The front elevation is inscrutable – there is no front door – one passes through a narrow gap between the pavilions onto the deck before entering a choice of three back doors.
A sense of spatial hybridization and the provisional is intrinsic to the experience of the house. This ambiguity expands beyond strategies for programmatic arrangement, to pose questions of form, space and material. – the project is conceived as suite of overlapping spatial and functional conditions that resist clear definition. While the building can be described in conventional terms – kitchen, study, living room, etc. To the west of the bedrooms is an external services zone. The front pavilion contains the kitchen/dining area, the rear pavilion is the living room, and the two story middle pavilion contains 3 bedrooms, a study, ensuite and bathroom. The figure of the plan twists by 9 degrees to orient precisely to north. They are joined at ground level by a covered deck area, so that in moving between the different areas of the house one goes outside to go inside again. The house is designed as a set of three interlocking pavilions. The floor area of the house was notionally limited to 120m² - less than half the average Australian new home. This was also driven by a pragmatic concern to reduce cost. How might the house both mediate and foster cross-generational living? How might the house accommodate different stages of life for an extended family? How would relationship thresholds between family members be delineated in this circumstance?Įxtending from strategies developed in earlier projects (such as Scapehouse, Periscope and the Platform For Pleasure Exhibition submission), the project aimed to reduce building size by condensing and grouping the requirements for contemporary living – with all the associated functional and sustainability benefits that come with using space more efficiently. Several questions emerged in the course of contemplating a project for a new residence. My wife and I have two young children and this scenario provided an opportunity to rethink the conventions of nuclear family living and find ways to balance the mutual conveniences inherent in this living arrangement. Located in Balwyn, their property had the advantage of a being corner block of sufficient size to allow the new house to have its own street frontage without disturbing the original house. Instead of a typical transition to home ownership, we took the somewhat unusual step of approaching my parents-in-law with idea of sub-dividing their property to then build a new house in their backyard. The project engages with issues of extended family dwelling, spatial flexibility, affordability, low-grade densification and sustainability. Both Morgans cameoed on "Girl Meets World" to really hammer the joke home.This project is for a typical detached dwelling in the inner suburb of Balwyn. The show was never shy about meta humor, explaining that the rules of "The Flintstones" would apply directly to Cory's dilemma in Season 4's "Sixteen Candles and Four-Hundred-Pound Men" and acknowledging that new character Kenny would be first to die in the slasher parody "And Then There Was Shawn," as he just wasn't as important as the rest of the cast. When Morgan reappeared halfway through Season 3, she explained her absence thusly: "That was the longest time out I've ever had." It makes sense that "Boy Meets World" would hang a lampshade on this plot hole. Morgan Matthews eventually recovered, although she was played by a different actor. Fans call it Chuck Cunningham Syndrome, after the lost older brother of Richie and Joanie on "Happy Days." Kate on "Angel," Judy Winslow on "Family Matters,' and Topanga's sister Nebula have all lost their battles with this deadly syndrome. Regular performers leave the show and no explanation is given for their disappearance.
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