架构师提供的文本描述。“爱马仕之家”是建筑师和作为艺术家和景观设计师的客户合作的结果。坐落在菲利普岛的西北边缘，该项目涉及将一个列入遗产名单的菊苣窑改建成一对夫妇的住所。这一设计是作为正在进行的探索的一部分，即在一个普遍条件是速度、活力和变化的世界中，何谓“家”或“地点”。这一概念框架延伸自2007年在Tarrawarra艺术博物馆展出的客户早期的艺术装置。

Text description provided by the architects. A House for Hermes is the outcome of a collaboration between the architect and a client working as an artist and landscape architect. Sited on the northwest edge of Philip Island, the project involved the conversion of a heritage-listed chicory kiln into a couple’s residence. The design was conceived as part of an ongoing exploration of what might constitute “home” or “place” in a world where prevailing conditions are of speed, dynamism and change. This conceptual framing extended from an earlier art installation undertaken by the client that was exhibited at Tarrawarra Museum of Art in 2007.

 © Peter Bennetts

(Peter Bennetts)

建筑的基础并不是经过排练的围护行为，也不是通过确定房子的预定功能，而是基于促进和庆祝改造和移动的想法。通过使用适应性和可重构的空间，以及对阈值和通道的操纵，房子打算成为一个参与变革的场所，并成为变革的催化剂。一种“开放”的感觉-新的居住可能性-通过处理由包括外部装饰和周围环境的连续的联锁体积所定义的内部景观而得到加强。这种对幸运的渴望在一定程度上是对乔治·佩雷克的问题的回应：“我们应该学会在楼梯上更多地生活。但怎么做呢？“

The architecture is predicated, not on the rehearsed acts of enclosure or through the predetermined functions that define a house, but on the idea of facilitating and celebrating transformation and movement. Through the use of adaptive and reconfigurable spaces and the manipulation of thresholds and passages, the house is intended to be a place that engages with and is a catalyst for change. A sense of “open-endedness” – of new possibilities of inhabitation – is reinforced by the treatment of an interior landscape defined by contiguous interlocking volumes that encompass the exterior decking and surrounding context. This desire for serendipity is partly a response to Georges Perec’s question: “We should learn to live more on staircases. But how?”

房子的核心是一个可重构的厨房，其中细木工作为一楼和一楼之间的连接门限。这一区域的设计是为了容纳从集体烹饪班到亲密餐的一系列活动。

Divided into two primary volumes, the nucleus of the house is a reconfigurable kitchen in which the joinery works as the connective threshold between ground and first floor. This area is designed to accommodate a range of activities from group cooking classes to an intimate meal.

 © Peter Bennetts

(Peter Bennetts)

该窑炉是三座建筑物之一，建在邻近受保护湿地的大型海岸财产内。Coldon之家(一间客房和艺术家工作室)和SetterCottage(缝纫工作室)为主楼提供了补充的便利设施，并与室外浴室一起沉淀了周围花园和景观的约定和穿行。

The kiln is one of three buildings set within a large coastal property adjacent to protected wetlands. The Coldon home (a guest house and artist studio) and Setters Cottage (sewing studio) provide complementary amenities to the main house and along with an outdoor bathroom precipitate an engagement and traversal of the surrounding gardens and landscape.

 © Peter Bennetts

(Peter Bennetts)

最初的遗产建筑是20世纪早期岛上用混凝土建造的鹰嘴鹤窑的少数例子之一。由于大量的结构开裂和剥落，需要对混凝土进行大量的重建和修复工作，这是通过使用原位钢筋喷射混凝土进行的。窑北侧的甲板与一座大型混凝土挡土墙和水槽相结合，这些墙和水槽最初是作为建筑物工业功能的一部分而建造的，现在已被倒入并灌满水，以提供一种被动冷却的手段。

The original heritage building is one of the few example of early 20th century chickory kilns on the Island constructed from concrete. Substantial rebuilding and restoration work to the concrete was required due to significant structural cracking and spalling, which was undertaken through the use of insitu reinforced shotcrete. The decking on the north side of the kiln is integrated with a large concrete retaining wall and water trough that was originally built as part of the industrial function of the building and has now been tanked and refilled with water to provide a means of passive cooling.

 © Peter Bennetts

(Peter Bennetts)

这个项目是在预算紧张的情况下完成的。包括外部甲板面积在内，最终建筑费用低于每平方米3000美元。

The project was delivered on a tight budget. Including the external deck areas the final building cost came in under $3000/m².