Murcutt, Glenn( 1936 )
Sketch plan, 1992 , Glenn Murcutt Collection: Marika Banduk [Alderton] House, Yirrikala
(PXD 728 /Roll 230 /A 135 ), 26 37 cm, Pencil sketch on butter (trace) paperGlenn Murcutt has a private practice, designing mostly houses that are environmentally sensitive. His
architecture expects buildings to respond to their climate and landscape. Awarded the Pritzker Prize
in Architecture in 2002 , Murcutt works alone, concentrating on small projects where he has greater
control of the outcome.
During a family trip, Murcutt was born in London. The family returned to Australia in 1941 ,
where he has lived since. He studied architecture at the University of New South Wales, graduating in
1961. After travels to Europe, he served an apprenticeship with the architectural firm of Anchor,
Mortlock, Murray & Wooley until 1969. Strongly influenced by Mies van der Rohe, Murcutt has also
studied the vernacular architecture and culture of the indigenous people of Australia. His carefully
detailed buildings limit the environmental impact on their sites, ‘touching the earth lightly.’^22 A few
examples of his published work include: Marika – Alderton House – Yirrkala Community, Eastern
Arnheim Land, North Territory; Laurie Short House, Terrey Hills, Sydney; and projects in New
South Wales: Magney House, Bingie Bingie; Minerals and Mining Museum, Broken Hill; and Bowral
House, Southern Highlands.
This sketch (Figure 8. 19 ) describes a section study for the small Marika Banduk (Alderton)
House.^23 Rendered in pencil on ‘butter paper’ (yellow tracing paper), Murcutt envisions the complex
integration of structure, environmental controls, and interior space for humans. The techniques show
a slow and contemplative hand; expressing the winds as wavy lines becomes an analogy for the move-
ment of air and the movement of the pencil. The deliberate lines study the intensity of the sun and the
structure of the roof. The roof has been structured with beams, showing the space between the roof-
ing material and the bracing. The floor, in section, indicates the joists and foundations. Two footings
have been ‘called out’ and a third was added later. This sketch reveals how the building will sit lightly,
lifted off the ground.
Other environmental issues are considered throughout the page. Winds from the southeast and
northwest have been designated as wavy lines and arrows. Sun angles have been approximated for sev-
eral times of the year (December 22 , March 22 , June 22 ) to help Murcutt design the widths of the
overhangs. He was visually testing the amount of shade that would protect the interior of the house.
Conscious of the sun’s azimuth and altitude, he has noted the ‘Latitude 121 ⁄ 2 ° South, 137 Longitude’
as a reminder.
The sketch primarily shows the relationship between interior space and the porch. By drawing one
figure sitting on the porch, Murcutt reinforces the inside/outside continuance. The figures remind him
of the inhabitants, the feeling of the space and the conditions of climate control.
The sketch represents a device to remind Murcutt of pertinent information, to evaluate the infor-
mation visually, and record the thought process of design. There is reason to believe that the page was
sketched while he was traveling. On the lower right, notes describe his location and musings about his
state of mind. He writes: ‘Flying 39 , 000 ft. over Ankara Turkey; listening to Bach; clear sunny day;
22 : 50 hr Sydney time.’ The sketch can take him to the plains of Australia as a substitute medium and
be a companion for thoughts wherever he travels.H5719-Ch08.qxd 7/15/05 3:53 PM Page 247