With the Marika-Alderton house in mind this cabin was designed for its' architect Glenn Murcutt and the specific site.
The concept followed was that of the exemplar, to "touch the earth lighlty," and create a habitat that is sufficient and engages with the surrounding environment.
The cabin is elongated from east to west with the top swinging doors opening to the north. This is to give extra shading to the house whilst opened up during the day. Furthermore this allows the best views to be captured through the openings to the adjacent golf course and park to the east and north. There is no on site parking integrated within the design, but with Murcutt theoretically as a client; (a man who advocates environmental architecture) and a building that has been designed to fit within the Kelvin Grove Urban Village context where there is sufficient resources such as shops and transport apparent; a carport would appear as a redundant addition.
As a container of human activities, the design follows an open plan. The eating/ food preparation spaces and main living/ studio spaces are at the east of the building obtaining the best views and proximity to the street. The bedroom and bathroom being a place of rest and solitude is to the west (furthest from the main street.) These two spaces are separated via a bridge that also acts as a breezeway. The point of entry is also at this junction between the two spaces. The individual may freely approach the house but a sense of entry is still attained by using Christopher Alexanders method in "a pattern language." The entry contains a transition space, a change of view and level, (stairs up to a platform) a change of surface and a gateway which the individual experiences on entering. A change of level is also apparent between the living/ studio space and the kitchen; this acknowledges the difference in activities but respects that both activities may share the same volume of space. This is how the cabin also establishes a delightful experience for the user; not solely though its cosmetics but also the journey in which the individual undertakes and moves through the structure.
Hardwoods from local plantations are to be used in the framing as opposed to steel framing that was used in the exemplar house. This was a result of pre-fabrication requirements due to the inability to work on site, and sponsorship from bhp steel (Dovey, K 2000). This is not the case here therefore the entire house can be made with timber, and in-situ.
Murcutt's hallmarks are included on the outside shell of the building such as top swing doors and exposed floor bearers and joists. Sliding plywood panels are used on the southern and eastern sides of the cabin, and horizontal timber battens line the top to allow cumulative hot air to escape. The skillion roof is angled towards these timber battens so a chimney like effect is created without any such device being apparent.
Murcutt places the bathroom deep in the Marika-Alderton House so that it is well removed from public space. (Haig, B Cooper, J 2002) This idea is still valid here as the bathroom can only be reached by passing through all other spaces first. It is completely closed off with no openings aside from the doorway in. This provides isolation and comfort for its users. Also, the room cantilevers from the edge of the cabin emphasising a space of isolation and privacy from the rest of the house but still maintains a literal closeness to the outside environment.
As an environmental filter this cabin engages with the landscape. It lets nature flood in, in the form of natural light and wind, but filters out the heat, rain and animals. No unnecessary additional devices such as air-con/ heating systems are needed because its low thermal mass and open structure allows for quick cooling in Brisbane's sub-tropical climate (like the colonial Queenslander house). It is this alliance with the elements that allows for such simplicity in its anatomy.
