Lo­cal home :

A Tay­lor and Hinds’ ad­di­tion has taken out one of the state’s high­est de­sign awards .

Sunday Tasmanian - Tassie Living - - NEWS -

TAK­ING home two ma­jor awards at the 2017 Tas­ma­nian Ar­chi­tec­ture Awards was a sur­prise for Mat and Poppy of Tay­lor and Hinds Ar­chi­tects.

While the cou­ple has en­joyed awards suc­cess in the past, Mat said the cal­i­bre of the work they were pit­ted against this year was truly out­stand­ing.

Tay­lor and Hinds won the pin­na­cle Es­mond Dor­ney Award for Res­i­den­tial Ar­chi­tec­ture for the Cross House, at Franklin, and the Edith Emery Award for Res­i­den­tial Ar­chi­tec­ture (Al­ter­ations and Ad­di­tions) for their Longview Ave Gar­den Room, in Sandy Bay.

Both homes are also fi­nal­ists in Houses mag­a­zine’s ar­chi­tec­ture awards which will be de­cided next month.

In a link that is im­pos­si­ble to miss, Tay­lor and Hinds’ work on the Sandy Bay prop­erty – which was orig­i­nally owned by and de­signed by Edith Emery – won the award that has been changed this year to bear her name. It added a unique pres­sure to the project.

Mat de­scribed her orig­i­nal 1958 house as a mod­ernist home, un­pre­ten­tious and bril­liantly sited.

“We did as much as we could to hon­our Edith’s hand and take cues from the orig­i­nal build­ing,” he said.

“Her work has such as strong sense of liv­abil­ity. Her houses are fab­u­lous to live in, they work re­ally well with their gar­dens and have pri­vacy and ac­cess to sun­light – those things mat­tered to the way we thought about this project.”

Mat and Poppy cre­ated a new liv­ing space and up­dated the home’s in­te­rior.

They car­ried the ex­ist­ing step­ping brick foun­da­tion into the rear gar­den to cre­ate the new liv­ing plat­form.

The white tim­ber framed ad­di­tion ref­er­ences the orig­i­nal home’s white painted open­ings. While the pair kept the new ad­di­tion low to pre­serve the orig­i­nal roofline.

In the early stages of the process, Mat said peo­ple they spoke with, such as en­gi­neers, sug­gested ex­tend­ing the roof up.

“But we thought that the roofline was such a clear move on Edith’s part that we needed to be care­ful with it,” he said.

“To keep the ex­ten­sion lower than the orig­i­nal roof meant it also sat low in the gar­den, it kept the cost down, and it made the orig­i­nal move of the roof clear.”

In­ter­nally, stained Tas­ma­nian oak and black­wood join­ery ac­knowl­edge the tex­ture of the orig­i­nal home.

A new kitchen, which fea­tures a bench that over­looks the river where the own­ers have break­fast daily, was po­si­tioned to at­tract the east­ern light.

“There is also a lit­tle mo­ment where we “cant” a win­dow back so you can sit in the win­dow with a di­rect line-of-sight to

the city,” Mat said.

“It plays with the idea of an in­ti­mate space with a big as­pect.”

The cur­rent own­ers bought the house from Edith Emery’s fam­ily.

Mat said they were aware of the his­tory of the house.

“They gave us Edith’s orig­i­nal pen and wash draw­ings to work with. Most im­por­tantly, they are thrilled, over the moon, with their new house,” he said.

The judges de­scribed Tay­lor and Hinds’ work as be­ing “thought­fully, eco­nom­i­cally and ex­pres­sively un­der­taken”.

“The ar­chi­tects’ care­fully con­sid­ered re­spect and un­der­stand­ing of the at­tributes of the orig­i­nal house have re­sulted in the ac­com­plished achieve­ment of a sense of ef­fort­less in­evitabil­ity in the com­pleted work,” they said.

Her houses are fab­u­lous to live in, they work re­ally well with their gar­dens and have pri­vacy and ac­cess to sun­light – those things mat­tered to the way we thought about this project

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