Ball-eastaway house. The site is ten hectares of bushland on a high sandstone ledge with yellow bloodwoods, bankis and hakeas. This house was built in the period , before the diffusion of the preoccupation for sustainable environmental approach and sustainable construction. The architectural approach reflects the concern of both the Architect and his clients for a design integrated on the site, for sustainable use of materials, and for a construction with low impact both on the site and on the larger environment. After building of the Ball-Eastaway House, Murcutt kept the linnear planning style but he developed more elaborate sections, typically featuring curvilinear steel structures.
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Ball-eastaway house. The site is ten hectares of bushland on a high sandstone ledge with yellow bloodwoods, bankis and hakeas.
This house was built in the period , before the diffusion of the preoccupation for sustainable environmental approach and sustainable construction. The architectural approach reflects the concern of both the Architect and his clients for a design integrated on the site, for sustainable use of materials, and for a construction with low impact both on the site and on the larger environment.
After building of the Ball-Eastaway House, Murcutt kept the linnear planning style but he developed more elaborate sections, typically featuring curvilinear steel structures. The building was expected to serve as a retreat nested in an arid forest where artists can meditate and brainstorm ideas.
Murcutt purposefully designed it with an artistic way of life in mind, providing a home for painters and their work. He thoughtfully placed the windows and "meditation decks" to create a sense of solitude while still providing scenic views of the Australian landscape.
Ball-Eastaway House is not only a home and a gallery, it is also concentrated on the sustainability of the natural environment, harmony with nature and resonance with the site content and climate. The house was taped off in the field to make sure that no fauna was harmed by the placement of the structure.
The Ball Eastaway House was raised above the earth to provide minimum interference with the nature, protecting the dry soil. Architecture Australia. Michael J. Babalis, D Ecopolis: Conceptualising and Defining Sustainable Design. Italy: Alinea Editrice. Murcutt combines gracefully the traditional materials with the contemporary ones. The wooden floors gives the house a rustic atmosphere, in contrast with the uncommon materiality chosen for the roof.
Its corrugated sheet metal, the aluminium Venetian blinds, the shapes and the tubular steel in structural elements gives the house a modern appearance. As you can see the building is very light and illuminated. This helps with the concept as it has been created for artists who need plenty of light open space. The roof is made from several layers of timber, including a layer of wool for insulation and a layer of plaster coating only 12 mm thick. The wall section is made of corrugated iron with plasterboard on the interior and a layer of wool in between.
The deck and the plaster is held togheter by profiles of zinc. Having come from Sydney himself the project closely neighboured where Murcutt grew up, thus having personal qualities that attracted Murcutt to the chosen site. Because of the chosen location water and electricity was the only struggle for the chosen site although the building is also raised due to the uneven nature of the ground, but this gives a floating effect to the building. Murcutt was able to ensure the dry soil and surrounding trees were protected by having a raised building, he also included an exterior fire extinguishing system to provide emergency cover and protection from forest fires.
Details of the address haven't been revealed due to privacy. The Concept Ball-Eastaway holds a prime function as a gallery where artists can put up and see others work. In extension of this Ball-Eastaway is also a studio, laboratory and and hospital as well having the standard duties of a home. On top of this Murcutt greatly focused on the effect that the environment had on the building and also how to use it to his advantage, for example how he used large windows and open spaces to ensure that the building is full of light.
Unknown author. Natural light is a very important factor for the building. Being artists in residence the building needs lots of light so as part of the concept Murcutt ensured the building has a light interior with any areas capable of being a workspace. The building is projects its light mainly from the north facade, the level of light being regulated by aluminium Venetian blinds. The bathroom and the kitchen are illuminated by skylights.
The only problem was raised in the central area of the house, with the hallway not receiving enough light, but the Murcutt solved the problem by adding a window in the upper side of the bathroom wall.
Murcutt has based most of the spaces in the building around the centre room which is used as a gallery, living room and dining room. With this centre room being the largest Murcutt has been able to emphasise the size of the building using light.
As well the main room Ball-eastaway house includes a reasonably sized bedroom and study at the back of the building, bathroom and laundry at the entrance and a kitchen attached to the central room. Ball-Eastaway house also has two individual terraces, one at the front of the building and the other towards the centre, opposite the bathroom and laundry rooms.
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BALL EASTAWAY HOUSE CASE STUDY
This house, built for a couple of artists, combines sobriety and wealth, as so often happens in the right architecture. Sobriety not simplicity in accuracy and logic achieves the difficult adjustment of a clear organizational structure, support and space that is expressed and formalized via demonstrating their own being without adornments of false or grand gestures. It is situated on a hillside in a dense forest on a stream and, according to Murcutt, is environmentally friendly in that it is raised on pillars so that runoff water can pass under it without creating a wetland and a dryland, as would happen if the continuity of the slope was broken to form a dam with its walls. The idealistic aspiration of achieving ecological houses in harmony with nature, such as the Farnsworth House by Mies van der Rohe, some buildings by Alvar Aalto, or the Maison de Verre Pierre Chareau, becomes reality with contemporary materials used by the Australian architect. Buildings such as Magney House at Bingi Point or the Ball-Eastaway in Glenorie, combine the strength of essential livestock and the fragility of the module space. The chosen location is a field crossed by the bed of an ancient river and abundant vegetation, on the outskirts of Sydney, Australia.
The most energy-efficient houses function like living things. They are designed to capitalize on the local environment and to respond to the climate. Australian architect and Pritzker Prize-Winner Glenn Murcutt is known for designing earth-friendly homes that imitate nature. Even if you live far from Australia, you can apply Glenn Murcutt's ideas to your own home-building project. Forget the polished marble, imported tropical wood, and costly brass and pewter. A Glenn Murcutt home is unpretentious, comfortable, and economical.
Build an Energy-Efficient House the Murcutt Way