“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


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.