Issue #58 Creative Spaces

#58 Adaptive re-use and clever design.

Inside the homes of gallerists and architects. The Creative Spaces issue.

58 9 771443 055001 > OCTOBER | 2023 – FEBRUARY | 2024 AUD$17.95 | NZ$17.95 | SGD$13.95

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DESIGN NEWS Local and international design, new ranges, experimental materials and a vast array of inspiration – these are the design objects to add to your cart.

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IN REVIEW Jan Henderson takes a journey on a luxury passenger ship, sharing the design details aboard the majestic vessel while cruising Scandinavia.

portrait #55 56

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SARAH & RICHARD BRYANT In a full-circle moment, architects Sarah and Richard have revived a 1950s home in Melbourne, originally designed as an architect’s own home.

64 TEO YANG Korean designer Teo Yang defi d expectations, successfully launching a furniture brand in the pandemic – already with three showrooms and another on the way, this is a powerhouse to watch.

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EMMA FOX & ANDREW JENSEN Gallerists Emma and Andrew have created a haven of art and culture, where design is visible around every corner.

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#58 features #85

on location #119

86 REWORKING THE REMNANTS

120 NO. 20

The home of architect Andrew Child cleverly encompasses what was once a laneway, integrating it with a dilapidated Victorian. The outcome? Home, music room, office and many future uses all in one.

98 CREATIVITY UNBOUND Across the Indo Pacific region, architects and designers are using design to solve problems.

From bright moveable walls, to utilising backyards and reigniting trade, these creative solutions are nothing short of inspiring.

106 PRACTICE PROFILE: SAHA While still a relatively young practice, this studio is making waves with its sensitive approach to working on difficult sites or briefs. The constraints constitute unconventional routes to new kinds of design thinking.

114 FOOD FOR THOUGHT The kitchen gardens that fuel the fine-dining restaurant Wickens are a test case of trial and error.

Growing organically and with the seasons, the connection from garden to plate is ever-present.

With thoughtful consideration to the heritage bones of this 1950s home, Lucy Marczyk Design Studio has upcycled and reused whatever possible to create a modern home.

128 OKU HOUSE Home to an avid art and ceramics collector, this Singaporean shophouse has been reconfi ured while integrating ambling plants and staircases.

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138 WEETIES WAREHOUSE Perth-based spaceagency has reinstated a warehouse for a family that is exquisitely layered, yet elegantly simple.

150 PENINSULA HOUSE Appearing to be carved from the earth, this incredible home by Wood Marsh is more sculpture than architecture.

162 CLOUDVIEW Capturing the essence of being in the rainforest, Cloudview’s U-shaped plan and butterfly roof form a special response to an even more outstanding site.

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172 TATE HOUSE It’s not often we get to speak to owners with as deep a connection to their home as Erik and Sally have with the mid-century Tate House, renovated by Preston Lane.

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CHAIRMAN Raj Nandan raj@indesign.com.au

CEO Kavita Lala kavita@indesign.com.au

EDITOR Aleesha Callahan aleesha@indesign.com.au

BRAND DIRECTOR Colleen Black colleen@indesign.com.au (61) 422 169 218

EDITOR-AT-LARGE Gillian Serisier gillian@indesign.com.au

BUSINESS DEVELOPMENT MANAGER Brunetta Stocco brunetta@indesign.com.au

ASSISTANT EDITOR Timothy Alouani-Roby timothy@indesign.com.au

BRAND DEVELOPMENT MANAGER Laura Garro laura@indesign.com.au

CREATIVE DIRECTOR Sylvia Weimer sylvia@spacelabdesign.com CONTRIBUTING WRITERS & SUB-EDITORS Timothy Alouani-Roby, Stephen Crafti, Yen Kien Hang, Jan Henderson, Luo Jingmei, Kirsty Sier.

CONTRIBUTING PHOTOGRAPHERS Jack Baxter, Brock Beazley, James Geer, Adam Gibson, Robin Hearfield, Rob Heneghan, Timothy Kaye, Jack Lovel, Takumi Ota, Tom Ross, Derek Swalwell, Saskia Wilson, W Workspace, Iker Zuñiga.

MEDIA EXECUTIVE Katie Staver katie@indesign.com.au ACCOUNTS Vivia Felice vivia@indesign.com.au PRODUCT MANAGER Radu Enache radu@indesign.com.au FULL STACK DEVELOPER Ryan Sumners ryan@indesign.com.au

GROUP OPERATIONS MANAGER Sheree Bryant sheree@indesign.com.au

MARKETING DIRECTOR Dana Ciaccia dana@indesign.com.au

PRODUCTION MANAGER Anna Carmody print@indesign.com.au

MARKETING COORDINATOR Nicola Nolan nicola@indesign.com.au

DIGITAL PRODUCTION MANAGER Becca Knight production@indesign.com.au

EVENT MANAGER Nadia Adelstein nadia@indesign.com.au EVENT COORDINATOR Lee Courtney lee@indesign.com.au

COVER IMAGE Emma Fox, gallerist of Fox Jensen with Andrew Jensen at (p. 72), creatively photographed by Robin Hearfield

HEAD OFFICE 98 Holdsworth Street, Woollahra NSW 2025 (61 2) 9368 0150 | (61 2) 9368 0289 (fax) indesign.com.au

Printed in Sydney. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transmitted in any form or by any other means, electronic, mechanical, photocopying, recording or otherwise. While every effort has been made to ensure the accuracy of the information in this publication, the publishers assume no responsibility for errors or omissions or any consequences of reliance on this publication. The opinions expressed in this publication do not necessarily represent the views of the editor, the publisher or the publication. Contributions are submitted at the sender’s risk, and Indesign Media Asia Pacific cannot accept any loss or damage. Please retain duplicates of text and images. Habitus magazine is a wholly owned Australian publication, which is designed and published in Australia. Habitus is published quarterly and is available through subscription, at major newsagencies and bookshops throughout Australia, New Zealand, South-East Asia and the United States of America.

This issue of Habitus magazine may contain offers or surveys which may require you to provide information about yourself. If you provide such information to us we may use the information to provide you with products or services we have. We may also provide this information to parties who provide the products or services on our behalf (such as fulfilment organisations). We do not sell your information to third parties under any circumstances, however, these parties may retain the information we provide for future activities of their own, including direct marketing. We may retain your information and use it to inform you of other promotions and publications from time to time. If you would like to know what information Indesign Media Asia Pacific holds about you please contact Nilesh Nandan (61 2) 9368 0150, (61 2) 9368 0289 (fax), info@indesign.com.au. Habitus magazine is published under licence by Indesign Media Asia Pacific. ISSN 1836-0556

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The first word LETTING IDEAS FLOW

W

ABOVE Photo by Sarah Pannell

hat is the value of creativity? The United Nations Conference on Trade and Development predicted in 2021 that the creative economy could represent 10 per cent of global GDP before 2030. Locally, the Australian creative industries (which include architecture, design and craft) comprise eight per cent of the country’s total employment, according to a Deloitte study. The value, then, is enormous.

For this issue of Habitus, we look at creative spaces, and through the exploration of problem-solving and design, we see the tangible impact that creativity can have on the way we live. From adaptive reuse to innovative ways of making that honour ageold techniques, each of the stories in this issue highlights different kinds of design thinking and innovation.

We step inside the renovated mid-century home of two architects (p. 56). We also visit the home and office of Andrew Jensen and Emma Fox, the gallerists behind Fox Jensen to learn about their journey through the art world and the pieces they’ve collected along the way (p. 72).

In our feature section, we look at three seemingly different examples of creative problem solving from around the Indo Pacific (p. 98); and also visit the home of architect Andrew Child in Fitzroy, which extends into a laneway to create a multi-purpose, futureproofed and adaptable response (p. 87).

The residences included are of equal note, a shophouse-inspired home in Singapore for an art and ceramic collector (p. 128); a breathtaking house that appears as a sculpture rising from the ground by Wood Marsh (p. 150); and a small but perfectly suitable rainforest cabin tucked away as a total retreat in the Gold Coast hinterland (p. 162).

I hope after reading and absorbing the incredible design and ideas on these pages you feel inspired. Feel free to reach out with questions or comments at aleesha@indesign. com.au.

ALEESHA CALLAHAN | EDITOR

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Habitus takes the conversation to our contributors, discovering their inspiration and design hunter® journeys

ROBIN HEARFIELD

LUO JINGMEI

YEN KIEN HANG

GILLIAN SERISIER

COLLAPSING TIMELINES #72

A SHOPHOUSE SKETCH #128

DREAMING OF A FUTURE PAST #64

COLLAPSING TIMELINES #72 OF THE EARTH #150

Robin Hearfield is a photographer and artist who photographed Emma Fox and Andrew Jensen at their home in Sydney: “Shooting Andrew and Emma at their home and workspaces for Habitus was an exercise and experience in allowing 1000s of years of creative skills, knowledge and applied making be, a curatorial receiving that reached far into my ability to feel the importance between time, placement, consideration and object relationally. With their intrinsic, innate embodiment of choice and thoughtful arrangement, the spaces are both inhabited by and shared with more than just two people.”

Luo Jingmei seeks to author authentic and emotive narratives about architecture and design.

After graduating from a Master of Architecture at the National University of Singapore, she worked at ipli Architects. Lured to the editorial world, the former deputy editor of Cubes Indesign is now a freelance writer.

Yen is a design writer based in Malaysia, where he contributes to design media outlets from Art and Design, IDEAT to Design Shanghai.

His ‘Box Opening’ P.O.V. also saw him publish OutOfThePackage (OOTP), an e-magazine and book series in Taiwan, utilising his tour of design fairs as a guide to more honest and truthful reporting.

On profiling Teo Yang, he shares: “Writing about Eastern Edition has led me into a whole new realm of Korea’s furniture history. And Teo Yang only scratches the surface.”

Gillian Serisier is an editor-atlarge for Indesign Media Asia Pacifi , where she covers all corners of design and art across the Habitus and Indesign network.

Gillian has contributed to many outstanding publications, and her extensive knowledge and sharp words make for compelling storytelling.

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issue #58 habitusliving.com

Modern maximalism Bold flourishes and patterns next to striking curves – this is a new kind of maximalism, tempered with refinement.

Lucy Montgomery’s exclusive mirror collection for Jardan, titled ONDA, is an exploration of the wave form (ONDA also translates to wave in Italian). Each mirror’s fluid form is handcrafted using traditional techniques and natural materials, finished in a soft meringue-toned textured plaster. jardan.com.au

International design superstar Kelly Wearstler has launched her debut tableware collection in collaboration with Belgian brand Serax. Echoing Wearstler’s penchant for mixed materiality, the ZUMA and DUNE ranges span ceramics, glassware, wood and marble accessories. Featuring two-tone finishes of matte and high gloss, the ceramics collection presents variegated dishes and platters with sculptural crests and ridges that echo ancient pottery techniques. serax.com

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Mechanical precision Pioneering a new path forward, discover where tradition is being overturned by innovative approaches.

Embodying Scandinavian simplicity, the POLESTAR 3 brings eco-friendliness in the form of an electric SUV. It combines sustainable materials such as MicroTech, animal-friendly leather, and traceable wool for a luxurious feel. Polestar is commited to transparency, planning a full life-cycle assessment for ongoing carbon footprint reduction during production and beyond. polestar.com

Ronan & Erwan Bouroullec’s OFFICINA COLLECTION for Magis pioneers a fresh creative language via ancient iron forging. It comprises tables, chairs, stools, benches, accessories (coat stands, valet stands, candelabras, mirrors), and upholstered pieces such as armchairs and sofas. Embodying the raw, centuries-old allure of wrought iron, each piece blends industrial essence with refined elegance. livingedge.com.au

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FOR ENQUIRIES / info@antoniolupidesign.com.au

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In neon Don’t be afraid of saturated colour. This collection of objects and accessories offers a decidely bright note.

Since 1968, VOLA has embodied Danish design and longevity.

Guided by human experience, it blends pure forms, honest materials, and sensory appeal. VOLA’s ARNE JACOBSEN TAP, with its exposed handles and spout, remains iconic – available in a range of stunning colour options. Modular design ensures adaptability, enduring beyond appearance. vola.com

The EXPOSURE SERIES MIRRORS are the result of a research project by Cordon Salon’s Ella Saddington to explore colour, illumination, and reflection. The artworks combine analogue film manipulation with A.I. technology to create stunning visual effects inspired by traditional light leaks in film photography. Editioned to just five handcrafted mirrors, each one offers a unique visual experience. cordonsalon.com

Designed by Silje Lindrup for Hem X, the SPECULO WALL CLOCK blends art, craft, and function, adding a special touch to your walls. Hand-blown and silvered, each of the 12 exclusive pieces is one-of-a-kind, featuring highlighted numbers. hem.com

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Devil in the detail Combining manufacturing skill and thoughtful execution, here is where design sets a standard for living.

The FRAME BED is infused with contemporary sophistication, where details such as built-in porcelain-topped bedside tables and timber panels add luxury. An ingenious cable concealment merges storage and tech, offering clutterfree style. coshliving.com.au

Concrete House exemplifies ecoconscious elegance in family living.

Rob Henry Architects’ innovative design marries minimalist aesthetics with sustainable, low-impact construction. Schüco ASS 70.HI TRIPLE-GLAZED WINDOWS and meticulous engineering contribute to passive house standards, celebrating both design and sustainability. schuco.capral.com.au

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issue #58 habitusliving.com

Warm minimalism Natural timber details meet with fine lines and craftsmanship in this selection that exudes warmth.

Discover unparalleled elegance in Fhiaba’s INTEGRATED SERIES, which merges luxury and sophistication. Seamlessly blending technology and indulgence, Fhiaba redefines living through a range that offers customisable refrigeration and wine storage. The fridge is enhanced by unique features such as independent systems, RealTime controls, and Total NoFrost.

Ross Gardam’s ROOK STOOLS draw from chess piece aesthetics, elegantly blending timber uprights and a steel skeleton for a streamlined look.

Natural timber and skilled Australian craftsmanship create a harmonious, minimalist design with interplaying elements. rossgardam.com.au

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Named after Saigon’s diverse District Eight, this furniture brand fuses European and Asian influences in a blend of cultures. Toan Nguyen’s STILT COLLECTION explores Vietnamese heritage with formal minimalism, embodying harmony between tradition and modernity, aesthetics and function, and environmental awareness in highquality design. districteight.com

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Design at sea TEXT JAN HENDERSON | PHOTOGRAPHY IMAGES PROVIDED BY REGENT SEVEN SEAS CRUISES®

Design, art and jewellery combine to present an experience par excellence when cruising the North Sea.

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rafting the interior of a home is a very personal endeavour. However, designing for many people, as well as life aboard a ship, is a very different undertaking. With an opportunity to experience a cruise on the Seven Seas Splendor firsthand while enjoying fine design, life onboard becomes another world – especially for someone who normally has their feet firmly on the ground.

During the 10-night Scandinavia cruise, there was the opportunity to explore not only life travelling the ocean and visiting ports in Scandinavia but also to enjoy the interior of a vessel that has been designed to provide everything for everyone.

The interior was conceived by Miamibased design practice Studio DADO. Founding partners Yohandel Ruiz and Javier Calle, with lead designer Scheherazade Marles, have created a floating homage to fine living. Public and private areas have received the Studio DADO touch, including the ship’s Observation Lounge, spa, card room, Constellation Theatre, Connoisseur Club cigar lounge, Pacific Rim restaurant and all 55 Penthouse Suites as well as the Grand and Superior Suites.

As a special Spotlight on Fabergé cruise, this was also a chance to learn about the famous jewellery atelier through talks and films, personal meetings with Fabergé staff and viewings of the intricate custom jewellery that is in such demand.

The craftsmanship required to conceive, create and realise the bespoke jewellery is outstanding; it takes years to become a master of Fabergé’s special enamelling process.

However, referencing the bejewelled Easter eggs first created by Peter Carl Fabergé for the Russian imperial family in the late 1800s and early 1900s, the Atelier is making bespoke

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eggs for clients that include Rolls Royce, and to celebrate occasions such as the 60th anniversary of the 007 movies. Fabergé is also creating an egg for Regent Seven Seas Cruises, to be unveiled in late 2023.

From the intimacy of Fabergé’s designs to the impressive largesse of the ship’s interiors, beauty is everywhere. Here elegant form meets ubiquitous function – and then there is the art that fills the walls and corridors.

The art collection features works from more than 200 artists across dozens of mediums, including Pablo Picasso, Eduardo ArranzBravo, Juan Roberto Diago, Roberto Matta, Wifredo Lam, Joan Miró, glass work by Duncan McClellan and a bronze sculpture by Alexander Krishonov. The Seven Seas Splendor is much like a floating gallery for lovers of art in all its forms.

While luxury is a given, the inclusion of authentic materials helps anchor spaces and provides the perfect backdrop to the design experience. Timber has been used extensively on floors, ceilings and walls; floors throughout many public areas feature inset stone mosaics surrounded by luxurious carpet.

The enormous chandeliers are focal points in all areas. In total there are 216 custom-designed crystal chandeliers in the restaurants, lounges and other public spaces, and more in the suites and corridors.

In the atrium is a Lasvit Glass art fixture featuring five rings with 358 clear Bohemia crystal hand-blown glass rods, which took five craftspeople three weeks to install.

With a variety of restaurants on board, each has its own unique character to complement the style of food served. For example, Pacific Rim, a restaurant that specialises in contemporary Asian cuisine, is dark and moody with wall tiles

that resemble fish scales and a textured wovenstyle façade on the reception desk. Of note is an enormous sculpture at the entrance which depicts a dragon rising from beneath the floor, swirling through the large space up to the ceiling. Created

by Brisbane-based UAP, it greets guests and sets the tone for the culinary experience ahead.

On the other hand, Compass Rose (pictured) features grey and white marble, brass detailing and inset patterned and custom-designed carpets. However, the pièce de résistance is a 2800-kilogram chandelier comprising stainless steel and 870 illuminated, hand-blown glass panels. The aesthetic is certainly grand and represents the classic cuisine on offer.

Every need is catered for on the vessel, and one of the many devoted to wellbeing is the gym, where state-of-the-art Technogym equipment has been installed to ensure users keep fit in style.

Designing the interior of a ship is a complex undertaking and all materials need to adhere to fire regulations, with all the fittings and fixtures conceived and installed with safety in mind.

To maintain the interior there are carpenters, plumbers and electricians on board who provide support on every journey.

Seven Seas Splendor has so much to offer and becomes a home away from home, albeit a very grand one.

Jan Henderson was a guest of Regent Seven Seas Cruises on the Spotlight on Fabergé. The second Spotlight on Fabergé voyage will take place in July 2024. Accompanying guests will be the great-granddaughter of Peter Carl Fabergé and Director of Special Projects at Fabergé, Sarah Fabergé.

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Kitchen favourites After a rigorous judging process, the 2023 Gaggenau Kitchen of the Year winners have been decided.

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habitus promotion › Gaggenau

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ow in its second series, the winners of the Gaggenau Kitchen Design Contest have officially been announced. With a field of entries from across the country, the stunning mix of modern kitchen spaces were judged in two distinct categories – Luxury Home and Multi-Residential.

Proving that Australia is world-class when it comes to design, each of the entries was poured over and judged by some of the best in the industry. “The discerning eyes of the judges were looking for designs that balanced form and function, authenticity and originality of design, aesthetics and practicality, materiality and magnificence – all qualities that mirror the fusion of craftsmanship and performance excellence Gaggenau appliances are renowned for,” says Olya Yemchenko, Senior Brand Communications Manager, Gaggenau.

BEST OF THE BEST WINNER – Fisherman’s House, Studio Prineas LUXURY HOME WINNER – Fisherman’s House, Studio Prineas Receiving both the Grand Prize as the Best of the Best winner, and the Luxury Home category winner is this exceptional Sydney home, where the kitchen connects to past and present.

In this meticulous rejuvenation of a harbourside weatherboard cottage, Studio Prineas has seamlessly interwoven the structural past impeccably with contemporary trends. “Our clients wanted a kitchen that would form the heart of their home from both an aesthetic and practical standpoint,” says EvaMarie Prineas, principal, Studio Prineas. Smoked oak joinery forms a seamless backdrop with pocket doors that when opened reveal an elegant working kitchen including a butler’s kitchen niche lit by a restored original window.

RUNNER-UP – Casa Piva, B.E Architecture Designed by director of B.E. Architecture, Andrew Piva, this interior celebrates the family’s Italian heritage, with its emphasis on the social nature of space. A combination of antique oak and masonry enhances the sense of intimacy and the joy of gathering for meals.

MULTI-RESIDENTIAL WINNER – Victoria & Burke, Carr In this cook’s domain, natural materials such as feature stone and timber finishes are a complement to the landscaped outlooks. “The spacious kitchens were designed to offer residents a comfortable and elevated cooking experience for family life and entertaining,” the designers say. The Gaggenau appliances bring a combination of elegance, refinement and excellence in function to this integral room in the apartment.

RUNNER-UP – Provenance Camberwell, Elenberg Fraser Inviting kitchen spaces became central to achieving a balance between luxury and the intimacy of private family life. Stone materiality and sleek lines exude spaciousness, and become a focal point to emphasise the culinary realm as a key gathering space of these well-appointed apartments.

ABOVE & OPPOSITE Fisherman’s House by Studio Prineas took out the top honour at the 2023 Gaggenau Kitchen of the Year Awards, photos by Gavin Green

Congratulations to all the winners and runner ups. The entire shortlist showcased high-end design and innovative thinking, which is testament to the enduring power of the kitchen being a vital space in every home. Gaggenau Kitchen of the Year will open for entries in 2024.

Gaggenau | gaggenau.com.au

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Sunny days Radiating outdoor living with a decidedly Mediterranean flavour, these pieces are all about life lived at a slower pace.

Ibiza’s stunning landscapes inspired Talenti’s new SALINAS COLLECTION. Designed by Ludovica + Roberto Palomba, this seamless Italian masterpiece is defined by a lean form.

The collection mirrors Ibiza’s beauty and allure through sofas, armchairs, and precious metal details, blurring the lines between indoor and outdoor. talentispa.com

Set sail on a formaggio journey with ALEX AND TRAHANAS, and the newly introduced VELA CHEESE KNIVES, designed by David Caon.

Inspired by sailing, these sculptural olive wood and steel knives will elevate your table. Accompanied by the Corda cheese board, crafted in rich oak with a nautical rope detail, they’re both perfect for hosting. alexandtrahanas.com

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A traditional take These designers capture an echo of the past, drawing inspiration from age-old ideas.

Meet the LUVA MODULAR SOFA – equally cosy and functional.

Designed in Porto, Portugal,

by Gabriel Tan Studio, it draws inspiration from boxing gloves and traditional Japanese futons. This versatile piece, resembling a glove, features natural textiles and organic lines, and can transition into an open lounge posture. hermanmiller.com

Tongue & Groove’s special three-layer solid European oak floorboards makes them super strong and stable.

Now, with its innovative process the GRANDE and PICCOLO come in a new 2.9 metre length. This longer length dramatically exceeds the industry standard of 1.9 metres, allowing for bigger areas to be covered with fewer joins.

Merging art, design and fashion the SPEAR COLLECTION of jewellery by Şener Besim draws on Ottoman elegance, where power is symbolised through intricate geometry, echoing the splendour of ancient architecture. senerbesim.com

tongueandgroove. com.au

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FA R AG E C O NC E P T STO RE 1 0 9 R I L E Y S T R E E T, E A S T S Y D N E Y, 2 0 1 0

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Mediterranean in Melbourne A collaborative approach of design vision and service has transformed this luxury property into an outdoor sanctuary of creativity and craftsmanship.

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ack Merlo is at the forefront of Australia’s landscape architecture scene, a passionate creative who has built a reputation as a visionary. His recent transformation of Haverbrack in Melbourne was inspired by the unique charm of Mediterranean outdoor spaces. With a combination of cascading rosemary and mature olive tree foliage, the home’s landscape now offers an abundance of texture and authenticity.

“I think the functionality, the flow of spaces, and the planning is always the first thing, and then layering that up with materials, finishes, and planting is the second process,” shares Merlo. As part of that process to bring his Mediterranean vision to life, Merlo worked alongside leading luxury furniture brand Cosh Living – known for timeless designs and exceptional craftsmanship – to elevate the outdoor space with a variety of statement pieces.

Cosh Living collaborated closely with Merlo to transform the outdoor area into a remarkable refuge and place of relaxation. From functionality through to aesthetics, it was critical to translate the client’s needs and desires into a usable area of the home.

After extensive meetings and briefings, Cosh Living provided a number of elegant pieces tailored to the project.

The approach considered the practical requirements of the clients’ lives as well as a thoughtfully warm colour palette and Mediterranean aesthetic.

Cosh Living’s signature Atelier Vierkant clay pots and luxury outdoor furniture served as striking feature pieces that complement and enhance the scale of the vast property.

The Tosca collection, designed by Monica Armani for Tribù, also takes centre stage; a beloved series of lounge chairs, daybeds, coffee tables and side tables imbued with a restrained elegance. The lounge pieces are instantly recognisable by the soft, woven layers, set against minimalist tables with durable ceramic tops.

Merlo chose Cosh Living for the brand’s enduring style.

Particularly fond of the unique Atelier Vierkant pot, he says: “The quality of the pots is excellent; they are handmade, not a lightweight composite material,” says Merlo. “As a designer, you can really tell the difference between the real thing and the composite. I’ve used them in my own house, and they are beautiful pieces.”

With exaggerated scale and refined proportions, all softened by flowing greenery and comfortable furniture, Haverbrack is an outdoor retreat that truly showcases craftsmanship. It’s outdoor living at its finest.

Discover timeless elegance and luxury design to elevate your outdoor experience with Cosh Living.

OPPOSITE & ABOVE Fresh and utterly inviting, this new outdoor design

by Jack Merlo brings in key pieces from the Cosh Living collection

Cosh Living | cosh.com.au

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Referential treatment These pieces are inspired by historical moments, places or objects – each made modern.

Discover Greg Natale’s BLITZ CRYSTAL COLLECTION – boldly echoing ‘80s club culture. The collection boasts a dual-ended candle holder (pictured) and unique bookends, fusing clear, black onyx, and smoke crystals. A tribute to the legendary Blitz Club, these pieces bring audacious New Romantic vibes to classic and modern interiors. gregnatale.com

Delhi-based Daera Studio, founded by Jannat Gill and Sharon Sethi in 2018, intertwines storytelling and design to revive traditions and craft new creations. Presenting the Daera TETRIS COLLECTION — an exclusive furniture line honouring Pablo Picasso’s artistry. Inspired by his Cubist approach, the pieces exude strength and beauty, with the timeless warmth and geometric precision of oak. daeralife.com

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Perfectly crafted Elegance is nurtured by the hands of an expert designer, and these pieces communicate precision and craftsmanship.

The versatile MŪN RECHARGEABLE LANTERN by Stellar Works is designed for indoor and outdoor use. Crafted with a robust silicon strap, it’s effortlessly flexible around your home and garden. OEO Studio’s design draws from analogue rituals, inspired by record players and cameras. livingedge.com.au

Ceramicist Naomi Taplin’s Studio Enti extends from highend ceramics to ARCHITECTURAL LIGHTING. The Sydney-based team presents a coherent range of pendants, sconces and wall lights, with each piece embodying timeless design that elevates spaces and enriches lives with a sense of harmony. studioenti.com.au

Pritzker Prize-winning architect Álvaro Siza has designed an iconic watch for LEBOND WATCHES. Inspired by his 1966 Lęca swimming pool, the automatic timepiece showcases a rotated square shape with angled time markers. The 89-year-old architect’s design embodies precision and lightweight elegance with a piece crafted from durable grade 5 titanium with a micro-sanded matte finish. lebondwatches.com

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making places inspiring

usm.com

Play around with colours, shapes and dimensions and design your own furniture with our online configurator Australia: Anibou – anibou.com.au

Sydney 726 Bourke St. Redfern NSW 2016, 02 9319 0655 Melbourne 3 Newton Street, Cremorne VIC 3121, 03 9416 3671 info@anibou.com.au

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New Zealand: ECC – ecc.co.nz

Auckland 39 Nugent St.Grafton 1023, 09 379 9680 Christchurch 145 Victoria Street, Christchurch Central 8013, 03 353 0586 Wellington 61 Thorndon Quay, Pipitea 6021, 04 473 3456 info@ecc.co.nz

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New dimensions With typical V-ZUG flair in combining style and technology, the V6000 Grand CombiSteamer opens up a feast of opportunities for the home chef in search of new challenges.

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ince V-ZUG first won accolades 20 years ago for its pioneering CombiSteamer, the company has continued to innovate to ensure its technology stays ahead of the pack. But one thing has remained steadfastly the same: the cavity width.

So when the nascent idea for a larger 90 centimetre wide version started to move from concept to reality, Patrizio Caserta, V-ZUG’s Global Product Manager – Kitchen, pulled his team together and asked the critical question.

“We had the base of the standard CombiSteamer, but was it enough to create the same experience and the same results on the bigger cavity? No, it wasn’t. And that’s why we’ve [developed] the patented twin heat technology to create this culinary master chef experience for the kitchen performers, but also for the design lovers.”

As the premium version of an already premium product, Caserta knew the Grand had to be a showstopper in looks

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and ability as well as scale, and set the clever minds at V-ZUG to work to achieve it. That approach drew on the rigour and reliability of the V-ZUG product development process, and the captivating elegance of the Excellence line’s visual language and intuitive Circle Slider.

For someone who uses the quote “Life is a combination of pasta and magic” front and centre in his LinkedIn profile (a Fellini line expressing how life is a blend of the everyday and the enchanting), Caserta was made for the task.

When the brief landed on the design team’s desk, their starting point was Caserta’s assertion that it couldn’t just be a zoomed-out version of the original 60 centimetre-wide model.

“So it was going back to the drawing board, in a sense, and dealing with all of those departments that we dealt with in the creation of the Excellence line, bringing in your technical people, bringing in your production people,” says Martin von Freeden, Head of Design.

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habitus promotion › V-Zug

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V Zug | vzug.com.au

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“It was this next progression to then create an even more sophisticated version of it.”

Key to that endeavour was the development of the twin heat technology, where a patented double-sided heat distribution system ensures even outcomes, consistent perfection and ease of use.

“There are two fans counter rotating to each other, to produce a very steady airflow,” explains industrial designer, Andreas Arabiano. “The heat elements are separated – there’s a lower one and an upper one, which allows for better heat distribution. This is cool because also when you stack multiple layers in the CombiSteamer, it just works extraordinarily well.

It’s fascinating!”

The design team also paid particular attention to the interior of the Grand – already beautiful in the smaller version – but it’s remarkable how an extra 34 centimetres means so much more of the product’s inner workings are on display, particularly when positioned at working height in a kitchen.

The result is clean and timeless.

When the prototype made it to Chris Lacroix, Head of Training and Gourmet Academy, he approached it cautiously.

“Chefs are always skeptical. You know, when we get an appliance, the first thing we say is, ‘Okay, we know it looks beautiful, but let’s test it’.”

And test it they did. An entire side of salmon; five chickens roasted side-by-side; two full trays lined with eight long baguettes; enormous trays of focaccia. Every time the Grand passed the test, confirming home chefs will be able to recreate a volume of restaurant-quality results in the comfort of their own kitchen.

This was no surprise for Caserta, having seen the product through from idea to launch. “It’s in our DNA, creating a product that is not only nice looking, but also has advantages in culinary precision.”

When asked if the Grand, as the first 90cm CombiSteamer in the world, is special to him, Caserta’s response is telling.

“You support these kinds of projects through the different phases,” says Caserta. “It’s like children – you have children in different ages, and you guide them to kindergarten, the first one, then they get into school, and the second one comes into kindergarten. So you are always in these phases of product management.”

Which suggests that in the V-ZUG family, there are no favourites; each product is shepherded with the same care and consideration to ensure every time you use a product, you get precision, style and excellence.

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habitus promotion › V-Zug

PREVIOUS & ABOVE Designed with a quietness that belies its technical prowess, the new, large-format CombiSteam by V-ZUG is a world first

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“It’s in our DNA, creating a product that’s not only nice looking, but also has advantages in culinary precision.”

OPPOSITE The details of the new V6000 Grand V-ZUG CombiSteam are embodied with the same signatures of the Excellence range

V Zug | vzug.com.au

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Recurring patterns TEXT ALEESHA CALLAHAN | PHOTOGRAPHY JACK LOVEL

Sarah and Richard Bryant are partners in life and work at the helm of Bryant Alsop Architects. While the studio’s journey is one of adaptability, the renovation of their own family home is a reminder that good design is much like a good story – layered with history, personality and moments of unexpected beauty.

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PREVIOUS LEFT & RIGHT The home of Sarah and Richard Bryant suffered some additions over the years that detracted from the original 1950s bones OPPOSITE A Featherstone sofa wraps perfectly around a reinstated fireplace where original crazy pave was discovered on the floor RIGHT A new breakfast bar juts out into the living space, effectively creating a connection between the kitchen behind and the living area in front

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here are some houses that you walk into and immediately feel at peace, transported out of the day-to-day. The home of Sarah and Richard Bryant, perched in the established treetops of Kew, Melbourne (Naarm), is precisely one of those places. But it was a far cry from being a mid-century sanctuary before they put their expert touch on it.

When the couple first came across the house during one of Melbourne’s extended lockdowns in March 2021, they could see the potential but weren’t exactly chomping at the bit to nab it. After it passed in at auction, they gave it another look.

While for many, the elaborate chandeliers, clunky additions and awkward spaces would be too much, Richard and Sarah saw how far it had deviated from its origins and lost its soul.

The home is steeped in history, having originally been designed by mid-20th century architect Geoffrey Danne as his own home. As an architect’s own home, it was very much conceived as a testing bed for some unconventional thinking, encapsulating the architectural gusto of the time. “He’d been to Europe in the 40s, and they all came back post-War with ideas and experiments,” shares Sarah, pointing out an

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early incarnation of double glazing in a series of clerestory windows at the top of a gently curving, monolithic wall, as well as early examples of circular skylights being used in Melbourne.

The wall, too, was an experiment, with large chunks of glass scattered among mismatching pieces of stone. Sarah conspiratorially shares that, apparently, Danne salvaged the New Zealand limestone for this wall from the old Wilson Hall at Melbourne University, which burnt down in 1952.

“He was collecting random things and finding ways to use them throughout this house,” she says, adding: “In the afternoon, the sun comes through the glass shards and lights up the dining space.”

Created in similar bowerbird-like fashion, the “original 1950s crazy pave tiling” was discovered in a few areas when the many layers of carpet and vinyl were pulled back. At the stair landing, around the fireplace and in the powder room.

“We pulled it up and we’re just like, ‘oh wow’,” says Sarah. The tiling features off-cuts and kaleidoscopic pieces of natural stone ranging from Viola Calacatta to peach-toned travertine, presumably also salvaged and collected through Danne’s work.

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As an architect’s own home, it was very much conceived as a testing bed for some unconventional thinking, encapsulating the architectural gusto of the time.

The changes Sarah and Richard have made feel natural and bring a coherence back to the nonsensical additions that were shoehorned into the original.

“There’s a rationalism to the planning; when we looked at the original 50s plans, the bedrooms are all along the eastern elevation and the plumbing was stacked vertically down the middle of the house,” says Richard, adding: “It was really rigorous in the thinking, laid out as economically as possible.”

The upper floor had the original kitchen, bathroom and bedrooms, while Danne occupied the lower level as a home office space. Bringing the whole into a more modern iteration, Sarah and Richard have taken what was the original kitchen area and transformed it into their main bedroom suite. The lower level living spaces and kitchen are now the hub of the home, where a new elegant bench extends the kitchen out and creates a multi-purpose zone.

Sarah and Richard also drew inspiration from the remnants of what they discovered in the unearthing process. The pink stone on the island bench is a reference to the pink-toned stone found in the crazy pave.

Other decisions speak to their skill and design knowledge. For instance, a new, white powdercoat steel balustrade brings just the right reference to mid-century without feeling contrived. In fact, it could easily be missed as new because it harmonises so perfectly.

It’s hard to imagine this home having the same mood, the same thoughtfulness, if it had been undertaken by anyone else. Plus, there’s an echoing symmetry in the story itself – an experimental home of an architect, reinvigorated by architects as their own home 70 years later.

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Moments of quirk are everywhere, but they’re rounded out with an overarching sense of serenity. The peacefulness is as much an expression of Richard and Sarah’s personalities as it is a result from the architecture or the surrounding greenery.

That calming presence and ability to let go of worries outside their control is something that has helped them grow their architectural practice organically over the past 15 years. Now a team of 12 architects, the studio predominantly works across education and residential.

As they recall the beginnings of Bryant Alsop Architects there’s a sense of everything naturally unfolding – or as Richard says, “one thing, or project, just led onto another”.

In 2008, the effects of the Global Financial Crisis were well and truly being felt across the construction industry. During that time Sarah was at home with their second child. “I had no maternity leave, no part-time work. I was at home, and someone reached out and asked if I could work on a house they’d just bought,” and things just kept flourishing from there.

While the practice now has a strong portfolio and pipeline of work across their two key sectors, the pair’s ability to adapt as they go has seen them find the sweet spot. “There’s an underlying belief that whatever comes our way, we’ll work it out,” says Sarah.

It’s an attitude that certainly helped as they kept unravelling the layers of this home. What they have created together is the ultimate reflection of their personalities and practice – thoughtful, creative and overflowing with design intent.

B ryant Alsop Architects | bryantalsop.com.au

PREVIOUS Sarah and Richard discovered an old flue and reinstated a fireplace, also finding original crazy pave flooring made with stone offcuts OPPOSITE The line of clerestory windows at the top of the wall were an early experiment with double glazing, originally done by architect Geoffrey Danne, as well as circular skylights (some of the first seen in Melbourne in the 50s)

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Dreaming of a future past TEXT YEN KIEN HANG | PHOTOGRAPHY COURTESY EASTERN EDITION

Launching a furniture brand during the pandemic has made Eastern Edition’s founder Teo Yang a legend of sorts. But what he offers is not just a one-stop shop for trendy design. A visit to the brand’s Gangnam stores highlights why.

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ith degrees from The Art Institute of Chicago, and Environmental Design from ArtCenter College of Design in Pasadena, Teo Yang’s years of experience in the interior design world have seen him creating high-end residential with an emphasis on modern architecture and custom detailing.

Recently, he was named one of the top 100 designers in the world by Phaidon and AD100.

But launching a furniture brand is another matter, especially during the pandemic.

“The pandemic actually helped us to succeed since people were staying home and paying more attention to furniture,” he remembers.

“This was totally unexpected, but I was very relieved to see great avenues. I believe the most challenging part of creating a brand is doing something you like, but still making a profit.”

To the industry’s surprise, Eastern Edition has expanded its brick-and-mortar presence within a very short amount of time. Already there are two showrooms in Seoul’s Gangnam district, plus one in Paris, and another about to open in Los Angeles.

Setting Yang apart is a reinterpretation of Korean aesthetics – often known for its ‘emptiness’ – in a modern way. Eastern Edition was born out of his desire to research the essential philosophy of Korean tradition, while not mimicking or recreating something traditional in a literal way.

One such example is the cushion stool.

Traditionally, offering a cushion is a symbol of respect. The Eastern Edition way, therefore, was to add a wooden base to show how it can be translated for modernity.

By grafting this important item of Korean culture onto a stool, Yang has shown the simplicity and identity of the brand.

Foundational to the practice is the philosophy of the Joseon period (the last dynastic kingdom of Korea – 1392-1897). Moreover, the aesthetic forms and design language of this era have been well-documented and provide a major source of inspiration. Yang’s love for the period also saw him base his design studio between the two main palaces of the Joseon dynasty in Seoul. “We always find inspiration around our environments,” he says.

As such, a visit to Seoul should include both (they are within a five-minute walk of each other), as each has been envisioned to deliver different experiences.

As Yang explains, “Most of the furniture stores in Gangnam are luxury imported brands.

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So we wanted to share a traditional brand with people that could offer luxury, and an even deeper philosophy.”

Indeed, the first Cheongdam flagship, located in a single, minimal yet brutalist-style building presents itself like a typical showroom.

Here it’s about large windows and open-concept living quarters – a kitchen (with a touch of Heriter’s lifestyle goods), living room, study, and even a counter for Yang’s ‘side hustle’, Sinang Home Perfume collections.

The next showroom, within a second-floor setup, is more about celebrating the modern and traditional palette through Korean arts, crafts and furniture. Here, Eastern Edition is clearly facilitating the contract market.

With furniture ranging from tables to dining chairs, lamps and the brand’s first bedroom collection, it’s easy to imagine your home transforming into a warm and comfortable hotel, or vice versa.

The clever use of leather for the Soft Back dining chairs, and the fusion of a desk into the back of the bedhead with built-in halfmoon side tables on the Desk Bed are among the highlights.

Although at first glance, the rounded edges and wooden texture of Eastern Edition’s furniture are reminiscent of France-based furniture brands such as DELCOURT and Collection Particulière, there is a big difference in the ethos behind Yang’s collection.

“Remembering the time of Joseon, there was a spirit of pursuing natural things and looking at the essence instead of technique or decoration. The ideas of ‘aesthetics of emptiness’ and ‘a willingness to let go’ were very necessary in this era. I thought it would be nice if Eastern Edition’s furniture could provide that opportunity,” Yang says.

This is why Eastern Edition’s showrooms and furniture tend to ooze a sense of timelessness. An immersion that feels eternal.

While Yang did admit there are times when he’s swayed by trends, he’s also adamant about sustainability. Not only is all the wood sourced locally, but upcycled wood from old Hanok (traditional Korean house) pillars have been used to create objects such as the table lamp.

“The past does not change. So why can’t we talk about the future through the past? I certainly think you can,” muses Yang.

E astern Edition | en.eastern-edition.com

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OPENER Teo Yang in the first Cheongdam showroom for his furniture brand Eastern Edition LEFT & PREVIOUS The Paris showroom lets the heritage of the building shine, with the exquisitely crafted furniture sitting comfortably OPPOSITE The second Cheongdam showroom, featuring the Cushion Stool, a modern twist on traditional Korean archetypes

“Remembering the time of Joseon, there was a spirit of pursuing natural things and looking at the essence instead of technique or decoration.”

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BELOW Fine timbers meet clean lines, all with a traditional Korean aesthetic. The Soft Back dining chairs are defined by a leather seat back to lean into

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habitus promotion › Neolith

#71

Limitless design Inspired by endless possibilities, designer Briellyn Turton shows just how beautifully Neolith can be mixed and matched to create a captivating material palette.

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eolith has well and truly established itself as a leader in sintered stone – a versatile material with unparalleled potential. Offering an ecoconscious substitute to all the beauty of natural stone but none of its limitations, Neolith has solidified its position in sustainable luxury design.

Fascinated with natural materials and textures, the Neolith collection spans 57 different models grouped into six collections. From silken, polished finishes and striking patterns, each piece is a canvas that will transform your space with a breath of pure individuality. The collection’s adaptability allows it to transform spaces with functionality front and centre.

Poised at the junction between elegance and endurance, Neolith products provide ultimate design freedom, making it suitable for a variety of applications. Backed by cuttingedge technology, Neolith surfaces shield both indoor and outdoor spaces against water, scratches, stains, heat, impact and UV radiation. Hard-wearing, non-porous and resistant to all kinds of damage, Neolith will invisibly defy the wear and tear of decades.

The creative freedom that comes with such quality assurance was something that Briellyn Turton, founder of Studio Brie, explored in a recent collaboration featuring Neolith’s Classtone Collection. The project saw a stunning array of styles and aesthetics come together to create surface magic, with the resulting collection of flat lays providing a base of inspiration for incredible kitchen and bathroom schemes.

“Performance and durability are obviously number one,” says Turton, “Neolith is absolutely life proof.”

These artistic moodboards encapsulate Neolith’s ability to pair seamlessly with a multitude of materials and create captivating interior design palettes tailored to diverse design expectations.

From blending elegantly with stainless steel to harmonising with wood and glass, Neolith transforms spaces into captivating symphonies of style and purpose – built to last.

ABOVE The variety and beauty of Neolith’s Classtone collection comes to life as an inspiring moodboard by Briellyn Turton

Neolith | neolith.com.au

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Collapsing timelines TEXT GILLIAN SERISIER | PHOTOGRAPHY ROBIN HEARFIELD

The couple behind gallery Fox Jensen, Emma Fox and Andrew Jensen, have followed a similar path through life, with a certain sensibility running through both the artworks and artists their gallery represents. And indeed, the objects they choose to surround themselves with.

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“I started looking on a regular basis at the kind of curious versions of modernism that popped up in New Zealand and Australia; both imported and local variants of the same kind of thing.”

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PREVIOUS Andrew Jensen and Emma Fox at home in Sydney. Artwork: Erin Lawlor This Fearful Country (Enchanted Trifles OPPOSITE Surrounded by collected objects and antiques, Jensen and Fox have discerning eyes. Artworks (L-R): Chinese Scholar Stone; Sofie Müller Hand; Koen Delaere Haunt Me to Do It Again

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aving both grown up in New Zealand and finished degrees in Art History, Emma worked for art world luminaries such as Jenny Gibbs and completed an internship with the Guggenheim in New York, while Andrew boldly stepped out on his own with a Christchurch gallery: “I spent a short period of time in America, and then came back and opened the gallery in 1988 somewhat precociously, and naively, when I was 22,” says Jensen.

Perhaps it was a daring time to start a gallery with the stock exchange crash of 1987 still fresh in people’s minds. “In retrospect, we were very lucky because we were able to do an apprenticeship on the job – but there was a general sense that it was the worst time to be involved in anything risky and ‘frivolous’ like the arts,” says Jensen.

Countering it with a more positive view, he says: “In some ways it was the best time because expectations were modest – and then we quietly set about exceeding them. So that right from the get-go, it felt plausible.” So plausible in fact that he was able to open another gallery in Wellington in 1994 and then conflate the two into a major gallery in Auckland in 1997.

Joining Jensen Gallery as gallery manager in the late 90s, by 2011 Fox was appointed director of the renamed gallery Fox Jensen, which coincided with their launch into Australia.

Somewhere along the way, they also became a couple.

There is a consistent sensibility to both their private collection and the artists they represent. This, however, is getting a bit ahead of their collecting, which started with Jensen’s attraction to mid-century design.

“To be honest, it grew largely out of oddly practical needs. I was looking to furnish both gallery and home, so I started looking on a regular basis at the kind of curious versions of modernism that popped up in New Zealand and Australia; both imported and local variants of the same kind of thing,” says Jensen.

This particular, more “relaxed” style of design was more evident in the baches (New Zealand holiday houses) when Jensen was growing up: “They were invariably filled with what they described as holiday furniture, which would be simple boucle-covered divans and modernist-style ‘radiograms’ and a completely different set of crockery. Versions of modernity, both in terms of design and decoration; items my parents wouldn’t dare have for their proper (more conservative) home,” says Jensen.

Continuing to collect with a growing understanding and appreciation of design, both their home and gallery are now filled with art, glass and modernist lighting, including the much-loved Castiglioni brothers Snoopy Lamp.

There is also an important and increasingly museological aspect to the collection. Objects accrue meaning for an ancient culture, not just because of the way in which they were made, but the rhythm and repetition of that making over time, and of course, their folding of form and function.

There is a ceremony to the re-making of the same objects which, as Jensen explains, “imbues them with a certain kind of tradition and meaning, that simply comes through the constant intimacy of touch and understanding of material. From Neolithic Chinese material, through to utterly contemporary things – I became aware, that for me, aesthetics and timelines began to merge, even collapse.”

As such, the collection has expanded to include pottery, vessels, fertility figures and all manner of other objects, where the ideas and reasons for making invest objects with meaning that (even subconsciously) becomes evident in the piece.

Most fascinating, it is the same principle whether it be an ancient bowl or contemporary art practice.

Contemporary art fills the home with many of the gallery’s represented artists finding a place on their walls.

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RIGHT Art, understandably, fills the home and office of Fox and Jensen. Artworks (L-R): Mark Francis Jericho and Beta Dub; Koen Delaere Felas Rif and Haunt Me to Do It Again; Pep Llambías Deseo Respirar Silencio

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That said, while the selection of art pieces at home, is mostly democratic, Jensen has, in his own words, been “fairly belligerent” about his aesthetic defining the gallery.

With the gallery achieving a certain degree of notoriety in the late 90s and early 2000s through showing painters such as Helmut Federle, Imi Knoebel, Winston Roeth and Callum Innes on a regular basis, opportunities grew. “I’d love to say that it was completely strategic, but the reality is, there was a modest amount of strategy, combined with considerable good luck. Once you’ve drawn attention to what you do through the quality and nature of the projects, then people begin to take notice, and so [thankfully] other artists, especially from abroad, wanted to be involved with the gallery,” says Jensen.

Expanding on those early defining exhibitions, the gallery has grown to represent artists that cohere because of a sensibility, rather than a style. Though often pigeonholed as a gallery known for lofty abstraction, the reality is somewhat different, with a stable of diverse artists that fit happily together whilst each pursuing their own concerns.

OPPOSITE Jensen’s path to opening a gallery in the 80s was completely by chance. Artwork: Koen Delaere Hymneola; collected artefacts LEFT ABOVE Artworks from artists represented

by Fox Jensen. Artwork: Pep Llambías Deseo Respirar Silencio LEFT BELOW Artworks (L-R): Lawrence Carroll Untitled Cocoon Painting; Callum Innes Exposed Painting Charcoal Black Red Oxide

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Coen Young, Günter Umberg, Judith Wright, Jan Albers and Tomislav Nikolic are just a few, but each is unique to their own practice.

Effectively this allows any number of curatorial outcomes to be selected from the represented artists into homes, public exhibition and the curated shows the gallery is highly regarded for.

In terms of how the couple work together, this aspect is vital, with Jensen doing most of the writing while Fox controls operations.

As he explains: “I tend to drive most of the projects, whatever we’re doing. But Emma is organisationally a triumph; she knows exactly what’s going on and where everything is and she is an incredibly articulate sounding board for anything that we decide to do.”

Currently splitting their time between Sydney (with their dog Roki) and Auckland, where their New Zealand iteration Fox Jensen McCrory is located, the gallery and therefore both Jensen and Fox have been constants in the Australian landscape with art fair participation preceding the Sydney gallery opening. While they have been here for 12 years, their impact on the Australian art market is significantly longer.

Fox Jensen | jensengallery.com

RIGHT Furniture and lighting, books and plants fill the gallery owner’s home. Artworks (L-R): Elisabeth Vary Untitled; (On bookself) Gideon Rubin Untitled (Back); Tracey Snelling Adult Books; Todd Hunter Waiting On A Song; Jan Albers gingeRsouR; African cloth wall hanging

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Sculptural precision What does a holistic approach to wellbeing look like in our contemporary climate? Technogym suggests elegance, artistry and engineering all at once.

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ABOVE & OPPOSITE Designed by Antonio Citterio, The Personal Line by Technogym comprises functional equipment beautiful enough to display

world leader in luxury wellness and sport, Technogym finds inspiration in unexpected places.

Intriguingly, Technogym looks to adjacent fields as a source of creativity and ingenuity, for instance to that of the automotive industry – where design through to production is executed with precision.

Why the automotive industry in particular? The answer lies in Technogym’s commitment to the careful union of dedicated mechanical engineering and vibrant design; a balance that is often perfectly embodied by sleek and unbelievably efficient luxury cars.

“All of our products are full of technology because our technical department is involved in every single product that we launch into the market,” says Cristian Brugnoli, architecture and interior design director at Technogym.

“Technology has been a core for us from the very beginning.

It’s in the name, Technogym: the combination of technology and gymnasium.”

The Personal Line, in particular, stands as one of Technogym’s greatest design triumphs. Three decades of biomechanical experience and research find a solid foundation in this collection, enhanced by the celebrated design skills of iconic Italian designer, Antonio Citterio.

“Antonio is very, very precise,” says Brugnoli. “When he works on a project from the beginning until the end, everything works so precisely. In the end, the Personal Line is something that fits perfectly in every single environment.

It looks like a sculpture.”

The Personal Line offers an innovative collection of home exercise equipment that explores the intersections of creativity and technological advancement. The curated series by Technogym is equipped with the transformative Technogym Live Console – a digital interface rich with content, providing a personalised and interactive training experience.

Beyond its technical prowess, this collection is emblematic of Technogym’s commitment to design, detail and elegance. Personalisation has always been a core value for Technogym, which recognises the diversity of individuals and their unique wellness needs – empowering people to express their creativity in wellness spaces and build environments aligned to their own unique requirements.

As Brugnoli explains: “Everything right now is based on the experience that you give to your clients. We are working on something now that will launch soon, and it will allow full customisation – which is really the definition of luxury.”

With the promise of new innovation and a holistic approach, a new era of luxury wellness is on the horizon.

Technogym | technogym.com

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Reworking the remnants TEXT STEPHEN CRAFTI | PHOTOGRAPHY TOM ROSS LOCATION MELBOURNE, AUSTRALIA | TRADITIONAL CUSTODIANS WURUNDJERI PEOPLE

There’s something quite special about an architect’s own home. It’s an opportunity to explore ideas and push a few boundaries, which was certainly the case with architect Andrew Child’s own home in Fitzroy, Melbourne.

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PREVIOUS LEFT Occupying what was once a laneway, the extension runs the length of the home PREVIOUS RIGHT Crazy paving arranged slate provides a soft boundary between indoors and out OPPOSITE ABOVE A wall of built-in shelving houses a collection of books OPPOSITE BELOW What would have been a garage has been turned into a soundproof music room with a garden view RIGHT Flowing through the road behind the house, the design sits well with its neighbours

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ormerly a Milk Bar with a shop front, this single-fronted Victorian terrace shows only some of the scars of its former life.

When architect Andrew Child and his partner purchased the property more than 10 years ago, it wasn’t even fit to rent out. In fact, the band Big Scary occupied the terrace merely as a place to store their musical equipment.

“I had the luxury of being able to think about what we really needed, not just then, but as we move through our lives,” says Child.

Child operates his practice from home and has his office directly above what was originally going to be the garage, but was upgraded to a pleasant and soundproof studio for his son Taran, who is an accomplished musician.

The property has two street frontages; “Part of the appeal was having access from the street behind, allowing clients to walk straight into my office rather than going through our house,” says Child.

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While the detached home office has a presence to the rear street, the front elevation shows no sign of a shop front. Child worked with heritage architect Michael Taylor, returning the façade to read like its neighbouring two-storey Victorian homes.

The only contemporary insertion in the heritage streetscape is a black-stained timber portal framed by black steel.

“We were fortunate to have this small slither of land. It must have been a laneway at some point in Fitzroy’s history,” says Child, who was also attracted to the 300-square-metre plot of land, which is relatively large for the inner city.

Child retained the front two rooms of the terrace and removed the lean-tos, including an outhouse. Some of the original period features, including remnants of a time when squatters occupied the space, have been removed, but the original brick walls along the front passage serve as a reminder of the building’s seedy past.

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For example, graffiti has been retained. The original hallway and stairs leading to the parents’ retreat can also be faintly read with corridor arches now viewed through strategically placed windows in adjoining rooms.

“I thought it was important to capture the memory of how the place once was,” Child says, which includes the very steep staircase, now extended and remodelled for greater ease.

In contrast to the period home, the new open-plan kitchen, dining and living area is framed by floor-to-ceiling glass windows. “The ceiling pitch is angled to create a more intimate space and to allow more sunlight into the adjacent courtyard,” says Child.

Complementing the rough-textured brick walls in the period home, the addition features recycled red bricks. As with the home’s exterior of black-stained timber, the kitchen features a black-stained timber island finished with a stainless-steel bench. A party wall, also fairly rough in texture, has morphed into the splashback. Child also used translucent polycarbonate sheets to diffuse the light entering the clerestory windows to the west.

There’s a lack of preciousness to this house.

The floors, for example, are in slate in a crazy pattern arrangement that extends to the central courtyard – framed by a verdant garden designed

by Mud Office.

“This courtyard is particularly important for us. It’s where we spend a great deal of time as well as entertaining friends and family,” says Child, who designed the timber dining table to suit. Capable of being dismantled, it allows for larger gatherings that can be accommodated in the living and dining area for special occasions.

The Fitzroy house also delights in the way certain areas have been cleverly screened. The European-style laundry and drying cupboard can be found behind American oak sliding doors in the front passage. Likewise, the home office of Child’s partner, located adjacent to the main bedroom on the first floor, includes an entire bank of cupboards along one wall, with a secret door leading to an ensuite bathroom.

While Taran’s studio is currently being used for recording music, it can later transition to a garage or even, at still a later stage, to become part of a self-contained apartment with its own access. “I plumbed the first floor to allow for a kitchen if we ever decide to scale down,” says Child. “But it’s a bit too soon to be thinking of that,” he adds.

This is a residence with history, where a chequered past and the graffitied remnants of squatters remains part of its story. For those strolling past this fine Victorian home, it now complements its neighbours, complete with verandah and ornate steel picket fence.

A ndrew Child Architect | andrewchildarchitect.com.au

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PREVIOUS The large steel-framed and blackstained timbers make clear the addition from the terrace OPPOSITE & ABOVE Lush plantings fill the narrow voids to give adjacent rooms a direct engagement with nature

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ABOVE & OPPOSITE Original features such as brick walls have been retained and celebrated

“I thought it was important to capture the memory of how the place once was.”

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Hit refresh With kitchen solutions tailored to every aesthetic, Sub-Zero unfurls a world of limitless possibility for the kitchen – the heart of every home.

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ub-Zero has pioneered home refrigeration and the thoughtful evolution of kitchen design for decades, offering infinite combinations of layout and décor selections designed to nurture the potential of these spaces. The design possibilities of Sub-Zero means different needs and unique styles can all be catered to, so kitchen designs can be as one-of-a-kind as the people inhabiting them. Two of Sub-Zero’s most-loved fridges have been reinvigorated with state-of-the-art features, combining new technologies with already much-loved products. From the proud Classic Series, which defines the Sub-Zero brand as masters of luxury refrigeration, to the sleek Designer Series, which provides an impenetrably seamless design composition. These two fridges offer aesthetics as different (and of course, as beautiful) as night and day.

Classic with a twist The Sub-Zero Classic Series is a beloved symbol of the brand’s timeless attention to detail. In an homage to Sub-Zero’s sixdecade legacy, the redesigned Classic Series retains its original iconic stainless steel grille. However, an array of cutting edge features steps up to the plate – determined to expand the boundaries of refinement both inside and out. The aptly named Classic Series features a vast range of well-loved sizes, styles and configurations for bespoke residential refrigerators. Highlights include the ground-breaking addition of Sub-Zero’s first ever 48” French Door, a stylish reminder of the brand’s commitment to practicality and the unity of function with form.

Endless design possibilities In contrast to the extroversion of the Classic Series, the Designer Series is as subtle as a whisper. Known as the “disappearing refrigerator”, the Designer Series is so impeccably detailed it blends seamlessly into its environment. The redesign upholds the careful subtlety of its original release, with the ability to melt entirely into the background of a design, while also introducing a new level of performance sophistication. A world of original features disappears behind fully integrated panels – invisibly working towards the goal of ultimate freshness.

ABOVE & OPPOSITE The Designer Series by Sub-Zero is all about letting your design and creativity shine in the kitchen, alongside renowned quality and technology

Redefining iconic design The updates have allowed Sub-Zero to experiment with innovative food preservation technology like never before.

Stretching far beyond the expectations for modern refrigeration, new additions include special features such as Nano-Coated Glass and Night Mode. The Split Climate™ Intelligent Cooling System ensures food remains fresh for as long as possible, while updates to the intuitive touch control panel allow for the easy customisation of various settings – from lighting to humidity – with just the touch of a finger. Balancing the duality and personality of these distinct refrigeration options, SubZero – alongside its esteemed kitchen companion, Wolf – will undoubtedly continue to redefine the boundaries of the kitchen in many more new and exciting ways. We can’t wait to see where it goes next.

Sub-Zero & Wolf | subzero-wolf.com

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Creativity unbound TEXT ALEESHA CALLAHAN | PHOTOGRAPHY VARIOUS

At first glance, these three projects may seem completely disparate, but underpinning each of them is a creative approach that meets at the juncture of sustainable thinking, traditional techniques and modern ideas.

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“I wanted to incorporate the Balinese roots by applying fundamental architectural elements of the traditional Balinese bale benong, which translates as a ‘daydream house’.”

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LOCAL CRAFT

PREVIOUS LEFT The owner of Her Studio, Anna, pictured with blancostudio founder Conchita Blanco, photos

by Iker Zuñiga PREVIOUS RIGHT, ABOVE & OPPOSITE Working within a small backyard, the new addition – which is a studio addition – introduces a quiet space to retreat to, with distinct Japanese influences, photos by Iker Zuñiga

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Inspired by a trip to Japan, homeowner Anna set out to utilise a 95-square-metre plot at the back of her existing house in Ubud, Bali to create a studio space to host guests and clients.

Named ‘Her Studio’, the space – while inspired

by Japanese aesthetics – is wholly grounded in Balinese tradition. Anna worked with Conchita Blanco, the founder of blancostudio, who designed the studio to sit as an elevated, free-standing platform, which is a vernacular expression commonly seen in Indonesia. The studio was handcrafted using time-honoured carpentry techniques by the local artisans Kalpa Taru Bali, who created the entire building with timber salvaged from an ancient dead tree recovered from the Bengawan Solo River.

A connection to nature is amplified further with views to a Zen garden, designed by Sebastian Mesdag. “I wanted to incorporate the Balinese roots by applying fundamental architectural elements of the traditional Balinese bale benong, which translates as a ‘daydream house’. This place is often present in every Balinese home, and it is a space where one can contemplate or simply slip into a daydream amid the stillness,” says Blanco on the overriding concept. It’s modern Japanese Zen with Balinese tradition at the core, all set within the bounds of a small backyard.

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BREAKING DOWN THE WALLS

Japanese artist Hiraki Sawa collaborated with British design studio AB Rogers on the incredibly clever response to his home and studio. An adaptive reuse project, the industrial past of the building has been exposed but what flies in the face of convention is the insertion of a series of fluoro, moveable ‘walls’. These pivoting panels enable the cavernous shell of the building to adapt and change as needed.

Whether pushed to the sides to allow one large, single space, or divided into smaller rooms, the intention was to offer a playful and dynamic response. The flexibility allows Sawa to set up his own vignettes as needed – a workshop for art-making, a gallery space, a social space, privacy for sleep. These colourful additions are architecture, structure and art all rolled into one, simultaneously allowing the heritage to remain the backdrop.

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These colourful additions are architecture, structure and art all rolled into one, all while allowing the heritage to remain the backdrop.

OPPOSITE & BELOW The home of artist Hiraki Sawa, the designers have used fluoro, moveable walls to delineate the spaces, making for versatile configurations, photos by Takumi Ota

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FRESH THINKING

OPPOSITE & ABOVE RIGHT Using age-old techniques, together with recycled seatbelts as the reinforcing elements, these pavilions, built by local fishermen, allow tourists to experience the Angsila Oyster Farm up close, photos by W Workspace

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Ang Sila is a small, coastal fishing village in Thailand that has historically been renowned for its exceptional seafood. Seeing an opportunity for eco-tourism, the Angsila Oyster Scaffolding Pavilion created by Chat Architects is a showcase of sustainability and community unity.

Melding tradition with innovation, the hand-built pavilion offers a ‘sea-to-table’ dining experience that honours the village’s deep connection to the sea. Drawing inspiration from age-old bamboo scaffolding used for oyster farming, these revitalised pavilions take on a new role as an ocean dining haven. Guests are driven by boat to the outskirts of the fishing waters to hand-pick their own oysters, which are swiftly eaten straight away.

This initiative stands as a beacon of hope for Ang Sila’s once-thriving fishing culture, addressing the challenges brought on by pollution and declining seafood quality. It’s a communal effort, where fishermen constructed the entire pavilion and now share their seafood directly with customers.

Sustainability shines throughout, echoing the rhythms of nature. The pavilion emerges through the artful assembly of bamboo, strapped together with reused car seat belts. A vibrant tarp shields diners from the sun while inviting ocean breezes.

This fusion of ancient wisdom and contemporary ingenuity breathes life into Ang Sila’s cultural heritage, fostering a connection between the community, the sea and the land.

Blancostudio | blancostudio.co AB Rogers | abrogers.com Chat Architects | facebook.com/chatarchitects

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Detail over decoration TEXT TIMOTHY ALOUANI-ROBY | PORTRAIT PHOTO JACK BAXTER | PROJECT PHOTOGRAPHY SASKIA WILSON

SAHA is an architectural studio redefining urban living, where constraints such as small sites and multigenerational living are challenges executed through design problem-solving.

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f creative design solutions are the answer, then what is the question? For Harry Catterns and Sascha Solar-March, the pair behind SAHA, questions of density seem to be the creative catalyst for a number of projects.

This small practice based in Sydney is gaining significant recognition for its inventive and elegant approaches to residential sites that are – to put it simply — small.

The 2023 NSW Architecture Awards marked a breakthrough moment for SAHA, with its renovation of Lane Cove House winning in three categories including the Hugh and Eva Buhrich Award and the Milo Dunphy Award for sustainability.

The project exemplifies what it means to creatively tackle a problem of density in a 21st-century Sydney, in this case solving for multigenerational living. As Solar-March notes, consultation was at the heart of the project: “That project had two client groups and three generations for the one job, so it was incredibly important to bring those groups and their needs along for the entire process.”

“One of the key design ideas was building on top of the existing house rather than in the backyard,” adds Catterns. “In the context of a multigenerational arrangement, we felt that it meant protecting a really important asset in the

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backyard. I think it was then about lots of careful design – unglamorous but important work to create privacy between the two levels, and how to get the shared laundry and entry to the two levels working.”

Lane Cove House might be on the scale of a single residential plot, but it nevertheless acts as a way into questions of profound importance facing cities today.

A number of crucial presuppositions and convictions are implicit in SAHA’s work. First, that quality living in the city does not simply equate to more space. It’s a simple conceptual premise that immediately undermines a conception of the city as endless suburban expanse – an important move in the context of climate crisis and sustainability. Indeed, the architects continually recall a maxim from an early mentor, the late Paul Pholeros: the most sustainable building is a small building.

Second, making the most of a small space does not mean cramming in as much building as possible. Despite the pressure to maximise space in a small-site project, SAHA’s residential work demonstrates a care for maintaining green, open spaces such as gardens and courtyards.

It’s a feature that presumably involves some effort of persuasion towards clients on the part of the architects.

PREVIOUS LEFT Sascha Solar-March (L) and Harry Catterns (R) are the young founders of multi-award-winning architecture studio SAHA OPPOSITE ABOVE & BELOW, RIGHT Lane Cove House is a sensitive renovation where seemingly small details equate to the sum of its parts, resulting in a highly refined architectural response

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It shows a conviction to prioritise quality space over quantity – an architecture more about thoughtful human use than totting up square metres or bedroom numbers.

In particular, SAHA’s projects are often notable for subtle vertical moves as well as outdoor space. Small level changes introduce a living area or a courtyard, for example, while at Lane Cove internal courtyards allow for private outdoor spaces.

Third, and very much following on from this, is a subtlety in details and finishes. “Our general approach is detail over decoration,” explains Solar-March.

“In our projects, all of the detailing is designed. We try to use timeless materials to make sure that every material chosen is going to work to its purpose and get better over time – it needs to wear but not fail.”

Fourth, there is an emphasis on surroundings: “We’re both interested in outdoor space in cities, in nature and the way it sits around the built world,” says Solar-March, who also speaks about how parts of Sydney such as Potts Point and Bondi provide inspiration for their residential work.

“They’re so dense but you don’t even notice,” he adds. Although prices in such inner-city areas are certainly part of housing affordability problems, they remain notable as successful models of high-density urban space.

For SAHA, part of designing small is advocating for the importance of public space and the surrounding urban fabric, in the form of parks and the kind of density that defines dynamic urban life at its best.

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As the architects pause to reflect on their trajectory so far, it becomes clear in hindsight that creative thinking in response to questions of housing and density has always been a key focus.

Part of that creativity, however, is an emphasis on specificity: “We think of ourselves as trying to be very responsive to the specific context of the site,” says Catterns. “When you look at our body of work so far, although there are some common elements that are often spatial, we do like to think that each project is unique to its context.”

Balmain House, also recognised at the NSW Architecture Awards, is notable in this context for the addition of a courtyard in order to reorientate the house for a northern aspect, as well as subtle level changes that connect the living spaces to the garden. Coogee Courtyard, meanwhile, involved the removal of a double garage: “We’ve had nice relationships with all of our clients – they’ve been open to building less for a better life, and Coogee is the perfect example of that,” says Catterns.

Although SAHA was established in 2017, Catterns and Solar-March’s journey together goes back much further. The pair worked together during their time at the University of Sydney and their friendship goes even further back to high school.

While there is a certain beauty and effectiveness in dealing with urban issues on a piecemeal, house-by-house scale, we can also look forward to this up-and-coming practice applying its creative solutions and time-bonded partnership to larger scale projects in the future.

SAHA | saha.sydney

PREVIOUS Balmain House introduced an internal courtyard with level changes to bring northern light to the interior ABOVE LEFT The clients of Coogee Courtyard agreed to forgo a garage to bring in more liveable space OPPOSITE Lane Cove House is a fantastic example of contemporary, multigenerational living that enhances life, rather than taking away

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“One of the key design ideas was building on top of the existing house rather than in the backyard”

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Food for thought TEXT ALEESHA CALLAHAN | PHOTOGRAPHY ROB HENEGHAN

The kitchen gardens at the Royal Mail Hotel respond to the natural cycles, fuelling a symbiotic relationship with the fine-dining restaurant Wickens – it’s the ultimate in regenerative and sustainable food design.

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OPPOSITE The pathway down into Wickens is a meandering and landscaped experience LEFT The kitchen gardens go through constant renewal and replanting BELOW Executive chef Robin Wickens often takes the kitchen garden tour, sharing his extensive knowledge

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owering vegetable shrubs meet incongruent vines and what, at first glance, appears to be utter chaos.

However, the kitchen gardens at the Royal Mail Hotel are a finely tuned machine of experimental food production. Here, there is a dynamic interplay between nature and gastronomy, where the garden haul continually finds its way onto the plates of diners at the hotel’s famous fine-dining restaurant, Wickens.

Nestled at the southern end of the majestic Grampians (Gariwerd) National Park, Victoria, Wickens, and the Royal Mail Hotel, continue to draw visitors searching for luxury and escape.

A key pillar of the dining experience at Wickens is to be grounded in the location, from the locally made leather coasters, to the immersive view of Mt Sturgeon and, perhaps most viscerally, with the exquisitely plated food, nearly all of which is cultivated on-site.

The gardens were first planted some 13 years ago and showcase a vibrant amalgamation of horticultural trial and error. While materialising in an organically formed and rambling manner, there is a core of design and planning that has seen the gardens evolve fluidly over time.

An ethos of ecological stewardship underscores the gardening practices. Kitchen waste finds purpose in the form of compost, enriching the soil with the restaurant’s organic remains, where items such as cardboard and compostable plastic wrap come full circle.

Being at the base of a vast mountain range, the volcanic clay soil sets a good foundation for growing and harvesting.

Executive chef Robin Wickens confirms that “everything is grown with seeds”, allowing the team of three dedicated gardeners the opportunity to try out lesser-known varieties.

This is where the experimentation happens.

Wickens adds that the process ensures the restaurant has “access to produce you wouldn’t otherwise be able to use”, which also means more creativity on what is concocted in the kitchen.

The gardeners and chefs collaborate on a year-long plan, working with the rhythm of the seasons to match the garden’s offerings with the culinary aspirations of the restaurant.

Perhaps most surprising, and a testament to the seasonality, is the fact there are 35 different menus throughout the year (not including variations designed for allergies and dietaries).

The kitchen gardens that feed Wickens are an expression of culinary artistry and sustainable horticulture – a connection that chef Wickens reiterates when sharing they will never use crops that aren’t suited to the climate and land in rural Victoria.

Royal Mail Hotel | royalmail.com.au

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OPPOSITE The gardens are located a short distance from the restaurant, looking up to Mt Sturgeon, which is part of the Grampians (Gariwerd)

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Loving revival TEXT STEPHEN CRAFTI PHOTOGRAPHY JAMES GEER LOCATION MELBOURNE, AUSTRALIA TRADITIONAL CUSTODIANS WURUNDJERI PEOPLE

Taking a sensitive approach to reusing and upcycling as much as possible, this 1950s home in Melbourne has been delicately picked apart and stitched back together by Lucy Marczyk Design Studio.

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On location

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T

o the untrained eye, this brick house appears as if it has remained unchanged since it was first built in the 1950s.

Located at the end of a court with a low stone fence and established gardens, it blends into its suburban surroundings. But that sleight of hand is the result of expert craftsmanship

by Lucy Marczyk Design Studio, alongside a client willing to go the extra mile.

“Our clients were, as were we, drawn to the original home, complete with its pitchtiled roof and steel windows. We wanted to retain and repurpose as much from the past as possible,” says interior designer Lucy Marczyk.

The clients valued the home’s original, well-crafted heritage elements, leading to a thorough salvage and restoration process. For example the letterbox, wrought-iron doors, timber floors and ornate cornices have all been repaired. Even the orange and brown-striped awnings appear to be ‘good as new’, and in a certain respect they are, having been restored along with the guttering.

The room above the front garage deceptively appears to be original, when in fact it was built with the bricks demolished from the back of the house, which made way for a new extension. “Reworking period homes such as these requires a level of commitment from the outset. It’s labour intensive so all parties need to be enthusiastic,” notes Marczyk.

In addition to the genuine appreciation for elements from the past, this process was also driven by sustainability. As Marczyk adds: “Not only did this lead to a reduction of waste going off-site but [it] also provides a strong statement for the project’s commitment to refurbishing, reuse and recycling.”

When it came to selecting furniture, a similar ethos to the restoration work elsewhere was at play. Some of the chairs, such as the 369 Chair by Walter Knoll, have been updated with new Raf Simons for Kvadrat fabric.

Rather than purchasing pieces as new, the team sourced pre-loved classics to bring into the fold. For instance, Cassina Cab Chairs for the dining table were sourced to match the worn-in ones already owned by the client. Plus, there’s a strong dose of mid-century modern – including the Mr. Lounger from Knoll for the front living room and Harry Bertoia Wire Chairs in the kitchen. Marcel Breuer’s iconic Wassily Chairs in the new living area also give the home a strong modernist feel.

In terms of spatial reorganisation, the original three-bedroom home has been reworked with a strong sense of the past. A new wing has been added comprising an open-plan dining and living area and a new swimming pool, all orientated to the north-east. There is now also a substantial workshop and a wine cellar tucked below this new wing.

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“Car storage was required, so we added a sizeable workshop as well as maintaining the double garage at the front,” says Marczyk. The owners’ fully electric cars with a charging station are a nod to the future while their vintage cars capture the past.

Although there’s a great respect for the heritage, there was no point trying to retain the former kitchen. “It appeared as though it was a makeover from the 1970s,” says Marczyk, who designed a contemporary kitchen for people who love to cook.

The threshold to the new kitchen is now referred to as the ‘wow line’ where the sixmetre-long, stainless-steel island bench is first seen. The kitchen’s aesthetic is complemented by a bank of American oak joinery that conceals the fridge and a pantry, and the timber floors give way to black studded rubber floors. “They’re soft to stand on, particularly for those who are real cooks,” says Marczyk. The island also includes an informal meals area.

The team took their design cues for the new dining and living wing from the 1950s.

Here, a double-sided stone fireplace separates the dining from the living area, which also connects to the new pool area.

There’s also a strong connection to the outdoors seen in the American oak that lines the ceiling. “We were mindful of bringing the outdoors in. In summer, there’s nothing more pleasurable than having the air from the pool filter inside,” says Marczyk.

While the focus is on the swimming pool during the warmer months, the more formal lounge at the front of the house is a drawcard during winter. Following the footprint of the original room, new additions, such as a bookshelf made from American oak, w sit comfortably below the 1950s-style plaster cornices.

“Where we had to replace features, we made sure they were sympathetic to the original elements,” says Marczyk.

Mindful that this home was going to last, the same amount of attention to detail can be seen inside the joinery. The interior of the kitchen joinery, for example, is made from plywood rather than the usual MDF. From the letterbox to the front façade, through to the new addition that facilitates a modern poolside lifestyle, this home is all about learning from the past, while bringing in volume, light and a sustainable touch. Lucy Marczyk Design Studio proves that given time and patience, many of these character-filled abodes can be thoughtfully modernised for the 21st century when they’re in the right hands.

L ucy Marczyk Design Studio | lucymarczyk.com

OPENING A stone-clad double-sided fireplace is a reference to the home’s 1950s origins. A sculpture, The Dancers by Patrick Moroney, sits on the table OPPOSITE The furniture selection brings together many midcentury pieces

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The threshold to the new kitchen is now referred to as the ‘wow line’ where the six-metre-long, stainless-steel island bench is fi st seen.

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PREVIOUS A large kitchen has been redesigned, allowing ample room for the owners, who love to cook ABOVE RIGHT & RIGHT The new garage appears as if it has always been there, while the extra space makes for the perfect workshop

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FLOOR PLAN

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ENTRY STUDY FORMAL LIVING POWDER ROOM KITCHEN LAUNDRY DINING FIREPLACE

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BEDROOM ENSUITE ROBE STEAM ROOM OUTDOOR TERRACE POOL NEW GARAGE (UNDER) ORIGINAL GARAGE (UNDER)

LIVING ROOM

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A shophouse sketch TEXT LUO JINGMEI PHOTOGRAPHY DEREK SWALWELL LOCATION SINGAPORE

Freight Architects reimagines a shophouse for a collector of art and ceramics in Oku House.

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“Elements of a typical shophouse are abstracted to their most basic form and recomposed into this house. We also adopted the Japanese spatial concept of Oku to create layers of pause and spatial depth.”

F

or the past 30 years, Doctor Wong Loong Tat has been collecting the ceramic works of pioneer Singaporean ceramicist Iskandar Jalil. Over the past ten years, this has expanded to include Japanese chawans (ceramic bowls used in Japanese tea ceremonies). The collector’s artistic preoccupations, particularly for abstract paintings, have also made him a collector of works by celebrated artists such as Wang Huaiqing, Biggs and Collings, Lim Tze Peng and Anthony Chua.

These notable pieces are thoughtfully placed in his new home such that they become part of the everyday, gently woven into the composition of furniture, space, light and structure – treasures to be discovered and admired when traversing the house both inward and upward, but also to be used.

Having lived on this plot in a quiet suburban part of Singapore for the past 28 years, Wong and his family (and art collection) felt they needed more space and called upon Freight Architects to help.

“The single-storey house had small bedrooms but a very long garden at the rear. We wanted to improve the house’s light, ventilation and expand the usable living spaces [and greenery],” shares Wong.

The example he gave Freight Architects’ co-founder Kee Jing Zhi was that of a shophouse — a vernacular townhouse typology common

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in Southeast Asian cities. In fact, they had bought the plot as it reminded them of the long shophouses in Penang and Malacca.

“It was silly to replicate a shophouse, so Kee suggested [reimagining] a shophouse,” says Wong on how the brief developed.

Thus, Kee not only recreated the feel of a shophouse using tactile materials – such as brick and rough-textured white walls made with insouciant brush strokes – but he also drew upon the shophouse’s distinctive proportions, planning and climatic features.

From the front, the house embodies a starkly different disposition to its neighbours, with thin columns that frame a naturally ventilated portico instead of conventional fenestrations set into opaque walls.

“Elements of a typical shophouse are abstracted to their most basic form and recomposed into this house. We also adopted the Japanese spatial concept of Oku to create layers of pause and spatial depth,” explains Kee of the resultant three-dimensional spaces that reveal themselves only when ambling through.

“As one moves through the space, there is always something [compelling] in front.

Human curiosity dictates that people keep moving forward and searching deeper. Likewise, we started the project by understanding the occupants’ interest, and realised their lifestyles and philosophy [are] greatly rooted in the Japanese culture by way of their descriptions.”

OPENING A central courtyard allows natural ventilation throughout OPPOSITE Natural materials bring an organic feel, where craft and attention to detail elevates the whole

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GROUND FLOOR

FIRST FLOOR

SECOND FLOOR

1 2 3 4 5 6 7 8 9 0 q w e r

GARDEN ENTRY LIVING COURTYARD DINING DRY KITCHEN WET KITCHEN TERRACE BEDROOM ENSUITE ROBE SITTING ROOM SPIRAL STAIR ROOFTOP

ATTIC

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PREVIOUS The owner’s collection of ceramics and objects takes centre stage in bespoke joinery RIGHT The shophouse vernacular has been stripped back to its essential elements

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ABOVE LEFT The client’s extensive plant collection has been integrated, including in the bathroom where natural light ensures they will flourish

SECTION

ABOVE RIGHT An open spiral stair expresses a reimagining of traditional shophouses OPPOSITE BELOW A rooftop area is a place to escape and enjoy the sun

FRONT ELEVATION

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REAR ELEVATION

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A water lily garden preludes a liminal entrance foyer, which is “a threshold between inside and outside”.

A custom shelf that displays Wong’s collection of ceramics is both a sun-shading and privacy screen between this space and the living room.

It looks inward to a courtyard that offers glimpses of sky, rain and daylight, or the jetblack canvas of the night sky. Nuanced touches include the artful use of a found timber beam – its weathered and stoic form provides a gentle introduction to the courtyard.

Climate-appropriate timber shutter windows, similar to those found in shophouses, enclose spaces above the courtyard. A bridge traverses the courtyard, setting apart the main bedroom at the front of the house on the second storey from the other rooms. Strategically placed staircases accentuate the journey of unveiling and cross views. One is a petite spiral staircase swirling down from the attic to a bed of stones at the entrance foyer. From downstairs, it is a picturesque sculpture in steel, inspired by shophouse staircases.

From the dining room, a composition of steps signals the start of the main staircase that leads to the family room, which is open and layered with a beautiful collection of furniture and objects, rich with patina but none too precious, so they are easy to use for everyday living.

Instead of a continuous flight, Kee breaks the momentum of ascent to the attic with another spiral staircase.

On the materiality, the Japanese concept of wabi-sabi was the guide, echoing the imperfect beauty and tactility of the furniture and ceramics. “The materials are allowed to weather and age,” says Kee, who points out the niches at the stairways and corridors, as well as shelves in the dining room for displaying pots.

Abundant planting throughout the spaces softens the atmosphere, dissolving the distinction between indoors and out. The main bathroom is another such space. “The owners have a huge collection of potted plants, so we made this a ‘garden bathroom’,” explains Kee. There is so much spatial delight in the home that one is tempted to linger after a quick tour.

Wong, a keen plant-lover, shares his happiness at the courtyard’s manifold landscaping opportunities, the home’s good ventilation and “the atmosphere of calm throughout the house”.

In this way, Kee has succeeded in what he set out to do: “Every house we design should have a story and strong design concept to guide the spatial flow and finishes. We are very keen in exploring interesting thresholds and transitional spaces – this project gave us a lot of opportunity to create interstitial spaces.”

F reight Architects | freight.sg

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Returning home TEXT ALEESHA CALLAHAN PHOTOGRAPHY JACK LOVEL LOCATION FREMANTLE, WESTERN AUSTRALIA TRADITIONAL CUSTODIANS WHADJUK PEOPLE

Not one, but three previously converted warehouse apartments have been combined to create a home that defies conventional family living, guided with architectural finesse by spaceagency.

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PREVIOUS, ABOVE & OPPOSITE Bringing the spatial quality of a large family home, this warehouse residence lets the heritage of the building shine.

The architects even remediated some concrete cancer, adding another 100 years of life to this building

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remantle is one of those places that has a rugged charm about it, a vibe. It has a distinct grit and grunge having recently emerged from an industrial past as the port town to Perth. Part of its appeal – especially to the owners of this residence – are the old factories and warehouses. In a surge of development throughout the 90s, many of these buildings were converted into apartments including the heritage-listed, 1930s Weeties Warehouse.

Having already been divided into 13 quite small, dark apartments, it wasn’t exactly screaming ‘family home’. So the owner purchased the apartments on either side, to consolidate three into a larger home; something that would “more closely resemble the spatial qualities of the original warehouse building itself ”, according to Dimmity Walker, principal at spaceagency.

As far as client briefs go, this was certainly one that Walker was excited by. “It isn’t a normal house, or a normal brief. It’s got such a playful energy, which is an unusual aspect for a family house,” shares Walker.

The first port of call was opening up the interiors and bringing in as much natural light as possible, all while respecting the distinct heritage of the industrial shell. The design

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response is nothing short of masterful, where a considered and incisive series of moves has created a home that is truly unlike anything else.

It started out as a process of elimination, stripping out and removing as much of the 90s renovation as possible and bringing it “basically back to the point where we could see the original”, says Walker. To reinstate the warehouse vernacular, the windows were reverted to their original size and proportions.

An unexpected element within the heart of the cavernous space is a pool and a glasshouse-style garden. The “breathing lungs” of the warehouse, this interior oasis elevates the home by providing the kind of necessities expected in a typical family residence. Which is exactly how it made its way into the planning. Walker shares: “One of the things they didn’t have in a warehouse was outdoor space for the kids.”

Utilising both the horizontal and vertical planes that an industrial building can afford, the lower level is where life is acted out. “The ground floor is organised around a linear core that consolidates all of the services. There’s a kitchen, pantry, laundry, powder room, and all of the vertical plumbing and electrical are centralised into this core,” explains Walker.

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The “breathing lungs” of the warehouse, this interior oasis elevates the home by providing the kind of necessities expected in a typical family residence.

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GROUND FLOOR W

DR

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ENTRY LIVING DINING SPIRAL STAIR KITCHEN INDOOR GARDEN POOL POWDER ROOM

FIRST FLOOR

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MAIN BEDROOM ENSUITE WALK-IN ROBE SPIRAL STAIR BEDROOM BATHROOM

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On location

PREVIOUS The spiral stair is a distinct focal point, allowing the full height of the interior to be read ABOVE & OPPOSITE The clients sourced many of the key furniture items from Europe, including the pink resin Rick Chair

by Joris Poggioli, while spaceagency fabricated other custom pieces, such as the eight-metre dining table

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It’s an arrangement that allows for open spaces around the perimeter, where as much light can penetrate from the windows. Set as an accompaniment to this central core element is a showstopping eight-metre-long, bespoke dining table that runs adjacent. Not surprisingly, the owners adore entertaining, and this stunning table can host 22 guests.

Part island bench, part dining table, it’s partnered with a kitchen that is equally equipped for hosting. “The clients like having dinner parties at one long table. It’s quite a distinctive feature and was made specially to suit these clients,” says Walker.

The opened and interconnected living and dining zones splay out to the garden and pool area, which are positioned in what was previously one of the apartments.

Allowing the building to still be read as a warehouse the architects have hung a

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mezzanine level set back from the windows and aligned vertically to the linear core. “The original ground floor had a five-metre ceiling height in what would have been the factory space. We’ve opened that up so that in most of the ground floor you can experience the full height of the building, but the mezzanine is positioned to cap off the kitchen and service core,” says Walker.

Fine tuning the exact positioning of the core and mezzanine was dictated by the vertical element of the stair. This is where the spatial organisation was critical. With limited options for where to locate the stair due to structural elements holding up the floor, the team had to map the best spot. “The first floor planning was key in how we could get all the vertical services down in the most seamless way possible. Then the stair is a big, dramatic, sculptural focal point,” says Walker.

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There is a logic applied to the planning that works with the constraints, such as where to arrive and descend. “The spiral gave us the best outcome in terms of functional requirements, but then it also influences other things, like the circular swimming pool and other circular elements that were spun off the spiral stair,” shares Walker.

The circle motif adds an organic flow, which sits in opposition to the rationalist approach to the mezzanine. Yet it works because the upper level recedes into the vastness of the whole and is intended to be read in this manner, which Walker confirms: “The main floor is very open and flexible, but upstairs is quite orderly.”

The insertion is conceived as a separate intervention. “We created a new, external skin inside the envelope which allowed us to get lots of natural light and air deep into the plan,” says Walker. It also meant that, programmatically, four bedrooms and a rumpus could be achieved without having to stick to the location of existing windows to get light and ventilation through.

Balancing proportion, volume and light, this family warehouse home has a deceptively pure elegance to it. As Walker sums up so perfectly: “It’s one of those things that looks really simple, and obvious and easy. But it’s much more complex to achieve than you would imagine.” s paceagency | spaceagency.com.au

“The spiral gave us the best outcome in terms of functional requirements.”

RIGHT ABOVE & BELOW Subtle circular motifs repeat throughout, which originated from the spiral stair

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Of the earth TEXT GILLIAN SERISIER PHOTOGRAPHY TIMOTHY KAYE LOCATION FLINDERS, VICTORIA, AUSTRALIA TRADITIONAL CUSTODIANS BUNURONG PEOPLE

Rising from the contours of the land, Wood Marsh’s Peninsula House extrapolates the landscape with decisive form.

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“In our work the external form and interior form of the building are one and the same ... So when you’re in those interior volumes, it’s not just a flat ceiling, with walls in it, it’s three-dimensional.”

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OPENER & ABOVE Peninsula House curves with the sweeping formations of the coastline where it’s located OPPOSITE Apertures and viewlines intersect in a non-linear manner, allowing walls and ceiling to flow without hard angles

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onumental, sculptural and decidedly present, Peninsula House presents as more of a nod to the practice of land art than what traditional architecture usually condones. Land art, defined as a movement with a direct engagement with nature, is about creating artworks in and with the landscape.

Herein lies the language that underscores the Wood Marsh oeuvre.

Staring with the land itself, the project, as Roger Wood, principal of Wood Marsh explains, is a direct response to the intersection of rural rolling green and rugged coastal terrain.

“The house does look like it has been heaved up or extruded from the land, while the profile of the house looks like that part of the coastline of Victoria, where it is heavily eroded tertiary dune systems, prehistoric in quality,” he says.

Located on the high point of the site overlooking a coastal stretch of Flinders with Bass Strait beyond, the house is approached gently with a long curving driveway that in many ways mimics the house itself, and will be planted with Norfolk Pines. As such, the building, which right now is glimpsed in parts before revealing itself as a long sweeping curve that spills naturally from the land, will with time be more subtly disclosed.

Conceived in the round with articulating topographic contour lines, there is a visual correlation to the terraced land art of Charles

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Jencks’ Landform (2001). That said, the comparison is fleeting, with the building’s rammed earth mass seamlessly emerging from the landscape to unfurl, ribbon-like, to rise 10 metres into the air before wrapping behind the dwelling, and gradually tapering and returning to the landscape.

“It’s of the land. It could be a prehistoric house that was built 10 million years ago, and then covered over and through erosion, exposed again,” says Wood.

In keeping with this monumentality, a slight crease in the wall indicates the entry point: “It was almost like someone has peeled the earth back to create a recess in which to put the door.

Other cultures talk about Feng shui and other mechanisms, but we find, if we just peel that back, then it’s clear where the front door is, without overstating it,” says Wood, who also points out the shelter provided when arriving during a storm.

Within this grand rammed earth wall, the home is expansive, dark and moody. Juxtaposed by the interior side of the earth wall, the tonal shifts within a black palette are articulated through textural and nuanced materiality.

Dark oxide laden polished concrete floors (with a terrazzo screed and underfloor heating) provide the foundation, while black-stained timber, black stone and tiles provide the majority of the materiality.

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There is a saying, “where there is light, there must be shadow,” attributed to both Carl Jung and Haruki Murakami, and echoed in the sentiments of Junichiro Tanizaki and Juhani Pallasmaa, who understand the sensorial need for both dark and light in architecture.

At Peninsula House, the dark interior welcomes the abundance of light with corners dissolving into shadow, hallways that seemingly never end and sharply defined shards of light that cut across hallways to describe the sun’s arc.

Arranged as a three-pointed isotoxal star, the central axis is a planted atrium that floods the central portion with light.

Moreover, as the house faces Bass Strait, there are days when the exterior windows cannot be opened. “We’ve found, environmentally, that we can purge the house by having windows open there. It has a chimney effect of taking air from the house and expelling it. It refreshes. If you can’t open the main windows because of weather, then we can still get very passive ventilation throughout the house,” says Wood.

Leading from the atrium are three distinct zones: a living area for entertaining, a recreation zone and bedroom area for four guest rooms (all with exceptional views), plus the private main bedroom, which sits above the living space and is accessed by a sweeping stair cloaked in darkness. “It’s like a secret, shadowy void that

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you walk into, or ascend; you don’t really know where you’re going to end up. You don’t open a door to see a corridor with another door at the end. It’s an experience,” says Wood.

This is in fact true of the entire house, where curving walls and shadows conceal depths and passages. “We have tried with all these forms to make them recently temporal, of the body, rather than machine-made. There are a lot of right angles in most architecture; we’ve tended to round those corners off, and the walls flow in your direction of travel,” explains Wood.

The main double-height living space is sensationally dramatic. Fully glazed, the view across the rural terrain and ocean is stupendous, with Bass Strait’s wild storms gloriously framed.

Following the line of the earth wall, the parabolic ceiling flows seamlessly to the large curved windows. “In our work the external form and interior form of the building are one and the same for each building. We don’t like a shape on the outside, which is then fitted out internally.

That’s why we expose the earth wall inside and the ceiling follows the parapet line of most of that large earth wall. So, when you’re in those interior volumes, it’s not just a flat ceiling, with walls in it, it’s three-dimensional,” says Wood.

This is beautifully apparent in the long, curving hallway of rammed earth with slot windows that leads to the building’s tail and a bespoke recording studio.

OPPOSITE & NEXT Planned around a star axis, the architecture and interiors express the same form inside and out ABOVE LEFT A double-height living space surrounded by glazing captures unihibited views of the coast

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GROUND FLOOR

1 2 3 4

ENTRY CENTRAL GARDEN KITCHEN DINING

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LIVING POOL ROOM DECK

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BEDROOM POWDER ROOM RECORDING STUDIO

POOL

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The dark interior welcomes the abundance of light with corners dissolving into shadow, hallways that seemingly never end.

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The kitchen ... is entirely sculptural, with an off-centre oval sitting atop an oval plinth.

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ABOVE The rammed earth wall remains a visible texture in the bathroom OPPOSITE Dark and moody, the kitchen defies convention while reflecting the architectural language

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The interior moments of the home are beautifully resolved with rammed earth walls meeting black timber and curves. The kitchen for example is entirely sculptural, with an offcentre oval sitting atop an oval plinth, while the curving wall of black-battened expanse gives way to cabinetry and black mosaics.

A discrete wall within the cabinetry gives entry to a butler’s pantry and kitchen utility.

In the bathrooms, the rammed earth wall is contrasted with black mosaics and a deep grey granite vanity with black timber cabinetry and round black basins. Grey tinted glass lights complete the mood.

To fulfil the client’s brief to host grand poolside events with views of the valley and water is a large, sheltered terrace. The large deck of white cypress surrounding the pool was selected for its silvering quality that will afford a monochromatic shift within the tonal composition. Soft, silvery and warm underfoot, it is a lovely embellishment to the palette that gently blurs the building’s boundary to the surrounding landscape.

The natural external material palette of charred timber and rammed earth benefits the home with robust and low-maintenance qualities. “Every surface of the building is very heavily insulated. We always look at orientation, daylight, ventilation, thermal breaks, to get our houses as close to off-grid as we can and maintain a thermal mass so the energy usage is negligible,” says Wood.

The charred battens, moreover, cloak the building mass, allowing it to recede into the rural context as an enigmatic form. This is countered by the slight green to the glazing, which reflects sky and pasture to enfold the house more fully into nature. To one side a balcony provides a setback series of glazed portions and a shift to the reflected rhythm.

On Naoshima, the inland sea island of Japan, made famous as an art island of the Benesse corporation, the Chichu museum by Tadao Ando is counted as one of the artworks. So too should this home, which, while domestic in functionality, is wholly of the land art genre with its sweeping articulation of the site. Grand, beautiful and simply extraordinary, Wood Marsh has, as always, delivered exemplar architecture of exceptional calibre.

Wood Marsh | woodmarsh.com.au

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Up in the Clouds TEXT TIMOTHY ALOUANI-ROBY PHOTOGRAPHY BROCK BEAZLEY LOCATION QUEENSLAND, AUSTRALIA TRADITIONAL CUSTODIANS YUGAMBEH PEOPLE

Cloudview, a house designed for holiday stays by Paul Uhlmann Architects, is set high up in the rainforest of Springbrook National Park, forming an enchanting relationship with the Queensland coast below.

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Set on a plot close to the highest point in Springbrook National Park on Yugambeh Country, the house is effectively surrounded by rainforest.

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I

OPENER The house peeks out of the rainforest making it a breathtaking sight PREVIOUS High in the mountains, the rainforest creates an enveloping and remote backdrop OPPOSITE Large windows and louvres keep a continual connection to the landscape and coast below, which is obscured by the mist ABOVE RIGHT A butterfly-shaped roof draws you into an interstitial space

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n 1513, Machiavelli wrote that “those who draw landscapes place themselves below in the plain to contemplate the nature of the mountains and of lofty places, and in order to contemplate the plains place themselves upon high mountains”. He probably had northern Italy in mind (not to mention the travails of princely life), but it’s a thought that finds echoes in 21st-century Queensland.

Cloudview, designed by Paul Uhlmann Architects, sets up an endlessly alluring dynamic between coast and mountain rainforest by virtue of its very location. Set on a plot close to the highest point in Springbrook National Park on Yugambeh Country, the house is effectively surrounded by rainforest.

As Queensland locals – Uhlmann even lived at the foot of the mountain once – both clients and architect are familiar with the area and acutely aware of how the setting invites the coastal dweller to remove themselves to a more reflective, quiet place in the mountains.

“When you look inland from the coast, you see this ridge structure that wraps all the way up – and right on the pinnacle lies the site,” explains Uhlmann. Perhaps the word to describe the site, which faces roughly east back towards the coast, is ‘embedded’. Located amidst the dense rainforest, it is indeed the micro-climate of mist, clouds and cool rain that lends the property its name.

“The obvious thing is to take advantage of the views,” explains Uhlmann. “When there are no clouds, you can see back to the coastline, but we are also trying to take advantage of views back into the rainforest. The whole

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reason you go up there is to immerse yourself in the rainforest, while also having those open views.” For the owners, an intimate and multifaceted connection to the region is at the heart of the design. The brief explicitly called for a holiday home that could provide a counterpoint to the more customary coastal character of the area for guests.

A misty, moody and often cold setting up in the mountains is perhaps not the first thing that comes to mind when the Gold Coast is mentioned, but it’s in setting up that space between coast and mountain that this project articulates the more interesting character of the region as a whole.

“We absolutely fell in love with Springbrook when we stayed up there after our wedding,” say the clients, Shiloh and Caely. “We had no idea that such an amazing heritage-listed National Park was just an hour away from our home at Kingscliff. The block itself is super special to us, as it also looks over Kingscliff and our beloved Tweed Valley, where we were both born.”

Everything about Cloudview is arranged to make a visit memorable. Access to local amenities is minimal or non-existent, meaning that a stay here really is a chance to be immersed in the rainforest. There is no convenience store around the corner, so while the familiar life of the coast might be visible one moment, soon the clouds roll in and it becomes all about seclusion in the bush.

While the site was already cleared by previous owners, the project nevertheless presented some difficult challenges.

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LEFT Designed as a luxury accommodation, the interiors are cosy and lined with timber BELOW In the bathroom, the green from outside is brought inside, while views can be enjoyed soaking in the tub

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PRELIMINARY

GROUND FLOOR

1 2 3 4 5

PARKING ENTRY CENTRAL FOYER BEDROOM ENSUITE

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6 7 8 9 0

KITCHEN FIREPLACE LIVING DRY STORE SERVICES

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ABOVE The building is a response to the pristine site and captures the benefits of being so high in the landscape OPPOSITE A single tree in the entry foyer creates a moment of pause before entering the house

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The terrain and vegetation made the question of foundations a crucial problem for which Uhlmann provided a solution.

“Elevating the house up on a platform above the ground does two things: it lifts you out of the wetness of the forest, but it also projects you out to see through the tree canopy to the distant views,” says Uhlmann. Other practical considerations included providing water for possible bushfire scenarios as well as on-site sewage treatment.

Following the clients’ desire to design for a memorable guest experience, the floorplan is laid out in such a way as to allow for two couples to stay there with some privacy. The U-shaped plan creates distinct wings on what remains an intimate site.

“We wanted the bedrooms to both be as good as each other,” the owners explain. “We wanted the two rooms to be private and the house to also be ‘liveable’ should we decide to live there one day, hence the full-sized kitchen.” The wings flank each side of an elegant, open entry walkway that leads past a single tree – quite the point of contrast to the dense native rainforest on each side – to emerge onto the stunning coastal vista.

While the views out of the rainforest are perhaps the most striking aspect of the whole project, it certainly isn’t a onedimensional feature. The entire site, in fact, evokes an atmosphere that alternates

# 171

between resplendent and open to moody and withdrawn. The weather is of course the pivotal factor in this – when the clouds catch on the mountain, it makes for quite the moody atmosphere – but Uhlmann also speaks about making the timber-heavy interiors deliberately dark so that sightlines become all the more powerful. “We weren’t focusing on the building so much as the atmosphere and the landscape,” he notes.

These small touches speak to a unified concept for the whole design, one that sets up a series of fundamental and poetic juxtapositions – between light and dark, open and closed, views and density, coast and mountain. Just like the experience of the visitor escaping the settled plains below, this mountain dwelling becomes a space of simplicity and clear reflection.

As Uhlmann says, sometimes in architecture a clear, fresh and clean design idea just works. The magical qualities of the setting allowed for a refined idea to sit comfortably embedded in the landscape.

“The U-shape and butterfly roof were about the question of collecting water as well as opening up to the rainforest,” says Uhlmann in summary. “Sometimes when solving a working problem, you find a poetic solution too.” .

Paul Uhlmann Architects | pua.com.au

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The next chapter TEXT STEPHEN CRAFTI PHOTOGRAPHY ADAM GIBSON LOCATION HOBART, TASMANIA , AUSTRALIA TRADITIONAL CUSTODIANS MUWININA AND PALAWA PEOPLE

Architect Esmond Dorney is a hero in Tasmania. His distinctive 50s modernist homes combine architectural bravado with simple materials. The Tate House, designed in 1958, has been recently reworked by Preston Lane Architects, who consulted with Esmond’s son, architect Paddy Dorney.

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OPENER & LEFT The new wrap-around deck adds clarity of internal spaces and allows light and views to fill the home OPPOSITE A simple and practical kitchen works with the rest of the house

T

he Tate House easily fits into the category of mid-century icon. Located in Taroona, a 15-minute drive from Hobart, it overlooks an estuary of the Derwent River – a place that is a much denser urban environment now than when architect Esmond Dorney originally drew up the plans.

While the surroundings may have changed, the Tate House has lovingly remained in the same family since it was built. Erik, who now owns the house with his wife Sally, first saw it when he was only four-and-a-half years old.

“Esmond was a good friend of my Uncle Charles, who originally commissioned the house. In 1963, a few years after the place was completed, my grandparents moved into the lower level, creating a self-contained apartment,” shares Erik.

While Erik and Sally have a great connection to this home, the time had come to make some updates. Sally had developed multiple sclerosis, and so they wanted to make the home more comfortable.

The couple worked closely with an occupational therapist to assist in developing

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the functional brief: a lift to connect the two levels (previously access was only from outside), a new broad internal staircase, and a greater amount of space around things such as beds and baths to eventually accommodate a wheelchair if required.

In addition, they took the opportunity to open up the spaces and make the house more thermally efficient. This included double-glazed windows, and increasing crossventilation from a new wrap-around deck as well as a large sliding door from the kitchen and dining area.

Preston Lane Architects was appointed to the project and from the first site visit took note of things that needed to change to meet the brief. “There was no physical connection to the outdoor spaces and the internal views were compromised. The distinctive roof structure remained, as well as many of the original internalised plywood walls used to divide the spaces. These walls certainly reduced the amount of light as well as camouflaging this beautiful, curved ceiling,” shares Daniel Lane, co-director of Preston Lane Architects.

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“I certainly don’t do dark spaces. We couldn’t live in a grey box with low light levels, feeling constrained,” says Erik, who enjoys the pale blue curved ceiling that forms a connection to the sky.

New glazed sections above the plywood walls allows the curved roof form to be legible while allowing sunlight to permeate. “Esmond had an ability to create these lightweight, almost tent-like roofs to give you that sense of protection from more inclement weather,” adds Erik.

For Esmond’s son Paddy, the “Tate House is as close as it gets to Dad’s way of thinking – but even with its simplicity, there’s a sense of complexity”. Paddy knew Erik as a child, when he and his family spent time at the Dorney’s beach house. “Erik has an understanding of Dad’s approach, which is about creating shelter, bringing a family together as well as being integral to the environment.”

While Preston Lane Architects maintained the essence of Dorney’s vision, with its lightweight steel-piped roof structure and a distinctive ladder/trellis over the side front door (a hallmark of many of Esmond’s designs), the house has been adeptly reworked.

The new insertions include oak plywood joinery in the kitchen and the same plywood walls throughout.

Previously the water views could only be enjoyed from the kitchen and dining areas; now these are seen when descending the front path, with its 20 per cent fall. “We were also mindful of not distracting from the water views,” says Lane, who extended the lower level to the edge of the new first-floor deck.

The Tate House now features fluid, openplan living areas at the top level, including a separate guest bedroom with an ensuite. What was formerly Erik’s grandparents’ domain on the lower level extension is the main bedroom, ensuite, sitting area and a kitchenette. “We haven’t increased the original footprint upstairs. It’s still a relatively modest-sized house by today’s standards,” says Lane.

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UPPER FLOOR

1 2 3 4 5 6 7 8

DECK ENTRY KITCHE N LIVING DINING BEDROOM STORAGE ENSUITE

GROUND FLOOR

1 2 3 4 5 6 7

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DECK STUDY MAIN BEDROOM ENSUITE LAUNDRY STORAGE EXISTING UNDERCROFT

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RIGHT The signature ladder structure of Dorney’s architecture remains clearly defined PREVIOUS A pale blue painted ceiling seamlessly connects to the sky and sea

For Erik and Sally, who live in this iconic home, the family connections certainly make this place feel much more precious. But the practical updates make it a comfortable, modern space to live in. “It’s a 10-degree Celsius day today. The south-westerly winds are blowing and when I put my head outside, it’s certainly nippy. But half an hour later, when I draw the blinds and the sun rises, the temperature inside rises to 18 degrees. It’s cosy and you feel protected,” says Erik. For Sally, her condition has certainly thrown some challenges but, as she remarks, “the house doesn’t make me feel disabled”.

Lane, who was taught by Paddy Dorney at university, always knew – along with his fellow students – of Esmond Dorney’s significance.

“Some of his finishes and details may seem quite simple by today’s standards. But his ideas and approach to architecture were well ahead of his time, and he is still a hero in architectural circles and beyond.”

P reston Lane | prestonlane.com.au

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No. 20

INTERIOR DESIGN Lucy Marczyk Design Studio BUILDER iBuild Constructions P/L BUILDING DESIGNER Mont-Eltham Building Design ENGINEER R. Bliem and Assoc JOINER MS&MR Kitchens Holding Pty Ltd LUCY MARCZYK DESIGN STUDIO lucymarczyk.com contact@lucymarczyk.com FINISHES Curtain fabric in Noon by Kvadrat. Abyss Split Stone in slate from Eco Outdoor. Jindera Split Stone (fireplace cladding) from Eco Outdoor.

Pirelli Stud floor in black. Carpet from Tretford.

Existing cream brick (restored).

LIGHTING Tizio floor and table lamps by Artemide.

Tolomeo floor lamp by Artemide. Void Pendant (in powder room) by Tom Dixon. Rastaf downlights by Artemide.

FIXED & FITTED Pipewall Hook by Marcel Wanders from Boffi.

Iko floor towel rail from Boffi.

ARTWORK Gavin Brown – Various. ‘The Dancers’ by Patrick Moroney (dining table sculpture)

FURNITURE Arne Sofa by B&B Italia. Mr Lounger lounge chair by Knoll. Tubby Planter by Marc Newson from Magis. Panton S Chair by Vitra. Tolomeo floor lamp by Artemide. Cab Chairs (with and without arms) by Cassina. Long Reach sofas in Maharam Hearth fabric from Anibou. Diesis Coffee Table by B&B Italia. Wassily Chairs by Marcel Breuer by Knoll. Custom shag pile rug by Whitecliffe Imports. 369 Chair by Walter Knoll in Raf Simons Pilot fabric from Kvadrat.

Container table by Moooi. All Season chairs by Marcel Breuer in red. Ming Pots by Serralunga.

Masters Chairs by Philippe Starck from Kartell.

Officina Stools by Magis.

It’s all in the details Dress it up or play it down, here are the pieces that turned these houses into homes.

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Oku House

Weeties Warehouse

ARCHITECT Freight Architects PROJECT TEAM Ar Kee Jing Zhi (Project Director), Jessie Tan (Project Architect) CIVIL & STRUCTURAL ENGINEER MSE Consultants Pte Ltd BUILDER Tian Hua Group Pte Ltd LANDSCAPE Ngee Phoe Flower Garden

ARCHITECT & INTERIOR DESIGNER spaceagency PROJECT TEAM Dimmity Walker (lead), Michael Patroni, Tobias Busch, Julia Kaptein, Samantha Mofflin BUILDER Assemble Building Company STRUCTURAL ENGINEER Hera Engineering LANDSCAPE DESIGNER Dangar Barin Smith

FREIGHT ARCHITECTS freight.sg architects@freight.sg

SPACEAGENCY spaceagency.com.au studio@spaceagency.com.au

FINISHES Flooring from Hafary. Brick tiles by Rubik Material Laboratory. Tiles from Malford.

FINISHES Dawn Curtain from Kvadrat. Vixel mosaic wall tiles from Artedomus. Terrazzo tile in Fatima’s Reflection from Fibonacci Stone. Mosaic tiles in Velour and Vetricolour from Bisazza. Carpet by Tretford from Gibbon Group. Wall cladding from Easy Craft. Polycarbonate by Danpal.

FURNITURE Furniture from Made and Make. Furniture from Minotti. Furniture from Liaigre.

FIXED & FITTED Stone basin from Earth Stone Pte Ltd. Carpentry

by Design Rebirth.

FURNITURE Rose sofa, Idea coffee table and Rick chair (cast resin) by Joris Poggioli. Custom cantilevered desk and guest bedhead by Remington Matters.

Custom made Island bench, main bedhead and base by joiner. Otto sofa, 194 table, Tantra rug and Dudet chair by Cassina from Mobilia. Molo outdoor sofa and coffee table, Half-dome overhang lamp by Kettal from Mobilia.

LIGHTING Linear pendant light in Black outer and gold inner profile from Modular Lighting. ‘Howl’ Melted Brass floor light, wall light by Michael Anastassiades from Mobilia. Muse wall light in black/brass by Tooy from Radiant Lighting.

External wall light by Piero Lissoni by Flos.

Cluster uplight (in-ground) in Dark bronze by Unios from Mondoluce.

FIXED & FITTED Haiku L ceiling fan in white by Big Ass Fans.

Single bowl sinks by Abey. Sonar washbasins and baths by Laufen from Reece. Kitchen spout and mixer by VOLA. Yokato tapware and accessories

by Brodware. Zip Hydro TapArc. Freestanding Duel Fuel Oven/Stove with Infrared Chargrill and Teppanyaki by Wolf, fridge by Sub-Zero, dishwasher by Siemens from Winning Appliances.

18.09.23 08:34

On location

Peninsula House

Cloudview

Tate House

ARCHITECT Wood Marsh PROJECT LEAD Roger Wood

ARCHITECT & INTERIOR DESIGNER Paul Uhlmann Architects PROJECT TEAM Paul Uhlmann and Brittany Cooke BUILDER Sanctuary 28 LANDSCAPING Vessel & Green STRUCTURAL ENGINEER Westera Partners

ARCHITECT Preston Lane Architects BUILDER Thylacine Constructions ENGINEER Gandy and Roberts BUILDING SURVEYOR Holdfast Consulting LAND SURVEYOR Rogerson Birch

WOOD MARSH woodmarsh.com.au wm@woodmarsh.com.au FINISHES Double glazed performance glass from Viridian.

External timber cladding in black charred from Eco Timber. Timber decking from Market Timbers. Carpet (in guest bedrooms, billiard room, recording studio) in Fabulous by Supertuft from Artoz Rugs and Carpets. Custom aggregate polished concrete flooring . Kitchen and laundry benches in Carrara marble from CDK Stone.

Bathroom vanities benchtop in Honed bluestone from CDK Stone. Custom designed ‘domed’ profile timber cladding in black stain from Porta Timber. Inax tiles from Artedomus. Dark grey mosaic tile (main ensuite) from Elite Bathware and Tiles. Interior paint in Natural White from Dulux.

LIGHTING Wall lights in custom black by Nocturnal from Light Projects. Highline pendant light in aged brass from Rakumba. Wall light (ensuite and powder room) in brass by Articolo from Est Lighting.

PAUL UHLMANN ARCHITECTS pua.com.au paul@pua.com.au FINISHES Abyss stone tiles (floor) from Eco Outdoor. Inax tiles in Yohen Border from Artedomus. Ceilings – Paulownia V-Joint from Australian Timber Ceilings. Scyon Axon cladding from James Hardie.

LIGHTING Feature pendant light (Living) from David Trubridge. Pendant light (bathroom) by Marz Design in handmade porcelain from Lighting Collective.

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PRESTON LANE ARCHITECTS prestonlane.com.au hob@prestonlane.com.au FINISHES Tasmanian oak timber flooring in loba finish.

LIGHTING Dioscuri wall light by Artemide from Casa Monde. Kinetic adjustable light by Unios from Casa Monde.

FIXED & FITTED Cooktop by Neff, Fridge by Fisher & Paykel, Rangehood by Miele from Harvey Norman.

Masport Rosewood fireplace from Hunts Heating. Daikin inverter. Blinds in honeycomb from Boniwell.

FIXED & FITTED Eden tapware in brass from Astra Walker. Sculp Axis double-sided fireplace from Gold Coast Fireplaces. Kado Lux freestanding bath from Reece.

FIXED & FITTED Scala tapware and accessories in brushed black

by Sussex Taps from Reece. Unisono counter basin by Alape from Reece. Induction cooktop, underbench fridge freezer drawer from Sub-Zero.

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18.09.23 08:34

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issue #58 habitusliving.com

world

Your map to where the stories in this issue come from where

is available

Seoul #64

Singapore #128 Indonesia #98 Gold Coast #162 Melbourne #120 Hobart #172

“An idea is salvation by imagination.”

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FRANK LLOYD WRIGHT

12.09.23 11:57

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