架构师提供的文本描述。设计很复杂。没有什么比住宅更复杂的设计了，尽管基本问题为建筑师提供了一个起点；太阳在哪里？我们如何在冬天捕捉它，如何在夏天排除它？

Text description provided by the architects. Design is complex. There is little that is more complex to design than a home, however fundamental issues offer an architect a starting point; where is the sun? How do we capture it in winter, how do we exclude it in summer?

 Courtesy of Andrew Maynard Architects

安德鲁·梅纳德建筑师

支配墨尔本北部郊区的薄薄的分配常常为太阳能的获取提供不屈不挠的限制，因此需要产生非正统的想法来克服这些限制，并将它们转化为机会。

The thin allotments that dominate Melbourne's northern suburbs often provide indomitable constraints to solar access and therefore require the production of unorthodox ideas to overcome these constraints and convert them into opportunities.

 Courtesy of Andrew Maynard Architects

安德鲁·梅纳德建筑师

因此，该遗址面向北方，将家庭的主要户外空间-后院-整年笼罩在阴影之下。在90年代，一个两层的延伸被增加，进一步减少了太阳能通道，同时在房子内创造了很深的黑暗空间。一个五口之家希望建立一个长期的家，能够满足三个小孩的需要，以及他们这些年来慢慢转变为年轻人的需要。

The site faces north therefore relegating the backyard, the family’s primary outdoor space, to shadow throughout the year. In the 90s a two storey extension was added reducing solar access even further while creating deep dark space within the house. A family of five wished to create a long-term home, which could meet the requirements of three small children and their slow transformation into young adults over the years.

 © Nic Granleese

C.Nic Granleese

这项建议不是重复过去的错误，而是在新的结构中从后方延伸开来，而是在后面的边界，即街区的南缘，在到目前为止，后院的足迹上建造一个新的结构。这种新结构采用被动太阳增益，面向太阳。充满阳光。新结构面向原来的房子。后院现在是房子的中心，它周围的建筑形式激活了它。这座老房子被改成了“孩子们的房子”。这座老房子和以前一样。简单砌体结构的后部，虽然在空间上连接，但没有重新定位，一个面是故意不应用。它是诚实而有力的。有一件有限制的“街头艺术”要申请。

Rather than repeating past mistakes and extending from the rear in a new configuration, the proposal was to build a new structure on the rear boundary, the southern edge of the block, upon the footprint of what had been, until now, the back yard. The new structure faces the sun employing passive solar gain. Saturating itself with sunlight. The new structure faces the original house. The backyard is now the centre of the house activated by the built form around it. The old house is converted into "the kids’ house". The old house is as it once was. The rear of the simple masonry structure, though spatially connected, is not reoriented, a face is deliberately not applied. It is left honest and robust. With a restrained piece of “street art” to be applied.

 Courtesy of Andrew Maynard Architects

安德鲁·梅纳德建筑师

汤姆森街不再提供家庭的主要入口。一家人现在从斯坦利街经小巷进入。原来的房子，现在的私人宿舍空间，不再有一个典型的关系汤姆森街的“前门”。原来的房子和整个墨尔本最狭窄的街区一样，要求游客走过一条很长的走廊，穿过卧室来到起居室。偷盗，快速扫视黑暗的私人空间，总是发生在旅途中。在山庄，入口被重新定位。厨房，神经中枢，房子的枢纽，是新的问候点。后面是公园。毗邻的是居住空间，院子和“孩子的房子”之外。

Thomson street no longer provides the main entry to the home. Family now enters via the lane from Stanley Street. The original house, now private dormitory spaces, no longer has a typical relationship to the Thomson Street’s “front” door. The original house, as with most narrow blocks throughout Melbourne, demanded that visitors walked a long corridor past bedrooms to the living area. Stolen quick glances into dark private spaces always occurred along the journey. At the Hill House the entry is reorientated. The kitchen, the nerve centre, the hub of the house, is the new greeting point. Beyond is the park. Adjacent is the living space, the yard and the "kids’ house" beyond.

 Courtesy of Andrew Maynard Architects

安德鲁·梅纳德建筑师

在决定在街区后面建造一个无处不在的现代盒子后，人们首先想到了这一点。不久，似乎有必要寻求机会来激活这一新的，曾经是阴影，现在阳光明媚的外观。新北面的座位？也许是一系列的步骤，比如斯卡里纳塔·德拉·特里特-戴·蒙蒂？但是一个人如何在阳光下在台阶上休息呢？也许是个斜坡.山间的房子就进化了/出现了。

Following the decision to build at the rear of the block a ubiquitous modern box was first imagined. Soon it seemed necessary to pursue the opportunity to activate this new, once shaded, now sunny facade. A seat along the new northern facade? Perhaps a series of steps like the Scalinata della Trinità dei Monti? But how does one lounge in the sun on steps. Perhaps a slope instead .... And the hill house evolved/emerged.

 Courtesy of Andrew Maynard Architects

安德鲁·梅纳德建筑师

安德鲁来自塔斯马尼亚，这是一个被它的景观所支配的地方。建筑形式是次要的，从属于景观。墨尔本主要是平坦的。这就是墨尔本建筑冒险的原因吗？没有什么景观可以限制，所以建筑可以自由地变成景观。希尔豪斯就是对这种可能性的回应。墨尔本是平坦的。如果你想探索悬挑悬崖的可能性(许多建筑师的愿望)，你就不得不制造出这样的景观。一个整体的形状是从山上卸下来的，放在山顶上。庆祝合成的，人造的。一个起伏的景观和纯粹的建筑形式的模拟。从战略上讲，这种纯粹的悬臂形式的建筑庆典实际上就像被动的太阳屋檐到下面的室外空间，切断了夏季的阳光，同时让冬季的太阳大量涌入。效果比我们想象的还要好。

Andrew is from Tasmania, a place dominated by its landscape. Built form is secondary and subservient to landscape. Melbourne is predominantly flat. Could this be why Melbourne’s architecture is adventurous? There is no landscape to confine therefore building is free to become landscape. Hill House is a response to this possibility. Melbourne is flat. If one is to explore the possibility of cantilevering off a cliff (a desire of many architects) one is forced to manufacture that landscape. A monolithic form is unsheathed from the hill and placed atop. A celebration of the synthetic, the manufactured. A simulacrum of both an undulating landscape and the pure architectural form. Strategically the architectural celebration of the pure cantilevered form acts pragmatically as the passive solar eave to the outdoor space below, cutting out summer sun, while letting winter sun flood in. It works even better than we thought it would.

 Courtesy of Andrew Maynard Architects

安德鲁·梅纳德建筑师

RECODE被颠覆，用作催化剂，而不是妥协。院子后面的建筑需要一条受保护的循环通道，这条通道必然会在整个边界形成一堵墙。代码规定边界不能被完全封闭，但是它可以被完全隔离。建了一个2米高的篱笆，但与大多数房子不同的是，山间房子有一个一米宽的篱笆；一条走廊降低到场地内以达到头高。这反过来又创造了一个较低的就餐区。一个上升到生活空间。楼层水平的变化为梅纳德设计的零废物桌创造了一个长椅。

Rescode is subverted and used as the catalyst rather than the compromise. Building in the rear of the yard requires a protected circulation path which, by necessity, generates a wall along the entire boundary. The code dictates that a boundary cannot be completely walled, however it can be completely fenced. A 2m high fence was created, but unlike most houses the hill house has a one metre wide fence; a corridor lowered into the site to achieve head height. This in turn creates a lowered dining area. One rises into the living space. The change in floor level creates a bench seat for the Maynard designed ZERO WASTE TABLE.

 Courtesy of Andrew Maynard Architects

安德鲁·梅纳德建筑师

俯视会产生许多尴尬的反应。窗户必须高过头高，而不是看邻居。国会大厦利用这个优势。这种建筑位于后院的好处是，它从邻居的花园里借来了景观。娱乐室和餐厅周围的高高的窗户都被树包围着。在内部，人们会感觉到山庄被灌木丛所包围，而不是郊区混合的一部分。

Overlooking generates many awkward responses. Windows must be above head height rather than looking at the neighbours. The Hill House uses this to its advantage. The benefit of the structure being in the backyard is that it borrows landscaping from its neighbours’ gardens. The high windows about the entertainment cabinetry and the dining area are enveloped in trees. Internally one gets the sense that Hill House is enveloped by bush rather than part of the suburban mix.

 © Nic Granleese

C.Nic Granleese

钢不仅为所探索的建筑形式提供了解决方案，也是应用于小型战略调色板中的主要知名材料。黑色的独角石是一个连续的，全高度的钢桁架。单根悬臂比在山上搁浅的要多。中央桁架是在生活空间中庆祝的。整个二层楼的负荷沿着就餐区故意脆弱的三柱移动。厨房柜台旁隐藏的钢柱直观地把铁石绑起来，防止它向前坠落，而不是承受向下的负荷。屋顶是白色的彩色粘结，战略使用，以减少热负荷。厨房的长凳是钢的，故意使用，因为它既结实，又慢慢显露出美丽的年代久远。在山口周围的引擎盖是细长的，坚固的钢板临床插入。这里的门是支点，似乎是在挑战地心引力。楼梯、门窗都是钢的。从大而健壮到细腻，钢被誉为一种结构解决方案和一种美学。

Steel not only provides a solution for the architectural form explored, it is also the primary celebrated material within the small strategic palette applied. The black monolith is a continuous, full height steel truss. The monolith cantilevers more than it is grounded in the hill. The central truss is celebrated in the living space. The entire load of the second storey travels down the deliberately fragile tri-post in the dining area. The concealed steel posts beside the kitchen counter intuitively tie down the monolith, stopping it from falling forward, rather than taking downward load. The roofing is white colourbond, used strategically to reduce thermal load. The kitchen benches are steel, used deliberately as it is both robust and slowly revealing a beautiful patina of age. The hood around the hill opening is slender, strong steel plate clinically inserted. The door here pivots, seemingly defying gravity. The stair, the doors and the windows are all steel. From the large and robust to the fine and detailed, steel has been celebrated as both a structural solution and an aesthetic.

 © Nic Granleese

C.Nic Granleese

希尔豪斯的可持续性远比第一次露面所显示的要好得多。这是一种故意的尝试，以避免任何美化项目的可持续证书。整个策略是让后院的房子直面太阳，让被动太阳能发挥最佳效果。所有的窗户都是双层玻璃和低层涂层。低VOC胶合板和养殖一级的斑点胶线的内部墙的建筑物。院子是节水的

Hill House is far more sustainable than first appearance suggests. It is a deliberate attempt to avoid any aestheticizing of the project’s sustainable credentials. The whole strategy was to get the house in the backyard to face the sun and to get passive solar performing optimally. All windows are double glazed and LowE coated. Low VOC plywood and farmed class one spotted gum line the internal walls of the building. The yard is water efficient - the use of synthetic grass with strategically placed garden patches create dense areas of planting, resulting in very little demand for water.

 © Nic Granleese

C.Nic Granleese

东方和西部的长长的窗户都装有可操作的百叶窗。朝北的正面由一整面由机械操作的百叶窗组成，提供了控制横风和阳光的选择。小山上的草在另一层隔热层中将底层包裹起来；它是一层热屋顶毯，安装时是为了补充下面建筑结构的现有绝缘，同时也是保护屋顶膜的。整个白色屋顶被用来增加太阳反射率，可持续地降低房屋内的热量增益。

Long strips of windows to the East and West have been equipped with operable louvres. The north-facing facade consists of an entire wall of the same mechanically-operated louvres, providing the option of controlling cross-winds and sunlight. The grass on the hill envelops the ground floor in an additional layer of insulation; it is a thermal roof blanket, installed to supplement the existing insulation of the building structure beneath whilst also protecting the roof membrane. A white roof is used throughout to increase solar reflectance, sustainably reducing heat gain within the house.

 Courtesy of Andrew Maynard Architects

安德鲁·梅纳德建筑师