David wallace and Jorgen andersen of arthouse architecture

12 Pages·2013·1.81 MB·English

01
profile
David wallace and
Jorgen andersen
o f arthouse architecture
Justin Foote talks to Arthouse Architecture
founding member David Wallace and
director Jorgen Andersen about their
shared passion for architecture.
076 Houses • Issue 29
02
01 Designed to maximise the
beachside locale, this house
comprises three linked
pavilions
02 David Wallace (left) and
Jorgen Andersen of Arthouse
Architecture.
Were both of you born and raised in was looking for more of a lifestyle fit, probably lucky enough to have a good team that we can
Nelson? the same reason why a lot of people come to match the best people to the best projects.
DW: No I was born and raised in Hamilton. Nelson. My partner was on a course down here
JA: I’m a Christchurch lad. Born and raised and there happened to be a job going with So David, how would you characterise your
down there. Dukker and West and I got it and stayed. personal architectural philosophy?
Fundamentally, I think it’s about relationships.
What prompted the move to Nelson? Did you know from an early age that you It’s about developing a relationship with the
DW: After studying in Auckland and a brief stint wanted to be an architect? client to ensure the design actually meets
in Palmerston North I travelled around the US DW: Yes, I decided in my early teens that I their needs and aspirations. It’s ensuring the
and Europe and then worked in London for a wanted to be an architect. I loved drawing design has a relationship with the land; It’s very
couple of years in the early 80s, before coming plans and designing houses. I don’t think I important to me that it responds to the site
to Nelson after the OE. understood what an architect was at that stage, and with the environment through the use of
JA: It was after I finished architecture school in but yes, it was an early decision. natural materials and by minimising the overall
Wellington. I was ready for a change of scale JA: I didn’t. I was always interested but I actually impact of the building. Then, lastly, it’s very
really after spending five years in the city and did a lot of design and photography at school much about the relationship within the office,
was lucky enough to get a job in Nelson for and I originally applied to the Christchurch as well as the wider group of consultants and
another architect. Thought I’d spend a year here Polytech to do a Bachelor of Design and Visual the building team.
doing that before moving on; that was eight or Communications but I didn’t get in. Architecture
nine years ago. was next on my list. Looking back now, I’m And is that a philosophy that you instil
pretty well suited to it, so it worked out well. company-wide?
David, how was it being a Kiwi kid working Yes, it is an integral part of the Arthouse
in London in the 80s? Jorgen, what’s the best thing about philosophy but I also think that we’ve got
It was a fantastic experience; bigger projects on working with David and being a part of the a really experienced team of architects at
an entirely different scale and much larger office Arthouse Architecture team? Arthouse Architecture and so everyone
of course too. I haven’t been back to London David and I come from different generations probably responds to that philosophy slightly
since but I’d love to because there have been obviously and we’ve got quite different ways differently, which I think is a good and healthy
some amazing buildings built since then. of doing things. I think that’s really been part thing really. We’re definitely not a practice
of the key to our success. Obviously David has where there’s just one design architect and
Was it a bit of an anticlimax moving from a wealth of experience to draw from, which everyone follows along, so there would be
London to Nelson? has been very valuable for me and everyone different interpretations of that philosophy
Not at all. When I came back to New Zealand else in the practice and he’s a great resource amongst the practice but there is that
I didn’t feel the need to be in a big city and I for bouncing ideas and problems off. We’re underlying attitude through it of relationships.
Houses • Issue 29 077
2005
Wallace Marshall
house

• nelson •
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This house is about living at the beach. Sited
3
on the hillside across the road from Tahunanui
Beach it is comprised of three separate 4
elements - a lower level self-contained space, 5
an open-plan living area opening on to a large 3 6
deck and a bedroom wing. The entry and
stairway link the three elements and provide
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an entry journey, reminiscent of clambering up
8 1
between rocks, to a viewing platform above. 9
A kink in the plan creates a tension between 3 4
the dominant single pitched living area and the 2
lower slung bedroom wing. The consequent
off-square deck, with it’s fantastic view of the
beach, bay and beyond, adds to the sense of
informality typical of life at the bach.
The house is designed to maximise winter
solar gain with high levels of insulation Ground floor plan Upper floor plan
while deep overhangs control summer sun.
Dark stained weatherboards and generous 1 Kitchen/dining/ 4 Bathroom 8 Deck 0 5m
openings carry the bach theme through from living 5 WC 9 Courtyard
concept to detail. 2 Library/TV 6 Laundry 10 Garage
3 Bedroom 7 Games room
The concept of lifestyle is central to our JA: I do. I think poorly designed intense urban Absolutely, I think it’s an amazing architectural
shared experience as a nation. At the structures don’t add anything to that vibrancy opportunity. There’s been a bit in the local
moment though there’s a lot in the media and that sense of community I was talking media regarding the public backlash against
about high-density living being our future about before. So while it’s all very well to say the speedy, box-type solutions of some of
reality, essentially doing away with the yes we need to intensify and to do things the buildings that have been going up. I think
quarter-acre dream. How as an architect differently and use land better, I think there’s there’s definitely an opportunity to get creative
would you sell that concept to the New a good way to do it and I think there’s a bad people around a table and come up with a
Zealand public who may not, in the first way to do it. Ultimately, I think the more design variety of solutions. It’s a very complex problem
instance, be open to that concept. professionals you can get sitting around a table and obviously there isn’t an easy solution but
JA: Firstly, I don’t know if I entirely agree that discussing how to do that, the better. I think people across the board need to be
it’s the total way of the future. I agree that aware that what’s being created now is going
urban intensification does help contribute to And do you, David, think that as a to help determine the success, or otherwise,
maintaining and developing vibrancy in city collective, or even individually, architects of the city in the future. So yes, it’s an amazing
centres as well as providing an option for are in a position to speak to some of the opportunity and, I think, one for which its
people to live in those locations who might issues surrounding these societal changes? importance cannot be overstated.
not ordinarily be able to; which I think is of Absolutely and I would like to see us do that
great benefit but I also think there will always more. I’m quite involved in the local branch You mentioned a public backlash to the
be people that want their quarter-acre section here and it’s a discussion we have had. I think attempted speedy resolution of some
or their lifestyle block. I think there will always we could do a lot more speaking out locally issues; does that mean we’re likely to see a
be a place for that as well. about issues but we all get so involved in our sacrifice of form for function?
own projects and we’re all of us busy in our To a certain extent, yes. It’s inevitable that there
Does that mean we can still have the best own lives and so don’t do it enough. are going to be some things that have to be
of both worlds? built quickly and cheaply and there’s always
JA: I believe so but it’s going to require some Jorgen, as a Christchurch lad the effect of going to be a place for that but I don’t think
more thoughtful planning and discussion the earthquakes must be something near it’s a sweeping solution for everything in
amongst a variety of sectors that are involved and dear to your heart. Putting aside the Christchurch. I think you can still build quickly
in making the decisions. tragedy of that situation, are we faced with and cheaply and have character in something.
the architectural opportunity of a lifetime It doesn’t have to be quite so brutally planned.
Do you see the architectural fraternity to do something really outstanding with It doesn’t take a lot just to add a layer to a
being a bigger part of that? Christchurch, in a modern context? building to create street-level interest.
078 Houses • Issue 29
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03 Deep overhangs on the
north-facing facade help
mitigate solar gain during
the summer months.
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04 A partition wall separates
the sleeping area of the
master bedroom from the
wardrobe space.
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05 Thermomass insulated 06 The mix of external materials 07 Ample glazing on the east and
concrete panels feature on the helps break up the mass of west facades admits plenty of
nothern facade. the structure. natural light.
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So then, what are your feelings, either
Lobank
personally or professionally speaking,
house 12 about the ‘Cardboard Cathedral’ as it’s
being termed?

• richmond • I think it’s fantastic. I studied Shigeru Ban at
architecture school and am aware of a lot of
The clients wanted a house to retire the projects that he’s carried out around the
3
to that would meet their needs for world. The cathedral is a great example, a
the next thirty years. A solid, warm, classic opportunity to do something different
sunny, private and secure house was and it’s something that I think people will
desired that would allow enjoyment 12 2 come to Christchurch to see and that’s what
of the adjacent garden. The house we should be promoting.
and surrounds also needed to be fully
accessible to cope with the constant If you were to design a building for
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use of crutches and wheelchairs in 1 Christchurch, would you do something
and around it. civic or residential? How would you like
The design incorporates an in-ground your architectural input to take form?
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rain water collection tank, solar water I suppose, because I grew up in suburban
heating, in-floor heating divided into Christchurch that’s what I identify with and
zones, and thermostatically controlled, having been involved in master planning
5
full home automation including 10 and urban design that’s what I would look to
control of TV, radio, windows, alarms do. I think a lot of what people coming from
and garden sprinklers. Solid pre-cast affected properties are going to lose is that
7
6
concrete panels that are insulated, sense of community. To be able to work at a
11 9
strapped and lined on the inside at macro level to create new neighbourhoods,
the rear of the house will keep heat in. as well as at a micro level coming up with
8 12
Insulated Thermomass panels at the individual solutions for properties, to create
northern end in conjunction with well 5 strong and safe communities again, that
positioned glazing will create a warm, would be pretty amazing.
7 5
light comfortable environment and
allow connection from the living areas Okay, let’s take a step back from the
to private courtyards, terraces and the heavy topics and focus a bit more on
garden beyond. Floor plan some personal insight. David, do you still
0 5m
have fond memories of your first project?
1 Kitchen 5 Bedroom 9 Laundry Thinking about what I’d term my first real
2 Dining 6 Wardrobe 10 Garage project, where I felt I had the control of things,
3 Living 7 Bathroom 11 Workshop yes. It was when I was working with Dukker
4 Study 8 TV 12 Terrace and West and we built our own house; I
certainly have very fond memories of that
07 house. It was a great learning experience that
every young architect should go through I
think, designing and building their own house.
So you would definitely recommend
having yourself for a client?
Yes. It’s a great process to go through – a
very levelling or grounding process to sort
through some of those issues for your own
house. Also, it’s fun to experiment and push it
further than you would with another client.
In that case, with the hindsight of 20-plus
years of experience, do you think you
would produce a better design for that
first house today?
Yes I do. Architecture is a complex and
multi-layered process and you’re constantly
learning as you mature as an architect. Don’t
get me wrong, I really enjoyed that house and
while we don’t live in it any longer, we had an
Houses • Issue 29 081
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08 The house enjoys 09 A palette of natural
views out over materials has been
the water from its employed on the
elevated position. interior.
2 009
Spring Creek
house
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• marlborough • 5
6
The site is a Marlborough vineyard bounded on the north 1 Kitchen
4
by Spring Creek, a lovely body of gently flowing water. The 2 Dining
clients wanted a house that would respond to the creek, 3 Living
the vineyard and the rigors of a young family in a farm type 4 Office
environment. They wanted the house to feel natural and 5 Bedroom
modern, dynamic yet unobtrusive. 6 Bathroom 3
The concept takes cues from traditional Japanese 7 WC
architecture with interconnecting wings or pavilions set upon 8 Games room
11
a rock base. The rock base, built up to the level of the Spring 9 Laundry
Creek stop bank, visually anchors the house to the site and 10 Garage
2
allows for generous views over the water to the north and 11 Terrace 1
11
the vineyard to the south. The wings fan out to create a low 11 Pool
lying form, unimposing on the wide landscape.
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The spaces between the main pavilions create sheltered
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areas externally and playful connecting spaces internally.
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Large sliding external glass doors allow the main living 8
5
pavilion to be completely opened to outside, while large 5
sliding oak doors allow for flexible use of the internal space. 9
The materials include exposed concrete floors and walls
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with cedar, oak and plywood. These materials have been left 10
natural wherever possible. The concrete is heated by both
direct sun through expansive northern glazing and from an 5
array of solar hot water panels. Floor plan 0 5m
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10 Concrete floors act as a
heat sink, helping to keep
the interior temperature
constant.
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11 Three small structures are 12 Extensive decking allows
artfully woven together within for outdoor living and
a stand of totara. links the three structures.
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2 010
House in the
t rees
• golden bay •
Protecting a rare stand of totara on a small coastal property,
while providing a comfortable space for people within
it, were the major design drivers for this modest holiday
house. Lifted above the forest floor and tucked under the
canopy, three small buildings linked by open but sheltered
walkways step lightly through gaps in the trees, ending at
the beach. The light and sun that penetrate the canopy reach
deep into the rooms via high level glazing, and each module
has two aspects: an exterior face looking out to views and
sun, and an interior focused on trees and forest. 1 Kitchen/
Clad in corrugated colorsteel, vertical board and dining/living
weatherboard respectively, the buildings provide linked 2 Bedroom
yet separate areas for shared and private living like three 3 Bathroom
little baches hidden in the trees, sitting peacefully in the 4 Wardrobe
understory as the forest continues to re-establish itself. 5 Deck
1
5
5
2
4
2
3 2
3
Ground floor plan
0 5m
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