Glenn Murcutt

Dublin School of Architecture

GLENN MURCUTT Design Studio - Courtmacsherry County Cork

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4th Year Studio

Dublin School of ArchitectureDublin Institute of TechnologyBolton Street,Dublin 1.

dublinschoolofarchitecture.com

Head of School James HoranAssistant Head of School Orna Hanly

Glenn Murcutt StudioDSA PressDublin School of Architecture No.1

ISBN

Design - Paul Kelly, Noel Brady© Dublin School of Architecture

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Contents

Glenn Murcutt Biography 04Working method - Paul Kelly 06Building and Place - Noel Brady 08Glenn Murcutt Projects 11

Boyd Education Centre.......... 12 Marika Alderton House.......... 14 Wals House............................ 16

Selected Student Projects 19

Analysis 20

Seán Attley............................. 28 Martin Burzlaff...................... 34 Brenda Carroll........................ 36 Niamh O’Flaherty...................42 Ruth Condren......................... 43 Darren Ferrari........................ 44 Robin Jardine......................... 46 Derek Keatly.......................... 50 Jessica Lange......................... 54 Carlos Lorite.......................... 56 Aoife Martin.......................... 57 Luke McCall.......................... 58 Celine McCall........................ 60 Siobhan McNulty................... 62 Ross Millaney........................ 64 Deirdre NíDhonaill................ 66 Gary Reddin........................... 68

Class List 70

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Glenn Murcutt (born 1936, London, England) is anAustralian Architect. He is also the foundingPresident of the Australian ArchitectureAssociation. He won the Alvar Aalto Medal in1992, the Pritzker Prize in 2002 and the AIA Gold Medal in 2009.

Murcutt works as a sole practitioner, producing residential and institutional work all over Australia. Though he does QRW�ZRUN�RXWVLGH�WKH�&RXQWU\��RU�UXQ�D�ODUJH�¿UP��KLV�ZRUN�KDV�D�ZRUOGZLGH�LQÀXHQFH��HVSHFLDOO\�VLQFH�0XUFXWW�WHDFK-es master classes for beginning and established architects.

He grew up in the Morobe district of New Guinea, where he developed a preference for simple, primitive archi-tecture. His father introduced him to the architecture of Ludwig Mies van der Rohe and the philosophies of Henry 'DYLG�7KRUHDX��ERWK�RI�ZKLFK�LQÀXHQFHG�KLV�DUFKLWHFWXUDO�style.

Murcutt studied architecture at the University of New South Wales from 1956 to 1961. During this same period, he worked with a series of architects. After graduating, Murcutt travelled for two years, returning in 1964 to work LQ�WKH�RI¿FH�RI�$QFKHU��0RUWORFN��0XUUD\�DQG�:RROOH\��+HUHPDLQHG�ZLWK�WKLV�¿UP�IRU�¿YH�\HDUV�EHIRUH�KH�HVWDEOLVKHG�his own practice in Sydney, Australia in 1970.

In an initial exploratory phase Murcutt established a mas-tery of the Miesian style. His second phase was more re-gional in nature. Using a mixture of pragmatism and lyri-cism, Murcutt creates simple houses that resemble open YHUDQGDV��+H�LV�FKLHÀ\�DGPLUHG�DPRQJ�KLV�FRQWHPSRUDULHV�IRU�FUHDWLQJ�DQ� LGHQWL¿DEO\�$XVWUDOLDQ� LGLRP�LQ�GRPHVWLF�architecture, and for creating an architecture that speaks and responds to the land. One of his favourite quotes is from an Aboriginal proverb “Touch the earth lightly”.

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Glenn Murcutt

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Working Method - Paul Kelly

Glenn Murcutt conducted a design studio with the 4th year students in 2009, the site was at the small village of Courtmacsherry in County Cork. Most of the staff and VWXGHQWV�ZHUH�YLVLWLQJ�WKH�YLOODJH�IRU�WKH�¿UVW�WLPH�DV�ZDV�Glenn. It was interesting how despite his practice being FRQ¿QHG��E\�KLV�RZQ�FKRLFH��WR�$XVWUDOLD��*OHQQ�EURXJKW�to bear a personal working method on the context with-out imposing a preconceived style. This working method based on a detailed and precise assessment of the site conditions dis-allows the impositions of an architect’s preconceptions. Every aspect of the site from its history, topography, hydrology and climate were among an exten-sive range of issues to be investigated by the students.

Each site presents a unique set of constraints and opportu-nities, leading when assessed objectively to a personal re-sponse to a place. The role of the personal is what makes each architects response unique even when they begin with the same base information.

The most important thing we as educators can pass on to students are the skills to enable them to develop a per-sonal working method. It takes time and often quite a number of projects to develop such a method and very often graduation is only the start of the process. The most GLI¿FXOW�SHULRG�FDQ�EH�WKH�¿UVW�IHZ�\HDUV�DIWHU�JUDGXDWLRQ�ZKHUH� WKH�EHQH¿W�RI� DQ�RSHQ� DQG� IUDQN�GLVFXVVLRQ�ZLWK�fellow students or tutors is no longer readily available.

College is a brief period in the career of an architect where we must imbue each student with the skill set that will foster critical thinking. The limited number of projects WKDW�FDQ�EH�XQGHUWDNHQ�LQ�¿YH�\HDUV�RI�FROOHJH�FDQ�RQO\�initiate an architects development, given the example of Louis Kahn that development may only come to full frui-tion in mid life. The integrity of this initial grounding in architecture is vital to the longevity of the process. Glenn Murcutt has demonstrated through his work how a rigor-ous working method will bear fruit. The work in this book describes the beginning of the students’ development of their own working method.

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Building and Place – The CRH Chair in Architecture 2006 – 2009 Glenn Murcutt winner of the 2002 Pritzker Prize and the 2009 AIA Gold Medal

Courtmacsherry is a small sleepy village at the southern tip of the island of Ireland. Beyond land’s end in depth remains the once great ship the Lusitania. The ship that pressured American sentiment to join WWI was of the same technological era as that which brought Victorian Sunday Visitors to Courtmacsherry. The tiny single track railway which tottered along the edge of the shoreline has left few traces along its precarious path. This line be-tween earth and sea is occupied by the temporary and the UHGXQGDQW��)LVKLQJ�KDV�EHHQ�ORVW�WR�ODUJHU�¿VKLQJ�YHVVHOV�and ports. A recent plan for a Marina foundered upon the rock of inappropriate environmental impact. It would KDYH�SDSHUHG�RYHU�WKH�VWUXFWXUDO�GH¿FLHQFLHV�RI�WKH�SODFH��the lack of inward investment in employment, the inad-equate environmental and transport infrastructures (waste treatment).

To the students and staff alike the town was both familiar and unfamiliar. Courtmacsherry shares a similar mor-phology to many Irish towns with is strong linear pattern of ribbon development. Many of the buildings face North, DFURVV�WKH�PXG�ÀDWV�RI�WKH�HVWXDU\��ZLWK�WKHLU�³EDFNV´�WR�the hill of the peninsula. Much of the town remains in perpetual darkness exacerbated by less than judicious tree plantations.Shelter is the paramount concern for any sea based com-munity and this is writ large in this landscape. The town LV� FRQ¿UPDWLRQ� RI� WKLV� ZLWK� LWV� ORFDWLRQ� GHWHUPLQHG� E\�shelter from the wind in the lee of the hill rather than a concern for the sun.Because the town has little or no indigenous employment its continued existence is supported by a transient com-munity of commuting workers and weekend/holiday visi-tors. The studio’s challenge was to introduce into this situation a strategy (Architectural and Environmental) that furthers a more appropriate environmental response. Glenn’s fo-FXV�ZDV�¿UPO\�RQ�WKDW�ZKLFK�ZDV�FRUH�WR�WKLV�FRQGLWLRQ��LGHQWLI\LQJ� NH\� VWUXFWXUDO� GH¿FLHQFLHV� RQ� WKH� RQH� KDQG�

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and the particular qualities of the place on the other. 2QH�RI�WKH�NH\�GH¿FLHQFLHV�LGHQWL¿HG�GXULQJ�WKH�VLWH�visit is the redundant quarry at the heart of the town. In contrast various qualities that give Courtmacsher-ry its special sense of place include the “sea drive” along the axis of the town, the sweep of the estuary, the wildlife, the woods along the headland and the various walks through the town and landscape.

Glenn Murcutt$UFKLWHFWXUH�DV�D�PLUURU�WR�WKH�VSHFL¿FLW\�RI�SODFH� I have had the opportunity to interview Glenn on a number of occasions, including in conversation with Juhani Palasmaa. Glenn is not an architect who masks the intent of his work in the language of art or social theory. His explanations are always direct, his cause clear, his observation critical. He does not feel the need to have a virtual scaffolding hold up the veracity of his built work. Moreover his work is

an explicit expression of the cause that released the ZRUN�LQ�WKH�¿UVW�SODFH��/LNH�$DOWR��8W]RQ��)HKQ�DQG�Siza, Murcutt engages in critical observation. By IRFXVLQJ�RQ�WKH�YHU\�³VSHFL¿F�SRVVLELOLWLHV�LQ�WKH�LQ-¿QLWH´�KH�IRFXVHV�RQ�GUDZLQJ�RXW�WKH�VSHFLDO�TXDOLW\�of place and people. He has refused to work outside his “native” Australia because of this link to the spe-FL¿F�� %\�HQJDJLQJ�LQ�RQO\�ZKDW�KH�NQRZV�RU�ZKDW�he feels truly at home with has ensured a consistency in vision that one might be tempted to refer to as a style. This would be too narrow a supposition since KLV�GLGDFWLF�DSSURDFK�KDV�\LHOGHG�VLJQL¿FDQWO\�GLIIHU-ent results depending on the context. His work has ranged from the urban to the outback. Each case has been argued with a strong frontier-ship criticality; (do it this way or die)… In Australia these issues are LQGHHG�IDWDO�DV�ZLWQHVVHG�E\�WUDJLF�EXVK¿UHV�LQ�UHFHQW�years. This also lends a slightly otherworldly appear-ance to his work especially in the Bush with explora-tory vehicles that touch lightly upon the earth. By treading carefully on the earth, the work appears to be without weight, without gravity, lifted in turn by

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the unstinting sunlight. There is no retreat below the earth because of the greater horrors that wait there, but a resting above, a magic carpet from which to view the landscape beyond. For urbanites it is the equivalent of the caravan, having stopped overnight in the bush beside a watering hole. This brings us into the realm of Mies’s Farnsworth Pavilion raised above the landscape, a stratagem that Glenn has ac-NQRZOHGJHG�DV�D�NH\�LQÀXHQFH��.HQQHWK�)UDPSWRQ�KDV�SUHYLRXVO\�LGHQWL¿HG�NH\�FRQWH[WXDO�DUFKLWHFWV�RI�the modern period as Critical Regionalists and it is tempting to place Ken in amongst Aalto and Utzon, but this is complicated by the lightness of touch that underpins the site strategy, the internal planning and the importance of the section, its precise and minimal tectonic expression of building. In Courtmacsherry Glenn did not enforce hi particu-lar world view on the students. Instead he shared his method, his keen observation and thoughts encourag-ing them to embrace the place, to rescue the lost and celebrate the real.

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Glenn Murcutt Projects

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The Arthur and Yvonne Boyd Education CentreLocated between cultivated farmland and natural bush, the building emphasises the differences of each condition, framing views to both. It provides a large meeting hall with kitchen, bathing facilities and shared accommodation for up to thirty two students.

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Marika Alderton House, Northern Territory, 1991-1994Commissioned by the aboriginal leader Banduk Mari-ka and her partner Mark Alderton this project is in Yirrkala on land associated with the Marika Clan. It was conceived by Murcutt as a prototype and as a viable alternative to the house then occupied by the clients, a brick building with small windows typical of aboriginal public housing in this context. Prefabricat-ed in Gosford, north of Sydney, all components were packed in two shipping containers and transported to site via semi-trailer and barge. The house was bolted and screwed together on site, the entire process taking four months.

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Walsh HouseThe house is located in Kangaroo Valley, close to the Fletcher-Lee House, with which Walsh House has some formal similarities....However unlike the Simpson-Lee House.....Walsh House is not conceived DV�D�VLQJOH��ÀXLG��LQWHULRU�VSDFH�EXW�DV�D�VHULHV�RI�FRQ-QHFWHG�URRPV��HDFK�FOHDUO\�LGHQWL¿HG�IURP�WKH�RXWVLGH�by an individual glazed bay, protected by adjustable louvres, which allows the user to individually adjust the day lighting of their room.

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Selected Student Projects

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Area of Study Analyses1. History 2. Water Courses & Drainage 3. Geology 4. Topography 5. Landscape Character 6. Flora & Fauna 7. Land/Property Use 8. Existing Housing Typologies ��0RYHPHQW�7UDI¿F�3HGHVWULDQ�10. Tidal Systems 11. Sun Patterns 12. Climate Information

StrategiesMovement Strategies Height Restrictions Use Proposals

Study Topics

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History - Comparison Photographs

Water Courses

In the neighbouring village of Timoleague, the town is placed within the catchment area of the Argideen river, this catchment area being 150 square kilometres. The fact that the town is located within a catch-ment means that there will be a lot less surface-water than in an area without a catchment, such as our site, in the village of Courtmacsherry. In Courtmacsherry, it is presumed that there will be a natural water drainage system dependant on rains in the area more so than an area with a river.Bm�bl�ik^lnf^]�maZm�bg�mbf^l�h_�Ühh]%�\hgmkZkr�mh�ma^�g^bà[hnkbg`�Zk^Zl�[Zl^]�hg�kbo^kl%�pa^k^�ma^�kbo^k�will swell, that many temporary streams will occur throughout the site.

However, the water table will be more constant at our site than that of the surrounding areas, with the water being drained relatively uniformly rather than all draining to one single river, which then puts that area under a lot of stress during times of unexpected rainfall.

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Topography

Mhih`kZiar�bl�ma^�li^\bÛ\�lmn]r�h_�>Zkma�l�lnk_Z\^�laZi^�Zg]�_^Zmnk^l%�Bg�Z�[khZ]^k�l^gl^%�mh-pography is concerned with local detail in general, including not only relief but also vegetative Zg]�anfZg&fZ]^�_^Zmnk^l%�ô^g�eh\Ze�ablmhkr�Zg]�\nemnk^'�Ma^�lmn]r�h_�mhih`kZiar�li^\bÛ\Zeer�involves the recording of relief or terrain, the three-dimensional quality of the surface and the b]^gmbÛ\Zmbhg�h_�li^\bÛ\�eZg]_hkfl'�Eh\Zm^]�hg�Z�ghkma�_Z\bg`�lehi^�ho^kehhdbg`�Z�mb]Ze�̂ lmnZkr%�the village has developed as a mono linear ribbon development. The topography of the town can be broken into the following headings:

The estuary is a mud/ sand basin. Strongly affected by the tide, it has an overall difference of 4.2 m between once of 4.2 m between the highest and lowest tide.

Ma^�lahk^�_khgm�Z\ml�Zl�Z�fZg�fZ]^�mb]Ze�]^_^g\^�_hk�ma^�mhpg'�Bml�o^kmb\Ze�]bf^glbhg�Ün\mnZm^l�between 3m and 7m approx. and comprises of elements such as per, breakwaters, walkways, tennis court and town square.

The main street of the village consists of a single row of two storey building facing onto a roadway and the shore front.

Ma^�m^kkZ\^]�`Zk]^gl�[âbg]�ma^�ahnl^l�Zk^�Z�]blmbg\mbo^�fZg&fZ]^�_^Zmnk^�h_�ma^�mhpg'�Ehg`�and narrow, they create comfortable habitats for human occupation. This pattern is very dis-tinctly disrupted around the quarry area.

The strip of woodland on the hillside forms a ribbon of wind shelter for the town. Consisting mainly of beech trees, it also holds the soil of the hillside together, preventing land slippage.

The barren ridge at the top of the hill is windswept and largely free of large amountsthe highest and lowest tide.

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Tidal System

Public Space

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Flora and Fauna

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Waders and Wildfowl A considerable amount of migratory birds feed on the mud and VDQGÁDWV� RI� WKH� HVWXDU\�� 7KH� ZLQWHU� ÁRFNV� RI� *ROGHQ� 3ORYHU� DW��DQG�%ODFN�7DLOHG�*RGZLW�DW��FRQVWLWXWH��QDWLRQDOO\� LPSRU�WDQW� QXPEHUV� DQG� DW� OHDVW� QLQH� RWKHU� VSHFLHV� RFFXU� LQ� VLJQLÀFDQW�OHYHOV� IRU� WKH� UHJLRQ� ��:LJHRQ�DW� ��0DOODUG� DW� ��5HGEUHDVWHG�0HUJDQVHU�DW��2\VWHUFDWFKHU�DW��/DSZLQJ�DW��'XQOLQ�DW��%DUWDLOHG�*RGZLW�DW��&XUOHZ�DW��DQG�5HGVKDQN�DW��7KHVH�ÀJXUHV�DUH�WKH�DYHUDJH�SHDNV�RI��FRXQWV�EHWZHHQ��DQG��DW�WLPHV�WKH�QXPEHUV�SUHVHQW�IDU�H[FHHG�WKRVH�JLYHQ��)RU�H[DPSOH��LQ�-DQXDU\��*ROGHQ�3ORYHU��:LJHRQ��'XQOLQ�DQG��2\VWHUFDWFKHUV�ZHUH�SUHVHQW�

Wild Animals Evidence of badgers and hares was noted in the area and it is ex�SHFWHG�WKDW�WKHUH�LV�D�VWURQJ�ZLOG�KDELWDW�LQ�WKH�PXOWLSOH�KHGJHURZV�WKURXJKRXW�WKH�WRZQ�

Domesticated Animals 0XFK� RI� WKH� ODQG� LQ� &RXUWPDFVKHUU\� LV� GHYRWHG� WR� IDUPLQJ� DQG�DQLPDO�PDLQWHQDQFH��$� ODUJH�SRUWLRQ�RI� WKLV� LV�GHYRWHG� WR�NHHSLQJ�KRUVHV��ZLWK�PDQ\�WUDLOV�ZLQGLQJ�WKURXJK�WKH�WRZQVFDSH�DQG�VHYHUDO�WUDLQLQJ�ORFDWLRQV�SUHVHQW��KRUVHV�KDYH�D�VWURQJ�SUHVHQFH�Dairy farming is the other main source

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Brian Attley - Culinary School

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Martin Burzlaff - Music School

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Brenda Carroll, Benedictine MonasteryStrategy)ROORZLQJ�DQDO\VLV�RI�WKH�WRZQ�RI�&RXUWPDFVKHUU\��WKH�IROORZLQJ�FRQFOXVLRQV�ZHUH�GUDZQ

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GbZfa�H�?eZa^kmr�&�Mêôblbhg�Lmn]bh

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Ruth Condren - Community Building

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Darren Ferrari - Budadhist Monastery

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Housing

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Robin Jardine - Cider Mill

1 Reception desk2 Storage Silo3 Washing belt4 Milling Machine5 Presses6 toilets

Fourth Floor Plan 1/200

Cider Mill Section B-B 1/200

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courtmacsherry - north elevation

1:250

Derek Keatley, Cider Mill

courtmacsherry - cider mill

1:200

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courtmacsherry - barrell hall

courtmacsherry - cider complex collague

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courtmacsherry - cider complex perpectives

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courtmacsherry housing - perspectives



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courtmacsherry - single bed unit first floor

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legend:

1 hall2 storage3 wc4 bedroom

courtmacsherry - single unit ground floor

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legend:

1 living2 lightwell3 wc4 kitchen


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legend:

1 hall2 store3 wc4 bedroom5 garden6 carport


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courtmacsherry - 2 bed unit ground floor

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legend:

1 living2 light well3 wc4 kitchen5 roof


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courtmacsherry - 2 bed unit first floor

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legend:

1 hall2 store3 wc4 bedroom5 garden


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legend:

1 hall2 store3 wc4 bedroom5 garden


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I bed Unit - Ground Floor 1 bed Unit - First Floor 2 bed 2

2 bed Unit - Ground Floor 2 bed Unit - First Floor

3 bed Unit - Ground Floor 3 bed Unit - First Floor

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C^llb\Z�EZg`^

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Aoife Martin - Seaweed Baths and Spa

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End^�F\<Zee�&�Mhpg�AZee�$�:kmblm�K^lb]^g\^l

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UP 9

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UP 9

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First Floor Plan 1:200

1. Small library, tourist information area2. Kitchenette3. WC4.Projection Room5. Gallery walkway

T O W N H A L L

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The Town Hall is positioned in the centreof Courtmacsherry, and sits at the end of the proposedmarket square. It has a large double height communityhall, and contains a level for a small library, two small

medical or dental consultancy clinics, and a meetingroom for the use of the residents of Courtmacsherry.

Ground Floor Plan 1:200

1. Small gallery, tourist information area2. Male WC3. Female WC4. Disabled WC5. Store6. Elevator7. Town Hall (shown with seating & stage layout)8. Dressing Rooms

T O W N H A L L

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6

7

8

Second Floor Plan 1:200

1. Waiting Room2. Disabled WC3. Doctors examination room4. Dentists examination room

T O W N H A L L

1

2

34

Third Floor Plan 1:200

1. Meeting room2. Kitchenette3. Disabled WC

T O W N H A L L

1

2

3

1

2

3

1 - 40/60mm squared pine,heat treated. (100mm centre to centre)- 40/40mm battens on 20 mm plywood- damp proof membrane- 60mm rigid foam insulation- vapour barrier- 2 x 20 mm plywood board- 100mm rigid foam insulation- 2 x 20 mm plywood boards, perforated

2 - 40/60mm squared pine,heat treated. (100mm centre to centre)- 40/40 mm battens on 20 mm treated plywood- damp proof membrane-60 mm rigid foam insulation- 20 mm plywood board- 60 mm rigid foam insulation- vapour barrier- 80mm rigis foam insulation- 20mm finished plywood board

3 - 210mm outer leaf concrete wall (slate aggregate)- damp proof membrane- 60mm rigid foam insulation- vapour barrier- 180mm inner leaf concrete wall- Steel ties from inner to outer leaf

Wall Detail 1:50/1:20

T O W N H A L L

1- 40/60mm squared pine, heat treated. (100mm centre to centre)- 40/40mm battens on 20 mm ply-wood - damp proof membrane - 60mm rigid foam insulation - vapour barrier- 2 x 20 mm plywood board - 100mm rigid foam insulation - 2 x 20 mm plywood boards, perforated

2- 40/60mm squared pine, heat treated. (100mm centre to centre) - 40/40 mm battens on 20 mm treated plywood - damp proof membrane - 60 mm rigid foam insulation - 20 mm plywood board - 60 mm rigid foam insulation - vapour barrier - 80mm rigis foam insulation �+)ff�Ûgbla^]�ierphh]�[hZk]

3- 210mm outer leaf concrete wall (slate aggregate) - damp proof membrane - 60mm rigid foam insulation - vapour barrier- 180mm inner leaf concrete wall - Steel ties from inner to outer leaf

60

Celine McCarville - Culinary School

61

62

Siobhan McNulty - Biodiversity Research Facility

62

63

64

A

B

C

D

E

F

65

Ross Millaney - Community building

66

Deirdre Ni Dhonaill - Town Hall

67

Town Hall01_foyer 09_function room02_reception 10_toilets03_store 11_toilets04_upper balcony 12_dressing room05_auditorium 13_dressing room06_stage 14_backstage07_kitchen 15_store08_function room

68

Gary Reddin - Visual Arts Centre

69

70

Dublin School of ArchitectureYear 4 2008-2009

Staff

Year co-ordinator - Noel Brady Peter Crowley

Paul KellyAê^g�EZf[

Glenn Murcutt;kbZg�H�;kb^g

E^gsb^�H�LneeboZgJim Roche

Raul SalgadoMarcin Wojcik

Students

Brian AttleyDarragh BreathnachAlessandra BruzzoneMartin BurzlaffBrenda CarrollHelen-Rose CondonRuth CondrenEn\bee^�<khlDavid CuddyDarren FerrariKenneth FitzmauriceRonan GallagherNeil J. GintyCiara HamellClare HealyRobin G. JardineDerek KeatleyMark R. KeoghIabebi�EZf[dbgC^llb\Z�EZg`^<Zkehl�Ehkbm^Caroline MahonAoife MartinEnd^�F\<ZeeCeline McCarvilleSiobhan M. McNultyBejamin MeyerRoss MillaneyMarie MorelColin MulhernDeirdre Ni DhonaillFb\aZê�H�=êeGbZfa�H�?eZa^kmr>bf^Zk�H�?eZgZ`ZgIZne�H�LneeboZgGary ReddinBrian M. SheehyCecily Weeks

71

72

Credits

PhotographsPage 1 Noel BradyPages 6 - 8 courtesy of Glenn MurcuttPages 10 - 17 courtesy of Glenn MurcuttPages 18 - 19 courtesy Courtmacsherry RNLIPages 20 - 21 Paul KellyPage 21 Noel BradyPage 72 Noel Brady Glenn Murcutt project descriptions are extracts are from Glenn Murcutt - The Architecture of Glenn Murcutt, TOTO Shuppan, 2008 ISBN978-4-88706-293-1

Glenn Murcutt

Documents

glenn murcutt projects

isbn design paul kelly

architecture of ludwig

established architects

place noel brady

simple houses

year students

institutional work