I’m very interested in buildings that adapt to changes in climatic conditions according to the seasons, buildings capable of responding to our physical and psychological needs in the the land ethic pdf that clothing does. We don’t turn on the air-conditioning as we walk through the streets in high summer. Instead, we change the character of the clothing by which we are protected.
Layering and changeability: this is the key, the combination that is worked into most of my buildings. This involvement with the building also assists in the care for it. I am concerned about the exploitation of the natural environment in order to modify the internal climate of buildings. Architects must confront the perennial issues of light, heat, and humidity control yet take responsibility for the method and the materials by which, and out of which, a building is made.
The considerations, context, and the landscape are some of the factors that are constantly at work in my architecture. Despite its somewhat indifferent distribution, this book had the effect of consolidating the nascent Murcutt myth which was by then already an indicator of the resurgence of Australian architecture. 70s, namely, Jean Prouvé’s Maison Tropicale of 1949. Murcutt’s brief contact with the Greek island vernacular took him back to his roots, to the relatively primitive environment of his childhood in New Guinea, to the nature writings of Thoreau much cherished by his father, and above all, to the realization that a revitalized Australian architecture would have to be grounded not only in its greatly varying climate and landscape, together with its exotic flora and fauna, but also in the repressed Aboriginal culture that was to have such a decisive influence on the evolution of Murcutt’s domestic architecture.