SUPERHOUSE – architecture & interiors beyond the everyday

so for me in essence a super house is
something that is beyond the everyday you know we’re very used to certain
conventional ways of living but clever architects can interpret the sight the
brief the materials and they can deliver it in a way that is quite it takes people
beyond but in a beautiful way and is very adaptive to their lifestyle we
did have a certain criteria around around what we were looking for and
connection to nature was actually really major and it does provide quite a thread
throughout the book and the exhibition when you look at that that connection so
excite was very important this 360 delivery of form was very important a
great interior was important but also that it had something to hook on to
conceptually so that might be an idea that was delivered through technology or
through crafts and so it meant that it just had to have one central idea that
took it beyond the everyday to me there are many things that would
make a house a super house that would elevate it to that level and you know it
can be in in terms of the location the construction the elevation the
dimensions all of those things would make a house a super house but for me
the really important element is the emotional one I need to have that
emotional attachment to a house as well it can tick all the boxes in terms of its
construction and size and everything but it needs to have an emotional appeal
to me as well a super house to me is something that’s actually able to stand
on its own two feet and really have its own personality and its and demonstrate
this kind of clear thinking and it’s anything that really responds to the
brief the client the context and and and create something that we haven’t seen
before it’s it’s it’s uniquely relevant for that project to me is super house is
a architectural perfect storm it’s got everything going it’s got the right
materials it’s got the right sides got the the right feel and I think most
importantly for me it challenges the conventions of how you think a house
should be and then once you get there you go I don’t yeah I get this I could
live here this is like the perfect space it’s the space where you go it’s the
house that gives you envy I think the most important thing is super house
should have is a place for all your old junk so that you can chuck it all in
here and no one complains that it’s in the living space so this is what I love
the term super house I don’t think has anything really to do with the design of
a building I think through design houses can be super as an outcome and we would
never sit down roll up our sleeves and say let’s make this one a super house I
think the super house is a combination between a client their brief
and the architectural response to it well I think what’s great about the
houses in this exhibition is they just take a different perspective on everyday
living and I think that’s why people can identify with it they can think oh I
could live like that or I couldn’t you know when I talk to young Bentham about
his tiny highs I said how did you deal you know with children and staff and so
forth and and those are you know real issues and but they were prepared to
live that way and I think it’s that creativity of approach and again the
openness to how things might be or could be
that really helps push these concepts forward and allows you to have something
that is personally super a house I visited on Sydney’s Northern Beaches
almost 16 years ago was probably my first encounter with a super house it
was an extraordinary place designed by the architect Richard Laplace 3a and set
back just from the beach hidden there amongst the palms totally dictated by by
the weather and by the geography of the area the house was just to me an
absolute gem and I have never forgotten it I can remember sitting there in that
home as clearly today as if it was yesterday
and it was just remarkable because it to me represented a whole new way of living
and it was it was my entree into a whole new continent and a whole new Hemisphere
and for me that was definitely a super house my super house it’s the sheets
Goldstein house by John Lautner and Lorton are designed the house from
inside out and and and everything within it so it was a complete package and kind
of sounds a little bit like a major control freak moment but you know
everything the house itself including all the furnishings and little
accessories are designed for it but it’s an amazing achievement you know back in
the 60s there probably weren’t concern with them with safety like we are now I
think I’ve seen some images of people walking around and you know being able
to almost fall you know to their mercy down into the
you know into the bush but we have to navigate all of these rules and
regulations nowadays and still come up with something extraordinary kind of
sucks I think Lautner was probably a rock star
of architecture it was a bit of I don’t care I just want to make it cool so what
would be in my view a super house will be over maize Bordeaux house and it is
you know the brief or I should decline for the house is a paraplegic person and
his family and the unique nature of the briefing it has necessitated the
architect that totally rethink how the house is organized Horizonte and also
vertically and what I’m a did was to design a very large four by four meter
platform which also acts as a room and that platform is really a lift at the
same time that there’s in the center of the house and it totally by putting it
in the center powers it totally structures the house around that lift
around that platform and in doing so does reorganizes and we thinks what a
house in everything’s a traditional house Dulli because of the unique nature
of the brief well I think that there are so many incredible examples you know
around the world but the one the one that I feel connected to you know super
houses for me yeah are these traditional Island homes
built you know often by the occupant and owner you know with very basic materials
that have been collected salvaged from the place itself often where they there
is the traces of hand at every level of making where they’ve you know cobbled
the place together with with friends and family I think it’s the fingerprints of
of a human endeavor or of activity of their and that those fingerprints or
traces are important because they reveal authenticity it doesn’t remove the story
the human story and narrative if I think places need to have a human story and
narrative and they need and that’s how we generate this kind of visceral
response to the things it was very important to me that small
spaces had cut a role to play in this exhibition as well because I think
that’s the the way things are trending and the ingenuity required from
architects to deliver something small and powerful it is a great example of
how the thinking is expressed and so in in the exhibition we have we have
several great examples that are very diverse so one is in Ireland and it’s
the Golding summer house which is tiny and was originally built really as a
sort of party house really as a dance floor cantilevered over a river it it
did the winter is sort of a period of ruin and is recently being been revamped
to have a more domesticated feeling that it now has a you know a bedroom and a
small kitchen and bathroom but it remains this kind of wonderful museum
pavilion suspended over over the river in a way that it’s very unusual in
Ireland particularly in that period and then on the other hand you have in a
very dense urban environment you have Dominic alvaro small house which was a
tremendous global success and an award-winning project and that was
taking a sort of almost unbuildable tiny car park site and turn it turning it
into something through clever planning and into something that was light filled
and and quite beautiful yeah I mean we we’ve been looking in
Surry Hills and we found this particular site it was a seven by six meter side
but it was in a laneway it wasn’t on the on a primary street and
it was also adjacent a 12-story office building and it was essentially an empty
car park for to two or three cars but at the same time 7 by 6 meters whilst the
perception is that is actually small for me I saw that as a key opportunity and
it did immediately upon visiting the site was actually this is quite
substantial if you took a six by six by six volume it’s quite a substantial
volume and most living spaces in modern apartment buildings don’t even get
anywhere near six metres my first reading was well this is amazing this is
huge this is a big space I could really manage this quite neatly and the fact
that I was surrounded by tall buildings also gave me the confidence that
actually the height won’t become an issue once you get elevated over the
second level it has an amazing view back to back to the CBD that started to sit
where we might locate the living space and then we had a living space and
entertainment and sleeping so that they just become zones and so we thought well
we don’t want the sleeping zone to be elevated on the rooftop we want it to be
more of a sanctuary and more low down it was really about getting that living and
entertainment elevated as high as we could because you move either up to the
roof terrace or down to a living space or the kitchen then became this sort of
hub between the three living spaces so actually low down it’s quite solid the
house sits there punched windows it’s quite protective it is this idea of a
sanctuary let you go into this concrete bunker and inside is this sanctuary of
of your home in the city and then as you move out from the lower levels it just
opens up to being very light very spacious the ambient daylight was
tastic we actually built the house in four days because of the small footprint
because of the repetition we built off-site we fabricated everything
off-site we assembled it all on-site proofing prefabricated so it was you
know lift one two three four and the entire house was built yeah you have to
close the road and that’s expensive but you’re only doing there four times so we
delivered a building for the cost of an apartment and delivered the finishes and
all of the the value adds that I wanted in in the project so it works really
hard this more like it works very hard on many levels and I think that’s what
makes it a super house it’s not so much the super houses is super in terms of
Bhrigu impressive it’s about does it work for my life and Canada adapt to my
changing life so I might you know have kids or kids might leave or I might feel
like it at certain times I’m working a lot from home or we’re out of home a lot
so you know can it expand and contract with me as my as my life continues so
that is something that adaptable home and that home that really suits the kind
of life I I want to leave that’s a super house the trunk house is located in a
forest in the central highlands of Victoria it’s just stringing back
forests so there’s almost no ground cover it’s just just the trees you know
quite a you know very under present canopy as well but I guess from the
outset ourselves architects and the clients were keen to integrate the house
into the context of the forest so that at certain points the structure of the
house is almost a confusion or a blurring between the structure of the
house and the trucks in the forest with the
engineer pedophilic Shetty we came across the idea of using the tree trunks
of our vacations to act as supporting members for the house I mean it’s the
kind of project where we really needed the right engineer and the right builder
and the right craftsman become sculptor to put the bifurcations together you
don’t want it to look too rustic you know – kitsch so you get someone
with the skill to be able to to work these bifurcations and join the tops and
the columns which have different diameters and cross-sections to join
them so it looks like a fluid form takes a lot of skill and time the house is
basically you know one giant trusts so it’s very strong even though the the men
was a you know they’re only about that that diameter they’re quite thin but but
very strong it’s a very small house that’s the size of an apartment
basically because it’s a weekend but we don’t tend to see that as a limitation
in the interior and living areas that it’s all timber and that was even a
conscious affect the timber lining internally on the living room walls is
stringy bug so when the trees were removed to make way for the house
construction it was a milling machine that came on site milled down those
stringy back trees that were removed those boards were seasoned over about
eight months or so they weren’t exactly sure what kind of
figuration would get more grain after they’ve been milled but we were really
pleased because the grain has a lot of character so to apply the term super
house to the trunk house for me is about the idea that this house is about going
into a forest and developing a concept in this case using bifurcations using
forms in the ecology in a very primary sense to create the concept of the house well you know the first time I looked
the site up it was some it was like sort of going into God’s country it’s looks
like this I haven’t really been to any other places like that before
so you sort of enter the valley and you really feel like you’re in this
incredibly secluded area and you also feel like you’re in a very it’s not only
sort of more inspiring its beauty but you’ve got the its flanked by two large
mountain ranges so you really feel like you’re very safe and secure and on the
side there’s a creek that runs through the site and so one of the very
important parts of the brief was that the house had to be sited near the creek
we oriented the house along the axis that along the axis of the mountains
because it was formed such a strong line it was very hard to ignore it so that
that became the sort of access for the whole design and we had to incorporate
to sort of stone cottages that were part of the sort of history of the site and
apparently they’d been Bushrangers in the area that had hidden out quite a
famous bushranger was there so we kind of felt it was very important to
maintain the cottages as as part of the house I’m sort of very fascinated with
the idea of grafting so the idea of grafting in in Japanese gardens where
they there’s an existing sort of tree and they might sort of chop it all
they’ll alter it in some way or they might add another piece to it and so the
new piece becomes part of almost part of the whole so you wouldn’t really know
so that that approach was taken so that the the new part of the house sort of
almost becomes part of the old part so that the two cottages are sort of framed
by by the new house but they become like sort of these jewel like sort of special
kind of parts of the house there’s quite deep overhangs on the roofs that’s
really protecting you and from rain and some sort of shelter the roof of the
house is angled so that they perfectly frame the mountain range so you sort of
see the whole top of the mountain range see so it’s not cut off halfway there
sort of angling right up so that you sort of see the whole mountain range the
new materials we still wanted to use something that was almost part of the
site as well so even though it’s a light material we used iron bark which is a
reference to a lot there’s a lot of iron bark trees in the area rough sawn iron
bark it’s used externally everything inside
the house is very sort of smooth and jewel-like
and we’ve used black but ply along the bedroom wing there’s also a bit of
rammed earth that we used in the house so we’ve used sort of local earth and
did lots of experimentation with different types of rammed earth walls
and the colour kind of it’s quite related to the colour of the earth yeah
we’ve also used brass mesh on all the outside sort of deck areas which give
you protection from the mosquitoes and the insects and flies and that sort of
thing but also enable you to look outside sort of almost like you’re in
your own little world but you can look out but you don’t really feel like
you’re you’re being observed yourself the surroundings become the thing that
you really look at rather than the inside of the house it’s almost like a
sort of frame for looking for looking at the outside so the house itself has is
quite zen-like and quite has a sort of sense of calm
it was just great working on a project where you’re in such a fabulous place
it’s quite a privilege to be able to design something that is really sort of
particular than that area are in very special better and
becomes part of the area so I think that’s quite a great opportunity for an
architect so we know that humans and you know you know respond to places and I
think super houses are these places that we immediately feel a visceral response
to we don’t necessarily always know why we might think it’s because of concrete
or the way that a circulation space works or an incredibly crafted material
but there are other aspects that are less obvious but you know as critical in
terms of building a sensibility and the feeling of comfort within a space I was
on the Croft house which is near Phillip Island in Victoria it’s on a pre exposed
part of coastline and faces east so the winds blow offshore there which makes it
a bit easy because you can just face the view and have the wing behind you where
I came about was I was there for three days and I didn’t mind being
embarrassing myself by walking like an idiot walking around and looking
confused so I pretty much just did that and I knew that I was there with the
owners and we were staying there in the old place that was there and and I knew
they were worried healthy but on the third day looking silly and wandering
around thinking I realised that a very unique thing was happening there with a
weather Trey’s world bending towards the ocean so the wind was coming from behind
and so a scheme really needed to put its jacket up to the collar up to the wind
and protect itself in that way the idea of a courtyard house was a pretty good
model because you could make a protected place and so there was a few experiments
of can I do a courtyard house that doesn’t have redundant space in long
corridors doesn’t have the double-headed blinkers because the courtyard houses
give me this you know shuts off all of that can i
tape it off and just make it disappear hollow out the ends you know maybe a
bathroom would work well in the end sure enough did work well so I understand
that it seems that this is a complete thing that’s been placed and then the
owners have had to somehow find a way of living in this form but it didn’t evolve
that way I mean sure enough as that shape evolved there was long bananas
washed up kind of sea cucumbers there was you know until it was practically it
started as a exercising passive solar Shore and the owners don’t use in
heating or any cool and that works by having a lot of thermal mass furthermore
inertia and well insulated and I think the form probably does a little bit for
windchill these forms probably do a lot to shoot the breeze over and not really
take the heat out of the building and that was part of the looking at the
Croft house of hundreds you know Croft houses on the north of Scotland
and ground-hugging things so this landscape is evolving in a certain way
with erosion the gel and geology fertility of the ground winds and rain
so what if this architecture was to look at these natural systems and try and
work in with them and to have them generate the architecture so I super has
to me steps away from convention and in a way it’s
almost endemic it’s evolved in a place those kind of qualities I think we all
innately really enjoy because if we go traveling
it’s those look at how these guys are living here you know that kind of
uniqueness and it’s not to say that generic modernism isn’t exciting – and
doesn’t have a role to play but me personally interested in how it’s
twisted and evolved and part of a system of a place culturally and physically look I think contemporary design is is
very respectful now towards tradition and towards the past and nothing excites
me more than when I see a project come across my desk of a beautiful old house
that has been very sympathetically restored with a modern extension I like
the journey that that can take you on through the home and I actually do like
it very much when there are two distinct halves to the house where the the old
hat the old half the traditional half has its own distinct personality and
then you sort of cross the threshold into the contemporary but it’s done in a
seamless way and it’s done in a respectful way that really respects the
heritage of the original home we suffered the design of the scholar house
in 2009 it’s a terrace house which is located in
in Balmain and the inner-city fabric in Sydney is pretty well intact and I think
it’s important to remain tane the the front facade
especially when they’ve formed out of a continuation of a row terraces I think
that’s very very important and not ain’t it not only to maintain
the the tourist hospice art but also the form of the other more the main body of
the terrace house I think you know that that’s very very important because what
we were interested in is a counterpoint between in a traditional form the
traditional facade and how that counterpoints or how that is juxtaposed
against aid we’re not quite a contemporary interior what we decided to
do was to invert the terrace house traditionally in the two-story
terrorists you know here you have the living rooms on the ground floor and the
bedrooms on the top floor and we basically flipped that we put the living
rooms on the top floor many to take advantage of the views towards
Parramatta River toward the front of the house and also to take advantage of the
sculptural reforms you know sort of sculptural skylights most terrace houses
you don’t see the sky because you’re bounders had built up you know houses
built up along the boundary so that’s quite a rare experience so we wondered
we wanted to be able to see the sky that was very important and our general
approach you know during the design process was to really look at the
housing section rather than the plan because it’s all about the light coming
down to the top is all about the vertical circulation as the living rooms
from the top floor rather than the ground floor so as you interfere the
front door you enter into a three storey high space you know poppy apply the
skylights and then you rise up the flight of stairs and as you reach the
top of the stairs with the living room ease your your adjacent to a lovely tree
in your mother the courtyard so and that’s very sort of different from a
traditional terraced house experience you know the scar lie isn’t just a
simple device which allows light to come in
it’s a volumetric device which are beliefs and sculpts the space at the
same time and by placing a sheet of glass on the
outside the opening you eliminate the frame so the frame doesn’t interrupt the
view between the the inside and the outside so in our case what we were able
to do by limiting it frame you get the the white roof forms juxtaposed against
the blue sky so the experience is it’s quite surreal you can only achieve that
through the detailing by placing the painted glass on the outside of the
opening you know I’m most happy with the way the life end of the house and
secondly I’m very happy with the way we engage with the urban fabric and we
respected the additional terrace house for money and the facade by the same
time we’ve introduced continuous phases within the house so is that some
adjusted position which were most happy we have also
I was recently lucky enough to go to Richard Rogers house in Chelsea in
London and talking about super houses it was extraordinary absolutely
extraordinary and it’s a great architect and this home represents everything that
he’s ever done and you walk up to it and it looks like a typical Georgian house
and then you open the door it’s splashes of color and so behind it is this
enormous triple space white room super a per plant open planned but super livable
and I think that respect from nod to the past that’s what makes it bring it
because you don’t know what to expect he’s a big name of international
architecture and he said bitties own home that isn’t cozy in any way but yet
it is cozy because somehow his talent is to make cavernous spaces full of glass
and steel and white walls feel like you could happily live there and read a
paper and feel on top of the world I’m gonna talk a little bit about
concrete because I’m obsessed with it there there is something about concrete
in terms of its transgression as a natural material and as a man-made
material but it’s a capacity to sculpt and form its imperfection it’s one of
those things that has a reach level of patina and there is something about that
tactility of materials I mean concrete but also worn you know timber that grows
over time or mild steel that begins to rust
it tells an authentic story it tells a story of you know of things our
activities evolving over time it’s not looking to and begin to transparent it
tells you the truth about what it is even precast panels in that are you know
formed up in factories will all have their own level of you know of patina
and history and narrative and story in a steady much like the fingerprints of
humans I guess the provocation of this project
for us was that the client have lived on this site for many years I think 25
years we felt there was an opportunity to provide the client into doing a house
that was much more suited to the collection of art that they had a
substantial collection of art we challenged them or provoked them into
thinking about what we could do what we could achieve if we started again on
this site and as a little bonus the house next door came up for sale and so
we suggested that it might be a nice idea to purchase that and instead of a
going for the usual ridiculous idea of a tennis court that we actually reach a
house across two sites so that was that was the start of this project for us yes
I guess there are a couple of major conceptive driving forces and the site
itself is one of them because it’s actually almost honor honor on a cliff
it’s very steep site we knew we had to have something that would step down the
site but we wanted the building to really contribute to the surroundings
and anything it’s in a context of a lot of very large very nice houses but
they’re all very nice as when you’re inside the house and all they do to the
street is create a blank wall and we’ve set out to really do something a lot
more sculptural that could really contribute back to the street we wanted
to I guess create a sculpture that was livable very important for our clients
that this was not an art gallery it was a home so in a sense we wanted Pauline I
wanted to create the scholar in the landscape and then show the clients how
we can make we looked at many different artists we
loved the goo she was one of them and against Noguchi for us had sculpture
that was linked and connected and created voids and for us just beauty so
you know looking at the Noguchi and we started off with this original idea
about you know when you try and step something down it starts to create these
holes and volumes and that actually was more about not so much even what we were
building but the spaces we were creating we started to shift things around to get
things to functionally work and get the towels and things to work and then
finally and it was really out of responding both to the brief the sun the
privacy or all those are the things that make an actual house turn something from
a sculptor to a house responding to all those elements is what ended up getting
us a sort of final formed twisted for the Sun and twisted for the headland
view and functionally fitted all the different pieces in it so yeah I made a
client happy but very important when we put the notion to them that the house
could actually also be a sculpture itself in the landscape and really
contribute that they were excited by that idea I don’t know how many clients
would be so that’s true it’s true credit to them fantastic that they they took it
on they had the courage to do that then I think people don’t read this as as a
house necessarily they’re looking beyond it and they’re looking around it as a
sculpture but even when you come inside the house and again Kali talks about the
obsession with you when you come into this house you don’t see with you and it
was we were very adamant that you wouldn’t just have that typical open the
door huh you so they actually I blocked of you
and turning turning Carol now : that walk Clinton’s walk right I think it’s
history so how could you do this we’ve got this beautiful view and you walk
into this house and you put a wall in the way but of course the viewers
revealed URL so just this tiny slice them that sends you long but it’s not
the big well the the choice of concrete was fairly simple really because we
needed a material that you would read as sculptural so roof and wall and ceiling
and and surfeit it all had to be the same material now course concrete is
perfect for them because you form it up in those shapes there’s a real strength
and solidity to it and yet there’s a delicacy around it as well so the way
the glass slides into the concrete even the detailing of the balustrade is this
great contrast between the robust nature of the material and the delicacy of
certain elements and with with the out because the art is spectacular primarily cubist realism in his contrast
with this really robust building so I think it is audacious to do a house like
this in this location in Sydney and then we were given an award a local council
award for this house for the contribution to the built environment
now that is amazing because my second said let’s be honest when we bring our
first meetings with the client regarding our design we weren’t particularly
positive about how this might be received at council so we had to say to
our client look baby steps here because we might fall over the first hurdle but
the house was embraced by the planners from day one and we had no problem with
approval and here it is an audacious house for this part of the world
official concrete is great because as I get older I realize maintenance is
always an issue so you build a concrete house and you choose not to paint it all
you got to do is hose it and I see I see so much beauty in concrete and why is
that those great brutalist buildings that I grew up with so you know schools
were brutalist the cinema was brutalist my university was brutalist and so it
there’s a real nostalgic feel Paul for me for Brutalism and then oh if I see it
in a domestic setting I don’t have a problem with it but I don’t know I’m a
modernist so there’s there’s no way I’m not gonna subscribe to the fact that you
can live in a concrete box with glass windows and you know there’s some soft
furnishings salts everything Linda’s house was conceived to be part
of a very ancient landscape and the Victorian coastline is typify die
secondary and tertiary June systems that give a undulation and a soft roll to the
landscape and we wanted the house to be part of that not to reflect it but to be
part of that landscape and in fact go further and appear as if it was built
millions of years ago covered over and then eroded away and exposed like it had
been part of a Skeletor remain of an ancient marine creature the brief for
this house was quite an open idea there were some pragmatic things about the
number of bedrooms etc that they use it as a beach house but it’s more than a
beach house for them the house is more of a vehicle for them to use as a family
but also to use with extended family and friends so it’s more of a sanctuary or a
haven for them to come down and have the opportunity to be alone or with a large
group of people the the design of the house is based on to a degree a sense of
mystery so on arrival there’s a blank wall and a door in it which is a bit
like a small proscenium arch in a theatre and when you draw the curtains
or open the door it exposes you to a magnificent view so there is kind of an
excitement attached to that a quiet excitement on the Victorian coastline
where the view is is usually where the weather comes from so we’ve provided
North facing courtyards that are protected from the southerly weather
where the swimming pool is for example so there are all different places that
you go to around the house depending on climate and also that
facilitates a sense of Zoning throughout the house so everyone’s got privacy so
it’s effectively or like to boomerang shapes with a little zipper of glass
between us that gives people aspect and view without others being able to look
look at them through the design of a house like this you simply can’t see
from one end to the other there’s mystery that activates your engagement
with the house so the visceral quality of the body in the building is part of
that mystery so that you can’t necessarily know what the plan of the
buildings like you actually have to be active in seeking that out and moving
through the building because of the curves within the building and the
timber beading we can disguise drawers so you just see the shape of the wall in
a series of handles but you don’t see a wall with a frame with a door in it so
the sculpted form is highlighted by the use of materials I think there are
dramatic moments in this house and things like the stair to the upstairs
bedroom could be you know there could be a bit of Gone with the Wind in that the
bathrooms are quite brightly colored they were meant to be dual like there
was meant to be a touch of Hollywood maybe on the Victorian coastline I mean
I walked into the bathrooms and oh I smile and I see them because there’s
something there is something kind of luscious about them but the materiality
is quite simple the scale of the building is based on a
range of activities and sometimes times our client like just the two of them
might come down and so there’s intimate cave-like areas where they can retreat
to and feel like they’re in an intimate space and also their children have their
own private area so they can retire to that and they can have their friends
down and go crazy in another part of the house while other things are happening
elsewhere and then there’s more space if other families are down here so it’s
designed so that if you are here alone you don’t feel like you’re rattling
around the house there are spaces to go that you always feel comfortable in the
materiality of the building does make some reference to bleach driftwood or or
old whale bones but also it’s in a monochromatic palette
which is what our work is about every time of day it looks slightly different
I think the house still looks quite fresh and there’s a timelessness about
it which is embedded in our work we we’re not architects that respond to
style or decoration on a building the building is what it is it’s a sculptural
form and they’re designed to look better as I get older I mean if we had to drill
down a super house just to three things my one of my most important would still
be that the connection to site and connection to nature because that just
brings something the other quality that’s not always possible if you’re in
an urban environment and then I would say it was the the management of light
because in a way that can still draw in the experience of nature even in in
somewhere that it is more urban and the third one I think is is that kind of
indefinable quality of poetry or something that actually when you go into
a space gives you an uplifting feeling because that was another aspect that was
very important these places should have a quality that is all inspiring and just
to capture something that makes you feel different and I think if you if
architects succeed in doing that they’ve really really done their job and then on that concrete house miss
Eddie house I mean that’s got yeah give me that now I don’t care whether the
children hurt themselves I just think it’s just extraordinary give me time so every day beautiful
beautiful basil

42 thoughts on “SUPERHOUSE – architecture & interiors beyond the everyday

  1. 42:06 Gorgeous room and painting. The other room has a stuffed deer in it which I find abhorrent and unethical.

  2. Clinton part is great mate because the idea of the house is normal, some times when a person see another person, an accurate guise will be given whether the person is Australian, the mate are Australians either in combination or separation. If I have a wish, I wish I will hire Clinton and his mate to do hospitality work in Sydney.

  3. The expert here chose my favourite Lautner house after his Arango-Marbrisa house in Acapulco. My fav house in this vid is the Flinders house, what I liked about it, having never seen it before, was initially I did not necessarily like the first image of the home but found myself falling in love with it the more it was revealed. The placement on it's site, the placement of the large gum and pine trees in respect to the home, the clear lawned landscape and the wall with the front entrance door and garages, along, with once inside, the curved hallways with hidden doors and the dramatic or theatre like stairs leading up to the main bedroom, all combine to make the home…sublime

  4. Nice selection, architects ( some of them ) are motivated to explore radical design concepts.
    Here I add this three:

  5. Whatever happened to a cozy 2 bedroom house by the sea with a fireplace , these contemporary mosoleums don’t look like home to me

  6. A bunch of rich asshats that think they need to take a house beyond the everyday. People playing to envy, power and one-upsmanship. Total disregard for living within ones means on a planet with limited resources.


  8. Almost everyone of these buildings is located in a warm or temperate climate. Lots of glass, sun nice views and 1.5 million dollars or much more. Cold climates are off limits to the “super house” snobs.

  9. Strange! I saw the house shown initially in a segment by a woman who travels and shows different amazing homes, and my first thought as the woman in the program started talking about “super homes” was this very home. Talk about prescient!

  10. After all the effort that went into this terrific film, why not have someone correct the terrible closed captioning for those of us with hearing disabilities?

  11. I saw the Goulding summer house and just let out this cry of joy
    and the house starting at 24:50 or so is a wonderful blend of old and new

  12. I was an arty farty for many years then I studied a building trade at 50. I was a soldier in the bush killing castros communists.  Ive built in 4 countrys . communism took ovr them all and I saw the death toll rise and the lefty rot set in. They became socialist shitholes. Then I got utube and lost interest in fake houses and especially lefty liberal yuppies. I now watch lone survival guys building a log cabin shelter out in the sticks, working their fucking arses off. I turn 70 next year an it looks like I may have to kill communists again.  . A lot of good hardworking tradesmen have been given zero contract hours ???? under yuppie Cameron and whats the point in working for nothing ?.What an insult to a trained craftsman.   british pensioner   soldier .. bricklayer builder .         *Threw the bullshitting bbc commies out of my home in 2008. if someone wants me to build something for NOTHING now I just tell them to fuck off. In London way too many liberal fake materialistic yuppie arseholes abusing hard working servicemen, its a rife, and Brexit will put a stop to that quickly and they dont like it. These greedy remainer parasites are scared they will get no more freebies and their free labour abuse will stop faster than a free western bullet.. you can only sleep in one bed  and drive one car .Under lefty communism you fakers aren't going to have a home or ANYTHING.  Like the pretty lady in Dr Zhivago, at the bottom of her stairs she remembers the 'Normal times' before the Revolution……..then the reality …… while the bolshevick jewcommunists take over her house and she has nothing      any more

  13. These super houses are the most hideous monstrosity ugly looking homes I have ever seen. The are cold, uninviting, aren't built with nature, too commercialized and industrialized looking and they do not have the warmth and comfort of what a residential home should have. This houses are not super unless you enjoy living in an office or hospital looking type building.

  14. lot of these architects talk and built crap, if you have to talk so much about what it all means and explain it so hard you obviously didn't succeed in what you tried to do, architects shouldn't talk so much they should spend more time on designing

  15. My comment is as follow :There is no element of 'super' in any of the houses other than high expensive budget and glamorous architects 'standing' on their works. A house must be livable not sculpturous or artistic looking , that is the primary reason .The art of 'fengshui' is the best measurement either a house is a house or simply a creation by an architect. In summary, I adhere the phrase 'Form follow function' as the basic fundamental if a space has been given judgement for its existence in relation to the universe as a whole.

  16. Just remember to build in a gum forest and vote green so you can be burnt to death in a fire that you can blame on "climate change".

  17. I want a house where it is split in two by a massive courtyard that winds about like a snake, and is made of sedimented rocks, burnished so that they look like the Antelope Canyon. That would be my Super House, and the roof on both sides of the split house to look like the louvre roof of Abu Dhabi museum

  18. Typical, absolutely ugly and "cold feeling" creations — just like American architects. The most awful professionally designed house I have been in was "modeled" after the work of Frank Lloyd Wright. The ugliest new building in our county is the Regions bank — designed by an architect. The multi-million dollar U.S. pavilion at the World's Fair in the next county over won a competition for design that was voted on by the architects of America. The accolades were unending. The building was so useless and ugly, that after the fair they could not even auction it off for one dollar. It was eventually demolished for scrap. The building for the college of architecture at the nearest state university is a more ugly and harsh environment than a prison, much like the monstrosity above, which we are to believe is a "superhouse". Our architects are blighting the nations. The architecture students throughout the western world ought to go to the college administrations and demand every cent of their education back. Beautify the nations from Australia to America — get rid of our architects and put an end to their absolutely ugly monstrosities.

  19. What the hell IS that HORRIBLE concrete MONSTER at the beginning and from which psychiatric institution escaped the DANGEROUS PSYCHOPATH who planned that atrocity?!?

    They should have been first tortured, THEN (slowly and painfully) killed for THAT crime against aesthetics!!

  20. Super (EXPENSIVE) House 🙂 imaginative and pleasing design. Not seeing much evidence of concern for environmental impact. Looks as if you could shelter 6 families of 4 nicely for the same cost as most of these.

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