The warmth & sensuous use of the timber cladding and the employment of radii / curved corners within the apexes of the stacked ‘L’s also help to enhance a more sculptured and playful point of difference to the rigidity and masculinity of the existing masonry building. A glass prism openable to the elements links in a metaphorical bridge between old and new buildings. The ‘stacked’ floors of the vertical shiplapped timber façade combine and separate in opposite directions in a ‘paper tearing’ action accentuating the more sinuous and organic drama of the rear building.
The fins – driven by functionality in the beginning were modelled several times in terms of their rhythm and the graduation in their spacing so that when viewed from the rear corner of the site they would visually congeal at the eastern end to render a seemingly solid façade whilst breaking down at the other to be completely permeable.
Their graduation also introduces a diurnal kinetic element – during the day the fins remain in the foreground with the glass remaining dark & recessive, at night it morph’s to the façade being in shadow whilst the lighting and the interior become the attraction.
Cutek was used as Clear oil for the battens, siding and decks.
Source: Australian Timber Awards – timberawards.com.au