From the Cube Haus Architects website:
Most notable is Toogood’s sensitive approach to materials. She offers two different, equally alluring solutions to the exterior cladding and the internal finishes. Both external cladding options, raw galvanised steel and dark charred timber, are suggestive of industrial or agricultural structures, making it something of a thrill to see them in a domestic setting. The building clad in raw galvanised steel will have a refined, cream-coloured interior, whilst the structure clad in dark charred timber will have an exposed plywood interior finish.
Faye Toogood’s beguiling design for Cube Haus Commissions proposes a sanctuary that suits both rural and urban contexts. With a simple pitched-roof, single-storey form, it evokes the sort of ordinary, often-ignored buildings that have been built across Britain for centuries. But this being the work of Toogood, a revered designer across multiple disciplines, the scheme that she has created is far from being artless.
The office engages in a hybrid design process that is directed by analog forms of representation and digital production techniques. Each project is explored using a matrix of different media lenses, including painting, hand drawing, physical models and mock-ups as well as cad, hyper-photorealistic renderings and 3D computer models, wherein application and implication are prioritized. We believe this fusing of media provides a larger, more creative palette from which to work. Travel drawing also serves as a platform of inspiration and a fundamental aspect of research and development.
This approach stems from my own formal education and the unique 10-year period in contemporary history in which I studied architecture. Occupying both “paper” and virtual / digital environments, I learned the fundamentals at Tulane University using purely traditional architectural methods of representation. By the time I earned my Masters from Columbia University, the pedagogy had radically changed, wherein the old, analog systems of production were abandoned for a purely paperless studio that solely engaged digital technologies such as Maya, Max and Photoshop. Working within both territories, I learned that each medium has a profound effect on the way in which we draw, design and understand architectural space and form.
Meanwhile, after leaving Columbia, I set out to rediscover the practice of drawing on the road and have since made over 800 paintings, sketches and notes of architectural details, buildings, cityscapes, art and culture. These personal “drawings on the road” have evoked an intensive physical and living architectural investigation of how I process and perceive information. In the authentic and active experience of drawing — of physically recording what we see — I believe we develop a new way of seeing. We bring back sketchbooks that are full of information and analysis as well as a better understanding of architectural persistencies that make what we see matter. This level of engagement furthers the architect’s artistic intuition and enables him or her to see anew.