The formal, structural and spatial order that is apparent in the plan is camouflaged by the very basic detailing and the 'natural' and recycled materials from which the building is constructed. To me, as an architecture student in Melbourne during the 1960's Kahn's Trenton Bath-house and Corbusier's Chapel at Ronchamp seemed to be two opposed but equally powerful, iconic international works of architecture. At this time Melbourne had many examples of [residential] architecture reflecting Kahn's Structuralist concerns - refer particularly to Bernard Joyce and Graeme Gunn - but Shaw's Saper residence was the only project to reflect [in miniature], at least in plan, the free spatial flow and drama of Corb's chapel. The fact that this house seemed to combine iconic contemporary architecture with a 'regionalist' view of a bohemian bush-artistic lifestyle long held dear by the Melbourne architectural community imbued this project with a particular significance at the time.