Blueprints + Narratives.

The site plan of the cabin, including the floor layout. The proximity to the water allows for some breathtaking views of the lake and opposing mountainside, Parti Peak. The southern side, and south-easter wall of the cabin act to block views of the neighbouring houses, while the front of the cabin is designed to direct occupants towards specific views.

Note the bedroom in these two views. The Northern elevation shows 'the observatory' with the roof and wall sections closed. The Eastern shows the room with the roof wide open.

This section shows the change in level, and the viewing obstruction of the loft. This adds to the effect of walking out into the living room, only to realise the roof is six metres above you. The loft also acts as a shading device for the living room, blocking excess sunlight, and providing a metaphysical spatial boundary.

This shows the layout of interior spaces, with the studio loft above the living room. Also of note, is the movement patterns on the bedroom box, indicating the travel path of the observatory roof.

This cabin is designed for Tom Kundig and his wife, Jeannie, as an escape from everyday living. With this in mind, most of the inspiration was taken from his own project, Chicken Point Cabin. As with Chicken Point, the idea for this building is to 'open up to the waterfront'. The northern face is almost completely glass, with a large pivoting door that completely opens the living room. The master bedroom, also known as 'The Observatory' has a mechanical roof and wall, which open wide to the sky, allowing for unrestricted views of the sky, and looking directly over the lake to the nearby mountains. While this is not your conventional cabin in the woods, the style is designed to reflect Toms work. As such, the use of pre-cast concrete, and heavy blackened steel beams was incorporated, giving the cabin an industrial feel. However, there are panels of local hardwood spread throughout the design, as well as a wooden studio loft, giving the cabin a more natural feel.

Firmness - As an Environmental Filter.

The entire design was based around the surrounding views, blocking the neighbouring houses to the rear and opening the cabin to the lakeside and mountain views. The living room has a huge window-wall, which pivots outwards from the house, supported by the steel structure. This effectively opens up the entire north-eastern corner of the lower level to the surroundings. Another feature of note, is the two separate 'lookout' windows. One is in the architect's studio, right in front of the desk, which frames a view of the mountains, whilst blocking out the rest of the environment, including the interior. The other is located in the shower, providing views over the river, whilst maintaining privacy. These two spots were chosen, as they are both notorious for reflecting over a summer holiday. While working away in the studio, we often look to the landscape for inspiration. And of course, the absent minded reflections while taking a holiday shower, with all the time in the world. These windows both provide serene views of the local landscape, while blocking out the rest of the environment, focusing on one particular view.

While focusing on views, the next move is to the master bedroom, The Observatory. The idea behind this, as previously stated is to allow unfettered views of the sky, lake, and mountains, all in one window. The concept of bringing the environment in, while mainting the shelter of the bedroom is what inspired this, along with the idea of sleeping under the stars.

Ventilation in the house is provided firstly by the large pivoting wall. However, there will be times when it must remain closed. In this case, there are a set of windows along the top of the eastern wall which may be opened, along with cutouts in some of the glass panelling on the northen facade. This allows ventilation of the building, without having the entire cabin open to the environment.

Commodity - As a Container of Human Activites.

The Cabin was designed roughly as two boxes. The living, dining and working areas in one, the sleeping and shhowering areas in the other. However, in saying this, from the 'living box' occupants are always aware of the 'sleeping box', which protrudes into the living area. The entire cabin only consists of several walls. Spaces are separated, not by physical boundaries, but by the layout of the interior. The steel supports for the loft define the living room, while the kitchen tucks neatly into the corner. The studio sits above the rest, a place of focus set away from the living area of the house. The bedroom and bathroom are the only spaces with any sort of physical barrier, being the private areas of the house. The cabin utilises simplicity in its layout, and allows occupants to easily move from one area to another, whilst still being in each others company, and all the while providing small spaces to get away.


Delight - As a Delightful Experience.

The first experience of delight is embodied in the front door. A three metre tall hatch, built of thick steel with a small opening at eye level, is the first obstacle entrants must face.

Built like a ship's hatch, the object is a more subtle version of the enormous doors Kundig enjoys so much. The true 'heaviness' comes from the width of the door, which can be seen through the eyehole. The accomplishment felt when the hatch swings open easily is one of the basic concepts embodied in Toms work.

The entryway itself is designed to enclose on the occupant as they walk through. Tiny eyeholes are set into the wall along the hallway, offering quick glimpses into the huge room beyond. Notice on the floor plan that the hallway tapers to a point. This makes the room seem small, and the doorway to the living room comes as a timely means of escape. The room beyond is then revealed bit by bit. A glimpse of the studio loft, through a missing wall, a hint of a kitchen past the steep shipping stairs on the left. Then finally, the revelation, as you step past the living room to behold the full extent of the massive glass window, the bottom half wide open to the surrounding landscape.

The massive steel beams used to create the structure are on full display, adding to the sense of grandeur one feels. This is in keeping with Kundig's use of structure and industrial overtones in his design. Just like at Chicken Point, this building is designed to feel almost overhwelming, while the spaces on the inside are cosy and warm.

Materials used contrast with each other, and offer a rich variety of texture. From the pre-cast concrete walls which make the exterior, to the wooden panelling scattered over the design, and plywood loft, to the monolithic blackened steel beams supporting the entire structure, all of them are raw materials, able to be left unfinished. This adds a sense of purity to the design.

The mechanical aspect only adds to the delight, as one winds the crank to open the observatory roof, allowing the night sky to come flooding into the room. It is this dynamic element of Tom's architecture which I find most fascinating, and have endeavoured to emulate. The large pivoting wall in the living room is another element, only made possible by the surrounding steel structure. Moving a huge three by three glass wall is no mean feat!

Much like Chicken Point, the cabin sits tall over the surrounding landscape, a sentinel by the river. The enormity of the structure is merely a deception however, as the spaces housed within are intimate, yet spacious, as they form part of the large main room. The material selection, form, structure, and mechanisms included are all based on the concepts and ideas I have extracted from Chicken Point Cabin, and poured into this design, built for Kundig and his wife. This cabin is built for them, to allow them to escape the shackles of everyday life.

To just relax, and enjoy the view.

Musings.

In this post I will include the diagrams and sketch work which led to my current cabin design. I attempted to incorporate as many of the concepts used in Kundig's cabin as possible, as well as applying his use of form, materials, and structure.

The first diagram represents another way of manipulating space for dramatic effect. the use of narrow entranceway, and floating second level blocks the vision of those entering, giving the illusion of a small space. Once they move past the floating level however, a huge space opens up. The second level also provides a good vantage point for views of local landscape.

 Using tiny windows along a walkway provides small glimpses of the space beyond, heightening anticipation, while still hiding most of what is to come. This is similar to the side window used in the master bedroom at chicken point, which is clearly noticable, but not easily seen through.

 The plot is set out with the lake and river system on the northern side of the area. The axis shown in this diagram represents the views.

These are some of my form concepts. In keeping with the simplicity of Chicken Point, I opted to use a box-like shape to begin with, and included large structural beams to support the roof and strcture. These I wanted to be visible on both the exterior and interior, to give a real sense of structure, and to dwarf those standing near the monolithic beams.

After playing with the box shape for a while, I stumbled across the idea of intersecting walls. These walls correspond to the wiews and axis shown in an earlier diagram. The idea of blocking out unwanted views, such as neighbouring houses, whilst keeping the local scenery is core to the design. I also particularly liked the idea of using as few walls as possible in the building, in keeping with Kundig's style at Chicken Point.

Another important facet of Toms work is the mechanical aspect, one which I really wanted to emulate. After much deliberation and a number of failed attempts, the idea I came up with was including an observatorium-like roof and wall in the master bedroom, which opens up to the sky. This, I unoriginally nicknamed 'The Observatory'.

The roof can be opened and closed at will, by a hand crank on the wall in the bedroom. This adds a dynamic element to the dynamic filtering of the building. It also allows users to feel as if they are sleeping under the stars, in the complete safety and comfort of their beds.

Some preliminary sketches of my design.

The Scene.

After being given an imaginary site upon which to place our cabin, flanked by the 3 exemplar buildings we researched, I immediately turned to the rivers, in order to find some waterfront real estate to play with. Unfortunately, there were no lake systems, so i took it upon myself to modify the area a little.

This is the resulting site, complete with lake and mountain views. Site placement was difficult, having one south facing site, and two north facing sites with steep slopes. Due to the fact that lakes aren't often located on top of hills, this is the resulting site master plan.

The section of the site shows the sloping terrain down to the river/lake system. The layout, combined with the steep slope allows for uninterrupted views from every house, along with access in between.

Venustas.

Perhaps the most renowned aspect of Kundigs designs are his gizmos and gadgets. The sheer sense of delight these induce in users provide a quality that is hard to emulate. Mechanical work is often tricky, yet Kundig seems to come up with the most brilliant solutions at ease.

Once again, the mechanical aspect of Toms work. This time the movement of a mechanical device has yielded a hidden view. Similar to Chicken Point, but a little more subtle, this may form part of my design.

Kundig delights in using large structures, giving man something to measure ourselves against. Something at which we may gaze in awe.

And of course, incorporating the sense of delight we feel when we so easily move these monolithic structures. The exhiliaration is not unlike overcoming a huge obstacle, and inspires a wealth of emotion in user. It also allows us to interact with the buildings, breaking away from the generally static tradition of architecture.

Utilitas.

Another interesting facet of Tom's design is the way he manipulates the distinction between spaces, in the most subtle of ways. A simple fireplace designates the boundary between the living and kitchen areas in Chicken Point Cabin. This diagram represents the defining of spaces, without the need for physical boundarys.

 Some of the private spaces in Chicken Point Cabin have been interwoven into the public ones. Always, there is a hint that something is there, yet it remains hidden from view.

The spaces in Kundigs cabin are arranged with the private, such as bathrooms and bedrooms located within the public space. This shows the layout, and access routes between these spaces.

This diagram shows the relationship between spaces. Dotted lines indicated eeasily accessible, while solid lines indicate a separate space.

Firmitas.

Over the next few posts, I will attempt to use simple diagramming to filter out some of the main concepts behind the Archetype design. These will form the basis of my cabin design, and allow me to extrapolate and improve on the design ideas set down by my exemplar architect.

This diagram depicts the way Kundig manipulates space to disorient the user. His designs often incorporate dramatic spatial choreography, as user move from narrow spaces to wide open ones, always with a small hint of what is to come in order to build anticipation.

The framing of natural views was a big consideration in the brief for Chicken Point Cabin, and Tom has addressed it in a way that is nothing short of spectacular. However, it is not just the huge wall which frames the view of a nearby mountainside, but also the bedrooms and the shower. Every single window has a purpose.

The way Kundig uses several tonnes of pivoting glass and steel to open the house to the environment is a completely unique design solution. This provides a solution for space, ventilation, and lighting all in one. Not to mention its pretty damn cool.

A diagram showing the way spaces appear to have been 'inserted' into the whole. Kundig uses this method in a number of his designs, always to dramamtic effect.

Little House, Big Window.

"In each of his projects, Tom reveals an empathetic sensitivity for his clients' desires, a deep understanding for the specifities of the settings, and the awareness of the architect's persona as a mediator between the corporeal and incorporeal realsm of his design process"  (Rick Joy, an excerpt from Ngo, 2003: 131)

Now, to the finer details of Tom Kundig's quirky design. The project we're undertaking dictates three different ways to analyse a building, according to a number of concepts set down by Vetruvius. Firmitas, Utilitas Venustas. Or in other words, Firmness, Commodity and Delight. Chicken point Cabin is a benchmark example of simple living, while accomodating for our needs, and providing a sense of wonder to those inhabiting the building. There are three ways to examine the many facets of this design: The house as an environmental filter; as a container of human activites; and as a delightful experience.


As an Environmental Filter

"When Jeff and Amy Larson sought out Tom Kundig to design a lakeside cabin, their only directive was simple: make the house as open to the water as possible. Tom's response to the challenge was equally as direct as the request: a large pivoting picture window on the waterside that literally opens up to the landscape." (Ngo, 2003: 79)


It seems only fitting to begin this segment with the most striking element of Kundigs design: A 30 foot tall glass window-wall, which pivots open via a crank on the adjoining wall. This effectively opens up the entire living room space to the surrounding environment, playing with the very notion of indoor/outdoor spaces. Kundig collaborated with science expert Phil Turner to fine-tine the device, which was given the nickname 'The Gizmo'.

A closer look at 'The Gizmo'

Hand-operated by a rustic wheel, the driveshaft operates a number of gears which pivot the entire wall open. The entire thing has been engineered perfectly with the top and bottom halves of the wall being roughly of equal weight, despite the seize difference, with a flyball governor fitted to ensure the safety of those operating by regulating the gears in motion.

As the entire wall pivots upwards, the living room is completely opened to the landscape beyond, the lakeside breezes and fresh air. This is environmental filtering in its most basic sense, allowing human operation of inside and outside spaces, all the while providing protection and shelter when needed. Fitted into the wall are a number of small windows which can be opened at will, without the need to raise the entire wall. This allows for easy ventilation, though due to the climate not much is required.

Another way Kundig addresses the environmental filtering in his design is through his masterly use of windows. One might notice the small windows cut into the deep concrete blocks used to enclose the house. Every single one of these allows just the right amount of light in, at the right time of the day, and all the while framing the breathtaking local scenery.

The house incorporates a lot of passive lighting, however this is used mostly in public spaces, whereas the bedrooms are left fairly dark. Kundig incorporates a series of windows around the very top of the cabin, a design element which not only introduces passive lighting at all times of the day, but adds an element of delight to the design, making an enormous roof seem weightless.

The entire cabin can be closed off from the surrounding landscape when necessary, though the original design intent was to open it as much as possible. Kundig's response to that request was simple, yet stunning in its execution, creating a starkly unique approach to environmental filtering.

As a Container of Human Activities


Kundig's approach to holiday living is as simple as it is unique. The design for Chicken point Cabin is, in laymans terms, a cube, with a fireplace and a plywood box.

The exploded view gives a good sense of exactly how this building goes together, and its simplicity is startling. The circulation is apparent, with a strong definition between private and public spaces. However, all these spaces are situated within one large area, forming a communal sense of living. The kitchen/living area is undoubtedly the main focal point of the building, housing the dining area and the fireplace. These are places where the family may meet, spend time together, and socialise, before retreating to the more private spaces to relax. There is a heavy emphasis on being outdoors, as the family who commissioned the building are avid water-goers. Tom designed the building with this in mind, ensuring the two main entry points are large enough to fit canoes through. It is in the small details such as this which Kundig shows his commitement to his clients desires.

"While his buildings are exemplary and highly spirited, it is his distinct personal presence in the work and in the lives of all involved that truly stands out for me." (Ngo, 2003: 131)

As a Delightful Experience 

"He looks closely and makes things carefully. Whether opening a window or touching a stair railing - each time we are tugged, tapped, and whispered into paying attention. There is always an element of elegant innovation. Our admiration for originiality is balanced with our pleasure in 'doing'. He reminds us that small moments in life are precious. That is his gift to us." (Bukkue Tsien, an excerpt from Ngo, 2003: 109)

Once again, we return to the most obvious feature of Kundig's design. That massive window.
Operating the wheel which raises the large wall in Chicken Point Cabin is designed to achieve a sense of childlike wonder in the user, as they so easily raise tonnes of metal and glass in the air, while the bell on the flyball governor chimes vibrantly through the air. Perhaps one of the most obvious traits of Tom's work is his interest in mechanics and engineering, a trait developed during his adolescence when he worked with a sculptor. This leads him to all sorts of quirky designs, which provide an enormous sense of wonder to those operating them.

He is also a master of choreographing spaces for dramatic effect. Once a person enters the house, through the heroic nineteen-foot metal door, a tall set of stairs in a plywood box acts as both a sentry and screen of the kitchen beyond. After moving through this narrow space, you enter the enormous living area, with its textured materials, vibrant patches of colour, and odd materials.

The centrepiece of the house is a 4 foot wide fireplace, fashioned from an old Alaskan oil pipeline, with an opening notched into it at an angle, much like the way one would cut log. This huge steel pipe also doubles as the structural post for the steel frame, as mentioned earlier. This allows support of the roof, which appears to hover weightless above the living area. Another curious piece of design is Kundig's use of an old truck spring to support the long wooden table, which acts to surprise the senses.

One of my favourite parts of this design is his use of steel rungs on the back of the fireplace, allowing an unconventional means of access from the plywood loft to the living room below. It is ideas like this that define Tom Kundig's architecture, little mechanisms everywhere, just waiting to be discovered.

Another defining factor of Tom's architecture is his use of materials. Often seen as raw, and industrial, he leaves everything unfinished. Nothing is hidden away by paints or plasterboard. The texture is raw, real, and acquires age with the years. His use of concrete and steel is repeated throughout his designs, although in a new way each time. The sight of enormous exposed steel beams, the feel of rough concrete, and the contrast this has with the smooth plywood all stimulate the senses.

References

Ngo, Dung. 2003. Tom Kundig: Houses. Princeton Architectural Press: New York.

A few more drawings.

Here are two volumetric drawings of Chicken Point Cabin.

I found these drawings to be of immense value, because it is sometimes hard to fully understand the spaces from the plans. Especially with the plywood 'cut-out' that Kundig uses with this cabin. The E-W volumetric section clearly shows the shape and layout of the insert, and the way it hovers above the ground.

The Archetype - On Paper.

Here are the plans, sections, elevations, and a few other technical drawings of Chicken Point Cabin. These drawings give a real understanding of the unique spaces which Tom Kundig has created.

 

Note the way he has included a secluded window from the shower on the upper level, creating a serene viewing platform with another picturesque view of the lake and mountains. The floor plans also show the way that the dining table sits on the same axis as the  front door, acting as a central meeting place upon entry.

 This elevation gives an interesting detail of the window-wall at the front. note the sections of the wall which can be opened as normal windows, allowing for ventilation even when the wall is down.

Kundig's design for the roof is particularly impressive. At no point does it touch the massive concrete walls, merely hovering above them as if weightless. This is achieved by his use of the large central fireplace, which also acts the main structural post for the building, taking most of the weight of the roof.

There are a huge number of ingenious ideas involved in this design, a few evident from the plans, a few which will be revealed and discussed in the analysis of the building to come.

Mooloomba House

Nestled sleepily amongst the the trees on Stradbroke Island, this house was designed with the intent of accomodating a simple series of holiday activities: sleeping, eating, bathing, reading and relaxing. The house provides these needs in the most basic of ways, with a definite focus on communal living, and sharing time together, allowing users to reconnect with loved ones over the holiday period.

The intricate framework of local hardwood, forms a single skin around the building which interacts with the surrounding forest, giving a sense of being 'at one' with nature, almost as if you were living amongst the trees. For the architects, Andresen and O'Gorman, playing with the properties of this locally sourced hardwood was one of the biggest inspirations behind the project, as they sought to find strength in the material, while leaving a subtle rawness to it which adds to the natural feel. Some of the local timber still has bark left on it. The mooloomba house filters the environment perfectly, with only the slightest distinction between the branch of a nearby tree, and the timber cladding around the walkways of the building.

The house fits in with the local setting at Stradbroke, with the area having a big emphasis on coastal designs and the incorporation of local wood. Sleeping 'boxes' are tight modules, with only enough space for a bed and small amount of storage. However this is no flaw in design, but a calculated move towards building communal space, and encouraging users to relax outside, while enjoying the surroundings instead of staying in bed all day. Overall, the Mooloomba house is the idyllic holiday retreat, reminiscent of a treehouse hideaway. The closeness with nature allows its occupants to get away from the hustle and bustle of the city, relax, unwind, and enjoy each others company.

A true escape.

References

Beck, H. & Cooper, J. 1996. On Andresen and O’Gorman’s Stradbroke Island house, UME 3, University of Melbourne, Melbourne, p.12 ff.


Brit Andreson Projects. 2000. Mooloomba House. http://www.ozetecture.org/tutors/andresen/projects_Andresen_mooloomba.html (Acessed 13 March, 2010)