14
Vision Magazine
Deflected light, breeze, ingeniously concealed hinges
and latches, custom-designed furniture and streamlined
surfaces are all clues to something very special.
Such visions might seem ephemeral to the role
of architect and yet Wardle ensures the construction
language has those glider-like qualities. And there
is the emphatic, unequivocal sense to his work. Every
part has a purpose rather than adding excess baggage.
Even his hand-railings are exemplary. Producing a
staircase is a good test of an architect and handrails
that celebrate the occasion all the more so.
Glass is quietly spectacular, dissolving the envelope
unobtrusively to views and light in quite magical ways.
“Our architecture has a strong narrative,” Wardle
says of the story telling process that reflects the lives
of all parties involved. “It should tell a story appropriate
to its place and the ideas of everyone involved. I want
architecture to go beyond the first appearance and
reveal new layers on each and every visit.”
His work embodies the idea of not fitting
people into arbitrary or willfully conceived shapes.
His designs mould to site and around clients.
It’s a view fundamentally based on sharing ideas and
an enjoyment of working with people. Wardle’s passion
for quality comes across as the gift that keeps on giving.
“I have a powerful belief in architecture as a
transformative experience,” he says.
“What I’m most pleased about our practice is
the breadth of reach, from small coastal houses
to large residential and high-rise commercial
towers, to university buildings.”
This latest residence hardly puts Wardle on the map
– he’s already there – but it reinforces how good clients
can be introduced to an extraordinary way to live.
Vision editor Peter Hyatt speaks with John Wardle
about a house already the modern classic:
What does the success of a second Robin Boyd
Award mean?
When awards come I am very deliberate to make sure
that any recognition is shared. Leo Schofield recently
described a building of ours in Tasmania as ‘this big
grey beached whale’ so the reviews aren’t always
positive. When you put yourself out into the public
realm - which is what architects do - you have to be
prepared for criticism. When good reviews come
along I endeavour to share that around.
Your work is highly legible. How do you ensure
that signature suits every client?
Our designs have never been from the hand of one
master architect. What I do enjoy about the practice
of architecture is a process that really involves
creative input from many people working together.
The project can be as small as a house, to a large
university building, or office tower.
Is there a single biggest influence?
There have been various influences. Elements of our
work refer to Alvar Aalto, Rudolph Schindler, Japanese
architecture, Boyd Desbrowe Annear and other fine
Australian architects. One of my first influences being
lectured by Peter Corrigan was Louis Kahn and still
to this day he is a great point of reference. Kahn’s
Fisher House is very influential as is Pierre Chareau’s
astonishing glass house in Paris, the Maison de Verre.
Was there a moment in your career when you
thought: ‘I’ve finally worked this caper out.’?
Right
View along main passage from front
entrance towards ocean reveals
splintered, kaleidoscopic light.
Not really in a single moment. It really goes back to your
point about how good we are, or not. I tend to be very
self-critical. The repercussions of my visits to a building
site reverberate right through the practice and building
team. Because the building process is reasonably slow
it at least allows for subtle modification through the
course of construction. Fortunately the builder here
provided a great team. They communicated incredibly
well, delivered on, or under time and built beautifully.