Introducing Fleur Sculptural and distinctive, a design statement in comfortable flexibility. A timeless silhouette understated in approach, destined to become an Australian design icon.
AUSTRALIA
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Anthology Desert
Anthology. Emulating the raw beauty of nature, Anthology Desert is a catalogue of original and distinctive design suitable for any architectural project. These ceramic surfaces are versatile and durable, with WKH DGGHG EHQHÀW RI 3URWHFW® antibacterial technology, making them the perfect choice for any space.
Visit Signorino WR ÀQG WKH perfect porcelain.
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» In association with FANULI, Australia’s leading furniture and design brand, Belle is delighted to announce that entries are open for the 2021 INTERIOR DESIGN AWARDS » Now in its eleventh year, this prestigious awards program is committed to supporting the creativity and innovation of the local industry by celebrating and rewarding excellence in Australian interior design and decoration by individuals, partnerships and design practices at residential, hospitality and commercial levels.
2 02 1 AWA R DS CAT EG OR I E S » BEST RESIDENTIAL INTERIOR » BEST RESIDENTIAL INTERIOR – READERS’ CHOICE
» BEST RESIDENTIAL KITCHEN DESIGN » BEST RESIDENTIAL BATHROOM DESIGN » BEST HOSPITALITY INTERIOR
» BEST COMMERCIAL INTERIOR » BEST WORK WITH COLOUR » EMERGING DESIGN STAR » HALL OF FAME » BELLE/FANULI INTERIOR DESIGNER OF THE YEAR
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CONTENTS
160
J U N E /J U LY 23
2021
SPY Belle’s pick of the top design trends from around the world.
30
I N F LU E N C E S Verhaal studio opens the
books on their favourite global spaces.
39 40
A RT Hang out with the artistic vanguard. A RC H I T ECT U R E Taylor + Hinds’ vision
stretches far beyond Tasmania’s borders.
45
ST Y L E E T I Q U E T T E How to create a
warm, welcoming country getaway.
47
SETTING SAIL
C R E AT I VE H O M E Interior designer
AN ARCHITECT DEFTLY REVIVES A NEGLECTED WATERSIDE HOME FOR A TITLE ROLE AS A CAPTIVATING CONTEMPORARY FAMILY HOME.
Suzanne Julian’s home office sanctuary.
52
O B I T UA RY Model, jewellery designer and human rights advocate Elsa Peretti.
55
C R E AT I VE SPACE Fashion group Aje’s
new HQ reflects the brand’s creative ethos.
62
LUX E F I L E S What moves Sydney
architect and patron of the arts Nick Tobias.
65 71 77
F O C U S Glamorous bedside companions that have a beautiful story to tell. D R I V I N G I N C A R S Charlotte Coote tours haute haunts in the new Rolls-Royce.
130
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M A N & W O M A N The safari suit is back! Refresh your look with desert-ready garb.
N E W YO R K An archetypal Big Apple brownstone gets a soulful LO N D O N Kit Kemp had carte blanche in transforming her own
home, layering a joyous mashup of whimsical objects, vintage pieces and artisan touches with a backdrop of her own fabrics and wallpapers.
150
SY D N E Y A century-old bungalow undergoes a renaissance to face a
new era enriched with a relaxed contemporary ambience.
160
SY D N E Y Architect Conrad Johnston applies serious design thinking
to revive a hidden gem as a dwelling place for his own family.
L I B R A RY A plethora of glossy pages
extolling all manner of interior delights.
HOM ES makeover for a young family in designer Tali Roth’s farewell project.
LUX E C O U N T RY H O M E S Five chic
habitations that celebrate bucolic bliss.
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133 134
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SY D N E Y A masterpiece of modernism spurred this architect’s
sculptural answer to the reimagining of a California bungalow.
180
M E L B O U R N E Designer Simone Haag employs “restrained elegance”
and a certain je ne sais quoi to decorate a house with “Parisian vibes”.
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P E T E R S H A M N U R S E R I E S An extract from a new book that relates the story of the Boglione family who created the esteemed restaurant in London’s Richmond plus a pair of their sensational recipes.
REGULARS 16
Masthead and Privacy Notice
19 20 194
Editor’s Letter InBox The Office ... Rudi Rocket
OUR COVER Photography Anson Smart.
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On Sale Now E D I TO R I A L
Editor-in-chief Acting creative director Deputy editor Senior copy editor Chief copy editor, Homes Art director, Homes Art production Contributing editors
Tanya Buchanan Lauren Camilleri Harry Roberts Janice Hogg Sarah Pickette Kristina Harrison Matus Kundrat Steve Cordony (Style director-at-large), Karen McCartney (Architecture), Lucy Montgomery, Judy Pascoe (Library), Melissa Penfold, Carli Philips (Melbourne), Rachael Thompson (Digital writer), Jean Wright (Design)
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Published by Are Media Pty Limited (ACN 053 273 546) part of the Are Media Group, 54 Park Street, Sydney, NSW 2000, tel (02) 9282 8000, fax (02) 9267 8037. The trademark Belle is the property of Are Media Limited and is used under licence. © 2021. All rights reserved. Printed by Ovato Warwick Farm, 8 Priddle St, Warwick Farm NSW 2170. ISSN 0310-1452. Contributors’ manuscripts should be typewritten, and all text, photographs and illustrations must be accompanied by a self-addressed envelope stamped to the appropriate value. Are Media does not accept responsibility for damage to, or loss of, material submitted for publication. Material contained in Belle is protected under the Commonwealth Copyright Act, 1968. No material may be reproduced in part or in whole without written consent from the copyright holders. PRIVACY NOTICE This issue of Belle is published by Are Media Pty Ltd. Are Media may use and disclose your information in accordance with our Privacy Policy, including to provide you with your requested products or services and to keep you informed of other Are publications, products, services and events. Our Privacy Policy is located at www.aremedia.com.au/privacy/. It also sets out how you can access or correct your personal information and lodge a complaint. Are Media may disclose your personal information offshore to its owners, joint venture partners, service providers and agents located throughout the world, including in New Zealand, the USA, the Philippines and the European Union. In addition, this issue may contain Reader Offers, being offers, competitions or surveys. Reader Offers may require you to provide personal information to enter or to take part. Personal information collected for Reader Offers may be disclosed by us to service providers assisting Are Media in the conduct of the Reader Offer and to other organisations providing special prizes or offers that are part of the Reader Offer. An opt-out choice is provided with a Reader Offer. Unless you exercise that opt-out choice, personal information collected for Reader Offers may also be disclosed by us to other organisations for use by them to inform you about other products, services or events or to give to other organisations that may use this information for this purpose. If you require further information, please contact Are Media’s Privacy Officer either by email at privacyofficer@aremedia.com.au or mail at Privacy Officer Are Media Pty Ltd, 54 Park Street, Sydney NSW 2000.
Preserve masterfully. Cook precisely. Live deliciously. Savour the ingredients that stay fresher longer with Sub-Zero, the food and wine preservation specialist, the meals that are cooked to masterful precision with Wolf, the cooking specialist, and a kitchen appointed with elegantly crafted appliances.
Refrigeration. Cooking. subzero-wolf.com.au
SHOWROOMS: MELBOURNE, Bank House. 11-19 Bank Place, Melbourne. SYDNEY, Foveaux House. 63 Foveaux Street, Surry Hills.
EDITOR’S LET TER Hermès ‘Series 6’ Apple watch with 40mm calfskin band, $719. hermes.com
The Ancient Forgiveness Trees by Jo Bertini, $8500, Arthouse Gallery.
Wedgwood ‘Renaissance Red’ espresso cup and saucer, $99. wedgwood.com.au
arthousegallery.com.au
R
ationally, we know that life is relatively short and golden times don’t last forever, but on some level we simply expect certain figures who loom large in our world to be immortal. Carla Zampatti was one of those. Readers of a certain age will recall the days of the legendary Australian movers and shakers: the stars of our national magazine, newspaper and television landscape that shaped our thinking. Carla was a darling of the media and an incredibly stylish role model for Australian women. She was a successful businesswoman and mother who seemed to have it all and who appeared to succeed with an effortless elegance. She helped many Australian women with countless classic and winning looks for everyday, corporate and special-occasion dressing. Wearing Carla Zampatti is like donning a chic and impenetrable cloak of protection: there’s one less thing to think about when the task ahead is daunting. Vale Carla and thank you for the inspiration, fabulous outfits and unforgettable pizzazz. Fashion-design star and new mother Edwina Forest, and her business and design partner Adrian Norris, are dressing a new and up-and-coming generation of women for work and life. The duo recently opened their refined new headquarters in Sydney’s Surry Hills and Aje, their covetable marque of cool and classic clothing, is on the up, up, up. Visit their elegant atelier on page 55. Many Australians thought about a sojourn to the country during last year’s pandemic and the owners of the bucolic abodes featured in our Luxe Country Homes feature made this a reality either as a permanent relocation or holiday destination. I think we are all appreciating the beauty of our regional areas more since the health crisis and for some reason the words “everyone wants to own a piece of Australia” keep running through my mind. Our country homeowners engaged an arsenal of architectural and design talent to achieve their out-of-town dreams and we get to take a look inside from page 77. Good vintage is hard to find, so what a delight to visit a treasure trove of original collectable pieces handpicked by a couple of design aficionados. Rudi Rocket in Sydney’s Redfern is one of those hidden gems and it is impossible to walk out empty handed. We show you this fabulous mid-century design emporium on page 194. I’ve been to a few auctions lately and properties are flying out the door – no doubt many are ripe for total overhauls. If you’re embarking on plans for your bespoke residence you’ll certainly be seduced by the fabulous and diverse homes that start on page 133. Enjoy!
The inimitable Carla Zampatti, fashion designer extraordinaire. Below, Tanya Buchanan wears Carla Zampatti’s ‘White Elegance’ dress.
House Of Heras ‘Golden Peacock’ rug, $5100, Designer Rugs.
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1 CONTENTED WINTER Now is the time to give your indoor living areas some attention. Coco Republic has released its new winter collection with plenty to inspire layered spaces worth lingering in. “Less is definitely more this winter and I am proud to show a juxtaposition of daring sculptural pieces teamed up with minimal forms,” says creative director Anthony Spon-Smith. cocorepublic.com.au
2 GOLD STANDARD La Cornue’s CornuFé 90 ‘Albertine’ cookers are such good lookers that it is difficult to imagine making a volatile vongole atop one of these beauties. Maybe something more refined like a cheese souffle would do this culinary classic justice. lacornue.com.au; eands.com.au
3 IT’S GOLDEN Add a grand dash of luxe and warmth with a Vola tap in Brushed Gold. Designed more than half a century ago with fully replaceable parts, these taps are an enduring classic. en.vola.com
The retail therapist Spend some time on the couch analysing your next design investment. Edited by TANYA BUCHANAN
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7 ON THE SIDE If you’re finding it difficult to commit to a more substantial table to match your armchair or sofa you will like the look of ‘Flirt’ designed by Milanese architect Rodolfo Dordoni. dedece.com
6 CHIC SOBRIETY If one drink is too many and 100 is not enough or you simply want to maintain optimum productivity without affecting your social life, Monday Distillery’s fabulous, botanical-based, sugarless tipples could be your new aperitivo of choice. mondaydistillery.com
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4 JOURNEY IN COLOUR Champions of colourful interiors, stylist Julia Green and photographer Armelle Habib have collaborated on a new book celebrating vibrant homes and hotels around the world. The tome will go on sale on July 7 and is available for pre-order here. smarturl.it/Vividbook
5 RESPONSIBLE RUGS Armadillo is the very first Australian rug company to be awarded the highly coveted Certified B Corporation status, meeting the highest standards of environmental and social performance. Co-founder Sally Pottharst says, “We are incredibly excited to join this global movement of business as a force for good.” Along with these wonderful benefits, Armadillo’s beautiful rugs are seriously mood-enhancing. armadillo-co.com
Our rugs lie lightly on this earth.
A R M A D I LLO - C O.C O M
AD Beatrice Rossetti - Photo Federico Cedrone
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P H OTO G R A P H Y BY C A R M E L B R A N T L E Y
This page The lobby of the Colony Hotel in Palm Beach, Florida, with ‘The Colony’ large-scale scenic mural, $1480/panel (915mm wide), from de Gournay. Opposite page 1 ‘Lyla’ floor mirror, $3995, from Coco Republic. 2 Burberry F21. 3 Les Ottomans palm tree large ceramic candlestick, $350, from Matchesfashion. com. 4 ‘The Colony’ hand-painted mural, $1480/panel (915mm wide), from de Gournay. 5 ‘Fleur’ upholstered lounge chair in Blush, $2642, from King. 6 Palmgrens classic rattan bag in Olive, $1095, from Great Dane. 7 Amouage ‘Meander’ EDP, $459/100ml, from Libertine Parfumerie. 8 ‘The Hexagonal’ side table, approx. $8978, from Soane. 9 ‘Palazzo’ bookends in Foresta marble, $770, from Greg Natale. 10 Afrodite coloured-stone slab, $345/square metre, from Signorino. 11 ‘Honeybee’ rug by House of Heras, $5100, from Designer Rugs. 12 India Mahdavi ‘Don Giovanni’ lamp in glass and brass, POA, from Studio ALM. 13 Flexform Mood ‘Lysandre’ three-seater sofa, from $7390, from Fanuli. 14 Cushion in Kelly Wearstler ‘Fern’ fabric, $399, from Manyara Home.
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This page The lobby of the Colony Hotel in Palm Beach, Florida, with ‘The Colony’ hand-painted mural, $1480/panel (915mm wide), from de Gournay. Opposite page 1 ‘Amari’ low-back rattan chair in Coriander, $3941, from Janus et Cie. 2 ‘Passifolia’ dinner plate, $385, from Hermès. 3 ‘The Colony’ hand-painted mural, $1480/panel (915mm wide), from de Gournay. 4 Murano glass petal chandelier, approx. $6141/pair, from 1stdibs. 5 Jil Sander F21. 6 ‘Arial’ upholstered bed, from $15,000, from Kelly Wearstler. 7 ‘Electric Dreams’ ceramic vase in Sage, $240, from Greg Natale. 8 Baxter ‘Himani C’ rug, $10,995, from Space. 9 Gubi ‘Chinese Hat 9602’ floor lamp, $1649, from Cult. 10 ‘Kolonn’ vase, $325/ medium, from Great Dane. 11 Ostrich feather mini table lamp, $3650, from Becker Minty. 12 Vintage woven cane lounge chair by Giovanni Travasa with Italian bouclé cushions, POA, from Nicholas & Alistair. 13 India Mahdavi ‘Nuage’ folding screen in rattan and brass, POA, from Studio ALM.
RIGHT N OW Photography AL ANA L ANDSBERRY
P O P - U P A RT Works by Paul Rousso, Yvonne Robert, Dylan Farrell and Zhuang Hong Yi are exhibited alongside Dylan’s furniture designs at the Autumn Annex on Moncur Street in Sydney’s Woollahra, an inspired gallery space created by the interior designer in collaboration with local gallery Piermarq. Until June 27. dylanfarrell. com; piermarq.com.au
Art and design entwine at the Autumn Annex, a pop-up gallery from Piermarq and interior designer Dylan Farrell. 29
Edited by VERHA AL STUDIO Portrait AL ANA L ANDSBERRY
THAT VERHAAL HAS A GALLERY APPENDED TO ITS ARCHITECTURE AND INTERIOR DESIGN STUDIO IN BALMAIN, SYDNEY, IS TESTAMENT TO THE FIRM’S PASSION FOR PROMOTING ART AND DESIGN ALONGSIDE THE “EXCEPTIONAL HOSPITALITY, HOTEL, RETAIL AND RESIDENTIAL EXPERIENCES” THEY CREATE. FOUNDERS NEYDINE BAK AND DEWALD STRUWIG HAVE ASSEMBLED A RAFT OF TALENTED COLLABORATORS TO ASSIST IN THEIR ENDEAVOURS. HERE, THEY OPEN THE BOOKS ON THEIR FAVOURITE ADDRESSES. VERHAAL.STUDIO
I N F L UE N C E S
Ester was the first restaurant Dewald took me to when I arrived in Australia, for my 30th birthday. The space’s raw, minimalist nature and warm, ambient glow set the tone for the wood-fired, produce-driven dishes. Each plate was simple and subtle in flavour, balanced perfection with refined finesse. The fermented potato bread with kefir and dashi cream was life-changing and has become a favourite of ours. ester-restaurant.com.au
Influences
RIGHT NOW
S PAC E S
THE GREAT OUTDOORS We do enjoy walking in nature and love to show its wonders to our little ones. The Calyx at the Royal Botanic Garden Sydney (left) is a must-visit! It has the most incredible displays throughout the year. Currently, inBLOOM is an exhibition displaying over 20,000 plants with one of the largest green walls in the Southern Hemisphere. It is a breathtaking sensorial experience of light, colour and fragrance. Gibbs Farm (below) is also on our wish list. Located at Kaipara Harbour, near Auckland, New Zealand, this outdoor sculpture garden has an extraordinary collection of commissioned works, including Anish Kapoor’s Dismemberment, Site 1 (below) and
I NSPIR I NG
[ Child’s play ]
Jeff Thomson’s Giraffe. A visit to the Succulent Collection in the Sir Joseph Banks Glasshouse (left) at Wollongong Botanic Garden feels as if you’re lost in a Mexican desert. While cacti are not native to Australia, this is an extensive display of unique and beautiful plants. We suggest visiting in June and July when the agave and aloe are in full bloom as their flower spikes are exquisite. rbgsyd.nsw.gov.au; gibbsfarm.org.nz; wollongongbotanicgarden.com.au
P HOTO G R A P H Y SU E M A RT I N ( W OL LO NG ON G B OTA N IC G A R DE N ); ROB E RTO S A LO M O N E , CO U RT E S Y O F L E S I R E N U S E . ( F R A NCO ’ S B A R )
BEMELMANS BAR
Bemelmans Bar at The Carlyle hotel in NYC is one of the most intensely memorable spaces. The hand-painted murals, originally created by Austria-born artist Ludwig Bemelmans in 1947, still adorn the walls with their soft ambient lighting. The characters were inspired by the Madeline books written by Bemelmans and depict the four seasons of New York. The childlike illustrations come to life at this iconic venue which is excellent for people-watching, too. rosewoodhotels.com
LOCATED JUST above the iconic Le Sirenuse Hotel in Positano, Franco’s Bar bridges the gap between art and function. Owners Antonio and Carla Sersale are renowned for showcasing their passion for art throughout both their properties. One of our favourites is the abstract water feature by Italian artist Giuseppe Ducrot. When you stand in front of it, the fluid movement is mesmerising and overwhelmingly precise. sirenuse.it
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RIGHT NOW
Influences
IT IS TRULY MAGICAL having an espresso underneath the ‘moving’
ceiling at the Museum of Cycladic Art cafe in Athens, designed by Kois Associated Architects. This mesmerising installation (below) was inspired by the simple and thoughtful elements of this traditional art. As a studio, we try to create different installations for each project and are always looking for inspiration. We are busy with an installation chandelier (right) by Frederik Molenschot of Studio Molen in The Netherlands for a residential villa in the Middle East, a piece that will set the tone for the art-inspired family home. koisarchitecture.com; studiomolen.nl
SEXY FISH’s washrooms are spectacular. We are always intrigued with washroom design when we travel. Our obsession with Quatre Saison marble was reinforced after a visit to this intensely opulent space (below) in the London restaurant. The glow of the backlit onyx over the large stone patterning reflected in the mirror perfectly showcases its natural beauty. The extensive use of the stone inspired us to create a magical washroom for a client. sexyfish.com
[ Social Medium ] OFF THE WALLS
Villa Santo Sospir, home of socialite Francine Weisweiller, was covered in ‘tattoos’ by artist Jean Cocteau (right). After he completed his work, she and friend Madeleine Castaing decorated the home. Famed for her eclectic aesthetic, Francine inspired Verhaal with her style as she managed to create intense emotion within her interiors where every surface is adorned with patterns and textiles.
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Experts in light studies for interior projects InLite in Sydney’s Chippendale have a great selection of international brand fittings, including Delta Light of Belgium which created the ‘Miles C2 E27 Smoke’ pendant light (1). Mi&Gei is the brand of a French couple living in Goa, India, who design and handcraft considered hardware in recycled brass or bronze such as the ‘Hook and Pull Forme-No3’ cast brass wall hook, cabinet pull or curtain tie back (2). Two Tease in Sydney’s Crows Nest has an extensive range of lovely brass and forged iron hardware such as the ‘Nour by Edward van Vliet EV200V’ solid front doorknob in Satin Gold (3). inlite.com.au; miandgei.com; twotease.com.au
P H OTO G R A P H Y AG N I E SZ K A C H A B ROS ( A N G I E PA I ) , G I O RG OS S FA K I A N A K I S ( C Y C L A D I C C A F E , O P P OS I T E PAG E )
SPLINTERWORKS is a creative
WE LOVE SOPHIE DAVIES FOR HER UNUSUAL HANDMADE LIGHTING AND TABLES, ESPECIALLY THE FLOOR LAMP (RIGHT) FROM THE TWISTER COLLECTION. SOPHIEDAVIES.COM.AU
team in the UK doing some incredible work with metal. We are working with them to design a few elements in a client’s residence. Their ‘Reflex’ slide (below) will be the focal point of the infinity pool and they are crafting a custom jewellery unit for the dressing room. Designers Miles Hartwell and Matt Withington are technical and creative and it is exciting to see our vision come to life through their ability to sculpt stainless steel into something extraordinary. splinterworks.com
Soane Britain has an amazing selection of rattan furniture and lighting. We simply adore the oversized ‘Rattan Daisy’ hanging light. soane.co.uk
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mondoluce.com
Influences LU X E S US TA I NA BI L I T Y
SELJAK BRAND is an inspiring marque created by two sisters in 2016. They use recycled lambswool and merino to weave new blankets (left) using the oldest mill in Tasmania. They are constantly finding new ways to realise regenerative designs. Truly inspiring. seljakbrand.com.au
MILOU MILOU makes luxury flax
linen bedding that is sustainably sourced and made to order. The company is carbon neutral and has a zero waste policy. Who couldn’t resist getting the double-sided customisable duvet cover in yarndyed Olive and Mustard (below) for home? miloumilou.com
[ paper PLAY ] ELONAH O’NEIL
RIGHT NOW
South African paper artist Elonah O’Neil transforms paper into sculpted beauty (left). Her ability to see the potential of what a two-dimensional surface can become is incredibly humbling. One of our most beloved installations we have done with her was a paper installation that imitated a tulle skirt, which added a feminine edge and a softness to the quiet interior dining area with its bohemian undertone. elonahoneil.com
‘MS SUN’ IS PART OF HUIS, OUR HOMEWARE RANGE LAUNCHING THIS YEAR. SHE IS CHEEKILY CUTE AND HAS BEEN METICULOUSLY HANDMADE BY ARTISANS IN THE MIDDLE EAST. WE ARE TOTALLY OBSESSED WITH HER CLEOPATRA–ESQUE HAIRSTYLE AND SURPRISED EXPRESSION. THAT A SMALL SCATTER CUSHION CAN CARRY SO MUCH EMOTION IS REFRESHINGLY SPECIAL.
DE C OR AT ION
[ limited EDITION ] CURATORIAL+CO. WORN has curated a
Redfern-based art house Curatorial+Co represents a wonderful collection of artists and acts as a consultancy to assist both designers and clients in sourcing the perfect piece for their projects and homes. Artist Odette Ireland’s sculptural mobile (above, right) would be perfect revolving slowly in a bedroom window. Constructed of a brass disc and smoke-fired porcelain in the shape of eucalyptus leaves and seed pod, it reflects the true nature of our Australian landscape. curatorialandco.com
range of hard-to-find pieces of vintage and modern collectables. We are in love with the two-tone veneer of the ‘Stripe Indent Circular Tabouret’ which feels like it could be a piece out of Villa Santo Sospir (p32). wornstore.com.au
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the imagination and soul of each interior within the pages. I can feel their stories resonate from the images. The layered patterns and collectables that fill the creative spaces are indulgent yet calming.
DEWALD SKETCHES
with his Montblanc Meisterstück ‘Platinum Classique’ fountain pen – a good-luck gift from a favourite client.
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COLLECT ABLE S
BEIGE IS NOT A COLOR by Carlos Mota captures
Design & Build -InForm Photography - Derek Swalwell
MELBOURNE · SYDNEY
Art
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SY D N E Y
S P I R I T UA L R E AWA K E N I N G Before Kandinsky, Malevich and Mondrian, Swedish artist Hilma af Klint’s exuberant works of abstraction marked a radical break from the figurative with their profusion of colour and enigmatic, diagrammatic shapes informed by her interest in spiritualism, science and nature. Yet the artist’s trailblazing oeuvre – including Group IX/UW, The Dove No.2 from 1915 (right) – was virtually lost until the 1980s and has long existed outside the modernist canon. Klint’s first Asia-Pacific survey, ‘The Secret Paintings’ shines a light on her monumental mystical paintings in a kaleidoscopic display celebrating her groundbreaking vision. June 12-September 19. artgallery.nsw.gov.au
M E L B O U R N E
C AT C H O F T H E D AY
S Y D N E Y
A L L I M AG E S CO U RT E SY OF T H E A RT I ST S A N D G A L L E R I E S
TALKING TIME From James Tylor’s daguerreotype portraits honouring First Nations arts workers – including Walgalu academic Aidan Hartshorn (above) – to crumbled columns rebirthed with plant life, artefacts resurrected through 3D printing and the Guerrilla Girls’ interactive Complaints Department, ‘Oh, Museum’ explores the complex connotations of art institutions – including legacies of colonialism and the exclusion of women and people of colour – and invites conversation around their regeneration. Until July 11. cementfondu.org
Melbourne-born, Montreal-based artist Jackson Slattery collects disparate images and meticulously recaptures them – albeit with shifts in scale that lean towards the uncanny – to evoke a beguiling space between the real and fictive, as in Trout/Fabriano (above). May 29-June 26. suttongallery.com.au
Mind’s eye
Journeys into the soul, psyche and social fabric. Edited by HARRY ROBERTS SY D N E Y
NAVIGATING THE GLOBE ‘I am a heart beating in the world’ reflects on the diasporic reality of living at a distance from your ancestral home, and the memories, traditions and tales with which that distance might be bridged. Informed by Korean creation myths, Child of Magohalmi and the Echoes of Creation (still, left) by Zadie Xa, is joined by work from Daniela Yohannes, Lindy Lee, Kashif Nadim Chaudry, Abdul-Rahman Abdullah and Leyla Stevens. Until July 25. 4a.com.au
M E L B O U R N E
S P E A K I N G VO LU M E S ‘Telling Tales’ binds together work by eight artists whose bookish motifs and affinity for storytelling reflect their fascination with the literary world. This book club of sorts includes Nicholas Jones, who transforms discarded tomes into sculpture; Chris Bond, whose illusory library books, art catalogues and magazines decode authorship and authenticity; and Prudence Flint, whose dreamlike narratives (left) draw on reading and writing to coax her inner life onto the canvas. June 11-July 18. gleneira.vic.gov.au
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S T E P I N T O PA R A D I S E HOTA has arrived on Queensland’s most iconic stretch of coastline, paying tribute to the landscape and legend of the glittering locale with its inaugural show, ‘Solid Gold: Artists from Paradise’, featuring new work from 19 artists with ties to the region. Until July 4. Also on view are more than 100 works from the city’s collection by artists such as Tony Albert, Tracey Moffatt and Alex Seton (right), as well as major outdoor commissions from Judy Watson and Ramesh Mario Nithiyendran. hota.com.au
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Portrait ADAM GIBSON Edited by K ARE N McCARTNEY
PRIDE OF PLACE This Tasmanian practice’s visionary thinking elevates every structure, from an award-winning restoration to an acclaimed Aboriginal standing camp.
MAT HINDS AND POPPY TAYLOR OF TAYLOR + HINDS WERE PHOTOGRAPHED ON THE SITE OF AN ADAPTIVE REUSE PROJECT IN AN INNER-CITY HERITAGE-LISTED COFFIN FACTORY IN HOBART.
Architecture
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This page, clockwise from top left Frederick Henry Bay
P HOTO G R A P H Y A DA M G I B SON & M IC H A E L W E E ( B OZ E N ’ S COT TAG E , LOW E R J O R DA N H I L L ROA D ); A DA M G I B SON ( D E N I S O N R I V U L E T, F R E DE R IC K H E N RY B AY HO U S E ) ; A D A M G I B SO N & J OR DA N DAV I S ( K R A K A N I LU M I )
House, an exercise in the beauty of economy. The award-winning Bozen’s Cottage in Oatlands. Krakani-lumi (resting place), an Aboriginal standing camp within the wukalina/Mt William National Park. Cabin interior with waxed brass wall at Denison Rivulet. An extension at Lower Jordan Hill Road. Denison Rivulet, an experimental series of cabins.
SUCH IS T H E EFFECT of an interview with Tasmanian architects Poppy Taylor and Mat Hinds of Taylor + Hinds that after 90 minutes I am ready to throw caution to the wind and buy a dilapidated Georgian cottage. I would then give them a blank cheque with the brief to apply their aesthetic of restraint, craftsmanship and rigorous planning. “Our work speaks to the traditions that we see here. We’re very aware that acknowledging them helps fortify our practice and gives it more meaning,” says Hinds. And I suspect, in order to become a client, there would need to be an alignment of values as is evident in the very best of their work, such as the multiaward winning Bozen’s Cottage in Oatlands. Dissuading the clients from a contemporary extension, they set about unpicking the four-room 1842 Georgian cottage to reveal “an underlying sense of subtlety and delicacy, which is also economic and purposeful”. Its reinvention, through shedding unwanted layers and inserting exquisitely crafted interiors, has given this small project a large, appreciative audience and propelled the practice forward. “We absolutely pour ourselves into everything we do … so it has to be satisfying,” says Taylor. A couple in life (they have two small children) as well as in the practice, they met at university in Launceston and made a commitment to stay in Tasmania. “I always remember being struck, when we first met, that I’d found a kind of intellectual soul mate,” says Hinds. And that singular understanding allows for a great deal of flex within their creative process. “Each of us brings our focus at a different time to the stages of the work and we use the other as a foil to check our kind of logic. We are constantly testing the legitimacy of the positioning and being quite critical of the work in order to achieve greater clarity,” says Hinds. While Tasmania is certainly garnering global attention, which is bringing more projects and more investment at a higher level than in the past, there is still an enormous gap between budgets and fees on the mainland. Hinds acknowledges that “land values don’t yield borrowing capacities for clients” and so a sense of economy is threaded through their work. To their credit it is never apparent. “We distil the projects down primarily through a process of economic thinking that is absolutely a condition of working here,” says Taylor.
However, the emphasis is on the experiential aspect of their work, and not just for residential projects. Denison Rivulet was developed as a prototype for a series of cabins and as such was a testing ground in terms of materials including extensive use of a seductive waxed brass. One of Australia’s most well-known authors stayed in one of the cabins, later writing to the architects to say that the space was so totally encompassing it enabled him to finish his manuscript. “We made rooms thinking about the kinds of release that can occur in people’s mindfulness about where they are,” explains Hinds. Material selection is everything for the practice, and it is often a culling process, married with an awareness of the context, which can be the brooding, deep greens of dense forests or wide plains of native grasslands. Always observant, fellow architect Timothy Hill noted that they “use the landscape as a material in the room”. The story of krakani-lumi (resting place in the palawa kani dialect) – a standing camp within the wukalina/Mt William National Park – highlights a culturally complex project that few would have navigated with the same subtlety and skill of Taylor + Hinds. “It was extremely difficult because we were dealing with the community, who we deeply admire and respect, but who have entrenched suspicions about us as white people but also even deeper suspicions about our profession,” says Hinds. Working with the Aboriginal Land Council of Tasmania the resulting half-domed timber shelter, charred on the exterior, is regarded as a resounding success, with the AIA Tasmanian Chapter Awards Jury Citation 2018 noting that “the architects have formed a close bond with the palawa community and have created an authentic fusion of ancient culture and modern amenity”. Even more important to Taylor + Hinds was the response of the Aboriginal community. “At handover, eight figures approached from the coast, including three elders. As they walked towards krakani-lumi, nothing was said and they quietly entered the interiors, deeply considering it and taking in country,” says Taylor. The next morning, they received a text message from an elder that said, “When no words are spoken, you need not ponder. We sense something is coming. You have done us proud.” taylorandhinds.com.au
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Architecture AT H E N S
BRUTALIST REBOOT With few Brutalist buildings in existence in Greece it is gratifying to see a great 1970s example (above) by Alexandros Tombazis restored but also enhanced. Georges Batzios Architects received the commission when its new owners saved it from demolition and set about rescuing the building’s exterior from a coat of yellow paint, while remodelling internally to contemporise work and event spaces. georgesbatzios.com SY D N E Y
L I G H T TO U C H
TWO NEW PROJECTS BY THOSE ARCHITECTS ILLUSTRATE THE SYDNEY PRACTICE’S ABILITY TO USE MATERIALS IN EVOCATIVE AND SUBTLE WAYS. THE REMAKING OF MOODY ARGENTINIAN RESTAURANT PORTEÑO IN SURRY HILLS INTO A LIGHT-FILLED HQ FOR FASHION BRAND AJE IS A CASE IN POINT (SEE CREATIVE SPACE, P55). “THE CURVES HELP BALANCE SOME OF THE INTERIOR GEOMETRY. FURNITURE IS ALSO PART OF THAT EXPERIENCE AND WE BUILT MOST OF IT INTO THE ARCHITECTURE,” SAYS CO-FOUNDER AND DIRECTOR BEN MITCHELL. A PAIR OF CLEVERLY DESIGNED TOWNHOUSES (ABOVE) IN BEVERLY HILLS WITH A STRONG STREET PRESENCE ARE HINGED AROUND A COURTYARD FOR NATURAL LIGHT WHILE UNGLAZED, OFF-WHITE BRICK WALLS INCREASE VENTILATION. THOSEARCHITECTS.COM.AU
S A I N T- N A Z A I R E
Pritzker Architecture Prize laureates for 2021, French architects Anne Lacaton and Jean-Philippe Vassal are renowned for their design of private and social housing, academic and cultural institutions, public spaces and urban developments. Explains Lacaton, “Good architecture is open: to life, to enhance the freedom of anyone, where anyone can do what they need to do.” Typical of their approach, they used transparent, retractable polycarbonate panels and insulating thermal curtains on 53 units of social housing (above left) in Saint-Nazaire to construct winter gardens on the upper floors and create comfortable environments full of light. lacatonvassal.com
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LO N D O N
ART EXTENSIONS ‘Don’t Move, Improve!’ is a UK-based competition now in its 11th year held by New London Architecture. This year, they received over 200 diverse entries with a wide range of building types, budgets and briefs. Drilling down to a short list of 20, of which Grain House (above) in Hackney by Hayhurst & Co is one, the judging celebrated colour, materiality and innovation. hayhurstand.co.uk
H E A LT H B E N E F I T S A collaboration between Australian practice Billard Leece Partnership and New York firm Diller Scofidio + Renfro (best known for The High Line park project in Manhattan) has seen the completion of the Susan Wakil Health Building (left) at the University of Sydney, Camperdown, NSW. Responding to place and designing with nature was deemed a key component of the light-filled space with “building volumes that appear to float above a folded ground plane”, according to Diller Scofidio + Renfro partner Ben Gilmartin. blp.com.au; dsrny.com
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P H OTO G R A P H Y LU C R É M O N D ( T H OS E A RC H I T ECT S , B E V E R LY H I L LS ) ; K I L I A N O ’ SU L L I VA N ( ‘ D ON ’ T M OV E , I M P ROV E ! ’ ) ; B R E T T B O A R D M A N ( SU S A N WA K I L H E A LT H B U I L DI NG ); P H I L I P P E RUAU LT ( L AC ATON & VA S S A L )
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Style Etiquette
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P ORT R A I T K R I ST I N A S O L J O. P H OTO G R A P H Y A B B I E M E L LÉ ( 6 , 1 2 ) , D AV E W H E E L E R (1 )
Melissa Penfold takes the country road to a chic rural bolthole. IF YOU WANT a rural Australian country house that is warm and modern but also has a timeless classic quality, here is a quick lesson. Whatever your taste, the beauty of a country house is that the edges are softened by comfort and don’t need to be perfect. The secret? Go for large well-proportioned rooms in which to get together, simple joinery, and a soft, quiet palette. B E I N S PI R ED Make the most of the vistas you see and the connection to nature and greenery. Position new windows to consider the outlook. Bounce daylight and views around by hanging mirrors next to windows. R EFLEC T TH E L A N DS C A PE Integrate your home into its surrounds using materials such as stone and exterior paint colours that tie in with the location. CO MFO RT IS KE Y Opt for sink-into furniture, chestnut woods, warm colours and shelves packed with books. Give new life to passed-down family pieces by mixing with crafted items and objets d’art from local artisans. TH E H U B The kitchen should be a welcoming space where friends and family congregate. A traditional range, timber or marble surfaces, and soft tones on the joinery work best for this look. Opt for walls in an off-white such as Dulux ‘Lexicon’, while gorgeous blues, muted greens and soft greys all look great. DINING TABLE A pivotal piece at which to gather, linger over leisurely meals and celebrate the ritual of eating.
Palettes of organic, muted colours have a nourishing effect such as blues, pinks, terracotta and deep greens or shades inspired by spices and herbs. O P T FO R NATU R AL Nothing should look polished and shiny, so pick natural fabrics, authentic old furniture over reproductions, a cane laundry basket over a plastic one. Not everyone can afford antiques but cheap copies look second-rate, even to an untrained eye. RUSTIC SE ATING Timber benches are a great alternative to chairs as you can fit more people on them on a long rectangular table. A built-in banquette with storage in comfortable upholstery offers the best of both worlds. S PACE FO R A LL Big tranquil spaces are what country houses are about, especially living rooms and bedrooms as these are the places that we relax most in. FLO O R BA S I C S Get the basics right and all will come together. Try a mix of hard floors such as timber or stone, from wide oak boards to stone pavers paired with wool, sisal or cowskin, or faded oriental rugs. M U D RO O M E S S EN T I A L S Stow outdoor gear in a chic area designed to instill a feeling of beauty and health before transitioning indoors. Or, simply set up a row of hooks near the entry with a sink for washing hands. LI G HT U P As well as crackling flames, fireplaces and wood stoves do more than provide heat on a cold day, they anchor a gathering place for family and friends. O F F- G R I D H U E S
Fairway Estate by Studio George, see p118. 2 Gubi ‘Adnet’ mirror, $1759, cultdesign.com.au 3 ‘Camail’ reversible poncho, $2335, hermes.com 4 ‘Hippomobile’ dinner plate by Gianpaolo Pagni, $540/set of two, hermes.com 5 ‘Hippomobile’ teapot by Gianpaolo Pagni, $1120, hermes.com 6 Melissa Penfold’s country home. 7 Blanche Rose Laurent Collection towels, from $20, blancherose.com 8 Gubi ‘Stay’ lounge chair, $5869, ingoodcompany.com.au 9 ‘Vesta’ marble vase, $2900, gregnatale.com 10 Normann Copenhagen ‘Papa’ throw, $314, amara.com 11 LM Home ‘Zeus’ vessel, $143, lmhome.com.au 12 Melissa Penfold’s country home with French rush-seated walnut bench, POA, lawsons.com.au 1
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Photography ANSON SMART
Paradise
BEACH
Sydney interior designer Suzanne Julian draws on her travels and life experiences to prove that when it comes to an office, there’s no place like home.
This page “The pared-back elegance is functional and luxurious,” says Suzanne Julian. Joinery by DUWA Joinery with Norwegian Rose marble benchtop. ‘Line’ wall light from Douglas & Bec. European oak floorboards from Precision Flooring. Ester & Erik candles from Great Dane. ‘Yumemiru’ glass sculptures by Amanda Dziedzic from Fenton & Fenton.
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Creative Home
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HAT INITIALLY APPE ALED ABOUT YOUR HOME AND ITS ARCHITEC TUR AL DESIGN BY TOBIAS
I lived in Sydney in my early 20s, so when my husband and I moved back from Perth with a young family in 2004 we were keen to find somewhere close to the water. Bronte had always been a very family-oriented suburb and we loved the proximity to the beach. We were lucky to find a good-sized block of land in a quiet cul-de-sac. Nick Tobias understood our vision for a home and was happy to take our ideas onboard, which was important to us. The design of the house was a slight departure from their typical style – it is a mix of contemporary detail and classic elements. WHAT DID THE ALTER ATIONS ENTAIL? The alterations to the existing building focused on creating a new living space or parents’ retreat, and a home office with an external terrace. Considering our long relationship as client and architect, it was easy to transition into more of a working collaboration. Initially I provided Tobias Partners with conceptual drawings of the internal spaces and the palette of materials that would set the tone for the rooms. The architects did an incredible job of designing a seamless extension of the existing house while preserving sightlines and coastal views. PARTNERS?
W H AT I N FO R M ED T H E S ELEC T I O N O F F U R N IT U R E, A RT, FIT TI N G S
These elements were selected over two to three years and were a culmination of inspiration drawn from my time living in New York, my interest in art and design – which led to my studies at the Victorian College of The Arts – and discovering the work of new and wonderful designers and artists here in Australia and overseas. Their influence has been undeniable. A N D FIN I S H E S?
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This page, clockwise from left The light-filled living area also has a view of surrounding Bronte (below). Knoll ‘Platner’ armchair and ottoman, and ‘Saarinen Tulip’ side table, all from De De Ce. ‘Traffic 28’ rug from Halcyon Lake. Apparatus ‘Dyad’ sconce from Criteria. Marble bottle vases by Salvatori from Boffi. B&B Italia ‘Michel Effe’ modular sofa and Gebrüder Thonet Vienna GmbH coffee table, both from Space. Schönbuch ‘Grace’ trolley from Anibou with glassware from Jardan. DCW Éditions ‘Mantis’ floor lamp from Spence & Lyda. Statuario Venato marble benchtop. Curtains in James Dunlop Indent ‘Velluti’ velvet by Simple Studios. Working from home has never looked so enticing. Gebrüder Thonet Vienna GmbH ‘Bodystuhl’ chairs from Space. Robyn Cosgrove rug. Opposite page Milo the dog approves of the dining area. Custom table made by Designated Creations. ‘Cracked Ice’ chairs by McGuire Furniture. Travertine floors from Euro Marble. ‘Baby Bishop’ ceramic stool in Rose Powder by India Mahdavi from Studio ALM. Apparatus ‘Lariat’ sconce on first floor from Criteria.
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Creative Home
H OW WO U LD YO U D E S CR IB E TH E INTER I O R? W H AT A R E S O M E O F
Clockwise from top left Travertine flooring from Euro Marble greets visitors. Planters from Garden Life flank the front door. Opposite the powder room, a seat upholstered in fabric by Madeline Weinrib creates an inviting nook. ‘Crystal Bulb’ pendant light by Lee Broom from Space. ‘Baby Bishop’ ceramic stool in Platinum by India Mahdavi from Studio ALM. Handpainted de Gournay wallpaper. In the hallway, an artwork by Hiromi Tango from Sullivan+Strumpf. In the background, a Maxalto ‘Febo’ armchair by Antonio Citterio from Space in Carnival fabric by Christopher Farr Cloth.
YOUR FAVOURITE DE SIGN ELEMENTS? A neutral palette is scattered with flecks of rich blues, salmon pink and grey tones mixed with textural elements like oak veneer, velvet, bouclé, marble and rattan. The pared-back elegance is both functional and luxurious. A Juliet balcony off the living room can open to reveal the view to Bronte beach, and in winter we can hunker down in front of the fireplace. H OW D O E S TH E SPACE R EFLEC T YO U R D E S I G N S ENS IB ILITIE S? The spaces are a culmination of several years of research and learning that led to me developing my own style as a designer. This draws from varied influences including time growing up in Asia. We always travelled as a family and, having lived in London and New York, it gave me more exposure to international art and culture. I S YO U R H O M E A S A N C T UA RY O R D O E S I T D O U B L E A S A W O R K S PACE? The newly renovated home office is where I work. My husband also works from home from time to time. Our home is without question my sanctuary. I feel blessed to have had the opportunity to collaborate and create the spaces we live in. I have learnt almost everything I know from working on our home. W H AT D O YO U EN J OY A B O U T LIV IN G IN YO U R H O M E? I appreciate it from every angle. I never get tired of seeing it at different times in the day, and still marvel at the smallest elements that, in my mind, make it such a work of art. We can gather as a family but then retreat to separate living spaces when the need arises. IS THERE A PERI O D O R ST YLE THAT APPE AL S TO YO U? Having lived in New York for many years, it was breathtaking to look up and admire the art deco and modern architecture of buildings such as the Empire State and Chrysler buildings. I also appreciate the more simplistic and functional approach of Scandinavian design. IF YO U D ID N ’ T LIVE IN B RO NTE, WHERE EL SE WO ULD YO U LIVE?
New York … again! WHICH OTHER DESIGNERS, ARTISTS AND ARCHITECTS ARE
I’m inspired by contemporaries – India Mahdavi, Patricia Urquiola and Sebastian Herkner, to name a few – but I’m more and more inspired by the work of local talent. Artists such as Henry Wilson, denHolm, Daniel Boddam and interior designers including Yasmine Ghoniem from YSG, David Flack, Arent&Pyke and Alexander & Co pioneer a unique blend of Australian contemporary design. I am also obsessed with lighting design. My current favourite is Entler from the US. WHAT PROJECTS ARE YOU LOOKING FORWARD TO? I am collaborating on a couple of beauty salons with my friend Narelle Wenzel from Flatiron Drafting. I really enjoy the ‘laugh out loud’ moments we have, making it a lot of fun. I also look forward to working on a dream residential job with a client who is happy for me to have free rein. Fingers crossed! suzannejulianinteriors.com; tobiaspartners.com INS PIR IN G YO U AT TH E M O M ENT ?
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Beauty and
BEYOND
Model, muse, esteemed jewellery designer and passionate human rights advocate Elsa Peretti lived a rich life that was filled to the brim with mastery and meaning. Words JE AN WRIGHT
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P H OTO G R A P H Y © T H E H E L M U T N E W TO N E STAT E /M ACONO C H I E ( E L S A P E R E T T I A S A BU N N Y, 1 975) ; © C P I S Y N D I C AT I O N/H E A D P R E S S ( L I Z A M I N N E L L I ) .
Obituary
T H E N A M E E L S A P E R E T T I is indelibly linked to Tiffany & Co. and the organic, sculptural pieces of jewellery she created for the brand. What you might not know, though, is that she was also a dedicated and steadfast humanitarian. Elsa’s sudden death in her sleep this March, at the age of 80, has left a void for her many friends and colleagues, as well as the design and artistic world more broadly. She was born into wealth in 1940 (her father founded a major oil company), educated in Rome and Switzerland, and worked as an interior designer in Milan. At 21 she moved to Barcelona, where she began her modelling career, sitting for Dalí and mixing with his artistic coterie. In 1968 she headed to New York, where she navigated her way through the excesses of the late 1960s and 70s as a muse and model for fashion designer Halston, before branching out into jewellery design. Being tall, exotic and sophisticated meant Elsa soon became a firm favourite of top photographers such as Helmut Newton (his image of Elsa in Halston’s bunny costume is nothing short of iconic). Liza Minnelli and Andy Warhol were among her friends, she was a VIP at Studio 54 and a regular at parties in Halston’s hyper-elegant Paul Rudolph-designed townhouse. “Halston taught me so much,” she often said. It was, in fact, Halston who in 1974 introduced Elsa to Tiffany & Co. and, crucially, ensured she held onto the ownership of her name and designs (he had learned this the hard way, famously losing the rights to the Halston name when his business was sold). Elsa brought a “new intensity, a new commitment, a new passion” to Tiffany & Co., former CEO Michael J. Kowalski said. She had an innate understanding of what kind of jewellery people wanted, taking this knowledge and creating some of Tiffany & Co.’s best selling and most recognisable pieces. On day one, her ‘Open Heart’ pendant sold out, and her ‘Bone’, ‘Teardrop’ and ‘Bean’
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designs continue to be top sellers. In the 1980s, she added ‘objects’ for the home – tableware and silverware – to her repertoire. Obsessed with craftsmanship and perfection, Elsa was a savvy businesswoman. In 2013, when she considered retiring and taking her designs with her, Tiffany renewed its contract for another 20 years and sweetened the deal with a reported US$47 million, plus royalties that will continue posthumously. Last year, Tiffany started working with Elsa to re-issue archival pieces. The ‘Bone’ cuff (one of her best-known and most-admired pieces, designed in silver more than 50 years ago) was released in new colourways. Elsa owned many homes – in Tuscany, Rome, Barcelona and New York – but it was the 13th-century Catalan village of Sant Martí Vell that was closest to her heart. In 1968, she bought an old stone house in the largely abandoned village. Gradually, she restored it and other surrounding buildings, including the church where her funeral would be held. This page, clockwise from top In 2020, as Covid-19 tightened left Elsa Peretti as a Bunny, its grip, Elsa retreated to Sant New York, 1975, by Helmut Ma r t í Vel l to foc us on her Newton. ‘Bone’ cuff humanitarian commitments and photographed for Tiffany & Co. by Hiro. Sketches reveal the foundation she had created 20 Elsa’s corporeal inspirations. years earlier in honour of her Fellow Halston muse and father: the Nando and Elsa Peretti Studio 54 habitué Liza Foundation. “It is the only thing Minnelli sports Elsa’s ‘Bone’ cuff. Opposite page Elsa that gives me hope for mine and Peretti in her Manhattan everybody’s future,” she said of her apartment in 1974, shot by foundation and the broad range of Duane Michaels. projects it supports – cultural, scientific and educational, with an emphasis on human rights, especially for women and children. Elsa’s passion for art extended beyond jewellery: she loved the theatre and the tiny Teatre Akadèmia she created in Barcelona is something of a jewel itself. Her vision was to modernise theatre and in the months before her death her focus was on ensuring the future of the actors and performing-arts professionals that were hit hard during Spain’s strict Covid-19 lockdowns. “For me, to be a good designer is the simplest thing in the world,” she once told Vogue. “But to be a good human being, that is going to be hard. I’d like to try though.” These are words she truly lived by. nandoandelsaperettifoundation.org
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This page An open office on the ground floor features a ‘Chandigarh’ armchair by Pierre Jeanneret from Studio Hacienda. American oak walls finished in Osmo oil. Render painted in Dulux ‘Natural White’. Tretford carpet in Double Cream from Gibbon Group. ‘Jamila’ limestone floor tiles from Gather Co. ‘Burano’ linen curtains in Dune from Warwick Fabrics.
GOLDEN age
Photography FELIX FOREST
Transformed by Those Architects, a former Sydney restaurant pirouettes into a luminous HQ with a natural inner glow for growing fashion force Aje. 55
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HO HAVE BEEN SOME OF YOUR ENDURING
Edwina Forest, Aje co-founder and designer: Adrian (Norris) and I have been creative partners for more than 13 years and always found ourselves to be moved and grounded by art, especially in the textural realm. We have been fortunate to have collaborations with two favourite Australian artists, Brett Whiteley and Minnie Pwerle, and have most recently taken inspiration from influential French architect Charlotte Perriand, celebrating her egalitarian mindset and iconic mid-century designs. WHAT WAS YOUR BRIEF TO THOSE ARCHITECTS? EF: To reflect the Aje brand ethos of an all-embracing, immersive space that
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is reflective of our 20 retail locations. We made a concerted effort to maintain a beautiful flow from the entry, through the open and light-filled showroom which possesses such a light and spacious feel to it. Looking up to the central glass atrium provides a wondrous sense of calm and tranquillity to the showroom, where stylists, media and celebrities can browse the latest collections and explore with ease. It was so important to take the time to celebrate the unique qualities and touchpoints specific to location within the building, especially with respect to its heritage and imperfections. We also wanted to ensure there were areas created throughout the space that allowed people to relax together, or to find personal reprieve, away from their desks or the communal areas – little breakout zones.
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This page, clockwise from top left The newly minted exterior in Resene ‘Soft Apple’ and ‘Soapstone’. Custom rolled-steel tube balustrades powdercoated in Dulux ‘Pale Eucalypt’. ‘Muse’ sofa in Oyster linen and sofa, chaise longue and ottoman in Dune velvet, all from Sarah Ellison. Audoux-Minet rope chair from Tigmi Trading. ‘Anton’ sconces from Volker Haug. Coffee table from Scene. In a casual meeting area, ‘Pillar’ onyx lamp from Studio Henry Wilson and Fferrone glassware from Becker Minty. Sconce from Lighting Collective. Opposite page Aje co-founder Edwina Forest at her Thonet ‘S 285’ desk by Marcel Breuer with ClassiCon ‘Roquebrune’ chair by Eileen Gray, both from Anibou. Artwork by Felix Forest. Lamp from The Vault Sydney.
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Creative Space
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WHAT WERE SO ME O F THE CHALLEN G E S O F THE SPACE AND
HOW DID YOU BAL ANCE THE REQUIREMENTS OF A WORKING
Ben Mitchell, co-founder and director of Those Architects: It’s always going to be a challenge when you inherit a 130-year-old building with a heritage overlay, not to mention its chequered past when a fire tore through it. We were struck by two things: one was the chance to reinstate the legibility of the original building fabric and how to overcome the lack of natural light and ventilation given the deep, broad footprint. The building was a layer cake of construction, mostly ad hoc over many iterations of its lifespan. Most windows had been blacked out, bricked in or removed. Interiors were dark, damp and level changes abounded rendering it impossible to orient oneself within the space. We introduced a central void to flood natural light and ventilation deep into the plan and allow visual orientation.
OFFICE WITH YOUR CRE ATIVE AMBITIONS FOR THE BUILDING?
HOW DID YOU RE SOLVE THEM?
BM: The ability to uncover and preserve the heritage building fabric and satisfy the requirements of the modern office is the triumph of this project. By carving a void through the central floorplate and creating a triple-height space we were able to axially arrange the floor plan around this central ‘courtyard’. This strategy gives equitable access to natural light and ventilation. The atrium promotes a sense of community. WHAT ARE SOME OF YOUR FAVOURITE DESIGN ELEMENTS? EF: The interiors have signature Aje design touchpoints and artisanal details: textural rendered arches meet large-scale raw travertine tiles, curved walls are overlaid with upcycled timber battening, high ceilings with exposed raw timber beams meet walls of wooden windows, wooden balustrades and handmade
This page An overscale lamp from Tamsin Johnson is a striking feature on the travertine-topped reception desk. ASH NYC ‘Pillow’ chair from Studio ALM.
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brass sconces. All these tactile elements embody the perfect coming together of the urban and the coastal design codes at the core of our brand. We have works from many Australian artists and furniture designers – Felix Forest, Henry Wilson, Tamsin Johnson, Chanel Tobler, Sarah Ellison, Dinosaur Designs, Maison Balzac – as well as mid-century designer pieces in a natural colour array of woods, travertines and leathers that allow the space to feel unique, creative and welcoming and reflect the aesthetic of our boutiques. COULD YOU DESCRIBE A T YPICAL DAY IN THE OFFICE? EF: No two days are the same which is why the creation of a space that feels inspiring yet innately grounding and nurturing for all of us who work within its beautiful walls was so important. The sense of serenity and refinement that has been created provides the perfect foundation for all wild and wonderful days to springboard from. WILL YOU USE THE OFFICE TO ENTERTAIN CLIENTS AND INDUSTRY?
This page, clockwise from top left In Adrian’s office, table lamp from Tamsin Johnson and Pierre Jeanneret ‘Box’ chair from Studio Hacienda. Workstations crested with sweeping curves. In Edwina’s office, ‘Pillar’ lamp from Studio Henry Wilson and Thonet ‘S 32 V’ chairs from Anibou. Adrian Norris and Edwina Forest founded Aje in 2008. “Marrying volume with sculptural proportions and contrasts of tough femininity, raw beauty and effortless cool” is the brand’s essence, says Edwina. “There is always an instinctual movement towards natural fabrics in tonal hues and artisan design details. This is woven through our 20 retail locations and beautiful new office through the use of raw travertine, render, timber battening, linens, leathers and copper, creating a luxurious and balanced backdrop for our collections.”
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EF: This is a collaborative space often bustling with bodies in the fashion, lifestyle and interior space selecting samples for editorial or upcoming fittings – or popping by for a meeting. Currently, we are preparing for our upcoming Resort 22 runway show, as well as a new launch – Aje Athletica – so we’ve been able to transform the environment for our changing needs – for castings, fittings, shoots and inviting collaborators to work from this space. WHICH OTHER ARCHITEC TS, DE SIGNERS, ARTISTS, MUSICIANS AND
EF: Visiting interesting art foundations has been an enduring source of influence – favourites include Boros Foundation, Fondation Maeght and Fox Jensen. I also love Axel Vervoordt, Pierre Yovanovitch, Studio Oliver Gustav and our dear friends Maison Hand and Grandiflora. ajeworld.com.au; thosearchitects.com.au; milligangroup.com.au W R I T E R S A N D D O YO U A D M I R E ?
Art and soul
Sydney architect and new Foundation chair of the MCA Nick Tobias sees beauty not only in buildings, but also in the act of helping construct a forward-looking public collection of Australian art.
P O RT R A I T P H OTO G R A P H Y BY K R I ST I N A SOL J O. I N STA L L AT I ON V I E W, M C A COL L ECT IO N : P E R S P ECT I V E S ON P L AC E , M U S EU M OF CON T E M P O R A RY A RT AU ST R A L I A . W OR K S P U RC H A S E D W I T H F U N DS P ROV I D E D BY T H E M C A FO U N D AT I O N , 2 0 1 6 . A S TOL D TO TA N YA B U C H A N A N . [ 3 ] ST U D I E S FOR A M I R RO R 1 ( M AY ) , 2 0 1 6 , BY COE N Y O U N G . I M AG E CO U RT E S Y O F K RO N E N B E RG M A I S W R I G H T. [ 7 ] T H RO U G H T H E WA L LS , 2 02 0 , BY L I L L I A N O ’ N E I L . I M AG E CO U RT E S Y O F T H E COM M E RC I A L G A L L E RY.
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This page Architect and art lover Nick
Tobias is pictured at the ‘MCA Collection: Perspectives on Place’ installation. Goowoolem Gijam – Gija Plants by Shirley Purdie (wall) and Foundations III by Megan Cope (floor).
1 SO NICK, YOU'VE TAKEN ON A NEW ROLE AT THE MUSEUM OF CONTEMPORARY
Yes, over the past 15 years I’ve had various roles. Early on, I was involved in setting up the MCA’s Young Ambassadors program and was on the committee. About seven years ago, I joined the MCA Foundation. Then two years ago, I became a board director and now I’m the chair of the Foundation. So it’s been a long association – and it has been beautiful. The MCA is an institution that focuses on living Australian artists: that’s what it collects and predominately shows. One of the many contemporary Australian artists I really admire is Shaun Gladwell [1]. We’re not dissimilar in age, so I’ve feel a bit like my life and career has grown alongside his. WHO ELSE IS IN YOUR PERSONAL COLLECTION? I have some beautiful works by Coen Young [3], Lillian O’Neil [7], Daniel Boyd – his urban indigenous multimedia art is incredible – and Fiona Lowry. She’s an artist whose work I bought years ago, and who just keeps coming back with impressive pieces. OK, SO HOW'S YOUR HOUSE GOING? My house is good. In three weeks I should move in. The outside is probably another three weeks behind that. HAVE YOU INCORPORATED A LOT OF MUST-HAVES? It’s been a fast project. I wish, in some ways, that I could’ve spent years working on it. So, it’s not my ultimate creation – it’s a renovation not a new build. The speed at which I undertook this reno has meant there have been constraints. DON'T YOU THINK CONSTRAINTS ARE A GOOD THING? I think limitations are a necessity. It’s been a process of fast decision making and that makes the whole thing more intuitive, which can be lovely. WHAT ARE YOU READING? The Songlines by Bruce Chatwin. I’m going to Arnhem Land later this year and I’m gearing up for that trip with this book. I read a lot of things at once, so I also have The Pilgrimage by Paulo Coelho and Call of the Reed Warbler by Charles Massy on the go. IN TERMS OF MUSIC, WHAT ARE YOU ENJOYING? I love music and my tastes are pretty diverse. I might wake up and listen to some Dvorak cello concerto or some great Fauré choral works or Rachmaninoff. Then later I will put on some jazz – Bill Evans [2], Quincy Jones or Duke Ellington. HOW WOULD YOU DESCRIBE YOUR TASTE IN FASHION? I buy things I’ll wear to death and I like technical wear, because I’m really into sport – jackets, puffers, spray jackets, ski wear and definitely the right shoes. Brands like Arc’teryx and Musto, which is for sailing, appeal to me. For office wear, I have four or five pairs of Acne jeans I’ve worn to the office every day for the past who-knows-how-many years with P. Johnson shirts. When I’m hanging out at home I lean towards simple, quirky clothes. I do love Bassike, but one of the things I wore so much this summer was a kaftanstyle dress shirt [6] from P. Johnson – it’s a shirt that goes to the floor. I wore it to the beach, the shops, everywhere. I’d throw it over my boardies. WHAT ABOUT WATCHES? I once met a guy who was thinking about taking on the agency for Panerai watches [5]. He showed me some samples and I said, ‘hey mate I’ll give you cash for that watch right now.’ That was about 17 years ago and I had never seen anyone else with one. In the last couple of years I’ve been mainly wearing an Apple watch. It has an allvelcro strap I love. I’ve taken it kitesurfing, windsurfing, diving, jumping out of helicopters – it’s been a great watch through all of that. DOES YOUR LOVE OF DESIGN EXTEND TO CARS? It does, to a degree. Last year I bought a car that I have coveted since I was a kid: it’s an Audi RS 4 [8], so kind of like a souped-up Porsche 911 in station wagon form. It’s practical but you could drive it around a track at breakneck speed. This has long been my dream car: it’s understated yet awesome. DO YOU HAVE A FAVOURITE PIECE YOU'VE PURCHASED FOR HOME? I bought an Edra ‘On The Rocks’ sofa [9]. I’ve never owned anything from Edra – and didn’t think I ever would – but this sofa is going to be spectacular. It should arrive in a few weeks. It is a crazy, really cool piece: the way the ‘sausage’ cushions moves; the versatility. The quality and comfort is off the charts. WHAT COLOUR DID YOU GET? Well, I chose a beige colour and the fabric looks a bit like a cat that’s been in a fight – part fluffy, part not! It’s weird and I love it. So, that I think will be exciting to have in the house. This is a piece of furniture that’s really quite unusual. It’s like a piece of art itself. tobiaspartners.com ART?
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From simple stools to classic cabinets, these dreamy pieces will stash your bedtime essentials, hold a beautiful lamp and display an arty treasure that’s easy on the eye. Photography EDWARD URRUTIA Styling LUCY MONTGOMERY
ST Y L I ST ’ S A S S I STA N T S J ACO B OLS E N , G A B R I E L L E M c C A B E A N D A R I ST I N E D OB SON
in the CLOUDS
This page, clockwise from bottom left Design Within Reach ‘Edge’ bedside table in Walnut, $1240, from Living Edge. Erez Ben-or Hand Built #23 ceramic sculpture, $370, from Planet. ‘Cloud’ bedside table in American oak and Calacatta Viola marble, $4500, from Zuster. Katarina Wells Cheek to Cheek stoneware sculpture, $1300/pair, from Curatorial+Co. ‘Pierré’ side table in marble, rattan, steel and teak, $975, from Sarah Ellison. Bamboo floor lamp in the manner of Jacques Adnet, $2750, from The Vault Sydney. Italian vintage cabinet, $12,000, from Conley & Co. Lucas Wearne ‘Usagi’ limestone wall relief, $1950, from Curatorial+Co. ‘Teserra’ stone table in Palladio Red, $2200, from Euro Marble. Curtain in ‘Republic’ Belgian linen sateen, POA, from Simple Studio.
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These pages, clockwise from far left ‘Orla’ bedside table in oak veneer, $1365, from Grazia&Co. ‘Del Rio’ plaster lamp with linen shade, $1500, from Lucy Montgomery Collection. Chelsea Textiles bedside table with brass-trimmed wicker handles and brass legs, POA, from Tigger Hall Design. ‘Amsterdam’ bedside table, $1295, from Coco Republic. William Versace Nonni Bone White cast resin and powdered pigment sculpture, $1750, from Curatorial+Co. Gold bedside table, $7500, from Conley & Co. MD House ‘Orbit’ bedside table in vintage oak veneer, $2395, from Fanuli. Visual Comfort ‘Armato’ ceramic table lamp with linen shade by Kelly Wearstler, $1375, from Bloomingdale’s. De La Espada ‘Classon’ bedside table in gloss HDF, black oiled walnut and brass, $8040, from Spence & Lyda. Liz Stops DIY Series Upside Down Half Drill #2 porcelain sculpture, $305, from Planet. Handvärk side table in grey marble and black powdercoated metal, $1400, from Fred International. De La Espada ‘Companions’ bedside table in oak and cork, $2435, from Spence & Lyda. Ukali stool in vintage teak, $499, from Water Tiger. On bed, from top Sealy bed ensemble, POA, from Domayne. Custom linen bedhead, POA, from Lucy Montgomery Collection. ‘Abbottson’ fitted sheet, $300/queen, from Sheridan. Society Limonta ‘Saten’ pillowcases, $295/pair, in Bianco. ‘Woca’ blanket in Naturale, $760, ‘Rem’ quilt in Mastice, $1090, and ‘Free’ blanket in Bianco, $875, all from Ondene. Linen valance, $310, from Cultiver. Curtain in ‘Republic’ Belgian linen sateen, POA, from Simple Studio.
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C O M P O S E A R E S T F U L B E D T I M E S T O RY W I T H C H A L K Y P L A S T E R , P O L I S H E D M E TA L L I C S A N D R U S T I C T I M B E R S .
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This page, clockwise from left Poltrona Frau ‘Fidelio Notte’ night table in marble and leather, $11,330, from Cult. Liz Stops DIY Series Upside Down Altered Mallet porcelain sculpture, $305, from Planet. ‘Halo’ bedside table in American oak and Carrara marble with brass feet, $4500, from Zuster. Erez Ben-or Hand Built #18 ceramic sculpture, $570, from Planet. ‘Angularity’ side table in spotted gum, $990, from Planet. ‘Geo Drum’ rammed concrete side table, $1980, from Daniel Boddam Studio. Fogia ‘Pastille’ oak and metal side table, $2520, from Fred International. Natalie Rosin ‘Kimbell 3’ ceramic sculpture, $300, from Jardan. ‘Teserra’ side table in Verde Van Gogh, $2200, from Euro Marble. Curtain in ‘Republic’ Belgian linen sateen, POA, from Simple Studio. ‘Indian Terra 1’ rug, $8350, from Cadrys. Opposite page, from left Sealy bed ensemble, POA, from Domayne. Custom bedhead, POA, from Lucy Montgomery Collection. ‘Abbottson’ fitted sheet, $300/queen, from Sheridan. Society Limonta ‘Saten’ pillowcases, $295/pair, in Bianco. ‘Woca’ blanket in Naturale, $760, ‘Rem’ quilt in Mastice, $1090, and ‘Free’ blanket in Bianco, $875, all from Ondene. Linen valance, $310, from Cultiver. ‘Savannah’ wool rug, $1640, from Armadillo. ‘Portsea’ side table in travertine, $3190, from Daniel Boddam Studio. Asobimasu ‘Kyokusen’ ceramic vase, $110, from Jardan. C18th-century Spanish walnut side table, $3600/pair, from The Vault Sydney. ‘Minerva’ plaster lamp with linen shade, $1500, from Lucy Montgomery Collection. ‘Pepper’ side table in oak two-pack, $1232, and Asobimasu ‘Kyokusen’ ceramic vase, $155, both from Jardan. Curtain in ‘Republic’ Belgian linen sateen, POA, from Simple Studio.
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Handmade culinary architecture. Designed and created for you in France, since 1908. www. l aco rnu e.com .au www.e ands.com . au
Available at
E L I S E W E A R S C LOT H I N G BY B OS S .
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C H A R L O T T E ’ S S T Y L E is sublime and
sophisticated. There are not enough superlatives to capture the spectre of the new Rolls-Royce Ghost Extended – longer and more lavish than ever before. Every finish is ultra-opulent, from the 850 stars which illuminate the roof, massaging seats and a rear Champagne fridge with two cooling settings: six degrees for nonvintage, and 11 degrees for vintage bubbly. Despite its provenance, price and power, the Rolls-Royce is not flashy; it’s quietly and classically confident much like designer Charlotte Coote. Charlotte’s passion for design was ignited by her late father, larger-than-life interior designer John Coote. Charlotte spent a great deal of time in Ireland at the magnificent 18thcentury Irish Georgian house, Bellamont Forest, which had been built for her ancestors and bought back and restored by her father in the late 1980s. In 2007 Charlotte started her own Melbourne-based business, Coote&Co, which specialises in classic contemporary, high-end residential interior design. Charlotte brings that assurance to everything she does, including sliding with confidence behind the wheel of the $1 million Bohemian-red RollsRoyce for a day. There’s an Irish twinkle in her bright blue eyes. “Shall I bring Champagne to fill the bespoke fridge?” Charlotte asks. It’s okay; Rolls-Royce has already done the honours!
GRAHAM GEDDES ANTIQUES Charlotte effortlessly reverse parks the Ghost Extended on Armadale’s busy High Street, jagging a space right outside Graham Geddes Antiques. Our first stop is a sentimental one. John Coote and Graham Geddes were interiors pioneers in the 1980s, introducing an entire new aesthetic with the global, timeless appeal of antiques. What’s more, Charlotte’s first part-time job during the school holidays was polishing the furniture here. “Graham was terrifying back then! He only paid me nine dollars an hour,” laughs Charlotte. “But working here provided a brilliant education. It instilled in me an appreciation of antiques and their significance in history. I was surrounded by beautiful objects. The smell of polish still reminds me of this place to this day,” says Charlotte. Like Aladdin, Graham appears from his cave of wonders. “Oh, Charlotte, you’ve grown so tall!” he muses. Charlotte gives the less than terrifying Graham a big squeeze. “I’m not 13 anymore,” she quips. From the dense, dizzying display of objects, Charlotte chooses two pieces: a late 2nd or early 3rd-century Roman white marble torso of Apollo and an exquisite 1810 celestial globe from a collector in Jaipur. Both pieces fit snugly and safely in the boot of the Rolls. grahamgeddesantiques.com.au
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SCOTT LIVESEY GALLERY Despite the Rolls-Royce’s generous length, Charlotte executes an efficient three-point turn and drives down High Street to Prahran and our second destination. While Scott Livesey started his eponymous business 22 years ago, he only recently bought and renovated this light, bright and ethereal space. Scott stocks mainly Australian artists, including bold works by Dick Watkins who is still painting and producing in his 80s. After much deliberation, Charlotte settles on a small piece by Sydney artist Alesandro Ljubicic. scottliveseygalleries.com
This page, clockwise from top Vibrant works by Australian artist Dick Watkins capture Charlotte’s attention at Scott Livesey Galleries. The Rolls’ capacious 500L boot easily stashes the treasures that Charlotte has sourced. A small work by Alesandro Ljubicic wins the designer’s heart. Opposite page, clockwise from top left Charlotte in the cabin of the Rolls-Royce getting to grips with the leather-covered steering wheel. Perusing the eclectic artefacts at Graham Geddes Antiques. The Rolls-Royce takes to the streets of Melbourne with aplomb.
“Glamorous, strong and sophisticated, it’s the vehicle we all aspire to drive.” 73
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CADRYS It’s no secret Bob Cadry is a car lover. The owner of Australia’s oldest and leading retailer of antique, classic and contemporary rugs is waiting out the front of his Melbourne showroom for the Rolls-Royce’s arrival. What’s more, he’s reserved a spot. Bob’s passion for rugs is just as infectious. His father Jacques Cadry established the business in 1952 upon his arrival from Tehran, Iran. Today, Cadrys boasts the country’s largest collection of decorative and antique rugs from Persia, Afghanistan, Morocco, Turkey and India. “Dad was a great collector and advocate of the weavers’ art. I’m honoured to pass on the tradition,” says Bob as he brushes a Persian Qashgai kilim. “A handwoven rug is a work of art, yet the piece is rarely signed. They are often made by humble people keen to pass on culture and tradition. A rug possesses a talismanic quality; it’s imbued with mystery and history. They have adorned many great palaces in the world,” says Bob. Charlotte loves working with rugs. “They add texture. They’re so tactile,” she says. She is interested in the latest range of Cadrys shearling rugs – a textile traditionally used for European coats and jackets. They’re impossibly soft and luxurious, and match the sheepskin mats in the Rolls-Royce. cadrys.com.au
DOMUS TEXTILES Across the road is Domus Textiles which features heavily in Charlotte’s work. Her favourites are Colefax and Fowler and Nina Campbell’s fabric and wallpaper – fittingly, two brands embodying British sophistication. “I appreciate Nina’s lush, textured weaves in an earthy palette,” says Charlotte. Today, however, Charlotte is poring over 100 per cent Belgian linen in Glacier by Manuel Canovas with Domus’s Julie Clark. domustextiles.com.au
This page, from top Charlotte indulges her passion for fine rugs at Cadrys. Motoring fan Bob Cadry reserved a spot out the front of his Melbourne store in anticipation of the arrival of Elise (left) and Charlotte in the Rolls. Julie Clark of Domus Textiles guides Charlotte in her selection of fabrics in the Melbourne showroom. Opposite page, clockwise from top left Charlotte takes a closer look at William Yeoward pieces at Cromwell. The control panel of the Rolls-Royce Ghost Extended. Iconic high-fashion store Le Louvre is one of Charlotte’s perennial favourite destinations.
CROMWELL The Ghost floats down to Cromwell, also in Prahran. This wholesale-only showroom is a furniture, lighting and interior accessory mecca for designers and decorators. Cromwell sources several brands, including Jonathan Charles, Theodore Alexander, Currey and Company, and Lexington. “I love that Cromwell is a family-run business and has been so for more than 50 years. I feel as if every time I come here they know my style and what I like on projects. There are always new items coming in and, most importantly, they are always on time,” says Charlotte, who is a particular fan of the late William Yeoward, one of London’s leading creative forces. She has her eye on his ‘Broxton’ console. “Yeoward based his design on older European 18th-century furniture pieces and adapted and updated them giving them a contemporary feel and finish,” says Charlotte. She also has her eye on his ‘Ruthin’ coffee table with signature spot design. cromwellaustralia.com.au
LE LOUVRE Our final destination is high-fashion haven Le Louvre. Founded in 1923, the boutique brought European couture to the city and today is this fashionista’s favourite haunt. “I’ve been coming here since I was a little girl!” exclaims Charlotte as she pulls the RollsRoyce up under the iconic pink neon Le Louvre logo. “You have to look good for good interiors. I particularly love the designers stocked here, including Stella McCartney, Jil Sander, Saint Laurent and Chloé.” Charlotte tries on a Saint Laurent red cotton corduroy blazer. It matches the Rolls! Consider it sold. Now where’s that celebratory Champagne? lelouvre.com.au
CHARLOTTE’S FINAL THOUGHTS …
ROLLS-ROYCE GHOST EXTENDED DESIGN Glamorous, strong and sophisticated, it’s the vehicle we all aspire to drive. RollsRoyce says this car “rejects superficial expressions of wealth” but it’s extremely luxurious inside. I like how pleasant the leather-wrapped steering wheel feels between my hands. The red stitching on the interior that perfectly matches the exterior paint is a lovely touch. The lambswool floor mats feel divine. Even the mirror is perfectly lit for applying makeup.
D R I VA B I L I T Y Initially it could feel intimidating to drive but in a short while it becomes intuitive. I quickly learn where the various controls are located and how to manoeuvre the vehicle. Despite its imposing size it’s incredibly fast. I floored it a couple of times and it really took off. It’s incredibly smooth to drive over Melbourne’s potholes and tram tracks thanks to that magic-carpet-ride suspension. And despite its power (provided by a 6.75-litre twin-turbo V12 engine) it’s extraordinarily quiet in the cabin. Steering it around busy streets is actually a peaceful experience. Out on the road this car garners a great deal of attention and respect. Everyone stares, and drivers let you in the traffic.
FUNCTIONALIT Y The Ghost Extended has that delicious smell – an exceptionally elegant new car smell! The 500L boot could hold just about any artefacts I source. The doors that self-close with the touch of a button are brilliant. It’s incredibly spacious. I just won’t be letting my black labrador inside!
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Project: Surry Hills | Designer: Alexandra Brown Interiors | Stylist: Olga Lewis | Photographer: Pablo Veiga
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Perched high on a hill and anything but provincial, Pia Francesca’s home is a perfect canvas for her elegant eclecticism with its monochrome scheme and verdant outlook. 78
This page The home occupies an elevated position surrounded by established trees – golden ash, decorative cherry and maples – which reflect the changing seasons. The angular structure is a striking feature in the landscape with black sheeting for the upper storey and Dincel concrete walls in a white textured finish below. Opposite page The Enzie spiral staircase gracefully sweeps from the entrance to the living spaces above. Sculpture by Phyllis Koshland from Robin Gibson Gallery. Walls in Dulux ‘Half Lexicon’.
C O U N T RY H O M E S
or Pia Francesca, a tree change certainly didn’t mean leaving city sophistication behind. The interior designer’s inimitable mix of sleek and soulful pieces with a collection of global treasures has translated perfectly from her former pied-à-terre (featured in Belle August/September 2017) to this monochrome abode in the Southern Highlands. How did you first encounter your home? Luckily a friend alerted us to a new listing knowing we were searching in the Southern Highlands. We arranged a viewing, and gasped as we approached the black gates and sweeping driveway. We committed on the spot after exploring the house – it ticked every box plus more! What initially prompted the move to Mittagong, and what appealed about the home and its location? Longer than ever hot summers in the city had lost their appeal and following a very fast sale of our Darlinghurst apartment we considered where else we would happily live. Located high up on Mt Gibraltar we experience four distinct seasons with only an hour and a quarter’s drive to the city, so our business lives can continue when commuting is necessary. The house is unexpectedly modern for the Highlands and being set on an acre provides plenty of outdoor living and space for our dogs. What did the home’s alterations entail? It was absolutely complete when we bought, so apart from adding a 900mm-wide black Smeg oven and extra dishwasher in the butler’s pantry nothing further was required. Now we are happy just planting more trees. Are there any particular considerations when designing a home in a regional setting such as this? Underfloor heating is a must (we have burnished concrete floors with hydronic heating), huge ‘Eco’ double-glazed »
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This page An artwork by an unknown Indigenous artist was purchased in 1986 and is positioned in the main living area beside the Jetmaster fireplace with a basket from Orient House. A ‘Maki’ chair from MCM House attends the Maxalto console from Space, which extends to become a dining table for eight. New Beginnings bowl sculpture by Ruth Levine from HK Edit. Antique patchwork kelim from Cadrys. Custom armchair from Ondene with canvas slipcover. African timber bowl from Les Interieurs. Opposite page, clockwise from top left In the sitting room, new joinery designed by Pia Francesca and made by Kastell flanks a trio of totemic sculptures: an Aboriginal funeral pole and two by Ruth Levine from HK Edit. Objects on lower shelves include a Greek god head and a carved stool from Orient House. Maxalto ‘Crono’ chairs from Space offer a hit of citrus with custom covers in Élitis outdoor fabric. ‘Joe’ ottomans from MCM House and Hay tables from Cult float on a ‘Malawi’ rug in Saffron from Armadillo. The metal dish on the table was a gift from Madeline Lester. Sofa from MCM House with cushions made from antique kelims. Objects on existing timber shelves include artefacts collected in Bali, an African soapstone statue and amulets from Orient House. ‘Maki’ chair from MCM House.
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This page, clockwise from top left Chairs from Stylecraft upholstered in fabric from Westbury Textiles surround a pedestal table with base from MCM House and Chinese black marble top. On table, dish from Country Road and lantern from Paradise Road, Sri Lanka. Curtains by Simple Studio. Cassina ‘LC4’ chaise longue from Mobilia with side table from LuMu Interiors. Cambodian Buddha head inspired by Colossal Image of Bodhisattva from Emac & Lawton on a custom plinth in black satin polyurethane. A custom armchair from Ondene and Flexform sofa from Fanuli surround a coffee table by Brian Kiernan re-finished in dark timber laminate, all on a rug from Cadrys. On coffee table, Mother & Child sculpture from Howell & Howell Antiques and Tom Dixon ‘Bones’ wire bowl. African timber bowl from Les Interieurs. The console folds out to become a dining table for eight and displays a bowl sculpture by Ruth Levine from HK Edit and a necklace from Orient House.
This page The kitchen was conceived by the previous owner with Calacatta Belga stone benchtops from Euro Marble, Vola tapware and Artek pendant lights by Alvar Aalto. Pia added the Miele and Smeg ovens. Vase from Elizabeth Jones and ‘Dulang’ bowl from LuMu Interiors.
« picture windows and doors to let the sun stream in, plus lowmaintenance finishes especially for when the dogs bring in their ‘presents’! What were some of the ideas and influences that shaped your design scheme? The original owner was influenced by the Aesop showroom in Kyoto, siting the cantilevered black box at the top of the rise to expand the views (to Sydney on a clear day, especially in autumn and winter when the trees shed their leaves). What informed the selection of furniture, art, fittings and finishes? The scale and design of the house with all-white walls was perfect for our existing furniture and artworks, so much so that 24 hours after we moved in it looked as though we’d been here months. I am not one for living with lots of colour but recently, with winter looming, we added a deep saffron-toned ‘Malawi’ rug from Armadillo to add a layer and complement the orange armchairs, which unexpectedly reflect the maple tree in full autumn colour. How would you describe the completed project and what are some of your favourite design elements? Obviously the Enzie spiral staircase and double-height curved wall is a living sculpture in itself but I love the cantilevered glass boxes that allow us to just sit and contemplate. With ceiling heights of 2.7 metres and full-height doors and joinery the house just flows. Nothing is jarring. A huge plus is the fact that all the bathrooms have no wall tiles but floor-to-ceiling Marrakesh render. The full-height windows incorporate glass louvres for great cross ventilation, all with essential fly screens! Thus we rarely need the air-conditioning
in the kitchen area. How does it reflect your sensibilities as a designer, as well as the way you wish to live? I need to live and work in an uncluttered space, with tons of natural light, generous spaces that allow flexibility in furniture layouts and the ability to layer as the seasons change. How does the home respond to the surrounding landscape? The black glass box floats off the ground with the white base anchoring the structure to the slope, with a green vertical wall providing privacy at the rear with established trees – golden ash, maples and clipped hedges – surrounding the property. The architecture is unique in its setting and looks like an entry in British Grand Designs. What do you enjoy most about living here? Often we are in thick mist due to the altitude and storms are spectacular with views extending to the northeast. Autumn is my favourite season as the leaves turn colour and create brilliant ground coverings. Do you have a favourite space in the home? Each space has its individual use – I love waking to the solitude viewed through floor-to-ceiling glass in the mornings (except for the birdlife heralding sunrise); preparing food in the open kitchen while guests sit in front of a roaring fire; the intimate reading room and guest space for a quiet refuge; or gathering on the private terrace in summer. How would you describe the appeal of country living, and the location of your home? The timing could not have been more perfect. We have not missed the city since moving and with COVID hitting we witnessed the mass exodus of people leaving the city for just this sort of life. piafrancesca.com
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This page, clockwise from right In the master bedroom, calligraphy from Peter Moss above armchairs from Ke-Zu with cushions made with fabric from Istanbul. Bed from Poliform with linen from Moss River, Bemboka and HK Edit. Artek pendant light above side table from Ondene. Bathroom vanity in Marrakesh render with Country Road tray and Missoni hand towel. Table from LuMu Interiors. Vola bath filler. In the guest bedroom, a bed from MCM House with Moss River linen. Knitted throw in Pumpkin Spice and bench, both from HK Edit.
“The scale and design of the house with all-white walls was perfect for our existing furniture.”
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G A B L E T I ES Honouring the existing beach cottage on a windswept site, this sleek extension takes comfort to new heights.
Photography TIMOTHY K AYE
These pages The newly built gable-formed extension peeks out from behind the heritage cottage, which was completely renovated and painted in black to make it recede into the landscape. The structures are linked by a glazed corridor, with the cottage housing the more private functions and the extension hosting the living spaces.
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ne of a vanishing breed, this heritage cottage located in a coastal township on the Bellarine Peninsula, near Geelong in Victoria, has received a life-affirming restoration by Adam Kane of Adam Kane Architects of South Melbourne, Victoria. Now skilfully connected to a spacious extension that houses kitchen, dining and living areas via a linking glazed corridor, the cottage has been transformed from neglected and isolated on an exposed site to an eminently liveable family home. What was the client’s brief? When the clients, a young couple, purchased their site in Barwon Heads, it already had an existing heritage cottage on it. Their intention was to keep this piece of history as many similar structures are getting destroyed in the area. They came to us seeking a permanent residence for themselves with a modern yet refined gable-formed extension that responded to the coastal setting. What were the challenges of the site and how did you resolve them? A major challenge was the narrow site running east to west that was also to retain the existing cottage. We sought to maximise natural daylight to the proposed home, as well as to blur the threshold of inside and out. It was critical to enhance this connection with nature, particularly access to the garden, light and natural ventilation, through tall operable glazed doors. The largest of these are the series of 4.5 metre-high glazed sliding and stacking doors adjacent to the heart of the home – the kitchen. Are there any particular considerations when designing a home in a regional setting such as this? How does the project respond to the surrounding landscape? The weather in this area can be brutal at times, particularly the salty winds. Timber was selected as an external cladding given its reference to nature. However, we knew a »
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This page The soaring roof is clad in American oak from Made By Storey with custom stain by Scanlan & Makers. ‘Elio’ modular sofa from MCM House and pair of Pierre Jeanneret ‘Kangaroo’ armchairs from Tigmi Trading, all on a ‘Malawi’ rug in Oatmeal from Armadillo. Opposite page, clockwise from top left A palette of calming neutrals sets a warm scene in the living room where the ‘DS1400’ fireplace from Escea is set within a rendered finish by Carlier & Co and the joinery is in ‘NavUrban Balmoral’ panels from New Age Veneers. Travertine coffee tables by Adam Kane Architects. Linen sheer curtains by Lovelight filter the abundant light coming through the sliding door from All Seasons Windows and illuminate the burnished concrete floor. The two wings of the home.
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« pristine, clear coat finish couldn’t be maintained without an unrealistic amount of upkeep. Wanting to maintain the integrity and texture of timber, we didn’t want to paint the facade, and we knew that anything else would fade significantly where exposed to the sun but would stay ‘orange’ in colour where sheltered. The decision was made to ‘pre-weather’ stain all of the timber so that it looked consistent in colour, and blended in seamlessly with the surrounds. What were some of the ideas and influences that shaped your design? An open-plan gable extension was key to the clients’ initial brief. We wanted to make sure the space didn’t simply feel like an open-plan warehouse conversion with everything on show. Our design was able to create a journey through experience, walking from the cottage through a »
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This page Natural light also floods the living spaces through large glass sliding doors. ‘Bow’ dining chairs by Tom Fereday from Design By Them. ‘Paris’ rangehood from Whispair with custom rendered finish by Venetian plaster specialists Carlier & Co. Opposite page The custom island bench is covered in travertine from Corsi & Nicolai and seamlessly transforms from a kitchen surface to dining table. Fisher & Paykel integrated appliances.
These pages ‘Bow’ dining chairs by Tom Fereday from Design By Them line up at the statement, dual-purpose kitchen island bench and dining table, which sports a sleek Brodware ‘Yokato’ tap in Aged Iron and is topped with a swathe of travertine from Corsi & Nicolai. Custom scratched render splashback by Carlier & Co. New Age Veneers ‘NavUrban Balmoral’ and Ventech ‘Black Core MDF’ finishes on the joinery by Surf Coast Cabinets.
“THE EXTENSION IS QUITE ARCHITEC TUR AL IN FORM, WITH MANY ELEMENTS A L I G N I N G S E A M L E S S LY O N T H E C E N T R A L R I D G E .”
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C O U N T RY H O M E S This page, clockwise from top left A mix of linen bedding from Bed Threads and the ‘Block Stool’ bedside table from Fire-Away Fire Pits add their tactile looks and natural tones to the bedroom. ‘Surface Sconce’ table lamp by Henry Wilson from Studio Henry Wilson. Flooring in ‘Cinder’ engineered oak from Made By Storey. The walls are painted in Dulux ‘Lexicon’. A linen bath towel from Loom Towels drapes over the custom design bath by Adam Kane Architects with finish by Carlier & Co and Brodware ‘Yokato’ tapware in Aged Iron. On the floor are porcelain tiles from G-Lux. Carlier & Co applied a custom render to the exterior walls.
« darker enclosed corridor with lower ceilings giving a sense of compression, then having the main 6.5 metre-high ceilings of the extension reveal themselves unexpectedly with a sense of release. How would you describe the completed home and what are some of your favourite design elements? The extension is quite architectural in form, with many elements aligning seamlessly on the central ridge. By creating this sense of compression and release walking through the space, we were also able to hide a number of more ‘private’ rooms off the dark hallway, with doors concealed to look like wall panels. These rooms and features include a second living area, a laundry, a pantry, storage, and an unassuming black staircase that leads to the master bedroom above, which you don’t even realise you’re walking under until you look back at the space. What informed the selection of furniture, art, fittings and finishes? A number of textures were used to soften the space while at the same time maintaining a limited colour palette. While some textures are strong independently, such as the black mottled walls and ceiling, the concrete floor, the oak ceiling or the stone bench, seen together they create a uniform sense of calm. Equally important was the furniture selection that was undertaken by our office to complete a holistic merging of architecture, interiors and furniture. Were the owners happy with the execution? How do they use the space? By clearly explaining and showing the concept to the owners prior to construction, and resolving details to the smallest of scales, we were fortunate that they had complete faith in our design and required level of perfection. The couple now live here full time. adamkane.com.au
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SURFACE DEEP
Rugged raw finishes deliver a low-maintenance interior with a carefree edge that is tailor-made for a family’s escape from the big smoke.
Photography DEREK SWALWELL
C O U N T RY H O M E S This page Landscaped by Jim Fogarty, the native garden includes coastal and silver banksias that frame the entry to the main living, kitchen and dining space, with native sarsparilla and ‘White Anzac’ bottlebrush at the lower level. ‘Ellis’ curved bench and ‘Anchor’ side table, both from Grazia&Co. Anston circular concrete pavers. Opposite page ‘Valley’ sofa from Jardan. Artek Armchair 41 ‘Paimio’ armchairs by Alvar Aalto from Anibou. Bernabeifreeman ‘Spring’ rug from Designer Rugs. Rotations and Undulations #1, #4, #8, #13, #17 and #21 by Sean Meilak from Niagara Galleries. GB Masonry honed blocks in Porcelain from Brickworks. In-situ polished concrete floor. Victorian ash windows by Feature Doors & Windows.
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ny new build shortlisted for an architectural award in 2021 has, arguably, satisfied the most demanding criteria in many years, given how buildings have had to adapt in the COVID era and be far more than a roof over a family’s heads. Melbourne’s Architects EAT, and its co-director Albert Mo, certainly achieved that with this new build at Flinders on the Mornington Peninsula, which has been nominated in the category of Residential Architecture – Houses (New) at the 2021 Victorian Architecture Awards. What was the client’s brief? I’ve known the clients for a while and have designed commercial projects for them, as well as a house in Melbourne. Perhaps because this is their second home with me, they gave me more latitude to experiment. The brief was very simple – a holiday house where they could escape the city; a house that felt like a home yet was different to their primary home. They wanted somewhere they could invite their friends and family, a house to love nature in and where their children could grow up. Also, there were to be no marble benchtops! It was supposed to be rugged, carefree and very low-maintenance. What were the challenges of the site and how did you resolve them? All I could picture at the start was the amazing clifftop location with views to the ocean. That’s what every architect dreams of – then reality hit. The site is located inland, within the village, and is very, very flat, on a corner block with a single row of mature poplar trees along an unsealed side road, which leads to the back beach. The existing house was structurally unsound and hadn’t been occupied for a long while. In my first visit to the site, what struck me was there wasn’t a consistent character in the area. There wasn’t any particular structure or feature, or house numbers to tell you where you were. So I set myself an »
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This page Ceramics by Mark Young add a curvaceous touch on the hand-trowelled concrete bench by Concrete Collective with Brodware ‘City Stik’ pullout kitchen mixer. Cabinets by Esar Joinery in American walnut veneer. Inax ‘Madoka’ tiles on the splashback from Artedomus. Miele ‘H6260BP’ oven and ‘KM6388’ induction cooktop with Schweigen ‘UMPA95’ rangehood. Brightgreen ‘D900 SHX’ curved LED downlight. Opposite page, from top In the dining area, Gubi ‘Multi-lite’ pendant lights are suspended from a custom electroplated steel cross. Ligne Roset ‘Rocher’ dining chairs by Hertel & Klarhoefer from Domo. ‘Stamp’ dining table by Grazia&Co. Octorondo wire sculpture on dining table by Neil Taylor from Niagara Galleries. Commissioned fibre art wall sculpture by Emma Davies. Custom wall lights by Architects EAT. Custom linen curtain by O’Gorman’s. ‘Trace’ outdoor armchairs by Adam Goodrum and ‘Lily’ tray table by Nancy Ji, both from Tait. Victorian ash door frames by Feature Doors & Windows. Bowral Bricks ‘Hamlet’ pavers in Ash from Brickworks. Concrete joinery handles by Material Immaterial Studio. Wall sculpture by Emma Davies.
This page Commissioned artworks by Tom Adair and a ‘Valley’ sofa by Jardan bring the living area to life. Conde House ‘Barringer’ coffee table by Atilla Kuzu from Apato. Bernabeifreeman ‘Spring’ rug from Designer Rugs. Gubi ‘Multi-Lite’ pendant light suspended from custom electroplated steel. Custom wall lights by Architects EAT in GB Masonry honed blocks from Brickworks. Opposite page, from top In the rumpus room, the blue tones of George Raftopoulos’ artwork Comeback Kid from Studio Gallery are seen in the Ligne Roset ‘Togo’ three-seat sofa from Domo. ‘Anchor’ side table from Grazia&Co. Bernabeifreeman ‘Plateau’ rug from Designer Rugs. The small bowl was a gift from the client’s mother. A ‘Spartacus’ cast-iron fire pit from Schots Home Emporium gets year-round use.
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« “urban” design task to produce something that spoke of its location and created a dialogue to the streets. The real challenge was to balance domestic privacy. I was attracted by the mature poplar trees and wanted to use them as a soft foreground to the house, allowing their shadows to cast onto the facade and animate the surfaces. White concrete masonry blocks were chosen to accentuate the shadows and play with them, creating screens and reliefs for articulations. The result is a long white facade with varying degrees of depth and transparency. With the unusual shapes of the frustum roofs, they evoke street engagements and curiosities. People stop and examine the building. They now affectionately refer to it as the ‘Pyramids of Flinders’. The long facade is essentially a defence mechanism to provide and suggest domestic privacy. Are there any particular considerations when designing a home in a regional setting such as this? The concept of a beach house or a second home is that it is a place to get away with the family or get together with a lot of people. Many of the spaces are to facilitate these collective experiences – kids bunking together, an open washroom doubling as a mudroom, multiple entry points into the house, and different indoor and outdoor living areas. These areas converge when you eat. We aimed to design a house that is permanent and anchored in the sands, as opposed to the lightweight beach vernacular. This is more of a bunker than a shack. What were some of the ideas and influences that shaped your design? I’m fascinated by concrete and its fluid nature while providing structural strength. In the past I have visited the Venice Biennale and seen many works by my architectural idol Carlo Scarpa, in particular the Brion »
« Cemetery in San Vito d’Altivole near Treviso that has more of a direct influence to this house. The internal reverse step concrete pyramids here aren’t because of the Brion Cemetery, however – the idea was to use the same white concrete blocks as on the walls to create the ceiling of the pyramids. But to do so, concrete needed to be the supporting structure behind the blocks. To me this defeated the purpose, and I would rather stay true to the material, so I chose to expose the concrete and make it the final ceiling surface. The heaviness of the concrete structure now makes the external masonry feel like eggshells, with complex engineering and detailing. The real connection to Scarpa’s work was made with stepped detail such as the kitchen bench and window shrouds. We even found someone in India to make door and joinery handles for us that resemble this detail. The obsession with concrete then extends to the blocks and pavers. We’ve rotated the blocks in various ways to create screens, wall lights and entry shelves. The pavers used externally in the landscape are brought into the house, to become walls, bathroom vanities, the base for the kitchen island, the joinery and the fireplace. We specified to retain the ‘frogs’ in the bricks and expose them to become a feature, rather than hide them in mortar. A frog is a depression in one bearing face of a moulded or pressed brick. This reduces the weight of the brick and makes it easier to remove from the forms. How would you describe the completed home and what are some of your favourite design elements? I like the entry sequence of the house. It starts from entering the pedestrian gate on the main street, with the dusty pink brick pavers providing a conduit between the native garden and the build structure. Through a gap between the »
C O U N T RY H O M E S This page Seaside shades also feature in a master bedroom highlighted by Sam Michelle’s diptych Red Charm Peony & Daffodils from Gallery Smith. ‘Finley’ bed and ‘Navy’ bench from Jardan. On the bench is a vintage Kantha quilt from Scarlet Jones. ‘Olsen’ linen quilt cover by Morgan & Finch. ‘Cloche’ pendant light by Porcelain Bear. Tretford carpet in Sage from Gibbon Architectural. Opposite page, top and bottom left Inax ‘Madoka’ wall tiles from Artedomus have an almost hypnotic effect in the ensuite. The bench was made with Bowral Bricks ‘Hamlet’ pavers in Ash from Brickworks. Custom marble basin in Breccia Giallo from Artedomus, designed by Architects EAT. Brodware ‘Yokato’ tapware. Ceramics by Mark Young. ‘Cloche’ pendant light by Porcelain Bear. Top right On the deck, a ‘Trace’ armchair by Adam Goodrum and ‘Lily’ tray table by Nancy Ji, both from Tait. Victorian ash doors by Feature Doors & Windows. Custom linen curtain by O’Gorman’s.
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« long facade and the garage, an outdoor shower is provided for washing off wetsuits and other gear after a trip to the beach, then the space opens up to the inner outdoor sanctum. Internal living spaces look into this north-facing courtyard garden. Once inside, the largest two of the frustum roofs reveal their internal structure – the reverse step concrete pyramids. The skylight in the centre provides all-day illumination to the living and dining areas. I also like the casualness and looseness hinted by various elements – the wetsuit racks, the two open yet private outdoor showers, the firepit and the dining area, which can be completely opened up to the cosy barbecue deck. How does the project respond to the surrounding landscape? We were blessed by our landscape architect Jim Fogarty, who we worked with on the client’s Melbourne house seven years earlier. Jim has intimate knowledge of the local landscape, as he has a house not far from this site. Flinders’ microclimate is different to Melbourne’s. It is often very wet, hence the chosen plants are all native species without requiring any irrigation. Jim’s hard landscaping echoes the architecture, from its detailing to its form and materiality. What informed the selection of furniture, fittings and finishes? Half the furniture and fittings are local, from Jardan, Grazia&Co, Tait and Porcelain Bear, while the rugs are by the client’s friends Rina Bernabei and Kelly Freeman for Designer Rugs. The other half are more iconic – a ‘Paimio’ chair by Alvar Aalto for Artek, ‘Rocher’ chairs and a ‘Togo’ sofa by Ligne Roset, a ‘Trapeze’ wall light by Apparatus, a ‘Multi-Lite’ pendant by Gubi, as well as a ‘Barringer’ table by Conde House. We designed our own custom-made Breccia Giallo marble basins and electroplated nickel silver basin. What informed the selection of the art? Client: It is an eclectic collection
and based only on the beauty we saw in each piece. Some were purchased after love at first sight; others were purchased after careful consideration of how they would complement the space. Beauty, form, colour, texture and subject were all elements that spoke to us when choosing art to fill the walls. We placed an emphasis on supporting local artists and Melbourne galleries. We commissioned pieces from Tom Adair, Emma Davies and Andrew Taylor, and found them a joy to collaborate with. These three very different artworks showcase their talents and celebrate the unique areas where they hang. Emma Davies’ soft sculpture from recycled material is almost fabric-like above the multipurpose study and craft bench; Sean Meilak’s drawings look at home alongside the striking internal stepped pyramids; and George Raftopoulos’s Comeback Kid makes a colourful statement and adds a touch of whimsy to the rumpus room. Were you happy with the execution? How do you use the space? Client: Yes, Architects EAT designed our ideal beach house. It’s where we can spend time as a family, and with our extended family and friends. The bunkroom is often full of cousins, creating cherished childhood memories and lifelong bonds, while the outdoor showers and wetsuit rack ensure our love of the beach remains outdoors. The flow of the house intrinsically links indoor and outdoor living spaces, ensuring our family can be together, or apart, as needed. In the cooler months, the children frequently request the fire pit be lit so that marshmallows can be roasted. The design of the house offers privacy without high fences and bathes us in natural light with a feeling of airy space. It’s a place to stop, reflect and enjoy life away from the city. eatas.com.au; jimfogartydesign.com.au
This page The all-native garden by Jim Fogarty features banksias, native sarsparilla, white Anzac bottlebrush, silver swamp everlasting bush and native fan flower as groundcover. GB Masonry honed exterior wall blocks in Porcelain from Brickworks. Door frames in Victorian ash by Feature Doors & Windows.
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This page, clockwise from top Artworks by Miles Hall from Nicholas Thompson Gallery beside the front door with concrete handles by Material Immaterial Studio, India. The native garden by Jim Fogarty. GB Masonry honed wall blocks in Porcelain from Brickworks. Custom blackbutt timber slatted screen by Cannon Built. Linen cupboard finished in American walnut veneer with custom steel frame and Brodware ‘Yokato’ robe hooks.
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Taking Food & Wine Preservation to a Whole New Level Quality, Design and Innovation
home.liebherr.com.au
Perfectly in rhythm with the landscape, this handsome
BARN with each other, forming an harmonious
These pages The three interconnected forms are set into sloping land and enjoy bushland and coastal horizon sightlines. Exterior walls are covered in silvertop ash timber in a WOCA oiled finish. The roof is clad in Colorbond standing seam steel in Monument Matt as is the flue for the ÖkoFEN biomass wood-pellet boiler.
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trio of made-to-order structures are also in step
DA N C E rural dwelling.
Photography SHANNON M C GR ATH
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avishly endowed with glowing Australian timber and limestone, this home has a robust but luxe materials palette “from the earth”, says Abe McCarthy of Abe McCarthy Architects. Abe collaborated with interior designer Alice Villella of AV-ID, custom builders Gstruct Group and landscaper Barber Design to establish this warm, inviting family home embedded in open pastures on the Mornington Peninsula. What was the client’s brief? Abe McCarthy: We had worked with our client, a couple with a growing family, on two prior residential renovations. The essence of the idea of a dream home for them, a new build on the Flinders site, was conceived some years ago. Work began on an initial concept in 2013 to a brief centred on the creation of a family farmhouse that interwove rustic rural living with modern refinement. What were the challenges of the site and how did you resolve them? AM: The undulating site presented broad scope for positioning the building. The formal expression of three connected barn forms nestled in the landscape was a direct engagement with the rhythm of nature. As the chosen site was an open paddock, the design response needed to engage with views in all directions. The design does not have a front or back as all elevations are composed to afford framed views from and towards the building. Are there any particular considerations when designing a home in a regional setting such as this? AM: The home offers seclusion in its siting and is revealed on approach down a long driveway. Its off-grid character gave rise to several initiatives. Heating is generated by a wood-pellet boiler and log fireplaces. Solar panels provide electricity. Rainwater storage is spread over multiple tanks to address domestic needs »
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This page A bronze-finish Articolo ‘Fizi’ four-ball pendant light illuminates the Gubi ‘Moon’ oak table from In Good Company with Poliform ‘Grace’ armchairs. ‘Memories’ rug from RC+D. Joinery by Fineform in black-stained Tasmanian oak with upper cabinets of blackened mild steel with an OX finish. Gubi ‘Coco’ stools from In Good Company at the kitchen island. Opposite page Interiors in Tasmanian oak from Abelwood and Western Australian limestone from Bruhn Limestone. Doors and windows stained with Sikkens black built by Kilburn Joinery. Curtains in Mokum hessian in Black Birch by D&C Design. ‘Bly’ easy chair from Coastal Living sits on the ‘Abyss’ split-stone pavers from Eco Outdoor.
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C O U N T RY H O M E S These pages, from left Exploiting the airy interiors, the expansive sunken lounge features custom seating by Scope Furniture with upholstery in ‘Casablanca’ leather in Hickory from NSW Leather Co. and cushions from Saltwater. Shagpile carpet in Claret from RC+D. Meridiani ‘Belt’ bronzed mirror coffee table from Studio Cavit. Cire Trudon candle from Scout House and vintage West German and Iittala vases from the owners’ collection. ‘Atollo’ lamp from Euroluce. Behind the sofa on the bookshelf that runs around the sunken lounge, ‘Hot Pocket’ vase by Philip Stokes and mid-century glass pieces. Kitchen island in Titanium Gold granite from CDK Stone with Kethy brass handles, Oliveri ‘Santorini’ granite sink and Phoenix ‘Toi’ mixer. AGA dual-control cooker, integrated Leibherr refrigerator/freezer and Miele dishwasher. ‘1085 Copenhagen’ candlestick from Georg Jensen and vintage mid-century Swedish jug. ‘Bronte’ outdoor table and ‘Ida’ deck chairs, all from Eco Outdoor.
“ R A K E D D O U B L E- H E I G H T V O LU M E S A N D C A R E F U L LY CR AF TED PROPORTIONS T H R O U G H O U T C R E AT E A VISCER AL AND UPLIF TING E X P E R I E N C E ...”
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« as well as watering gardens and fire-fighting. A natural dam also feeds into the irrigation. Northern glazing and deep overhangs protect from summer heat and allow passive heating in cooler months. The design needed to respond to extreme weather variation and the building can be configured to breathe naturally or become a cosy haven during seasonal extremes. The integration of the garage within the main home adds an additional layer of weather protection and practicality. This home provides versatility as a functional farmhouse, a cosy family home and a place for work, entertaining, and wellbeing and retreat. What were some of the ideas and influences that shaped your design? AM: Our client drew stylistic inspiration from non-contemporary building types including rural vernacular styles from European and American heritage. We meditated over the various influences to distil these ideas to a core essence that responded and engaged with the Australian coastal rural context. How would you describe the completed home and what are some of your favourite design elements? AM: Internally, the Flinders House is characterised by spatial drama expressed and framed through the curated interplay of texture, light and space. Raked double-height volumes and carefully crafted proportions create a visceral and uplifting experience, as well as a sense of joy and delight. Spaces change character over the course of the day as shafts of light and stretches of soft shadow move throughout. I love the amazing feeling you get within the spaces and the way the proportions of the home resonate so well with human scale. It feels considered and homely, while still feeling quite grand. It’s an impressive experience. The floor plan is simple in one sense but quite sophisticated in another. It offers zoning for privacy as well as communal living, and responds to the utilitarian requirements of a practical home for a growing family and rural dwelling with apparent simplicity. All these aspects are responded to in a considered and harmonious way. The pool experience is special. It’s like a blade of rippling glass floating on the landscape. » « How
This page, clockwise from top left ‘Bly’ easy chairs from Coastal Living. A shaft of sunlight from the skylight pierces the stairwell, which leads to the study and guest suite, in Tasmanian oak from Abelwood with a steel balustrade. ‘Flynn’ wall mirror from Warranbrooke. Arteriors ‘Duance’ sconce from Boyd Blue. ‘Halo’ buffet with glass handles and glass bowl, both from Zuster. Returning the sound to the sea sculpture by Graeme Altmann. Opposite page Eco Outdoor ‘Nomah’ lounge chairs uphostered in slub linen. ‘Jewel’ coffee table in American oak with a Palomino marble top from Zuster.
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« How does the project respond to the surrounding landscape? AM: This project is from the earth in the sense that its material palette is Australian timber and limestone but also in that the interconnected barn forms are nestled into the sloping land and engage directly with sunlight, framed views of bushland and the coastal horizon. The design language is premised on rural typologies that create a narrative between form and function. What informed the selection of furniture, art, fittings and finishes? Alice Villella: It’s a country house so furniture and fittings also needed to be robust enough to cope with the family’s daily activities. The clients wanted beautifully resolved pieces of design that married with the interiors but also were practical. We wanted the furniture to fit in seamlessly with the interior flow yet add sophistication and elegance. The house has large volumes yet the furniture and fittings ground it so that it is warm and inviting. The clients love art and were keen to source it themselves. The main piece in the living area is by Graeme Altmann. It spoke to them as they have a strong bond with Tasmania. The colour palette for the interior was inspired by the landscape – the red of the earth, the variety of greens in the vegetation and the gold of the grasses in high summer. I played with those colours tonally to add some drama and a sense of luxury but also maintain a feeling of calm and comfort. Fittings and finishes were selected for their textural and tonal attributes and for how they would age with the house. Brass and bronze metals add elegance and sophistication but they also patina beautifully as will the kitchen joinery’s metal doors that continue to change and look more beautiful with time. The light and dark finishes throughout are informed by the play of shadow and light created by the architectural envelope. Were the owners happy with the execution? AM: I have had the pleasure of sharing the “wow” experience with them and they are very happy with this project. abemccarthy.com.au; av-id.com.au; gstruct.com.au; barberdesign.com.au
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This page, clockwise from top The bar terrace looking back to the staircase rising up from the living zone. ‘Justina’ bath by Stonebaths in the main bathroom. ‘Eastbourne’ shower mixer and ‘Icon’ wall spout, shower rose and hand shower, all in Urban Brass from Astra Walker. ‘Cotto’ glazed wall tiles and ‘Abyss’ split-stone floor tiles, all from Eco Outdoor. In the master bedroom, ‘Dream Bed’ by Marcel Wanders with upholstered base and wall panels and ‘Dream Night’ bedside table, both from Poliform. Bed linen in Charcoal from Scout House. Arteriors ‘Yasmin’ lamp in Antique Brass from Boyd Blue and brutalist glass vase from owners’ collection. Hand-tufted ‘Crystal’ carpet by RC+D.
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Common ground Photography DAVE WHEELER Styling ATELIER L AB
A rustic French essence flavours the luxury contemporary comforts found throughout this expansive residence.
C O U N T RY H O M E S This page Looking from the barn to the outdoor pergola, the original timber barn doors of this northern New South Wales escape were restored. The pergola was designed by Studio George. Outdoor table and chairs from Harbour 1976. Wood-fired oven built by Dennis Benson. ‘Radical’ ceiling fan from Hunter Pacific. Opposite page A commissioned artwork by local artist Meg Walters takes pride of place in the living area. Console from Laura Kincade. ‘Adrian’ Tuareg mat, black vase by Lex Williams and table lamp, all from Tigmi Trading. Candle from Nikau. Tom Dixon tray. Sandblasted ‘Castro’ stone floor tiles from Onsite. Walls painted in Dulux ‘Natural White’.
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yron Bay is home to remarkable residences, and Fairway, the homestead designed by Sara Horvath of Studio George in the nearby village of Federal, fits right in. It feels like the middle of nowhere, near the middle of just about everything, if you’d want to leave in the first place. What was the client’s brief? The project was introduced to us by referral. Originally, our brief was to specify paint colours for the home. This expanded into an extensive transformation to the interior structure of the home and its surrounding outdoor spaces. Internally, we redefined the spatial arrangements, specified built materials and designed all the details from joinery through to the final furnishing. Our brief was to build a connection between the interior of the home and its surrounding landscape. They wanted to feel grounded, relaxed, and have a place where they could entertain and be together as a family. What were the challenges of the site and how did you resolve them? Distance would be the only challenge. We took particular care in exploring our design scheme so that it would respond to its
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place and the surrounding environment. We quickly learned that the hinterland’s natural light would capture the materiality specified in a very different way than what we explored in Sydney. We were constantly tweaking the procured and custommade samples that filled our suitcases to and from the hinterland for the resolution of the design. Are there any particular considerations when designing a home in a regional setting such as this? The planning and the execution is crucial. Having an amazing builder and trades who worked on the project was key to the success of the build, especially when working in a remote location. The final result is testament to a brilliant team. What were some of the ideas and influences that shaped your design? The importance of nature as inspiration. Designing with context in mind, and the value of simplicity are major influences in the design for Fairway. How would you describe the completed home and what are some of your favourite design elements? Fairway is French rustic nostalgia reimagined; it is enduring and inherently timeless. The spaces are shaped to feel welcoming and »
These pages, clockwise from left Oregon timber ceiling beams provide structural support as well as visual appeal to the combined living, dining and kitchen area. B&B Italia ‘Édouard’ sofas and ‘Mirto’ coffee table, all by Antonio Citterio from Space, on the ‘Adrian’ Tuareg mat from Tigmi Trading. Escea gas fireplace. Door frames from All Metal Projects. A Calacatta Borghini marble slab from Marable and hand-stained oak veneer joinery by Nailed It Kitchens & Joinery, who also did the open shelving, make for an impressive kitchen island. Glazed terracotta tiles from Onsite line the recess behind the Ilve ‘Nostalgie’ oven and cooktop. Brodware pot filler and tapware. Pendant light and ceiling lights from Lighting Collective. Joinery in Dulux ‘Domino’. Villeroy & Boch butler’s sink. Ceramic jug and fruit stand from Tigmi Trading. Dining chairs from Coco Republic. In the corner, Paolo Buffa chairs from Tigmi Trading are positioned to catch the breeze. Custom window seat in stained Oregon timber with cushions from Nikau Store. Serax coffee cup and saucer by Ann Demeulemeester on a side table from Island Luxe.
This page, clockwise from top left The herringbone flooring from Winspear in the ensuite and master bedroom is interior designer Sara Horvath’s favourite feature of the home. Pendant light from Lighting Collective suspended above a Victoria + Albert basin on a basin stand from Zuster. Brodware tapware. Zuster ‘Issy Z1 Ballerina’ mirror from Reece. Stool from Island Luxe. The master bedroom opens to the neighbouring valley and descends to the pool. Bed from Pond with Millar & More bed linen. Wall sconce from Lighting Collective. Popham Design floor tiles and glazed terracotta wall tiles, both from Onsite, create a light atmosphere in the main bathroom. Custom vanity by Nailed It Kitchens & Joinery with Corian benchtop. Victoria + Albert bath and basin. Brodware tapware. Stool from Tigmi Trading. Towel and soap dish from Millar & More. The wardrobe joinery in the guest room was also created by Nailed It Kitchens & Joinery with grasscloth joinery inserts by Wicker Works and MadeMeasure pull handles. Kythe Seat timber chair sculpture by Byron Bay artist Lex Williams from Tigmi Trading.
C O U N T RY H O M E S This page Custom barn doors slide open to reveal the guest quarters, where artworks by Caroline Walls hang above a bed dressed with Millar & More bed linen and cushions. Pendant light from Lighting Collective. Beni Ourain rug and Pierre Jeanneret ‘Chandigarh’ teak bench, both from Tigmi Trading. ‘N°005 Fluidity’ tumbler from Soft Edge on an ‘Arnold Circus’ stool by Martino Gamper from Worn Store used as a bedside table. Fritz Hansen ‘Caravaggio Read’ wall lights by Cecilie Manz from Cult. Tinted concrete floor.
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« as if they could have been part of the home for generations. My favourite design element would have to be the herringbone oak flooring which has a refined, rustic texture and scale reminiscent of authentic European charm. How does the project respond to the surrounding landscape? We used an earthy and grounding palette throughout the home, which is reminiscent of the volcanic soil found on the property and evident in the rich, ochre veins of the marble kitchen benchtop and terracotta glazed tiles in the stove nook. We intentionally remodelled and framed views out to the landscape in every corner of the house with new custom-designed steel doors and windows. What
informed the selection of furniture, art, fittings and finishes? Each space was a conversation to be had along the entire two-year journey of designing the property. Furniture was at the forefront of how the make-up of the spaces would be used while the finishes, fittings and art are all components that layer, connect and finalise the vision and the visual storytelling of the brief. Were the owners happy with the execution? How do they use the space? The owners were thrilled with the end result as their expectations were exceeded! The home has become their sanctuary where they can rest, come together and connect to nature. studio-george.com
These pages Studio George was also involved in the landscape design, which surrounds a 14-metre-long pool with Aren Bianco limestone coping by Onsite. Outdoor sofa, coffee table, bar trolley and ‘Linear’ sun lounges, all from Tait. Print by Slim Aarons from Cactus Hill Project.
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“ T H E S PAC E S A R E S H A P E D TO F E E L AS IF THEY COULD H AV E B E E N PA R T OF THE HOME FOR G E N E R AT I O N S .”
This page, clockwise from above Shade and sunshine are to be enjoyed with a view to the pergola and pool. ‘Tissé’ dining chair from Worn Store. ‘Axol’ console in Old Elm from MCM House. Ceramic vessel from Tigmi Trading. Window awnings from BlindDesign continue the stylish touches outside. Wall light from Lighting Collective. Deckchairs, client’s own. The former garage was converted into a self-contained studio. Ay Illuminate ‘Z2’ pendant light from Spence & Lyda. ‘Judd’ sofas and side table from MCM House. Outdoor table and chairs from Tait.
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BUYERS’ MARKET When it comes to updating your home and lifestyle, only the best will do – so here’s a round-up of the latest and greatest products out there
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1 COCO REPUBLIC’s Winter 2021 Collection, influenced by European design, explores a delicate balance of monochromatic and minimalist shapes with a focus on materials and textures. With over 150 new additions of furniture and homewares, clean lines, muted tones met with tribal accents and sculptural combinations take hold. cocorepublic.com.au 2 DOMAYNE Inspired by nature, each Australian –made Nature’s Rest mattress and comfort topper is made to order based on your comfort preference using a combination of Talalay latex with natural wool fibre to create a premium, pressure-relieving sleeping surface. Exclusive to Domayne. domayne.com.au 3 BLINDS ONLINE have collaborated with the V&A Museum to bring you a collection of iconic William Morris designs available to order as made-to-measure blinds and curtains. From $88. blindsonline.com.au 4 HARVEY NORMAN Cooking with variety is no challenge with the Miele Dual Fuel 122cm freestanding cooker. Enjoy the best of both worlds with six gas burners and griddle plate along with two oven cavities. Miele 122 cm Freestanding Cooker in Stainless Steel, HR 1956 G, $32,999. harveynorman.com.au 5 VOLA’s timeless Brushed Gold finish brings beauty, ambience and character that complements all Vola products. One of the Exclusive Colour Series, Brushed Gold is pure, rich and warm. From $879. en.vola.com 6 LEONARD JOEL Established in 1919, Leonard Joel is Australia’s premier auction house, a marketplace for the rare, the beautiful and the extraordinary. leonardjoel.com.au 7 SIGNORINO Anthology is a catalogue of original and distinctive design. These porcelain surfaces are versatile and durable. With Protect® antibacterial technology, Anthology is the perfect choice for any space. From $75/m2+gst for 600mm x 600mm. signorino.com.au 8 JAM Inspired by traditional Korean moon jars, the ‘Luna’ vase is slip cast by hand in JamFactory’s ceramics studio. The evocative shape and subtlety in glaze showcase the craft of slip casting at its finest. $175. j-a-m.com.au 9 MINOTTI ‘Connery’, designed by Rodolfo Dordoni for Minotti, is an extremely versatile modular seating system that sports an exquisite aesthetic and design, while standing out for the precision of its craftsmanship. minotti.com
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W I L D C R E AT I O N S Hilton Carter has perfected the art of gardening indoors as seen in his inspiring Instagram posts and previous books. Described as a ‘plantfluencer’, his easy tips really struck a chord during the stay-at-home orders of the pandemic. His facility in mixing different leaf shapes, sizes and colours gives interiors vitality and freshness and his belief in the health-giving properties of plants and the beauty they impart is compelling. Hilton Carter, CICO Books, $43
A TA L E O F WA R P AND WEFT
A RO O M O F HER OWN Focusing on trailblazing women whose homes act as a canvas for their artistry, this book roams through Italian palazzos, a Mexican hacienda and New York apartments. Photographer and author Robyn Lea had access to the private sanctums of 20 artists, writers, designers, curators and jewellers, including Australian fashion designer and artist Heidi Middleton. Each abode is stylish and sophisticated, and evokes its owner’s rich inner stories. Robyn Lea, Thames & Hudson, $65
Mood enhancers Imagination soars to new heights in these titles. I N D I A M A H DAV I
DESIGN SECRETS
This monograph of the IranianFrench architect and designer chronicles her award-winning work across three decades. She has dazzled the world with her public and private projects from her celebrated design for London’s Sketch restaurant – Instagrammed ad infinitum – to her custom furniture and lighting collections. Her use of colour is sometimes mind-blowing but it serves to underpin her bold and electric aesthetic so well documented here. India Mahdavi, Chronicle Books, $99
Kit Kemp has inspired design lovers for decades with her original, multilayered schemes. Here, Kit offers an insider’s guide to achieving her whimsical look, with advice on adding colour, texture and artisanal finishes to create highly individual interiors. See Colour Fast, p142. Kit Kemp, Hardie Grant, $49.99
P H OTO G R A P H Y K R I ST I N A SO L J O
Proof that a rug is the pivotal point of a room can be found here where sumptuous floor coverings are showcased in interior design projects by such creatives as Christian Lyon and Robert Couturier, as well as the homes of celebrities including Madonna and Brad Pitt. The authors, who are artists and the founders of Fort Street Studio’s high-end carpets in NY, spent a year in China examining the craft of carpet weaving. Brad Davis, Janis Provisor, Rizzoli, $154.
J U N G A L O W: D E C O R AT E W I L D With these pages exploding with joyful colour, pattern and lush greenery, the author graphically illustrates her conviction that such no-holds-barred decorating promotes happiness. An avowed maximalist, she is a master of hybrid style, inventing such mash-ups as Tropic-Talian and Turk-Xican, with a boho ethos that cherry-picks the most vibrant aspects of each genre to create idiosyncratic looks. Justina Blakeney, Abrams, $59.99
J OY I N T H E L I T T L E T H I N G S Fashion and lifestyle illustrator Kerrie Hess brings her musings to life in this chic book that celebrates the beauty and happiness that can be found in simple things – whether a perfect teacup, a peony or a piece of jewellery. Inspiration aplenty for finding creativity at home, in nature and in the everyday. Kerrie Hess, Rizzoli, $65 Edited by JUDY PASCOE
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1 Baxter ‘Manila Little’ cane, copper and leather armchair by Paola Navone, POA, from Criteria. 2 ‘Zebrawood’ handwoven Moroccan wool rug by Beni M’Rirt tribe, $3700, from Tigmi Trading. 3 ‘Cheval d’Orient’ porcelain teapot, $2165, from Hermès. 4 ‘C.É.J’ sunglasses in Havana Matte Brown, $475, from P. Johnson. 5 ‘Spanish Modern Wicker’ wire, rattan and bamboo pendant lamp with tiki accents, $3161, from 1stdibs. 6 Rolex ‘Daytona 6234’ yellow-gold pre-Daytona oyster chronograph watch, $143,908, from 1stdibs. 7 Camel canvas oil painting by William Skilling, $16,521, from 1stdibs. 8 Bleu de Chauffe ‘Hobo’ full-grain leather hold-all in Brown, approx. $1008, from Mr Porter. 9 Le Labo ‘Santal 33’ EDP, $426/100ml, from Mecca. 10 Tom Ford ‘Western’ suede shirt, approx. $9589, from Mr Porter. 11 Tom Ford cotton chinos in Sand, approx. $903, from Mr Porter. 12 ‘JZ’ Imbuia wood, iron and brass tea trolley by Jorge Zalszupin, POA, from ETEL Design. 13 Pablo Picasso: The Impossible Collection book by Assouline, $1617, from Farfetch. 14 P. Johnson November 2020 lookbook. 15 Saint Laurent ‘Wyatt’ harness leather boots in Brown with Antique Gold hardware, approx. $1770, from Matchesfashion.com.
P HOTO G R A P H Y M OV I E STOR E COL L ECT I ON LT D/A L A M Y STO C K P HOTO
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Meryl Streep in Out Of Africa (1985).
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1 ‘The Rattan Venus’ scalloped-edge rattan chair, approx. $10,744, from Soane. 2 Proenza Schouler S21. 3 ‘The Rattan Pasha’ handwoven rattan ceiling light, approx. $23,992, from Soane. 4 L’Objet ‘Safari’ scented candle, approx. $199, from Net-A-Porter. 5 Themis Z ‘Kyma’ porcelain dessert plate, approx. $84, from Matchesfashion.com. 6 ‘Rabbit Hole’ handmade Mauritanian reed rug with leather detail, $13,200, from Tigmi Trading. 7 Reversible hat in GG canvas and nylon, $695, from Gucci. 8 Gathered collar viscose dress, approx. $683, from Alexa Chung. 9 Gucci ‘G-Timeless’ watch in Gold, approx. $1662, from Matchesfashion.com. 10 ‘Spice’ handmade beaded cocktail clutch in Brown, $470, from Lucy Folk. 11 EYTYS ‘Luciano’ leather Western boots, approx. $815, from Matchesfashion.com. 12 Totême belted recycled nylon safari jacket in Beige, approx. $1100, from Matchesfashion.com. 13 Maison Francis Kurkdjian ‘Baccarat Rouge 540’ EDP, $351/70ml, from Mecca. 14 Braided wicker and Hydro calfskin picnic basket, $21,975, from Hermès.
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HOMES Step inside our selection of spectacular homes that sing with charm, grace and presence. WELL CONNECTED There’s a lovely flow from indoors to out in the casual living room of this Sydney home, which was updated by Arent&Pyke. See Smooth Blend, p150.
Photography ANSON SMART
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New York
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In a time like no other, interior designer and adopted New Yorker Tali Roth forged ahead with the glorious re-imagining of this Chelsea brownstone for a young family. Words C ARLI PHILIP S Photography NICK GLIMENAKIS Styling MIEKE TEN HAVE
These pages Setting a circular theme in the living room, a vibrant sculpture by Annie Morris, the curvy built-in sofa designed by Tali and Yucca Stuff ‘Concho’ coffee table in travertine and oak. Vintage Gianfranco Frattini ‘Sesann’ leather armchair and Tito Agnoli cane lounger. Empire Collection ‘Milano’ stripe rug by Tali Roth for Aronson’s Floor Covering. Murano chandelier in baby pink seashell glass. Custom joinery in white oak and rattan.
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or Tali Roth, 2020 was a year of milestones: returning to her home town of Melbourne after seven years in New York where she cultivated a thriving design business, and completing her first full-scope structural and interiors project smack bang in the throes of a pandemic. A residential brownstone in Manhattan’s Chelsea, it’s one her most satisfying and cherished homes to date. “I think I’d been pigeonholed into just specifying fixtures and furniture for projects which can sometimes be a bit piecemeal. But not a lot of people know that my range extends from top to bottom.” Her clients, husband and wife Ben and Paige Zachs, first reached out to Tali just two weeks after the designer had given birth to her baby, Romeo. “I told them to come back, but soon because I really wanted to work with them. It was a wonderful opportunity to undertake a complete overhaul. There’s great satisfaction in seeing something through the whole way, especially in these momentous times,” she says. Ben and Paige, who is the COO of direct-to-consumer paint brand Clare, had been living just a few streets away when they found the West Side duplex.
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“Ben had proposed living in the suburbs for more space, especially as they had their toddler, Louis, but it was an absolute no-no for Paige. I guess it’s ‘once a New Yorker, always a New Yorker’!” The subdivided footprint spanned the ground floor and part of the first, and although it wasn’t ‘New York small’ it certainly wasn’t overly generous. “Historically, brownstones aren’t necessarily that functional and although the ceilings were expansive, the footprint was shallow,” says Tali. Built-in cabinetry and faux Roman columns created a tight, pressurised feeling that she cut loose by ripping out anything superfluous. “By reining everything in we achieved a pared-back environment but one that was still warm and inviting.” While this meant more internal space to play with, it still wasn’t enough to incorporate a kitchen with separate dining table, so Tali crafted a clever compromise that included an L-shaped island with a two-piece extendable tabletop for visitors and removable butcher’s block for everyday cooking. As the couple hadn’t accumulated many possessions, there weren’t any stylistic constraints. Their vision was sophisticated »
This page Tali cut into a giant, unused attic above the kitchen to achieve higher ceilings. The space has also been elevated with a rear wall of fluted Venetian plaster and a green Paonazzo marble splashback and benchtop. Juliana Lima Vasconcellos dining chairs upholstered in olive mohair are poised at the custom white-oak dining table with removable butcher’s block made by Armada NY. Oven is from the Wolf 48-inch range. Opposite page, clockwise from top left Clients Ben and Paige Zachs with their toddler, Louis. The vibrant Annie Morris sculpture and Gianfranco Frattini ‘Sesann’ vintage leather armchair frame the outlook through to the raffia-clad joinery. The stairs lead up to the master bedroom.
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This page, from left The master bedroom walk-in robe offers abundant concealed storage. A custom bedhead in beige bouclé has been integrated into a wall panel near ceiling height that creates an airiness and serves to separate the sleeping quarters from the walk-in robe and its back row of closets. Tom Dixon bouclé bed throw in Khaki. ‘Quillen’ marquetry bedside table from Anthropologie. The wardrobes were designed by Tali and made in oak stained in an espresso finish with inset raffia panels. A Chuck Close artwork hangs near the windows, which are shaded with wool blinds. ‘Palermo’ rug in Bone from Armadillo. Opposite page Louis’s bedroom is papered in Hermès ‘Dune’ wallpaper and painted in Clare ‘Goodnight Moon’. CB2 ‘Gwyneth’ bouclé chair, Kalon crib and Gubi ‘9602’ bamboo floor lamp. Carved ‘Chain’ stool from Jayson Home. Vintage Moroccan rug.
« yet realistic and they were very receptive to Tali’s design direction. “Paige sent me images of things she loved and a lot of it was the typical New York style of old-meets-new. When I teased more out of them and we got down to the nitty-gritty it became apparent that what they were drawn to was quite simple: Japanese influences, green stone, warm timbers and neutral hues. They just wanted a beautiful space.” A concave wall in the living area, originally carved out in the 1990s, was domed off to create a contemporary arch with a curved, built-in sofa. These gentle, organic silhouettes are echoed in the undulating sweep of Tito Agnoli’s vintage cane lounger and Cassina’s plump, tubular ‘Sesann’ armchair. Dated ceiling cornices were peeled back and the ruddy timber flooring replaced with white oak boards and an olive-silver ‘Milano’ rug designed as part of Tali’s exclusive range with Aronson’s Floor Covering. The existing joinery was demolished in favour of two beautifully detailed cane cabinets and the baby blue walls were given a fresh lick of paint in Clare ‘Fresh Kicks’. It’s a serene space sparked with a fat, sculpted spear of pigmented pompoms from London-based artist Annie Morris. In the master bedroom, the bedhead has been built into a wall panel that is not quite full height, creating an opaque screen-like
separation between the sleeping quarters and walk-in robe with its back row of custom robes inset with woven raffia. These integrated elements have minimised the need for excess furniture, imbuing the space with a hotel-like feel complemented by a thoughtful palette of materials: marquetry night stands, bouclé upholstery, wool blinds and a spun linen rug. Despite meticulous planning, building and procurement was overshadowed by challenging stop-start construction times and partial design-from-a-distance conditions. COVID shutdowns hit on the precipice of completion, edging out delays by three months. Working around the clock with her operations and design director Carrie Senft, Tali delayed her flights back to Australia three times so she could be there for the final install which was pulled off with fortitude, perseverance and just a little bit of nepotism. “I don’t like to play favourites but this project was very special to me. I just believed in it with all my being. It was 100 per cent genuine and deeply, thoughtfully authentic.” Bookended by the birth of her baby and the bittersweet departure from her adopted city, this project proved to be Tali’s ultimate send-off. # Tali Roth Interior Design has offices in New York and Melbourne. talirothdesigns.com; cooperdevelopment.com
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SPEED READ » Melbourne-born, New York-based interior designer Tali Roth took the lead on the renovation of this Chelsea brownstone. » The dated, split-level duplex needed a complete overhaul that included re-jigging the floorplan, raising the kitchen roof, and selection of fixtures, fittings and decorative elements. » Owners Paige and Ben wanted a simple yet beautiful home in which to raise their young family. » Shallow space meant that the dining table and everyday meals had to be combined in a way that was both sophisticated and approachable. » “It might not be obviously apparent but the home isn’t actually that furniture heavy because so much was built in,” says Tali. » The project was plagued by stop-start construction and design-from-a-distance due to COVID restrictions. » Tali delayed flights back home to Melbourne so she could oversee the final installation.
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These pages, clockwise from left An attention-grabbing portait by New York artist Chuck Close hangs near the master bedroom windows which are shaded with wool blinds. Tom Dixon khaki bouclé bed throw. The master bathroom features custom white oak cabinetry, marble from BAS Stone NYC and Newport Brass tapware. The ceiling spotlight is from Made. Generous swathes of stone in children’s and guest bathroom include the deep-green Verde Saint Denis marble floor and the travertine-clad walls and bath, which also sports a handsome reeded glass and bronze shower door.
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London
COLOUR FAST Words JUDY PA SCOE Photography SIMON BROWN
Admired for her exuberant, colourful decorating style seen in hotels in London and New York, Kit Kemp’s refashioning of her own home has proved to be another masterstroke.
This page A bedroom on the first floor has a headboard and pillows upholstered in a bespoke colourway of Baker & Gray ‘Monkey in Fig Tree’ with an antique Indian bedspread. Artworks by Anna Raymond. Opposite page The new front-to-back drawing room has walls covered in Casamance linen in Pink. Armchairs and curtains in Kit Kemp for Christopher Farr Cloth ‘One Way’, with sofa upholstered in a pomegranate print by Raoul Textiles. Coral embroidered cushions by Schumacher. Antique Spanish bureau beside the window was one piece Kit couldn’t part with in the revamp. Hanging above is a work by Duncan Grant. Bead stool under the window from Mud Studio, South Africa. Artwork above the fireplace is by Winifred Nicholson.
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London
it Kemp, creative director and co-founder of Firmdale Hotels, along with husband Tim, has lived in the same London house for more than 20 years. The couple are shining stars in the design pantheon, having created hotels in London and New York, including the Ham Yard and The Whitby, as well as a shop in Bergdorf Goodman. They were originally attracted by the pre-war property’s width on the block, allowing for several rooms on each floor, and its tiny, pocket handkerchief-sized garden. “It’s not as grand as lots of London houses but what we loved is that laterally it’s wide and it seems to embrace you as soon as you come in, making it feel quite welcoming,” says Kit. As well, it possesses a desirable airiness, facilitated no doubt by her lively approach to decorating. Despite being ‘utilitarian’, the house was the perfect blank canvas for Kit to indulge her signature idiosyncratic style, layering her own fabrics and wallpapers in a rich melange, accessorised by whimsical objects, vintage pieces and artisan touches. Understandably the Kemps are very busy and builders are a constant presence in their properties, so when it came to refurbishing their home “we left it and left it until the paintwork hadn’t been touched in years and we felt we really had to do it”, explains Kit. Having already made a few changes to the property over the years, such as replacing the original metal windows and moving the kitchen to link it with the garden and a newly built orangery and dining room, it was time for a complete overhaul. The major step was relocating the front door to the side of the house and turning a room at the front into Tim’s study. The reconfiguration allowed the creation of a front-to-back drawing room that now links with the kitchen and dining area. “It’s made a huge difference,” says Kit. “It’s like one-room living – great for the two of us. It’s a very social area because you’re not locked away in the kitchen. Tim can be reading a book or we can be doing something together.” Of course, when you have decorated a house in a style you love it becomes quite difficult to change it but the new entrance gave Kit the opportunity to use her decorative wallpaper ‘Mythical Land’. “I thought it would look glorious going around the walls and up the staircase,” she says. “It goes with almost any colour and also tells a story, so as soon as you come into the house you are engulfed in a story, as it were.” »
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These pages, from left The kitchen cabinetry is bespoke, repainted in a mix of orange and red with one cupboard remaining in the original blue. Kit relished the opportunity to inject more colour into the house, referencing the colours in the adjoining drawing room. The wing chair is available to order from shopkitkemp.com. A collection of beaded Kirdi light fittings add another layer of texture and colour. The dining area is in the orangery, linking with the kitchen and the garden. Raoul Textiles fabrics on the pelmet and chairs. Antique oak table under Tord Boontje ‘Ivy’ chandelier for Porta Romana.
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This page The new entrance to the house was formed when the front door was relocated to the side. Walls papered in Kit Kemp for Andrew Martin ‘Mythical Land’. Porta Romana chandelier. Curtains in ‘Friendly Folk’ in Basil Green by Kit Kemp for Andrew Martin. Flat weave rugs have been turned into a stair runner. Opposite page, clockwise from top The new entry has a collection of 12 pictures by Jo Waterhouse. On console, vintage lamps with shades made from old maps to Kit’s design. The study’s walls are papered in a striped fabric by Raoul Textiles. Armchairs upholstered in a Robert Kime fabric. Vintage table lamp with bespoke silk shade. Curtains in Kit Kemp for Christopher Farr Cloth ‘Tasha’s Trip’ with trim in ‘Small Way’. Kit Kemp stands next to a sculpture by Tony Cragg. Armchair upholstered in Kit Kemp for Christopher Farr Cloth ‘One Way’.
« Kit has introduced even more saturated hues into the drawing room with the Raoul Textiles linen in orange and yellow on the sofas and her own geometric ‘One Way’ wallpaper and fabric adding more punch. “Weather in the UK isn’t wonderful and you really want it to feel like eternal spring, so I wanted the drawing room to be bright and cheerful and make me think of sunshine even on the dullest grey winter day.” With the kitchen now painted in complementary popping shades of orange and red Kit relished the chance to inject extra colour into the scheme. “An interior should look artless but to get that effect is actually very difficult,” she says. Despite trying to be ruthless in the reorganising of the home there were some pieces that she couldn’t let go, such as a beautiful rustic Spanish bureau and a pair of mirrors so rusted that you can barely see your reflection. “They add extra layers of character,” explains Kit. “I tried to bring in the traditional as well as saying, hello, it’s today!” Upstairs on the first level, formerly occupied by bedrooms for the family including the couple’s daughters who have now left home, there was the opportunity to eliminate one bedroom to create a music room. “We both play the piano – rather badly,” laughs Kit, “and we have a grand piano but we didn’t know where to put it. So, we took away one of the bedrooms and made a much larger area for the landing and a music room. It’s surrounded by books to cushion the sound!” The top level is an attic space and now the master bedroom. Kit says it’s her favourite room. “What I love is that the ceilings are sloping – you really do feel that you are in the attic looking at all the rooftops.” Her linchpins of design are colour, scale and balance and the feeling of being drawn through to other areas. “I love »
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SPEED READ » Renowned interior designer and co-founder of Firmdale Hotels Kit Kemp and her husband Tim have lived in their three-storey London home for more than 20 years and last year embarked on a complete overhaul. » Moving the front door to the side of the house was a game changer, allowing the creation of a front-to-back drawing room which connects with the kitchen and orangery and dining area and opens to the garden. » Kit has utilised her signature kaleidoscopic colours and exuberant fabrics and wallpapers in the makeover, so the rooms are vibrant and welcoming. » Her favourite space is the master bedroom in the attic which is embellished with rich textures and colours.
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« having a door half open and if you have some colour beyond or something that catches the eye it draws you though,” she says. “It’s all those smaller spaces – corners, corridors, staircases, or even inside cupboards – where you can maximise the character of a house. If you have something where you want to look around you have instantly made your house bigger.” Her belief in having what she terms a ‘decoy focal point’ underpins the success of her schemes. “It should be something in a room that architecturally has nothing to do with it – something you’ve made yourself or brought in, maybe from the outdoors such as a weather vane. Also, something handmade really brings a room to life.” Kit’s source of inspiration is “keeping my eyes open and asking lots of questions”. She seeks out artisans, ceramicists such as Daniel Reynolds and Katherine Cuthbert, bespoke furniture makers including Sebastian Cox and Christopher Kurtz, and fledgling creative businesses whose work she can showcase in her hotels. While Kit’s style is invariably classified as bold her rooms are alive and sing with pure colour and assured pattern mixes and her home is rich with personality and vibrancy. # This project is included in Kit’s new book, Design Secrets, see Library, p129; firmdalehotels.com. These pages, from left A former bedroom on the first floor has been reworked into a larger landing area and music room lined in bookshelves painted jade green. Artwork by unknown artist. Vaughan pendant light. Curtains in Kit Kemp for Andrew Martin ‘Friendly Folk’ in Basil Green. Lampshade fabric by John Derian. The master bedroom is now located in the attic and Kit says she loves the sloping ceilings and the views over the surrounding rooftops. Bedhead, pillows and throw in Kit Kemp for Chelsea Textiles ‘Ashenwood’. Walls lined in Susanna Davis linen in Raspberry.
These pages, from left The front sitting room retains its original decorative ceiling and marble fireplace but is now open to the front garden. The Cassina ‘Utrecht’ chairs were in the owner’s previous home upholstered in bright colours, now repurposed in white. The vintage burl coffee table was sourced by Juliette and Sarah-Jane in Paris. Sika Design ‘Charlottenborg’ chair from Domo with cushion from Montmartre. Anna Charlesworth chandelier. ‘Herodotus’ shelving by Daniel Barbera. Rug from Tibet Sydney. Artwork by Hannah Nowlan. Ceramics on fireplace from Studio Cavit and Conley & Co. Tray and suede box on coffee table from Ondene, and vessel from Conley & Co. Vase on lowest shelf from McMullin & Co. On the verandah, ‘Cork’ stool from Robert Plumb.
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Smooth BLEND
The past and present are artfully united in this reimagined family home where heritage features are celebrated with contemporary flair. Words JUDY PA SCOE Photography ANSON SMART Styling CL AIRE DELMAR
This page, clockwise from top The casual living room leads out to the garden and pool. A DePadova ‘Yak’ sofa from Boffi and a Minotti ‘Aston’ sofa from De De Ce surround a De La Espada ‘Kim’ bench by Nichetto from Spence & Lyda and a Baxter ‘Loren’ side table. Cushions from Manyara Home and Tigger Hall Design. Rug from Halcyon Lake. Curtains by Simple Studio. Ceramics from Planet and The DEA Store. The dining area has a walnut table by Mads Johansen with Gemla chairs from Great Dane and a ‘Segovia’ rug from Robyn Cosgrove, all under an Akari ‘75A’ pendant light by Isamu Noguchi. Baxter ‘Phoenix’ stool from Criteria. Artworks by John Papas (left) and Julian Meagher. Glassware on table from Great Dane. Vessels from The DEA Store, Great Dane and McMullin & Co. Opposite page All on a rug from Halcyon Lake, DePadova ‘Yak’ sofa from Boffi, Minotti ‘Aston’ sofa from De De Ce, De La Espada ‘Kim’ bench by Nichetto from Spence & Lyda and Baxter ‘Loren’ side table. Artwork by Laura Jones. Decorative mobile on fireplace from Curatorial+Co. Vessel beside fireplace from Ondene.
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ringing a century-old house into a new era to embrace the current way of life is no mean feat but it is something that architect Ben Vitale and interior designers Arent&Pyke do on a regular basis. To wit, this California bungalow in Sydney’s eastern suburbs which now boasts a relaxed contemporary ambience and offers easy living for a family of four. The owners were living nearby when this house came on the market offering a block with great potential. They had long admired its heritage facade and the towering gum tree in the front garden. Familiar with the area’s attractions they were keen to stay local and fashion an abode to suit their needs. Impressed by Ben Vitale’s designs and having worked with Juliette Arent and Sarah-Jane Pyke on their previous home, the owners had the dream team in their sights. Their desire was for a functional, spacious and relaxed home filled with natural light, and with contemporary detailing framed by the historic features. Vitale Design and Arent&Pyke collaborated on the plans from the outset ensuring the interior functionality matched the exterior presentation. While additional space was a key requirement, the original house was in a reasonable state and possessed attractive heritage characteristics. However, says Ben, “It lacked natural light and had »
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« no link to the rear garden. The bedrooms were small and the laundry was the size of a cupboard! The connection between rooms was awkward and there was a serious lack of storage.” Situated on a sloping site the decision was to use the incline to create extra living and sleeping areas. The house is now spread over three storeys with bedrooms, living, dining, kitchen and entertaining area on the entry level, leading to the garage and pool. Upstairs has the master bedroom suite and library cleverly set into the existing roofline, while the lower ground level, felicitously lined in sandstone, houses a laundry and wine cellar plus abundant storage. Linking the levels with a statement staircase was the starting point of Ben’s design. “The staircase with its sculptural handrail not only provides the
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vertical connection between all levels but allows an amazing injection of sunlight into the centre of the structure,” he explains. The curved handrail speaks to the arched windows seen throughout the home, forming a consistent theme. The house transitions neatly from formal and historic at the front to relaxed and contemporary at the back. Arched architraves and panelled, coffered ceilings are the architectural language in the original part of the house, streamlined and repeated in arched doors in the new extension. Marrying the two scenes was achieved by a palette of enduring finishes including herringbone parquetry in tallowwood, Vigo Lena and Arabescato Vagli marbles, and tactile upholstery. Onto this base, Arent&Pyke layered graphic furniture pieces and adroitly placed the »
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This page, clockwise from top left The kitchen joinery is by Adam Standfield Cabinet Making and hand-painted in Dulux ‘Juvenile’ with an Arabescato Vagli marble benchtop. Ceramics from Planet, Conley & Co and Manyara Home. The butler’s pantry is discreetly positioned. Black bowl on benchtop from Ondene. Vase from Great Dane. Glassware from Spence & Lyda. Outdoor chairs by Le Forge with Arent&Pyke custom cushions. Side table from Grazia&Co. Opposite page The kitchen was designed to be functional as well as beautiful. The joinery by Adam Standfield Cabinet Making is hand-painted in Dulux ‘Juvenile’ with the island in Dulux ‘Palace Stone’ on a tallowwood base. Arabescato Vagli marble benchtop and splashback. Perrin & Rowe tapware. ‘3 Arc Island’ pendant and ‘1 Arc’ wall sconce by Allied Maker. Gemla ‘HOF’ bar stools from Great Dane. Curtains in Belgian linen by Simple Studio. Walnut dining table by Mads Johansen from Great Dane with Gemla dining chairs.
« owners’ extensive collection of Australian art. This seamless transition between old and new as well as between indoors and out promotes an atmosphere of harmony and tranquillity, while the earthy tones mixed with off-white create the sense of a calm retreat. As a keen cook the owner placed a lot of importance on the kitchen design and the Arent&Pyke team delivered in spades. “We had been doing a lot of strong-coloured kitchens which the owner liked and so we used a dark grey for the cabinetry,” says Sarah-Jane. A particular wish was to have a large, robust bench space that could double as a secondary dining table. “With two young boys the house seems to always be filled with their friends and the owner loves to entertain.” The connection between indoors and out was also a significant element in the home’s redesign as the couple have a love of plants and gardening. The arched doorways and feature windows offer leafy vignettes at every turn. Inside, the owner’s green thumb is evident with thriving plants really bringing the house to life, while the colour palette of eucalyptus greys and greens references nature. “They’re tonal chameleon colours,” says Sarah-Jane, “quite soft and very Australian, with the off-whites to break them up.” For the owner the house is just as she hoped. “We wanted Arent&Pyke to work their magic, which they did! It feels young and playful – perfect for a family home with two young boys, a dog, two cats, a cockatoo and a lizard! We absolutely adore the house and will be happy here for many years to come.” And the towering gum tree that so attracted the owners to the property initially is still in situ and admired daily through the new glass front door. # arentpyke.com; vitaledesign.com.au
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“It feels young and playful – perfect for a family home with two young boys, a dog, two cats, a cockatoo and a lizard!”
This page A custom bedhead and window seat by Arent&Pyke in the second bedroom. Cushions from Montmartre. Society Limonta bed linen from Ondene. Side table from Domo. Curtains by Simple Studio. Akari ‘75A’ pendant light by Isamu Noguchi. Sisal rug from Natural Floorcoverings. Opposite page, clockwise from top left The study has joinery in American oak with wall upholstery in rust-coloured Kvadrat felt. Hay ‘About a Chair’ swivel chair in leather from Cult. Tolomeo wall light. Rug by Halcyon Lake. Ceramics from Curatorial+Co, Planet, The DEA Store and Utopia Gallery. Glassware from Great Dane. The powder room has hexagonal mosaic tiles from Olde English Tiles and a shower seat in tallowwood. Astra Walker accessories. Stool from Cult. Towel from Oliver Thom.
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SPEED READ » A California bungalow in Sydney’s east has been reimagined as a contemporary family home by Vitale Design and Arent&Pyke without losing any of its heritage charm. » Spread over three levels the home offers spacious accommodation and living areas but does not compromise the bungalow’s appearance, with the master suite cleverly tucked into the roofline. » The formal, classic front part of the home now seamlessly transitions to the relaxed back area in timeless finishes including herringbone parquetry, a mix of marbles and a palette of greys and greens. » With two young sons the owners are frequently hosting large groups of friends and the generous and robust kitchen and family meals area leading out to the pool is the hub of the home.
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This page and opposite top right The master bathroom has an Agape ‘Ottocento’ bathtub from Artedomus, grey stone mosaic tiles from Bisanna and a custom mirrored cabinet with burnished brass edge by Adam Standfield Cabinet Making. Joinery hand-painted in Dulux ‘Whitsunday Island’ with Vigo Lena marble benchtop from Artedomus. Tapware and accessories from Astra Walker. Stool, bathrobe and caddy from Oliver Thom. Opposite page, top left The walk-in robe has custom drawers by Arent&Pyke. ‘Arc Well’ pendant light by Allied Maker. Sculpture from Studio Cavit and vase from Spence & Lyda. Bottom The master bedroom has a De La Espada bed with bed linen from Ondene and Hale Mercantile Co. Maison de Vacances cushions from Tigger Hall Design. Knoll Saarinen ‘Tulip’ side tables from De De Ce with ClassiCon ‘Roattino’ floor lamps from Anibou. Sculpture from Studio Cavit. Vessel from Oliver Thom. Custom bench seat by Arent&Pyke. Custom rug from Tappeti. By Lassen ‘The Tired Man’ chair and footstool in sheepskin from Fred International. Walls painted in Dulux ‘Spanish Olive’.
Words K AREN M C C ARTNE Y Photography ANSON SMART Styling KIRSTEN BO OK ALLIL
SET TING SAIL Moored riverside, this home sparkles with the sense of a rare architectural building that has been rebooted for contemporary life.
These pages An outdoor room, with fully retractable glass doors, opens up the view looking across the Parramatta River towards Iron Cove to the south and Birkenhead Point to the west. Poltrona Frau ‘Ming’s Heart’ armchairs and New Volumes ‘Hurlysi’ low side table in Elba stone by Thomas Coward, all from Cult. Sculpture on table from Planet.
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This page A light palette with linens from Cultiver and understated Danish furniture ensures that the view, through the floor-to-ceiling glazing, is the hero. Vintage vase from Rudi Rocket and Voltra ‘Totem’ reeded-glass light from Est Lighting on a Hans J. Wegner bedside table from Great Dane. Moss-coloured carpet from Prestige Carpets. Ceiling fan from Big Ass Fans. Opposite page, from top Treated radiata pine from New Zealand is sustainably sourced while echoing a 70s tonality. The main living space feels more expansive due to the relationship to the outdoor room. The carbon-positive Wood Wool ceiling is an acoustic measure to dampen noise. Nemo ‘Lampe de Marseille’ wall light from Cult above the sofa with ‘Aquarius’ cushion from Greg Natale and Missoni cushion from Spence & Lyda. A marble bowl from Greg Natale and a sculpture by Kate Banazi sit on ‘Flume’ glass-top coffee tables from Blu Dot. ‘Acacia’ rug in Galapagos from Armadillo. Tacchini ‘Joaquim’ side table from Stylecraft.
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o some degree all house purchases are the result of a Sliding Doors moment but this acquisition had more than most. When architect Conrad Johnston, director of Fox Johnston, stumbled on this house in Balmain he knew nothing of its pedigree but had an inkling of something great despite the rather cottagey overlay of plasterboard and the country-style kitchen and bathrooms. “No one else showed up at the auction. I think the south-facing aspect, the poor condition of the house and the fact that it was heritage listed scared people away,” says Conrad. The house is rare, having been built as a pair of semis in 1972 by Melbourne architect Sir Roy Grounds (renowned for his design of the National Gallery of Victoria) and his son Marr Grounds, an architect, university lecturer and sculptor. They engaged architect Stuart Whitelaw to work on the design of the houses with them. This house was occupied by Grounds as a Sydney pied-à-terre, while his son lived in the more climatically adjusted north-facing semi. “The design is forthright, says Conrad. “It is big-building thinking on a residential scale but it doesn’t really relate to the topography – it is a very strong and overly rigid geometry applied to a naturalistic site.” Before the application of serious design thinking Conrad’s concerns were more prosaic. Where would his three children sleep in the two-bedroom house? He also wanted a separate apartment for his in-laws as they aged, and to forge a more meaningful connection to the landscape and give the house access to airflow and views. With no opening windows to the south and west facades, and an uninsulated flat roof, the building suffered »
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This page, clockwise from top The kitchen is an exercise in restraint mixing plywood joinery, concrete benchtops and a hit of patinated brass as the surface under the window. Shelving is minimal and lean for the display of ceramics and everyday crockery. Gaggenau oven and Pitt cooktop. The original stair rail is painted in a strong red selected by Sonia van der Haar of Lymesmith. Bar stools from Grazia&Co attend the kitchen bench. Vase and fruitbowl from Dinosaur Designs. Ceiling lights from Est Lighting and Tovo. Opposite page The strength of the geometry of the original design is evident looking up from the palm courtyard. Original concrete columns have been retained and the windows have been made operable with high-performance glass. The ground-floor bedroom once housed the heating and cooling system for the house.
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“THE DESIGN IS F O R T H R I G H T. I T I S B I G BUILDING THINKING ON A RESIDENTIAL S C A L E ... I T I S A V E RY S T R O N G G E O M E T RY APPLIED TO A N AT U R A L I S T I C S I T E .”
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« extreme heat gain in summer and loss in winter. The original solution to this issue was an enormous heating and cooling system on the ground floor that occupied an entire room. Keen to maintain the integrity of the original form and the essential material language, the solid superstructure of concrete pillars provided the framework, but the timbers used extensively throughout had deteriorated beyond repair. “The rotted timber window frames have been replaced with western red cedar, while the external cladding is heat-modified radiata pine,” says Conrad. Ceilings are exposed concrete which, while seamlessly executed where new, are perfectly imperfect and showing their age and character in the original sections of the house. This is one of the tremendous successes of the house – there is a blurring of the lines between what originally existed and what has been introduced. Yes, there is making good, and certainly there are elements not of the period – but the overwhelming feeling is of life breathed into a house that had become unloved and unliveable. For the interior there was a desire to soften the geometry and lighten the aesthetic. The introduction of curves such as the dining banquette along the party wall creates an openness that draws the eye through to the view, which looks across the Parramatta River towards Iron Cove to the south and Birkenhead Point to the west. The use of an acoustic material, Wood Wool, on the ceiling and a tonally muted cork flooring, laid in stripes alongside the plywood joinery, ensures the interior is quiet and easy on the eye. Through opening up views, creating operable windows and aligning awkward levels to create more useable, connected spaces there is a sense of the house being ‘unlocked’. Even the introduction of a two-bedroom apartment, positioned above »
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These pages, from left Warmth is introduced, not only through the use of timber, but new-generation cork flooring. The Japanese Inax ‘Yuki’ tiles from Artedomus in a deep red and the diaphanous pink curtain frame the Roger McLay ‘Kone’ chair from 506070. On the shelves, painting by Curtis Jere, ‘Vide Poche’ blackened bronze tray from Studio Henry Wilson and white pots from Papaya. ‘Aesthetic’ wall light from Est Lighting. The expansive gesture of the curved interior joinery breaks with the more formal geometry of the architecture and pulls the furnishings into the walls leaving clear circulation around the room’s perimeter. A large mirrored panel softens the edges and reflects the palms. Banquettes with upholstery by Atelier Furniture and cushions from Greg Natale wrap the breakfast table, paired with vintage ‘Cesca’ chairs and a Gubi ‘Collar’ light suspended above. Counterbalance No.27 sculpture by Odette Ireland from Curatorial+Co and Poke artwork by Stefania Reynolds.
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This page, clockwise from top Designed for multi-generational living, the 60 square metre, two-bedroom apartment is situated above the garage and internally linked to the main house. This new building is its own entity in white-painted brick with a deeply curved wall and a planted green roof for camouflage. Ceramic sculptures by Alexandra Standen from Chalk Horse. ‘Muse’ velvet sofa, ottoman and ‘Tide’ coffee table, all from Sarah Ellison, with a striped Missoni ottoman from Spence & Lyda. On the coffee table, plate and bowl from Planet, vase from Dinosaur Designs and book from Oscar & Friends. Andorra ‘Terrazzo’ rug from Armadillo. Artwork by Sonia van de Haar. ‘Plateau’ side table from Blu Dot with ‘Surface’ light from Studio Henry Wilson. The apartment terrace leads off the main living area. Artwork by Monique Lovering from Curatorial+Co. Designed with blade walls and slabs, with all the windows oriented to capture cross ventilation, the apartment addresses the climate and building orientation. ‘Volley’ chairs and table from Tait and terracotta pot from Garden Life. Opposite page In the casual living zone that overlooks the pool, the built-in sofa with upholstery by Atelier Furniture extends from inside out to link the two spaces. Coco Flip ‘Sequence’ red table from Cult. ‘Flag Halyard’ chair by Hans J. Wegner. ‘Plateau’ coffee table from Blu Dot.
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“ T H R O U G H O P E N I N G U P V I E W S , C R E AT I N G OPER ABLE WINDOWS AND ALIGNING AW K WA R D L E V E L S T O C R E AT E M O R E U S E A B L E , C O N N E C T E D S PA C E S T H E R E I S A S E N S E O F T H E H O U S E B E I N G ‘ U N L O C K E D ’.”
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Sydney SPEED READ » Seeking a waterfront home to nurture his three children’s interest in sailing, director of Fox Johnston architects Conrad Johnston came across this heritage-listed Balmain home with an unexpected architectural pedigree. » Distinguished Melbourne architect Sir Roy Grounds had designed the geometric home as a pair of semis in the early 70s but while the structure was solid, many of the timbers had rotted. » Conrad focused on exploiting the views over the Parramatta River and Birkenhead Point, renewing window frames, creating more connected spaces and adding a new two-bedroom apartment above the garage. » Conrad introduced curves to soften the original’s hard angles and the aesthetic was lightened with materials that are easy on the eye but enlivened with colourful elements introduced by Sonia van de Haar of Lymesmith. » A new pool and landscaping by Dangar Barin Smith complete the picture.
This page The ground-floor bedroom opens up to the palm-filled courtyard. The character of the original ceiling contrasts with the newly inserted joinery wall. Artwork by Anna Royal. Opposite page, clockwise from top left A curved terrace overlooking the pool offsets the angularity of the house. Planters from Garden Life. During the renovation an original red tile was found, sparking the idea for the deep-red Japanese ‘Yuki’ tiles by Inax from Artedomus to be used in the bathrooms. To let in additional light a skylight has been installed. Rich Brilliant Willing ‘Crisp’ wall light from Living Edge. ‘Momenti’ terrazzo floor tiles from Onsite. The pool is positioned right on the water’s edge surrounded by lush planting with ‘Volley’ chairs and ‘Tidal’ cushions, all from Tait.
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« the new garage (which replaced a 1983 addition) is built in brick that has been painted white. The plants trail down from the roof garden designed by Dangar Barin Smith and, combined with the lush surrounding foliage, give the building the sense that it is embedded in the landscape. One of the many successful aspects of the house is Conrad’s collaboration with Sonia van de Haar of Lymesmith, an expert in the application of colour. “Like all architects I am really good with black and white,” says Conrad, “but Sonia did a lot of research and developed a palette for the house.” He admits to being challenged at first but then reminded himself that he asks his clients to take a leap of faith and he needed to do the same. The result is a series of wonderful surprises – a punchy red handrail, a moss-green carpet and a diaphanous pink curtain (that Conrad proudly claims as his own after his conversion to the palette). The house now sings, it feels happy, with every inch of space activated both inside and out, and making the most of the landscape surprises unfolded. “When we cut back the foliage on the land leading down to the jetty we discovered an enormous rock shelf where we can now sit with a drink at sunset,” says Conrad. # foxjohnston.com.au; dangarbarinsmith.com.au; lymesmith.com.au
Words CHRIS PE ARSON Photography PABLO VEIGA
D R AW I N G
THE LINE The architect of this Sydney home drew inspiration from a masterpiece of modernism to create sculptural spaces that double as a gallery for the owners’ eclectic art collection.
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This page Concrete has been used for the walls, ceilings and the floor, the latter comprising the slab buffed up and with exposed aggregate for a terrazzo look. Photograph by Michael Cook and painting by Jenny Watson. Opposite page Architect Daniel Boddam by the crafted front door in Cambia ash with custom brass pull, which sits within an art deco-inspired monumental faceted doorway. Artworks by Tomislav Nikolic.
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This page, clockwise from top left In the butler’s pantry, joinery in American walnut with agedbrass mesh inserts. Benchtop in Maximum ‘Fior Di Bosco’ porcelain panels from Artedomus. Eterno tongue-and-groove oak floorboards in custom stain. Zip Celsius ‘Arc G5’ HydroTap. In the kitchen, joinery and ceiling in American walnut. Maximum ‘Fior Di Bosco’ panels from Artedomus continue on bench surfaces and splashback. Vola ‘590’ one-handle mixer in Brass. Holon downlights from Kreon. Sculpture by Peter Lundberg. Photograph by Michael Cook. Opposite page In the dining room, ‘Branching Bubble’ five-globe chandelier by Lindsey Adelman Studio. Knoll ‘Saarinen’ oval dining table with Nero Marquina marble top from De De Ce. Artisan ‘Torsio’ chairs from Anibou. Oak floorboards in custom stain. Walls in Porter’s Paints ‘Baroque’. Artwork by Jon Cattapan.
cemetery in northern Italy seems an unlikely source of inspiration for a Sydney harbourside home, especially one as dynamic and luminous as this. But its architect Daniel Boddam has drawn design cues from a monument to modernist architecture, Carlo Scarpa’s concrete tomb to Brionvega founder Giuseppe Brion. Daniel has even named his own sculptural creation, a masterwork in its own right, Villa Carlo, to celebrate his muse. When he first visited the site in 2017 it was far from uplifting, being occupied by a ho-hum semi, reminiscent of the California bungalow style, but stripped of any original detailing and poorly connected to its garden. But the blue-chip location on a ridge boasting extensive views seduced the owners. Empty-nesters downsizing from a nearby property, they could see the potential and, having worked with Daniel on their beach home, they knew he was the man for the job. That project was white and light-filled, but the couple wanted something “in a different mood, quieter, calming and more contemplative, using a darker palette”, he says. They also had an extensive art collection that needed room to breathe. “We are keen art collectors, so it was important to include as much wall space and natural light as possible,” says the owner.
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Daniel gutted the semi, retaining the communal brick wall on one side and a brick wall opposite. In a nod to the Italian villa, between those two walls he created a home centred on a courtyard, flanked by two wings joined by a corridor. Within the east wing sit the living areas, while two bedrooms for grandchildren who regularly come to stay – it can be shut off when required, ensuring cosiness and containment for the owners – occupy the west wing. Upstairs is a grandparents’ retreat, making three bedrooms all up, while the garage sits above the bedroom wing, taking advantage of a site that slopes downwards from the street. Both without and within, Daniel created his own monument to materiality. On the original sandstone plinth, “part of the Sydney vernacular”, he created a bottom storey forged in planes of offform concrete evoking Scarpa’s 1968 showpiece, the material expressed both internally and externally, creating a seamless connection between inside and out. “Scarpa was the guru of concrete, making it part of a holistic design and an artwork in its own right. The macro is in the micro,” explains Daniel, referring to the painstaking artisanal attention to detail, again mirroring the Brion resting place. On the upper storey, charred Cambia ash cladding tempers the monolithic qualities of the ground floor. »
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« The home also owes a debt to the California bungalow typical of the area, with its horizontal lines expressed in the “banding” of external materials, its twin gabled roofline with timber infills and its deep balconies reminiscent of neighbouring verandahs. “It’s a contemporary take on that classic style,” says Daniel. “We wanted the new home to be different, but also to belong.” The courtyard serves as the lungs of the home, ensuring crossventilation and cooling, but also bringing energy and light into its northern side. “I love Scarpa’s use of courtyards, weaving nature in with the architecture,” he says. European-style olive trees and stone aggregate are enclosed by walls of sliding glass on two sides. Cleverly, a passageway along the southern edge of the courtyard has become a gallery for the owners’ eclectic and colourful artworks, their vibrant brushstrokes providing a counterpoint to the concrete. Creating his own expansive canvas, Daniel provided plenty of wall space throughout, doing a delicate balancing act between that and ensuring generous glazing to optimise the views and light – ribbon windows help achieve that last goal. In keeping with the “dark” brief, interior finishes include blackstained oak floorboards that echo the charred-timber exterior, chocolate-hued American walnut joinery and rich turquoise grasscloth in the upstairs sitting room and a bathroom. The
furniture, selected by interior designer Cameron Kimber, boasts moody neutrals, including splashes of black and indigo, to reflect that calming, reflective brief and showcase the owner’s art. “The client wanted a soft, muted palette that would form a backdrop for her ever-expanding collection,” says Cameron. “So we kept the furnishings free of too much pattern and the colours recessive.” The main entry, Daniel’s favourite feature of the house, has become not just a vertical gallery but also a work of art in itself with its crafted detail. It celebrates concrete to brilliant effect, with its graphic stairway etched in the material and suspended in the void, a little reminiscent of the works of Escher. It lies just beyond an artisanal charred-ash front door, with a custom brass pull, framed by an opening of faceted concrete. “The entry establishes a sculptural quality, with slivers of light coming down the stairwell, heightened by the ascending and descending elements of the stairs,” says Daniel. “It’s a moment that sets the tone for what lies beyond, with the large and the small, macro and micro, all coming together.” The home’s layered nuances are never lost on the owner’s discerning eye. “To us, our home is one more work of art to add to our prized collection,” she says. # danielboddam.com; cameronkimber.com
Sydney
HOME
SPEED READ » When the owners bought this property in Sydney’s lower North Shore in 2017, it was occupied by a bland semi that shunned the spectacular water and district views.
» They hired architect Daniel Boddam to let in the light and views, while also providing gallery space for their extensive art collection. » Daniel gutted the semi and created a two-level home, with two wings built around a courtyard, with a gallery for the owners’ artworks along one side. In the tradition of the Italian villa, the courtyard cools and ventilates the home while letting in light to its internal spaces. » He drew much of his inspiration from Italian architect Carlo Scarpa and his celebrated tomb for Giuseppe Brion, with its sculptural use of off-form concrete, which Daniel has used inside and out. The structure is softened by charred Cambia ash timbers outside and dark-stained oak and American walnut inside. » In a tribute to his muse and Scarpa’s Italian heritage, he has named the home Villa Carlo.
These pages, clockwise from top left In the corridor and gallery space adjoining the two wings, a triptych artwork by Mirdidingkingathi Juwarnda Sally Gabori is illuminated by Holon downlights from Kreon. Ball sculpture by Marion Borgelt. Small artwork on wall by Alexander McKenzie. ‘Exes’ table and ‘Folia’ dining chairs, all from Parterre. Looking from the entryway towards the corridor gallery. Pair of artworks on near wall by Tomislav Nikolic. Triptych artwork in corridor by Mirdidingkingathi Juwarnda Sally Gabori.
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This page The east side of the house, with the living areas overlooking the harbour. Pyro 2020 sculpture by Jamie North in the garden. Charred yakisugi cladding in Cambia ash from Sculptform. Howqua Freeform stone cladding from Eco Outdoor. Opposite, clockwise from top left On the first floor landing, a painting by Robert Bevan hangs above the clients’ own table. White wall sculpture by Huseyin Sami. In the upstairs sitting room, sofa, chair and ottoman, all custom by Cameron Kimber Design. Knoll ‘Platner’ side table from De De Ce. Visual Comfort lamp from Laura Kincade. Arte ‘Oculaire’ wallpaper in col. 80701 from Unique Fabrics. Villa Natralis wool carpet in Truffle from International Floorcoverings. Lightbox artwork by Yang Yongliang. In the downstairs bathroom, custom vanity by Nu Space with basin in Carrara marble from Euro Marble and Vola ‘590V’ deck-mounted mixer in Brass. Custom mirror and ‘Celeste’ sconce by Daniel Boddam. In the main bedroom, table lamp from Conley & Co. Arte ‘Oculaire’ wallpaper in col. 80704 from Unique Fabrics.
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L I T F RO M W IT H I N
Bathed in light from a soaring oculus, this home is an elegant expression of Haussmann-inspired design in the heart of Melbourne. Words C ARLI PHILIP S
Photography ARMELLE HABIB
Styling SIMONE HA AG
Melbourne
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This page “The pool window provides a visual connection to the upper pool deck,” says architect Nicholas Murray of the pavilion separated from the main house by the courtyard. Terrazzo table from The Plutonic Furniture Company. ‘Lerod’ chairs from Stylecraft. Opposite page Vintage pieces in the study include a Fornasetti chair (on the right) and a mirror from 1stdibs. Rug from Cadrys. Lasvit Neverending Glory ‘Prague Estate Theatre’ pendant light from Living Edge.
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Melbourne
This page Friends & Founders ‘La Pipe’ lounge chairs from Fred International continue the study’s splash of plum into the living room. Coffee table from Hugh Lane. Ceramics on coffee table from Pépite. Minotti ‘Alexander’ sofa from De De Ce. Rug from Cadrys. Never would have made it (behind chairs) and Saturday night live artworks by Jasper Knight from James Makin Gallery. Listone Giordano ‘Réserve Traccia’ floorboards in Siena from Winspear. Vintage floor lamp. Opposite page, from top Strong black tones highlight the kitchen and include Zimbabwe Black granite for the benchtops and island bench from Gladstone Granite, ‘Chair No.1’ iron and buffalo leather chairs by J.M. Szymanski from 1stdibs, Vola tapware in brushed black chrome and an e15 ‘Span’ pendant light from Living Edge. Elba marble splashback from Artedomus. Yellow sculptures by Basil Papoutsidis from James Makin Gallery. A commissioned artwork by Antonia Mrljak fills a wall in the dining room. Baxter dining table and Apparatus ‘Twig 5’ pendant light, both from Criteria. Featherston ‘Scape’ dining chairs from Grazia&Co. ‘Shigure’ standing shelf by Sozou Studio. Glass vases on table from Boyd Blue. Ceramics from Modern Times.
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ith its tree-lined boulevard location, traditional parquetry flooring and effortless European pieces, this home in East Melbourne has definite Parisian vibes. It’s an atmosphere owner Liz Hall was vying for at the newly renovated house that she shares with her partner Gavin Wright. “I love large, Haussmann-style apartments with their parquetry flooring and classic detailing,” says Liz. “I wanted there to be a feeling of height and space.” In a quiet location yet close to Melbourne’s CBD, the circumstances in which this house came to be were fortuitous. The discovery of the 1800s house coincided with Liz’s commencement of an interior design degree. A lawyer by trade, she had done a series of casual short courses over the years, but bit the bullet in 2018 for something more formal. Around the time of enrolment, the couple came across what was to become their forever home. Liz decided to defer in order to devote her time wholeheartedly to the renovation. What followed proved to be the ultimate on-the-job ‘work experience’ – an immersion that spanned site meetings, sourcing materials, selecting finishes and fixtures. The house was largely derelict and required major work. Liz and Gavin engaged Nicholas Murray of Nicholas Murray Architects, who they had worked with on their previous property, a big industrial-style warehouse conversion with lots of built-in furniture. “I told Nicholas that we wanted to do something completely different this time,” says Liz. Aside from the period facade, the house was beyond repair. “We wanted to create something more contained, with an internal look of restrained ornateness and detailing that was more European as opposed to Melbourne’s typically dark, Victorian-era look,” says Nicholas. He applied subtle decorative elements to the new voluminous spaces by way of slim cornices, panelled doors and marble fireplaces. To bring in extra light, Nicholas added steel-framed windows, a series of pared-back colonnaded arches and a central oculus with a perimeter frame that links back to the balustrade edging on the staircase. »
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HOME
Melbourne
These pages Owner Liz Hall’s inspiration for the soaring oculus in the living room came from the Pantheon, and steel-framed glass doors provide a visual connection to the pool pavilion. Minotti ‘Alexander’ sofa from De De Ce. Coffee table from Hugh Lane. Ceramics on coffee table from Pépite. Friends & Founders ‘La Pipe’ lounge chair from Fred International. Rug from Cadrys. Artwork by Jasper Knight. Vintage floor lamp. Vintage bar cart from Smith Street Bazaar. Elba marble on the wall from Artedomus. Serge Mouille swing arm wall lamp and ‘Chair No.1’ chair by J.M. Szymanski, both from 1stdibs.
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« A paved rear courtyard separates the house from a new, freestanding double-storey pavilion. The open-air space is dedicated to hanging out with friends and also for fitness. Catering to Liz and Gavin’s cycling hobby, the area was designed so that the couple could set up their training bikes in front of the television during the colder months. They were initially reticent about installing a plunge pool because of the maintenance required, but Nicholas designed it with high-end technology for complete automation. “The whole set-up has seen some heavy use in recent months,” says Liz, referring to Melbourne’s strict COVID-19 lockdowns. At 20 tonnes of weight in the air, the aerial pool was structurally challenging but the effect provides a visual connection from the lower courtyard to the upper deck. Liz wanted a very specific palette of cool blues and greys with minimalistic stone silhouettes, but she was cautious of the colours being too cold. Lining the floors in hand-laid French oak parquetry not only provided visual and textural interest but added an incredible warmth to soften the more reserved hues. She worked closely with interiors expert Simone Haag to curate and style furniture, objects and art. The brief was to create a home that seamlessly absorbed vintage and modern elements equally. “The home’s decorating framework is one of restrained elegance,” says Simone, who “cast a wide net” when it came to sourcing everything from big-ticket furniture to accent tables and chairs, ceramics and lamps. “At no point is there an obvious change in style. One of the overarching ideas was to place both traditional and contemporary pieces side by side.” Uncluttered and carefully placed, it’s a pared-back approach that “uses negative space to highlight the objects’ individuality”. Mid-century vintage pieces, Australian artworks and standout lighting from Apparatus sit alongside sentimental antique vessels, bronze statues and fresco-inspired paintings collected on Liz and Gavin’s travels through Morocco, India and New Mexico. “At the moment they assume an even more important role, given we don’t know exactly when we will be able to travel again,” says Liz. “These items not only decorate our home but are memory triggers which take us to places we’ve enjoyed together.” # @studioapercu; nma.net.au; simonehaag.com.au
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This page “Period buildings are generally dark and gloomy,” says architect Nicholas Murray. “We introduced large steel-framed windows to open up the traditional spaces, such as the master bedroom.” ‘Arctic Pear’ chandelier and ‘Scorpion’ wall light from Ochre. Custom bed designed by Liz Hall. Bed linen and throw from Hale Mercantile Co. Sculpture by Zoe Amor. Artwork by Robert Malherbe from James Makin Gallery. Opposite page, clockwise from top left In the main entry, Mingardo ‘Be-Lieve’ credenza from Hub with a table lamp by Studio Henry Wilson. ‘Bone Chair 01’ by Loïc Bard from Radnor. Apparatus ‘Triad 9’ pendant light from Criteria. A painting by Toby Raine from James Makin Gallery guides you down the main home’s stairs. The Wall&decò wallpaper in the master ensuite features a tree motif. The pattern ties in with sculptures that Liz commissioned in the courtyard, which have an arboreal form. ‘Etruscan’ bath from Albion Bath Company. Elba marble for the floor and vanity from Artedomus. ‘Triangolo’ steel chair from Frama.
SPEED READ » Liz Hall chanced upon this house while studying a formal associate degree in interior design – renovating it proved to be the ultimate on-the-job learning experience. » Liz and her partner Gavin had renovated a big warehouse before, but for this home they wanted something completely different. » They enlisted the same architect, Nicholas Murray, to create a home inspired by traditional Haussmann-look Parisian apartments. » A central feature of the design is the huge oculus that drenches the interiors in light. » Classic elements were celebrated in the form of cornices and panelled doors. » Interior designer and stylist Simone Haag worked alongside Liz to curate a selection of vintage and modern furniture, lighting and accessories. » A paved courtyard separates the house from a new, freestanding double-storey pavilion, which contains a transparent 5.5 x 3-metre pool and a dedicated space for the couple to train for their cycling hobby.
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D OW N T H E garden path
Petersham Nurseries is a new book about the celebrated London cafe which serves up a joyful helping of the season’s finest on a plate. Photography ANDREW MONTGOMERY Words THE BO GLIONE FAMILY
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ying nine miles or so southwest of London, between Richmond and Ham, Petersham is a place apart. There’s no high street as such and, though there are a good number of historic houses and a charming, if somewhat hidden, 18th-century village lock-up, none are open to the public. By car, it would be easy to miss the village, but approach from the river, and the picture is more seductive. Cross Richmond’s pretty green – Henry VIII’s old jousting ground – noting the stone arch of The Gatehouse (one of the last surviving traces of Richmond Palace, the much-loved home of Elizabeth I) and head towards the banks of the Thames. Today the frenetic comings and goings of the court are no more (it was at Richmond that Elizabeth received Francis Drake after his circumnavigation of the globe, and here where she and her council of war planned their strategies to defeat the Spanish Armada). Instead, a much gentler pace of life now reigns, with colourful wooden skiffs idling under the fronds of the weeping willows. Ducks squabble over breadcrumbs thrown from the path while a loud splash signals that yet another dog owner will be washing their charge come evening. Beyond the canoe club, the path enters Buccleuch Gardens – in the 19th century, part of the lavish grounds of Buccleuch House – before a metal kissing gate signals another change of pace as we pass into Petersham meadows. Now the scene is more tangibly rural. Once part of the estate of Ham House, just along the river, these meadows have been grazed for well over 200 years and are protected as part of the view from Richmond Hill looking west towards Hampton Court. Leave the riverbanks and head inland slightly, past spreading oaks towards a line of trees. Pass through another kissing gate, avoiding the cows that often congregate, and into a narrow lane fringed by hawthorns, wild roses and ivy. In summer, the trees meet overhead forming a green cloister, where the air is stiller and warmer than in the fields around. Flecks of sunlight dapple the path, beckoning us on to discover what lies at its end ... This is Petersham Nurseries, and this is its story. Petersham Nurseries is available from johnreedbooks. com.au, $149.95; petershamnurseries.com
This page, clockwise from top The Bogliones. The family moved into the home in 1997, restoring it from the roof down. They bought the nursery next door in 2000. Their ethos is “eat fresh, seasonal, locally produced, chemical-free food”. Opposite page Exuberant garden borders frame the house.
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PUMPKIN TORTELLI WITH PUMPKIN BROTH, CHESTNUTS AND SAGE SERVES 4
PASTA DOUGH 520g 00 flour A big pinch of salt 6 large egg yolks 3 large eggs 1/2 tablespoon olive oil semolina, for dusting
This page, clockwise from top left Pumpkin tortelli with pumpkin broth, chestnuts and sage “is a time-consuming recipe, but one that’s well worth the effort”, says the book, which advises not to omit the sage. The Nurseries cafe is located in the village of Petersham. The nursery. Harvesting is a family affair.
FILLING 1 small Japanese pumpkin, approx. 1–1.5kg 12 sage leaves, chopped 2 cloves garlic, chopped 4 tablespoons olive oil, plus extra for baking the pumpkin 100g ricotta Salt and black pepper, to season BROTH All the pumpkin trim (skin and seeds) 200g vegetable scraps (any peelings apart from turnip) ½ teaspoon fennel seeds 1 bay leaf 1 sprig thyme 1.5 litres water TO SERVE A small handful sage leaves 40g unsalted butter 60g pre-prepared chestnuts, roughly chopped Parmesan, grated
1 To make the pasta dough, mix the flour and salt on a clean surface and make a deep well in the centre. Add the egg yolks, eggs and oil. Working quickly but gently, use your fingers to gradually combine. Bring together into a rough ball and knead for 10–15 minutes until you have a smooth, elastic dough. Or, mix all ingredients in a mixer with a dough hook. Wrap the dough and rest in the fridge. 2 Preheat the oven to 190°C. Quarter the pumpkin and scoop out the seeds (save for the broth). Place in an ovenproof dish with a lid, drizzle with olive oil, season, cover and bake for 1 hour, or until soft. 3 Once cooked and cool enough to handle, remove pumpkin flesh from the skins (save for the broth). Fry the sage leaves and garlic in the olive oil over a medium heat and add to 500g of the pumpkin flesh, along with the ricotta and some seasoning. This is the filling. 4 To make the broth, place all the ingredients in a pan with a big pinch of salt and a few grinds of black pepper. Bring to the boil and gently simmer for 25 minutes. Leave to stand for an hour, then pass through a fine sieve. 5 Cut the pasta dough into two pieces of around 300g each. Roll each one out to around 1cm thick, then feed through a pasta machine, gradually reducing the settings until you have about 4 sheets thin enough to see your fingers through. 6 Lay the sheets on a surface dusted with semolina and cut out 8cm circles from each with a cutter (about 12 from each sheet). Place ¾ tablespoon of filling in the centre of each disc and brush or spray with a little water to help seal. Fold each disc in half, pressing the edges together, and then bring the corners together, forming a little peach shape in the centre. Set aside on a tray with plenty of semolina to prevent the pieces sticking. 7 Reheat the broth, and as you do so, bring a pan of salted water to the boil. When boiling, add the tortelli and cook for 2 minutes. Meanwhile, fry the sage leaves in the butter until crispy and then add the chestnuts, stirring until warmed through. 8 Serve the tortelli in the broth, garnished with the chopped chestnuts and sage leaves and sprinkled with grated parmesan.
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RHUBARB AND STEM GINGER ICE CREAM WITH POACHED RHUBARB, SHORTBREAD AND PISTACHIO SERVES 4
SHORTBREAD 110g caster sugar 300g plain flour 225g unsalted butter, cold, cut into small pieces POACHED RHUBARB/PURÉE 500g caster sugar 500ml water 1kg rhubarb, cut into 1–1.5cm pieces RHUBARB AND STEM GINGER ICE CREAM 120g egg yolks (from approx. 6-7 large eggs) 200g caster sugar 400ml double cream 400ml rhubarb purée (see above) 100g stem ginger, finely chopped TO SERVE 50ml rhubarb purée (see above) 50g pistachios, toasted and roughly chopped Small handful of viola flowers
1 For the shortbread, mix together the sugar and flour and then crumble in the butter until you have a breadcrumb-like mixture. Bring together by hand to form a dough, then wrap and chill for at least 20 minutes. Preheat the oven to 170°C. 2 Roll out the shortbread on a lightly floured surface to 0.5cm thick and cut into at least three circles, 12cm in diameter. Cut each one in half and place them, well-spaced, on a baking sheet lined with baking paper and bake for 15–20 minutes, or until pale golden. Leave to cool. 3 To make the rhubarb, in a large pan bring the sugar and water to the boil and add the rhubarb. Cover with foil or a tight-fitting lid and leave to cool – there should be enough heat to cook the rhubarb until it is perfectly al dente. When it’s ready, make a purée by taking half of the rhubarb and liquor and stewing until broken down and soft, then blending until smooth. 4 For the ice cream, whisk the eggs and caster sugar together until pale and fluffy. Pour the cream into a small pan and bring to a simmer over a medium–low heat, then pour it slowly over the egg and sugar mixture, whisking constantly. Transfer the mixture to a pan and cook over a low heat, stirring constantly, until it coats the back of a wooden spoon and a finger dragged across the spoon leaves a clean line. Transfer to a clean bowl, add 400ml of the rhubarb purée and the chopped stem ginger and chill in the fridge overnight. The next day, churn in an ice-cream machine, following the manufacturer’s instructions. 5 To serve, take a half disc of baked shortbread and spread with purée. Sprinkle with crushed pistachios and edible flowers. Gently heat the remaining poached rhubarb and place some in a small bowl. Add a scoop of the ice cream and the dressed shortbread.
This page, clockwise from top left The Bogliones made the Queen Anne-era house their home. The family. Rhubarb and stem ginger ice cream with poached rhubarb, shortbread and pistachio features in the Winter chapter and is one of Petersham’s “prettiest puddings” according to the book, which adds, “You’ll need a machine to make the ice cream, but if you don’t have one, the rhubarb and shortbread is just as good on its own.” Produce sourced for Petersham is organic and ethically produced.
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With its wonderfully idiosyncratic mix of vintage 20th-century furniture, lighting, art and objects, Redfern’s Rudi Rocket is a mecca for stylists and designers seeking the outré and unexpected. Photography KRISTINA SOLJO
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THE OFFICE
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H AT W E R E S O M E O F Y O U R E A R LY C R E AT I V E
Simone: Our home was filled with beautiful objects and original art. Though not high-end, they were colourful and stylish with a European aesthetic my parents brought from Germany. I studied at Sydney College of the Arts, which opened my world to design in all its forms, and worked as an interior architect for 20 years. Rudi: My father was an industrial designer for a lighting manufacturer in the 1960s and 70s, which started my appreciation and love for vintage lighting. We always had interesting lamps and prototypes at home. I studied art and now make sculptural pieces. INFLUENCES?
WHEN DID YOU START COLLECTING AND HOW DID RUDI ROCKET COME
S: I started serious collecting as a design student, wanting objects I couldn’t find in department stores, seeing beauty in vintage design. Collecting is my life! R: From early on I collected interesting objects, from industrial to art pieces, and this has influenced my sculpture. Rudi Rocket came about as a collaboration between us and our desire to create more than just a retail shop. We wanted it to be about the experience and the joy of discovering unique pieces and to show how a mix of styles, designs and eras can work together. HOW WOULD YOU DESCRIBE YOUR APPROACH TO COLLEC TING? S+R: It’s not always about a known or famous designer or artist. We use a ‘gut feeling’ approach and collect objects, furniture and art that we love. We look at the object, the proportions, use of colour and the design. We love finding something unique and a little left-field. ABOUT?
IS THERE A PARTICUL AR ER A OR ST YLE THAT RE SONATE S WITH YOU?
S: I love postmodern design, 1970s Italian furniture, brutalist ceramics and 1950s modernist textiles. R: Bauhaus design lighting, Australian and British modernist artists, brutalist architecture. WHAT APPE ALED ABOUT YOUR LO C ATION? S+R: Redfern has an edgy vibe and bohemian atmosphere, a little unpredictable, with a great mix of new and old – perfect for our unique shop we opened in 2011. COULD YOU DE SCRIBE A T YPIC AL WORKDAY? S+R: There isn’t one: our days vary from working with designers and stylists, customer requests and enquiries to sourcing for the shop, restoring furniture, arranging shop displays and researching new vintage pieces. There is always more to discover about vintage designers and artists. WH AT D O YO U EN J OY A B O U T THE WO R K YO U D O? S+R: It is very satisfying to see restored pieces come back to life and then head to their new home. The excitement of seeing our vintage pieces in beautiful homes and commercial projects. And, of course, the excitement of finding new amazing vintage pieces for the shop. WHAT ARE YOUR FAVOURITE PIECES IN THE SHOP NOW ? S: Charlotte Perriand ‘LC7’ swivel chairs, mid-century Danish teak cabinet by Peter Hvidt and Orla Mølgaard-Nielsen, and 1970s Italian glass and chrome coffee table. R: An abstract expressionist painting by John Peart, Verner Panton ‘Panthella’ lamp and Vico Magistretti chair. WHAT ARE SOME DRE AM PIECE S THAT YOU WOULD LOVE TO SOURCE?
R: 1920s Bauhaus table lamp by Marianne Brandt and Australian abstract painting by Yvonne Audette. S: 1950s French ceramic by Roger Capron and any postmodern design piece by Ettore Sottsass. (But they wouldn’t make it to the shop, we would have to keep them!) WHICH OTHER DE SIGNERS, ARTISTS, FILMMAKERS AND ARCHITEC TS DO YOU ADMIRE? S+R: So many! Gordon Andrews, Keith Haring, Albert Tucker, Wes Anderson, Pierre Paulin and Harry Seidler. WHAT PROJ EC T S AR E YO U LO O KIN G FO RWAR D TO IN THE CO MIN G
S+R: Continuing to work with designers and stylists who choose to mix our vintage pieces with contemporary design. 0488 990 490; instagram.com/rudirocket YE AR?
This page, from top Vintage pottery and vessels above a mid-century Danish rosewood cabinet with 1960s still life and art deco drinks set. The palm sculpture was originally a private commission. Artwork by Kitty Callaghan above an assortment of ceramics and a 1980s Italian chair by Vico Magistretti. Opposite page Rudi and Simone are surrounded by finds such as a Marcel Breuer ‘Wassily’ chair and a 1971 ‘Panthella’ lamp by Verner Panton. The 1960s Parker sideboard displays lamps from Italy, Denmark and Spain, 1960s Lapid pottery and a yellow sculpture by Rudi. Work by UK artists Bruce McLean and Michael Stokoe, and Australians Simon Blau, Guy Grey-Smith and M. Collocott. 1960s Dutch cane chair by Dirk Van Sliedregt.