“It is almost possible to say that there is a mathematical relationship between the beauty of his surroundings and the activity of the child; he will make discoveries rather more voluntarily in a gracious setting than in an ugly one...”~ Dr Maria Montessori, founder of the Montessori educational system
Wednesday, August 15, 2018
QotD: “It is almost possible to say that there is a mathematical relationship between the beauty of his surroundings and the activity of the child; he will make discoveries rather more voluntarily in a gracious setting than in an ugly one...”
Thursday, July 12, 2018
Another project I’ve been working on recently is this one: a mostly interior conversion project (with some delicious exterior decoration to come!) converting an elegant mid-century downtown commercial building into a new life as a funky urban pad for a small family that works from home.
Thursday, May 17, 2018
|Floor Plan, Malcolm Willey house, 1933, by Frank Lloyd Wright (with then-radical integration of kitchen and living spaces highlighted)|
Architects Charles & Ray Eames had a somewhat similar approach, based upon a conversation with Eero Saarinen on the subject of the Guest/Host Relationship, saying:
One of the things we hit upon was the quality of a host. That is, the role of the architect, or the designer, is that of a very good, thoughtful host, all of whose energy goes into trying to anticipate the needs of his guests—those who enter the building and use the objects in it. We decided that this was an essential ingredient in the design of a building or a useful object.I think that's a great way to think about it.
Building upon that idea, designer Steve Sikora sees designer and client as "dancers in a complicated tango of wills"--the better clients helping produce a greater architectural response.
My partner, Lynette and I shared the mixed blessing of leading a design and branding firm for over 30 years. One of the lessons you take from that, is the understanding that the quality of your work is significantly determined by the quality of the clients you work with. Notice, I said work with, rather than work for. When a designer is able to ally as equal partner with a client of vision and courage, it creates fertile ground for optimal results in every endeavour. Doubtless, in our practice, our greatest achievements would not have been, were it not for the engagement, faith and occasional challenges presented by our clients.Applying this to Frank Lloyd Wright's highly innovative 1933 Willey House (plan, above), about which Sikora (as owner) writes frequently, not least about its dramatic impact on modern domestic design:
In the case of the Willey House, Nancy presented Wright with enough constructive resistance to lift her dance partner above the prevailing paradigms of domestic architecture.Wright's approach demands a demanding but open client.
As John Sergeant observed, “The relationship between client and architect was for Wright a thing of joint intent.” To achieve clear focus and gain permission, even “In large projects he always sought out one person and never a committee, to represent the client.” That, as they say, is easier said than done, but it was a prerequisite that governed his creative and persuasive processes...
When [his son] John Lloyd Wright considered a career in architecture, his father gave him this advice, “You’ve got to have guts to be an architect! People will come to you and tell you what they want, and you will have to give them what they need.” “Don’t you take the wants of the client into consideration?” John asked. “If you consider the house first, you will supply the needs of the client. The wants change from day to day, but a house must embody the needs of those who live in it. The architect must be aware of those needs, the client seldom is. An architect must have the courage to turn away a commission even if he is hungry if his work will not represent the highest ideals….Think it over, John: to be an architect is no light matter.”The Willey House was a small masterpiece that helped re-set Wright's residential thinking for the rest his career; a new form that flourished in the creative tension between a responsive architectural genius and a demanding yet sympathetic client.
Consider this, a client will typically select an architect based upon their past artistic expressions. Nancy Willey was certainly a case in point. Yet the same client will judge their architect by how well their needs are met, once the design is implemented. This too, is evident in the correspondence between Nancy Willey and Frank Lloyd Wright. In her initial letter she asked “What do you think are the chances of my being able to have a – creation of art?” She repeatedly expressed wanting to follow his instructions to the letter. But when pressed into a corner, having to decide between high art and pragmatism, she was willing to fight for what she knew she needed and could afford. On November 17, 1933 frustrated with construction bids coming in at two times over budget on scheme 1, she penned a terse letter to Wright. In it she wrote, “I do not want a seventeen thousand dollar house even at twelve or ten thousand dollars. I want an eight to ten thousand dollar house at eight to ten thousand dollars. Can I have it?” We have Nancy’s red line and assertive pushback to thank, for what inspired Wright to cast aside his initial ideas and ultimately seek a more appropriate solution. Once the water broke, something new and wonderful was born, relieving the tension between clients and architect. From that point forward, in full alignment, both parties strove to advance the project with renewed enthusiasm. In Nancy’s own words from her Oral History interview with Indira Berndtson “…and how he responded, once he accepted it!!Dance partners -- host and guest -- interpreter of true needs -- discover of a client's inner person. The good architect is all of these in one. And the ideal client is the ideal reciprocal to all these. But as Steve Sikora summarises, there is one quality above all that is required of a good client:
I had the chance to meet a life-long graphic design hero of mine, Milton Glaser. It was at a conference in New Orleans, where we both presented. An idea from his presentation became indelibly inscribed into my memory. While discussing his long career, Milton spoke about clients. He said, “I could never work for anyone who I did not have a genuine affection for.” His words were profound, because they implied two things; he could only do his best work for people he liked, but also, in a professional context, he gave permission for designers to understand, appreciate and embrace clients as fellow humans, even potential friends. He believed in collapsing formal, professional barriers. I instantly related his sentiment to my own client relationships.And I, I hope, to mine.
- Willey House Stories Part 5 – The Best of Clients, by Steve Sikora - at the Frank Lloyd Wright Foundation website
- The Guest/Host Relationship - at the Eames Office official site
Saturday, April 28, 2018
"Man, too, is no less a feature of the landscape than the rocks, trees, bears or bees of that nature to which he owes his being.”
“Man takes a positive hand in creation whenever he puts a building upon the earth beneath the sun. If he has any birthright at all, it must consist in this, that he, too, is no less a feature of the landscape than the rocks, trees, bears or bees of that nature to which he owes his being.”
~ Frank Lloyd Wright, 1937
Friday, April 27, 2018
That's where the light gets in."
~ Leonard Cohen
Weeds abound. Weeds can be found in every suburb, and every magazine. Weeds are what we get out of the system when we all try least hardest. But why live in a weed for twenty years or more just because the system makes building and buying weeds easier than it is to produce a flower? And why go to the effort of building yourself if the final result of all that angst and energy is just another weed.
We use this frequently as a slogan -- getting a flower out of the system instead of a weed -- but it's a slogan that we really mean. The weeds the system throws up don't interest us. The flowers we can grow out of it do. Immensely.
This is what we do every day here at Organon Architecture: work to get a flower out of the system instead of a weed. With the system now more grotesque now than it's ever been, it's never been more important.
Thursday, April 26, 2018
Fire engineers are accusing councils of making illegal demands on them that are inflating building costs by thousands of dollars... "I've become totally used to how bad it is, I'm sort of numb to it, it's just a bureaucratic nightmare right now," Wellington fire engineer Kenneth Crawford of Pacific Consultants said. "We've got so many demands coming from council ... it's pushed up costs, it's creating months and months of delays in obtaining a building consent, and none of this is actually really improving safety." A fire design on a small warehouse in 2013 that might have cost $1200 to $1500 was now costing at least $4000, and up to $20,000, he said.Sadly, as anyone who's recently endured the consent process could tell you, it's not confined to fire engineers.
The Building Act requires council to process Building Consent applications within twenty working days of being lodged. Council have two dodges to get around this. The first is to set up a process to decide when the application has been successfully lodged. This can easily take two weeks, with no work at all done n processing. And the second -- based on he principle that "the clock stops" when questions about the project are asked -- is to ask as many silly questions as council processors can think of, all of them calculated to show down the processing and frustrate client, consultants and designers. [This 2013 table from Christchurch will give you some idea of the time 'saved' in this way.]
In recent months, for example, and like every regular applicant for building consents, I've spent many, many hours replying to council's Requests for Further Information (RFIs). These days it's often less about being a designer than it is about being a lawyer, explaining the building code clauses to the processor at the other end of an email.
The simplest RFI responses are to tell the questioner where precisely in the document set they can find the answer to their question, already addressed. But in recent months it's been getting worse. Among other things, in order to keep things moving I've been required to tell council the make and model of a shower and the finish of a bathroom cabinet; the colour of bedroom carpets (accompanied by a calculation to show they're bright enough); the normal process by which to pour a concrete footing in engineered soil, to abandon approved details because the territorial authority has decided they don't like them, and to replace them with those they've now decided they do; to discuss the acoustics of polystyrene sheets (that are not being used for acoustic purposes); to resupply calculations and statements that the processor has already received, but lost; to explain why handrails are not required on steps with fewer than two treads, and how an opening window into an open lightwell allows light and air into a room; to draw up a list of a project's "construction and demolition hazards"; to provide mechanical ventilation rates for areas we've shown will use natural ventilation; to draw up simple diagrams because processors are unable to read fairly standard plans; to confirm the use of smoke detectors (when they've already been clearly placed and labelled on drawings); and (in the absence of council finding anything else to ask about) to draw a detail of a bathroom splashback -- just some examples of recent Requests from processors, all of which have wasted my time and theirs, unnecessarily dragging out the consenting process, and all at the time and expense of clients who were once very eager to build.
I'm sure you can all add your own list of examples. (And please do!)
This process is often worse when councils sublet the processing to a consultant, whose motivation is then to spin out the questions in order to pad the bill. This can work out very nicely for the very average consultant, but very poorly for clients who have budgets and builders trying to programme in their work.
And all this of course is in addition to the truckload of documentation, in triplicate, that has to be supplied just to 'get in the door' to make that original application, the sheer volume of which in itself delays the processing and all but guarantees inconsistencies will appear in the document set. By way of illustration, I may be renovating a house built in the 1920s, of a style that is still very popular, the original drawings of which are on one A4 page with another smaller page containing what might be called the specification -- which might say little more than 'use nails.' And this 'document set' was probably drawn up by either the builder or owner. Yet to renovate that house now I will need documentation of around 24 A1 pages, and A4 specifications and accompanying documentation of around a thousand. And neither builder nor owner will be allowed to prepare those documents unless they have been previously Licensed by a government department to do so.
Every year it's been getting worse, without making the houses any better. In 2007, for instance -- aware that things were becoming more complicated in this new age of Licensing, Producer Statements and Memoranda/Certificates of Design Work-- the Department of Building and Housing produced a Guide to Applying for a Building Consent. It was a 44 pages long. The second edition appeared just three years later. It was already 62 pages long. None has appeared since: perhaps because no-one would have the time to read a document as long as it would now need to be. Crikey, these days it takes well over a day just to complete the application forms and processes to apply for a consent, and more than a day for every response thereafter. All of it time wasted.
Every consultant will tell you similar stories, and not just fire engineers.
Yes, 'jumping through hoops' is pushing up building costs, and has been for some time.
Until or unless the Building Act is amended to remove risk from council -- and their ratepayers -- the hoops (and costs) are going to get worse, not better.
UPDATE: Further comment this morning on the mis-apportioning of risk (Friday 27):
From Radio NZ the morning after:
The impact of everyone trying to pass all the risk on, was it was getting harder to build anything at a time of housing shortages, the Property Council's chief executive Connal Townsend said..
"The overall public policy setting of how the heck we manage risk, is completely out of whack," he said.
"We've just got people passing the ticking timebomb from one hand to another and blaming each other. It's pointless.
"We have to tackle the way risk is allocated and the fact that councils are left carrying the liability is just hopeless, absolutely hopeless."
The previous government tried hard to fix the problem [cough, cough - Ed.] but couldn't, and it was urgent this government confront it, he said.
The risk issue was a perverse result of building laws being overhauled in 2004 to combat the leaky building crisis.
Lawyers, including the Law Commission in a 2014 report, have since then resisted changing the way liability is doled out.
"The net effect of our joint-and-several system is that councils are left carrying the can," Mr Townsend said.
"This story with the fire engineers, all they've done is blown the whistle on a ridiculous problem that has to be solved."
Friday, January 12, 2018
“The house is a machine for living.”
~ a banality from the very banal Le Corbusier
“Oh yes, young man; consider that a house is a machine in which to live, but by the same token the heart is a suction pump. Sentient man begins where that concept of the heart ends. “Consider that a house is a machine in which to live, but architecture begins where that concept of the house ends. All life is machinery in a rudimentary Sense, and yet machinery is the life of nothing. Machinery is machinery only because of life.”
~ Frank Lloyd Wright, from his lecture ‘To the Young Man in Architecture'
"A house is not a machine to live in. It is the shell of man — his extension, his release, his spiritual emanation. Not only its visual harmony but its organisation as a whole, the whole work combined together, make it human in the most profound sense… The poverty of modern architecture stems from the atrophy of sensuality.”
~ architect Eileen Gray, designer of the house that Le Corbusier could never have designed, but nonetheless fell in love with
“A house is not an object but a universe we construct for ourselves – not a garage where we park ourselves.”
~ architect Claude Megson, on 'making a home for man'
Tuesday, November 14, 2017
The shorter online version of the article is here, and asks: How did the brilliant, intricate work of architect Claude Megson disappear from view? Conclusion:
His reassessment is long overdue.The beautifully-photographed book is self-published by UK-based architect Giles Reid, with generous backing from the Warren Trust. So here's your reminder that the last recommended posting date from the UK for Christmas delivery is Saturday 9th December.
Your price of NZ$69.95 includes postage and packaging. To purchase, go to:
Sunday, October 22, 2017
"[Louis] Sullivan’s ornament never feels as though it is imposed from without. It does not feel applied. Instead, his ornament really does manifest what 'organic' is actually supposed to feel like, 'as though the outworking of some beneficent agency had come forth from the very substance of the material and was there by the same right that a flower appears amid the leaves of its parent plant.'”
~ Barbara Lamprecht, from Part IV of her book/article 'Why It's Okay To Like Ornament,' quoting Michael Lewis
"This greatest feature of [Louis Sullivan's] work was esoteric. Is it any the less precious for that?
"Do you realise that here, in his own way, is no body of culture evolving through centuries of time but a scheme and 'style' of plastic expression which an individual working away in this poetry-crushing environment ... had made out of himself? Here was a sentient individual who evoked the goddess whole civilisations strove in vain for centuries to win, and wooed her with this charming interior smile -- all on his own, in one lifetime too brief. ... Although seeming at time a nature-ism (his danger), the idea is there: of the thing not on it; and therefore Sullivanian self-expression contained the elements and prophesied organic architecture. To look down on such efflorescence as mere 'ornament' is disgraceful ignorance. We do so because we have only known ornament as self-indulgent excrescence ignorantly applied to some surface as a mere prettification. But with the master [Sullivan], 'ornament' was like music; a matter of the soul..."
~ Frank Lloyd Wright writing in his book Genius and the Mobocracy about the only man he ever called his Master
Saturday, October 21, 2017
Listening in this weekend to the Wright Society Virtual Summit (you all could be too, you know), I'm really enjoying hearing Frank Lloyd Wright's clients talking about their homes, and their lives in and around them.
Roland Reisley was just 26 years old when he joined a housing cooperative in Pleasantville, New York, able to commission Wright to design the community and several of the houses, including their own. "We didn't dream of approaching Frank Lloyd Wright, ordinary people don't do that," smiles Reisley today, 67 years later. But when the community founder showed Wright the site thus began "a wonderful, long, productive and happy relationship with him."
Asked what he has learned after a lifetime of living in and enjoying his Frank Lloyd Wright Usonian home — enjoying every day the nature of the design, seeing the seasons change, how the light passes through the home, Reisley sums up with a very important observation about what essentially makes good architecture:
I came to realise after many years … a pinch-me realisation, that after many years there had not been a single day of my life, even the bad days that happen in every life, where I was not aware of seeing something beautiful. I always, every day of my life, [am saying] ‘isn’t that lovely’ — whether it’s … in the morning I look up and see the way the wood is mitred in certain places, and how it contrasts with the light through the window which is either nice and green fro the trees or white with snow; and I could go on with similar awareness. “We sit outside (in summer-time) … and look around and say ‘isn’t it beautiful!,’ ‘isn’t it wonderful!’ — every day, every time…Not a trivial point.
Neuroscientists have observed … that living with a sense of awareness of beauty brings a sense of comfort, a reduction of stress, and these other kinds of things, that may contribute to physical and emotional health, possibly even longevity. I’m 93 years old! I’m in very good shape for 93 years old. I like to attribute that to this sense of beauty that I’ve lived in all my life.
It also has made me very conscious, as I talk about this house and the architecture and how it makes me feel, of the importance of the built environment generally. “I remark these days not just to visitors but to architects as well: ’You know, these buildings are just objects. We may like how they look, we may not like how they look, but what matters is how they make us feel. When we’re in this environment, does it feel good, does it [make us] feel better, does it feel enriching. And that may or may not coincide with whether we like the way it looks. I think Wright understood that, and he created environments in which people feel good.
[Pics from the Wright Society Virtual Summit Guide, and The Weekly Wright Write-Up]
Wednesday, October 18, 2017
How to begin designing a stadium? An early concept sketch here by Daryl Jackson for the Great Southern Stand at the MCG reveals the inner structure of this Cathedral of Sport.
And so there is ....
Tuesday, October 17, 2017
Officially the last house that Frank Lloyd Wright ever designed, this 280sqm house for the Sonoma Desert in pre-airconditioned Arizona was completed after his death by apprentice John Rattenbury, working from the master’s sketches — and adding both a pool, and an upstairs office.
Saturday, October 14, 2017
"Organic architecture is an architecture from within outwards — in which entity is the ideal. … Organic means, in a philosophic sense, entity. Where the whole is to the part and the part is to the whole. Where the nature of the materials, the nature of the purpose, the nature of the entire performance becomes a necessity and out of that comes what significance you can give the building as a creative artist."
~ Frank Lloyd Wright, from his interview (above) with Hugh Downs.
Saturday, October 07, 2017
|Burridge-Read Residence designed by architect David Boyle|
“People say ‘location, location, location.’ They never say ‘design, design, design.’ I finally got why architects spend as long as doctors getting an education. They do something really magical. They don’t save lives but they enhance them.”
~ Tim Read, owner of the Burridge-Read Residence (above), quoted in the article 'Selling architect-designed homes: real estate agency that markets on architectural merit not location'.
Monday, September 25, 2017
"Paul Newman will have some time in jail to read up about architecture. Maybe he can even study for his exam and, no doubt, pass it. He could even emerge as a good contributor to the discipline and the profession. But what worries me more than the presence of a few shady and crafty operators such as Newman is bad architects who, under the cloak of licensure (and without the [architects institute] or anybody else able to do anything about it), commit crimes against our landscapes and lives on a daily basis. Those are the ones that should really go to jail."
~ Aaron Betsky, dean at the Frank Lloyd Wright School of Architecture at Taliesin and Taliesin West, on the jailing for seven years of a man for practising architecture without the state's license.
Thursday, August 03, 2017
More from Manhattan’s Metropolitan Museum of Art’s’s important ‘Unpacking the Archives’ exhibition, unpacking the 150 years of archives of architect Frank Lloyd – this video (part of a series) unpacking yet another delightful series of artefacts.
This snippet: a brief introduction to Wright’s presentations, over several decades, of systems for ‘The American Home.’
Tuesday, August 01, 2017
The wonderful kitchen designer with whom I often work, Leonie Von Sturmer, is far better at self-promotion than I am — and here (above) on the front cover of the latest Trends magazine is the new house and kitchen we recently worked on at Greenwood’s Corner, Auckland.
With its new roof carefully located to manouvre through council’s height-in-relation-to-boundary controls, I love the way you can relax at the kitchen counter with a beer, enjoying the birdlife and foliage of the surrounding trees through the glassed gables and dormers.
(If I say so myself), it makes for a surprisingly open and informal setting in a relatively constrained site.
Wednesday, July 19, 2017
To me this is far more important than any stupid election: Manhattan’s Museum of Modern Art (MoMA) celebrating the work of Frank Lloyd Wright 150 years after his birth.
Frank Lloyd Wright was one of the most prolific and renowned architects of the 20th century, a radical designer and intellectual who embraced new technologies and materials, pioneered do-it-yourself construction systems as well as avant-garde experimentation, and advanced original theories with regards to nature, urban planning, and social politics. Marking the 150th anniversary of the American architect’s birth on June 8, 1867, MoMA presents Frank Lloyd Wright at 150: Unpacking the Archive, a major exhibition that critically engages his multifaceted practice. The exhibition comprises approximately 450 works made from the 1890s through the 1950s, including architectural drawings, models, building fragments, films, television broadcasts, print media, furniture, tableware, textiles, paintings, photographs, and scrapbooks, along with a number of works that have rarely or never been publicly exhibited. Structured as an anthology rather than a comprehensive, monographic presentation of Wright’s work, the exhibition is divided into 12 sections, each of which investigates a key object or cluster of objects from the Frank Lloyd Wright Foundation Archives, interpreting and contextualising it, and juxtaposing it with other works from the Archives, from MoMA, or from outside collections. The exhibition seeks to open up Wright’s work to critical inquiry and debate, and to introduce experts and general audiences alike to new angles and interpretations of this extraordinary architect.
Wednesday, May 31, 2017
Bruce Goff’s luminous Crystal Chapel, designed in 1949 and sadly unbuilt, but recently modelled digitally so you too can see the genius …
[Hat tip SOCIETY OF ORGANIC ARCHITECTS]
Tuesday, May 16, 2017
Among the many projects currently in the office is this one, a renovation of a mid-century modern in Howick, offering opportunities to rethink New Zealand’s modernist heritage, and to undo some of the later “modernisations.” And, like every renovation project, it involves a bit of untangling …
Friday, May 05, 2017
Among the projects on the boards here is this one, untangling an existing Remuera bungalow and better connecting its occupants to sun, to views, and to its difficult site.
It's always fun teasing out the hidden potential of Auckland's many California Bungalows, too often far too little exploited...
Tuesday, May 02, 2017
While I was visiting Canberra recently (as my more astute readers spotted), I met up with inspirational practitioner of organic achitecture Laurie Virr — to the delight of both of us.
Bruce Goff has been an architectural hero for us both over many years, but never having heard him speak, I was delighted to find that Laurie had a video of Goff talking about and visiting many of the homes he’d designed: homes as unique as the characters he’d designed them for.
The video quality is poor, but I find every minute thrilling!
Friday, April 28, 2017
Another recent project here on the boards: This is a new three-classroom Montessori school in a central Auckland suburb, behind two existing houses used as admin and accommodation.
The roof forms add interest from the (higher) local street -- and also (very importantly) shade direct sun while allowing in plenty of indirect light, making the spaces bright, clean and open.
The inner and outer spaces in each of the classrooms (or environments, as Montessorians call them) give two contrasting types of space within the larger realm: the larger central space a well-lit interior, the others as "saddle-bags" around it relating directly to the decks, gardens and planting beyond the doors and windows. The number of these spaces maps the number of pedagogical areas in each Montessori environment.
The buildings themselves are child-scaled, and the geometric play mirrors the similar play the children themselves undertake in the Montessori environment ...
Thursday, April 27, 2017
Another of the things I’ve been working on recently: This one for a small, inexpensive weekender on a tiny Victorian country street -- taking advantage of mountain views, an equable climate, trees to the rear, and an affordable materials system … and exploiting "shared space" inside.
Wednesday, April 12, 2017
Another project on the boards, part of a bigger project to put together an affordable materials system to build (hey presto!) affordable homes.
The design is very subtly complex, exploiting interlocking spaces in all three dimensions to do much with fairly little. (And, yes, sliding cavity doors close off each of those corner spaces when desired.)
Thursday, February 23, 2017
Designing a house form that works and that can be replicated to produce variety is fun, and economical, but not straightforward.
This project, by Organon Architecture, has 36 houses of two types; two types whose lower floors are identical and whose upper floors differ only in their orientation – and in that difference lies the difference that produces the difference: two house types in which the way they come together creates the structure of the composition, produces the interest, creates (with the simple form becoming complex by repetition and the relationship to the other repeated units) creating the relationship of composition to landscape.
Repetition means ease of assembly. Repetition means making use of industrialisation to reduce costs and waste. Repetition, here, producing variety instead of conformity.
That’s they way nature does it. That’s the way to make it work.
I think it does.
Could you live here?
Monday, January 23, 2017
“Not only cathedrals, but every great engineering work is an expression of motivation and of purpose which cannot be divorced from religious implications. This truth provides the engineer with what many would assert to be the ultimate existential pleasure.
“I do not want to get carried away with this point. The age of cathedral building is long past. And, as I have already said, less than one quarter of today’s engineers are engaged in construction activities of any sort. But every man-made structure, no matter how mundane has a little bit of cathedral in it, since man cannot help but transcend himself as soon as he begins to design and construct.”
~ Samuel Florman, American civil engineer, general contractor and author, from his book The Existential Pleasures of Engineering
Sunday, January 22, 2017
“[T]o the steadfast eye of one standing on the shore of things … the heart is ever gladdened by the beauty, the exquisite spontaneity, with which life seeks and takes on is forms in an accord perfectly responsive to its needs. It seems ever as though the life and the form were absolutely one and inseparable, so adequate is the sense of fulfilment.
“Whether it be the sweeping eagle in his flight or the open apple blossom, the toiling work horse, the blithe swan, the branching oak, the winding stream at its base, the drifting clouds, over all the coursing sun, form ever follows function, and this is the law. Where function does not change form does not change. The granite rocks, the ever brooding hills, remain for ages; the lightning lives, comes into shape, and dies in a twinkling.
“It is the pervading law of all things organic and inorganic, of all things physical and metaphysical, of all things human and all things superhuman, of all true manifestations of the head, of the heart, of the soul, that the life is recognisable in its expression, that form ever follows function. This is the law.
“Shall we, then, daily violate this law in our art? Are we so decadent, so imbecile, so utterly weak of eyesight, that we cannot perceive this truth so simple, so very simple?”
~ Architect Louis Sullivan, in his 1896 article ‘The Tall Office Building Artistically Considered’
Friday, January 13, 2017
His first house in 1969 was (and still is)
an unusual Canberra example of the late twentieth century organic style of architecture based on a triangular module. The house was Laurie’s first commission in Canberra and displays the themes he would explore in his residential projects over the next three decades: the use of massing, geometric forms and deep roof overhangs in an energy efficient, solar house.
is an outstanding example of the late twentieth century organic style with its massing, use of geometric forms, deep roof overhang and energy efficient design. The successful implementation of a complex geometric plan based on a hemicycle is unusual if not unique for a mid-century Canberra house. The house has been published many times, in the U.S.A., Europe and Australia. Inexplicably, it is relatively unknown in Canberra.
The roofs and brick masses of Rivendell, looking north towards the Mount Taylor Nature Reserve
Convinced that government-financed housing had been a disgrace rather than a grace to the Canberra landscape, he set out to prove what was possible --
to design a house no larger in area than welfare housing of that time, 102.4m2, but one in which the siting, the exploitation of space, the massing, the concern for the environment, and the details, expressed in unequivocal terms what I considered to be architecture.
Taking his brief from his wife (no architect should deliver his own brief, he reckons) and allowing the site to suggest the house that could deliver it, he began a study of hemicycle houses, first designed by Frank Lloyd Wright for the second Jacobs House, and designed this passive solar masterpiece for him and his growing family. Taking his cue from Louis Sullivan’s edict to “take care of the terminals and the rest will take care of itself” he held the public spaces of the hemicycle between the orthogonal cavity brick masses housing retreats, servicing spaces and study.
The French doors and stationary glass on the north face of the house encompass an arc of 90o [he explains], making it an architectural expression of the problem. This is also exemplified by the walls that define the terrace and mark the extent of the glazing.
Courtyard of Laurie Virr design at Murrumbatemen, New South Wales
Built with his own hands, he has lived and worked there –very comfortably -- ever since.
There are just two people living in the house at this time and it is comfortable for us, but there was an occasion when 56 folk gathered within and there was room for all.
NB: UPDATED 15 Jan to add corrected captions.