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Harriet’s House by So: Architecture
Harriet's House, an addition to a Georgian cottage in Launceston, Tasmania, is the result of a six-year collaboration between design historian Harriet Edquist and SO: Architecture, led by Liz Walsh and Alex Nielsen. The project involved distilling a complex brief into a single vaulted room with integrated services, creating a surprising and joyful space within a modest heritage-listed cottage. The original cottage, built in the 1830s, features a basalt plinth and a single-story brick structure with a hipped roof. Historically, there's evidence of a kiln on site, suggesting the building materials were locally sourced. Its design, while simple, subtly references Regency architecture through expressed piers and recessed panels.
The new addition respects the cottage's original form, reinstating the integrity of its four rooms by decommissioning a later doorway. A rear service wing, previously altered in the 1980s, was removed, preserving only its Victorian-era brick fireplace, which is now integrated into the new design. A new plinth, extending from the cottage's rear, uses local red bricks to form a base for the new light-colored brick shell, mirroring the original light-over-dark masonry pattern. The new form exhibits an austerity consistent with the existing structure, softened by intricate brickwork details such as header courses, corbelled openings, and subtle variations in brick color and tone due to the limited space for brick storage during construction. These variations, a result of having only one pallet of bricks on site at a time, narrate the construction process and the material's origin.
The exterior of the addition is characterized by its simple geometry, concealed roof lights, and a single strategically placed window, maintaining privacy. Internally, a deep, timber-lined vault is revealed. The design draws inspiration from Sir John Soane, a Regency-era architect known for his vaults and mastery of natural light. Unlike Soane's shallow saucer domes, Harriet's House features a fully-fledged hemispherical vault, which appears suspended due to natural light washing down from above. This vaulted space provides a sense of openness, contrasting with the more compressed rooms of the original cottage.
The multi-layered space beneath the vault serves for both living and working. It incorporates a kitchen along one edge and shelving for personal objects along another. The design allows for flexible furniture arrangement, accommodating favorite pieces around the reclaimed fireplace or in the morning sun. This interior space extends to a small courtyard, enclosed by a steep embankment of endemic Tasmanian plants, designed by landscape architect Miriam Shevland of Playstreet. The project masterfully balances old and new, and inside and outside, reflecting the collaborative discussions between the client and architects.
Adolf Loos's modernist principles, known to Harriet through her work on Viennese modernism, also seem to influence the building's making and its interior. The exterior’s spareness complements intimate interiors that modulate volume, light, materials, and crafted fixtures. The project, Harriet’s House, stands as an exceptional accomplishment, showcasing the architects' skill in navigating historical contexts and contemporary design. Key products and materials used include Lysaght Custom Orb roofing, Austral Access and Yarra bricks, Johnson Tiles Spectrum tiles, Artedomus Yohen Border tiles, Knauf plasterboard, Gubi Semi 400-mm pendant lighting, Fisher and Paykel appliances, Streamline tapware, and Devi electric underfloor heating. The project team included Liz Walsh and Alex Nielsen of SO: Architecture, with Anstie Constructions as the builder, Aldanmark Consulting Engineers, Jonathan Hearn Landscape Design and Construction, Playstreet, and Green Building Surveying. The house is built on the land of the Stoney Creek nation.
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