© Brett Boardman

布雷特·博德曼

架构师提供的文本描述。我们的客户对艺术的热爱激发了雕塑形式的实验。首先，房子必须是一个家，而不是一个艺术画廊。第二，我们的客户下定决心，我们充分利用了海滩上的美丽景色，以及海港之外的美景。我们向野口正木(Isamu Noguchi)寻求灵感。他的标志性雕塑弯曲，扭曲，把我们和其他世界联系在一起。

Text description provided by the architects. Our client’s love of art inspired experimentation with sculptural forms. First and foremost, the house had to be a home, not an art gallery. Secondly, our clients were determined we made the most of the beautiful views over the beach and to the harbour beyond. We looked to Isamu Noguchi for inspiration. His iconic sculptures curve and twist and link us to other worlds. 

 © Brett Boardman

布雷特·博德曼

具体的雕塑形式是一个工程和建筑的结合，一系列的盒子聚集在一起，以回应意见，阳光和隐私。方向、热质量和自然通风的简单设计原则是设计的基础。

The concrete sculptural form is a union between engineering and architecture, a series as boxes assembled to respond to views, sun and privacy. Simple design principles of orientation, thermal mass and natural ventilation are fundamental to the design.

 © Brett Boardman

布雷特·博德曼

设计中的关键时刻是强调我们有机会将房子与社区连接起来。在一个通常由高墙和对讲机控制的地区，我们允许过路人触摸和感受建筑物，并透过它看到巴尔莫勒尔海滩。这一经验是进一步加强了选定的艺术作品在主要的地下和花园的精心定位。一个雕塑，一个铸造的人形，被动地躺着，双臂伸开，等待评论。最近两个小男孩路过的一个例子质疑“死人”的存在，而另一个回答说：“那不是死人，那是艺术！”

The critical moment in the design was emphasising the opportunity we had to connect the house to the community. In an area typically dominated by high fences and intercoms, we’ve allowed passers-by to touch and feel the building, and look through it to Balmoral beach. This experience is further enhanced by the careful positioning of selected artworks in the main undercroft and garden. One sculpture, a cast human form, lays passively, arms outstretched, waiting for commentary. A recent example from two small boys passing questioned the presence of a ‘dead man’ while the other responded, ‘that’s not a dead man, that’s art!’

从房子里看，风景是经过精心编辑和设计的，以创造一种宁静和孤立的感觉。固定的玻璃窗被安置在深混凝土中。所有打开的窗户都用木架固定，在隐蔽的轨道上滑动。凹在上面的混凝土上的是可伸缩的百叶窗。整栋房子都可以在澳大利亚沿海生活的戏剧中关闭。

From within the house, views are carefully edited and framed to create a sense of serenity and isolation. Fixed glass windows are housed in deep concrete reveals. All opening windows are framed in timber and slide on concealed tracks. Recessed in to the concrete above are retractable louvres. The whole house can close down against the dramas of Australian coastal living.

 © Brett Boardman

布雷特·博德曼

这座建筑内有一批终身收藏的雕塑和艺术作品。每个艺术品的个人需求被视为与任何其他占用者一样。楼梯间本身是雕塑的，由混凝土雕刻而成，从上面点亮。天窗创造了不断变化的光线轴，使放置在里面的物体的体验充满活力。

Housed within the building is a lifetime collection of sculpture and art. The individual needs of each artwork were considered like any other occupant. The stairwell is itself sculptural, carved from concrete and lit from above. The skylights create ever-changing shafts of light that animate the experience of the objects placed within.

 © Brett Boardman

布雷特·博德曼

有一个简单的木材和混凝土调色板，对比丰富的色调和纹理的艺术收藏。内部是架构的无缝扩展。一顶“伊夫·克莱因”蓝色天花板在主客厅上方飘浮。同样严格的设计约束在细节上也很明显。外墙变成内壁。当高高的门全部溜走时，厨房就成了风景的一部分，树中的巢穴，安全的避风港。

There is a simple palette of timber and concrete, contrasting the rich tones and textures of the art collection. Interiors are a seamless extension of the architecture. An ‘Yves Klein’ blue ceiling floats provocatively above the main living room. The same disciplined design restraint is evident in the detailing. External walls morph into internal walls. Soffits become ceilings, and when the high doors all slide away, the kitchen becomes a part of the landscape, a nest in the trees, a safe haven.

 © Brett Boardman

布雷特·博德曼

Architects Clinton Murray, Polly Harbison

Location Sydney, Australia

Category Houses

Architect in Charge Clinton Murray, Polly Harbison

Design Team Nicholas Byrne, Vince Myson

Area 1172.0 sqm

Project Year 2014

Photographs Brett Boardman