Australian architect John Wardle designs a farm house with an abstract façade made of copper. Photography: Sharyn Cairns

Commanding the rolling landscape of Boneo on Mornington Peninsula on the east coast of Australia, John Wardle’s farmhouse more closely resembles a musical instrument or a modernist sculpture than a house. Like an instrument, the tension of the form is drawn from within, yet instead of sound, the house absorbs and projects activity, from family time, to cooking, socialising and drinking wine.

在澳大利亚东海岸的莫宁顿半岛，约翰·沃德尔的农舍比一座房子更像乐器或现代主义雕塑。就像一种乐器，形式的张力来自内部，而不是声音，房子吸收和实施活动，从家庭时间，烹饪，社交和喝酒。

Known for his sculptural architectural extractions, which are finely-tuned to their topography, Wardle, who founded Melbourne-based John Wardle Architects in 1986, describes the Boneo Country House as a ‘moody object in the landscape, with an intimate, lively interior.’ He refers to the powerful abstract shape of the copper exterior, and its Victorian ash wrapped core that smoothly moves you through space and even conceals secret doorways.

沃德尔以他的雕塑建筑精华而闻名，他在1986年创立了位于墨尔本的约翰·沃德尔建筑师事务所(John Wardle Architect)，他把Boneo Country House描述为“风景中的一个喜怒无常的物体，里面有一种亲密、活泼的内部。”他指的是铜外表的强大抽象形状，以及维多利亚时代的灰烬包裹的核心，它能平稳地移动你穿过空间，甚至隐藏秘密的门。

‘The starting point is considering the modes of operation, then comes the appreciation of how you want to engage with the world beyond,’ he says of his process. The house echoes the activities of its inhabitants, a couple who rear sheep and cattle (sharing the beef and lamb with their extended family and friends), accompanied by a grumpy alpaca called Kerry, a ‘palais de poulets’ filled with chickens laying eggs in all shades including green and blue, three runner ducks on the loose and two loveable kelpies to keep everyone in check. Often the house is filled with people, yet sometimes it’s just them – and the animals. Like a concertina, the farmhouse folds inwards and outwards around its core – expanding into a traditional country farm house, or condensing into an intimate one-bedroom home.

他在谈到自己的过程时说，首先要考虑的是运营模式，然后是对你如何与外部世界打交道的理解。这座房子与当地居民的活动如出一辙：一对养羊的夫妇(与他们的家人和朋友分享牛肉和羊肉)，还有一只脾气暴躁的羊驼，名叫克里(Kerry)，里面装满了各种颜色的鸡蛋，包括绿色和蓝色的鸡蛋，三只逃跑的鸭子和两只可爱的海带，让每个人都受到控制。房子里常常挤满了人，但有时只是他们-还有动物。就像协奏曲一样，农舍向内向外折叠，围绕着核心-扩展为传统的乡村农舍，或凝结成一间密密麻麻的一居室住宅。

The dining room with the bespoke wine cabinet. Photography: Sharyn Cairns

带有定制酒柜的餐厅。摄影：莎琳·凯恩斯

To achieve this effect, Wardle demolished a third of an existing house on the farm complex that was 15 years old, upgrading or stripping back remaining parts of it, and adding the new copper wing – that ‘moody’ object – which forms a central living space and master bedroom, each defined by an organic strand that projects into the landscape. ‘The kitchen is the point of radius for everything,’ says Wardle. As might be expected, there’s a massive hearth, an aga stove and detailed brass shelving systems. Patterned handmade tiles were chosen by the architects. ‘We wanted to show greater evidence of the human hand at work, alongside the crafting of the timber, and to create something more decorative than we usually do’, says Wardle.

为了达到这一效果，Wardle拆除了农场建筑群中已有15年历史的一栋房子的三分之一，将其剩余部分升级或拆除，并增加了新的铜翼-这个“喜怒无常”的物体-构成了一个中央居住空间和主卧室，每个单元的定义都是一个有机链，将其投射到景观中。“厨房是一切的半径点，”沃德尔说。不出所料，这里有一个巨大的炉子，一个Aga炉子和详细的黄铜架子系统。有图案的手工瓷砖是由建筑师挑选的。沃德尔说：“我们想要展示更多的证据，证明人类的手在工作，在木料制作的同时，创造出比我们通常做的更具有装饰性的东西。”

The interior of the new wing is lined with timber of local species in a textured and layered effect, enveloping the walls, floors and joinery with warmth. A sliding door opens out to a terrace from the dining room which features an ‘eccentric’ wine bar. Opening out into the room with ‘unfolding technicality’, the bar was designed through discussion with the client to capture the pageantry of socializing.

新机翼的内部是内衬当地物种的木材，以一种纹理和分层的效果，包围墙壁，地板和细木工温暖。一扇推拉门通向餐厅的露台，餐厅设有一个“古怪”的酒吧。酒吧以“展开的技术性”打开房间，是通过与客户的讨论来设计的，以捕捉社交的华丽。

‘You participate in the experience of the world beyond by moving from one room to the other’

“你从一个房间搬到另一个房间，参与世界的体验。”

The couple chose John Wardle Architects specifically after seeing their Shearers Quarter’s, a guesthouse he designed for his family who own a working sheep farm in Tasmania. Located on the site of an old shearing shed, the guest house has a corrugated galvanised iron shell, yet inside it is lined with Pinus Macrocarpa and recycled apple box crate timbers, with artfully framed views of the vast countryside beyond.

这对夫妇特别选择了约翰·沃德尔建筑师，这是他为在塔斯马尼亚拥有一个工作绵羊农场的家庭设计的宾馆。这家客房位于一个旧剪毛棚的工地上，有一个波纹的镀锌铁壳，但里面有松木和回收的苹果箱木箱，里面有精美的框架，可以看到远处广阔的乡村。

The corrogated exterior of the Boneo Country House. Photography: Sharyn Cairns

被腐蚀的Boneo乡村住宅的外部。摄影：莎琳·凯恩斯

Wardle describes this connecting of the interior to the landscape beyond as a process of ‘mapping’. At Boneo Country House, Wardle ‘subdivided the panorama’ into views of Port Phillip Bay and Bass Strait, lowering the ceilings towards the openings and cantilevering the spaces out to amplify the effect. The house becomes a device for living inside the landscape. ‘You participate in the experience of the world beyond by moving from one room to the other’, he says.

Wardle将内部与外部景观的连接描述为“映射”过程。在Boneo乡村大厦，Wardle‘细分全景’成了菲利普港和巴斯海峡的景观，降低了通往开口的天花板，并悬挑出空间来放大效果。房子成了生活在景观内部的一种装置。他说：“你通过从一个房间搬到另一个房间来参与世界的体验。”

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Viewed from afar, the house has a different relationship with the landscape. Attuned to the prevailing winds, it grips to the shape of the land like an organic form, opening up, then hunkering down into the land. Wardle tested the copper extensively on the site to see how it reacted with the quality of the air. ‘In a polluted site, it oxides to green, yet with salt air, it goes a very deep, dark brown, almost black, like the colour of an old penny. It has a brooding singularity, but it weathers in accordance to its orientation.’

从远处看，房子与景观有着不同的关系。随着风向的协调，它像一个有机的形态一样紧紧抓住大地的形状，打开，然后俯冲到陆地上。Wardle在现场对铜进行了广泛的测试，以了解铜对空气质量的影响。在一个被污染的地方，它会氧化成绿色，而在盐空气中，它会变成非常深的深棕色，几乎是黑色，就像一枚旧硬币的颜色一样。它有一个令人深思的奇点，但它是根据它的方向而来的。“

The ideas of the house as an object or sculpture, yet also as a device or portal, were explored in John Wardle Architects’ contribution to the 16th Venice Architecture Biennale. There, the team created a large, horn-like viewing projector clad in spotted gum, a native Australian hardwood that combined a chrome cone, a blown glass funnel by master craftsman Leonardo Cimolin and a series of screen-like mirrors by artist Natasha Johns-Messenger. Its function was to be a ‘long lens between Venice and Australia’, a way of communicating their view of the world, a view out and inward. ‘The Venice object is very much the story of the house’, says Wardle. ‘The whole thing was about inhabiting a place, the intimacy of singular experience and the ability of a social experience to contain space – a place in the world vs. the world beyond to inhabit.’ §

在约翰·沃德尔建筑师对第16届威尼斯建筑双年展的贡献中，探讨了房子作为一种物体或雕塑，同时也是一种装置或入口的思想。在那里，研究小组创造了一台大型的、喇叭状的观影器，上面裹着斑点口香糖，这是一种澳大利亚本土硬木，它结合了镀铬锥、大师莱昂纳多·西莫林(Leonardo Cimolin)的吹制玻璃漏斗以及艺术家娜塔莎·约翰斯-信使(Natasha Johns-Messenger)它的功能是“威尼斯和澳大利亚之间的长镜头”，一种交流他们对世界的看法的方式，一种向外和向内的观点。“威尼斯的物体在很大程度上就是房子的故事，”沃德尔说。“整件事都是关于居住在一个地方，独特经历的亲密程度，以及社会经验容纳空间的能力-一个世界中的一个地方，一个可以居住的以外的世界。”

居住空间内部以维多利亚时代的灰板和釉面开口为特色。摄影：夏琳凯恩斯，生活空间内部，维多利亚时代的灰板和釉面开口。摄影：莎琳·凯恩斯

卧室，木材板继续创造温暖和有机的气氛。摄影：莎琳凯恩斯的卧室，那里的木材板继续创造温暖和有机的气氛。摄影：莎琳·凯恩斯