Basement Level

Ground Level (Compartments Closed)

Ground Level (Compartments Open)

Roof Level

Section A

Isometric

South-East Elevation

North-East Elevation

Chang Cabin is located between the two canopies of the closed-eucalypt forest which surround it. Though small the Cabin dominates this mid-canopy, with its solid form catching the passer’s eye. The building is defined by sharp, straight lines which contrasting to the free-flowing surroundings create a pure form. Wide straight eaves jut out on every side, blocking direct sunlight, allowing for full glass windows to cover the walls, letting in luminous indirect sunlight throughout the day. A narrow basement allows for thermal mass to cool the building throughout the Dry Season, while numerous windows allow for thorough ventilation throughout the Wet Season. By forming a sold cuboid the occupant understands the introverted design, while an uninterupted prospect to their surrounds contrasts this, blurring the lines between the interior and exterior. Various compartments define the interior, creating a variety of spaces within the space, redefining what a room really is.  The segregated compartments however do not fragment the building, rather work together forming a smooth fluidity throughout the structure. Natural materials such as timber flooring and wooden panelling soften the mechanics, resulting in a harmonious balance between nature and technology. All the while working together to provide an environmental  filter, a container of human activities and delightful experience.

Parti Peak Estate

For the site selection — in keeping with the original design context of the Suitcase House — I decided to choose a lot within a valley environment, with large amounts of open space, and where a ‘view’ could be captured within the Cabin. For this I chose a lot on Datum Drive, across the road from Generic Gardens, next to Specific Stream. This site met all of the original requirements I had set, along with being more climatically appropriate for the Sub-Tropical climate of Charrette City. (1. Suitcase House by Gary Chang 2. Samford House by Bligh Graham Architects 3. Brookes Street House by James Russell Architecture)

Early Sketch of Cabin Concept

Parti Sketch of Early Cabin Concept

At the beginning of the design process, I was looking at the various ways the space could be arranged. These two sketches illustrate an idea to break away from the cuboid design Chang had utilised throughout the design of the Suitcase House. At this time during the design process I was still focusing on the broad outline of the form and layout of the cabin, along with climatic conditions. Although this particular idea proved unsuccessful, it did provide me with many ideas for the final cabin design.

Sun Angle Diagram

This illustration indicates the width and purpose of the eaves which surround the cabin. To minimise solar gain, and increase thermal comfort, I believed it was essential to calculate at which angle the sun would enter the building. This lead me to widen the eaves to 1.2m, which prevented any midday sun from entering the residence from the Spring to Autumn Equinox (when the sun is at an angle of 62.6 degrees). I believed that by preventing the harsher midday rays of the sun, the building would be markedly cooler, for the warmer months of the year, and warmer for the cooler months.

Dry Season

Wet Season

These two diagrams indicate the passive cooling techniques utilised to stabilise the indoor temperature throughout the year. For the Dry Season (June to November/December) when the humidity is low and temperatures more variable, the cabin will be able to close-up and rely on the thermal mass stored within the basement, this mild humid air, will counteract the drier exterior, preventing the cold night-time temperatures of Winter and the hot day time temperatures of Spring from affecting the indoor temperature. As for the Wet Season (November/December to May) when the air is hot and humid, the cabin will be able to open-up allowing the South-Easterly winds which are dominant for this half of the year to cool and ventilate the structure.

Relationship Between the Different Spaces

Arrangement of Spaces

These two diagrams represent the correlation between the various spaces within the cabin and how they should be arranged to satisfy this correlation. From the matrix diagram I found that the most important of the spaces was the kitchen, which needs to be accessable from nearly every other space within the house. Another important aspect was the formation of two main zones; the ‘relaxation area’ (bedroom and reflection space) and the ‘living area’ (kitchen, living, dining and working space), I believed it was essential to divide these two areas so as to create a comfortable living environment. These arrangement issues were resolved by dividing the ground floor into two levels; a ground level on which to locate the living area, which was to be based around the kitchen, and a roof level for the relaxation area. The other key finding of these diagrams was the location of the ablution space, which was to be located near the bedroom, work space and living space, this was achieved by locating this space at the bottom of the stairs to the roof level, in-between the working and living spaces.

Firmness + Environmental Filter:

Introverted/Extraverted…

This diagram illustrates how the Suitcase House has been designed as one solid enclosed space (introverted), yet through the use of extensive glass walls has counteracted this, creating a contrasting extravertedness to the design. This has been mirrored in my cabin design with similar principles.

Here I Stand…

Here I look at the way in which the Suitcase House dominates its environment, overpowering its surrounds, and projecting out into the valley. For Chang Cabin, certain environmental differences such as the size of the local vegetation and climate along with size constraints, lead me to a different outcome. Here I achieved the ‘dominance’ factor by positioning the house below the canopy of the surrounding Eucalypts for protection from the harsh sub-tropical sun, yet above the lower canopy which covers the ground. This resulted in the house standing out in-between the two canopy’s, thus achieving a dominating aesthetic in the local environment without having to increase scape or height.

Pure…

The Suitcase House is constructed of clear straight lines which fall together to create a cuboid. This simple geometric form creates a vivid contrast against the rugged landscape of the chinese mountains which contain it. This eye-catching presence was something I was keen to rectify in Chang Cabin, however there was a major climatic factor which prevented this, the sun. So by implementing straight wide eaves similar to those of Samford House, I was able to achieve a similar ‘pure’ aesthetic.

Commodity + Container:

Division…

By cantilevering the Suitcase House out from a strong concrete foundation, Chang manages to create a strong division between nature and people. This causes the users of the house to be above their surrounds, creating a sense of superiority of humanity over the environment. Though I didn’t entirely agree with the superiority Chang created, I did enjoy the clear-cut lines of the design and the ability to separate ones self from the environment while still being located within it. Thus I maintained the geometry and precision of the design, but locating the house at a more humble location within its environment.

Compartmentised…

Chang designed the Suitcase House with a clear intention, to create a house which literally folds away. This key concept was a necessity in transferring across to Chang Cabin. I did this by following a similar vein with the main purposes of the house being located under the floor, and simply folding out when in need, however as it would be impractical  to maintain other components of the design such as the roof terrace due to the thermal mass and drainage issues this would create in a sub-tropical climate, I instead positioned the bedroom and reflection area up into the roof, protected from the elements, yet still located in such a position to take advantage of the panoramic views a roof terrace would provide. Otherwise all of the cabins functions such as kitchen, bathroom, dining, etc. are located on the main living area, reducing the total floor area of the house to a mere 30m2.

Versatility…

Adaptability is something which can be experienced throughout the Suitcase House. The building has the ability to seamlessly morph into a completely different building for almost any function. These range from not only different rooms for one particular clientele, but a different building for different clientele. In other words, the building can transform into both a hotel for eight, plus maids, a mountain retreat, a family home, a home for two families, etc.. This versatility was again a key concept to be carried across, however as the Chang Cabin was only to be designed for a couple, the scale and functions had to be reduced significantly, this did not mean however that the building could not serve a diverse range of functions for them. This can be seen in the above illustration, indicating some typical everyday uses.

Delight + Delightful Experience

Fluidity…

As soon as one approaches the Suitcase House, the straight crisp edges instantly draw the eyes attention. This prefect balance of form against the backdrop of the more chaotic natural environment create a pleasant contrast in their shapes. This continues inside the house, where everything is streamlined into perfection, creating a cohesive whole; something most would not expect with what would otherwise be thought of as cluttered or ungainly. This fluidity, causes the space to become more open than it really is, creating an airy free-flowing house. To adopt such a concept into the Chang Cabin I tried to keep the form as simple as possible, maintaining a very smooth, flowing movement throughout the house, removing any obstacles or inconveniences, this results in a precise, orderly outcome, much similar to the Suitcase House.

Lightness…

Down the entire southern facade of the suitcase house, runs one uninterrupted glass wall. This allows for constant solar radiation to enter the building throughout the day, warming the house throughout the bitterly cold winter, while creating natural lighting throughout the daytime. This wall however is completely exposed to all incoming solar radiation without any eaves or blinds, in the Nangou valley near Beijing, this would make perfect sense given the climate, however for integration into the design of Chang Cabin in Charette city, there will have to be significant changes. This was achieved by several alterations and solutions, firstly, by placing the house under the upper canopy of the Eucalypt forest, the sunlight was ‘filtered’ reducing the light from a harsh direct ray, to a softer, pleasant ray. This is then reduced further by the house’s wide eaves, which prevent the sun from entering the building during midday hours completely for six months of the year, to ensure thermal comfort. All of this causes the house to be lit be indirect light for most of the day, reducing the need for artificial lighting, while still allowing the delightful experience of sunlight to illuminate the structure.

Human Scale…

Though driven by mechanics, technology and maths, the Suitcase House is a very humble design. Whether in the sauna, the living room, the bedroom or kitchen, one never feels overcome by their surrounds, every little piece added to the house fits well and fits comfortably, which gives the house a completely human scale. Nothing is bigger nor smaller than it has to be to fulfill its purpose, everything is, just right. This ingenuity in the design results in a perfectly balanced home, full of everything one would need, thus it was something which had to be carried across to the Chang Cabin design. I completed this by measuring up all of the compartments and functions to the exact size for their needs, this includes the dining room; built precisely for two people, the study; with a drawing desk designed to accommodate paper as large as A0 as well as a side desk for a laptop, the kitchen; containing all the necessary items for preparing a range of meals, the bedroom; designed for a king size mattress as well as many other precisely measured rooms, which all amount to a total floor area of just 30m2.

Site Plan 1:500

The Suitcase House is located in ‘The Commune’, part of the Nangou Valley, 40 minutes outside of Beijing China (Gary Chang suitcase house, 2005). The environment here is mostly natural coniferous forests, with the houses located on large acreages, creating a very private and quiet environment. The climate here is monsoonal continental, meaning that the winters are cold, harsh and dry, while the summers are warm, long and humid. All of these factors have influenced the design of the Suitcase House in various ways, including the large southern facing windows, roof terrace, minimal solar protection and thick heavy exterior surfaces.

Floor Plan 1:50

The building was designed to cater for a range of functions, far more varied than the name ‘house’ would imply, which are indicative in the design shown above. These include a hotel, a holiday home, a home for a couple/large family/two families and so forth. This has resulted in an extensive range of amenities and spaces, luxuries which will not be needed in the application component of this project, but are still indicative of the cunning space-saving measures seen above. This also indicates however, the potential these measures would play in a far smaller design such as the application component of this project.

The house is orientated in a north-south direction, this is to capitalise on the views of the Great Wall, as well as to maximise solar gain. This leads to the house’s narrow form, which literally projects out into the Nangou Valley (Kempinski, n.d.). As for the interior layout, the house is based entirely around the human scale, which leads to a very humble experience. This is evident at all times with in the Suitcase House, irrelevant of the current layout, meaning that one can return with the same experience whether all the spaces are closed or open (Dreuding, 2004).

Elevations 1:50

The exterior of the Suitcase House is clad with natural timbers, which both harmonises and contrasts to the surrounding environment. Chang achieved this by creating such an inorganic form in a natural context, this creates a clear distinction of where the built form ends and the natural form begins. The style in which the natural timber cladding is used in such a formalised way further adds to this striking spectacle of geometric and free-flowing objects which Chang creates, resulting in a very delightful experience.

Isometric

The house’s pure form is again illustrated here in this external view. The clear-cut straight lines form an uninterrupted cuboid, piercing into the valley environment, creating both a spectacle and an observatory.

References…

Chang, G. (n.d.) Analysis. Retrieved February 28, 2010, from http://www.ejmartdesign.com/sh.html

Dreuding, M. (2004 September, 01). Other visions of home. Residential Architect Magazine. Retrieved March 01, 2010, from http://www.residentialarchitect.com/Industry-news.asp?sectionID=278&articleID=77689

Gary Chang suitcase house. (2005). The Architects Journal, 221(16), 37.

Kempinski. (n.d.). Gary Chang (Hong Kong). Retrieved March 21, 2010, from http://www.communebythegreatwall.com/en/design/channel/default.shtml

SOHO China. (2004). SOHO China: SOHO China wins. Retrieved March 21, 2010, from http://www.soho-city.com/en/news/detail.asp?id=21849&cid=11

a house is an environmental filter…

The Suitcase House is divided into four levels, the first being the basement; an area reserved mostly for maids and utilities, then the ‘subfloor’; a transitory level in which the majority of the house’s spaces are located, the main living area; a large open plan space from which one can access all other levels from simply opening a compartment, and the roof terrace. These levels are supported on a solid concrete foundation, which forms the basement, from here the other three levels are cantilevered out on all sides, forming a large timber clad cuboid, dominating the immediate surrounds, while creating a viewing point for the surrounding environment (Chang, n.d.). This dominance creates a clear division between the human and natural realms, causing the occupier to feel a sense of superiority over the contrasting natural landscape surrounding them. This follows the principles of many other Modernist and Post-Modernist structures, in which the occupant can only experience nature through one sense, that of sight. This is achieved through the large glass windows, which occupy most of the external wall space, allowing uninterrupted views of nature, but no ability to hear, smell, feel or touch it. This is again re-enforced by the fact the occupant is almost always elevated above and over the surrounding landscape, never once feeling the true scale of the natural forms, which prevail over the region.

a house is a container of human activities…

The house – like its name – literally folds up similar to a suitcase, containing various compartments and functions, which are all adjustable and collapsible to allow for a variety of functions and purposes. As Drueding (2004) writes, “…when you need something, it appears, and when you don’t it disappears”. Drueding continues to explain that this versatility in the house design is achieved by “…a series of pneumatically assisted, hinged panels in the floor of the main living area. When the panels are closed, the minimalist space is one long, open span running the length of the building. But each panel opens to reveal a self-contained room…. A pull-down stair leads to the rooftop deck, and stairways to the basement lie beneath their own floor panels. Sets of sliding and folding doors allow the space to be further divided into rooms of various sizes, and operable windows and blinds provide yet more control over the atmosphere.” This illustrates the intricacy of Chang’s design, in that it caters for nearly every function imaginable in a comparably small space, while at the same time being aesthetically pleasing. These concepts of adaptability in space differ greatly from that of western houses, derived from Chang’s own experience of growing up in a poorer Chinese family, where ones home was a series of multipurpose rooms constantly being re-arranged to cater for various functions throughout the day. This allowed for a reduced floor plan, thus allowing for far greater functionality of the space, as opposed to western homes, which achieve far less in much larger spaces. With these principles Chang created a modern innovative design catering for the various functions of its users, while still differentiating itself from conventional Chinese designs (Gary Chang, 2005).

a house is a delightful experience…

The reason I was drawn to the Suitcase House was the way it seamlessly achieved its functional purpose, in an innovative and convenient manner.  As with most architecture over the past century one of the key principles in the design is that of famous architect Louis Sullivan, “form ever follows function”. This concept however is often overlooked in many aspects of design, in favour of the aesthetic, or in an attempt to follow a certain trend. In the Suitcase House however, Chang utilises this fundamental principle, re-establishing the beauty of function, as opposed to the beauty of a mere trend. Another key component is the focus on craftsmanship over scale; scale being the far more easily achieved aesthetic. These simply yet affective ideas create a cohesive whole within the design, creating a pleasant and humble experience out of a mechanical and geometric form, a true testament to Modernism.

References…

Chang, G. (n.d.) Analysis. Retrieved February 28, 2010, from http://www.ejmartdesign.com/sh.html

Dreuding, M. (2004 September, 01). Other visions of home. Residential Architect Magazine. Retrieved March 01, 2010, from http://www.residentialarchitect.com/Industry-news.asp?sectionID=278&articleID=77689

Gary Chang suitcase house (2005). The Architects Journal, 221(16), 37.

Samford House by Bligh Graham Architects

a house is an environmental filter…

The Samford House is typical of many passive-designed homes that have been built at late, the structure utilises natural elements to achieve thermal comfort within the building, including wind, solar energy and thermal mass. This blurs the line between nature and the human domain, a connection that most modern structures have been without, allowing the user to connect with their surroundings through not only sight, but with their touch, scent and hearing. The building also uses natural harvested energy and water, furthering the somewhat distant relationship we have with our environment, emphasising its necessity it is to our basic survival. There is also abundant natural light throughout the home, filtered through lattice styled shade structures, minimising glare and thermal energy, while maximising the amount of natural light.

a house is a container of human activities…

The passive design of Samford House allows for a more free-flowing plan, full of large airy spaces with lots of natural light, linking from one room to the next. This continues outwith the house itself, causing one continuous space to develop, not bound by walls, floors or rooves. The house however does contain three main levels, all linked via an elevator, these separate floors, though correlated all serve a distinct function, the basement; a masculine styled area functioning as a workshop, the ground floor; a public domain full of all the major purposes of the house, and the first floor; a more feminine styled area for craft and hobbies. This division of the house into three separate yet open areas creates a sense of privacy where needed, while still catering for the ‘airiness’ the clients wanted (Australian Institute of Architects, 2008). However with the overall design of the house, one major factor diminishes the overall sustainability, and usability of the house; that being the inflexibility of these functions. This means that the house – like many modern ‘American’ styled homes – is nearly entirely made up of single use rooms, serving functions, which may only be undertaken on a weekly or monthly basis, this causes a massive waste of space, making the house to completely fill the lot, leaving little room for outdoor activities, while also being a very unsustainable use of space.

a house is a delightful experience…

The Samford house utilises classic modernist styles reminiscent of that of the 1950s, combined with a fusion of such styles as that of Frank Lloyd Wright’s Prairie House. Though this may not be any entirely original design in terms of style, the passive/sustainable design helps give the structure purpose, thus redeeming the design. This is again enhanced by the strong use of natural materials such as timber and roughly textured plaster walls create which create a harmonic interior, balancing out the clean-cut lines and artificial materials of the exterior (Bligh Graham Architects, 2008). The natural light entering the building again emphasises the organic factor, pleasing the eye, with a sense of humbleness, instantly creating a homeliness to the building, a very critical component of residential architecture.

References…

Australian Institute of Architects (2008). Samford house by bligh graham architects. Retrieved February 28, 2010, from

http://www.architecture.com.au/awards_search?option=showaward&entryno=2008049051

Bligh Graham Architects. (2008). The Specifier, 84. Retrieved March 01, 2010, from http://www.specifier.com.au/projects/residential/38633/Bligh-Graham-Architects.html

Brookes Street House by James Russell Architects

a house is an environmental filter…

The Brookes Street House is located within the hustle and bustle of the inner city suburbs, whilst bordering two major arterial roads, so despite being nestled between two ‘humble’ 19^th century buildings, the site was dominated by the commotion of the urban environment. To alleviate this problem the building was designed around a central atrium, creating its own “environment’ from which to feed off, while blocking out the exterior through simple means of positioning and good utilisation of the site. This results in the city literally being shut out of the site, while drawing from the modest beauty of the neighbouring churches, along with some cunning new design solutions, the architect was able to create an oasis for its inhabitants (Australian Institute of Architects, 2006).

a house is a container of human activities…

The Brookes Street House acts as a barrier between the outside world and the interior spaces. There are clear spaces for all necessary living activities, yet positioned within a distorted arrangement. The house also caters as a studio for the residents thus containing both work and living in the one sphere; that of the home. This results in a seemingly self-sufficient living environment in terms of work, sleep and play, all of which can be performed on site. The residences division from the outside world however, does not result in full enclosure; instead with the use of a large central court, the home is centred around external spaces. This causes the client to be able to have a merge between exterior and interior spaces, which is again highlighted by the use of natural ventilation within the bounds of the square itself (Russell, n.d.).

a house is a delightful experience…

The Brookes Street House instantly caught my eye, due to its intelligent use of very modern materials and building trends in comparison to its surrounding heritage buildings. This contrast identifies the style of the structure with purpose, a factor many similarly styled buildings fail to achieve. The ingenuity in the utilisation of the site and calculated placement of the structures is so well perceived that a clear harmony is achieved within the specific context. Creating a perfect balance of historic modern and organic forms quite pleasing to the eye (Russell, n.d). The architect has also exploited the benefits of the two historic buildings combined with organic materials and exposed structural elements within the interior to fashion highly amenable spaces, and identify a clear sense of place within the structure. This helps divide the different spaces throughout the house not with just walls but with character.

References…

Australian Institute of Architecture. (2006) Brookes street house: by james russell architects. Retrieved February 27, 2010, from http://www.architecture.com.au/awards_search?option=showaward&entryno=20064145

Russell, J. (n.d.) Brookes street house. Retrieved February 27, 2010, from http://www.jamesrussellarchitect.com.au/