Fam­ily With his fa­ther as both client and men­tor, ar­chi­tect Raf­faello Rosselli has cre­ated a unique workspace, de­signed to chal­lenge our per­cep­tion of re­cy­cled ma­te­ri­als.

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TROLE AS THE CLIENT. It was daunt­ing at rst, where Luigi was both my fa­ther and client, but also a suc­cess­ful ar­chi­tect and men­tor. But we worked well to­gether, our shared in­ter­est in re­cy­cling and ma­te­rial re-use gave the project a strong di­rec­tion. My en­thu­si­asm for ex­per­i­men­ta­tion was well balanced with his many years of ex­pe­ri­ence, which meant that we could push each other to cre­ate some­thing re­ally spe­cial. WHAT HAS IN­FORMED AND IN­SPIRED YOUR AR­CHI­TEC­TURAL PHI­LOS­O­PHY AND AES­THETIC? I have a strong in­ter­est in ma­te­rial re-use. Con­struc­tion waste makes up al­most half of Aus­tralia’s land ll. Ma­te­rial re-use is the best so­lu­tion – it re­duces land ll and has lit­tle-to-no em­bod­ied en­ergy com­pared to other ma­te­ri­als. By us­ing a ma­te­rial in a unique way we wanted this project to chal­lenge peo­ple’s per­cep­tions of used ma­te­ri­als, and for it to be a role model for fu­ture projects. On top of the en­vi­ron­men­tal bene ts, a re-used ma­te­rial has a past and char­ac­ter and helps im­bue the build­ing with a feel­ing of his­tory, ground­ing it in its place. IS THERE A COM­MON EL­E­MENT OR AP­PROACH THAT RUNS THROUGH ALL AS­PECTS OF YOUR WORK? All of my projects in­clude a deep ex­plo­ration of ma­te­ri­als. The most suc­cess­ful/pop­u­lar have been us­ing re­cy­cled ma­te­ri­als in un­ex­pected ways. I have had peo­ple hit­ting the brakes when driv­ing past the Bee­hive and my ear­lier re-use project the Tin Shed in Red­fern (which re­tained the rusty tin of the ex­ist­ing shed and in­stalled a mod­ern in­te­rior). Build­ings for so many are an unseen back­drop, and l like projects that chal­lenge and ex­pand peo­ple’s in­ter­est in ar­chi­tec­ture. At the same time I want my projects to re­spond to the site and im­me­di­ate con­text, which stops a project feel­ing alien in its land­scape. WHAT INI­TIALLY AP­PEALED TO YOU ABOUT THE SITE OF THE BEE­HIVE, AND WHAT DID IT EN­TAIL? As an empty site the de­sign re­acted to its con­text, the ter­ra­cotta tile brise-soleil screen was re­quired to lter the harsh west­ern sun the build­ing faced, and we loved the pa­per­bark street tree which en­croached on the empty lot, so that

the de­sign em­braces and curves around this tree, cre­at­ing a strong con­nec­tion be­tween the build­ing and the street. HOW WOULD YOU DE­SCRIBE THE COM­PLETED PROJECT? I cur­rently work from the build­ing and nd that it’s an idyl­lic space. We look out through the del­i­cate ter­ra­cotta fa­cade into the canopy of the pa­per­bark tree, where lori­keets con­gre­gate and sing. The fa­cade casts a dap­pled light and al­lows the win­dows to be opened wide as it re­stricts gusts and pro­vides a tem­pered breeze, nat­u­rally cool­ing the build­ing and con­nect­ing the of ce with the en­vi­ron­ment around. WHAT ARE SOME OF YOUR FAVOURITE DE­SIGN EL­E­MENTS? While we laboured over ev­ery el­e­ment of the project, from de­vel­op­ing be­spoke steel win­dows, mar­ble oor tiles and brass light­ing, the project’s soul is its ter­ra­cotta tile fa­cade. This was unique and we de­vel­oped a sys­tem that was eco­nom­i­cal, func­tional and strik­ing. IS THERE A PAR­TIC­U­LAR AR­CHI­TEC­TURAL ERA OR STYLE THAT RES­ONATES WITH YOU? I draw on in uences from all over – from the step­wells and forts of In­dia, to the tra­di­tional trop­i­cal ar­chi­tec­ture of Asia, con­tem­po­rary Latin ar­chi­tects who have ex­plored the brise-soleil, as well as Le Cor­bus­ier’s ex­pres­sive use of com­plex curves and ge­om­e­try. WHICH DE­SIGN­ERS AND ARTISTS DO YOU AD­MIRE? I ad­mire Kengo Kuma’s prac­tice and the way in which he ma­nip­u­lates and mul­ti­plies sim­ple ob­jects to cre­ate an or­dered but com­plex ar­chi­tec­tural lan­guage. I am also drawn to fur­ni­ture and ob­ject de­sign­ers such as Max Lamb who rapidly in­ter­ro­gate and push the bound­aries of how ma­te­ri­als are worked and per­ceived. I see fur­ni­ture and sculp­ture as be­ing at the fore­front of de­sign think­ing, as ar­chi­tects who work at larger scales, con­straints and time­lines are of­ten hav­ing to play catch-up. WHAT PROJECTS ARE YOU LOOK­ING FOR­WARD TO IN THE COM­ING

YEAR? ARE THERE ANY NEW DI­REC­TIONS OR DE­SIGN CHAL­LENGES YOU WOULD LIKE TO PUR­SUE? I am work­ing on a mix­ture of scales of projects, from small pub­lic pavil­ions to large houses. I am also ex­plor­ing some ephemeral projects that bridge ar­chi­tec­ture, ma­te­ri­als ex­plo­ration and sculp­ture. rdotr.com; lui­girosselli.com

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