Temple House

Greater than vague touchpoints or loose stylistic references, architect James Reid’s thoughtful interpretation of these architectural north stars can be seen throughout the project. Take the dwelling’s exaggerated upper volume, which chamfers inwards; it’s a clear nod to Hollyhock’s monolithic top and an elegant response to the site’s conditions. Also notable is the complex yet highly resolved interplay of stacked volumes and precisely placed openings akin to the pure geometry of Can Lis in Mallorca. Similarly derived from Reid’s interest in Gestalt principles, it creates a pleasing, legible arrangement where the slightest separation creates just the right amount of tension. These references are at their most striking in the double-height ‘great room’, which contains the open kitchen, living and dining areas. Soaring ceilings, generous zoning and considered sightlines create a space that is at once cocoon-like and monumental. At ground level, the northern elevation features wall-to-wall glass, save for a central column, while the upper portion of the walls are lined in timber, giving the effect of a weighty volume hovering atop a diaphanous form. Thin panes of glass at either end frame slithers of blue and throw natural light across the travertine floors and timber-clad walls. The unique layout places the kitchen in the centre, bookended by the dining space on one end and the living on the other. McKimm “approached the design as though it were a piece of furniture: sculptural, intentional and beautifully resolved without compromising on everyday functionality”. The result is a pair of statement islands draped in emerald marble; together, they anchor the program, acting as both a springboard and a place to pause. This pursuit of quiet and clarity applies to Temple House’s overall rationale, which was intentionally conceived to complement family life. “The clients have three kids, so that’s a degree of busyness. Pair that with their everyday routines and eclectic collection of art, and we knew there would be noise and colour, so the house is a minimal backdrop.” Despite this, Reid was wary of paring the design back too much, preferring a sort of amplified simplicity. “The far end of the spectrum can be too minimal, sort of lifeless, but somewhere before extreme, dogmatic minimalism, there’s a point that’s visually quiet but still charged with an energy,” he says. Consequently, bouts of liveliness abound – from the tension between volumes and unexpected apertures to the dynamic effect of the great room’s dual ingress and egress points – culminating in Reid’s interpretation of élan vital, which loosely translates to vital force. “It’s hard to see on a plan, but those little moves mean the architecture can be minimal – but there’s a charge there, and that makes it feel alive.” Architecture by J. Kidman. Interior design by Golden. Interior decoration by Studio Tali Roth. Build by Overend Constructions and Form Landscaping. Landscape design by Plume. Engineering by WebbConsult. Joinery by Overend Constructions. Artwork by Rachelle Austen, Michael Georgetti, Jonny Niesche, Nabilah Nordin and Darren Sylvester.