架构师提供的文本描述。所有的房子都在某种程度上与生活在一起的历史产生共鸣。雷切尔·怀特拉德1993年的“房子”装置体现了这样一种观念，即记忆被铭刻在我们生活的空间中。这个项目开始于架构师和客户之间围绕这个想法的对话。

Text description provided by the architects. All houses in some way resonate the history of lives spent together. Rachel Whiteread’s “House” installation of 1993 exemplified the notion that memories are imprinted into the spaces in which we live. This project began with a conversation between architect and client around this idea.

 © Peter Bennetts

(Peter Bennetts)

工作范围广泛涉及遗产翻新和现代后方延伸到市中心维多利亚露台的房子。该项目的目标是将业主作为一对夫妇的共同经历记录在建筑物的空间特征中，并为他们作为一个有两个男孩的家庭提供一个新的生活环境。为了实现这一点，建筑理念跨越了现有建筑的历史结构和新的延伸。

 The scope of work broadly involved heritage refurbishment and a contemporary rear extension to an inner-city Victorian terrace house. The ambition of the project was to inscribe the owners’ joint experiences as a couple into the spatial character of the building, and provide a new context for their current life together as a family with two young boys. To achieve this, the architectural idea spanned both the historic fabric of the existing building and the new extension.

为了建立一个项目的简要说明，而不是要求客户提供书面文件，我们建议他们绘制他们以前居住过的房屋的草图。这些无标度的手绘反射-我们称之为“平面图记忆”-不成比例地揭示了客户对新家的潜意识渴望。通过这一过程，了解了建筑的空间规划、体积特征和材料调色板的关键方面。流通空间在规模和混合与居住空间的房子，有强调水平变化和相关经验的隐含深度。

 To establish a brief for the project, instead of asking the clients to produce a written document, we suggested they sketch plans of the previous homes they had lived in. These scaleless hand-drawn reflections – which we referred to as “planometric memories” – revealed in their disproportions, the clients’ subconscious aspirations for the new home. Key aspects of the spatial planning, volumetric character and material palette of the architecture was informed through this process. Circulation spaces vary significantly in scale and meld with the living spaces of the house; and there is an emphasis on level change and the associated experience of implied depth.

 © Peter Bennetts

(Peter Bennetts)

这座房子也被认为是一套嵌套的容器：一套“俄罗斯洋娃娃”，可以推断出其他未公开的历史。漂浮在厨房空间上方的大型玻璃纤维包衣吊舱就是其中之一。为了达到这样的感觉，这种云状的形状悬浮在更大体积的厨房和餐厅，一系列的钢吊架从门式刚架下降，跨越后延伸的宽度，从而避免任何视觉上明显的结构使用。玻璃钢覆层设计使用的是一个由17个不同的三维定制设计瓷砖集成照明的72件的迪亚-栅格。这是从一个数字模型发展后的框架和衬里基板的建设和仔细的现场调查，由建设者。

The house is also conceived as a nested set of containers: a set of “Russian dolls” that might infer yet other unrevealed histories. The large fibreglass clad pod floating above the kitchen space is one of these objects. To achieve the sense that this cloud-like form is levitating within the larger volume of the kitchen and dining areas, a series of steel hangers drop down from portal frames that span the width of the rear extension, thereby avoiding any visually apparent use of structure. The fibreglass cladding was designed using a 72 piece dia-grid comprising 17 different 3d custom-designed tiles integrating lighting. This was produced from a digital model developed following construction of the framing and lining substrate and a careful on-site survey of the shell by the builder.

与典型的紧凑型露台房屋相反，在后面的底层水平被提高，以允许更广阔的视野对周围的街道环境。这有一个额外的优势，即提供通风良好、成本较低的木材地下空间，并增加室外储藏室。与凯瑟琳·雷卡里斯(Katherine Rekaris)景观设计公司合作开发的外部甲板和花园，向下向后篱笆泻下，并由一系列非形式的混凝土刨床构成框架，它们作为临时座椅，可以向后看房子。

Contrary to a typical compact terrace house, the ground floor level at the rear is raised to allow for more expansive views to the surrounding street context. This had the added advantage of providing a well-ventilated and less costly timber sub-floor space with additional outdoor storage.  The external deck and garden, developed in collaboration with Katherine Rekaris Landscape Architecture, cascades down towards the back fence and is framed by a series of off-form concrete planters that act as impromptu seating from which to look back at the house.

 © Peter Bennetts

(Peter Bennetts)