These ideologies resulted in two major themes, a distinctive connection with the topography of the site and a creative approach to the ideas of family events happening in stages such as a theatre.

Norman Day[2] points out “It would seem the near north eastern bush suburbs are his to control.” This lolling house made of brick and timber was solely designed based on architectural responses to the needs and spatial necessities that are essential to a family.

Timber was used both interior and exterior, such as the benches of the kitchen and the washing table, however the present owner painted the pinus board on the outside because it was cracking and peeling due to the Australian sun over the years.

According to Hamann,[1] Ralph Erskine’s Borgafjall Ski Lodge in Sweden(1949) demanded a building that would sustain heavy snowfall throughout most of the year.

Based on the idea of family living, the upper bedroom wing transcends down into the eating area, which finishes down into the fireplace this logic of stages becomes a strategic rhythmic pattern of the everyday life, Borland’s interior exercises the role-play of the episodes of the family lifecycle becoming a stage and theatre concept where one event moves to another.

This sprawling movement in the interior is evident in Peter Crone’s Poritt house at Mount Martha (1979), which has a v shaped roof that glides to the down.