VISION Issue 16 - Page 14

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