14
Vision Magazine
How easy, or rather, difficult is it, to jump
between projects of such different scale?
LC: We’ve nearly always had a housing project
underway. Projects of different scale occurring
simultaneously tend to complement one another.
KC: The small works can be more experimental,
while the larger projects can often benefit from
that experimentation.
What about the pivoting doors to the deck?
LC: They’re not just about the way you see out.
They really represent a tremendous flexibility and
way of seeing doors not simply as an in and out.
These doors are also windows and provide a whole
other dimension to how that deck as the outdoor
room is viewed and used.
Are they standard?
LC: There are two different window types within
the pivoting doors. They have sliding sashes and
fly screens within them and also act like casements
where you can direct or control the amount of
breeze. You can have daylight and ventilation,
with security.
How much of a lineage is there to your Gallery
of Modern Art in Brisbane?
LC: You could say it’s a powerful lineage, because
I think we have been very consistent applying
certain principles over the years. They’re also ideas
of habit. The pivot doors are interesting because
when they’re open, they don’t simply steer breezes.
They act as a baffle in higher winds. Rather than
have just a huge opening, we have a large opening
with these blade doors that stop air from just rushing
in. This way air-flow is much more modulated and
directed.
Labour of Love