he sensory delights of fine art hung on a gallery wall can draw viewers in for a close encounter, but signs and ever-present security guards remind us not to touch the art. Unwittingly, pristine scenes of architectural perfection can summon the same feeling of “look but don’t touch.” Chris Furminger’s Double North House overcomes any sense of remoteness by encouraging visitors to touch the architecture. The alteration and addition to an early-twentieth-century cottage in the Brisbane suburb of Red Hill elicits close encounters via levers, pulleys and winders that operate windows, shutters, doors and a retractable shade
