A second home for a young family on the southern coast of Victoria that seeks to create some peace amongst the chaos.
The house is formed around one long continuous space containing the shared parts of the house: the kitchen, dining and living areas. This forms a buffer zone between the more private parts of the house: the parents wing upstairs, and the kids' bedrooms and play room below.
This clever spatial planning creates room to relax for the parents, and room for the kids to do-what-they-do, all within a very compact and sustainable footprint.
Rory Hyde Projects is pleased to be featured in the Wallpaper* magazine 2010 Architects Directory. As part of this, we were commissioned to design a concept townhouse that captured the ideas of the studio and addressed pressing concerns of sustainability, flexibility and affordability. The result is called Many Happy Returns, a model for a house as public building.
The impending climate crisis has made environmental sustainability an essential demand of architecture. But we are now also facing a financial crisis, a crisis of social cohesion and a crisis of urban density. Could architecture also be used to address these other crises facing us today?
Many Happy Returns seeks to flip the concept of the house from being a drain on resources to a generator of social, economic and environmental value by introducing new uses and spaces into the standard envelope of the terrace house.
A community garden and public staircase for film screenings or meetings forms a social hub on the ground floor, generating natural customers for a small business in the adjacent private workspace. A self-contained apartment on the first floor can be leased out to supplement income, or incorporated as part of the main house. The upper floors accommodate a compact residence that presses out to the street with full-height windows.
By integrating a compact mix of public spaces, work spaces and residential spaces, Many Happy Returns acts as more than a private hideaway, but instead gives back to the whole neighbourhood. Every street should have one.
This small garden pavilion is designed to grow up with two young children. Sited near a 1970's beach house on a large property in Victoria's Mornington Peninsula, it features a slide and a staircase/bandstand for family performances facing the house and in view of parents.
Underneath is a small interior used as a playhouse that can be opened up onto a deck underneath the canopy of a huge pine and facing views down the valley. This space can be used for parties when the children are grown.
It is multi-functional both in terms of its use and reading; appearing simultaneously as a sculpture in the landscape and as building.
Designed by DUS Architects in collaboration with the Studio for Unsolicited Architecture (led by Rory Hyde and Anneke Abhelakh), the Bucky Bar is the first project to be realised as part of the Unsolicited Rotterdam project.
Bucky Bar Manifest
“Coming down with the Dow Jones, When the clouds come we gone, we Rocafella (…) under an umbrella.. ella ella”
Jay-Z -and Rihanna get it straight, in times of crisis, we need to find shelter. The umbrella is the simplest form of shelter, a personal, private, and dry space in a soggy world. If one umbrella is a private space, what happens when we join 10 together, or 100?
Buckminster Fuller showed us how minimal energy domes could open a way to a more environmentally sustainable future, could an umbrella dome lead the way to a more socially sustainable future?
The Bucky Bar is a full-scale model of such a future. A spontaneous public building made from the most common of materials, assembled with the resourcefulness and skill of architects. It shows the power of space for spontaneous gathering, for improvised shelters to host conversations, debates, games or even parties.
The Bucky Bar launches the DUS / SUA unsolicited agenda for the future of Rotterdam as part of the Architecture of Consequence exhibit at the Netherlands Architecture Institute.
A 2 storey house extension for my pals Patto and Bec in Collingwood, Melbourne.
Done on an incredibly tight budget, the project adds a kitchen, bathroom, bedroom and large living space to an existing weatherboard cottage. Big windows on hydraulic struts flip up to connect the kitchen and bedroom to the courtyard, forming a bar for parties.
The upper level has got a little tilt on it reinforcing the connection between the bedroom above and the space below.
Can a very large building engage meaningfully with a sensitive urban context?
Smith Street Redux is an alternative scheme for the controversial Banco development proposed for Smith Street in the inner-Melbourne suburb of Collingwood in 2004. The council denied the project a permit after receiving a record 1500 objections from local residents due to scale, noise, traffic, programmatic and design concerns.
Rather than shy away from the scale of this proposal, Smith Street Redux uses this original brief as a starting point while taking into consideration these residents objections, recommendations, and the character of the area.
Strategies for engaging with this sensitive context include drawing upon local iconic architecture, most notably the black and white stripes of the nearby Victoria Park stadium, in an attempt to invest the new scheme with some of the cultural pride of the area, and by retaining the ‘neighbourhood characters‘, or the traders that currently occupy the strip of tenancies on the site.
All of the existing program plus a large amount of community program and public open space is accomodated within a built envelope smaller than that originally proposed by Banco, achieved by replacing the inefficient single bedroom apartments with a number of 3 bedroom share-house style apartments.
The architectural response is not polite and does not try to please everyone, but instead favours a ‘tough contextualism‘ that is more interesting and appropriate to the distinct and individual character of Smith Street.
Major project for the completion of Bachelor of Architecture at RMIT University, 2005. Awards: Anne Butler Medal for Excellence in Design and the RAIA / SJB Practice Prize. Supervisors: Stuart Harrison, Graham Crist and Conrad Hamann.