Focus in the Field House
Bathyscafocus finds itself right at home amidst the playful architecture of Field House.
When Robert Puksand set himself the task of building his dream home in Brighton, Victoria, it was never going to be a straightforward affair. As founding partner of architecture firm Gray Puksand Architects there was always going to be element of adventure involved.
In the architect’s own description of Field House, Puksand viewed the project as ‘a personal exploration of architecture as a protagonist for creating happy spaces’, and sought to overcome the traditional notions of what a ‘house’ could be.
Completed February 2016, Field House is the realisation of that vision.
Built in accordance with the principles of passive design, Field House was to be seen as ‘an arrangement of planes that appear to float’, connecting in unusual ways to impart a sense of living within a sculpture and creating delight through the structural play of curves.
One of the intentions, Puksand told Grand Designs Australia magazine, was to allow the natural emergence of crescent shapes through convex curved wall ends layered over each other, turning the house into ‘an evolving series of patterns and shapes’.
Any wonder then that when it came to deciding on an appropriate fireplace for such a space, Puksand went for the Bathyscafocus from Oblica.
The suspended spherical form of Bathyscafocus clearly augmented Puksand’s desired effect, while also providing a perfect match for the distinctive glass wall of the downstairs living space, allowing cameo-style views onto the pool.
The end result of Field House is an extraordinary merging of theory and form, a quiet riot of colour and curvature that has provided, in Puksand’s words, an ‘easy-living, low-maintenance home with space for returning children, visiting friends and potential grandchildren’.
Photography by Shannon McGrath