© Tom Ferguson

(汤姆·弗格森)

架构师提供的文本描述。一座新建造的房屋取代了两座非常狭窄的两层楼高的小屋，它们位于同一块土地上，但却处于一种非常荒废的状态。经过与文物委员会的多次讨论后，人们认为不可能将它们恢复到博物馆以外的任何东西，因为它们无法达到目前的BCA标准。人们还认为，它们没有那么大的兴趣，而且很少有原始的织物存在。一个相当独特的机会出现了，将一个当代建筑插入一个遗产保护区

Text description provided by the architects. A new-build house replacing two very narrow 2-storey weather-board cottages on the same lot but in a very derelict state. After much discussion with Heritage it was felt that it would not be possible to restore them to anything other than museum status as they could not be brought up to current BCA standards. It was also felt that they were not of that much interest and very little original fabric existed. A fairly unique opportunity presented itself to insert a contemporary building into a heritage conservation area – allowing for a future reading of this particular period of Sydney’s development.

 © Murray Fredericks

穆雷·弗雷德里克斯

客户的陈述很清楚-他们不想要一个白色盒子的简约主义的房子。他们也不想要一座决定他们应该居住的风格的房子。我们第一次访问客户来做项目简介，我们发现他们收藏的艺术品、设计师家具、工业垃圾和“发现的物品”非常折中而有趣。这种多样性，再加上风格不占主导地位的简略，似乎使自己有了一种更古怪和复杂的形式(无论是内部还是外部)。从这里开始，这个项目就变成了一个孩子友好型的房子，有一个角色和一个故事可以讲述。这所房子已经被当地人称为方舟了。

The Client’s brief was clear – they did not want a white box minimalist house. Nor did they want a house that dictated the style under which they should live.  Visiting the Client for the first time to take the project brief, we observed that they had a very eclectic and interesting collection of artworks, designer furniture, industrial junk and ‘found-objects’.  This diversity combined with the brief that the style not dominate, seemed to lend itself to a more quirky and complex form (both internally and externally). From here the project became about creating a child friendly house that had character and a story to tell.  The house has already been dubbed The Ark by the locals.

这个项目提供了一个重新访问悉尼梯田房屋类型的机会，近几年来，由于所有的露台房屋都被翻转，将起居室(以前是一个露台前部的正式房间)与后院-新的焦点-连接起来，这一过程一直在进行着广泛的重新评估。现在，厨房已成为现代住宅的中心，不太正式。

This project presented an opportunity to re-visit the Sydney terraced house typology, which in recent years has been going through extensive re-assessment, as all terrace-houses are turned on their heads to connect the living area (previously a formal room at the front of a terrace) with the rear yard – the new focal point. The kitchen has now become the central, less formal hub of the contemporary house.

 © Murray Fredericks

穆雷·弗雷德里克斯

为了提高空间(高度)的质量，整个建筑都在人行道下面挖出，以便在所有的层内有更大的空间。利用(理事会拥有的)袖珍公园，该公园具有成熟种植的优点，是社区中一种用途广泛的设施。虽然设计显然得益于一边的袖珍公园；没有侧窗，这种设计也能同样好地工作。

To improve the quality of space (height) the entire building was dug marginally below pavement level to allow for more generous headroom within all levels.  Advantage was taken of the (council-owned) pocket park which had the benefit of mature planting and is a much used facility in the community.  Whilst the design clearly benefits from the pocket park on one side; the design could work equally well without the side windows.

 © Murray Fredericks

穆雷·弗雷德里克斯

这个房子里的喧闹/游玩空间；在一个传统露台的阁楼里，通过一个阁楼/阁楼的结构与房子的其他部分保持连接。(鼓掌)

The rumpus/play space in this house; in what would have been the attic in a traditional terrace remains connected to the rest of the house by being a mezzanine/loft configuration.  

 Ground Floor Plan

在建筑上，这一形式直接来自于将周围2/3/4层建筑的环境与理事会确定的数字规划控制-以及书-结束城市街区和在公园中的地址结合在一起。

Architecturally, the form came directly from combining both the context of the surrounding 2/3/4 storey buildings and the numerical planning controls determined by Council – as well as book-ending the urban block and addressing the park.

 © Murray Fredericks

穆雷·弗雷德里克斯

如上图所示-一旦确定了数字规划参数，这些参数就被操纵，以便对背景作出反应-2、3和4层的邻居-从而衍生出一种形式，然后由窗户/开窗加以阐述/雕刻，从而进一步侵蚀建筑的“块”。

As the diagram above seeks to demonstrate – once the numerical planning parameters were established they were then manipulated to respond to the context a mixture of 2, 3 and 4 storey neighbours) – thus deriving a form which was then articulated / sculpted by windows/fenestration that further erode the building “block”.

外部的(灰箱)木料覆盖层是对先前在工地上的废弃的风化板小屋的直接敬意，房子提到了创造街景的原始和新的建筑线条。

The (Grey Box) timber cladding to the exterior was a direct homage to the derelict weatherboard cottage that previously sat on the site and the house makes reference to both the original and new building lines that create the streetscape.

 South Elevation

色彩和物质被用来阐明客户的简报，将生活空间(被动-娱乐)与厨房/餐厅(主动-娱乐)分开。同时，有一种将这两个空间联系起来的愿望，这表明了无论是从房子后面还是从楼上都可以进行的旅程。

Colour and materiality were used to articulate the client’s brief to separate the living space (passive - entertainment) from the kitchen/dining (active – entertaining). At the same time there was a desire to link the two spaces indicate the journey that could be made either through to the rear of the house or upstairs.

 © Tom Ferguson

(汤姆·弗格森)

在内部，规划的意图是避免一个白色的盒子，并确保底层的感觉不像一个“管子”的生活空间。为了实现这一目标，客厅和餐厅/厨房区域被一种细木工形式隔开，围绕着楼梯、住宅厨房、楼梯下的W.C./洗衣房和电视/音响。

Internally the programmatic intent was to avoid a white box and ensure that the ground floor did not feel like a ‘tube’ of living spaces. To achieve this, the living room and dining/kitchen area were separated by a joinery form that wrapped around the staircase, housing kitchen, under stair W.C./laundry and TV/Stereos. 

 © Murray Fredericks

穆雷·弗雷德里克斯

Architects Mac-Interactive Architects

Location Sydney, Australia

Category Houses

Architect in Charge Andy Macdonald

Photographs Murray Fredericks