Architect Spotlight: So. Architecture

What initially drew you to architecture and how did you get your start in the industry?

Both Alex and I come from creative, ‘can-do’ family backgrounds. My parents met at RMIT University, where my father was studying printmaking and drawing, and my mother was studying ceramics. Alex’s parents have built and renovated numerous houses as owner-builders – they are very hands on. I think the Bachelor of Environmental Design at the University of Tasmania gave me the right balance of creative inquiry and practical skills training.

We got our start with our first project, The Barn, back in 2013, when we purchased an 1820s stable in near-original condition and converted it into a one-bedroom home. Carefully adding services and amenities while retaining the former character.

We won a number of state and two national architecture awards for the project. The recognition we received gave us the confidence to pursue more micro developments and take on our first client. 

How would you describe the ethos of So. Architecture?

So., an acronym for “Studio of.”, is deliberately ambiguous and inquisitive. Imbued with opportunity, the title speaks to So. Architecture’s desire to take a broad approach to professional practice. Thus, So., in both name and nature, allows for openness and agility to adapt to tangential shifts and seize opportunities across scales, typologies, locations and disciplines – Studio of. furniture, Studio of. ideas, Studio of. light… So. many opportunities! 

Furthermore, So architecture is formed around the following principles: So. grounded, to acknowledge that all buildings are embedded within larger cultural and physical landscapes; Then, So. sublime, to create beauty and joy; So strategic, to apply conceptual logic to solve architectural problems; Also, So. experimental, to push parameters and test assumptions; So. robust, to embed projects with physical longevity and ideological flexibility to contribute to a more sustainable future; and, perhaps, most importantly, So. slow, to acknowledge that all good things take the time they need.

Where do you take inspiration from and how does this manifest in your designs? 

We take inspiration from lots of different places. Prior to COVID-19 we travelled extensively, visiting, analysing and writing about buildings across Europe, America’s east coast, and Australia. We also take a lot of inspiration from the context in which a project is located. For example, Harriet’s House is an extension of an archivist’s Georgian cottage.

When designing the home, we thoroughly researched Georgian interiors, particularly those that hold and house collections, including private homes, museums, studios and libraries, to understand how to design robust, thought-provoking spaces with soft, delicate light.

We use precedent a lot and we talk to our peers and fellow emerging architects as well – even the smallest discussion or image can prompt a design solution or approach.

Can you tell us about a favourite project you’ve worked on?

All of our projects are favourites as they enable us to try something different! We are currently working on a small retreat in the very south of Tasmania. A solid, robust and grounded project that we are hoping to form out of rammed concrete or brick rubble.

To achieve something like this, we need to work closely with the contractor to understand the limits of the material, method and formwork. It is both our design and the capacity and capability of the materials that will inform the final character of the space and, to us, that is very exciting.

Brick and masonry heroes in many of your projects. What is it about bricks that you love?

We love the robust quality of brick, block and stone. They are timeless materials that maintain their character and quality for generations – if anything, masonry materials get better with age.

Working largely in Tasmania, much of our built heritage is brick, from simple Georgian cottages and Victorian town houses to highly decorative Gothic churches and, more recently, mid-century homes.

The scale and modular nature of the brick allows for variation and innovation in application, which is particularly interesting to us. We also like that brick and blocks don’t require an applied finish, not only reducing construction and labour costs. But making the build much better for the environment and indoor-air quality.

How do your design choices accommodate Australia's unique climate?

Tasmania has a very unique climate that is often compared to Europe, rather than other parts of Australia. We have freezing winters and mild to warm summers. Particularly down south, one of the most important design considerations is capturing the sun and protecting the projects from the wind.

As all of our designs are contextually driven, we spend a lot of time on-site understanding the micro climate, topology and native flora, intuitively responding to the constraints and opportunities the plot offers.

We use the first principles of sustainable design to ensure we are orientating the building correctly. In addition, maximising solar gain, efficiently planning and, where possible, minimising floor plans and selecting locally sourced and manufactured materials to reduce the carbon footprint. 

What is the best part of your job?

Absolutely the best part of our job is making unexpected. Delightful and joyous spaces that people love and want to spend time in. We feel so privileged to be able to do that.

“We love the robust quality of brick, block and stone. They are timeless materials that maintain their character and quality for generations – if anything, masonry materials get better with age.”

“We love the robust quality of brick, block and stone. They are timeless materials that maintain their character and quality for generations – if anything, masonry materials get better with age.”