Australian Residential Architecture and Design
A SENSE OF CALM
ISSUE 131
$12.95
Creating homes for balanced living
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JURY
Australian House of the Year New House under 200 m² New House over 200 m² House Alteration and Addition under 200 m² House Alteration and Addition over 200 m² Apartment or Unit Garden or Landscape Sustainability House in a Heritage Context Emerging Architecture Practice
Barrie Marshall James Russell Poppy Taylor Hannah Tribe Katelin Butler
Denton Corker Marshall James Russell Architect Taylor and Hinds Tribe Studio Architecture Media
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At a Glance
From the Editor Musings
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Contributors
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Fresh Finds Products
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K & T’s Place: Meet the Owners 48 Working with an Architect The owners of a transformed Brisbane cottage talk about their home and their choice of architect. Bookshelf 52 Reading A reading list of books filled with architecture and design.
50 Brcar Morony Architecture One to Watch Brcar Morony Architecture has a growing portfolio grounded in its nuanced understanding of how families live.
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Wonderglass Studio
Matteo Fogale Studio
A father-son duo whose glass objects and lighting fuse traditional craftsmanship with contemporary design.
Innovation, collaboration and quality are hallmarks of designs by this Uruguayan-born furniture and product designer.
Creature Comforts 56 Homewares A terrain-like rug, colourful vases and much more, for a bold interior. Chi Dang 101 Studio Furniture and lighting inspired by film, art and architecture. A Step Ahead 102 Flooring Products Exquisite timbers, tiles and stone that are a joy underfoot. An Idea Needing to be Made 104 Exhibition An inventive display of contemporary ceramics. Aureate 138 Postscript An exhibition of gilded cityscapes.
HOUSES 131
87 Renato D’Ettorre Architects In Profile Inspired by the tension between architecture and nature, Renato D’Ettorre Architects designs sculptural and stoic homes.
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Bombala Farmhouse by Collins and Turner First House
Porter House by Albert Ross Revisited
Penny Collins and Huw Turner of Collins and Turner reflect on the first house they designed together – a modernist retreat.
Encapsulating the style of the time, Porter House – built circa 1964 – is a pristine example of mid-century living.
AT A GLANCE
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From sculptural concrete abodes to light-handed timber dwellings, the homes in this issue invoke a sense of calm and are a joy to inhabit.
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24 Empire House by Austin Maynard Architects
New house Melbourne, Vic
Alteration + addition Canberra, ACT
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Almora House by Tonkin Zulaikha Greer
K & T’s Place by Nielsen Jenkins
House at Otago Bay by Topology Studio
Drill Hall House by Tobias Partners
New house Sydney, NSW
Alteration + addition Brisbane, Qld
New house Otago Bay, Tas
Alteration + addition Sydney, NSW
78 Brisbane Riverbank House by Owen Architecture Alteration + addition Brisbane, Qld
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16 North Melbourne House by NMBW Architecture Studio
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Studley Park House by March Studio
Balmain Rock by Benn + Penna
South Yarra House by AM Architecture
New House Melbourne, Vic
Alteration + addition Sydney, NSW
Alteration + addition Melbourne, Vic
CONTENTS
Musings
There’s something to be said for designing with a light touch. Rather than focusing on dramatic architectural “moments,” the houses in this issue take cues from found conditions – the character of a period home, the pattern of the streetscape or the beauty of the natural terrain. At Balmain Rock by Benn and Penna (page 114), a historic sandstone cottage is enhanced by a contemporary addition that draws on the qualities of the original. With a similar sleight of hand, Nielsen Jenkins has added a seemingly simple outdoor room to K and T’s Place (page 40) in a way that protects the home from the bustling wider suburb. This sympathetic approach extends to how homes are lived in. At North Melbourne House by NMBW Architecture Studio (cover, page 16), the design is deliberately open-ended. A flexible plan and finishes mean the owners can tailor their home to suit them. These houses give a snapshot of how Australian architects and designers are resisting the urge to start from scratch and instead are creating vibrant, layered streetscapes and spaces that can be personalized, organically, over time.
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02 Register now for the 2020 Houses Awards, our annual program celebrating Australia’s best residential design. This year’s jury includes Barrie Marshall (Denton Corker Marshall), James Russell (James Russell Architect), Poppy Taylor (Taylor and Hinds), Hannah Tribe (Tribe Studio) and Katelin Butler (Architecture Media). Pictured is the joint winner of the House Alteration and Addition over 200m2 category at the 2019 Houses Awards, Teneriffe House by Vokes and Peters. Photograph: Christopher Frederick Jones. housesawards.com.au
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03 Explore what life is like in cities all over the world by simply stepping inside the National Gallery of Victoria’s Ian Potter Centre between 13 September 2019 and 2 February 2020. Civilization: The Way We Live Now comprises more than 200 original photographs, organized according to themes that include “Alonetogether,” “Persuasion” and “Flow.” Together, the striking images reveal the complexity of urban life in the twenty-first century. Photograph: Tom Ross. ngv.vic.gov.au
Gemma Savio, editor
Write to us at houses@archmedia.com.au Subscribe at architecturemedia.com Find us @housesmagazine
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01 Check out the 2019 Big Design Market at Melbourne’s iconic Royal Exhibition Building (6–8 December). More than 250 Australian and international designers will be represented at this year’s Big Design Market, including ceramicists, artists, jewellers and more. Pictured are ceramics by Leaf and Thread. thebigdesignmarket.com
MUSINGS
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AWSAUSTRALIA
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ARCHITECTURAL WINDOWS AND DOORS BY
Contributors Editor Gemma Savio Editorial enquiries Gemma Savio T: +61 3 8699 1000 houses@archmedia.com.au
Helen Norrie Writer
Paul Hermes Photographer
Helen Norrie is an academic in the School of Architecture and Design at the University of Tasmania. She is a writer and architectural critic, and founder of the Regional Urban Studies Laboratory.
Paul Hermes is a Melbournebased photographer and art director. His approach is to create real and authentic images that connect. He has a particular interest in finding beauty in the mundane moments of daily life.
Editorial director Katelin Butler Assistant content editor Stephanie McGann Editorial team Nicci Dodanwela Cassie Hansen Josh Harris Alexa Kempton Production Simone Wall Design Metrik studiometrik.com General manager sales & digital Michael Pollard Account managers Amy Banks Tash Fisher Lana Golubinsky Victoria Hawthorne
Managing director Ian Close Publisher Sue Harris General manager operations Jacinta Reedy
Published by Architecture Media Pty Ltd ACN 008 626 686 Level 6, 163 Eastern Road South Melbourne Vic 3205 Australia T: +61 3 8699 1000 F: +61 3 9696 2617 publisher@archmedia.com.au architecturemedia.com New South Wales office Level 2, 3 Manning Street Potts Point NSW 2011 Australia T: +61 2 9380 7000 F: +61 2 9380 7600 Endorsed by The Australian Institute of Architects and the Design Institute of Australia.
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A freelance international photographer, Shantanu Starick is in constant motion between Europe and Asia Pacific. His curious approach to photography has allowed him to find insights and stories that explore the boundaries of human connection and behaviour.
Andy Fergus is an urban design critic, commentator and practitioner. Through these roles, he engages with the community, government, design industry and students to advocate for more inclusive, ethical and highquality environments.
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Cover: North Melbourne House by NMBW Architecture Studio. Photograph: Peter Bennetts.
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CONTRIBUTORS
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Copyright: HOUSESÂŽ is a registered trademark of Architecture Media Pty Ltd. All designs and plans in this publication are copyright and are the property of the architects and designers concerned.
Tasmanian Oak Classic Grade at ‘The Retreat’ at Pumphouse Point by Jaws Architects. Image: Adam Gibson
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It is also independently audited by the Centre for Sustainable Architecture with Wood at the University of Tasmania for specified grade, moisture content, form and compliance. It’s no wonder a Tasmanian Oak floor was just named Australasian Floor of the Year at the Australasian Timber Flooring Association Awards.
Fresh finds
From daring appliances to sustainable furniture and 3D-printed lights, these exciting products are sure to enhance the everyday. Find more residential products: selector.com and productnews.com.au
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01 The Sideboard For every piece of Peninsula furniture sold, a tree is planted through the Carbon Neutral Plant-a-Tree program. Sustainable and stylish, the Sideboard is made from Tasmanian oak and features Peninsula’s signature bevellededge doors, which open to reveal practical, adjustable shelves. peninsulahome.co
03 Zip Micro tap system Zip Water has launched Zip Micro – a practical solution for kitchens in which space is at a premium. The drinking water system fits beneath almost any bench and instantly delivers beautifully filtered boiling or chilled water at the touch of a button. zipwater.com
02 Axor MyEdition wash basin mixer The sculptural Axor MyEdition washbasin mixer adds character to any bathroom, with its customizable design. Consisting of a body and plate, the taps can be tailored using Axor’s brushed or polished finishes, such as ‘Red Gold’ (pictured), or materials like marble and leather. axor-design.com
04 Miele freestanding cooker Miele’s first freestanding cooker combines five separate appliances – an oven, speed oven, cooktop, griddle and warming drawer. It is replete with innovative features, including Miele’s Moistureplus technology, which uses humidity to optimize cooking quality. miele.com.au
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PRODUCTS
05 Geo 3D-printed pendant The Geo pendant is one of six unique designs in Limelite’s 2B Hung pendant range. Designed and manufactured in Australia, the Geo pendant casts beautiful fractal shadows, thanks to its 3D-printed geometric form. It can be ceiling- or track-mounted for versatility. limelitesales.com.au
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06 The Prince table Designed by Iva Foschia of If Architecture for Grazia and Co, the Prince table represents a desire to break conventions around communal dining. Each seat at the table has clear sightlines to every other, thanks to the angled shape of the solid timber top. graziaandco.com.au
08 Embrace series Austrian design trio EOOS has again collaborated with Danish furniture manufacturer Carl Hansen and Son to further extend the Embrace series. The series, which unites comfort and craftsmanship, now includes a range of tables and a dining chair (pictured). carlhansen.com
07 Portofino freestanding cookers Portofino by Smeg is a range of energy-efficient freestanding cookers that derive their hues from the olive, terracotta, lemon and coral colours of the buildings lining the shores in Portofino, Italy. The cookers are sure to imbue any kitchen with warmth and character. eands.com.au
09 Ridge dining table The distinctive Ridge dining table by Melbourne-based studio Beeline Design echoes the ubiquitous corrugated iron sheds that dot the Australian rural landscape. The table features a seamlessly faceted base, topped with either marble or American oak. beelinefurnituredesign.com.au
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FRESH FINDS
10 Totem lighting collection Handmade by artisans in the atelier of Aqua Creations, Totem is a series of three stackable lights, designed to be displayed indivdually or in a cluster. Each design is available as a pendant, floor or wall lamp, and is equipped with a dimmable LED fixture. ecc.com.au
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11 Fold lighting The Fold lighting series, designed by Melbourne’s Studio Edwards for Sphera, features a tapering silhouette that appears to melt into its surroundings. Minimal in its aesthetic, the series includes a linear pendant, a wall light and a floor light, all in matt black. sphera.com.au
13 Wattyl’s 2020 colour palettes Wattyl has created two distinct palettes for its 2020 colour forecast – Bright Future and Natural Connection. While the first is centred on dynamic tones, such as ‘Made in Mars’ and ‘Space Odyssey,’ the latter comprises warm, organic hues, such as ‘Red Ochre’ (pictured). wattyl.com.au
12 606 Universal Shelving System De Padova’s 606 Universal Shelving System is a fluid, flexible system that can be arranged against a wall or function as an elegant room divider. Light and scratchproof, it is available in satin or matt black adonized aluminium, or matt white painted aluminium, to suit any decor. depadova.com
14 Tinted Paper Terrazzo laminate Laminex Tinted Paper Terrazzo marries the subtle pops of colour found in terrazzo with the versatility and performance of premium laminate. Manufactured from 30 percentreclaimed materials, it features paper fragments dispersed through a creamy base. laminex.com.au
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PRODUCTS
15 Vanilla Noir quartz surface Caesarstone’s Vanilla Noir quartz surface offers a sense of drama to any kitchen or bathroom. Its dense black base, with delicate greyedwhite veins, it is specifically designed to work with other semi-industrial finishes, including ceramics, burnished metals and timbers. caesarstone.com.au
NOVECENTO by Romani Saccani Achitetti Associati
vistosi.com.au
NORTH MELBOURNE HOUSE BY NMBW ARCHITECTURE STUDIO
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Seizing an opportunity to build on an empty neighbouring block, the owners of a worker’s cottage in North Melbourne have added a flexible secondary house that will allow them to age in place.
Words by Andy Fergus Photography by Peter Bennetts
This clever infill house in the tightly packed backstreets of North Melbourne offers valuable lessons for how we might rethink the single house as a flexible system that can adapt, beyond our immediate needs, to a range of life stages and occupants. Curiously, the house – which enjoys a neighbourly relationship with a Victorian worker’s cottage on the adjacent block – is the result of an act of protest. When the owners of the cottage found that the empty block next door was slated for a “transplanted McMansion,” they went to the council to object. At the point of seeming defeat – with construction of the McMansion primed to begin – a “for sale” sign popped up on the street front and the cottage owners jumped at the opportunity to buy the property. Only after this chance acquisition did the new owners’ plans for a home on the site begin to emerge. As a couple with adult children who had left home, the owners began to explore the possibilities for their next twenty to forty years of life in the neighbourhood they loved. On the recommendation of a friend, they contacted NMBW Architecture Studio. By coincidence, or good fortune, NMBW had been exploring ideas of flexible infill housing for ageing in place for many years – beginning with the Core House project for Think Brick Australia in 2010 and the Infill Opportunities Design Research Report through Monash University in 2011. The practice developed concepts for a housing model with a fixed central core of stairs, bathroom and kitchen surrounded by a flexible perimeter of generous “shed-like” spaces. This idea finds its way directly into the adaptable plan for North Melbourne House. The brief outlined a desire to maximize flexibility for future life circumstances and to maintain a relationship with the existing cottage. The owners reflected favourably on their experience of share houses in their university years. Having had elderly parents living with dementia, they were also acutely
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NORTH MELBOURNE HOUSE
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aware of wanting to avoid the isolation of living alone later in life. These conversations led to the idea of a series of small “apartments” nested within the house that could allow a live-in carer, children or friends to share the space while maintaining a degree of self-containment. In North Melbourne House, this is achieved through a choice of outdoor spaces and building entries, an allowance for potential additional kitchens and space for a future lift. The demolition of a backyard bungalow and creation of a shared terrace enabled the kitchens of the existing cottage and the new house to be connected physically and visually. The two homes are separated by a glass sliding door on the common boundary; the distance is enough to maintain privacy while allowing the occupants to choose when they wish to interact. Currently, the cottage is rented to close family friends and the two households come together regularly on the shared terrace to enjoy the evening sun. Christmas and other social events have demonstrated the benefit of having access to both kitchens for extra cooking space. The simple L-shaped modular plan is set on a 4.5-metre grid and leaves half the width of its street frontage unbuilt. This provides a northfacing courtyard and offers a burst of greenery back to the street. An elongated light-filled living area, with a raked ceiling and tall windows, is created perpendicular to the street; its silhouette recalls the brick lean-to so common in Melbourne’s corner terrace houses. The living area maintains a sense of privacy from the street while enabling views from within that extend to distant trees and chimneys, ensuring the owners feel “part of a bigger landscape” rather than just inside their own house. Opening to the rear lane, an oversized folding timber door is set within the corrugated galvanized steel facade. Behind is a flexible garage space, which, instead of storing an idle car, is home to woodworking gear and bicycle storage. This space has a visual connection to the courtyard via the open laundry and sliding timber doors, placing these working spaces on show rather than hiding them away. The material palette of the house is robust and familiar to North Melbourne, with red bricks exposed externally and bagged white internally, exposed laminated veneer lumber rafters and compressed strawboard to the ceiling, and hardwood joinery and plywood lining the walls. The shed-like spaces in the small house feel generous; the owners’ possessions bring texture and colour, and provision is made for crafted timber additions over time. Nigel Bertram, a founding director at NMBW, notes with delight how “every time I visit, there is a new thing [the owner] has done – for example, the beautiful mezzanine ladder, or the conversion of the future kitchen into a stand-up desk.” Rather than a precious showpiece that forces its owners to adapt to it, North Melbourne House gets better as its occupants settle in. It embraces the idiosyncratic in its form and detailing, and is responsive to its context in a deeply authentic way that eschews the more conservative approach of a replica worker’s cottage. The house manages to offer both a replicable prototype and a highly site-specific response to its owners’ short- and long-term lifestyle needs. As one of the owners reflects, “It had never occurred to me that the design of a house could so accurately capture our way of living.”
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NEW HOUSE
168 m² 180 m²
Design 1 y 3 m Build 1 y 4 m
Built on the land of the Wurundjeri and Boon Wurrung people of the Kulin nation
Products Roofing: Lysaght Custom Orb galvanized steel External walls: Lysaght Custom Orb galvanized steel; Krause Bricks Red Blue face bricks Internal walls: Austral Masonry honed concrete blocks; Plywood in Porter’s Paints Wood Wash finish Ceilings: Ortech Industries Durra Panel strawboard ceiling Windows: Custom steel-framed windows Doors: Custom timber-framed glazed doors Flooring: Polished concrete; Tasmanian blackwood floor boards in Whittle Waxes Hardwax Oil ‘Traditional Lustre’ Kitchen: Blackbutt benchtop in Whittle Waxes Hardwax Oil ‘Traditional Lustre’; plywood joinery in lime wash and polyurethane finish; Franke Kubus stainless steel undermount sink and Active Plus swivel spout in chrome; AEG rangehood, cooktop and oven; Miele integrated dishwasher; Liebherr integrated fridge Bathroom: Laminex Aquapanel tiled surface in ‘White Gloss’; Villeroy and Boch ceramic wall basin; Astra Walker Icon tapware in chrome; in-wall cistern and Catalano wall-hung toilet from Rogerseller Heating and cooling: Hydronic in-slab and wall panel heating External elements: Custom-made copper bird bath and raingarden
01 Comprised of varied shed-like spaces, North Melbourne House is personalized by the texture and colour of everyday objects.
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02 The silhouette of the exterior is reminiscent of lean-to extensions typical of corner terrace houses. 03 The L-shaped plan allows half the street frontage to be filled by a verdant courtyard garden. 04 Multiple entries and outdoor spaces allow friends and family to occupy the house independently.
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The house manages to offer both a replicable prototype and a highly site-specific response to its owners’ shortand long-term lifestyle needs.
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NEW HOUSE
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05 Windows set within corrugated steel cladding open to a shared garden located between the existing worker’s cottage and the new house. 06 Laminated veneer lumber rafters, plywood wall linings and hardwood joinery combine in a robust and familiar home.
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Architect NMBW Architecture Studio +61 3 9090 7880 nmbw@nmbw.com.au nmbw.com.au
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NEW HOUSE
Workshop/ garage Studio Study/ kitchenette Kitchen Kitchen terrace Existing worker’s cottage
Project team Marika Neustupny, Nigel Bertram, Lucinda McLean, Byron Meyer, Nick Ashby Builder CB Maintenance Engineer Perrett Simpson Landscaping Kim Neubecker Horticulture
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EMPIRE HOUSE BY AUSTIN M AY N A R D ARCHITECTS
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EMPIRE HOUSE
Two subtle yet sophisticated pavilions, delicately stitched to a modest Canberra cottage, honour the interwar character of the home, while connecting it with the outdoors. Words by Eugenie Keefer Bell Photography by Derek Swalwell
Compact in scale and light of touch are descriptions that do not readily spring to mind when discussing current residential building in the prestigious suburb of Forrest, Canberra. Where not heritage protected, older style “Canberra cottages” are often knocked down and replaced with much larger residences that, arguably, more accurately reflect the client’s lifestyle aspirations and bigger budgets. But sometimes, clients’ and architects’ paths intersect to produce subtle yet exciting interventions to modest original bungalows. And occasionally, such work receives recognition and acclaim. This is the case with Empire House, a project comprising finely detailed alterations and additions to a Canberra cottage. The project’s quiet success was recognized with the 2019 Canberra Medallion, the highest award from the Australian Institute of Architects’ Australian Capital Territory chapter. The owners of Empire House, Paul and Lindy, commissioned Melbourne-based firm Austin Maynard Architects to transform their interwar bungalow. They had previously commissioned work from Australian Institute of Architects Gold Medallist Enrico Taglietti in the 1990s, so were well aware of the potential benefits of working with an architect. They asked Austin Maynard to develop sun-catching spaces that would provide a long-term home for them and their teenage daughter. They wanted to preserve the external character and best parts of the old house while adapting it with carefully crafted additions. Importantly, they wanted to retain the relative modesty
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of the original, with any additions maintaining a compact footprint on the gently sloping site. The original bungalow was largely intact and generally in reasonable condition, although the kitchen, laundry and bathroom were deteriorated and awkwardly positioned for twenty-first-century family life. Austin Maynard proposed interior changes and designed two pavilion wings – one for the main bedroom and bathroom, the other for kitchen and dining zones – each attached to the original home by a transparent glass walkway. They opened up the bungalow’s interior and created improved sightlines, while retaining much of the original interior detailing and sense of cosiness. The architects skilfully articulated the transition from old building to new. A visitor familiar with the Canberra cottage “style” will feel comfortably at home on entering and then be pleasantly surprised on moving into the contemporary additions. The linked pavilions are clearly part of the house, yet each displays an individual character. This linking strategy avoids facadism, where only the front wall of a building is retained with a completely dissimilar interior behind. It also avoids potential discord occurring where two markedly different building types are jammed up against each other. Inside, the transition is particularly subtle, allowing inhabitants to move smoothly through the modified original rooms and into the new pavilions. A restrained palette of materials is employed throughout the house, with an emphasis on white walls and finely crafted timber wall cladding and cabinetry.
ALTERATION + ADDITION
01 The transition to the garden from the new kitchen pavilion is diffused, thanks to articulated, adjustable windows and stacking doors. 02 Blackbutt, lining the kitchen’s walls and one side of its raked ceiling, gives way to glazing that allows sunlight to flood inside.
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3 Canberra, ACT
Alteration + addition
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Design 8 m Build 1 y
Built on the land of the Ngunnawal people
Products Roofing: Flat-lock shingles in Colorbond ‘Surfmist’ from Architectural Cladding Suppliers; Knauf Earthwool insulation; existing tiles External walls: Flat-lock shingles in Colorbond ‘Surfmist’ from Architectural Cladding Suppliers Internal walls: Blackbutt V-joint lining boards in Whittle Waxes Evolution Classic Hardwax Oil finish; USG Boral plasterboard in Dulux ‘Vivid White’; Mutina Pico Down wall tiles in ‘Natural Blanc’ and ‘Blue’ Windows: Architectural Window Systems Thermalheart aluminium frames in ‘Pearl White’ Doors: Custom pull handles and Designer Doorware doorhandles in Dulux Duralloy ‘White Satin’ powdercoat Flooring: Tretford broadloom carpet in ‘Silver Birch’; burnished concrete floor; Mutina Pico Up floor tiles in ‘Natural Blanc’ and ‘Blue’ Lighting: Flos Running Magnet track system from Euroluce; Masson for Light Tullyspot and Beama Up and Down lights Kitchen: Miele dishwasher and Culinario oven; Fisher and Paykel fridge/freezer; Bora System cooktop and extractor; Astra Walker Icon kitchen mixer tap Bathroom: Villeroy and Boch Libra 1600 bath from Argent; Roca Meridian wall-hung toilet; Vitra Memoria Mineralcast round basin from Rogerseller; Caesarstone benchtop in ‘Organic White’; Astra Walker Icon hand shower on slider bar, basin mixer taps and wall bath set Heating and cooling: Daikin Super Multi Plus split system; in-floor hydronic heating; Maxim Louvres MC75 frameless aluminium louvres from Shade Factor External elements: Waterplex Donut underground water tank Other: Seat cushions upholstered in Woven Image Edge ‘545 Anthracite’
Variations in flooring – timber, carpet, tile or concrete – demarcate active and quiet zones. In the kitchen, blackbutt timber is used on walls and one long side of the raked ceiling. The shorter side of the ceiling is glass, allowing light to flood into the kitchen. Cool neutrals and minimal fixtures define the laundry and the bathrooms, with one including a Japanese-style bath. Individual rooms have discrete characters and are finished with delightful details. A full-length glass wall provides garden views from the simply furnished, serene main bedroom. The kitchen includes a table extension in the preparation island, while a sunny nook seat is perfectly positioned for conversation with the cook. Unusually, there is no garage. A lightly framed pergola attached to the original house provides weather cover for a car, and doubles as a shaded external space for relaxation. Both architects and clients were particularly concerned with energy efficiency and sustainability in the project, starting with reusing the embodied energy of the original building. Double glazing provides protection from Canberra’s considerable temperature variations throughout its four distinct seasons. Narrow, articulated black-framed windows on one side of the kitchen pavilion link are adjustable for airflow. Windows are positioned to maximize solar gain in winter while avoiding overheating in summer. Rainwater captured from the roof is used for gardens and toilets, while solar panels with micro inverters have been installed on the old roof. Large articulated glass doors allow one side of the kitchen pavilion to be fully opened, diffusing the transition from the interior to the garden. Externally, the contemporary pavilions’ characters are dissimilar to the original house, though all are white in colour. They are linked materially by recycled Canberra red bricks used at the foundation level of the bedroom wing, providing a plinth for the new structure. But it is the cladding of the new wings that gives the project an extraordinary presence. The pavilions are wrapped with individually hand-finished and hand-fixed shingles. The shingles are set out with great care, with overflow holes and other essential cutouts precisely positioned as almost jewel-like gestures in the surface. Doors are exactly fitted into the overlapping shingle patterns. The widely travelled owners have accumulated a carefully curated collection of objects and mid-century furniture, which sits happily in its new setting. Empire House is an altogether delightful collaboration between owners, architects and builders, which promises many years of enjoyment to its occupants.
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EMPIRE HOUSE
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Architect Austin Maynard Architects +61 497 020 635 hello@maynardarchitects.com maynardarchitects.com
EMPIRE HOUSE
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Project team Andrew Maynard, Mark Austin, Ray Dinh Builder Preferred Builders Engineer Murtagh Bond Structures Buro Landscaping Bush Projects
Eveneer Alpi Designer Collections Aged Veneer WoodWall Evenex Eply
Timber surfaces for creative space making
ALMORA HOUSE BY TONKIN ZULAIKHA GREER
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Edged by an established garden and crowned by an undulating concrete roof-form, this home for collectors on Sydney’s North Shore is a carefully cultivated expression in concrete and glass.
Words by Andrew Leach Photography by Brett Boardman
This is a new house on an old site. Tonkin Zulaikha Greer’s clients have lived here for many years, gradually adding to and refashioning the original house (which this new work completely replaces) to reflect their changing needs. In this sense, they have had the luxury of time shaping their brief, bringing to this exquisitely constructed Mosman house more than two decades of lessons about how they wish to live here. Designed by Tonkin Zulaikha Greer’s director Tim Greer and project architect Belinda Pajkovic (now director of Atoma Architecture and Design), the house coalesces around three devices: a basic plan geometry designed to dissolve in response to the clients’ program; rigorously framed monumental concrete panels; and views controlled both to amplify and edit relationships between “moments” on a site that is made to seem more generous than it really is. A spine runs through the project, from the threshold to the rear garden. To one side are service areas (including finely appointed bathrooms); to the other are zones for living in various degrees of privacy. The values that drive the way this house is resolved are described by the terminals of the spine: closest to the street, a rounded timber nook encasing a James Angus sculpture; beyond the house itself, a mature frangipani. This is a house for collectors set in concrete and glass, but also a house in a long-established garden – itself as carefully cultivated as it is verdant.
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ALMORA HOUSE
2 Sydney, NSW
New house
Couple
3
4 + 1 powder room
Site Floor
It is telling that the house turns its back on the street at ground level while embracing the north-facing view from the main bedroom on the upper floor. It has, in this sense, a somewhat defensive stance towards the public domain. Walking back from the main bedroom, two private studies (each with a distinctive character) speak with one another across a void. One accentuates the green of the garden with its striking carpeting – indeed, viewed across the timber landing, the timber furnishings sit as though on a pristine lawn. The other presents to the dining room below a kind of reversed library, with books visible across the void through a panel of glazing – an artful gesture, adding to this interior surface the texture of a wall of bound pages. Outside, a section of mirrored glass extends the garden on the eastern facade, while another undermines the visual boundary between the kitchen and the south-facing patio on to which it opens. The materiality is unambiguous. Everything we might touch is in timber, as is all framing. Large vertical surfaces are in precise, beautifully finished concrete. And large expanses of glass (extending to timber-framed retractable panels) ameliorate the concrete’s heaviness, moderating what we can see, and helping us to forget that this is, ultimately, a suburban home hemmed in by its neighbours. Indeed, the program and orientation as expressed in the plan – reflecting the clients’ years of studying the site as much as the architects’ response to their brief – goes a long way toward avoiding reference to the wider setting. This house is in all respects a device for living, but in particular for living as the clients have found they wish to – with their wonderful private art collection, their mature garden, and their carefully selected decor; formally and informally. In composition, though, TZG has given a subtle nod to the work’s suburban setting. The house is constantly caught between monumental and domestic scales – played out in composition as well as in its views. Even as it extends vertically to shape the dining and family rooms, a 2.4-metre dado runs throughout the house, with the effect of grounding it among its neighbours. Artworks are cycled in and out, staged with a thoughtfulness that extending through the entire house, from its design to its inhabitation. Yet despite the depth and breadth of the clients’ collection, the house was not designed in conversation with specific works or even with a curatorial program. Instead, the large expanses of concrete and delicate timber elements serve to frame the clients’ own expert curation – an independent operation that activates (in different ways each time) the surfaces and geometries of the house. The most notable gesture, though, is a massive undulating concrete form that hovers over the whole affair, reading as a trick of gravity. Its underside comprises the upper ceiling throughout and is delicately textured by the timber of its formwork. The curves of the waved form are less regular than a first glance suggests – dips and rises are manipulated to manage sunlight while responding, in composition, to the disposition of the rooms below. It speaks to the relational character of the entire project that a fragment of formed roofline is left as a future ruin in the garden, to be overgrown in good time.
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NEW HOUSE
900 m² 385 m²
Design 6 m Build 2 y 6 m
Built on the land of the Borogegal and Cammeraigal people
Products Roofing: Zincalume roof sheeting, gutters and downpipes; in-situ board-formed concrete with underside painted white External walls: Exposed in-situ concrete; corten steel cladding; tallowwood timber cladding; shaped timber batten screen on aluminium frame Internal walls: Exposed in-situ concrete Windows: Fieger Louvre Windows frameless glass louvres; Tallowwood framed windows by Bakers Joinery; Decoglaze colourbacked glass in ‘Brilliant White’ Doors: Tallowwood doors by Bakers Joinery Flooring: Euro Style Floors spotted gum and Tasmanian oak floorboards; Ocean and Merchant Honed Atlantic stone tiles; Supertuft Escape Velour carpet in ‘Esther’ Lighting: Iguzzini downlights; Erco track lights; Roll and Hill Agnes Cascade light from Space; Custom timber pendant by the architect Kitchen: Miele dishwasher; Oliveri sink and Vilo pull out mixer; Zip water filter; Marblo custom joinery; Madinoz stainless steel cabinet handles; Ilve freestanding cooker; Asko concealed rangehood Bathroom: Rogerseller white ceramic basins; Brodware taps and bathroom fittings; Ocean and Merchant Honed Atlantic Stone tiles; Bisanna ceramic floor tiles; Kaldewei Central Duo Oval bath Heating and cooling: Big Ass Fans Haiku fans; Real Flame; Smartheat hydronic underfloor heating Other: Custom joinery by Square Peg Woodworks
01 The bound pages of books in a study space sit against a transluscent wall. Artwork: Bill Henson.
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02 A section of mirrored glass on the eastern facade visually extends the limits of the garden.
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03 Inside, materials are clearly delineated, with timber reserved for tactile elements and formed concrete separating rooms. Artwork: Ben Quilty. 04 The house shifts between the monumetal scale of gallery-like living spaces and more domestic proportions. Artwork (L-R): Janet Laurence, Tony Tuckson.
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NEW HOUSE
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05 The curved roof-form manages sunlight. Artwork: Aida Tomescu, Imants Tillers
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Architect Tonkin Zulaihka Greer +61 2 9215 4900 info@tzg.com.au tzg.com.au
Project team Tim Greer, Belinda Pajkovic, Ksenia Totoeva, Jenna Rowe, Alison Osborne, Roger O’Sullivan Builder Bellevarde Constructions Engineer PMI Engineers Landscaping Bates Landscape Planner Perica & Associates Urban Planning
ALMORA HOUSE
1 300 278 336 artedomus.com
At Artedomus we seek out the most beautiful, unique architectural surfaces and products from around the world. From Italy to Japan, our exclusive range of natural stone, tiles, bathware and architectural ceramics showcase the work of leading designers and artisans. Visit a showroom to experience our world. Styling by We Are Triibe. Photography by Ryan Linnegar.
K & T’S PLACE BY NIELSEN JENKINS
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Preserving the qualities of one of the few remaining Queenslanders in a South Brisbane neighbourhood, this addition comprises screened outdoor rooms that mitigate the increasingly built-up surrounds.
Words by Zuzana Kovar and Nicholas Skepper Photography by Shantanu Starick
Beyond the museums and galleries of South Bank’s cultural precinct, the innercity suburb of South Brisbane is an eclectic mix of remnant light-industrial and commercial uses, recent high-density residential development and pockets of traditional detached character housing. While fragments of the suburb’s former character remain, such as the still functioning Pauls Milk and Hanson Concrete factories, apartment towers of questionable quality now proliferate on blocks previously occupied by more diverse uses. At risk too are the remaining pockets of Queenslanders, despite demolition controls that are intended to preserve this housing stock. It is within this context of fast-paced, high-density development that Nielsen Jenkins has made careful and understated additions and alterations to one of the last remaining Queenslanders in the area for clients Tarragh, Keith and their two teenage sons. Architect Morgan Jenkins points to the overlooking by a sixteen-storey neighbour, and predicted future unit development on adjoining properties to the south, as the impetus behind a design approach that strikes a balance between opening the house up to the benign Brisbane climate, and “defending” its inner workings from the pressures of the urban setting. The result is an architecture that carefully moderates openings to the exterior in a more controlled and less literal manner than we have come to expect from architects working in the Brisbane context. This approach is expressed most clearly in the rear extension. Briefed to design a deck, the architects have instead configured the space as a series of outdoor rooms, or “occupiable landings,” wrapped in a protective timber screen that at once
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K & T’S PLACE
01 The new outdoorroom and fireplace are enveloped by a timber structure that frames views to the backyard fig tree. 02 In response to a rapidly densifying context, the addition is strategically positioned to offer privacy to the home.
4 Brisbane, Qld
Alteration + addition
Family
3
2 +1
powder room
Site Floor
405 m² 212 m²
captures select views of the significant fig tree in the backyard and shields the occupants from overlooking neighbours. Despite this carefully controlled privacy, the house is by no means guarded and presents a generous level of transparency to the street. A delightful layering of space is apparent – the front garden and verandah, internal living spaces and the new outdoor room to the rear are all partly visible from the footpath. A sculptural masonry fireplace sits at the heart of the outdoor room in line with the Queenslander’s central hallway, serving as a focal point to the new extension. Pinwheeling around the fireplace, landings connect the upper level domestic spaces with the rear garden and artist Keith’s painting studio, which is located in the building undercroft. That these landings serve as the primary vertical connection between levels, in lieu of an internal staircase, is testament to the architect’s embrace of informal subtropical living; it also allows for a greater sense of spatial separation between the domestic spaces on the upper level and Keith’s studio and the boys’ bedrooms below. “It’s rare to find a client who is supportive of such unconventional relationships between spaces,” says architect Lachlan Nielsen, speaking of the lack of internal access between levels. The result is a suite of connected but independent work and domestic spaces, which allows the occupants to come together but also find their own territory within the house. The lowest of these landings, for example, aligns with the main bedroom suite, providing privacy to the ensuite at the upper level, while forming a double-height outdoor room, which the painting studio below opens out to. In the event of an exhibition or studio sale, this configuration allows groups to spill outside toward the garden. Public entry to the studio is direct from the street, via the driveway, bypassing the private upper level, while the ground floor bedrooms also retain independent external access from a terrace beneath the front verandah. Three “streets” demarcate the domestic functions housed within the plan of the original Queenslander: a kitchen and walk-in pantry occupy an enclosed verandah; living and dining spaces are positioned within the central core; and a generously scaled main bedroom suite sits to the western edge of the house. Originally briefing the architects to include a guest bedroom, Keith later suggested that the walk-in robe could expand to the scale of a room that doubles as a private retreat, particularly for Tarragh to escape the occasional noise of family life, and to prepare for work each morning. A palette of unembellished materials, including rough-sawn hardwood framing, raw concrete and masonry, along with the painted timber linings and pine flooring of the existing house, lend the architecture an unpretentious and immediately comfortable sense of space that has become a recognizable quality of Nielsen Jenkins’ work, and which feels appropriate within the eclectic built context. Negotiating domestic privacy, climatic response and the specificities of family life, K and T’s Place embeds additional value within the existing Queenslander that not only makes for a remarkable house, but also guards against the encroachment of development into pockets of traditional housing stock, where other property owners are often only too willing to allow these houses to degrade to the point where their demolition can be justified. Nielsen Jenkins has ensured that the qualities we admire inner-city Brisbane for will persist on this site, now and into the future.
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ALTERATION + ADDITION
Design 1 y 4 m Build 7 m
Built on the land of the Yugara/ YUgarapul people and Turrbal people
Products Roofing: Lysaght Spandek Zincalume; custom zinc gutters and rainhead by MyCladders External walls: James Hardie fibre cement sheeting painted in Dulux ‘Monument’; Austral standard grey block; hardwood timber frame; spotted gum decking Internal walls: Painted James Hardie vertical joint timber cladding and perforated fibre cement Windows and doors: Timber windows and doors by Allkind in Dulux ‘Oxford’; Breezway louvres; Bradnam’s Windows and Doors aluminium doors and windows Lighting: Custom ceramic pendant by Anna Markey; wall lights from Bunnings; Barn Light Australia external wall lights Kitchen: Franke Impact Granite bowl sink and Mizu Drift tapware in ‘Chrome’ from Reece; Fisher and Paykel freestanding gas cooker; Blackwood veneer flat panel cupboard doors with 2-pac finish from Elken Kitchens and Furniture; 3D Stone Carrara marble tiles Bathroom: The Marble Merchant green tumbled marble tiles; Blackwood veneer flat panel cupboard doors with 2-pac finish from Elken Kitchens and Furniture; Eden Bench Mount Basin in white from Highgrove Bathrooms; Mizu Drift tapware from Reece; Posh Solus toilet suite and Kaldewei Puro Inset bath from Reece External elements: Austral Masonry standard grey blocks and capping blocks Other: Dining table and side table by Keith Burt
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03 Opening to outdoor spaces at each end, the kitchen and pantry occupy a portion of the original enclosed verandah. 04 Unembellished interiors lined in painted timber lend the architecture a comfortable and unpretentious quality. Artwork (L–R): Ben Walsh, Miles Hall, Sandy Okalyi, Matthew Tobin, Tony Albert, Keith Burt. 05 A generously proportioned dressing room is used as a place to quietly prepare for busy workdays.
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Outdoor room Courtyard Terrace Studio/gallery Laundry Store Rumpus Bedroom
ALTERATION + ADDITION
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06 A painting studio located in the building undercroft is accessed via a double-height landing that opens to the backyard. 07 From the footpath, visitors can see past the front garden, verandah and internal living spaces to the new outdoor room.
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Section 1:400
K & T’S PLACE
The design approach strikes a balance between opening the house up to the benign Brisbane climate and “defending� its inner workings from the pressures of the urban setting.
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Architect Nielsen Jenkins +61 403 869 789 mail@nielsenjenkins.com nielsenjenkins.com
HOUSES 131
ALTERATION + ADDITION
Project team Lachlan Nielsen, Morgan Jenkins, Nicholas Russell, Kelsey Homer, Laura McConaghy Builder Struss Constructions Engineer Optimum Structures Landscape Jonathan Kopinski with Nielsen Jenkins
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K & T’S PLACE MEET THE OWNERS
Guided by word-of-mouth recommendations and impressed by Nielsen Jenkins’ portfolio, clients Keith and Tarragh felt confident entrusting the architects with the design for the renovation to their home. Here, Emily Wong chats with Tarragh about the process and outcomes of working with an architect. Photography by Shantanu Starick
WORKING WITH AN ARCHITECT
01 The clients’ two sons love the new addition because it provides them with space of their own.
Emily Wong Can you tell me a bit about your background and your house? Tarragh Cunningham I am assistant director at the Queensland Art Gallery and Gallery of Modern Art (QAGOMA) and my partner, Keith, is an artist. Eleven years ago, we moved to Brisbane from Melbourne, and into our home in West End. We loved the place immediately – a small worker’s cottage with a giant weeping fig in the back garden, within walking distance from work and school for our two boys, and with a working space for Keith. The house’s previous owners were musicians and composers, so the space had a wonderful, creative sensibility.
02 The deck reponds to a brief that asked for a private home with a strong outdoor connection.
EW What made you decide to engage an architect? TC We knew we wanted to stay in the house but that it would need to change to accommodate us as our family grew up. As our boys grew older, we found we were living on top of each other, while Keith’s open-plan studio took up the entire bottom of the house. At the time of the renovation, our oldest son’s bedroom was a sleep-out – he had well and truly grown too big for his room. That sleep-out is now our pantry! The thought of renovating was overwhelming. We had never done it before, as this is the first house we have ever owned. Without any experience in building or renovation, there was no question of us doing it ourselves. Not knowing whether we would ever renovate the house again, we wanted to get it right. EW What drew you to Nielsen Jenkins? TC We had known Lachlan and Morgan (of Nielsen Jenkins) for a few years, and had seen work they had been involved with in their previous practices. Their work was always high quality and interesting, without being over the top. We also knew some of the people they worked with, and everyone spoke so highly of them in a professional sense. Most importantly for us, though, they had worked with creative people, who all seemed to enjoy the process.
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K & T’S PLACE
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EW How much of an idea did you have of what you wanted when you engaged Nielsen Jenkins? TC All we knew was that we wanted a better kitchen, more light, some big walls to hang paintings on and a connection to the outside. We also wanted privacy and security, in light of the apartments now springing up in the area. Oh yes, and a round window. We wanted to respect the heritage of the home while being open to new ways of investigating how we might live in it. EW How much involvement did you have in the evolution of the design? TC I think we left Lachlan and Morgan to it and responded when we needed to, when it came to the big decisions, but they might have a different opinion! They understood we didn’t have a huge budget and they worked hard to make things work for us. Some of their ideas, like the general lighting, were very costeffective, and with the savings, we were able to commission a beautiful ceramic pendant light from Anna Markey, a local ceramicist. We
HOUSES 131
trusted them and they came up with some fantastic ideas that we would never have considered; these are now some of the favourite parts of our home. EW How has working with an architect transformed your idea of what’s possible? TC The way Lachie and Morgan have transformed what was originally one of our children’s bedrooms into the calm, light-filled, multipurpose space it is today is something I could never have imagined. I start and finish my days in this space and love it so much. The fireplace on our deck and the peg holes in the walls of Keith’s studio are also aspects I couldn’t have envisaged. EW How have your children responded to the house’s additions? TC We never see them anymore! They have their own spaces now, which they needed, and the freedom to come and go. They spend a lot of time shooting hoops in the back garden. They also spend more time cooking in our small
WORKING WITH AN ARCHITECT
but extremely practical kitchen, which is connected to the rest of the house and the outside areas. EW What advice do you have for someone who is thinking of hiring an architect? TC Visit projects the architects have worked on and talk to their clients and colleagues. If you aren’t communicating well early on in the process, I think that’s a worry. We had a brilliant experience working with Lachlan and Morgan. EW Would you hire an architect again? TC I think we’ll hire Lachlan and Morgan again if we need to renovate in twenty-five years. It was through them that we met the artist Jonathan Kopinski, who designed our garden, and the builder they recommended, Dugald Struss. The rapport and trust we felt with Dugald was instantaneous. Lachie and Morgan have a small but mighty team who are smart and engaged. We could sense that everyone in the practice was completely immersed in the project and enjoyed working on it.
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Brcar Morony Architecture
Brcar Morony Architecture, launched by Natalie Brcar and Michael Morony in 2015, is a practice grounded in principles of environmentally sustainable design, thoughtful responses to site and budget, and a nuanced understanding of their clients’ needs. Words by Stephanie McGann
O N E T O W AT C H 01
It’s a familiar scene: a dining table, strewn with the accumulated debris of daily life, ever-changing yet inherently reflective of the people who gather around it. From the banal to the celebratory and even the decadent, the humble dining table sees it all – crayons splayed amongst stray breakfast crumbs, a faint wine stain, a laptop, kids’ homework – the glorious tumult that is family life. On one such table, in the inner-western Sydney suburb of Dulwich Hill, the refined and elegant work of Brcar Morony Architecture (BMA) is born. “Our work environment is pretty simple – we work and juggle family across our dining room table,” says director Natalie Brcar, who also teaches at the University of Sydney. “We like that we can ultimately work anywhere on our laptops. It is busy, but flexible, and there is never a dull moment in between.” Partners in both work and life, Natalie Brcar and Michael Morony met during their studies at the University of Technology Sydney. They both graduated from the Bachelor of Architecture program with first-class honours in the mid-2000s and went on to forge successful careers in the distinct yet complementary spheres of residential and commercial architecture. While Natalie honed her craft at Tzannes and MCK Architects, Michael led the design of large retail and commercial developments as a project architect at Lippmann Partnership and Mirvac, and later as a senior associate at Buchan. These different professional paths and experiences find coalescence in BMA, which formally came to be in 2015. Natalie describes going into practice with Michael as “a natural progression,” propelled by the opportunity to take on “a really interesting apartment fitout” that they just couldn’t turn down. Working at MCK Architects at the time and pregnant with the pair’s second child, Natalie saw the invitation to transform the 1960s harbour-side apartment as “a massive leap” towards progressing her career while also cultivating the space required for parenthood. “Kirribilli Apartment was the job for us,” she explains. “It meant I had the flexibility to run a practice and be a young parent at the same time.” But balancing work and family life wasn’t the only impetus for Natalie and Michael to launch their own practice. The pair had collaborated on private commissions in the years prior to BMA’s inception, to test and refine their shared design philosophies. Each director’s background now informs the practice’s strategy, which is grounded in the first principles of environmentally sustainable design, thoughtful
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responses to site and budget, and a nuanced understanding of the people who are to inhabit a space. BMA’s pragmatic design approach to Kirribilli Apartment opened up what had originally been a restrictive floor plan, creating malleable living spaces that could be converted to secondary sleeping quarters for when the owner had visiting guests. “Our client gave us full trust and allowed us to explore our design ideas, even at such a small scale,” says Natalie, whose interest in furniture is evident in the home’s sliding panels and generous, subtly integrated joinery. She recalls, as a child, watching her dad, a cabinetmaker by trade, during the course of his work. “I’m interested in that micro level of detail and I’ve been fortunate to have worked on projects that have allowed me to get into that level really quickly,” she adds. The recently completed Courtyard Apartment in Sydney’s Rushcutters Bay embodies much of the practice’s sensibilities – Natalie and Michael have an attentive approach to architecture that is underscored by an experimental spirit. “Courtyard Apartment really reflects who we are when it comes to materials,” Natalie says. “There’s warmth in the material palette, there’s clever detailing of joinery, and it was a really good collaboration with the client, who allowed us to be the architect, to experiment and to execute the project in a really positive way.” The brief was to reinvigorate a tired ground-floor apartment, to create a free-flowing and workable home for a young family of three. BMA achieved this through its creative reworking of the modest footprint and by removing external walls, enlarging internal openings and establishing a new private courtyard entry. With astute consideration for the mechanics of family life, the architects converted an existing, disused third bedroom into an airy dining space. An American oak study desk suspended in a former doorway is a nod to Natalie’s skilful melding of architecture with furniture. With a handful of projects currently on the table, Natalie and Michael aspire to grow their practice over time and to further test their design ideas through experimentation. “In the short term, I’m running the projects as best I can whilst raising a family,” Natalie says. “I suppose perhaps this may sound like a common story for an architect who is also a parent, where career and family co-exist. The challenge is getting the balance right, and that’s always a work in progress.” brcarmorony.com
BRCAR MORONY ARCHITECTURE
01 For Natalie Brcar and Michael Morony, setting up a practice together was “a natural progression.” 02 Natalie’s attention to detail is evident in the subtly integrated storage joinery in Kirribilli Apartment. 03 At Courtyard Apartment, BMA has turned a dark dwelling into a free-flowing series of airy spaces. 04 The new private courtyard entry at Courtyard Apartment facilitates a family lifestyle within a modest footprint.
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ONE TO WATCH
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Bookshelf
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01 Iconic Modern Australian Houses: 1950–2000 by Karen McCartney (Murdoch Books, 2019) Two decades ago, Karen McCartney moved with her family into Bruce Rickard’s 1967 Marshall House in Sydney’s Clontarf. The move kick-started an interest in post-war Australian architecture that has seen McCartney (now one of Australia’s best-known design writers and editors) produce two books on the subject: 50/60/70 Iconic Australian Houses (2007) and 70/80/90 Iconic Australian Houses (2011). This encyclopaedic book brings together the best houses from those decades in a new, handsome layout. It also introduces a new feature home, “one that got away the first time,” the Jackson House in Shoreham, Victoria by Daryl Jackson (1976–1977). McCartney describes the house as “conceptually sophisticated” but with a spartan manner that “suggests the no-nonsense approach of its country context and the make-do philosophy of rural Australia.” There are twenty-seven houses featured here, from the famous Rose Seidler House (1950) to the D House by Donovan Hill (1998–2000). McCartney ably places each house in its context, delivering a celebration of Australian modernism that will stand the test of time.
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02 The Touch: Spaces Designed for the Senses by Kinfolk and Norm Architects (Gestalten, 2019) “… the most important tenet for architecture is the capacity to imagine experiences and feelings,” says Juhani Pallasmaa, the Finnish architect and pioneer of haptic design theory, in an interview in The Touch. You could perhaps say the same for architecture coffee-table books, and this effort from Copenhagen firm Norm Architects and lifestyle magazine Kinfolk succeeds in giving the reader a real sense of the projects presented. The Touch seeks to transcend the “blinkered” nature of Instagram architecture, suggesting instead that good design engages all the human senses. Copper House II by Studio Mumbai (2010), one of more than twenty-five projects presented, mediates the sometimes intense rain of its location south of Mumbai to create hushed tones of flowing water. Its wooden-screen walls, meanwhile, allow “air, light and atmosphere” to flow through the house. Tatiana Bilbao’s mirrored house, Los Terrenos (2016), immerses the residents in the colours and fragrances of the Mexican forest. And Norm Architects’ own project in Norway, Gjøvik House (2018), uses a variety of materials and texture shifts to demarcate space and provide a sense of warmth in a cold place.
03 New Nordic Houses by Dominic Bradbury (Thames and Hudson, 2019) There are no surprises to be found in this book from design journalist Dominic Bradbury; you pretty much get what it says on the tin. Along with some threadbare analysis of the unique character of the region’s architecture and the notion of “Nordic warmth,” more than forty new houses are presented. Many of the projects are as remarkable for their stunning rural or regional settings as they are for their architecture. “The multiple threads of Nordic architecture lead back naturally and inevitably to this extraordinary landscape,” writes Bradbury. “The epic coastline, with its countless fjords, inlets and isles, contrasts vividly with the mountains and lakes of these glacial countries on the edge of the Arctic circle.” Among the practices featured are Jon Danielsen Aarhus, Tham and Videgård, Stinessen Arkitektur, Reiulf Ramstad Arkitekter and Saunders Architecture. Their projects range from country houses complete with traditional Nordic fireplaces, saunas, window seats and verandahs, to remote cabin hideaways and artist’s studios. They are certainly pleasant to look at and the book as a whole captures a sense of bucolic beauty and isolation that is ideal for an escapist flick-through.
READING
04 Ricardo Bofill: Visions of Architecture edited by Robert Klanten, Maria-Elisabeth Niebius, and Valentina Marinai (Gestalten, 2019) Ricardo Bofill, the visionary Barcelona architect behind projects such as the incomparable apartment complexes Gaudi District (1970) and Walden 7 (1975), was, it seems, a contradictory, larger-than-life figure. He was the rich kid of a property developer, given large projects to design at an impossibly young age. He was the Marxist student – kicked out of university for his activism, never to complete his degree. He was the charismatic outsider. And he was the hardworking, successful architect. This hefty book gives us a comprehensive overview of Bofill and his work, through essays by his contemporaries, through insightful reviews of his projects and through stunning, full-page photographs. Bofill’s stylistic output has varied drastically, taking in neo-Moorish and neoclassical elements, and ranging from critical regionalism to post-modernism. His career, as Tom Morris writes, “has spanned a vast and ambitious trajectory.” An admirable survey of that career can be found in this volume, which highlights everything from Bofill's utopian housing projects to a luxurious (and beautiful) resort.
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Wonderglass GL ASSWARE
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Collaborating with renowned and emerging artists, Wonderglass fuses contemporary design with traditional craftsmanship to produce objects and lighting inspired by the mesmerising qualities of glass. Words by Rebecca Gross
There is something undeniably fascinating about the work from Wonderglass. The studio’s lighting, objects and installations have a captivating, mesmerizing quality, as molten glass is shaped into surreal and sculptural forms. “Every single creation looks beautiful, on or off,” says Christian Mussati. Since founding Wonderglass in 2013, he and his father, Maurizio, have been moulding a new future in glassmaking by fusing contemporary design with traditional craftsmanship. London-based but Italian-born, Christian and Maurizio had an interest in the Murano glass industry and wanted to establish a family business. While Christian was new to glassmaking and design, Maurizio had worked in executive roles for Bisazza, Flos, Moooi and Established and Sons. “We wanted to establish a new brand that relied on craftsmanship and skills from Venice, and that could leverage our international connections and capabilities in contemporary design,” Christian explains. In 2013, Wonderglass unveiled its first designs, including Flow[T], designed by Nao Tamura. Reflecting the company’s Venetian roots, this chandelier evokes an ethereal cityscape. Wonderglass collaborates with renowned and emerging “artists” – an all-encompassing term for product designers, architects, fashion designers, sculptors, painters and artisans – who are inspired by the qualities of glass and how it can be pushed to achieve functional and fantastical
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results. Lighting by Marco Zito and BTM is also inspired by Venetian heritage, while Zaha Hadid and John Pawson explored glass as an expression of their approach to architecture in their designs for the studio. Although it originated with lighting, Wonderglass now produces other artistic and architectural objects as well. Its brief to artists requires modular designs that offer consumers the freedom to create their own compositions. The Alcova collection, by Ronan and Erwan Bouroullec, is a series of geometric objects that can be arranged into colourful landscapes celebrating the movement of molten glass. Wonderglass debuted the collection in 2018, as well as a range of cast-glass mosaic tiles to create kaleidoscopic flooring that references refracted glass. The finish of these tiles prompted a conversation between Nendo and Wonderglass, which led to the studio’s latest collaboration. Oki Sato, founder of Nendo and “master of illusion,” designed thirteen cast-glass furniture pieces and a chandelier using curved, viscous glass shaped by gravity. “Nendo transforms materials and spaces to have new meanings,” says Christian. “He knew what he wanted and asked that of the artisans. There are some limits you can’t cross, but others you can push, and this is why designers work with us – because we truly respect their vision and achieve it the best we can.” wonderglass.com
STUDIO
01 The sculptural objects designed by Wonderglass, such as those in the Bouroullecs’ Alcova series, can be displayed as a composition. 02 Father and son Maurizio and Christian Mussati started Wonderglass as a family business. 03 Flow[T] is a sculptural chandelier that evokes the cityscape of Venice, reflecting the Mussatis’ heritage.
A CONCEPTUALLY DEVELOPED COLLECTION OF LUXURY VINYL TILES
Creature comforts
A rug that evokes coastal landforms, colourful vases and invitingly tactile tableware – this selection of homewares is sure to enliven the home. Find more residential products: selector.com and productnews.com.au
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01 Awa lighting collection Designer Fumie Shibata took inspiration from the Japanese word for “bubble” to create a set of pendant lights that, like their namesake, appear weightless. Awa’s combination of wood, metal and fine, hand-blown glass evokes an inflated vessel that has been sealed with a cork. brokis.cz
03 Lightcycle task light Dyson has launched the Lightcycle task light, equipped with the latest lighting technology. In addition to preset modes and among a suite of other intelligent features, the light automatically adjusts its colour temperature and brightness according to local daylight levels. dyson.com.au
02 Paper Clay ceramics The Cartocci in paper clay are timelessly bold, handmade sculptures by ceramicist Paola Paronetto. Formed through a long and complex procedure in which paper pulp and fibres are mixed into clay, the pieces vary in size and shape, rendering each truly unique. spacefurniture.com.au
04 Bubble vase Originally designed by the great Florentine artisan and ceramist Alvino Bagni, the Bubble vase, now reimagined by Tacchini, is the ideal blend of materiality, tradition and aesthetics. Hand-turned, bubble is available in three sizes and seven colours. stylecraft.com.au
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PRODUCTS
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05 Leander tapered planters Papaya’s lightweight Leander planters are handmade from sustainable, fast-growing paulownia timber. Untreated and natural, each planter in the collection has its own rustic inflections that serve as a beautiful complement to natural foliage. papaya.com.au
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06 Tableau Shelf Tableau Shelf is a refined wall-mounted display system, made to order by Cantilever Interiors. Executed with robust materials and customizable to Dulux colour codes, Shelf offers both a slimline storage solution and a statement silhouette to any space in the home. cantileverinteriors.com
08 Raami tableware Raami, Iittala’s latest collaboration with product designer Jasper Morrison, is an invitingly tactile dining collection. Taking its name from the Finnish word for “frame,” the collection includes ceramic, glass and wooden pieces – a “family” of objects, each with its own character. iittala.com
07 Monsieur Tricot outdoor lanterns In designing the Monsieur Tricot outdoor lighting range for Tribù, Ilia Eckardt drew on his background in the Belgian fashion scene. A warm glow emantates from the lights, which are handmade using innovative knitting techniques and weatherproof cord. coshliving.com.au
09 X-materiality rug collection The layered textures and hues in TSAR Carpets’ X-materiality rug collection tell a nostalgic, calming story of coastal formations, sunsets and corals. Both rugs in the collection, Saltwater (pictured) and Lagoon, are made primarily from renewable New Zealand wool. tsarcarpets.com
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HOMEWARES
10 Shadow mirror This sophisticated piece by Denmark-based designer Aleksej Iskos for Handvärk features an oval mirror surrounded by a thin sheet of glass and an anodized aluminium frame. The mirror appears to float in midair, casting a captivating shadow onto the surface behind. fredinternational.com.au
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11 Klukflaske spirits bottle Klukflaske, Holmegaard’s iconic spirits bottle, is composed of transparent, mouth-blown glass that becomes particularly decorative when filled with amber-hued whisky or cognac. Unique for its three columns, the body of the bottle is a sculptural addition to the bar trolley. greatdanefurniture.com
13 Hamptons Lattice cushion cover The Hamptons Lattice rectangular cushion cover from Simply Cushions has a beautiful geometric pattern that is sure to make a statement in any interior. The removable cushion cover is crafted, with comfort in mind, from a cotton-linen blend. simplycushions.com.au
12 Sonos Move Sonos Move is a versatile speaker that can be used inside or outside the home. Complete with Sonos’ signature intelligent features, the waterproof, wireless speaker can connect to audio devices via wi-fi or Bluetooth, making it effortlessly portable. sonos.com
14 Jali vase and lighting collection Designed by interior architect Marie Christine Dorner for Ligne Roset, the Jali vase and lighting collection embodies playful elegance. The Jali table lamp is available in both a brass and opaline finish, while the Jali vase is topped with a brass mesh to be threaded with flowers. domo.com.au
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PRODUCTS
15 Softline planters Swisspearl’s Softline outdoor planters, including the iconic Spindel by Willy Guhl and Anton Bee, are timelessly beautiful and functional items for the garden or terrace. Each fibre cement planter in the Softline series is made by hand and signed by its creator. robertplumb.com.au
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Brilliant ideas for Kitchens & Bathrooms
Don’t miss out. New issue out now. Order your print copy at architecturemedia.com/store
Kitchen: Downie North Architects Photography: Felipe Neves
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Matteo Fogale
Working from London since 2009, Uruguayan-born industrial designer Matteo Fogale values a collaborative approach, which has inspired an internationally diverse design portfolio.
DESIGNER
Words by Colin Martin
With artist and engineer grandfathers, it’s not surprising that Uruguayan-born Matteo Fogale became an industrial designer. At age seventeen, he and his family moved to Venice. His high-school qualifications weren’t recognized in Italy, so he secured a place at a technical school, condensed its four-year curriculum and graduated in two years. While studying art at the University of Architecture in Venice, a friend recommended he try his hand at industrial design. On the island of Murano, the glassblowers’ skill in handling difficult techniques impressed him. That’s evident in his two collaborative projects with Swiss designer Laetitia de Allegri: the Nebbia collection of contemporary drinking goblets (“tipetti”), made using traditional Muranese glassblowing techniques, with muted colours that evoke the island’s foggy weather, and the Nereidi collection of vases designed for Venetian glass manufacturer Salviati. Fogale, who has been based in London since 2009, considers industrial design an art but doesn’t sit alone in his studio sketching ideas before pitching them to potential manufacturers. Instead, he prefers to work collaboratively, whether with other designers or manufacturers. His design projects include furniture, retail design and objects. When he and de Allegri collaborated on –ISH, a range of furniture and objects made from recycled and reclaimed postindustrial waste including denim, cotton and cardboard, the project was spotted by fashion brand COS. The company commissioned them to design window displays for Milan, London, Paris and New York fashion weeks.
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Sustainability is an important factor for Fogale. The Cruz del Sur side table, made from sustainable Portuguese cork, is flat-packed and easily assembled without tools. Compact and light, it’s produced and hand-finished in London. For London Design Festival 2019 he collaborated with Australian costume designer Emma Archer on A Second Life, an installation for the entry hall at Sketch restaurant. The project was commissioned by Matter of Stuff and saw the designers repurpose the pine dowelling of their 2018 show, redefining waste as a legitimate raw material. The duo’s Papillon design, which incorporated pleated offcuts of pale terracotta-coloured fabric, looked fantastic against the grandiose hall’s aubergine walls. Uruguay doesn’t need to cry for Fogale. At London Design Festival 2018 he curated an exhibition and furniture series at the Aram Gallery entitled Hilos Invisibles. Designed in collaboration with seven design studios from Montevideo, the furniture pieces were inspired by the drawings of modernist Uruguayan architect Julio Vilamajó. Fogale also curated the Uruguayan pavilion at London Design Fair 2019 and aspires to realizing a Uruguayan pavilion at the London Design Biennale in 2020. “I can’t sacrifice quality,” says Fogale. “Investing in quality is a good thing for designers.” Whether he is working alone or in collaboration with another designer or manufacturer, designing a bespoke piece or a range for production, this tenet remains paramount. matteofogale.com
STUDIO
01 Matteo Fogale designed Papillion in collaboration with Australian costume designer Emma Archer for London Design Festival 2019. 02 Matteo works with a variety of mediums, maintaining a high standard of quality in all of his projects. 03 –ISH is a range of furniture and objects made from recycled denim, cotton and cardboard. 04 Produced and hand-finished in London, the Cruz del Sur side table is an exercise in sustainable design.
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H O U S E AT O TA G O B AY BY TOPOLOGY STUDIO
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The qualities of the site reminded the architects of a small stone ruin they had seen clinging to a steep, waterfront location on the Amalfi Coast. They wanted to capture a similar sense that this home had grown out of the site. 03
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A monolithic home confidently emerges from the landscape, capturing distant views to kunanyi and forging a connection to the soundscape of its surrounds.
Words by Judith Abell Photography by Paul Hermes
When a client’s love for a selected site meets an architect’s desire to make careful connections with a place, the right ingredients are in play for an imaginative design. This house, by Topology Studio, is the result of such a meeting. The clients for House at Otago Bay, located just over 10 kilometres north of Hobart, owned the site for several years before the architectural process and subsequent construction work began. They lived a little further along the Derwent River and would come to the site with their dogs to explore, enjoying the natural spoils of its location on the edge of the Derwent River and immediately adjacent to a reserve holding a freshwater lagoon. Darren Kaye and Amy Hallett of Topology Studio walked the site with the couple on a number of occasions, having speculative conversations about this place, its possibilities and the potential to work together. One of the things that convinced the clients about working with Topology was the way that Amy and Darren engaged in a continuous discussion and debate about design as part of their day-to-day life. The first design decision for this house was how it should be placed in the ground on the steeply sloping site. The clients wanted to enjoy the
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gorgeous view to the river and beyond to kunanyi (Mount Wellington), but did not want to lose the sound of lapping water nearby or close views to native vegetation. So, the house fulfils both conditions, with the upper floor perched on the site, its heavy outer walls framing the view, and the lower floor bedded into the ground, offering more direct connections to the understorey and the river. This move kept the profile of the building low to reduce impact on the neighbouring house. It also enabled level access into the house from the driveway to the living space (on the upper floor) as well as to the garden from the sleeping space (on the lower floor). A series of external terraces and solid stone steps forms transition zones between these levels on the northern face of the building. The second decision was how to shape and clothe these living levels to key into the site, protect the occupants from the weather, frame the view and offer delight. The qualities of the site reminded the architects of a small stone ruin they had seen clinging to a steep, waterfront location on the Amalfi Coast. They wanted to capture a similar sense that this home had grown out of the site. Local stone proved too costly so they
NEW HOUSE
01 Having become familiar with the site over several years prior to building, the owners wanted their new home to celebrate the natural spoils of its location. 02 The home’s upper floor appears to perch on the steeply sloping, riverside site, while the lower floor is bedded into the ground. 03 The architects worked carefully with local concrete-block makers to achieve the ideal, earthy colour and texture for the external and internal walls.
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New house
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undertook a careful process with local concrete-block makers to achieve just the right colour and texture for a long, shot-blasted block for the external and internal walls. A heavy colonnade to the north provides a series of sheltered, sunny dwelling spaces within the line of the building. A curving wall to the south, paired with a long arc in the roof plane, creates drama within the building. This sense is heightened as a deliberately austere entrance facade, followed by a relatively narrow entranceway, gives way to an expansive living space with lofty ceiling as you move towards the view. To manage the conflict between protection from the elements (west sun and prevailing westerly winds) and the desire for fine river views, the architects used fixed glazing on the western facade and incorporated a large, retractable external blind. To the clients’ surprise, they use this blind as much for its capacity to transform the feel of the interior as to curb the sun. A suite of other measures are in place to ensure that this home is a haven throughout the year, including carefully designed overhangs for passive solar control, use of the slabs for passive heating and cooling, double glazing, custom lockable screens for night purging and floor planning that guarantees a sheltered place to sit outside at any time of year. Active repopulation of the ground with local vegetation provides a final layer of “clothing” for the site; eventually, the neighbouring reserve will seem to simply flow into the clients’ yard. Amy and Darren describe the Topology Studio process as requiring at least three good reasons for any design decision, and this is apparent within House at Otago Bay. There is a careful, considered quality to this house, with little there that doesn’t need to be. Surfaces meet as simply as possible and one material plays off against another without any “noise” or trimmings in between – a quality that any design practitioner or builder knows takes work. The clients describe a sense of calm in arriving back home and, after just a short visit, I’d agree. There is an unapologetic weight to this house on the site, creating a still and very quiet space within and a protective arm around the occupants as they go about their daily activities.
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2 Site Floor
2,448 m² 250 m²
Design 2 m Build 1 y 6 m
Products Roofing: Lysaght Klip-lok 700 Hi-Strength in Colorbond ‘Monument’ External walls: Adbri Masonry custom shot-blasted blocks Internal walls and ceilings: American oak ceiling in WOCA natural oil finish; Adbri Masonry custom shot-blasted blocks; painted USG Boral plasterboard Windows: Custom aluminium frames in Dulux Electro bronze powdercoat by GP Glass Doors: Custom aluminium cavity sliders in Dulux Electro bronze powdercoat; timber flyscreen doors in Quantum Timber Finishes oil and frameless pivot doors; Designer Doorware hardware in bronze Flooring: Polished concrete; burnished concrete Lighting: Porcelain Bear Cloche Pendants; Davide Groppi Shanghai pendant from Casa Mondé; Artek Pendant Light A331 (Beehive);
04 Surfaces meet as simply as possible and materials, such as concrete and oak, play off one another without “noise” or trimmings in between.
HOUSE AT OTAGO BAY
Built on the land of the Muwinina and Palawa people
Louis Poulsen Bollard outdoor light Kitchen: Miele integrated fridge; Asko oven; Franke stainless steel sinks; AEG cooktop; Fisher and Paykel integrated dishwasher; custom joinery in 2-pac finish; custom joinery in oak with Woca natural oil finish; Caesarstone Classico benchtop in ‘Raw Concrete’ Bathroom: Kaldewei bath; Rossetto Tiles wall tiles in matt white; Rogerseller Arq taps in ‘Chrome’; Catalano basin from Rogerseller Heating and cooling: Underfloor heating; Shade Factor external venetian blind External elements: Bamstone diamond-sawn bluestone pavers and steps Other: Custom joinery in bluestone and oak with Woca natural oil finish by Kam Joinery; furniture from Featherston Interiors; Ancon masonry support to brick soffit
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05 A heavy northern colonnade offers a series of sheltered, sunny dwelling spaces within the line of the building. 06 Upon entering the home, the curving southern wall and long arc in the roof pane draw you inside and towards the view. 07 Thanks to the active repopulation of the ground with local vegetation, the neighbouring reserve will seem to flow into the yard in time.
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HOUSE AT OTAGO BAY
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Architect Topology Studio +61 4 5017 1630 studio@topologystudio.com.au topologystudio.com.au
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NEW HOUSE
Project team Amy Hallett, Darren Kaye Builder Cave Constructions Engineer Gandy and Roberts Landscape architect Playstreet Stylist Inside Story
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DRILL HALL HOUSE BY TOBIAS PA R T N E R S
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It is not immediately apparent that the architects have taken a curatorial hammer to the home, winding back a gaudy 1990s modification to reinstate the clarity of the drill hall’s original building form.
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DRILL HALL HOUSE
A judicious restoration and extension bestow dignity to a previously modified drill hall in Sydney’s inner west, creating a reposeful home that encourages connection and retreat.
Words by Adam Russell Photography by Justin Alexander
Richard Peters, designer and principal at Tobias Partners, took me through the Drill Hall House on a chilly morning in the first week of spring. This house sits left-of-field in Tobias Partners’ architectural portfolio. Firstly, it is located in Sydney’s inner-west, away from their regular eastern suburbs stomping ground and accompanying water views. Perhaps this meant that the architects needed to work a little harder to curate a sense of place. Secondly, the dependably confident design language that the architects are well known for has here been tasked with reactivating building fabric and detail from a bygone era. Drill halls in Australia were typically built for use by citizen militia and other voluntary military units. According to the heritage consultants for the project, the original drill hall building, which the architects have imaginatively restored, was built between 1904 and 1906. Tobias Partners’ reworking of the building has been designed to suit a couple whose busy lifestyle includes frequent travel. Upon entering there is an immediate sense of serenity, warmth and comfort. A cathedral ceiling is centred over the living space, formally announcing arrival and recalling the civic scale of the original drill hall. This generous space brings a warm luminescence deep into the plan.
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Soft timber hues, radiant white walls and joinery, and mottled concrete create a timeless colour palette. It is not immediately apparent that the architects have taken a curatorial hammer to the home, winding back a gaudy 1990s modification to reinstate the clarity of the drill hall’s original building form. Three of the four facades were restored to original order, as were a gabled slate roof, tensile steel roof trusses and a cathedral ceiling. The fourth, north-facing facade was reconfigured to incorporate elegant steel-framed glazing and a full-width sun terrace. This terrace connects the mid-level living and entertaining spaces to the lower garden via a stairway. Tobias Partners made the most of existing conditions in the garden. The garages off the rear lane were restored and an original swimming pool revived by a new lawn and entertaining area. Through their reinvention, these original elements add value and character to the home. A series of service and support spaces – including a laundry, cellar and media room – makes good use of the subterranean area beneath the old drill hall. Positioned beneath the terrace, the main bedroom suite opens to the garden. A private sitting room, bedroom and ensuite bathroom all spill out
ALTERATION + ADDITION
01 The original drill hall, built between 1904 and 1906, has been imaginatively restored and recast as a sophisticated three-storey home. 02 Plywood-edged cabinetry, set back from the building envelope, reveals life’s necessities only when needed. Artwork: Barbara Weir. 03 The architects have deployed a timeless material palette of oak and mottled concrete in the generous living area.
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Alteration + addition
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directly to the lawn and garden. On the morning I visit, these spaces are bathed in sunshine, and a warm-green glow radiates through the interior. The home has two sets of stairs, which bookend the living area – a quirk of the plan that, at a cursory glance, seems unnecessary. Further exploration reveals a guest loft at the top of one flight and a study atop the other, each a space of retreat that benefits greatly from separate access. The exquisitely detailed open-tread stairs also open up views between levels and cleverly draw natural light and air to the extremities of the plan. Timber joinery in the wet areas accentuates the warm yet minimalist material palette. Throughout the house, plywood-edged cabinetry with shadowreveal surrounds appears set back from the building envelope. A variety of storage configurations with swinging, sliding and folding doors reveals life’s necessities only when needed. Even the stainless steel kitchen hob can be tucked away into joinery. The velvety texture of expertly executed cast concrete benches in the kitchen, bathrooms and laundry is enhanced by the tactile lustre of brushed stainless steel tapware. The concrete also features in the lower-level stair treads, which are unexpectedly soft underfoot. Tobias Partners proceeded with a doubleedged design approach on the Drill Hall House. The architects’ work has brought dignity back to the old building through a meticulous facade restoration, and sensitive interventions and additions. It is clear that a healthy relationship between builders, clients and architects was an important factor in the delivery of this house, as craftsmanship and care abound. Richard credits project architect Julia Cumines as being instrumental in nurturing this relationship. The new home respectfully incorporates a complementary suite of elements and materials that artfully recalibrate the building in response to on-site conditions and the clients’ living requirements. Drill Hall House is an elegant vestige of the past, a contemporary home and a place of deep privacy and sanctuary for its occupants.
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Site Floor
655 m² 320 m²
Design 1 y 6 m Build 1 y 6 m
Products Roofing: Mr Shingles slate roofing; KFC Roofing Supplies copper rainwater goods Internal walls: Rendered blockwork Windows and doors: Vitrocsa sliding doors; Skyrange Windows steel-framed doors; Frits Jurgens pivot door hardware; D Line door furniture Flooring: Tongue N Groove Eterno Grande engineered European oak boards in Bona Traffic HD Extra Matt finish; Forbo Marmoleum Walton linoleum floor Lighting: Viabizzuno lights; Thom light switches
04 In the bathrooms, the velvety texture of precast concrete benches is enhanced by the tactile lustre of brushed stainless steel tapware. 05 Two sets of stairs bookend the living area, leading up to quiet spaces for study and rest.
DRILL HALL HOUSE
Built on the land of the Wangal people of the Eora nation
Kitchen: Wolf cooktop and oven; Vola tapware; 2 Barrows precast concrete island bench; joinery in Eco-Core White Birch Multiply from DMK Forest Products Bathroom: Vola tapware; Villeroy and Boch sanitaryware; 2 Barrows precast concrete vanity benchtop Heating and cooling: Archer Air air-conditioning External elements: Gris Arena limestone floor tiles from Onsite; spotted gum decking from Swadlings Timber and Hardware Other: 2 Barrows precast concrete stair; Britton Timbers American oak open-tread stair
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DRILL HALL HOUSE
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06 Recalling the civic scale of the drill hall, a cathedral ceiling crowns the main living space on the entry level. 07 Nestled into the sloping site, a private sitting room, bedroom and ensuite all spill out directly to the northern garden. Artwork: Gloria Petyarre. 08 The north-facing facade incorporates elegant, steel-framed glazing and a fullwidth sun terrace.
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Architect Tobias Partners +61 2 9361 4800 richard@tobiaspartners.com tobiaspartners.com
ALTERATION + ADDITION
Project team Richard Peters, Julia Cumines Builder Alvaro Bros Engineer Partridge Landscape Design Secret Gardens Heritage consultants Heritage Matters, Urbis Planning consultant GSA Planning Quantity surveyor QS PlusPlanning
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BRISBANE RIVERBANK HOUSE BY OWEN ARCHITECTURE
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Set above the bends of the Brisbane River and informed by the material qualities of the existing 1930s cottage, a new brick and timber living wing, terraced garden and lap pool frame the terrain and capture the timeless spirit of this period home.
Words by Helen Norrie Photography by Simon Devitt
Brisbane’s suburbs are as varied as its terrain. The meandering Brisbane River winds around seven hills, which have been progressively built-up since the beginnings of colonization in the 1820s. While the city developed around the Petrie Bight, South Brisbane and Town reaches of the river, a new rail line to Ipswich in the 1870s became the catalyst for expansion westwards. Wealthy citizens began purchasing large parcels of land for grand houses. Over time, larger estates were subdivided, and by the 1920s the suburb of Indooroopilly, just down the river from the Lone Pine Koala Sanctuary, had developed with private schools, theatres and golf clubs. The opening of the first stage of the Indooroopilly Shoppingtown in 1970 spurned on the growth of the city’s western hub. Indooroopilly is more organically ordered than many of the city’s older suburbs. Within a landscape of native vegetation, the suburb is wound among a sequence of parks on remnant land that reveals the trace of historic waterways and floodplains. In contrast, parts of the western riverbank are well above the waterline, and these stretches have become high-value real estate, with a diverse array of houses, large and small. Along this upper bank, Owen Architecture has reconfigured an existing 1930s house that had been significantly altered in the 1980s through the addition of a new northern wing of modest living spaces and adjacent verandahs, and a bedroom and ensuite to the west. A series of schemes was developed to test options for partial or total demolition, and to explore the scope of the brief with the client. Each option focused on ways to invert the relationship between building and site, to create a house that framed the garden rather than being consumed by it. Demolishing
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3 Brisbane, Qld
Alteration + addition
Family
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2 + 2 powder rooms
Site 3,706 m² Floor 512 m²
the 1980s addition and locating a new wing further north created a clear separation between old and new, reinstating the form and character of the 1930s house. Benching the sloping site into terraces allowed the new living spaces to open directly onto the lawn, providing a reconnection with the more grounded character of the original house. An arrival court to the west formed by a second wing, which garages the client’s collection of cars, fortifies the allotment from the neighbours. In contrast to two contained and manicured courtyards, a productive garden to be developed to the north, with vegetables, an olive grove and chickens, will merge with the native landscaping of the suburb beyond. The materiality of the 1930s house informs the new buildings, with the original brick plinth establishing a datum for the ground plane of the eastern courtyard and the roof of the carport to the west. Brick walls fold around an existing tree on the southern boundary to form the entry courtyard. The brick fence extends up to form a tower-like structure that houses the new bedroom, expressing the entry from the driveway. Grass-block pavers in the entry courtyard transition into a brick floor in the carport undercroft that continues up the stairs and through the house. This brick path creates an edge to the living room, forming a threshold between the interior spaces and the garden, and folds up to form a chimney at the eastern end of the entry corridor. The internal structure of the original house is retained, with two of the existing bedrooms kept for the same purpose and joined by an enclosed verandah and a third bedroom used as a study, bathroom and laundry. The original front room, which was buried within the 1980s extension, is reconnected with the garden by a new external wall of fixed glazing and floor-to ceiling solid casement windows. Four steps above the main living space, this room provides a link between the old and the new, both spatially and visually. A new bedroom, with an extensive dressing room, ensuite and study provides a sanctuary that is disconnected from the more public spaces of the house. Brisbane Riverbank House demonstrates architect Paul Owen’s fascination with the Dutch architect and theorist John Habraken’s idea of trusting in ordinary things. This idea is expressed through the careful articulation of primary architectural elements – wall, floor and roof. Throughout the house, changing levels and floor textures provide a subtle delineation of spaces. Built-in benches and window seats form a series of edges and nooks within the open-planned space. Connections through and beyond the house are accentuated by the deep gable of the new northern wing, which provides a steeply pitched ceiling that also centres the sequence of spaces. The simple spatial rhythm is offset by subtle details articulated through stone and timber, light and shadow. By inverting the suburban house-with-a-verandah typology, Owen Architecture has created a house that is the verandah, dramatically reconfiguring the relationship between the interior spaces, the immediate landscape and the river beyond.
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ALTERATION + ADDITION
Design 3 y Build 2 y
Built on the land of the Turrbal people
Products Roofing: Boral terracotta roof shingle in Sydney Red External walls: PGH Smooth bricks in ‘Copper Glow’ Internal walls: Painted plasterboard in Resene ‘Quarter Black White’; Carrara marble Windows and doors: Custom steel-framed glazing and doors by Everingham Wrought Iron; Centor insect screens Flooring: PGH Smooth bricks in ‘Copper Glow’; spotted gum floorboards Lighting: Nordlux MIB spotlight from Caribou; Artek Golden Bell pendant light by Alvar Aalto Kitchen: Pitt Cooking wok burner; Smeg cooktop, oven, rangehood, refrigerator; Milli Pure tapware in ‘Living Tumbled Brass’ from Reece; Carrara marble benchtops; 2-pac joinery; Madinoz brass cabinet pulls Bathroom: Caroma Teo basin; Milli Pure tapware in ‘Living Tumbled Brass’ from Reece; Kaldewei Puro bath; Sussex Scala towel rails and Roca The Gap rimless toilet from Reece; Winckelmans tiles in ‘Blanc’ External elements: PGH Smooth bricks in ‘Copper Glow’; Adbri Masonry Turfstone pavers in ‘Natural’ Other: Custom steel fences, hoods and roofs by Watkins Steel
01 A long gable over the northern wing connects the new living spaces and directs sight lines toward the river.
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Study Tea kitchen Garage Workshop Arrival court Entry Storage Cellar Bedroom Dressing room Sunroom Kitchen Sitting room 14 Laundry 15 Lounge 16 Vestibule 17 Anteroom 18 Lawn 19 Terraced garden 20 Garden terrace 21 Pool
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02 The sloping site is contained to form a level lawn, while terraced vegetable gardens connect to the wild vegetation of the riverbank. 03 An extensive timber-lined dressing room adjoining the front bedroom and ensuite elevates daily domestic rituals. 04 Solid casement windows provide the interior with a flexible balance of permeability and privacy.
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05 A brick path running the length of the living room forms a threshold between inside and out. 06 A sunroom at one end of the kitchen forms a pivot point between the new pavilion and the original cottage.
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07 The brick plinth of the existing cottage establishes a material logic that extends throughout.
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Architect Owen Architecture +61 7 3315 6797 paul@owenarchitecture.com.au owenarchitecture.com.au
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ALTERATION + ADDITION
Project team Paul Owen, Christopher Skinner Builder Upside Construction Engineer Westera Partners Landscaping Dan Young Landscape Architect
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Renato D’Ettorre Architects
Drawing on time spent working in Italy, Renato D’Ettorre launched his Sydney-based studio, creating projects that reference classical architecture in a manner that is emblematic and enduring. Words by Peter Salhani Photography by Justin Alexander
IN PROFILE
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In the early 1990s, when Australia was riding a wave of minimalism, architect Renato D’Ettorre took a risk. In a weak economy, he launched his own practice with the commission for a house that would take years to build, on a breathtaking coastal site in Sydney’s east. Its composition of concrete and block-work battlements and arcades, vaulted brick arches, altar-like terraces and piercing shafts of light was unlike anything Sydney had seen, or has seen since. Full of daring and symbolism, it clings to the cliff at Coogee like a medieval castle, or a monument to the gods. This early magnum opus by Renato transcended time by being timeless. With its classical references and palette, it is still a benchmark for his award-winning practice. “I wanted the South Coogee House to be strong, unintimidated by the elements,” says Renato. “The contrast between nature and the built form creates an exciting tension that intensifies nature.” Renato was born in Italy and schooled in Australia. Returning to his homeland as an adult, he lived in Sardinia and Rome, where he worked for Pier Luigi Nervi and Paolo Portoghesi. Back in Sydney, he worked with Harry Seidler for six years and then travelled to Canberra before the South Coogee House launched his practice.
While Renato’s architecture is sculptural and stoic it is also deeply romantic. He long ago adopted a palette that he grew to love in Italy: concrete, travertine, brick, marble and stucco.
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01 Renato D’Ettorre, director of Renato D’Ettorre Architects. Photograph: Katherine Lu. 02 Renato works in collaboration with his wife, interioir designer Belinda Brown. Photograph: Katherine Lu. 03 Renato launched his practice with the architecturally daring South Coogee House. Photograph: Bart Maiorana. 04 South Coogee House set the tone for Renato’s later work. Photograph: Bart Maiorana.
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In the studio, Renato collaborates with his wife, interior designer Belinda Brown. They met through Canberra connections; she had studied silver- and gold-smithing at the Canberra School of Art, and he had worked in the city with Romaldo Giurgola on architectural competitions. Unlike their romance, the professional partnership took time. Today it is second nature. “We’re kinaesthetic in our work,” Belinda says. “Renato’s architecture is very strong, very tactile. What I bring is another critical eye and the layers of fabric and furnishings to support that.” The resulting luminous spaces have a monastic serenity that does not always translate in photography. “These are spaces that really need to be experienced,” says Belinda. While Renato’s architecture is sculptural and stoic it is also deeply romantic. He long ago adopted a palette that he grew to love in Italy: concrete, travertine, brick, marble and stucco. “Rome teaches you materiality,” he says. Influenced by the modern masters Carlo Scarpa and Louis Kahn, as well as the walled Islamic courtyards of Andalusia and the ancient wonders of Apollo’s Temple and the Pantheon, Renato draws them all into his language. “A vine, a tree, a courtyard fountain; these aren’t new ideas, but they’re sublime,” he says. “A five-hundred-year-old Sicilian villa is as beautiful today as ever.”
05 The language and palette of GB House transposes ancient courtyard architecture onto a seaside site. 06 An early sketch of GB House depicts the concept for a space that frames seemingly endless views to the horizon and the sky.
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07 The textural white facade of GB House conceals the intense and varied spatial quality of the interior. 08 A brise-soleil of glazed bricks filters light into a double height living space on the first floor at GB House.
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09 A vaulted brick arch creates a sense of grandeur at Italianate House – an addition to an innerSydney terrace. 10 Converted historic stables at the rear of Italianate House retain the essence of the original structure.
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A more recent project is GB House, which won the Australian Institute of Architects’ New South Wales chapter Wilkinson Award for Residential Architecture in 2019. It sits on a Sydney cliff above a tiny turquoise inlet of Coogee Bay. Its whitewashed facade, reminiscent of the architecture of the Aegean Islands, hides a home of intricate depth and light: a cave and a lighthouse. At its foundation, a cool music room is literally carved into the bedrock, a wall of sandstone left exposed with natural ground water trickling over it, and ferns coaxed into life by sunlight streaming from above. In the higher living levels, a brise-soleil of glazed bricks hovers improbably beside a pool, filtering light, framing endless sea and sky. This platform carefully stages the arrival experience, to heighten its exhilaration. “A house must be thrilling,” Renato says. “It has to capture the ephemeral elements of light, shadow and reflection, and always offer a new sensory experience. That is architecture.” Another recent project is Italianate House, an inner-Sydney terrace house surrounded by courtyards and gardens. With its white stuccoed walls, terracotta tiles, Carrara marble and stunning vaulted brick archway, the house is more focused on the interior but no less thrilling. The project saw the reversion of the terrace from offices back to a family home, with its historic rear stables converted into accommodation for ageing parents. “The project is about ambiguity,” Renato says. “We cleaned up the bones, removed the faux and revealed the essence of the original structure. To that we added new elements in a very precise way, to link the past and present. The brick arches are an example. The smaller corridor arches we kept, but the larger brick arch is new, an extension of the original brick walls upwards, giving it a grandeur it never had. It completely transforms the space.” By contrast, Link House, a pavilion on the waterfront in Sydney, explores the horizontal, not vertical. Its off-form concrete structures are designed to open the rooms to their surrounds. The brief, to keep living and sleeping quarters separate, was met with an elemental response – a pond separates the public and private spaces. “So, in the true sense of a ‘pavilion,’ all the spaces are surrounded by gardens, terraces and breezeways that bring inside sun, air and wider views. And water. For me, architecture is always about water.” Renato has been blessed to work on some stunning coastal sites, including two projects on Hamilton Island, Queensland, of vastly differing scales and moods. Tropical Beach House is a small island hut for periodic escapes. A permanent glamping pad, it’s not quite sticks-and-stones, but almost. Linings are dark hardwood with white-painted roof timbers, while an outside shower emerges from a wall of local volcanic rock.
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Carriage way Living Kitchen Dining Courtyard Pool Bedroom
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11 Interwoven with water gardens, Solis is a sublime composition sculpted in concrete and stone. Photograph: Mads Mogensen. 12 The bathing and sleeping quarters at Link House provide serene spaces, separate from the main living pavilion. Photograph: Murray Fredericks. 13 Link House is a pavilion surrounded by terraces and gardens that open the home to the sun, air and water. Photograph: Murray Fredericks.
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Buggy parking Entry Void Bedroom Robe Balcony Terrace
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Gym Water tank Office Plunge pool below
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Kitchen, bathroom, living room, and bedroom each occupy their own corner, framing different vistas under a vaulted timber roof that draws hot air out through the cupola. In the off season, heavy external shutters lock the tiny house down, sealing it against storms and cyclones. When the house is occupied, the shutters disappear, throwing the whole pavilion open to the dunes and bushland. Higher up on Hamilton are the sibling compounds of Solis and Azuris, built for a businessman and his wife. The larger, Solis, is a private playground, sculpted from concrete, stone and glass, with spectacular terraces and courtyards interwoven with ponds and a lap pool. The more intimate Azuris is equally sublime, with internal spaces wrapped around water and courtyards. Little wonder both have featured in film and fashion shoots. Their monumentality is an influence from the ancient Mayans, says Renato, in the way they scale the hillside, the thick stone walls and platforms projecting – temple-like – towards the horizon. Like the South Coogee House, they are enduring and emblematic. “Sometimes a client will ask us for an iconic house,” Renato says. “To which I say, ‘you can’t design an iconic house. But a house can become iconic in time’.” dettorrearchitects.com.au
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Bombala Farmhouse
When a family friend bought a property in southern New South Wales, Penny Collins and Huw Turner, of Collins and Turner, jumped at the chance to design. Here, Penny and Huw reflect on their first house together, a pristine object in the landscape.
by Collins and Turner
Words by Penny Collins and Huw Turner Photography by Ross Honeysett
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We met in Frankfurt in 1993 working together on Foster and Partners’ Commerzbank tower – the tallest in Europe at the time and the first with a concerted environmental agenda. In January 1994, we visited Australia (Huw’s first visit and for Penny a return home). While there, we had lunch with a family friend at Whale Beach in Sydney. His father and Penny’s father Ian had an architectural practice in the 70s and 80s – Rourke and Collins. He mentioned that he had purchased a grazing property on the Monaro in southern New South Wales (close to Penny’s grandparents’ property near Nimmitabel) and was looking to build a small house there. He’d contacted Glenn Murcutt and was baulking at the famous waiting list. Like a shot we offered to sketch up some ideas. We visited the site the following week before flying back home. The site was six hours south of Sydney, our friend (and now client) was living in New York and we were heading back to Europe; luckily, we were accustomed to designing for distant sites and clients. Living in Germany, we spent our free time visiting buildings and galleries. We were drawn to the work of artists such as Donald Judd and Erwin Heerich, which crossed the threshold between art and architecture. We wondered if our little project on the other side of the world could capture a similar spirit, “a specific object” to use Judd’s term. The brief described the building as a retreat, a secular contemplative space to look at art, listen to music and switch off. The client found the perfect location in a clearing in the bush with a gun-barrel view down to the dam and hills beyond. We positioned the house so that cars approaching by a new access road would disappear – a simple shed in a paddock. The client has a heightened design sensibility, and had visited Phillip Johnson’s iconic Glass House in the USA, which he admired. We planned the house as a single room. A services pod would divide the living and sleeping areas – the house that Penny’s parents had built in the 70s had a similar plan. We went all the way and hid everything we could. Fridges, ovens and storage were all behind panels with discreet finger pulls. The kitchen became two simple stainless steel benches floating off the walls. We even hid the toilet, like an old-fashioned thunder box.
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The house is still a pristine object in the landscape. The art collection within has grown and evolved, and been a backdrop to many memorable dinners. HOUSES 131
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01 The house is sited in a clearing in the bush, capturing a gunbarrel view to the dam and landscape. 02 Imagined as a pure form in the landscape, the design for Bombala Farmhouse captures the minimalist aesthetic of modernist artworks.
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Some of the client’s decisions surprised us – no verandah and no fireplace. This allowed us to imagine the house as a pure form, almost indistinguishable from other rural structures viewed from a distance, but revealing other qualities on closer inspection. Thermal comfort was debated at length during the design process. Initially the large north facing facade was conceived as a ventilated double-skin glass wall. In one of the coldest regions of Australia solar gains are generally welcome, and the client dictated that internal blinds would have to suffice. We persuaded Penny’s father Ian to be our architect-on-the-ground. Back in London we were both running jobs at Foster’s during the day. We would work into the night on the drawings, and wait forever for drawings and photos to transfer via dial-up internet. We researched builders in the area and found John Fielding of Bellevarde in the ACT. John had built Murcutt’s Bingie Point house, and we thought that if he could build that house in such a remote location then he could build this project. It turned out his workforce was occupied on projects in the Snowy Mountains and they would have a short window of availability during the upcoming ski season. The house was built in sixteen weeks, the majority of it prefabricated off-site and transported in. The house is still a pristine object in the landscape. The art collection within has grown and evolved, and been a backdrop to many memorable dinners for locals and visitors from all over the world. Since signing off on Bombala Farmhouse we have completed three more projects for the same client in the UK and Australia. We always enjoy the process of designing with the client, and now with his wife and family; it’s been a cornerstone of our friendship.
03 Two cantilevered stainless steel cabinets comprise the kitchen, while larger appliances and the pantry are neatly concealed in a sleek, white joinery wall. 04 The bathroom borrows light from the large picture windows and forms part of a services pod that separates the living room from the bedroom. 05 The home is a retreat for the owners – an uncluttered space for “switching off.” Photograph: Simon Whitbread. Artwork: John Virtue.
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Architect Collins and Turner +61 2 9356 3217 info@collinsandturner.com collinsandturner.com
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Project team Penny Collins, Huw Turner Builder Bellevarde Constructions Engineer Taylor Thomson Whitting ESD consultant BDSP Partnership
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Chi Dang FURNITURE AND LIGHTING DESIGN
Inspired by film, architecture, art and fashion, industrial designer Chi Dang envisages his furniture and lighting designs as part of a perfect cinematic scene. Words by Rebecca Gross
Industrial designer Chi Dang loves the story behind a brand and the feeling a product can evoke and convey. Wanting to tell his own story, Chi established his eponymous studio, designing furniture and creating his own brand. He is inspired by film, architecture, art and fashion, particularly when they all come together – think Tom Ford’s A Single Man. His furniture and lighting designs have a feeling of sophistication and romance; Chi can envisage the perfect scene for each one. Chi was born in a refugee camp in Hong Kong after his parents fled the Vietnam War. He studied law and finance – “like other kids from immigrant families” – but harboured a desire to be creative. Pursuing his dream, Chi studied industrial design at Swinburne University of Technology, completing his final year at Kunsthochschule Berlin-Weißensee in Berlin. He moved to Amsterdam, then Paris, working at various studios and designing and releasing his first product, Glove Tip, a detachable device that allows people to use touch-screen devices while wearing gloves. It was a finalist in the Grands Prix de l’Innovation and sold at Boutique du Centre Pompidou, Colette, Merci and Droog. Settling back in Australia, Chi began designing his own collection. “I love the stories behind fashion, design
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and film and have always been inspired by the timeless masculinity of Tom Ford’s collections, the classic poetry and romance of Yves Saint Laurent and the emotion of a Wong Kar-wai film,” Chi says. He translates these sources of inspiration into his collection, which has a timeless, masculine and sculptural quality. The collection also reflects Chi’s love of modernist architecture, as he needs to be able to imagine each piece having a place in the Sydney Opera House: “If I can’t visualize it in the Opera House, then it’s not in the collection.” Chi sketches his initial designs on his smartphone, develops further iterations in CAD (computer-aided design software), and engages Australian makers, including Jonathan West and Covemore Designs, to craft them. As an industrial designer, Chi considers commercial feasibility when developing the material palette and details, and refines each piece to make it viable and accessible while conveying its essence and fitting the scene he imagines. So where does Chi see his Empire lamp? “It’s on a desk in a room where sunlight is filtering through the trees, casting light and shadows across the furniture. Someone is sitting at the desk sketching and their partner walks in and places a kiss on their neck.” chidang.com.au
STUDIO
01 Industrial designer Chi Dang established his own studio with a desire to tell his personal story through the brand. 02 The designer's furniture, such as his Tiered Coffee Table, has a timeless, masculine and sculptural quality. 03 Chi Dang’s love of modernist architecture is translated in his modular design for the Occasional Chair.
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A step ahead
Rich marble, concrete-look tiles, timber salvaged from the depths of a Tasmanian dam – whatever your taste, there's a flooring product here to inspire you. Find more residential products: selector.com and productnews.com.au
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01 DecoDeck decking joiner The DecoDeck joiner reduces material wastage in Deco's aluminium decking system. The system once required a joist to join pieces of deck together. The DecoDeck joiner can join pieces anywhere along their length, allowing for almost 100 percent material utilization. deco.net.au
03 Coastal Hamptons bricks PGH Bricks’ Coastal Hamptons range of softly toned bricks draws inspiration from natural seaside elements to deliver a feeling of “laidback luxury” synonymous with the Hamptons. Bricks are available in four light, neutral shades – each with its own texture. pghbricks.com.au
02 Herringbone flooring Havwoods’ herringbone collection includes a large variety of shades and finishes in a classic pattern. Whether it's in the elegant Venture Plank 'Fendi Prime' finish, or in finishes from the Italian Collection, Havwoods’ herringbone flooring can bring sophistication to any space. havwoods.com/au
04 Beton tile collection The Beton collection from Artedomus offers a practical, high-performance alternative to traditional concrete. Artegres Beton tiles, which complement the large-format Artetech porcelain panels, are available in ten colours ranging from white to graphite. artedomus.com
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PRODUCTS
05 Hydrowood reclaimed timber Hydrowood is timber reclaimed from the depths of the Pieman River Dam on Tasmania's West Coast. Having laid under water for more than 30 years, the sustainably salvaged specialty timbers include Huon pine, sassafras and myrtle as well as eucalyptus and blackwood. tasmaniantimber.com.au
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06 New Grey Tundra marble Signortino's New Grey Tundra marble was specified for DL Property Group’s Chastleton House, designed by Drew Cole Architects. The richly veined material, applied from floor to ceiling, brings elegance and style to the spacious bathroom. signorino.com.au
08 Amadi rug collection The Amadi Collection from Halcyon Lake is a range of hand-knotted rugs made in the highlands of Afghanistan. Designed to improve with age and develop a patina in the tradition of antique carpets, the range features vast and varied geometric designs. halcyonlake.com
07 Stain-resistant timber flooring Quick-Step has introduced a new layer of water and stain protection to its range of timber floors. Surface and Edge Protect+ technology seals both surfaces and edges to prevent water and dirt from penetrating porous joints and the grain of the timber. quick-step.com.au
09 Expona Superplank vinyl flooring Polyflor’s Expona Superplank flooring re-creates the look and texture of a diverse range of tree species in its wood plank designs. With a polyurethane (PUR) surface treatment to assist with ongoing maintenance, it is ideal for bedrooms, kitchens and living areas. polyflor.com.au
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PRODUCTS
10 Dekton Grip+ anti-slip treatment Cosentino’s Dekton Grip+ is an anti-slip treatment that offers exceptional performance and a smooth feel on Dekton interior and exterior floors. It was used at Dekton House by Alec Pappas Architects in Kyle Bay, south of Sydney. Photograph: Prue Ruscoe. dekton.com.au
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An Idea Needing to be Made
The work of the late Australian artist Gwyn Hanssen Pigott forms the inspiration for this group exhibition exploring contemporary ceramicists’ approaches to the ancient form of the vessel. Words by Cassie Hansen Photography by Christian Capurro
EXHIBITION
Australia’s most distinguished potter, the late Gwyn Hanssen Pigott, is attributed with breaking the barrier between craft and art, turning everyday objects into arrangements that resembled still life paintings. Her life’s work, produced between 1955 and 2005, is characterized by restraint and clarity, and interrogates the function, display and purpose of the vessel. During the late 1980s, the most famous period of her career, Hanssen Pigott started composing her porcelain wares into rhythmic arrangements that were reminiscent of the still life paintings of Giorgio Morandi – and so began a decades-long exploration of spatially nuanced groupings that brought “humanness” to her work. An Idea Needing to Be Made, which was exhibited at Melbourne’s Heide Museum of Modern Art from 27 July to 20 October 2019, presented a medley of Hanssen Pigott’s work – forty-nine pieces in five groupings. These were used as the starting point to draw together twelve Australian and international artists from different generations who had “interesting and diverse things to say about the vessel.” Curated by Heide’s artistic director Lesley Harding and artist Glenn Barkley, the exhibition was not intended as a survey of any kind, but rather showed “a series of touchstones that represent a range of contemporary approaches to the vessel. The invited artists contribute to the lineage and future for this most ubiquitous of objects, and share ideas across cultures.” John Wardle Architects was commissioned for the exhibition design. Principal John Wardle is an avid collector of ceramics, some of which line the walls of Captain Kelly’s Cottage, his famed house on Tasmania’s Bruny Island. For the exhibition, the architecture team designed a series of discrete rooms, each with its own conceptual premise. In the main room, a centerpiece table was made from forty-five second-hand tables combined as one, unified by grey paint. This table was inspired by an earlier piece created for Captain Kelly’s Cottage, in which two tables were joined together to create a single piece in a marriage of different histories and styles. For the exhibition, the tables were a fitting choice, not only because they positioned the vessels at a lower height than would be expected in an exhibition but also because they called to mind the domestic setting in which ceramic wares are typically encountered. Negative space between the tables reinforced the groupings of work. In the Wunderkammer room, open shelves wrapped around the space and drew attention to the objects that sit in a
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potter’s studio and influence their process – a melange of bottles, postcards and figurines. At the other end of the room, a custom-designed vitrine displayed the “backstory” of the artists’ work in a physical demonstration of the trials and troubles inherent in ceramic practice: test glazes and broken shards. Ceramics has undergone a comeback in recent years, perhaps as part of a global desire to reconnect with the home and the pleasures of daily rituals. The timing of Heide’s exhibition, therefore, was apt. The ceramicists represented the diverse span of the discipline today, from seventy-six-year-old Western Australian artist Pippin Drysdale, renowned for interpreting the Australian landscape, to twenty-nine-year-old Brisbane-based Nicolette Johnson, who reimagines ancient forms. Then there were the abstract, alien forms made by New Yorker Kathy Butterly sitting opposite the ambiguous sculptural containers of British artist Alison Britton (whose essays were an important reference for the curators and provided the title of the exhibition). And then the tall, mountainous vessels of South Korean potter Lee Kang-hyo were juxtaposed with the minute, creature-like forms of New Zealand’s Laurie Steer. The work of these artists created a dialogue between the many dichotomies of a vessel – beauty versus utility, empty versus full, sight versus touch, and fragility versus robustness. On reflection, even the concept of “still life” has a certain duality to it. Perhaps that was the attraction for Hanssen Pigott. An Idea Needing to be Made was held at the Heide Museum of Modern Art, Melbourne, 27 July – 20 October 2019.
01 During her most famous period, Hanssen Pigott created rhythmic still-life groupings of ceramic wares that imbued her work with “humanness.” 02 The vessels on display are made by a diverse range of ceramicists, local and international, accentuating the many dichotomies of the form. 03 In the main gallery, the vessels are displayed on a surface composed of forty-five tables designed by John Wardle Architects.
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ST U D L E Y PA R K HOUSE BY MARCH STUDIO
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Projecting over a sloping site in a leafy Melbourne suburb, this heroically cantilevered family home navigates the terrain while saluting the mid-century architecture that informed its design.
Words by Michael Macleod Photography by Dave Kulesza
The steep riverine terrain of Studley Park is unique in suburban Melbourne. Largely considered unsuitable for building until after World War II, it then became a testing ground for adventurous twentieth-century architects such as Robin Boyd, Peter McIntyre, Anatol Kagan and McGlashan Everist, who used inventive form and technological advances to tailor homes to the topography. Faced with a steep vacant site and a highly engaged client, March Studio looked to this modernist tradition for cues to how best accommodate a large family home. Key drivers of the brief were the capture of daylight (including in the morning – a challenge on a site falling to the west) and a direct connection between the living areas and the land. A bold cantilever is the most visible move and a salute to the dramatic forms of the house’s modernist precedents, which achieved feats of daring that previous generations could often only suggest. Giant geometric trusses suspend the first floor and remain partially exposed inside the building. The structure of the entire house is steel, painted black wherever it is visible, like the elegant precedent of the nearby Guss House by McGlashan Everist, built circa 1966. March Studio has long demonstrated a strong interest in prototyping and testing, with many of its projects becoming part of an ongoing experiment in practice. Studley Park House was designed at a similar time to the practice’s award-winning Compound House and parallel interests can be seen. These
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STUDLEY PARK HOUSE
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include key elements such as the plan arrangement and the overlay of a veil that envelops the entire first floor. Early models of the house show a black perforated steel-plate screen but an iterative process of testing and refining eventuated in a lighter structure comprised of a series of rolled pipes threaded with blackened timber dowels. Creating form and privacy, and unifying the various functional requirements of the facade, the veil also provides an armature for future planting. Behind it, the simple black forms of the house appear to float closer to the street than planning regulations would allow. The standard necessities of vehicle and pedestrian access are consolidated beneath the cantilever to create a dramatic entry sequence. March Studio’s Rodney Eggleston speaks of realizing an ambition to create a building entered from below, where you ascend from solid ground via a delicate staircase to become enveloped by the belly of the building floating above. Inspired by the imaginative unbuilt works of the Soviet constructivist architect Ivan Leonidov, it is a design approach perhaps most famously realized in Lina Bo Bardi’s 1951 Glass House in Sao Paulo, Brazil. This means of celebrating the return to the security of home could also evoke the interstellar pop-culture references of E.T. or Star Wars – climbing the gangway to the safety of the hovering spaceship as bold streaks of light illuminate the car park/launchpad below. The point of arrival is a surprising courtyard – a compact outdoor vestibule of blackened timber walls that provides a moment of repose and a green outlook for the home office. Inside, a central living space is pinwheeled by bedroom wings to the north and west. The longer wing stretches along a wide gallery where the ceiling rakes up to a towering wall of luminous multi-wall polycarbonate, a translucent material acting as facade, glazing and insulation combined. Capturing morning light, the wall is alive with the shadow play of the surrounding tree canopy. The stair funnels down between off-form concrete walls to the main living area below. Surrounded by light on three sides despite being partially buried in the terrain, this vast space fills the ground floor. Cranked windows look up to a sliver of rainforest garden carved into the eastern boundary while walls of sliding doors open level with the grassed western yard. Originally envisioned as a half soccer pitch, this yard is now overseen by a mammoth custom barbeque. At the rear of the site, a small studio and an extensive vegetable garden sit adjacent to a raised pool; the elevation of the water reduces the extent of regulatory fencing and allows views and reflected light into the living space. A project of this scale and complexity doesn’t happen quickly or easily and many hands have been involved in the finished product. Extensive interior timber linings were deleted during the process but the big moves remain strong. With its considered response to the site, March Studio has created both an imaginative new work and an homage to the optimistic and adventurous architectural legacy of the surrounds.
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NEW HOUSE
845 m² 450 m²
Design 1 y Build 1 y 6 m
Built on the land of the Wurundjeri and Woiwurrung people of the Kulin nation
Products Roofing: Lysaght Spandek in Zincalume External walls: Ampelite Twinwall; Woca Denmark Exterior Oil in ‘Black; off-form concrete Internal walls: Mafi Douglas Fir timber boards in Loba lime-wash finish Flooring: Mafi Douglas Fir timber boards in Loba lime-wash finish; Prestige Carpets Natural Loop carpet in ‘Palomino’ Lighting: Flos Find Me spotlights from Euroluce; Astro Enna Wall light; Volker Haug Crown GLS globes Kitchen: Gaggenau stove and oven; Sub Zero fridge; Abbey Gessi tapware Bathroom: Ceramica Vogue tile from Classic Ceramics; Artedomus Elba stone tile; Kaldewei bath; Astra Walker tapware in ‘Matt Black’; Laufen basins; Caroma toilet External elements: Stone concrete paving in ‘Merlot Etch’; Mentone Pre Mix concrete
01 On approach, the home’s bold cantilever and porthole window make for a striking composition in the landscape.
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02 The lower living level is surrounded by light on three sides despite being partially embedded in the terrain. 03 Running the length of the upstairs bedroom wing, a wall of polycarbonate serves as facade, glazing and insulation in one. Photography: Peter Bennetts. 04 Angled windows in the living room look up to a sliver of rainforest garden and catch morning sun from the east.
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Courtyard entrance Office Bedroom Living Robe Garage Laundry Pantry Kitchen Dining Pool Study Outdoor entertaining
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05 Opening off a walled garden, the entry sequence is punctuated by a bright red door. 06 Sinuous walls in the upstairs bathrooms create private pockets for bathing. 07 Geometric trusses that suspend the first floor can be glimpsed from the interior. 08 A veil of rolled steel pipes is threaded with blackened timber dowel. Photography: Peter Bennetts.
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Architect March Studio +61 3 9348 9199 info@marchstudio.com.au march.studio
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NEW HOUSE
Project team Rodney Eggleston, Nicola Pacela, Nicolas Paley, Laura Courtney, Anne-Laure Cavigneaux, Jamie Levin, Julian Canterbury, Garth Archer Builder Bluline Projects Engineer Co-Struct Stylist Bea and Co Landscape Aspect Studios
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BALMAIN ROCK BY BENN + PENNA
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Taking a restorative approach to the renovation of a sandstone cottage in Sydney’s inner-west, the architects have composed contemporary materials to pay homage to the quality of this historic home.
Words by Hannah Slater Photography by Tom Ferguson
Balmain Rock by Benn and Penna is the product of a familiar downsizing story. In the pursuit of more efficient living after their children moved out, clients Vanessa and Chris decided to bid farewell to their large five-bedroom family home. They set their sights on an 1860s cottage in Sydney’s inner-west, originally built to support industrial workers associated with the neighbouring working harbour of White Bay. At the time of purchase, the house, with a number of shoddy lean-to structures off the back, was “very dilapidated” and in need of some attention. In selecting an architect, Vanessa and Chris were determined to find someone who would work with them for the life of the project. “We wanted an architect who was willing to listen but also challenge some of our thinking,” says Vanessa. It’s evident that this aspiration was met in the form of Andrew Benn, director of Benn and Penna, who expressed the need for the new work to be restorative and protect the significant history of the house. This respect for heritage resonates through Benn and Penna’s sensitive and thoughtful design, which acknowledges the importance of the site and its contribution to the urban character of Balmain. Approached from a narrow street, the original cottage has been transformed into the living room and entry to the house. The existing sandstone walls have been revealed and are celebrated through thoughtful details that work to respect the fabric of the original cottage. The most striking move has been achieved by replacing the roof and reconfiguring the ceiling geometry to frame a view to the sky above. The new ceiling appears to hover over the space, floating free of the sandstone walls. Vanessa describes the room as exceptionally special: “I love this room … when you sit here in the evening, you can look up and see the stars.”
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BALMAIN ROCK
2 Sydney, NSW
Alteration + addition
Couple
2
2 Site Floor
210 m² 130 m²
Moving beyond the old cottage, a clear logic is revealed, with the house organized around a central courtyard. The courtyard plays two important roles – first, allowing natural light to enter deep into the core of the house and, second, establishing “breathing space” between the cottage and the extension. This separation delineates the public living area located in the old cottage to the north and the more private kitchen and bedroom spaces of the new extension to the south. The material experience of the house further acknowledges the distinction between old and new components. Three materials are featured, each playing an important role in communicating the house’s history. The first, the original sandstone, defines the experience of the cottage and helps to demarcate the “old.” The material selection in the extension reflects a desire to pay homage to the quality of the sandstone cottage. “The real challenge was how to give this new building a connection to the old, without imitating it,” says Andrew. For this reason, the remaining two materials are of the same “family” and mirror the quality of permanence associated with the sandstone. The second material, concrete, is introduced in the transition between the cottage and the addition and defines the “new.” It appears as a lintel at the threshold and carefully sleeves into the existing sandstone wall. The heavy, raw quality of the concrete echoes the longevity of the sandstone. “The materials don’t compete with one another,” says Vanessa. “The concrete is silent but beautiful; there is a real calmness to it.” The third material, recycled brick, defines a generous light well that connects the ground-level kitchen and first-floor bedrooms. The whitewashed and lightly glazed finish tempers natural light while simultaneously hinting at the varied brick tones underneath. Andrew describes the importance of arriving at the right finish to ensure the tone of the bricks doesn’t compete with but rather complements the sandstone, noting the “many different samples” they tried before getting it right. Cleverly negotiating the physical limitations of the site, the design is successful in optimizing natural light, cross-ventilation and views. This is achieved through a simultaneously complex and calm spatial arrangement that encourages light and air to permeate throughout. Strategic, borrowed views to neighbouring green spaces, tree canopies, vegetable gardens and sky constantly refocus and reframe, connecting the interior and exterior. These fragmented and framed views are fundamental in shaping the internal experience. “It’s what I love about every room,” says Vanessa. “From any space, I can see the garden, the cottage, the sky, the courtyard…” Beyond a great architectural outcome, the Balmain Rock house exemplifies a genuinely collaborative process between the client and architect. Strikingly evident is the mutually respectful relationship that has developed over the life of the project, whereby the role and value of the architect is understood. “There was so much value in having Andrew involved throughout the process, to deliver the vision,” says Vanessa. “Engaging an architect during construction absolutely pays in spades. Otherwise, there is the risk you compromise on getting the outcome you have worked so hard to get to.”
HOUSES 131
ALTERATION + ADDITION
Design 6 m Build 12 m
Built on the land of the Gadigal and Wangal peoples of the Eora nation.
Products Roofing: Lysaght Custom Orb in galvanised finish; Craft Metals Rheinzink in ‘Prepatina Blue Grey’ External walls: Polished concrete; repointed existing sandstone Internal walls: Polished concrete; painted plasterboard in Dulux ‘Vivid White’; painted recycled brick in Murobond Woodwash Interior ‘Whitewash’ Windows and doors: Alspec aluminium in black powdercoat; cedar in Murobond Woodwash Exterior ‘Black’ Flooring: Tongue n Groove Eterno Grande engineered oak boards in ‘Otta’; polished concrete; Kota black stone in natural finish from Pacifico Stone Lighting: Artemide Dioscuri wall light; Kreon Onn wall light; Tovo cast and surface-mounted downlights; recessed downlights from Euroluce Kitchen: Miele cooktop, oven, dishwasher, rangehood and integrated fridge Bathroom: Tiles from Bisanna Tiles; Decina bath; Brodware, Parisi and Hansgrohe tapware and fittings; Villeroy and Boch toilet and vanities
01 The original worker’s cottage has been restored in a manner that acknowledges its historic value. 02 A geometric skylight is positioned at the apex of a new roof and ceiling that “float” above the living room walls. Artwork (L–R): Sarrita King, Ann Thomson.
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BALMAIN ROCK
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03 Materials used throughout the addition pay homage to the quality of the sandstone cottage without imitating it. 04 Recycled brick frames a generous light well that connects the kitchen to the first-floor bedroom wing.
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Section 1:400
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05 Whitewashed and slightly glazed, the finish of the brickwork, teamed with off-form concrete, tempers natural light.
Ground floor 1:400
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ALTERATION + ADDITION
1 5 2
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Entry Living Dining Kitchen Laundry Bedroom Garden Store Carport
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06 Each room is punctured by apertures that harness views to the garden, the cottage or the sky. 07 The stone paving that extends the plane of the ground floor to a central courtyard is repeated in the bathrooms. 08 A concrete lintel above the doorway that leads to the home’s addition signals a material transition between old and new.
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Architect Benn and Penna +61 2 9518 9900 info@bennandpenna.com bennandpenna.com
HOUSES 131
ALTERATION + ADDITION
Project team Andrew Benn, Michelle Dunas, Sean Tran, Tany Tan Builder Newmark Constructions Engineer PMI Engineers
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S O U T H YA R R A HOUSE BY AM ARCHITECTURE
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123
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Section 1:500
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SOUTH YARRA HOUSE
A quaint walkway stepping up from Melbourne’s Yarra River is the sole means of access to this 1930s brick home, where an extension fulfils the owners’ desire for a treetop sanctuary.
Words by Hayley Curnow Photography by Dianna Snape
Sitting within inner Melbourne’s fine-grained Domain Precinct, South Yarra House by AM Architecture binds together a semi-detached heritage dwelling and its expansive sloped site. The architects have drawn on a quiet design approach that subtly commands the experience of the home’s landscape and picturesque built context. Accessed solely via a quaint pedestrian walkway stepping down to the Yarra River, the 1930s house offered much charm but little connection to its surroundings. Seeking to make the most of the site’s wide-ranging views to the river and the city beyond, the clients wanted a “treehouse” from which to delight in the outdoors. The extension is composed of two distinct parts. At the top of the house, a stepped copper shroud forms a striking silhouette of its clinker-brick neighbours’ pitched terracotta roofs. Below, a blackened space frame, also stepped, reaches up from the ground, softening the expansive twelve-metre-high northern elevation and breaking down the mass of the house with permeability and texture. Each element is designed to recede into their surroundings over time: the copper will slowly patina into washes of green,
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melding with the adjacent rooftops, and foliage will climb the frame, transforming the facade into a continuation of the rambling landscape. Internally, the extension is pulled away from the rear facade of the original house. A double-height void draws attention to the unassuming aged brick of the old home, whose rugged tactility and inflections provide unexpected warmth and richness to the crispness of the addition. The home’s original Victorian ash flooring is continued through the extension, where a generous kitchen and dining area is executed with simple detailing. The timber sides of the kitchen bench are topped with a finely profiled stone surface. A wall of sleek black cabinetry lines the western edge of the kitchen space, affording separation from the bustling walkway beyond. The front of the house has been sensitively restored. While circulation has been redefined for modern living, the home’s original sense of comfort, enclosure and serenity has been retained. A new laundry and powder room, inserted into the existing building envelope, are saturated in a striking green hue that will eventually match the oxidized tones of
ALTERATION + ADDITION
01 In time, the home will recede into the rambling landscape – its copper shroud will patina into washes of green and foliage will climb its blackened space frame. 02 A wall of black-stained cabinetry lines the kitchen’s western edge, affording it privacy from the neighbouring walkway. 03 A double-height void marks the transition from restored 1930s house to new extension.
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2 Melbourne, Vic
Alteration + addition
3
Couple
2 +1
powder room
Site Floor
the external copper cladding. Upstairs, the existing bedrooms have been restored and refinished with restraint. Incongruous additions were stripped back where necessary, while the primary corridor was widened and lined with joinery along the western edge. The bathrooms are pared back yet considered; heritage-inspired fixtures provide personality and gentle green accents add a playful touch. The single new opening cast into the existing house is treated as a steel-lined threshold to the upper level of the extension. Here, a short bridge creates a sense of suspension within the double-height void and draws attention to the elevated nature of the home and the finely ribbed profile of the copper addition. Beyond, the main bedroom offers broad views to the established canopy and neighbouring roofs. A north-west-facing corner window fitted with perforated copper screens references the irregularity and grain of the home’s existing windows, bringing together the disparity of the old and the new. A central window with deep copper-lined eaves provides northern shading in summer. Wardrobes lacquered in white and oxidized green stop short of the ceiling, emphasizing the height of the space. The shroud and space frame dip and rise to modulate the experience of the site. To the west, the frame rises to form a screen that filters the sun, then lowers gradually to direct northern views to the Yarra, where the shroud lifts to maximize northern light. To the east, views to neighbouring flats are buffered by a lowering of the shroud, which rises once again to reveal a new south-eastern deck. Operable windows to the deck and northern fringe encourage cross ventilation while extending views to the far corners of the site, increasing the sense of space. The site’s steepness and the lack of vehicular access directed the design and construction approach, including the lightness of the materials used. Director at AM Architecture Andrew Mellios says, “We deal with pragmatics in a direct manner and try to find a poetic resonance to how that’s expressed.” Seen from the Yarra below, the robust forms of the elevated home offer a surprising softness. Behind its gentle disguise, South Yarra House is a home hiding in plain sight.
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640 m² 240 m²
Design 1 y 2 m Build 1 y 2 m
Per m² $7,500
Built on the land of the Boon Wurrung and Wurundjeri people of the Kulin nation.
Products Roofing: CASA Systems and Materials copper cladding in mill finish; Bradford Gold Hi-performance Batts External walls: CASA Systems and Materials copper cladding in mill finish; Academy Tiles and Surfaces matt ceramic tiles Internal walls: Plasterboard and glazing Doors and windows: Architectural Window Systems powdercoated aluminium windows; Spotswood textured glass; custom-made timber doors in Dulux ‘Lexicon Quarter’; Pittella hardware in ‘Polished Chrome’ and black powdercoat Flooring: Victorian ash floor with clear polyurethane finish; Prestige Carpets Stampede carpet in ‘Blizzard’ Lighting: Rakumba Mass Light; Rotaliana String wall lights; downlights and spotlights from Euroluce Kitchen: Victorian ash timber veneer in black stain and natural finish; Caesarstone Jet Black 3100 benchtop; Abey Schock sink and Tink D-B kitchen mixer Bathroom: Duravit ceramic basins; Roca Duo Plus Oval Inset bath; Rogerseller Arq tapware in polished chrome; Sussex fixtures in polished chrome; Signorino Montecarlo terrazzo floor tiles and Monaco wall tiles in white gloss finish Heating and cooling: Daikin reverse cycle airconditioner External elements: Custom-made space frame by Minesco; timber decking in Cutek CD50 oil finish
04 A new Victorian ash floor continues the material palette of the original home.
SOUTH YARRA HOUSE
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14 9
Ground floor 1:500
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HOUSES 131
12
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Public walkway Entry Laundry Living Office Kitchen Dining Deck Terrace Neighbouring building Main bedroom Walk-in robe Void Bedroom
10
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First floor 1:500
ALTERATION + ADDITION
127
06
05
The front of the house has been sensitively restored. While circulation has been redefined for modern living, the home’s original sense of comfort, enclosure and serenity has been retained.
05 Gentle green accents are a playful touch in the paredback bathrooms, where heritageinspired fixtures add character. 06 Older incongruous additions have been stripped back where necessary, while existing bedrooms have been restored with restraint.
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Architect AM Architecture +61 3 9534 2008 office@am-architecture.net.au am-architecture.net.au
SOUTH YARRA HOUSE
Project team Andrew Mellios, Emma Crea, Joanna Butler, Ryan Wilson Builder Habitat Construction and Developments Engineer Acor Kersulting Hydraulic engineer Umow Lai Landscaping Eckersley Garden Architecture
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The Architecture Symposium Brisbane, 13 March 2020 Architecture, design and urbanism from the Asia Pacific.
Design Speaks presents Australia’s most influential portfolio of seminars and conferences for design professionals and their clients. For partnership opportunities, to purchase tickets and to register for updates visit:
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129
Porter House
Located in a small riverside enclave in Warrandyte, Victoria and built circa 1964, Porter House launched the practice of young mid-century architect Albert Ross, who had cut his teeth working at celebrated studio Grounds, Romberg and Boyd.
by Albert Ross
Words by Simon Reeves Photography by Dianna Snape
REVISITED
130
PORTER HOUSE
Warrandyte, in Melbourne’s outer north-east, holds a lofty reputation as a seedbed for progressive twentieth-century creativity. Parted by the Yarra River, the undulating and verdant region caught the eye of Heidelberg School painters at the turn of the century, and later enticed a gamut of resident artists, craftspeople and design professionals, such as sculptors Danila Vassilieff and Inge King, potters Reg Preston and Gus McLaren, furniture designer Fred Lowen, and architects Fritz Janeba and John Hipwell. The post-war bush landscape gradually became punctuated by smart, architect-designed dwellings: many by Hipwell and Janeba and others by such contemporary stalwarts as Marcus Barlow, Robin Boyd and John and Phyllis Murphy. While a 1962 bushfire took its sad toll, it also ushered in a new wave of considered homebuilding. Among those to emerge in this phoenix phase was the Porter House (1964–65). Secluded even for Warrandyte, the Porter House occupies a remote riverside enclave at the cul of a cul-desac. Ripe with modernist connotations, the private estate sprang from the site of the Koornong School, an alternativeeducation facility opened in 1939 with buildings by Fritz Janeba and Acheson Best Overend that were lauded in Robin Boyd’s first book, Victorian Modern (1947). After the school closed in 1950, its grounds were carved into generous blocks, many with river frontage and some with remnant school buildings. Near the end of the decade, the area captured the attention of the then-unmarried Kate Porter, who, pursuing a weekend bolthole, bought a block with a mudbrick cottage erected by the Koornong students. “My father thought I was crazy,” she says, laughing. In 1963, after Kate’s engagement to engineer John Porter, the couple planned a new dwelling at the site next door: a sloping one-acre riverfront block with “sweeping views over tree-covered ranges from south-east to west.” Initially, if not inevitably, the Porters turned to John Hipwell, rightly assuming that his familiarity with the area would make him “quite a good person” for the job. Hipwell, who was then in the throes of winding up the practice styled Hipwell, Weight and Ross, passed the job to his talented young former partner, Albert Ross. Ross, who commenced his own career as one of the original staff of Grounds, Romberg and Boyd, had travelled and worked extensively overseas before joining Hipwell in 1961; the Porter commission coincided with the launch of Ross’s sole practice.
01 Enveloped by a broad gable roof, Porter House is designed across a split-level plan that works with the fall of the site.
01
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REVISITED
131
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02 The Porters sought a modest twobedroom dwelling with sunlit, open-planned living areas. 03 Inspired by something seen in a popular magazine, the Porters requested that the kitchen be placed beside the front door to minimize grocery transit.
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PORTER HOUSE
As recorded in the architect’s notes, the Porters sought a modest two-bedroom dwelling with open-planned living areas and a main bedroom oriented to the views. Kate’s more specific directives included a laundry big enough to include a sewing room and, inspired by something seen in a popular housing magazine, placing the kitchen beside the front door to minimize grocery transit. An initial scheme for an elevated dwelling – “one of those beach houses like a mushroom,” Kate recalls – was not to the couple’s liking and the design evolved from there. Exploiting the steep site, Ross’s final design adopted a longitudinal split-level plan, with service areas and the second bedroom along the street side and remaining spaces (including a self-contained “den” for informal living) opening to the river through a window wall and across a full-width balcony. The whole house was enveloped by a broad-eaved low gable, clad inside and out by Stramit board and metal deck, and projecting at one end to enclose a split-level double carport. Albert Ross, whose breadth of experience included working in Canada and a visit to Japan (on a Haddon scholarship, no less), channelled both spheres of influence with a minimalist palette of naturally finished timber: Oregon framing and joinery, rebated hardwood weatherboards, stained floorboards and teak-veneered plywood linings with a Danish oil finish. All timberwork was expertly assembled by Hendrik “Hank” Merbis, a Dutch-born carpenter/joiner and local resident who, Kate notes, was employed on the strength of his fine work in the area. Merbis, she wryly adds, remained ambivalent about the feature walls of white textured Colortone brickwork, which the Porters had integrated into the design to evoke the pale-coloured Mount Gambier limestone of their mutual Adelaide heritage.
03
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REVISITED
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With Kate herself staying in Adelaide during construction, it fell to her husband to oversee the house to completion. Ross remembers John Porter as “a typical Australian engineer” – pragmatic but easygoing, open to new ideas and keen to remain involved in every aspect of the job. “He was a bloke who sanded every nail hole,” Ross says. Porter’s concern for technical matters saw him specify highend appliances seldom seen in Melbourne houses of the day: a Wonderheat Turbo-Matic oil-fired space heater (which had been endorsed by Bob and Dolly Dyer in Australian Home Beautiful), a Frigidaire Dishmobile dishwasher, and, most strikingly, an American-style Simpson Tappan Fabulous 400 cooker with eye-level oven and retractable cooktop. “He bought the best of everything,” Kate recalls, “he had such exquisite taste, you know.” Ross concurs: “He devoted a great deal of time to it. It was his nirvana.” The Porters’ nirvana proved a great success; Kate ruefully admits that its only shortcoming was that the laundry area set aside for sewing was never used because she preferred to sew in the sunlit den, overlooking the river. She adds that the den itself proved so comfortable, even on winter days, that its massive copper-flued open fireplace was never actually used. While Ross’s original design allowed for future expansion, with space for a games room and “flatette” downstairs, this never came to fruition. Frequently travelling, the Porters made no major changes to their home over decades, while Ross’s commitment to minimal maintenance proved uncannily apropos. Indeed, when the widowed Kate finally offered the property for sale in early 2019, the dwelling remained in an immaculate state, retaining virtually all original finishes, fixtures and fittings, including those high-end appliances and even the stylish mid-sixties furniture, all generously thrown in as a freebie to one uncommonly fortunate subsequent custodian.
05
04 The sun-drenched den proved so comfortable that the clients never once used the fireplace. 05 High-end appliances seldom seen in Melbourne at the time were used in the kitchen and still remain in the house.
04
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PORTER HOUSE
06 Oregon framing and joinery, and teakveneered plywood linings imbue the home with a warm, modernist palette.
06
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07
Frequently travelling, the Porters made no major changes to their home over decades, while Ross’s commitment to minimal maintenance proved uncannily apropos.
07 Porter House sits long and low across a sloping one-acre riverfront block with “sweeping views over tree-covered ranges.”
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Architect Albert Ross
PORTER HOUSE
Project team: Albert Ross Joiner: Hendrik Merbis
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Aureate EXHIBITION
Australian artist and architect John Gatip has created a series of intricate, gilded cityscapes, provoking reflections on the monetary and aesthetic value of our cities. Words by Alice Francis Photography by Timothy Kaye
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01 Aureate features small-scale models that make up seven shimmering cityscapes.
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02 Using computer technology, the artist creates repeated architectural forms – a gable house, a sawtooth roof, an arched colonnade.
Each year, Craft Victoria holds the Craft Cubed Festival, a month-long exhibition and celebration of the handmade. For its tenth anniversary, makers and designers were brought together under the theme of “crafting culture.” On display at the Bates Smart Gallery was the intricate, gilded work of Australian artist and architect John Gatip. Combining architecture, art and storytelling, his exhibition, Aureate, features 150 small-scale models that make up seven “islands” for the visitor to explore. Familiar architectural forms are precisely hand-placed to create shimmering cityscapes. John calls the treasurelike forms “crafted objects of value.” Intended to play with metaphorical notions of gold, the cityscapes provoke the observer to reflect on the monetary and aesthetic value of the cities we live in. Accompanying the exhibition is a curated library of historical and architectural books. These personal references are important to the themes of John’s work and include titles such as Learning from Las Vegas by Robert Venturi, Denise Scott Brown and Steven Izenour, Elements of Architecture by Rem Koolhaas and the Holy Bible. Literature is both a starting point for Aureate and
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the medium via which John builds upon his sculpted city of Aur. Accompanying the sculptures is a journal-style booklet titled The Accounts of Miraz, which highlights key passages and references that informed the exhibition. John says that inspiration for much of his work also comes from his Christian upbringing, where he discovered the stories of Noah’s Ark, The Tower of Babel and The Book of Revelation. Aureate is layered and revealing. John’s creative process mimics and challenges the rapid development of our current construction industry. At first, he uses computer technology to 3D-print silicon moulds. These enable him to repeatedly create architectural elements – a common gable house, an industrial sawtooth roof or a neoclassical arched colonnade. This method of mass production is used in concert with a careful hand-cast technique that gives each piece its own imperfect character. Providing a grand and godlike view of a miniature but familiar scene, Aureate prompts visitors to reflect on the narratives embedded in buildings and cities. Aureate was held at Bates Smart Gallery in August as part of Craft Victoria's Craft Cubed Festival, 8–23 August 2019.
POSTSCRIPT
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