Andrew Burns, director at Andrew Burns Architect, recently won the Australia House competition, organised by the Echigo-Tsumari Art Triennial in Japan.
The competition brief was to provide a space in which Australian artists could work, live and display art in Japan. Architecture & Design (A&D) spoke to Burns about his winning design and the future of Australian architects working in Japan.
Can you tell A&D about your winning design?
The design places an unusual triangular geometry into a landscape setting. The triangular plan form creates a dynamic perception on approach from the road, presenting an acute angle which destabilises the utilitarian appearance of the building. Upon moving into the site, a more familiar, domestic presence is experienced, with a verandah extending across the face of the building.
A series of full height panels are located on the front façade, referencing the traditional vertical format windows of the Australian Georgian farmhouse. On entering the long gallery the view is drawn to the side-lit end wall, with the source of the light shielded by the base of the daikoku-bashira (king post). From here, the visitor can move into the tall gallery, or wide gallery, interlocked in a prismatic spatial intersection.
What is the building made from?
The building is constructed from timber throughout and clad in cedar inside and out. The exterior will be stained a dark grey whilst the interior will have a natural finish. As the timeframe for the building is very short (10 months from competition to completion of construction), it is being approved under a local fast-track system. This system does not allow for buildings with a 'composite' structure, so there is no steel within the building. Fortunately, a triangle is an inherently stable structure.
How did you approach the brief for the project?
I considered the requirement that the building be small, easy to construct and capable of handling significant snow loads. I felt that the triangular plan created a dynamic quality within an otherwise utilitarian form, consistently cutting across gallery spaces to create openings to landscape. In this way, the landscape embankment to the side of the site becomes the 'third wall' of the wide gallery. I also recalled visits to some of Ando's buildings, in particular his collaboration with James Turrell on Naoshima Island. I enjoyed the calm approach to that building and the sober exterior form.
How does your design fit in with the Japanese landscape?
The roof form resonates with the local topography, rising up towards the nearby ridge. Experience of landscape in Japanese architecture, from the teahouse to contemporary works, is often carefully calibrated. I tried to carefully respond to the surrounding landscape conditions. The local area is known for producing rice in a challenging alpine landscape. This is a great achievement and something for which the locals are justifiably proud. Into this landscape of ingenuity we placed a simple geometric form.
How does how Australians work compare to the Japanese?
My experience is very limited, but I have been working with an extremely committed and focused, yet flexible team, involving the festival director Fram Kitagawa, local collaborating architects Souhei Imamura and Sotaro Yamamoto, the embassy staff, gallery staff and local government. Strong relationships exist between all parties. I don't think there is a great deal of difference between Australian and Japanese working. It all depends on a team of people working together.
What do you see as the future of Australian’s working in Japan in architecture?
It relies upon collaboration with local architects. Tokyo, and Japan more broadly, has a fascinating and varied creative life and it is a stimulating place to spend time. At the completion of Australia House I will be seeking to undertake further projects in Japan.
