JoURNAL
Designing with organic materials
Words: Ben nemeny
Images: Alex Mcintyre, Martin Siegner & KAITLIN HARGANS
Why do organic materials used in architecture like timber and stone sometimes create a sense of calm and sophistication while at other times feel messy or unrefined? This question is central to our work as a practice and was never more important during the interior detailing of our Flooded Gums cabin.
Natural materials are beautiful in large part because of their irregularity, their unpredictability and their quirks which tell a story of the material’s past life and the broader history of our environment. A knot in a piece of wood was the beginning of a branch once sitting tens of meters in the air, on a tree in a forest. A dark patch in a piece of limestone may have been a dramatic weather event that occurred hundreds of millions of years ago.
From an architectural perspective, however, too much of this irregularity can give an impression of untidiness and disorder which can be unsettling. So how do we avoid this? One method we find is to partner the organic material with a non-organic counterpoint. On Flooded gums, we created a rigid grid using timber battens and overlayed it both internally and externally across the project, carving the walls up into 1.2 x 2.4 meter rectangles. For us, this had two major benefits. Firstly, by setting the timber inside a grid, we gave the impression of containing the disorder, making the organic elements in the room seem purposeful and calculated.
Secondly, by framing the figurative timber within straight lines we are breaking down the volume of grain into digestible amounts preventing the viewer from being overwhelmed. Not only does this technique provide calm through order, it also has the effect of highlighting the beauty of the natural material by juxtaposing it against something manufactured.
In addition to the interior timber panelling and exterior cladding, we also used this method for the sandstone ‘base’ of the cabin. Rough, jagged sandstone ballast, sourced from a local quarry was put into rectilinear steel cages and arranged in a staggered brick pattern. As above, the juxtaposition of the irregular, organic rocks against the very rigid steel frames created a strong sense of order and containment whilst highlighting the beautiful, varied and sculptural qualities of the stone.
To feel a piece of stone or timber, to briefly study its grain, its imperfections and its textures, quietly reaffirms our connection with the living world around us. Despite how far removed our lives may seem, we are drawn to these organic materials because they resonate with our ancient brain. They have always been with us, providing us with tools, shelter and comfort. Simply, being around natural materials is good for the soul. When we pair these beautiful organic objects with architectural structure and precision the effect can be moving and comforting at the same time. This is what we strive for in our work.
Natural materials are beautiful in large part because of their irregularity, their unpredictability and their quirks which tell a story of the material’s past life and the broader history of our environment. A knot in a piece of wood was the beginning of a branch once sitting tens of meters in the air, on a tree in a forest. A dark patch in a piece of limestone may have been a dramatic weather event that occurred hundreds of millions of years ago.
From an architectural perspective, however, too much of this irregularity can give an impression of untidiness and disorder which can be unsettling. So how do we avoid this? One method we find is to partner the organic material with a non-organic counterpoint. On Flooded gums, we created a rigid grid using timber battens and overlayed it both internally and externally across the project, carving the walls up into 1.2 x 2.4 meter rectangles. For us, this had two major benefits. Firstly, by setting the timber inside a grid, we gave the impression of containing the disorder, making the organic elements in the room seem purposeful and calculated.
Secondly, by framing the figurative timber within straight lines we are breaking down the volume of grain into digestible amounts preventing the viewer from being overwhelmed. Not only does this technique provide calm through order, it also has the effect of highlighting the beauty of the natural material by juxtaposing it against something manufactured.
In addition to the interior timber panelling and exterior cladding, we also used this method for the sandstone ‘base’ of the cabin. Rough, jagged sandstone ballast, sourced from a local quarry was put into rectilinear steel cages and arranged in a staggered brick pattern. As above, the juxtaposition of the irregular, organic rocks against the very rigid steel frames created a strong sense of order and containment whilst highlighting the beautiful, varied and sculptural qualities of the stone.
To feel a piece of stone or timber, to briefly study its grain, its imperfections and its textures, quietly reaffirms our connection with the living world around us. Despite how far removed our lives may seem, we are drawn to these organic materials because they resonate with our ancient brain. They have always been with us, providing us with tools, shelter and comfort. Simply, being around natural materials is good for the soul. When we pair these beautiful organic objects with architectural structure and precision the effect can be moving and comforting at the same time. This is what we strive for in our work.
