© Peter Clarke Photography

彼得·克拉克摄影

架构师提供的文本描述。建筑师声明：位于墨尔本东南10公里处的考尔菲尔德南部是一个郊区，拥有各式各样的建筑风格，从爱德华的天气板到加利福尼亚的邦加洛再到红色。

Text description provided by the architects. Architects Statement: Located 10km south-east of Melbourne, Caulfield South is a suburb home to a diverse range of architectural styles from Edwardian weather-board to Californian Bungalow to Red & Orange clinker brick.

令人震惊的是-从视觉上看，这些原始住房风格被拆除的趋势越来越明显，以便为大型、两层高的现代住房类型让路。这些通常被认为是模仿新格鲁吉亚或渲染三面砖贴面。

Alarmingly -  It is visually evident to see an increasing trend of these original housing styles being demolished to make way for large, two storey modern housing typologies. These are often conceived as mock - Neo-Georgian or rendered triple-fronted brick veneer.

 © Peter Clarke Photography

彼得·克拉克摄影

大约在20世纪60年代和70年代左右，一些受过欧洲培训的建筑师，比如欧内斯特·福克斯(ErnestFooks)，开始在考尔菲尔德和更广阔的地区设计一系列国际现代风格的灵感建筑。福克的一位经纪人-迈克尔·理查德·欧内斯特·费尔德哈根(Michael Richard Ernest Feldhagen)也在同一时期完成了许多典型的国际现代派风格的单元化住宅和多套住宅公寓。

Around the 1960`s and 70`s a number of European trained architects such as Ernest Fooks began designing a series of superb International Modern style inspired houses in and around the Caulfield and wider area. A protégé of Fook`s – Michael Richard Ernest Feldhagen also completed a number of exemplar International Modernist Style singular residences and mutli-residential flats around the same period.

“作家之家”是对迈克尔·R·E·费尔德哈根(Michael R.E Feldhagen)在上世纪60年代末设计的一套橙色砖瓦单板住宅的改造和补充。这座房子最初是为目前居住的人建造的，祖父母是犹太大屠杀幸存者，在建造房子前几年移民到了澳大利亚。

Writer`s House is an alteration and additional to an existing orange brick veneer residence that was originally designed in the late 1960`s by Michael R E Feldhagen. The house was originally built for the current occupants Grandparents who were Jewish holocaust survivors and immigrated to Australia a few years prior to building the house. 

 © Peter Clarke Photography

彼得·克拉克摄影

这座房子里到处都是由雅各布·鲁多夫斯基(JakobRudowski)专门为这座房子建造的漂亮的原创细木匠-上世纪60年代和70年代，雅各布·鲁多夫斯基(Jakob Rudowski)是当地的

The house was filled with beautiful original custom joinery specifically built for the house by Jakob Rudowski - A local joiner who made quite allot of furniture around the area in the 1960`s and 70`s.

2013年-祖父母去世了，由于这件事给我的客户带来的痛苦-这座房子在两年半的时间里一直处于休眠状态。

In 2013 - the grandparents passed away and due to the distress of this event for my clients - The house lay dormant for a good part of 2 and a half years. 

第一天，我们遇到了我们的客户是少数几次，他们回到房子后，失去了他们的祖父母。这显然是一个情感上的，但有点治疗的事件-知道他们将延长和庆祝的生活祖父母的房子，通过一些广泛的翻新。

The first day we met with our clients was one of the few times they had come back to the house after losing their grandparents. This was obviously an emotional but somewhat therapeutic event - knowing that they were going to extend and celebrate the life of the Grandparents house through some extensive renovations.

 © Peter Clarke Photography

彼得·克拉克摄影

我可能会注意到：从几年前开始，烟头在房子周围的烟灰缸旁仍然保持着平衡。令人惊讶的是，考虑到这些散落在房子周围的冰冻时刻，房子没有一种怪诞的感觉。

I may note: Cigarette butts were still balancing on the side of ashtrays around the house from years prior. Surprisingly - The house did not have an eerie feeling given these types of frozen moments scattered around the house.

我的客户-danielle，一位数字营销专家，和adam，一位屏幕撰稿人/记者，在设计过程中投入了大量的

My clients – Danielle, a digital marketing professional and Adam who is a screen writer/journalist were heavily involved during the design & construction process. Adam`s background in writing, created a key driver in the way we approached the individual spaces within the house as chapters that were curated as a part of a whole story.

我们的共同意图是，无论我们对房子做了什么新作品，都不会影响到原来的房子和它的记忆的原貌。在创建一个怀旧的“博物馆”与把所有现存的概念一起移除之间，往往有一条非常微妙的界线。现有壁纸，吊灯和建筑织物保存在可能的地方，包括现有的Rudowski家具，这是修复。一些现有的沙发被重新装潢，以给他们一个新的生活。

It was our joint intention that whatever new works we did to the house would not impact on the original integrity of the original house and it memories. There is often a very fine line between creating a nostalgic 'museum' of something that was AND removing all notion of the existing all together. Existing Wallpapers, Chandeliers and Building Fabric were kept where possible including the existing Rudowski Furniture which was restored. A number of existing sofas have been reupholstered to give them a new life.

 © Peter Clarke Photography

彼得·克拉克摄影

这种现有的织物已经非常仔细地设置与新的当代家具，细木工和材料，作为背景调色板，突出现有的，同时庆祝新的。现有的后部和前漆木窗都被全高钢窗所取代，这些钢窗覆盖了室内空间，有着丰富的温暖光线。

This existing fabric has been very carefully set in contrast with new contemporary furniture, joinery and materials, that reside as a background palette to highlight the existing and at the same time - celebrating the new. Both existing rear and front painted timber windows were replaced with full height steel windows that encompass the interior spaces with a rich warm light.

该项目包括广泛的内部翻修和一些外部工程。一个新的大型‘党’甲板，两边都有两个黑色铝制穿孔的隐私屏幕，不仅解决了俯视的实际问题，而且更重要的是，它被用来扩展内部区域，以创造一个更加灵活的内部/外部空间凝聚力。

The project consisted of an extensive internal renovation and some external works. A new large ‘party’ deck bounded either side by two black aluminium perforated privacy screens not only solved a practical issue of overlooking but more importantly was used to extend the internal areas to create a much more flexible internal/external cohesion of space.

 © Peter Clarke Photography

彼得·克拉克摄影

现有的黑暗走廊/门厅空间被重新想象成一个充满了光的、胶合板衬里的画廊空间来悬挂艺术品，并给未被怀疑的游客带来惊喜。该空间还用作分类的脐带，同时链接

An existing dark corridor/foyer space has been re-imagined as a light filled, plywood lined gallery space to hang art and offer a surprise to the unsuspecting visitor. This space also acts as an umbilical of sorts, simultaneously linking & closing off the living, kitchen and dining spaces of the house with the more private bedroom areas when the occupants are entertaining. 

一段墙被从现有的厨房移走，淹没了餐厅。

A section of wall was removed from the existing kitchen to submerge the dining area & yard back into the house. The kitchen itself represents a minimal yet utilitarian palette of materials & details. Set in a minimal white plaster & limewashed ply finish the configuration of cabinetry allows the kitchen`s mess to be hidden away through a series of bi-folding & sliding panels. 

 © Peter Clarke Photography

彼得·克拉克摄影

与厨房相对的是，一个舒适的电视‘舒适’空间被塞回房子里，专门为看电影创造一个更亲密的空间。

Compositionally opposite to the kitchen, A cozy TV ‘snug’ space is tucked back into the house to create a more intimate area specifically for watching movies & the reading of a good book. A large full-height sliding panel allows the space to become ‘a part’ of the main living area or made completely separate & hidden beyond.

 © Peter Clarke Photography

彼得·克拉克摄影

厨房和电视Snug开放给一个宽敞的居住和就餐区，没有电视，而是突出恢复了过去的记忆。在一端，一个线性的红木餐具柜和另一端，一个精巧的拉出杆单元，都是由雅各布·鲁多夫斯基在上世纪60年代设计和制造的。现有的苏富比(也是鲁多斯基的)被买回生活，重新想象在一个明亮的石灰绿色室内装潢。一个新的定制橡木和钢餐桌无缝连接丰富的抛光混凝土板贯穿整个空间。内部反射通过外部开放的封锁和穿孔铝屏幕增加了一种超现实的光通过新安装的全高度钢窗一整天。电视中的可操作百叶窗

Both Kitchen and TV Snug open out to a generous living and dining area, free of a TV and instead highlighting restored memories of the past. At one end, a linear rosewood sideboard and the opposing, a wonderfully crafted pull-out bar unit, both designed and made by Jakob Rudowski in the 1960`s. The existing sofa`s [also Rudowski`s] have been bought back to life, re-imagined in a bright lime green upholstery. A new custom Oak and steel dining table seamlessly tie with the rich polished concrete slab throughout the space. The reflections projected internally through external open blockwork and perforated aluminium screens add a surreal play of light through the newly installed full-height steel windows throughout the day. Operable louvres in the TV snug and main living & dining areas create opportunity for cross-ventilation to occur and create flexible control of the internal temperature throughout the day.

在房子的另一端，一系列的卧室和浴室被重新配置。

At the other end of the house – A series of bedrooms and bathrooms were re-configured & re-imagined to accommodate the client and their growing family.

 © Peter Clarke Photography

彼得·克拉克摄影

连接到门厅/画廊-一个温和的化妆室，黑色的形式和凹凸不平的精致绿色瓷砖，创造了一个大胆的介绍空间。一组三间卧室和一间儿童浴室形成了一条中央走廊，其中的一部分被用来为主卧室提供一套行军长袍。主卧室光线充足，前院内有一个树冠的框架景观。这是一套结实而又圆滑的套间，配有一系列倒在现场的混凝土元素，如浴缸、脸盆和虚荣顶部，与光滑的黑色钢门限、镜子和吊灯形成鲜明对比，同时配合过滤后的自然光，创造出一个“喜怒无常”的空间主题。

Linking to the foyer/gallery – a modest powder room clad in black formply and concaved delicate green tiles, creates a bold introduction to the spaces. A series of three bedrooms and a kids bathroom spawn off a central corridor, part of which was taken up to accommodate a walk-in-robe for the master bedroom. The master bedroom is light filled and has framed view of a tree canopy within the front yard. A robust yet sleek ensuite, featuring a series of poured insitu concrete elements such as a bath, basin and vanity tops contrast with sleek black steel thresholds, mirrors and pendant lights in conjunction with a filtered natural light to create a ‘moody’ spatial thematic.

当客户的年轻孩子长大后，房子的下[下楼梯]区域被重新构造成一个独立的单元。就现在而言，空间将是一个私密的地下威士忌den/酒窖，有一个深夜的睡帽，一个浴室和一个写字间，它与前面的院子有着直接的物理联系。这个从前的庭院空间被先前未使用过的前花园重新宣称，成为一个实用和可用的空间，用于沉思和放松。增设这一扫清屏幕，使这一领域正规化，是唯一正式适应街对面房屋现有身份的正式调整。

The lower [down-stairs] areas of the house have been re-configured to become a self contained unit of sorts when the client`s young children grow up. For now - the spaces will host, an intimate subterranean whiskey den/wine cellar for a late night nightcap, a bathroom and a writing room, which has a direct physical link to the front courtyard. This front courtyard space was re-claimed from the previously unused- front garden to become a practical and useable space for contemplation and relaxing. The addition of this sweeping screen to formalise this area was to be the sole formal adaption to the existing identity of the house from the street.

 © Peter Clarke Photography

彼得·克拉克摄影

从街道上看，现有的前窗被薄钢双层玻璃窗取代.对现有的石材和铝筋膜采用了最小的白色方案。黑色是用来庆祝现有的正式结构线。现存的橙色砖块被保留下来，以保持房子的历史和永恒的荣耀。

From street level, the existing front windows were replaced with thin steel, double-glazed windows. A minimal white colour scheme was applied to the existing stone and aluminium fascias. The colour black was used to celebrate existing formal structural lines. The existing orange bricks have been retained to maintain the house`s history and timeless glory.

Architects Branch Studio Architects

Location Australia

Category Refurbishment

Design Team Brad Wray, Simon Dinh, Rowena Henry

Area 344.0 m2

Project Year 2016

Photographs Peter Clarke Photography

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