·莱奇)

建筑师，SAOTA，在这一设计中展示了他们的南非签名，其锋利的线条，轻盈的形式和繁茂的自然融合，所有这些结合在一起，使设计在这个特殊的地方有宾至如归的感觉。一个有趣的角色，计算模糊的边界和新鲜的，分层的组成带来了一个年轻家庭的家庭需求和令人惊叹的因素，这个非凡的网站值得。SAOTA的姐妹公司，室内工作室ARRCC，开发了一个精致的装饰调色板，以适应家庭和补充客户的艺术作品。

Architects, SAOTA, displayed their South African signature in this design with its sharp lines, light forms and the lush integration of nature which all combine to make the design feel at home in this special site. A playful character, the calculated blurring of boundaries and the fresh, layered composition bring into balance the domestic needs of a young family and the wow factor that this phenomenal site deserves. SAOTA’s sister company, the interior studio ARRCC, developed a refined décor palette to suit the home and complement the client’s artworks.

 © Adam Letch

(亚当·莱奇)

作为建筑师协会，TKD与客户密切合作，确保SAOTA的详细设计交付和一个梦想的家园实现。他们的创造力、毅力和对卓越设计的承诺是一个关键的成功因素。景观照明设计与Wyer景观设计

As architects in association, TKD worked closely with the client, ensuring that SAOTA’s detailed design was delivered and a dream home realized. Their creativity, perseverance and commitment to design excellence was a key success factor. Lighting design by Point Of View and landscaping by Wyer & Co. combined with the dedication of main contractor, Horizon, to deliver a quality home with an exceptionally high level of finish.

Architects SAOTA

Location Sydney, Australia

Lead Architects Philip Olmesdahl, Erin Gibbs, Duke Williams

Area 670.0 m2

Project Year 2017

Photographs Adam Letch

Category Houses

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