© Peter Bennetts

(Peter Bennetts)

架构师提供的文本描述。这些邻近的露台房屋由一家两代人拥有。两座房子都需要修理和更新。众议院是一个单一的建筑，扩大了两家。它们是一座建筑内的独立住宅。新建筑北/南，原屋东/西。每一梯田之间的篱笆滑开，形成一个大后院。

Text description provided by the architects. These neighbouring terrace homes are owned by two generations of one family. Both houses were in need of repair and update. HOUSE House is a single building that extends both homes. They are separate homes within one architecture. The new structure runs north/south while the original houses run east/west. The fence between each terrace slides away to create one large backyard.

 © Peter Bennetts

(Peter Bennetts)

澳大利亚拥有世界上最大的房子。墨尔本平坦，密度很低。没有什么地形限制，迫使家庭有一个较小的足迹。这是不幸的，因为世界上许多最好的房子都很小，而且最大限度地利用了宝贵的室外空间。在澳大利亚，我们走得又远又低。我们煎饼我们的家。我们吃光了我们的户外空间。通常，人们搬到郊区是出于一种错误的逻辑，即他们将有充足的空地和空间供孩子们玩耍；然而，现在巨大的房子使得这成为一个方便的神话，而不是一个真正的结果。这导致了对汽车的依赖和儿童与一个富裕多样的城市社区的隔离(因为孩子们不太喜欢开车)。

Australia has the largest houses in the world. Melbourne is flat, with very low density. There are few topographical constraints to force homes to have a small footprint. This is unfortunate as many of the best homes around the world are modest in size and maximise what precious outdoor space there is. In Australia we go wide and low. We pancake our homes. We eat up our outdoor space. Often people move to the suburbs under the false logic that they will have an abundance of open space and room for kids to play; however the enormous size of houses now makes this a convenient myth rather than a true outcome. This results in car dependence and children’s isolation from a rich and diverse urban community (as kids don’t tend to drive that much).

 © Peter Bennetts

(Peter Bennetts)

有了豪斯，我们故意往前走。我们堆放了3层高的空间。我们在一个小地方最大限度地利用了后院。在东京、伦敦、阿姆斯特丹等城市，垂直生活是一种创造独特住房的生活方式，同时也充分利用了人口密集的城市条件。它创造了一种充满活力的生活方式，这种生活方式的扩张和对汽车的依赖是无法实现的。但是，如果我们引入超出所需内容的足迹限制会如何呢？如果我们建造一个高而薄的结构，最大限度地利用朴素的后院呢？我们生产的空间，虽然在世界上许多地方都很熟悉，但在澳大利亚却是陌生的；高耸的，洞穴般的空间，从上面层层泻下而来。每个空间在个性和功能上都不一样，使谦逊的家庭能够适应其居住者的各种复杂情绪。

With HOUSE House we deliberately went vertical. We stacked spaces 3 levels high. We maximised the backyard on a small site. In cities like Tokyo, London, Amsterdam and many more, living vertically is a way of life that generates unique housing while also making the most of a densely packed urban condition. It creates a vibrant way of life that sprawl and car dependence could never achieve. But what if we introduce a footprint restriction beyond what is required? What if we build a tall thin structure that maximises the modest backyard? We produce spaces that, though familiar in many parts of the world, are unfamiliar in Australia; tall, cavernous spaces with light cascading from above. Each space different in personality and function so that the modest home can adapt to the various complex moods of its occupants.

 © Peter Bennetts

(Peter Bennetts)

安德鲁·梅纳德建筑师通常试图避免把新建筑撞成旧建筑。与众议院，我们故意创建两种不同的形式。我们尊重维多利亚时代的双胞胎梯田。我们修复和修复它们。我们不挤压或复制原始，因为这只是一个奇怪的肿瘤结束。新结构建在梯田的后面。两者之间仍然存在明显的差距。透过玻璃填充使天气远离这个洞穴空间。这就是你上升和旋转螺旋楼梯的地方，与露台上的老砖块和新的雪松相互作用。我们已经避免使用新的合成材料，光泽或塑料材料。这些材料有过去的生活。新的形状完全是用雪松覆盖的。原始钢板和详细描述了结构之间的开口和新旧之间的门槛。深色胶合板从结构间充满光线的空隙中升起。我们在就餐区的橱柜上战略性地使用镜子，使空间感觉很大，同时给人一种错觉，认为光线来自两边，我们被花园包围着。

Andrew Maynard Architects generally attempt to avoid crashing new structures into old. With HOUSE House we deliberately created two separate forms. We respect the twin Victorian terraces. We repair and restore them. We do not extrude or copy the original as this only ends in an odd tumor. The new structure is built across the rear of the terraces. A clear gap remains between the two. Weather is kept out of this cavernous space by glass infills. This is where you rise and spin up the spiral stair, interacting with both the aged brick of the terrace and the cedar of the new. We’ve avoided using new synthetic, shiny or plastic materials. The materials have had a past life. The new form is clad entirely in cedar. Raw steel plate and detailing describes the openings between structures and the threshold between old and new. Dark plywood paneling rises through the light-filled void between the structures. We strategically use mirror on the cabinetry in the dining area to make the space feel large while giving the illusion that light is coming from both sides and that we are surrounded by garden.

 © Peter Bennetts

(Peter Bennetts)

要使一个中等规模的住宅蓬勃发展，关键是要提供一些具有不同个性的空间。活跃的家庭/居住空间不需要很大，但它们必须有松散的边界。保留原来的前客厅。在此之后，起居空间可以开放从餐厅到后面的栅栏。两边的栅栏都可以打开，让户外活动扩散到生活区以外。厨房的长凳一直延伸到后面的玻璃墙。自建的烧烤站在长凳的尽头。生活区域上方的水平提供了安静的沉思空间。每个空间都与后院和内部光环相连。

The key to making a modest-sized home flourish is to provide a number of spaces with various personalities. The active family/living spaces don’t need to be large, yet they must have loose boundaries. The original front sitting room is retained. After this the living spaces can open from the dining room to the rear fence. The side fences can both be opened to let outdoor activity spill beyond the living area. The kitchen bench continues through the rear glass wall. The inbuilt barbecue sits on the end of the bench. The levels above the living areas provide quiet contemplative spaces. Each space is connected with both the rear yard and the internal lightwell.

 © Peter Bennetts

(Peter Bennetts)

就像我们所有的建筑一样，可持续性不是叙述，它是一项核心责任，就像照明和管道一样。所有的新窗户都是双层玻璃的。玻璃屋顶可能是热挑战，因此我们已经使用高性能玻璃与自动百叶窗，以便阳光停止之前，它击中玻璃，而不是之后。这里没有温室效应。业主可以随时调整百叶窗之间的充分阳光和完全遮挡。在光环以南的百叶窗是自动的，以使空间迅速排气时，热量积累。高性能保温已用于新的墙壁和屋顶。现有的露台屋顶也进行了绝缘升级。太阳能电池板覆盖屋顶。

Like all of our buildings sustainability is not the narrative, it is a core responsibility in the same way that lighting and plumbing are. All new windows are double glazed. Glass roofs can be thermally challenging therefore we have used high performance glass with automated louvres over so that sunlight stops before it hits the glass, not after. There’s no green house effect here. The owners can adjust the louvres at anytime between full sunlight and complete block out. Louvres to the south of the lightwell are automated to allow the space to quickly vent should heat build up. High performance insulation has been used in the new walls and roof. The existing terrace roofs have also had an insulation upgrade. Solar panels cover the roof.

 © Michael Ong

(王敏嘉)

在雪松边墙上，我们画了一幅画。墨尔本有一些世界上最好的街头艺术家，谢天谢地，他们把他们的作品捐赠给了这个城市的众多道路。尽管街头艺术在墨尔本很受欢迎，但贴标签也很普遍，而且往往更具破坏性。在几乎所有暴露的墙壁上都要贴上标签。大部分标签是用黑色喷漆画的。为了解决这一问题，我们在正面引入了一个黑色图形，它可以使标签不可见，或者可以快速绘制，以阻止额外的标记。这种策略会起作用吗，还是只会提供更大的激励？我们不知道？最重要的是，我们参与标记，这是一个无处不在的城市，而不是加强我们自己从它。所使用的图形是郊区住宅的儿童图像。在这里，我们看到了两种不同的方法对单一家庭住宅的重叠：一种是在进口上覆盖的刻板的房屋。如果你仔细看看房子里的其他地方，你会发现许多“复活节彩蛋”都遵循着同样的主题。

On the cedar boundary wall we’ve painted a graphic. Melbourne has some of the best street artists in the world and thankfully they donate their work to the city within its numerous laneways. Though street art is welcome throughout Melbourne tagging is also prevalent and it tends to be more destructive. Tagging is to be expected on almost any exposed wall. Most tagging is drawn with black spray paint. To combat this we introduced a black graphic to the facade that either makes the tag invisible or alternatively can be quickly painted over to discourage additional tagging. Will this tactic work or will it simply offer a greater incentive? We don’t know? Most importantly we engage with tagging, one of the ubiquitous parts of the city, rather than fortifying ourselves from it. The graphic used is the child-like image of a suburban home. Here we see the overlap of two distinct approaches to the single family house; the stereotypical home overlaid on the import. If you look closely elsewhere in the house you will find numerous “Easter Eggs” following the same theme.

 First & Second Floor Plan

Architects Austin Maynard Architects

Location Australia

Category Houses

Architect in Charge Andrew Maynard, Mark Austin

Project Year 2012

Photographs Peter Bennetts, Michael Ong