March 25, 2010

The extent some people will go to, to finish an assignment:

Gabriel Poole at Manly!


Cabin Design being Inspired!


No time for resting!


Sorry Guinness - need a clear head for DAB310!


Catching up with Gabriel Poole at the Powerhouse Museum!


Monday Cont..

March 25, 2010

Working Drawings of Cabin Design

Site Allocation



Floor Plan

South Elevation


North Elevation

Section A-A

Section B-B

Section C-C

Exterior View of Patio area and dining area.


Detail sketch of office area

Two point perspective of Cabin Design

Monday 21st March

March 25, 2010

Assignment 1 Part C – Cabin Design


Environmental Filter


Diagram 1 shows the Summer and Winter sun patterns, and Diagram 2 shows the privacy aspect of the block


Ventilation Diagram


This Diagram shows the cross ventilation patterns of the cabin design


Delightful Experience

This diagram shows the views of the sky and warmth from the sun under the translucent roofing over the bathoom


I used the bathoom (shower and toilet) as reflection spaces. They are both outside elements which have views of the natural surrounding bushland.


This Diagram shows how a person entering the house can see straight through to the views outside


Container Human Activities

Adjacency Matrix


Bubble Diagram


Amended Bubble Diagram


Diagram 1 shows zoning of semi private and private spaces, separated by movement spaces


Containers of human Activities


Movement throughout the cabin


Working drawings


Working drawings

Sunday 20th March

March 25, 2010
Diagrams for The Lake Weyba House
Environmental Filter

Cross Ventilation

Privacy and vegetation Diagram


View of the sky


Container for human Activities

Container for Human Activities

Zones and movement spaces

Delightful Experience

Winter and Summer sun patterns + rain direction


Canvas roof changing colour and showing shadows throughout the day.


Thumbnail sketech of bathroom light


Saturday 19th March

March 18, 2010
 Chosen Exemplar Architect – Gabriel Poole.


Chosen Exemplar House – The Lake Weyba House.


Description of the site:

The Lake Weyba House is situated near Lake Weyba, approximately 10 minutes from Noosa, on the Sunshine Coast. The vegetation consists typically of coastal wallum, casuarinas, gums, and grass trees.


Description of the Architect:

Gabriel Poole was born and educated in South-East Queensland, and initially worked as a Jackaroo in Central Queensland before he began his studies in Architecture at the then known Queensland Technical Institute, now Queensland University of Technology.  After graduating, Poole spent time working in offices in London, as well as Brisbane. He opened his own practice in 1968, influencing other architects, for example, Lindsay Clare and John Mainwaring, both well known Sunshine Coast Architects.

Gabriel Poole’s Tent House received recognition from the Royal Australian Institute of Architects in the 1970’s, and then went on to develop lightweight and affordable designs for particular markets including disability accessible and Indigenous housing.

Since 2007, Poole has focused on his ‘takeaway’ designs, which incorporate prefabricated, modular housing.


“All my life has been dedicated to the search for a better house and better lifestyle. My buildings are different not simply for the sake of it but because I believe there are better ways of construction and living than those now available to us” (Wallace and Stutchbury, 2008)


I think the magic in the building is as important as anything you do because people have got to live in it and I think you can really enhance their quality of life by putting them into a building which frees the spirit. I’m trying to get people out of enclosed spaces. I try to get them to look out there and see all the beauty that surrounds them instead of looking inward at a whole lot of things they have purchased to put into the house to make it beautiful. I think the beauty is out there. I hope that my buildings give visual pleasure to those who see them and spiritual pleasure to those who dwell in them.  – Gabriel Poole August 31, 1997 (Quote taken from an Interview printed in Walker, 1998)


Gabriel Pooles Drawings:

The following are replication of Gabriel Poole’s Lake Weybe House. Poole only publicated a few drawings of his design, which were CAD drawings and not much architectural style could be gained. Due to this lack of information, I encoporated a small amount of experimentational drawings.


Examples found of Architectural Syle:

Example of Architectural Style (Image taken from Walker, 1998)

Note: Trees people and use of black

Example of Architectural Style (Image taken from Walker, 1998)


Example of Architectural Style (Image taken from Walker, 1998)

Note: Use of black thick drafting pen.


Architectural Drawings:

Three Dimensional Volumetric Exterior Representation

Site Plan

Floor Plan

East Elevation

West Elevation

South Elevation

Section B-B

Schemative Diagraming

Bubble diagram showing interacting spaces


Three Dimensional Interior Volumetric Representation


Photo Montage


Media Experimentation - Charchol


Thumbnail Sketches


Thumbnail Sketches


Thumbnail Sketches


Thumbnail Sketches



Environmental Filter:

Climatic considerations determine site orientation. Poole describes his climatic disciplines to be like how you would set up a camp site. His experience of being a Jackaroo has influenced his reasons for light weight materials in construction as well as opening the building up to the sun and the angle of sunlight during each season of the year is also crucial information.  For example, the Lake Weyba House design includes retractable walls and veranda faces to shelter the interior from the hot solar heat in summer. Likewise, all of the windows have eaves which let the low winter sun inside the building, but also protect them in summer when the sun is directly overhead. Other environmental considerations include; the tail end of the building, where the water tanks are situated is the direction of wind and rain. The roof pitch is designed to capture the direction of the prevailing winds.

The Lake Weyba area is slowing but surely being demolished to make way for new developments. Poole is adamant that he is going to preserve the coastal wallum on his property. But because of this vegetation, there are little views on the property. Poole has seen to this problem by incorporating the views of the sky into every room in the house. So even if the bushland gets demolished, the residents of the Lake Weyba household will still have their predominant views.


Human Activities:

 Gabriel Poole definatly tends to design his houses for specific human activities. The Lake Weyba house is a perfect example of a house following specific requirements. These include the introduction of modular living to this couple. Separating the Bedroom from office and living areas. This will be incorporated in my Cabin Design.

The Lake Weyba house is a perfect example of how house can be divided into separate human areas. This house has separated the Bedroom from the rest of the house as well as the Bathroom. Even in the main living area, Poole has also achieved separation of human activities though partision walls.

I also like the way that Gabriel Poole has elevated Human Activities off the ground.


Delightful Experience:

Poole’s commitment to absolute simplicity and truth in structure and materials reveals a similarity to Japanese design. While he acknowledges this similarity in the simplicity of form and detail, his identity with the Australian out back has been the predominant influence in his designs. Becasuse of the lack of views around the property, Poole has incorporated sky views into every room of the house. He has also used a far amount of glass and windows to ‘open’ the building up. I aim to use similar windows in my cabin to achieve this.


Wallace M. and S. Stutchbury, 2008, Place Makers:  Contemporary Queensland Architects, Queensland Art Gallery, South Brisbane

Walker, B. 1998, Gabriel Poole – Space in which a soul can play, Visionary Press, Noosa.

Friday 18th March

March 18, 2010

James Russell 

James Russell –(Image taken from Russell, 2010)

Nestled between two 19th century state heritage-listed buildings in Fortitude Valley, the Brookes Street house is a modern, raw, cubby-like home for a family of four.  

A major challenge in constructing the project was to create a secure and green inner sanctum amidst the chaos of 2 major arterial roads that link the city of Brisbane.  The site was initially a piece of car parking space, wedged between the listed buildings.  

This unites the listed buildings, the office in front of the church and the home. The new building is a tall narrow structure grafted to the side of the church.  With double height glass facing the street, it recedes into the shadows of its neighbour.  Tucked under the house is a small commercial space opening onto the landscaped forecourt.  

The house wraps around three sides of the grass, with the church wall and stained glass windows forming the fourth wall.  Living spaces sit on either side of the courtyard-one a less formal “play room” and the other with the kitchen and “grown-up” lounge. Above the living areas are the sleeping areas-the children’s above the playroom, and the parents’ suspended over the kitchen and lounge.  

(Russell, 2010) 

Brookes street office North. (Image taken from Australian Institute of Architects, 2010)



An Environmental Filter:

Brookes street residence acts as an environmental filter from the chaos of Fortitude Valley. This includes noise, pedestrians and traffic.  The site is surrounded by two very busy roads and it successfully manages to hide its occupants from the noise offense and the passing traffics. Occupants of this residence are completely separated from the outside world, and can retreat up into the tranquillity. The street presence is surprisingly discreet. Russell’s home yields the foreground to both 19th century buildings, an effect exaggerated by stacking a recessed office space and house entry gate at ground level under the glazed double-height residential elevation, and by ensuring that the roof is not visible from the street – it appears only as a transparent wall defining an edge – although the steel anchors attached to the church’s buttresses, supporting the double height glazing, are manipulated awkwardly. (Hampson, n.d.)


Brookes street office North. (Image taken from Australian Institute of Architects, 2010)


Section and Floor plan of Brookes street Residence (Image taken from Russell, 2010)


A Container for Human Activities:

James Russel has designed this unique residence to play the role of family home as well as office and business image.  As well as blending into its location, one of the concerns for this design was the segregation of spaces within such a small space. James Russell has managed to house many human activities in his relatively small building without compromising comfort.

Use of light transparent materials for internal light but also rain and weather resistant. (Image taken from Australian Institute of Architects, 2010)



The Brookes Street North Office is a carefully inserted, three story building occupying the northern corner of a 19th century heritage-listed Methodist Church, in the busy inner-city suburb of Fortitude Valley.

The intent behind the design was to explore a model for office development that maximises inner-city voids as site, and investigating methods of occupation within the public and private realm.

The Office consists of three levels all of which relate and interact to future developments within the church. The levels comprise of a subterranean masonry base, a transparent meeting place, and an elevated timber working platform. Investigation and care was invested into the materiality and assembly of the three contrasting levels.

A playful use of brick bonds allows the crafted masonry basement to provide a staircase and suspended floor to the public level above. Creating a form more akin to a landscape mound rather than a room, ensures a seamless continuation of the urban landscape into the heart of the development.

Relating to the elevated level of passers by in the neighbouring thoughough fair, the public nature of the meeting space is emphasised by two transparent walls which neatly collapse into the basement. A secondary brick stair inserted between the existing church and the office, provides a discreet nook down into the basement or up into the working platform.

Arrival into the elevated working platform reveals a hidden uncovered timber deck flanked by the un-interrupted brick detail of the existing church. A sweeping timber desk and a series of simple, yet elegant solid timber shutters borders the perimeter wall which likens the office to a piece of occupied joinery rather than a room.  

The open deck and operable capacity of the face allows the office to primarily remain open to the elements, maximising the generous climate of South East Queensland. However, external glazed awnings and a weatherproof curtain allow the office to retreat during harsh weather with only particular. (Russell, 2010)


This photo shows a fantastic use of limited spaces. (Image was taken from Hampson, n.d.)


A delightful experience:

The most delightful experience of this building is discovering where it is. Even if you are looking for it along Brookes Street, it’s a surprise to come across it. It’s almost like a secret attic or hidden passage. James Brooke included a little bit of delight in just finding this building. Also the enjoyment of building in such a special space. Like no one knows you there.

Great interview with James Russel – http://www.centor.com.au/default.asp?PageID=312

James Russell Architect

Contemporary architecture which interacts with its surrounds

South East Queensland is the base for both my practice and home. This region is subtropical and has a diversity of landscape and density.

The sub-tropics allows us a great freedom in architecture that is not possible in many parts of the world. Shelter is only necessary to moderate the climate rather than block us off or isolate us from it. A tree often provides the most desirable shelter on a balmy summer day. There are times when it is cold and times when a storm blows through and for this the building can close down or a space for retreat is provided.

My approach is one that encourages the occupant to embrace the environment and surrounding conditions. I find that there is an awareness of climate that comes from this approach and a heightened experience and appreciation of the environment around us.

Our projects are informed by their surrounds. The resulting building doesn’t necessarily reflect the character of neighbouring buildings, but talks to and relates with them.

My projects are generally more grounded than traditional buildings in this region. New build projects can easily be sited close to the ground but traditional “Queenslanders” are lofty and often isolated from the ground.

The resulting spaces can be carefully considered for their purpose and built with a reasonable level of craft. (Domain Design, 2010)


Australian Institute of Architects, 2010 Brookes street office north, http://www.architecture.com.au/i-cms?page=1.18.3145.12440.12808.12833 (accessed 13th March 2010)

Domain Design, 2010, James Russell Architect, http://www.domaindesign.com.au/searchResults/1/James-Russell-Architect.html (accessed 10th March 2010)

Hampson, A. n.d. The Reformation, http://www.jamesrussellarchitect.com.au/reformation.pdf (accessed on the 15th March 2010)

Friday 18th March

March 18, 2010

Steven Holl

Steven Holl – Architect – (No author, 2009)

Steven Holl is an Architect known for his brilliant and beautiful designs. The complexity of the exemplar design, the Stretto House was what first drew me to this architect. It beautifully follows the sound of music, almost like running water down a stream. This post will expore this remarkable Architect, as well as provide information on 3 central ideas. A house an an environmental filter, a container for human activity and a delightful experience.

Steven Holl is one of the most exciting architects in the country. A modernist who founded his New York firm in 1976, he has received international acclaim for his institutional, commercial and museum projects. Dallas is fortunate to have one of Steven Holl’s most important residential projects. It can be found in Preston Hollow on Rockbrook. He named it the Stretto House because he is particularly influenced by Bartok’s Music for Strings, Percussion, and Celeste. (Newby, 2006)

Interior of Stretto House (Image taken from Holl, 2010)


Model of the Stretto House (Image taken from Holl, 2010)


Exterior view of Stretto house. Note the curvature of the roof. (Image taken from Holl, 2010)


A Delightful Experience:

Steven Holl has used his brilliance to engineer this very individual design for a very unique client. This house has such a delightful experience. The exterior alone is fluid in motion, just like a piece of music and very athletically pleasing to the eye.  ‘A house surrounded by green becomes intensely articulate writing. In the style of a musical score, Holl composes a many-voiced dialogue between water and light, spaces and materials, nature and construction. A design but also a manifesto, in which the most abstract thought and professional craftsmanship meet beyond the limits of academy or hollow provocations’. (Author Unknown, 1992) Steven uses delight in this Architectural creation to expire people. Its complexity is breath taking. The interior spaces are defined by the ingenious roof design. The overlapping in the roofing structure allows strips of light to enter the building creating a contrast between light and shade within the house.

Working drawings – (Image taken from Holl, 2010)


Stretto house (Image taken from Holl, 2010)


Bartok’s Music for Strings, Percussion and Celeste has a materiality in instrumentation which the architecture approaches in light and space. Formed in four sections, the building consists of two modes: heavy orthogonal masonry and light, curvilinear metal. The main house is aqueous space: floor planes pull one space to the next, roof planes pull space over walls and an arched wall pulls light from a skylight. Materials continue the concept in poured concrete, cast glass in fluid shapes, slumped glass and liquid terrazzo. (Holl, 2010) 


‘Taking off from modernism’s form-follows-function constraints, the architect Steven Holl embraces minimalism that is open to the imagination. Neither historical models nor practical demands triggered the creative impulse behind this 7,000-square-foot Texas house. Instead, Holl’s inspiration was a score by the Hungarian composer Béla Bartók, “Music for Strings, Percussion and Celeste.” The result is a symphony of interconnected masonry and limestone pavilions whose arched roofs rise like musical crescendos, then dip with the undulating landscape’. (Lovine, 1994)


An Environmental Filter:

Being such an engineering marvel this building is very structural. Most of the time structural houses also tend to use bulky and thick materials such as steel and brick. Steven Holl has managed to steer away from the bulky and heavy look using the fluid movements of the roof as well as the large expanses of glass. Not only does the glass act as an environmental filter and let the light into house, it also acts as an insulator against the winter cold, while still allowing the sun to penetrate the building. Being on such a picturesque block of land, the Stretto House’s glass windows are also shaped in various shapes to create unique pictures of the surroundings.  Sited adjacent to three ponds with existing dams, the house projects the character of the site through a series of concrete “spatial dams” with metal framed “aqueous space” flowing through them. Pouring over the dams, like the overlapping stretto in music, water reflects the landscape outside and the spaces overlapping inside. (Holl, 2010)

Unique window design. (Image taken from Holl, 2010)


Container for Human Activities:

This house was designed for the Clients to house their expansive art collection. They had grown up in a Frank Lloyd Wright house and are very aware of the privilege and exposure of living in a piece of art. This influenced the layout of building as well as the aspects that each room would house. They would need to accommodate housing a piece of Art, as well as a view of the surroundings. This balance would need to be equal in order for the rooms to work. The house itself has been designed in four sections, which are both then divided into two units: the first is rectangular heavy masonry which makes reference to the concrete dams on the site, and the second is of light and curvilinear metal which covers the various rooms – living room, art storage room, office, dining room and breakfast corner. Each of the rectangular masonry contains a service zone for the house – the staircases that lead to a bedroom and a sitting room, bathrooms, library and the kitchen. The last section of the house is a partially covered pond, a flooded room. (Arnardottir n.d.)

Overlapping roofs (Image taken from Holl, 2010)



Arnardottir, H. n.d. The stretto house in Dallas by Steven Holl, http://storiesofhouses.blogspot.com/2006/04/stretto-house-in-dallas-by-steven-holl.html (accessed 13th March 2010)

Author Unknown, 2009, Steven Holl – Biography, http://findimelda.com/483e_web/project04/finalproject/final/bio.html (accessed 14th March 2010)
Author Unknown, 1992, Steven Holl: Texas Stretto House, Dallas, Domus 744 December Edition, http://www.stevenholl.com/media/files/Articles/Domus_9-1997.pdf (accessed 15th March 2010) 

Holl, S. 2010, Stretto House, http://www.stevenholl.com/project-detail.php?type=houses&id=26&page=1 (accessed 11th March 2010)

Lovine, J. 1994, A Clean Sweep, New York Times Magazine, April 10.

Newby, D. 2006, Stretto House, http://www.dougnewby.com//Architecture/Architecturally%20Significant/strettohouse.asp (accessed 11th March 2010)

Thursday 17th March

March 17, 2010

Gabriel Poole

Gabriel Poole and his wife and partner Elizabeth Frith. (Image taken from Walker, 1998)

Western Elevation (Image taken from Martin, 2000)

Eastern Elevation (Image taken from Martin, 2000)

Floor Plan (Image taken from Martin, 2000)

Gabriel Poole is a well known Sunshine Coast Architect who is most known for his remarkable ‘tent’ like houes. The exemplar house which I have chosen of Poole’s is the Lake Weybe House. It is an impoved and more refined version of his Tent House in Eumundi. It incorporates light-weight materials and modular stlye living.  In this post I am going to include research on Poole, as well as comment on three central ideas: a house as an environmental filter, a container for human activity and a delightful experience. Gabreil Poole’s Lake Weybe House reflects aspects of all three ideas.

An Environmental Filter:

Gabriel Poole is adamant about his designs being sustainable, and working with the environment. His current residence, The Lake Weyba House, responds to the environment very strategically including opening up to the sun and breezes with roller shutters, sliding screens and hinged plywood fins. (Exemplar Houses pg 234) These thoughtful uses of shelter all filter the environment surrounding the house. With the design of the ‘Fly Roof’, Gabriel Poole has managed to incorporate a sturdy, storm resistant structure with the airy feel of the inside roof.  I would like my buildings to be sustainable and ‘eco friendly’ with the hope that we can place people carefully within out landscape to avoid the destruction and havoc which accompanies large-scale housing developments. (Hyatt, 2000)


Objectives of Gabriel Poole’s Designs:

  • Air flow and ventilation systems
  • Site aspect to suit the climatic and environmental conditions
  • Provision of natural light and shade 


Gabriel Poole leans strongly toward innovation in his architecture and implementation of lightweight building systems that preserve site terrain. Design for climate without the need to resort to air-conditioning is inherent in all our work. (Poole n.d)


Note Gabriel Poole’s ‘fly’ roof system for ventilation and light penetration. (Image taken from Walker, 1998)

A Delightful Experience:

Gabriel Poole generates a delightful experience in his designs through the provision of natural night and shade. Upon designing the Lake Weyba House, Elizabeth’s observation was was that the land was not large enough for real privacy and that eventually the beautiful views we presently enjoyed over the wallum would be built out and lost. She suggested that the only view that could not be destroyed would be of the sky. (Hyatt 2000) Elizabeth Poole requested that her husband design a building with a view of the sky in every room. Gabriel Poole achieved this wonderful feat so that even from the toilet the views of the sky can be enjoyed.


The Universal House – a movement: to deliver fully universal, wheel friendly, flexible functional homes

The needs of indigenous Australians, people with disabilities, and the mentally ill, spurred our collaboration to develop universally designed, modular and flexible housing solutions the result: the universal house

  • Low load on water, energy,
  • Resources water wise,
  • Ecological,
  • Factory built 
  • Affordable,
  • Transportable dwelling units delivered to site on a low loader low maintenance fit out, furnishings and features height adjustable features and fittings low effort for everyday tasks.

  The more I listened and learnt the more I felt this whole process is about “movement”:
…making it easy for everyone to move around -in the home, next door,
  down the street, within the community or country as life changes
  (often dramatically and without warning)
…moving people out of hospitals and freeing up beds so others can
  move in as early as possible
…people with disabilities being able to move around in general
…living much simpler, easier lives

Gabriel Poole


Filtering light. (Image taken from Hyatt, 2000)

A Container for Human Activities:

Gabriel Poole has developed a conventional design which is a container for very specific human activities. He has diversified his design to include a wider variety of movement needs and requirements in an affordable and light weight design. He also incorporates modular structuring into his designs to separate certain human activities from others. In the example of The Lake Weyba House, when Gabriel decided he would like to have an office in the building, Lizzie requested that the bedroom be separated from the main house and suggested a variation from swimming pool to large bath. (Hyatt 2000)This is a perfect example of Gabriel Poole designing a building to hold specific human activities.


Some aspects of Gabriel Poole’s designs include  

  • Accessible
  •  Affordable
  • Workable
  •  Flexible
  •  Manageable
  •  Modular
  •  Securable
  •  Sustainable
  •  Liveable
  •  Comfortable
  •  Adjustable
  •  Adaptable
  •  Relocatable
  •  Moveable
  •  Valuable


“These houses are truly universal. They would provide excellent accommodation for all and any Australian and have been designed and thought through with that foremost in our minds. For my part, I would dearly love to build the first one on my own land to personally inhabit.” (Poole, 1998)


Gabriel Poole (Image taken from Poole, 2004)



Hyatt, P. 2000, Local Heroes – Architects of Australia’s Sunshine Coast, Thames and Hudson, Singapore.

Martin, C. 2000, Australian Architecture Now. Thames and Hudson, London.

Poole, G. n.d. Gabriel and Elizabeth Poole Design Company, http://www.gabrielpoole.com.au/ (accessed 14th March 2010)

Poole, G. n.d. Gabriel and Elizabeth Poole Design Company, http://www.gabrielpoole.com.au/universal/universal.html(accessed 12th March 2010)

Walker, B. 1998, Gabriel Poole – Space in which a soul can play, Visionary Press, Noosa.