Smokey Town by Judd Lysenko Marshall
Architects

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Judd Lysenko Marshall Architects of Melbourne have completed a Corten steel-clad house in Smokey Town, Australia.

A series of staggered brise-soleils protect the interior of the single-storey home from exposure to the sun.

Angular terraces extend out from each shaded area.

The following is from Judd Lysenko Marshall:


Box

 

When a form is so familiar, we often look past it to focus on what might be in it, or on it, or perhaps we never notice it at all.

Sol LeWitt’s 1974 “Variations of Incomplete Open Cubes” is an exhaustive exploration of a single theme, yielding surprising and delightful results.

Similarly, this home explores simplicity of gesture, and the minutiae of geometric adjustment to uncover diverse and serendipitous forms.

Solid

The Smokey Town House investigates monumentality and permanence.

Nestled on the edge of remnant scrub, the almost geological form seems at once perched and embedded in the clay stratum.

The overscaled planar elements can be read as both monumental and ephemeral, an intense mass, yet exposed and eroded.

Overlap

The scheme’s twin axes overlap a single pitched roof to create a set of sheathed interiors.

From the outside, these are read as a carved mass that exploits the possibilities of the tactile material – the thick folded surface defining mass and void.

The resultant form is at once cavernous and expansive, lean and generous, tight and maxed out.

Twisted Axis

The interior is plainly open, but not open plan. Defined by two distinct parts severing the common from the private, the enfolding volume creates a changing spatial arrangement, through the capture and release of carefully framed views.

Deep Shade

Crafted so as to avoid intense solar exposure, the dimension of shadow and light defines the occupation of this dwelling. This is architecture of surface and volume – a hard shell engorging a vivid and expressive belly.

  • Barry

    Another corten building in Australia – yawn!

    Why is it that architects see fit to constantly clear every tree to create their masterpiece. I understand the threat of bushfires but I think it is a little over the top.

    I also imagine you can’t sit in the courtyard for most of the year due to the heat from the walls and the concrete paving.

    • Chris

      I totally agree with you Baz.

      As an Australian living in an area quite possibly affected by bushfire, I think people take too much liberty when clearing bush from around their house.

      I would prefer to see Corten and timber used in harmony, I am sick of the 'Aussie vernacular' of weathered steel and corrugated sheets. Think a little please, architects!

  • roman kralya

    very very very! i`m crazy about forms lake that! Colours of facades are also wonderful! Very good work!

  • R

    The difference between the second and third photo due to the use of a wide angle lens is absurd. It’s sad that they need to use this extreme perspective to make the building seem more dynamic. Overall a very boring design.

  • Rouan

    Ahh! Why not plans and sections? Seriously..

  • Dan

    @R: Having done my fair share of architectural renderings I will say that sometimes the wide-angle lens is a more accurate tool for the depiction of space or spatial relationships.

  • 3D

    It’s such a pitty that there are no houses like this in the UK.

  • ew

    poor presentation…images do not support the project description…project description is overloaded. why is there a need to present 6-7 images of the same view?

  • rinb

    any plans ?

  • Roger Emmerson

    I gave up after the first illustration, which seemed to be all the illustrations, but I was captivated by the either/or, one thing/yet another, both/and, here today/gone tomorrow text. Such dated fun and, if I may interject my own double here, such tendentious crap. How about “the sheathed interiors” just being rooms or spaces or the “thick folded surfaces” just being walls and ceilings? At least Sol had wit.