Triptych comprises 3 major works in one location. The Main House, or Blunt House, The Pulmonum, and The Glass House. Each work responds to its specific location and its relationship to the whole architectural choreography.

At the Main House Room 11’s intuitive response to place was to look towards the expanse of Norfolk Bay.

Once this desire had been established, the design was driven to achieve this goal. The service spaces became delightful idiosyncratic, light-hearted juxtaposition to this stern and sincere Architectural gesture. The experience of entering is to be buried and then projected into the landscape.

The Pulmonum is the second gesture, and fulfils the clients desire for a destination within a vast continuum of landscape. A place to rest the eyes when the astonishing beauty of the greater view is too much to comprehend. The experience of the Pulmonum upon approach appears to be one of simple, formal definition, but upon entering, the sky above is reflected in the pool below. You are brought back to your body.

The Glass House is the third piece of the Triptych. A retreat for short term, elated occupancy. A reprieve. Lighting fire, cutting bread, and eating fresh food become ceremony.

This project illustrates that Architects and the Architectural processes can liberate individuals experience of residences beyond mundane outcomes. Architecture that shows joy,

masterly control, and represents ideological freedom, we believe is of intrinsic value.

The client sees these buildings as an extraordinary manifestation of his desires that transcends his original brief.



Jury Citation

“Monumental, heroic and intimate. These three singular, site-specific works heighten and intensify the relationship between occupants and landscape, and establish an almost sacred processional approach between a series of elements and the wider landscape.

The glass pavilion, while seemingly a trope of Modernism, is in fact a highly attenuated essay on room-making in the Tasmanian landscape. The walls of the interior are the trees and bushland. The everyday acts of sleeping, eating, and being are in communion with the shrouding light of these specific forests. The extruded form of the central house sits on an engineered thread of experiential tension with the horizon. The sectional entry sequence and pattern of light and shadow elongates the experiential threshold. Immersed in the belly of the earth, the enfilade progressively culminates in a projected experience over the expanse of the valley. Rituals of bathing and sleeping are always inventive, and always experientially considered.

A focus object in this sequence is the encounter with a concrete void. This chamber was conceived as a finite focal point that yields views into the infinite skies above. In the classical tradition of harnessing elements of a broader landscape, this architectural triptych offers a considered proposition to Tasmanian space-making.”





Featured in The Local Project Issue 12 + Online Publication

Wallpaper (Online Publication)


Room11’s Architecture is preoccupied with a desire to propagate connections with place.

The experience of the coastal landscape on the site is one of layers; water, sand flat, grasses, tea tree and finally Coastal Eucalyptus forest. The buildings are placed as additional layers, they are transparent where needed and solid when required for refuge.

There is a strong vernacular tradition in the area. Often, the gravel road boundary is fenced, and the shack is placed towards the water. Between these two elements a wind protected lawn is established for family recreation. At the Wild house this pattern is established in a less spatially abrupt manner. Native vegetation is maintained in lieu of lawn. In this way the home affirms cultural norms while politely extending sensitivity and connection to place.



Jury Citation

This project continues and elevates the tradition of economical form-making on open Tasmanian sites. Enmeshed in riparian woodland, two linear elements define a generous courtyard. One element is raw, a surrogate pavilion giving protection from the street, operating as storage, working, guest accommodation and ‘outdoor room’. 

Enclosing this ensemble, the primary residential pavilion provides a lee from the persistent westerlies and directs shared spaces toward the bush setting, with glimpsed estuary views. Bedrooms and bathrooms hang off an extruded piece of joinery where books, objects and collections are deftly arranged in a personal linear gallery. This act of personal ‘display’ shuts out the wild weather and views so that moments of engagement with the surrounds are choreographed, clear and calm. 

Reminiscent of two lines in the sand, the built forms are both elemental and practical. External detailing softens and structures interiors by utilising external timber screens, which can be manoeuvred to manage views, light and privacy. A sliding wall surprisingly dissolves the entire interior and redefines a central camp kitchen and the communal potential of the courtyard. Wild House clearly proposes an alternative way of living, one that celebrates the elemental nature of familial togetherness.


As the name implies, this house is a celebration of a particular climate: the glorious deluge of rainfall that one of the cleanest places on the planet can be subject.

As the courtyard becomes the catalyst for the overall design, it is also a place in which the residents can find solace, and a space where the outside and the inside co-exist in harmony. Designed to edit out the view of immediate neighbouring houses, this space engenders a monastic feel to the home.


“Seen from afar, the pavilion reads as two parallel lines set against the gently undulating landscape. It is a defined architectural object that makes no pretensions to naturalness – but its every design gesture is imminently decipherable and logical, grounded in and given meaning by the experience it seeks to create. It does not take on the form of a glass pavilion simply to play with creating one of architecture’s most daring typologies, nor adopt minimalism as a purely aesthetic sensibility. The Glass House lays itself bare to the landscape because it is the most straightforward route to achieving an authentic, inimitable experience of place.”

extract from the local project issue No4


Pine Flat Lodge is a dream project for an architect, featuring a client that has spent a lifetime on the land with an open heart and mind. The Lodge is an exercise in graciously inhabiting place, rather than consuming the extraordinary prospect that the landscape offers.

The Lodge furnishes the landscape with a minimum of material and provides only the bare necessities for shelter after a day in the blazing East Coast sun. Sleeping spaces are warm and dark and entirely focused on rest and recovery from a physical day.

Communal spaces are equally simple, a kitchen and dining space, a lounge for conversation and reading.

Sustainability and efficient, responsible use of materials are core principles that the Lodge is based on. Exposed elements will age gracefully and can be maintained easily, as all services are autonomous. The project is a landmark of sustainable construction.



Featured in The Local Project Online Publication


Highly considered from every angle and meticulously detailed throughout,
St David aims to set a new standard in medium density living in Tasmania. It will be a building of outstanding architectural merit. Robust, earthy materials such as brass piping, folded metal staircases and off-form concrete will combine to create a finely crafted material palette and an overall building of a quality rarely seen. Finessed and precisely detailed, these characteristics will carry through to the interiors to create genuinely noteworthy homes.


At once nestled and perched above the rivulet, the Barcode House addresses intimate rivulet tranquillity, while deftly furnishing a greater landscape.
The structure has an anchored base and suspended bridge, atop slender engineering.  The timber barcode detailing uniformly ties dissimilar conditions, cradling life in a timber nest.
The gentle light within the house beautifully touches a finely crafted monochrome interior palette, softened by timber details.


Rosny Farm can be understood as a collection of beautiful buildings.

The new gallery adds a contemporary layer to the ensemble, located perpendicular to the Store Barn and completing a newly landscaped courtyard with reflecting pool. 225 square meters of additional exhibition space is provided featuring a glazed ceiling enabling natural light to illuminate artworks. The gallery can be organised as a single volume or divided into various configurations depending on the exhibition or event envisaged.


Replete with devastating panoramas, Apollo Bay, on Bruny Island finds itself nonetheless exposed.

Winds buffet the angled terrain and so we devised a high walled courtyard to protect the inner workings of this home.

The house employs an inflected non-orthogonal plan where massive stone walls encompass living spaces which are enriched by the resultant spatial complexity.

A black interior has been created which provides relief from the blisteringly bright Tasmanian light.

D’entrecasteaux House has a simple pallet, dark within and a pale stone exterior.

Face-fixed bespoke glazing focuses attention upon very specific elements within the overwhelming landscape continuum.

GASP – stage 1

The forthcoming  GASP! Project is Room 11’s first foray into public architecture.  Along the River Derwent in Glenorchy, Tasmania, Room 11 has built a colourfully calibrated public walkway which deftly links previously marginalised, but surprisingly beautiful sections of foreshore.

“We move on from nostalgic visions of place making and embrace interstitial ‘spaces’ with relish. “ states Thomas Bailey.

Abundant birdlife and the silky surface of the river are able to be closely inspected as one walks the gentle arc which links an existing school, playground, major entrainment centre and rowing club.

Punctuating the arc are two carefully crafted pavilions which offer shelter, seating and a location to pause and consider the water plane and sky.

The staged project was the result of a limited design competition in 2010. Subsequent stages are now under construction and include a concrete courtyard upon a redundant industrial platform. Maniacal blunt forms frame and command the superlative Tasmanian landscape.

GASP! has been conceived as a ribbon along which contemporary art events and installations can occur, the new architecture is an important feature of this.  Turner Prize winning Artist Susan Phillipz was commissioned by GASP!, to undertake the inaugural art project, The Waters Twine an 8 channel sound project embedded into the boardwalk in March 2013. Further events and installations are now underway.

Length: 3km
Materials: Timber, stainless steel, concrete, glass & paint.
Completion: 2011
Client: Glenorchy City Council

Funded by the Australian Government, Tasmanian State Government and the Glenorchy City Council.

GASP – stage 2

GASP stage two is the penultimate gesture of the Glenorchy Art and Sculpture Park (GASP!) .  It is composed of architecture that responds to  the scale of the surrounding landform.  Blunt forms frame and command the superlative Tasmanian landscape.  Colour and architecture have been used as a vehicle for  re-evaluation and re-appreciation of place.  The re-forming of the shoreline embraces the expanse of Elwick Bay, the bay becomes integral to the experience, a unity has been created.

Length: 3km
Materials: Timber, stainless steel, concrete, glass & paint.
Completion: 2013
Client: Glenorchy City Council

Funded by the Australian Government, Tasmanian State Government and the Glenorchy City Council.

Longley House

An exacting house for exacting clients – The home is a slim black clad building tucked beneath the apex of a ridge on an expansive rural site in Lower Longley. From the interior to the north the curve line of the opposing ridge is framed. This line eventually makes its way towards the Derwent Estury’s Northwest Bay to the East. The distant view of Northwest Bay and surrounding farmland is framed with the entire building from the Eastern extent of the home.

Little Big House

The Little Big House is located upon the eastern slopes of Mount Wellington, high above Hobart. The siting is mindful of its context; positioned close to and perpendicular to the curvilinear Huon Road. The house, on a vacant lot between established houses and gardens, is defensive and diagrammatic. Tucked carefully between cadastral constraints and a magnificent birch tree, the footprint has been kept deliberately small. The dwelling is stacked across two levels which step to match the undulating terrain.It’s just a box. A clean volume with two exceptions; a service core and an entry air-lock.The house is designed to be intensely private. Apertures are purposefully positioned to create pure window types opening to either garden, sky or shadow. Polycarbonate cladding on the eastern and western facades render luminous shadow walls which enable the house to be concurrently light and contained.


It has been previously noted that Hobart is a small city in a large landscape. This beauteous mountainous isle is justly renowned. But the most southern capital city in Australia is nonetheless beset by the perennial problem of an ever-expanding edge.
New homes in new suburbs are being built up and down the river further entrenching car-dependency. The lighthouse by room11 architects is a carefully considered consolidation project which demonstrates the potential for beautiful bespoke building which offer an alternative to the unchecked suburban hemorrhage.
The client came to our office with a proposal to deliberately downsize. Selling a large family house to finance construction, they wanted a smaller simpler inner-city home. A double lot owned by a family member was identified as a suitable site. In an older area with a convivial community and suitable services the lot was within walking distance everything. An existing single storey house on the property built to address the street was to remain. As one of the last unbuilt spaces, the site was indeed constrained with reactive soils and surrounded by heritage buildings.

All these things led logically to the adoption of a courtyard arrangement. A perimeter strategy of high walls defines a rectangle within which the house is positioned. A generous courtyard to the north offers space for outdoor living whilst a smaller court to the south hosts a productive garden.
An elegantly spare kitchen sits on the short wall of the living room. To the northern edge, sliding glass screens open, enabling the the space as experienced to extend up and over screening courtyard walls to the forested ridge which rises beyond.
The home is passively heated and ventilated with openings and orientation sensibly deployed. A free-standing wood fire provides winter warming and a ceremonial hearth. Bedrooms and bathroom are organised perpendicularly to the main space. Skylit and intensely private, these rooms are modest in scale and furnishings.

The house has a subdued vocabulary with pale cement sheet cladding, white gravel and unpainted cement block walls. Timber window reveals and wooden doors are meticulously detailed. Those parts of the house which are touched offer a rich haptic experience. The crunch of gravel and the texture and scent of timber enliven the formal simplicity of the architecture.
A vegetable garden has been established in the space between the existing heritage house and the new dwelling. Like a carefully kept secret the home is virtually unknowable from the street. The scale and tactics of the building are polite and respectful to neighbours.
Our office is a short walk from the Lighthouse and we often see our client out walking in the late afternoon sun. With a smile on her face she tells us that her house makes her happy every day. This in turn makes us extremely glad.

MONA Heavy Metals Lab

The River Derwent has a difficult history. Heavy Metals were routinely dumped until relatively recently.

This has had people outraged for some time. MONA has made a commitment to doing something about it.

Room11 Architects have been commissioned to create submerged architecture which brings the state of the Derwent to collective attention.

Haptic experience and technical data will be deployed in the battle for hearts and minds – raising awareness regarding an important environmental initiative.

Prototyping is underway now.

Allens Rivulet House – ARH

Utilising a grid relating to function and budget, various overlays are applied, shifting the grid and guiding spatial configuration. Overlays include the clients’ wish for the kitchen to be the heart of the home, outdoor spaces with varied levels of shelter and linkages to the surrounding landscape, generating a complex interlinked series of volumes. The building is conceived as a dark container in the landscape, a protective armour revealing a timber inner where outdoor activities take place within the confines of the building envelope.

Outdoor spaces are wrapped in celery top pine and offer various levels of shelter from the wide ranging Tasmanian weather conditions.

An entry portal acts as a psychological marker, where views to the landscape are taken away, suggesting a moment of self reflectance – I am home, the worries of a day’s work left behind.

View the House on the New York Times

Room11 Hobart studio – shopfront

Room11 move from our spacious rooftop studio in the middle of the city to a street interface, seeking greater engagement with the public. The petite space is left as is, sprayed black with a singular intervention, a hovering timber display and work box.

Room11 are embracing standing up at our desks – better for the internal organs. Most stand, although Crump is holding onto the relaxed recline.

The Front of the work box is to become a sales space, where we aim to curate a collection of publications for sale that excite us.

Meetings and design jams are held around the steel table by Room11, directly in the shopface, exposing our inner workings to the street and the curious passer by.

Drop in and say hi.

Evenglide Showroom

The brief for this project revolved around the visual transformation of an existing building in an effort to attract greater attention to the new business housed within. The notion of movement around the building was the key generator for this new exterior. A facade which is static yet highly transformative depending on the position of the viewer, was developed.

Utilising timber battens, which are painted on their side faces, the building transforms it’s colour tone as pedestrians move around it. The envelope, although static, appears to shift from timber to a coloured surface as one circles the building, revealing the coloured sides.

Interiors were fitted out for a showroom below, an office above and a new roof deck area for staff.


Multimedia Office South Yarra

A compact mini commercial tower on the edge of a residential zone and busy commercial precinct. The office typology moves away from the standard multi level residential developments happening in the area.

This diversification of use increases the ability for those living in the vicinity to work in the immediate area. 

The overall design is intended to be a quiet internal counterpoint to the commercial activity and visual noise of surrounding commercial strips and “landmark” buildings of Forest Hill.