这个在Boon Wurrung土地上的实验性和 “有时 “的房子是通过将其纳入该地的生态系统的修复中来构思的。它的建筑是重新审视空间理论项目的关系之一，这次是以它的物理位置和那里支持的生命为条件。它是由工业化元素（钢架）和手工制作（木架）混合而成的，并不关注其本身和制作模式。最薄的物理边界（也许织物更薄），聚碳酸酯板，保持透明度，否则就会被建筑所取代，以维持生命，而不是建筑本身的透明材料理论的条款。

This experimental and ‘sometimes’ house on Boon Wurrung land was conceived through the inclusion of it in the repair of the site’s ecosystem. Its architecture is one of the relationships that revisit the project of a theory of space, this time in the terms of its physical place and the life supported there. It is made with a mix of industrialized elements (the steel frame) and handmade (timber frame) without concern with itself and modes of making. The thinnest of physical boundaries (perhaps fabric is thinner), polycarbonate sheet, maintains transparency otherwise displaced by a building for the sustaining of life, rather than architecture’s own terms of the material theory of transparency.

空间边界不是以通常的建筑术语实现的（墙壁、窗户和房间、天花板和地板），而是由聚碳酸酯层两侧的植被构成的，也许不完全是一堵墙–但与植被一起构成了一堵不明确的墙，从内部开始，通过升高的地板停止在聚碳酸酯上的方式实现护城河般的水平边界。抬高的平台是另一个扩大的门槛，这次是与地面的关系–允许未密封的地面及其洪水通过。框住室内与自然关系的窗户是不存在的。本体论几乎是平坦的–自然既没有被限制在容器中，也没有被带入室内。这种空间的质量在罗里-加迪纳的摄影技术中很明显，框架经常被没有边缘的图像所取代，这样有时就不清楚你是在看里面还是外面。

Spatial boundaries are not achieved in usual architectural terms (walls, windows, and rooms, ceiling, and floor) but made by the vegetation on either side of the polycarbonate layer, not perhaps quite a wall – but together with the vegetation, an ill-defined wall is made that starts on the inside with the moat-like horizontal boundary achieved through the way the raised floor stops short of the polycarbonate. The raised deck is another expanded threshold this time with the ground – allowing the unsealed ground and its floodwaters to carry through. The window that frames an interior’s relationship with nature is absent. The ontology is almost flat – nature is neither confined to containers or brought inside. This quality of space is evident in Rory Gardiner’s photographic technique where frames are often replaced by images that fill the view without edges so that it is sometimes unclear if you are looking inside or outside.

帐篷经常是Baracco+Wright的参照物，这个建筑可以被认为比帐篷更多一点：一个甲板和高台，由透明的 “棚子 “覆盖，内部周边的 “阳台 “是一个花园（和自发的植被）空间，生活区是动态的，但又有巧妙的空间定义；向上、向下、下面、上面。土壤和自然地面线被保持和贯穿。在澳大利亚东南部的温带气候中，人有时会有点冷，有时会有点热，但大多数情况下是舒适的。在这所房子里，能够听到外面的声音是令人惊讶的事情。大自然是嘈杂的。听力使人能够在自己身体之外的空间里找到自己的位置。

The tent has often been a reference for Baracco+Wright and this building could be thought of as a little more than a tent: a deck and raised platform, covered by a transparent ‘shed’, the interior perimeter ‘verandah’ is a garden (and spontaneous vegetation) space and living areas are dynamic yet subtly spatially defined; up, down, under, above. The soil and a natural ground line are maintained and carried through. In the temperate south-eastern Australian climate, one is a little cold and a little hot sometimes but mostly comfortable. The ability to hear the outside is something surprising in this house. Nature is noisy. To hear enables one to locate themselves in space outside your own body.

这个地方的自然历史的故事推动了决策。这个地方是一个剩余的植被茂盛的走廊的一部分，位于被清理的牧地之间。这是一个历史上的反常现象，它让人们看到了那里曾经的面貌，尽管它现在也被家庭花园、人类和（非本地）动物活动所改变。在刈草、引进的物种和被认为是入侵性杂草的植物中，仍有小块的地方性植被，主要是茶树石楠。该地点连接到其邻近的植被和西港–一个大型潮汐海湾。这条路现在占据了一条短暂的小溪的位置，由于是下坡路，该地区可能会有季节性的潮湿和干燥，也可能会有洪水。它作为一个妥协的野生动物走廊，让动物从附近的Gurdies自然保护区前往海岸，也许最成功的是支持鸟类。

The story of the natural history of the site drove the decision-making. The site is part of a leftover heavily vegetated corridor in-between cleared grazing land. A historical anomaly, it gives a glimpse into what used to be there, although it too now is mostly altered through domestic gardens, human and (nonnative) animal activity. Small patches of the endemic vegetation remain, mainly tea-tree heath, among mown grass, introduced species and plants considered invasive weeds. The site connects to its neighboring vegetation and Westernport – a large tidal bay. The road now occupies the position of an ephemeral creek and being downhill, the area can be seasonally wet and dry and can flood. It acts as a compromised wildlife corridor for animals traveling from nearby Gurdies Nature Conservation Reserve to the coast, and perhaps most successfully supports birds.

Architects: Baracco+Wright Architects
Year: 2021
Photographs: Rory Gardiner
Design Team:Louise Wright, Mauro Baracco, Catherine Horwill
Country:Australia