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ENTRIES » In association with FANULI, Australia’s leading furniture and design brand, Belle is delighted to announce that entries are open for the 2022 INTERIOR DESIGN AWARDS » Now in its 12th 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 2 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
INTERIOR
DE SIGN AWA R D S
2022
S P O N S O R E D BY
S U P P O RT I N G S P O N S O R S
E N T R I E S C LO SE F R I DAY, SEP T E M BER 9, 2 02 2 FOR AN ENTRY KIT AND FURTHER DETAILS, PLEASE EMAIL BELLEAWARDS@AREMEDIA.COM.AU
CONTENTS
103 BENCH PRESS A CUSTOM OAK BENCH, A PATRICK HARTIGAN ARTWORK, A PENDANT LIGHT FROM ANNA CHARLESWORTH AND A VINTAGE TURKISH RUG MINGLE HAPPILY IN THIS HALLWAY SCHEME.
J U N E /J U LY
2022
23
C H I C AG E N DA Style director-at-large
P HOTO G R A P H Y A N SON S M A RT ( S Y DN E Y H A L LWAY ), P I E R C A RT H E W (‘A F T E R H O U R S’ AT V O L K E R H AU G ST U D IO )
Steve Cordony reveals his latest design finds.
35
R I G H T N O W Our experts tour Melbourne
Design Week’s most captivating exhibitions.
56
A RT What eye-catching pieces does Belle arts editor Harry Roberts have on his radar?
58
A RC H I T EC T U R E O’Connor and Houle
embrace architecture, interiors and landscape.
60
I N F LU E N C E S Creators of Osborn House,
interiors experts Linda Boronkay and Alan McMahon spill their favoured creative sources.
66
108
CREATIVE SPACE Christian Dior’s beloved 30
Avenue Montaigne salon has expanded to encompass much more than haute couture.
73
DRIVING IN CARS The new plug-in hybrid Lexus NX impresses while on tour in Hobart.
89 91
LIBRARY Volumes from design-savvy authors.
93
ST Y L E E T I Q U E T T E Soft furnishings will make your space feel more luxurious.
melbourNe Design REPORT W I T H K A R E N M C C A RT N E Y & S A R A H -J A N E P Y K E
CREATIVE SPACE Wyer & Co’s new workplace
sanctuary is a tribute to nature.
99 103 104
18
Masthead and Privacy Notice
21 178
Editor’s Letter
Reading the room
BELLE BAZAAR Top picks from a design lover.
ELEGANT ECLECTICISM FROM POT TS POINT TO TOOR AK
MAN Fame is the name of the game. WOMAN Stage your own 80s revival.
35
REGULARS
home couture FOR YOUR DRIVING PLE A SURE
The Office ... Fineworks Paddington
&
23
hobart’s art design hotspots
OUR COVER Photography Anson Smart
107 108
HOM ES SY D N E Y Award-winning design practice Arent&Pyke mixes styles and
eras to re-imagine a Federation home for a vibrant young family.
118
SY D N E Y On an iconic beach with a history, a chic bayside apartment
takes joy in a curated selection of heritage pieces sourced from Paris.
126 134 144 152 162 170
M E L B O U R N E See how this interior designer reinvented her own home. SY D N E Y Saved from demolition, this inner-city home is a talking point. M E L B O U R N E Light hands lifted spirits in this dark Edwardian beauty. M E L B O U R N E A Victorian villa becomes an entertaining presence. SY D N E Y A new build melds seamlessly into its beach surrounds. GA R D E N Sandstone elements and carefully selected plant materials create a glowing impression in this inner-city garden.
17
EASY TO E N T E R TA I N
E D I TO R I A L
Editor-in-chief Creative director Deputy editor Senior copy editor Chief copy editor, Homes Art directors, Homes Junior designer, Homes Art production Contributing editors
Tanya Buchanan Lauren Camilleri Harry Roberts Janice Hogg Sarah Pickette Nina Dorn, Marissa Foye Saffron Sylvester Matus Kundrat Steve Cordony (Style director-at-large), Karen McCartney (Architecture), Judy Pascoe (Library), Melissa Penfold, Carli Philips (Melbourne), Jean Wright (Design)
E D I T O R I A L O F F I C E GPO Box 4088, Sydney, NSW 1028 Tel (02) 9282 8456, email: belle@aremedia.com.au
CON T R I B UTO R S Mike Baker, Sharyn Cairns, Darren Christison, Jem Cresswell, Adrien Dirand, Elise Elliott, Sean Fennessy, Rory Gardiner, Dan Hocking, Tess Kelly, Alana Landsberry, Abbie Mellé, Tim O’Connor, Maria Papantoniou, Chris Pearson, Kristen Pelou, Sue Ramsey, Mark Roper, Anson Smart, Kristina Soljo, Sam Tabone, Rhiannon Taylor, Pablo Veiga, Nicholas Watt
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Jane Huxley Shane Sutton Andrew Cook Georgina Bromfield Nicole Pearson Joshua Blanshard
SUBSCRIPTION SALES & ENQUIRIES Visit: magshop.com.au. Email: magshop@magshop.com.au. Tel: 136 116. Mail: Magshop, GPO Box 5252, Sydney NSW 2000. S Y N D I C AT I O N E N Q U I R I E S syndication@aremedia.com.au Published by Are Media Pty Limited (ACN 053 273 546) part of 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. © 2022. All rights reserved. Prepress by SBM Premedia, Silverwater. Printed by Ovato, 8 Priddle St, Warwick Farm NSW 2170. Distributed by Are Direct, 31-35 Heathcote Road, Moorebank, NSW 2170, tel (02) 9972 8800. ISSN 0310-1452. 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.
H A R DTO F I N D. C O M . AU
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EDITOR’S LET TER
COCO REPUBLIC’S NEW WINTER 2022 COLLECTION INCLUDES THE ‘HARLEM’ MODULAR SOFA, ‘NOBU’ COFFEE TABLES AND THE ‘SOHO’ SIDE TABLE.
Coco Republic ‘Aleka’ brass table lamp, $695.
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love the work of our cover designers, the award-winning duo Juliette Arent and Sarah-Jane Pyke. So many of us are drawn to the charm and detail of heritage houses, and this project shows that you can maintain the dreamy feeling that draws you to this style while contemporising with colour and a mix of modern and collected pieces. Arent&Pyke are the reigning Belle Fanuli Interior Designers of the Year, and this home showcases the magical results of their collaborative design and curation. They are a pair of colour and art specialists, so it is no surprise their palette looks so fresh and ‘now’ after their expert do-over. You can’t fake depth and warmth, and this house is infused with it – see p108. The line-up of fabulous work by Australian designers in this issue is very impressive. Alexandra Ponting’s new take on a heritage flat in Sydney’s stunning Balmoral Beach – an area I have spent many hours in – is infinitely inviting. It impels a sense of reverie, p118. If you are familiar with the 1978 Woody Allen film Interiors, with a stellar cast including Geraldine Page and Diane Keaton, you might feel that Alexandra’s timeless interiors could have appeared as part of the film’s serene backdrop, which sets the scene for an intense family drama. Carole Whiting, our emerging designer of the year, has a distinctive minimalist look that works beautifully in Australian interiors, p144. It strikes a strong balance between classic and contemporary with its rigour. David Hicks’s love of indulgent and extravagant finishes – not to mention his always generous and marvellous use of marble – is displayed in his reworking of a beautiful heritage Melbourne property, p152. I envy the crisp and timeless style of industrial designer, interior architect and art collector Shareen Joel – see p126. Her interiors look is so effortless and elegant, yet I know that there is much skill to combining rugged materials, contemporary and antique pieces, a modern-day art collection and raw linen with such precision and polish! At Belle, we love the runway and what could be better than interiors and couture colliding in the most fabulous fashion. We get up close and personal with some truly stunning pieces designed for Louis Vuitton by internationally acclaimed designers, p49. And our deputy editor Harry Roberts takes us inside the exquisite headquarters of legendary couture house Dior at Avenue Montaigne in Paris, p66. Back at home, Melbourne Design Week was a sensation, and we have reports from our Architecture editor Karen McCartney and Sarah-Jane Pyke, from p35. Our dedicated team is always out and about sourcing and bringing you the best to buy, see and do. Style maestro Steve Cordony delivers his Chic Agenda, p23, and Maria Papantoniou takes us trawling the shops and bazaars of the Southern Highlands for interior and fashion treasure, p99. Motoring expert Elise Elliott goes along for the ride on p73 when Biasol directors Jean-Pierre and Heidi Biasol take the new hybrid Lexus NX 450h+ for a spin around Hobart, taking in galleries and designer hotspots. It’s time to launch the 2022 Belle Fanuli Interior Design Awards. We invite our incredible Australian designers to get their entries in for our judging pleasure. We so enjoy looking at their myriad directional projects. Enjoy the issue, and we are pleased to report that the last few years have not dulled the talents of our best and brightest!
Hermès ‘Plein Air’ radiant glow powder in Mirage, $145. hermes.com.au
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ELEVATE YOUR TABLESCAPE
01
02_SISTER ACT
Lamps are not only a source of light but also become sculptural objects. The Sister lamp collection by Laurence Du Tilly is the perfect example of that. bastilleandsons.com.au
01_SOUL SIBLING
One of my favourite Sydney haunts is the William Street, Paddington, outlet of awarded interior designer Tamsin Johnson, who has just opened a sister store around the corner full of more beautiful curated antiques and wares. tamsinjohnson.com
03_CONTINENTAL SHIFT
Everything old is new again, and these bone-coloured cat-eye frames from Balmain create the ultimate contemporary-meets-classic moment for your European sojourn. balmain.com
02
ST by
ed
The perfect addition to your tablescape, these Mason Wylde abstract travertine candle holders from Youtime will add an organic yet luxe style hit to your next dinner party. youtime.com
04 Edit
04_LIGHT MY FIRE
E EV
C
D OR
ONY
There are things to see, places to be: the latest destinations and designs unfailingly fire the creative mind of stylist Steve Cordony. Here’s what he has his eye on now ...
RIGHT NOW
Chic Agenda 05_WAVE RIDER
The latest range of curved mirrors from Byron Bay emporium Tigmi Trading are handcrafted in the laid-back town, where the natural curve and form of the ocean have informed the shape. tigmitrading.com
06_PUP TALK
There will be no mistaking your luggage (or your pet’s) with the Hermès ‘R.M.S’ suitcase in Traffic Jam print, the latest dog accessories in the ‘Box of Tricks’ and the beechwood canine brush. hermes.com
05
08_GREEN INDIGO
The first ready-to-wear denim collection from my favourite tailor is made from BCI-certified organic cotton and available in three on-trend tones: Light, Mid and White. pjt.com
07_O MY GOODNESS
07
09_SLUMBER ART
08 24
09
Available in ash, oak or walnut (shown) the Nau ‘Nami’ bed is a study in sustainability and spatial awareness, made from flat-packing solid timber. cultdesign.com.au
Adding to the range of contemporary outdoor furniture, Spanish brand Oiside’s ‘Oi’ range of planters (pictured) sit perfectly within Robert Plumb’s collection of graphic seating and tables. robertplumb.com.au
Always timeless. Always true. Available at dedece Sydney and Melbourne dedece.com
1958 Florence Knoll and Eero Saarinen 2022 Eero Saarinen Pedestal Collection
MELBOURNE SYDNEY ADELAIDE BRISBANE
The de Sede ‘DS-266’ Recliner Chair. Geometric sculptural form softened by masterful patchwork leather. Effortlessly reclines with a shift in bodyweight. Exclusive to DOMO. @domoaustralia | info@domo.com.au | domo.com.au
Chic Agenda
11
10
RIGHT NOW
10_LUMINARY MIGHT
Curved sofas are having a moment and the latest addition to the fold is ‘Lunam’ by Kartell, which was inspired by the dreamy atmosphere of a lunar landscape. spacefurniture.com.au
11_PIECE MAKER
Doing double duty as a lounge sofa, the ‘DS-80’ daybed is a timeless classic. Ever since its launch in 1969, the piece has been produced with patchwork leather upholstery crafted from a single, premium-quality hide. domo.com.au
12_LILY PAD
The ‘Lotus’ vase by designer Elena Strohfeldt commands attention in the most organic, handmade and simple way, whether it’s filled with one flower or many. elsocollective.com.au
12 13_SHADOW PLAYS
Also having a moment in interiors: fun, bold colour and eccentricity. A case in point are these hand-painted shades, in playful hues of Pistachio, Butter, Cherry and Denim, by design collective Rubble. rubbleworkshop.com
27
RIGHT NOW
Chic Agenda
14
15_VESSEL CRAFT
I love a vase that looks good with or without flowers and the hand-blown ‘Graft’ vase by Liam Fleming achieves that indeed. moderntimes.com.au
14_DIGGING THE CLAY
I stumbled across the beautiful Clae Studio pieces on a recent trip to gallerist Michael Reid’s outpost on Sydney’s Northern Beaches, where they sat perfectly in the window as a part of the ‘Finding Form’ exhibition. michaelreidnorthernbeaches.com.au
15
17
16_DRESS UPS
Now that the world is opening up again, the holiday shopping and packing is in full force, and at the top of my list is this Commas textured gold-and-white striped dinner shirt. commas.cc
17_ROSY GLOW
Soft pink is still a hot topic and the Duchess colour-way of the ‘Agra’ rug from Armadillo is the perfect shade of pink to adorn any floor. armadillo-co.com
18_ZINC THINKING
Finished in electroplated steel with toughened frost-white glass, the ‘Mood’ zinc side table by Dean Norton brings together my love of metallics and kaleidoscopic tones. deannorton.com.au
18
19_SWAN DIVE
Another summer Euro holiday musthave is the large utility tote from Haulier, which is perfect for day-today errands or, hopefully, swanning around Capri. haulier.international
28
19
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Chic Agenda
RIGHT NOW
P H OTO G R A P H Y J E M C R E S SW E L L ( T H E F I N E RY CO M PA N Y )
20 20_PAD ON OVER
I recently came across The Finery in Sydney’s Paddington, which houses a beautifully curated mix of vintage furniture (above), Japanese ceramics (above left), amazing tailored suits (below left) and jewellery (below right), founded by Joe Ha and his jeweller wife, Jeanne Kang. For more, see p178. thefinerycompany.com.au
22_TURN IT ON
Nanobar is the latest range from Brodware. Clad in brushed Swiss brass, these bathroom pieces shine with a subtle gleam. brodware.com
22 21_SMOKING HOT
For his latest collection, aptly titled A Forest, Christophe Delcourt conjured a beautifully organic and romantic mood with pieces such as the ‘Inu’ table in smoked brushed oak. ondene.com.au
21 31
RIGHT NOW
Chic Agenda
24 23_CLASSY GLASS
24_COSMIC COCKTAIL
A design collaboration between Becker Minty and Sarina Suriano, the ‘Saturne’ cocktail set looks chic whether or not it’s mixed up your favourite tipple. beckerminty.com
Some of the latest arrivals from my go-to antique store include a 1940s Murano pendant chandelier (above) and inlay coffee table (below), which will add a touch of glamour to interiors. thevaultsydney.com
25_METAL MAGIC
Recently reimagined, the ‘#3 Enriched Crème’ from Rationale has been boosted with zinc and iron oxides to further amplify your glow. rationale.com
25
27_HEAR HEAR
27
A Wallpaper* Design Award winner for 2021, the innovative wireless home speaker ‘Beosound Balance’ can not only be part of the perfect ‘shelfie’ but delivers impressive sound for its compact stature. bang-olufsen.com 28_SIT UP
A design icon, the Artek ‘Stool 60’ has been remade for Anibou with unselected birch and unpigmented linoleum. The pieces are available in a numbered limited edition of 40. anibou.com.au
28 32
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RIGHT N OW
Photography D AN HO CKING
STYLIST MARSHA GOLEMAC CURATED A DRAMATIC INSTALLATION FOR VIABIZZUNO’S ‘LIGHT THE WORLD YOU WANT’ EXHIBITION AT VBO AUSTRALIA. ILLUMINATING THE WORK OF NINE LEADING AUSTRALIAN ARTISTS – INCLUDING RICK AMOR, PATRIZIA BIONDI AND LOUISE PARAMOR – THE SHOW EXPLORED THE POTENTIAL FOR LIGHTING TO ELICIT AN EMOTIONAL RESPONSE AND HEIGHTEN OUR EXPERIENCE OF ART, OBJECTS AND INTERIORS. DESIGNWEEK.MELBOURNE; VIABIZZUNO.COM
Enjoy Belle’s exclusive tour of March’s Melbourne Design Week as we lap up the cream of cutting-edge design at the NGV and venues around the city. 35
FURNITURE & HOMEWARES . INTERIOR DESIGN . PROPERTY STYLING
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Melbourne Design Week
RIGHT NOW
ALWAYS WAS
“You could sense there was something special about the artform and the legacy of the tradition,” says Sarah-Jane of the fish traps shown by Agency Projects at Melbourne Design Fair’s Present exhibition. The “ethereally beautiful” floating works were spun with fibre by Regina Pilawuk Wilson and Pauline Longmirr from Durrmu Arts Aboriginal Corporation in Peppimenarti, NT, while the ceramic versions were created by Regina in collaboration with Ashlee Hopkins.
Different stripes Sarah-Jane Pyke, Arent&Pyke principal designer, selects seven outstanding pieces that caught her eye at this year’s Melbourne Design Fair. Photography SAM TABONE
ELECTRIFYING SEAT
The ‘Transmogrify’ chair (right), designed by Helen Kontouris in strips of yellow leather, blue Kvadrat fabric and handpainted resin, captured SarahJane’s attention at the Select exhibition. “I was drawn to this piece immediately for its graphic boldness. I love the fluid ribbon form and the graphic nature of the contrasting colours. And when I saw the piece was from 2002 then I really appreciated the timelessness of the design.”
KNIGHT ERRANT
Also at Select, Sarah-Jane was intrigued by the ‘Firescale’ vase (above) by Cordon Salon designer Ella Saddington and Glenlyon-based medieval armourer Sam Bloomfield. “These refined pieces combine ancient arts with contemporary form. The medieval part is seen in their beaten robustness, but they are also very delicate.”
37
RIGHT NOW
Melbourne Design Week
FLEX EFFECTS
Sarah-Jane speaks to ceramic artist Ben Mazey and international gallerist Rachael Fry about his ‘Flags’ glazed earthenware (left) displayed by C. Gallery at the Present exhibition at Melbourne Design Fair in March this year. “I found their format so engaging on the wall – the fluidity of the ceramic form that feels like textile was very clever,” says Sarah-Jane.
SHADES OF TRANSPARENCY
Sarah-Jane admired the ‘180 Degree’ vessels (above) with their designer Emma Elizabeth of Local Design. “I love the ethereal quality of coloured glass that can be transformative in a space, because it acts like a small jewel,” says Sarah-Jane of the pieces that were handblown at Canberra Glassworks and can sit as a cluster or individually.
AFTER THE FLOOD
“The concentric rings of the Tasmanian timbers were mesmerising,” says Sarah-Jane of Brodie Neill’s ‘ReCoil’ table shown by Design Tasmania. “I was also drawn to the stories of the flooded timbers that were used.”
38
TOUCHING TRIBUTE
“I loved the fluid form of ‘Untitled Desk’ (above) by Don Cameron, shown by Sydney’s Gallery Sally Dan-Cuthbert at the Present exhibition,” says Sarah-Jane. “It pays homage to some of the great early modernist designers and the solid weight of the American black walnut timber that Don used to create the piece was beautiful to the touch.”
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Melbourne Design Week
RIGHT NOW
Making HISTORY A joint project by two Australian design heavyweights, the ‘Futures Collective’ installation in heritage Villa Alba painted a graphic picture of contemporary designers and makers. Words K AREN M C CARTNE Y Photography SE AN FENNESSY & TESS KELLY
This page Interior designer Fiona Lynch of Fiona Lynch Studio (left) and Fiona Lyda of retailer Spence & Lyda are the creative collaborators behind the ‘Futures Collective’ exhibition held at Villa Alba. Curated pieces, with a focus on original and sustainable design, were installed throughout to create a dynamic interaction with the historic site.
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RIGHT NOW
Melbourne Design Week ometimes it takes a very particular set of circumstances embracing place, people, ideas and effort to create something evocative and magical that transcends the sum of the parts. The ‘Futures Collective’ installation in the grand frescoed rooms at Villa Alba Museum in Melbourne’s Kew is one such experience. Set in and around an imposing 1880s house renowned for its rare decorative scheme of murals and stencils (the work of Scottish-born, Melbourne-based decorators the Paterson Bros) the house remains remarkably intact. Inserted into this all-encompassing ambience of faded splendour is the work of a number of local and international designers who all express, in different ways, the overarching theme of the March Melbourne Design Week – ‘design the world you want’. Natural collaborators, the drivers behind the exhibition are the two Fionas: interior designer Fiona Lynch who works in both Victoria and NSW, and retailer extraordinaire Fiona Lyda, whose Sydney business Spence & Lyda will find an additional format and location as she expands into Melbourne later this year. Lynch had been aware of the house for years having once written it up for a school project. Knowing that Lyda wanted to show a number of her brands and tell their stories, they took the space. Lyda assembled collaborators including Authentic Design Alliance, Jon Goulder, Broached Commissions, Otomys gallery, London’s Lucy Kurrein for Molinari Living, and Madrid’s Alvaro Catalán de Ocón. Fiona Lynch Office showed in the large reception room with bespoke furniture pieces inspired by a trip to Frank Lloyd Wright’s Hollyhock House in LA and The Noguchi Museum in New York and filtered through an intense three-year project for Ace Hotel Sydney. Chunky pieces in recycled, locally sourced Oregon timber recall US artist Donald Judd’s work while paint-spattered dropcloths have their origins in pigments drawn from Ace Hotel’s brick factory site. For Lyda the galvanising piece, and reference point for the exhibition, was award-winning Catalán de Ocón’s magnificent Plastic
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This page, clockwise from top left The imposing stone 1880s facade of Villa Alba in Melbourne’s Kew belies an interior rich in murals and gilded decorative flourishes – albeit pleasingly faded. An edgy pairing of a new sofa, the ‘Bibendum’ modular sofa by Lucy Kurrein for Molinari Living with its 60s vibe and flexible approach to modularity, with artworks by Eduardo Santos from Otomys art gallery. New Innate collection coffee and side tables by Jon Goulder complete the look. Not only did Marlo Lyda act as producer for the event, she showed her own Remnants collection – a range of marble offcut side and coffee tables on beautifully bound metal legs.
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This page, clockwise from top left The Innate collection, a longtime collaboration between designer Jon Goulder and Fiona Lyda, found a second iteration with new stone tabletops and pieces including a timber-and-metal desk and bedside and dining tables. In the entrance hall Falling Awake, an aluminium sculpture in automotive paint by Greg Penn from Otomys gallery, set up a creative charge that carried through all the spaces. Broached Commissions showed pieces from the Broached Recall collection in heritage timber veneers and their contemporary counterparts. The graphic effect and the arrangement in terms of scale and form made an impactful statement.
Rivers – a series of rugs with Spanish brand GAN – woven with yarn made from recycled plastic debris and depicting aerial views of some of the world’s most polluted rivers. Additional pieces expanding on the original Innate collection – a collaboration between Jon Goulder and Fiona Lyda – made a debut with furniture clad in Adelaide black granite or magnificent Blue Rosa marble and smoky ‘pickled’ timbers married with precision laser-cut metals. “It takes a village” to produce these types of events, says Lyda, and her daughter, Marlo Lyda, who has worked in the shop since she was 14, stepped up to the role of producer alongside stylists David Harrison and Mark Whitaker to tease out colours and play with forms and placement of art, sculpture and furniture for impact and intrigue. Marlo’s Remnants collection showed a series of side tables using marble offcuts elevated on spindly metal legs with carefully wrapped copper-wire joints, while Lucy Kurrein’s ‘Bibendum’ 60s-style sofa is firmly anchored on its retro shell of recyclable polyurethane. The exterior space, with its mannered courtyard garden, was given over to the Authentic Design Alliance, which showed Caged by Ash Allen, a series of wire sculptures in the form of design classics as a comment on copyright, design and counterfeit protection in Australia. The show brought a new life to Villa Alba – one that was future focused, responsible and visually thrilling – and the charge of energy between new and old was palpable to all who visited. spenceandlyda.com.au; fionalynch.com.au
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Melbourne Design Week
This page, clockwise from top Fiona Lynch and her team responded to a majestic room that ran the breadth of the residence, using its decorative murals as a counterpoint to pieces designed in response to a trip to Frank Lloyd Wright’s Hollyhock House in LA and the Noguchi Museum in New York. She sourced local Oregon timber for the furniture pieces and used a ‘splatter’ fabric design, with colours drawn from pigments found on the brick factory site for Sydney’s Ace Hotel, on upholstery. A new dining table in the Innate collection by Jon Goulder has a magnificent simplicity as it takes centrestage in its ornate setting. One of the key exhibits was Alvaro Catalán de Ocón’s ‘Plastic Rivers’ – a collection of rugs with Spanish brand GAN using recycled plastic debris.
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O U T o f t h i s WO R L D It was an adventure in colour and otherworldly style when Louis Vuitton checked in to Melbourne for an exclusive exhibition of its luxe trunks and travel-inspired objets.
This page Set in striking contrast to the Italianate grandeur of the Long Room at Melbourne’s Immigration Museum in the Old Customs House building, Louis Vuitton’s transportive installation beckoned visitors through a contemporary labyrinth where crisp white walls and sweeping portals enclosed a series of vibrant vignettes. Inside, the luxury house exhibited classic monogrammed trunks alongside Objets Nomades, its collection of exuberant, irreverent and evocative furniture and homewares inspired by distant voyages and dreamed up by the world’s top designers. Objets Nomades ‘Bulbo’ chair by Fernando and Humberto Campana in Safran, POA, and ‘Bell’ lamps by Edward Barber and Jay Osgerby in Caramel, Grey and Black, $7650/each, from Louis Vuitton.
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This page Objets Nomades ‘Ribbon Dance’ chair in White by André Fu, POA, from Louis Vuitton. ‘Malle Coiffeuse’ cosmetics trunk (with stool), $257,000, from Louis Vuitton. ‘Malle Cabine’ trunk, $52,500, from Louis Vuitton. Opposite page Hat box, $9,800, from Louis Vuitton. A selection of Bisten trunks, POA, from Louis Vuitton.
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This page Melding savoir faire with creative daring, Louis Vuitton’s intrepid collaborators let their imaginations wander to wild and wonderful places for the Objets Nomades collection of travel-inspired furniture and design objects, channeling the master artisanship of the house and pushing its traditional techniques into outré and awe-inspiring territory. Objets Nomades ‘Serpentine’ table in Blue by Atelier Oï, POA, from Louis Vuitton. ‘Belt’ chairs in Black and Blue/Black by Atelier Oï, $13,800/each, from Louis Vuitton. ‘Studio Diamond’ screen in Beige by Marcel Wanders, POA, from Louis Vuitton. ‘Spiral’ lamps in Cream and Electric Blue by Atelier Oï, POA, from Louis Vuitton. Opposite page ‘Cocoon’ chair in Yellow Cream by Fernando and Humberto Campana, POA, from Louis Vuitton.
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FLIGHTS OF FANCY: CURVACEOUS PIECES SPLASHED WITH POPS OF PRIMARY TONES EVOKE THE FARAWAY IN A DESIGN ODYSSEY THAT TRAVERSES THE COLOUR WHEEL.
This page From the Objets Nomades collection, ‘Spiral’ lamp in Cream by Atelier Oï, POA, from Louis Vuitton. ‘Bomboca’ sofa in Fire Red by Fernando and Humberto Campana, POA, from Louis Vuitton. ‘Malle DJ Right’ DJ decks, $242,000, from Louis Vuitton. Opposite page, clockwise from top left From the Objets Nomades collection, ‘Anemona’ table in Blue by Atelier Biagetti, $134,000, from Louis Vuitton. Artifort ‘Little Tulip’ chairs by Pierre Paulin, POA, from Ke-Zu. ‘Studio’ lounge chair in Red by Marcel Wanders, POA, from Louis Vuitton. ‘Studio Lune’ chair in Noir, POA,by Marcel Wanders, from Louis Vuitton. Backpack trunk, $59,000, from Louis Vuitton. Clutch box, $22,100, from Louis Vuitton.
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Art M E L B O U R N E
WELL SPOTTED
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With their pointillistic flecks of paint conjuring an almost pixelated, tapestry-like effect, Tim Buckovic’s bewitching oils on linen see figures engaged in bizarre rituals dissolve into swirling landscapes. Informed by modernist and avant-garde practices, as well as Yugoslavian and Eastern European graphics, animations and monuments, works such as Sequence (right) suggest alternative histories, science fictions and arcane mysticism. May 26-June 25. futuresgallery.com.au
In ‘Within these pages’, the first Australian solo show for Iranian-American artist Hadieh Shafie, canvases that appear decorated with abstract swirls, ripples and fine lines are in fact intricately constructed fields of paper, rolled by hand and stacked side by side to form beguiling low-relief sculptures (left). The elaborate scrolls enclose hidden fragments of Farsi text and poetry within their folds, drawing on Iranian miniature painting and disentangling ties between text and images. May 27-July 2. yavuzgallery.com
Speaking volumes A D E L A I D E
These artists’ voices carry far and wide.
G OING GAGA An uncanny aura pervades the video portraits of New York artist and theatre director Robert Wilson, with imperceptibly slow movements thawing the frozen moment of still photography and the familiarity of his celebrity subjects – including Winona Ryder, Isabella Rossellini and Lady Gaga (left) – rendered strange by costumes and staging. July 9-October 3. agsa.sa.gov.au
SY D N E Y
POINT OF VIEW Daniel Boyd’s first retrospective at a major public institution, ‘Treasure Island’ maps two decades of practice that confronts the blind spots and elisions of Australian history. Entered via a site-specific installation, which uses reflective panels dotted with apertures to ask viewers to consider the act of seeing, the show moves from his early ‘No Beard’ appropriations of colonial portraiture to recent paintings (above and right) that complicate perceptions by fragmenting archival pictures . June 4-January 29. artgallery.nsw.gov.au M E L B O U R N E
POP SHOW Nabilah Nordin’s sculptures (above) – and the fabulously chaotic, colour-soaked settings in which they’re massed – embrace the anthropomorphic qualities of her materials and the “slimy, slopping, seeping, slippery seduction of sensuous surfaces.” In ‘Prop Shop’, the Singaporean-Australian artist (left) presents her oozing, amorphous oddities in eight vividly staged clusters. June 24-July 23. neonparc.com.au
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W O R D S W O RT H ‘Sacred’, Robert Fielding’s new series of paintings (left), responds to the landscape in ways that go beyond the visual by incorporating language and invoking the stories and customs with which he relates to an environment that is dominant and autonomous. July 1-16. blackartprojects.com; mimilimaku.com Edited by HARRY ROBERTS
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Architecture
TRADE UNION A meeting of complementary skill-sets enables this Melbourne practice to design buildings that sit naturally in the landscape.
Portrait TIM O'CONNOR Edited by K AREN MCC ARTNE Y
ARCHITECTS ANNICK HOULE AND STEPHEN O’CONNOR WERE PHOTOGRAPHED AT HOME WITH AN ARTWORK BY CLAES OLDENBURG, ARCH IN THE FORM OF A SCREW, FOR TIMES SQUARE NYC, 1976.
P HOTO G R A P H Y E A R L C A RT E R ( P R IC K LY RO C K S , P I R AT E S B AY ), J A M E S G E E R ( M E L B O U R N E L A N E A PA RT M E N T )
This page, clockwise from top left The timberwrapped interior of Pirates Bay House. A muted interior of the House at Prickly Rocks. Pirates Bay House is sensitively sited among 100-year-old tea trees on the Mornington Peninsula. The living space at the Oliver Lane Apartment in Melbourne where distressed concrete pillars inform the palette. A coastal retreat – the House at Prickly Rocks with a view into the protected courtyard.
ON E OF T H E MO S T fascinating aspects of architects who practise together over a long time (and even more so when they are a couple in life) is how their individual backgrounds and skills blend to produce a certain genre of work. This is more an approach that shapes the firm in terms of aesthetics, philosophy and, hence, their clients and projects. Stephen O’Connor and Annick Houle are a fine example of this fusion. He grew up in Melbourne’s Elwood with an architect father who owned a construction firm. “I became accustomed to building work, not only visiting sites, but when we built a family beach house there was always a carpenter around so I was used to trades,” says Stephen. Cutting a stylish swathe through the neighbourhood in the 1960s and 70s, his mother drove a gold Citroën ‘DS’ while his father favoured big American cars such as Pontiacs – the five O’Connor kids sliding around in the back seat. Annick grew up in Montreal, Canada, and studying art history led her to the famous Rhode Island School of Design where her degree combined architecture and fine arts. The pair met when taking a Master’s Degree at Harvard in 1993, where they were exposed to the best architectural theorists and practitioners of the day. “Zaha Hadid and Herzog & de Meuron would be flown in on Concorde for lectures,” says Annick. Jobs, post-degree, were hard to find due to a recession. Stephen found a position with famed New York architects Polshek Partnership, but found the constraints of the city’s building codes put a handbrake on creativity. Meanwhile, Annick worked for an uptown art gallery, at one point criss-crossing New York on foot, picking up a number of bubble-wrapped Picassos for a high-profile client to choose one as a gift for his pregnant wife. The couple’s move to Australia was driven by a desire to build, and to this day they look at their successful New York contemporaries and see that they didn’t have the same opportunities to create buildings from the ground up.
As O’Connor and Houle they got off to a good start by winning a competition to redevelop two new spaces for the iconic Heide Museum of Modern Art: the Albert & Barbara Tucker Gallery and Study Centre and the Kerry Gardner & Andrew Myer Project Gallery, as well as the restoration of the original house occupied by the Reeds. Their concept incorporated art, architecture and gardens into a “cultivated landscape”, but like many institutional commissions it was a slow burn, taking a decade to complete. Pirates Bay House is the beach retreat they created for themselves and their twin son and daughter, set among the tea trees of the Mornington Peninsula, the timber pavilions settling into the existing landscape. The house was admired by the owner of an adjacent block of land, who commissioned what is now known as the House at Prickly Rocks. The site experiences southerly wind and rain and so a protected courtyard was created on the north side. An energy-efficient building envelope is the result of insulation in the concrete walls, with double-insulated timber elements and double-glazed windows with ventilated cladding. The interior is an exercise in calm with tones of pale timber and grey upholstery punctuated by significant black appliances – such as the Cheminées Philippe wood-burning fire and a magnificent cast-iron Aga. “The exterior timbers have aged beautifully and are now silvery, creating a shift in texture from the concrete but maintaining the tone,” says Stephen. The landscaping, also by Annick, has a feeling of always having been there, and doesn’t register as introduced. Another project to garner praise is the Oliver Lane Apartment in Melbourne’s CBD. Stripping back the layers from two amalgamated spaces in a heritage building, designed by Sir John Monash in off-form concrete, revealed massive columns the patina of which informs the palette. “Light was an issue,” says Annick, “so we introduced an ingenious LED that can change colour temperature and runs along the beams lighting upwards.” Muted tones and strong forms in the furniture selections, such as Faye Toogood’s ‘Roly-Poly’ sofa and chair, make this 400 square-metre apartment feel like a home. “Luckily, too, the client was able to buy the garage that was interrupting the visual flow and we could make some big arches and carve out a garden space,” says Stephen. A recently completed project in Sydney’s Darling Point and a planned renovation in Newtown see the work of O’Connor and Houle segue into New South Wales, bringing their considered approach that embraces the disciplines of architecture, interiors and landscape with a rare seamlessness. oconnorandhoule.com
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FUELLED BY AN ETHOS THAT THE “EMOTIONAL IMPACT OF A SPACE IS JUST AS IMPORTANT AS THE AESTHETIC”, LINDA BORONKAY IS FOUNDER AND DIRECTOR OF HER EPONYMOUS INTERIOR ARCHITECTURE AND DESIGN STUDIO. THIS PHILOSOPHY PLUS HER STELLAR EXPERIENCE AS DESIGN DIRECTOR AT GLOBAL BOUTIQUE HOTEL ENTERPRISE SOHO HOUSE MADE HER AN OBVIOUS CHOICE TO REALISE THE VISION OF HOTELIERS ADAM ABRAMS AND EDDIE LEVY WHO, WITH DEVELOPER LAWRANCE RYKO, DESIRED TO ESTABLISH A LUXURY COUNTRY LODGE WITH LASHINGS OF ENGLISH ECCENTRICITY AND CINEMATIC MOMENTS. TO BRING THIS RETREAT TO LIFE LONDONBASED LINDA COLLABORATED WITH AWARD-WINNING LOCAL INTERIOR ARCHITECT ALAN MCMAHON OF MAC DESIGN STUDIO WHOSE PROJECTS SPAN LOCATIONS INCLUDING BYRON BAY, SYDNEY AND IRELAND, CONVERTING A GRACIOUS 1890S ESTATE NEAR BUNDANON AND MORTON NATIONAL PARK IN THE NSW SOUTHERN HIGHLANDS INTO OSBORN HOUSE, WHICH BOASTS 15 LUXE SUITES AND SEVEN INTIMATE CABINS IN GROUNDS LOOKING ONTO ROLLING HILLS AND THICK FOREST REMINISCENT OF BRITAIN’S PASTORAL DELIGHTS. HERE, THE PAIR SHARE THEIR MYRIAD INSPIRATIONS. LINDABORONKAY.COM; MACDESIGNSTUDIO.COM.AU; OSBORNHOUSE.COM.AU
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Edited by AL AN McMAHON AND LINDA BORONK AY Portrait JEM CRESSWELL
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P HOTO G R A P H Y PAT R IC K LO CQ U E N EU X /M RT R I P P E R .CO M @ M RT R I P P E R ( HOT E L COST E S )
Linda: I have been to some iconic spaces during my travels that live so vividly in my memory that I yearn to return to each time I’m near. The Boom Boom Room, The Grill or The NoMad in New York are such places. In Europe I adore Hôtel Costes in Paris (above and left), Caffè Florian in Venice, Le Sirenuse in Positano, The Wolseley in London to name a few. hotelcostes.com
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COLLECT ABLES ROCKING THE CURVE
Alan: When it comes to collectables, we adore design classics. Mama Casa has launched the Etel collection in Australia, offering access to some of Brazil’s most iconic furniture pieces and featuring the work of mid-century luminaries. A favourite is the ‘Rio’ cane rocking chair (above left) by Oscar Niemeyer (above right) which is a showstopper with its elegant curvature. Another treasure is the ‘Tea Trolley’ by Jorge Zalszupin. Who wouldn’t want this beautiful piece to take pride of place in your home showcasing your finest collection of personal objects and beverages? etel.design
LINDA: I’M SO EXCITED TO BE ABLE TO ATTEND DESIGN FAIRS AGAIN! I JUST RETURNED FROM MAISON&OBJET IN PARIS (BELOW) AND SALONE DEL MOBILE IS NEXT. WE HAVE BEEN SO REMOVED FROM PHYSICAL EXPERIENCES, INSPIRATIONS AND, IMPORTANTLY, THE DESIGN COMMUNITY. PEOPLE ARE VERY HUNGRY TO GET AWAY AGAIN, MORE ENTHUSIASTICALLY AND IN LARGER NUMBERS THAN EVER. MAISON-OBJET.COM; SALONEMILANO.IT
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Alan: Makers’ Mrkt is a unique online marketplace offering a curated selection of art, design and home objects. We adore the ceramics from Clae Studio where Britt Neech (left) makes all pieces individually by hand. The contemporary shapes and forms showcase the beauty of the ceramic process. We love the ‘Valley’ vessels and ‘Moon’ vase (below). makersmrkt.com; claestudio.com
GLASS CULTURE
LINDA: MAISON BALZAC IS ANOTHER BRAND WE LOVE, AND WE USED QUITE A FEW OF THEIR PIECES FOR STYLING. I LOVE HOW QUIRKY AND STYLISH THEIR PIECES (ABOVE AND LEFT) ARE – FULL OF CHARM AND CHARACTER. MAISONBALZAC.COM
[ Plaster cast ] MYTHOLOGICAL BEING
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Alan: Lucy Montgomery’s beautiful collection of handmade plaster lamps inspired by European architecture were the perfect addition to the interiors at Osborn House (below). We love the ‘Del Rio’, which draws its form from Spanish mission-style architecture, and the curvaceous ‘Minerva’ named for the Roman goddess of wisdom. lucymontgomery.com
ALAN: JAI VASICEK’S ARTWORKS (LEFT) ARE TRULY INSPIRING WITH HIS OUTSTANDING LINE-WORK AND USE OF COLOUR. WE HAD THE PLEASURE OF ENGAGING HIM TO PAINT THE CORRIDOR WALLS TO THE SUITES WITH A NARRATIVE THEMED ‘THE NIGHT GARDENS’ AS WELL AS A UNIQUE COLLECTION OF OILS ON CANVAS THAT SERVE AS FOCAL POINTS THROUGHOUT THE INTERIORS. JAIVASICEK.COM
A RCHITECTURA L ELEMENTS HANDLE WITH CARE
Alan: This Old House studio, located in Berry, NSW, offers a variety of vintage-inspired hardware. We love the ‘Annecy’ door lever (right) and the ‘Fluted’ cupboard knob in antique brass (far right). The collection of decorative hooks and doorknobs add an element of character to bespoke custom joinery. thisoldhousestudio.com.au
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Linda: I adore Pierre Frey fabrics. I’ve been using this brand for years and return to it over and over again because of their diversity, amazing colours and quality – as seen in ‘Namata’ (left) and ‘Vladimir’ (below). I was very happy to discover that they are represented in Australia and we used many of their products in Osborn House. milgate.com.au
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LINDA: THE OTHER GREAT FABRIC BRAND THAT SHAPED THE INTERIOR SCHEME AT OSBORN HOUSE (RIGHT) WAS LEWIS & WOOD, WHICH WAS PERFECT FOR THE FADED COLOURS AND SUBTLE BUT CHARACTERFILLED PATTERNS WE WANTED TO FEATURE. LEWISANDWOOD.CO.UK
[ Material world ] WEAVING MAGIC
BOU TIQU E
07 Alan: Cadrys are our go-to for vintage and contemporary rugs with an amazing collection of one-of-a-kind antique pieces rich in history. For Osborn House we had the pleasure of collaborating with their makers on a bespoke rug collection (above and left), which completed the whimsical interiors while adding an element of texture and pattern. cadrys.com.au
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TH E NEW N EW LOOK An ambitious reimagining of Dior’s iconic Paris premises has fashioned it into a destination for shopping, dining and the celebration of couture.
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These pages, from left With its elegant volutes, mascarons and wrought-iron balconies, 30 Avenue Montaigne’s 19th-century neoclassical facade impressed Christian Dior when he first encountered it in 1946. The sweeping staircase at La Galerie Dior evokes the masterfully constructed curvilinear forms seen in the couturier’s designs and is lined with an installation, Diorama, that comprises 3D-printed miniatures of famous Dior pieces in a cascading array of colours.
Words HARRY ROBERTS Photography ADRIEN DIR AND & KRISTEN PELOU
he title of the recent retrospective ‘Christian Dior: Designer of Dreams’ is a fitting sobriquet for the legendary couturier, whose 1947 collection heralded an age of fantasy, femininity and escapism in fashion after the devastation and austerity of World War II. And for more than 75 years since that revolutionary debut – famously dubbed “The New Look” by Harper’s Bazaar editor Carmel Snow – 30 Avenue Montaigne has been the address of Dior’s dream factory. Home to the atelier where The New Look was brought to life, and the salon where it was first paraded to rapturous applause, the building is synonymous with the magic of haute couture – that rarefied artform once described by Dior as “the last refuge of the marvellous”. Now, following a major two-year renovation and expansion, the maison has reopened the doors to its spiritual home and unveiled another radical new look: a spectacular flagship set over 10,000 square metres and home to restaurants, gardens and a museum. Built in 1865 by the illegitimate son of Napoleon I, the four-storey hôtel particulier captivated Dior when he encountered it in 1946. “It had to be 30 Avenue Montaigne,” said the couturier, drawn to the understated elegance of the neoclassical facade, as well as its relatively modest scale and proximity to potential clients staying at the Hôtel Plaza Athénée. “I would set myself up here and nowhere else.” Working with designer Victor Grandpierre, Dior sought to make the interiors feel decorated but not decorative, appointing them with gilt mirrors, dove-grey walls, white panelling, crystal chandeliers and Louis XVI-style furniture in wicker and white lacquer. The result was a warm, elegant setting and suitably demure to let his creations star. The salon was strewn with flowers when The New Look was debuted the following February in what seemed a nod to the ultra-feminine, flower-like silhouettes of the clothing. Sloped at the shoulders, nipped at the waist and blooming into voluminous skirts, ensembles such as the hourglass ‘Bar’ suit completely did away with wartime sobriety and entered a realm of dreams through feats of architectural construction. “I wanted to be an architect,” said Dior during a lecture at the Sorbonne.
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This page, from top La Pâtisserie Dior overlooks one of three internal gardens designed by Peter Wirtz. Exhibited at La Galerie Dior, the ‘Bar’ suit from the 1947 ‘Corolle’ collection, which came to be called The New Look, is an icon of the house continually reinterpreted by successive creative directors. ‘Le Bal Dior’ installation on the museum's second floor. Opposite page The main staircase of the sprawling 30 Avenue Montaigne boutique.
“As a designer, I’m obliged to follow the principles of architecture.” For the next decade, until Dior’s sudden death in 1957, and through the artistic stewardship of his successors at the house – Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons and Maria Grazia Chiuri – 30 Montaigne remained a hive of constant creativity, ultimately growing to encompass eight adjoining buildings. But the site’s most spectacular metamorphosis has been its latest – a vision dreamed up by Dior CEO Pietro Beccari after he joined the maison in 2018. This contemporary reimagining would see the universe of Dior dazzlingly displayed under one roof, reaching back to its history and providing a permanent showcase for the story of the house, which had just been chronicled in the ‘Designer of Dreams’ exhibition. Architect Peter Marino conceived the vast, 2000-square-metre boutique as “a set design in which many different plays could unfold”, entwining Louis XVI-style classicism with magnificent modernity through a series of exquisite spaces offering everything from readyto-wear and homewares to fragrances, haute couture and jewellery. Entered via a triple-height rotunda, where an installation by Paul Cocksedge floats gracefully overhead, and connected by a twisting central staircase crested with a seven-metre rose sculpture by artist Isa Genzken, the boutique is threaded with the codes of Dior and reflects the founder’s affinity for art through striking new commissions. Dior’s passion for gardens and penchant for floral forms is similarly evoked by a trio of green spaces, for which Marino worked with acclaimed landscape designer Peter Wirtz. Now a destination for haute cuisine as well as haute couture, 30 Montaigne’s overhaul has seen the opening of La Pâtisserie Dior and restaurant Monsieur Dior, both led by in-demand chef Jean Imbert. And at La Suite Dior, guests are invited to check in for the night with all of 30 Montaigne’s luxuries exclusively at their disposal – perhaps the sweetest dream of all. But the greatest triumph of the new 30 Montaigne is its adjoining museum, La Galerie, the fashion capital’s largest exhibition space devoted to a single collection of couture. With scenography by Nathalie Crinière, who curated ‘Designer of Dreams’, it presents Dior’s virtuosic creations alongside those of his successors, preserving the spaces where they made magic. “I am extremely proud to see this dream come true,” says Beccari of 30 Montaigne, a place that celebrates the power of fashion’s most audacious dreamers to shape the cultural fabric. dior.com
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This page, clockwise from top The Diorama installation traverses the colour spectrum as it moves up the museum stairway. An arresting steel sculpture by John Chamberlain is displayed in the terrace garden. The boutique presents the Dior universe – including its exquisite homewares, Dior Maison – in a series of elegant, enfilading spaces by Peter Marino. The experience of the archives is enhanced by La Galerie Dior’s magical lighting design and scenography by Nathalie Crinière. Opposite page An assemblage by Guy Limone covers a wall at the Monsieur Dior restaurant, which features bespoke lamps by Melbourne artist Sarah Nedovic Gaunt. Poltrona Frau chairs are covered in houndstooth check in a nod to the original packaging of the Miss Dior fragrance, created at 30 Montaigne in 1947.
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This page Elise joins Heidi, Jean-Pierre and their daughter, Siena, at the Museum of Old and New Art – a catalyst in Hobart’s rise as a cultural capital, and an architectural marvel in its own right. The beautiful bushland surrounds are reflected in the Khaki Metal finish of the Lexus NX.
E L I S E I S D R E S S E D BY K EON CO U T U R E , K EO NCO U T U R E .COM . AU
Photography TIM O’CONNOR
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BIASOL DESIGN DUO JEAN-PIERRE AND HEIDI BIASOL TOUR THE TASMANIAN CAPITAL IN A CHIC NEW LEXUS THAT – LIKE THE CITY – MELDS GREEN CREDENTIALS WITH DESIGN INGENUITY AND DASHING GOOD LOOKS. By motoring expert Elise Elliott @EliseElliott_Media
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Driving in Cars
Hobart has experienced not so much an evolution as a revolution. The vibrant and edgy-yet-organic city has grown into an art, design and culinary hub. Designer Jean-Pierre Biasol, founder and director of awardwinning multidisciplinary design studio Biasol, is here to check the city’s creative pulse and pay a visit to one of his recent projects, Sandy Bay café Sisterhood. JeanPierre’s parents are Italian and he studied in Europe. Does European design inspire and inform his work? “Absolutely! I love capturing the quality and craft of Europe, but I use the filter of tone and colours that are unique to Australia to suit our audience and conditions.” The car for our two-day tour of Hobart’s design hotspots: the new Lexus NX 450h+ plug-in hybrid. The electric motor paired with a petrol engine gives drivers the best of both worlds. Around town you can drive on electric power only, but for longer distances or sudden bursts of acceleration the car seamlessly adds in the petrol engine. According to Lexus, when the battery’s running low, the car switches to its hybrid drive mode. The petrol engine is then assisted by the electric motors to propel the vehicle and maintain the battery’s charge. Fortunately there’s no fear we’ll run out of power when touring Hobart, given the city’s close proximity to Jean-Pierre and Heidi’s pick of local establishments.
THE ROX In typical Tasmanian style, historic buildings nestle among striking new developments with an easy simpatico. One of the best examples of this is The Rox, which includes apartments in both the new and heritage parts of the site. Below sits the Lexus showroom where we pick up the NX. Painted in Khaki Metal it is undoubtedly one of the more contoured and contemporary looking mid-sized SUVs. Joining us is Biasol brand director Heidi, who happens to be Jean-Pierre’s wife. Also, a surprise guest – their oneand-a-half year old daughter, Siena. The Lexus proves family friendly with ample cabin space providing enough room to install a state-of-the-art child seat. The most confounding thing about Hobart is its labyrinthine one-way streets. The generous 14-inch multimedia touchscreen comes to the rescue with its builtin navigation, which we rely on to decipher the circuitous route to our next destination. theroxhobart.com
This page, clockwise from top left Designer Jean-Pierre Biasol, with his wife and brand director Heidi and daughter Siena, head towards the cavernous entrance of the Museum of Old and New Art. The new plug-in hybrid Lexus NX proves to be family friendly, with ample cabin space providing enough room to install a state-of-the-art child seat that’s perfect for toddler Siena. The Lexus effortlessly navigates the back streets of Hobart. The city’s famed and fabulous harbour.
SISTERHOOD It’s time to discover the new e-Latch system, which electronically controls the latching and unlatching of doors. This feature, combined with a blind-spot monitor, is designed to cancel the door’s unlatching if there’s a risk of it opening into the path of a vehicle or cyclist. It’s all part of a suite of clever new safety features. The coast is clear and a coffee fix is in order – what better place to grab one than at Sisterhood, the Biasol-designed café in Sandy Bay. Jean-Pierre and Heidi were inspired by the textures, timbers and earthy tones of a trip to Tulum, Mexico. “We aimed to bring back that look while adding a touch of Sandy Bay’s coastal feel by using pale timbers, rattan features and handcrafted textured elements,” says Jean-Pierre. At the café’s entrance is an understated, neon peach heart light giving a cheeky, if subtle, nod to fun. “We wanted to create a venue that felt lively for a new, young audience, yet comforting for established locals,” says Jean-Pierre. The distinctly Hobartian colourway of pale greens, taupes and beiges is enhanced by an impressive jungle of devil’s ivy. “We couldn’t find established greenery so we planted this variety which is growing beautifully thanks to the northern light spilling through the courtyard,” adds Jean-Pierre. Biasol studio sourced the bar stools and lamps from The Family Love Tree, while the dining chairs, with their bespoke leather handles, are from Thonet. The tiles, in colour Soapstone, are imported from Heath Ceramics. Sisterhood owner Yasmin Chung wanted her 140-seat venue to be about more than food and coffee. “It’s an experience. It makes you feel like you’re part of the community. I want customers – whether they be kids, grandparents or couples – to feel welcome. We source all our food straight from the suppliers, many from microproducers, meat from small farms and herbs grown in backyards. We know the provenance of all our products,” says Yasmin. sisterhoodhobart.com
This page, clockwise from top Inspired by the textures, timbers and earthy tones of Mexico, together with a touch of Sandy Bay’s coastal feel, Jean-Pierre and Heidi used pale timbers, rattan and handcrafted elements for the interiors at Sisterhood. Plants feature heavily in the café and complement the colour scheme of pale greens, taupes and beiges. At the entrance, the neon peach heart light adds a fun moment.
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GREY AND FELT A quick dash across Sandy Bay Road takes us to Grey and Felt, a delectably curated homewares shop stocking Iittala vases and dinnerware from Marimekko. With the colour green being a recurring theme, Jean-Pierre picks up a set of Baina ‘St Bathans’ organic bath towels in shade Moss. greyandfelt.com.au
LUC DESIGN The Lexus winds through historic Battery Point and back to the town centre. Next stop is Luc Design – a cornucopia of interesting and iconic homewares, furniture, fashion, jewellery and perfumes. The space was founded by a local, Lucy Given, who lived around the world before returning to Hobart. She says Tasmania is like the lyrics from Hotel California – you can check out but never leave. “There was nothing like this store is Tasmania, so I decided to do it myself. My aim is to bring beautiful products to a regional area,” says Lucy. In the window is a sleek ‘Airia’ desk by Herman Miller. On the counter, a fascinating Tom Dixon candelabra which belongs in a Game of Thrones episode. Jean-Pierre chooses a ‘Cobra’ vase by Danish design brand 101 Copenhagen and a ‘C-Chair’ by Gubi. Both easily fit into the Lexus boot. lucdesign.com.au This page, clockwise from top Continuing the green theme, Jean-Pierre discovers a set of Baina towels at Grey and Felt. The Lexus NX takes in the sights at Sandy Bay. Jean-Pierre and Elise exit Luc Design store, housed in the 1836 Walch building in Hobart’s Macquarie Street. Opposite page, clockwise from top left The Lexus design philosophy extends to its impressive showroom at The Rox. The family views Julius Popp’s installation bit.fall at Mona. Grotto for Mona by Randy Polumbo. Strolling Hobart’s historic streets.The multimedia touch screen features built-in sat nav.
CLUCK At this point, our littlest recruit, Siena, is growing restless. Luck is literally on our side, with Luc Design’s children’s concept store, Cluck, just across the road. Lucy opened the space after realising there were no upmarket children’s products in Hobart. Here, many classy classics for kids are on offer, including Eames elephants and soft toys from French label BigStuffed. Siena is delightfully distracted by a panda by Kay Bojesen. cluckstore.com.au
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SALAMANCA ARTS CENTRE Heidi takes Siena and her panda home for a day sleep before we reunite for a magical tour of Salamanca Arts Centre. We enter via architectural landmark Kelly’s Steps, named after early Australian explorer and whaler James Kelly. The steps were cut into the stone cliffs in 1839 and resonate with stories and history. Many of the old warehouses that originally lined the wharfs were built with stone quarried from the cliffs. Today, those warehouses are now home to Hobart’s cultural heartbeat. Salamanca Arts Centre supports contemporary artists by giving them the resources and opportunities to make new work, to engage with other artists and to share their practice with the world. In addition to gallery shows, like the Acts of Holding Dance by Wendy Yu showing in Kelly’s Garden, many local retailers are housed within the centre. salarts.org.au
MONA Day two involves the compulsory trip to the Museum of Old and New Art. Mona manages to confront and confound, bewitch and beguile. There’s a whiff of Willy Wonka to this wondrous place. Owner David Walsh, much like Roald Dahl’s eccentric, enigmatic character, has created a fun factory of sorts. We drive north out of Hobart to Berriedale and through Mona’s on-site vineyards. The museum space is a subterranean cave carved into a riverbank. Step inside a glass lift – reminiscent of Wonka’s Great Glass Elevator – and descend into what feels like another dimension. Highlights, among many, include bit.fall by Julius Popp. The artwork, an allegory about the flood of information to which we’re subjected, randomly displays words downloaded in real time from Google’s Australian news headlines. These are then translated into drops of water that cascade from a breathtaking waterfall. You won’t find glaring labels next to such astonishing artworks. After all, this is David’s home. But visitors to the museum can download a pithy app called ‘The O’ detailing all the artwork. Jean-Pierre is transfixed by the space. “What a spectacular setting. It’s surreal travelling underground then surfacing in a light-filled restaurant. It’s quite the dramatic journey.” Much of the artwork delights Siena and indeed the kidult in all of us, in particular the Grotto for Mona by Randy Polumbo, which is a mirrored, mind-bending, meditation room with silver stairs, blown-glass flowers and polished aluminium. Time to hurtle out of the bowels of the museum and back up the glass elevator to reality. mona.net.au
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THE TASMAN HOTEL After an art overload, it’s time to park the Lexus for the day, say goodnight to our weary copilot Siena and indulge in a grown-up drink. What better venue than Mary Mary at the Tasman, the newest property in The Luxury Collection by Marriott International. We wander down a sandstone laneway to an almost secluded entrance reminiscent of a speakeasy. Taking its name from the original site of St Mary’s Hospital that operated in the early 1800s, this intimate cocktail bar is steeped in history. The former hospital was then home to the Lands and Survey Department. The dark parquetry floor uses recycled wood from the original site. The space was outfitted by Michael McCann of Dreamtime Australia Design. With its leather-accented bar, low lighting and four fireplaces it’s a cosy, winter den. Among the expertly curated drinks is the tempting Bramble: a heady mix of Derwent Valley cherries, gin, lemon, anise and a dash of absinthe bring complexity and comfort. Open another hidden door and guests burst into the airy, open, joyous expanse of Italian restaurant, Peppina. Indeed so light-filled is the space, two functioning olive trees thrive inside the lively trattoria. This is a family affair. Peppina is named after the nonna of culinary director Massimo Mele. Massimo, who was born in Hobart and raised in Naples, says Peppina “draws inspiration from the Italian way of celebrating, family and friends” while using local produce. In fact many of the ingredients are cultivated in small batches and are exclusive to the kitchen. This coalescence of Italian heritage and distinctly Australian sensibilities is reflected in Jean-Pierre’s crosscultural philosophy. Cheers to that. marymarybar.com; peppinarestaurant.com
JEAN-PIERRE’S THOUGHTS…
2022 LEXUS NX 450H+ DESIGN
“I’m impressed by the sharp, muscular yet elegant lines of the car’s exterior. The interior finishes have a refined texture. I particularly like the F Sport steering wheel with its perforated leather accented trim and stitching. The massive 14-inch multimedia touchscreen display is tilted to the driver which feels intuitive. The deep metallic green colour plays well with the earthy tones with which I work. And Siena loves the tilt-and-slide ‘moonroof’!”
F U N C TI O N A LIT Y “The 60/40 split of the rear seats has two states of recline which is handy for my work. The floor is quite high but there is enough space in the 520-litre boot to carry samples and even larger pieces of furniture including chairs. There’s ample room for day-to-day usage and it’s a family-friendly SUV.”
D R I V E A B I LIT Y “The safety inclusions in this car are extensive and welcome. There’s an amazing safety feature that shows a bird’s-eye view of the vehicle while parking, using cameras mounted on the front, sides and rear of the car. Acceleration is swift and the ride is supple. Most impressive – the transition between petrol and electric drive is seamless.”
This page, clockwise from top left Elise and Jean-Pierre visit Massimo Mele’s restaurant, Peppina, which was inspired by his Italian nonna. Cruising the back streets of Hobart in the Lexus NX. Jean-Pierre and Elise enjoy a glass of vino rosso.
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H A R V E Y N O R M A N PRESENTS
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Multiple Ovens
Belling (BRD1100DFCB) 1100mm Colour Boutique Richmond Deluxe Dual Fuel Range Cooker, in Country Blue, $10,499. Cast Iron Griddle Plate (083638700), $199. Morphy Richards 1.5L Accents Rose Gold Pyramid Kettle – White (102108), $149. Morphy Richards Accents Rose Gold 4-Slice Toaster – White (242108) $149.
Boasting a 41L compact oven, twin multi-function ovens and a 41L slow cook oven (224L in total), the Richmond Deluxe Dual Fuel Range Cooker has more than enough capacity to cater to the most demanding of home chefs.
The Belling Colour Boutique Collection
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The Smeg Portofino Colour Collection
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Colour your K itchen From the solid brass burners to the dual oven doors, every ILVE freestanding cooker is passionately constructed by a dedicated team of craftspeople in Italy.
Designed and HandMade in Italy Each freestanding cooker is handbuilt by ILVE's assembly technicians, ensuring the highest quality construction. Features such as solid brass burners with non-stick coating, soft-close doors and precision thermostatic control set this cooker apart. Available in three styles, choice of colour and metal, brass, copper, chrome or bronze styling options for a truly custom kitchen centrepiece. ILVE (P128DWE3/RAL) 1200mm Professional Plus Cooker in Moss Grey, $15,999. KitchenAid KSM160 Artisan Stand Mixer – Onyx Black (5KSM160PSAOB), $799.
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Colour your K itchen Falcon have been manufacturing freestanding cookers at the same historic site in Royal Leamington Spa in the UK for more than 190 years, where they are still found today. That same founding passion for quality, reliability and love of gourmet cooking still inspires the Falcon excellence.
Adaptable Cooktop Meticulously designed, Falcon cookers deliver on performance and aesthetics, with two different fuel types to choose from, including gas or induction cooktops. With six gas burners, including a wok burner, plus optional extras such as a handyrack and a griddle plate for searing and grilling, the Falcon Elise 110 Dual Fuel Cooker makes it simple to prepare a wide range of cuisines to suit large gatherings or intimate dinners.
Enhanced Capacity Boasting 79L worth of space in both main multi-function ovens, glide out separate grill and warming drawer, the Elise 110 Falcon cooker adds European flair to any kitchen. Featuring both a multi-function and fan forced electric oven with two telescopic shelves and a variety of added functions, such as grilling, base heat and browning elements, this cooker is prepared for every recipe. Falcon (ELS110DFCAN) Elise 1100mm Dual Fuel Freestanding Cooker in China Blue, $12,994. Breville the Bakery Chef Hub Stand Mixer – Sea Salt (LEM750SST2JAN1), $499.
The Falcon Elise Colour Collection
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Library
B I L LY C O T T O N Sophisticated is a word often ascribed to US decorator Billy Cotton thanks to his clever and stylish blending of historical and contemporary references against a backdrop of bold colours, custom lighting and arresting art. New York-based, this is his first book and displays the breadth and accomplishment of his repertoire, from his work for artists such as Cindy Sherman to his impressive industrial designs. Mayer Rus, Rizzoli, $135
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HOME Best known as the former owner of iconic Sydney restaurant Bathers’ Pavilion, the author is also a stylist, artist, creative director and former fashion editor – disciplines that have equipped her to be a design guru. Her style is effortless, textured and layered, with a preference for vintage. Self-described as a “doula who turns houses into homes”, her latest book captures her aesthetic through images and words that explore the significance of home. Victoria Alexander, Peribo, $90
Room service Delivering spellbinding ideas from savvy designers. A N E W P O RT S U M M E R
G R E AT AU S T R A L I A N HOMES No need to look overseas for design inspiration when there is a wealth of brilliance contained in this publication from Australian House & Garden. From Sydney beachside abodes to stylish getaways in rural Victoria and including handsome city homes there is polished perfection on every page. Architects, designers and home owners have unleashed their personality and creative genius across the country and the outcomes are uplifting. Are Media Books, $39.99
Singing the praises of the US East Coast’s favourite playground, this book seduces with all the old-school charm of the storied mansions it features, along with glimpses into the tennis parties, yacht races and beach clambakes which fill a Newport summer. A thread of understated elegance and high style unsullied by contemporary conceits adds to the wonderfully expressive nature of the book, authentically captured by two insiders. Nick Mele and Ruthie Sommers, Vendome, $100
B E AU T I F U L H O U S E S BY T H E WAT E R A connection to nature – and water in particular – is on many home owners’ wishlists. For such people this book is a gift, filled with magnificent properties, including a dramatic home in Tasmania. All revel in proximity to oceans, rivers and lakes and the site-specific contemporary designs are awe-inspiring. Images Publishing, $65
R O S E TA R L O W: THREE HOUSES A doyenne of interior, furniture and textile design, Rose Tarlow dips into her personal archive to showcase three of her own homes in the US and Provence, each characterised by quirkiness and a devotion to quality. Lauded for her deft blend of minimalism and romanticism, Tarlow’s homes are photographed by such respected names as Miguel Flores-Vianna and Fernando Montiel Klint, perfectly capturing the magic that she brings to interior schemes. Rose Tarlow, Vendome, $140
AT H O M E W I T H D E S I G N E R S A N D TA S T E M A K E R S There’s nothing quite like peeking into the homes of top creatives and absorbing some of their flair. From their blog, Quintessence, the authors have entree to abodes such as textile designer John Robshaw’s Connecticut weekender, and the West Hollywood garden home of chef Lulu Powers. An abundance of personal style is on display here. Susanna Salk and Stacey Bewkes, Rizzoli, $99 Edited by JUDY PASCOE
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P H OTO G R A P H Y BY M IG U E L F LOR E S -V I A N N A ( D E G O U R N AY ), M IC H A E L S I NC L A I R ( M A RT I N WA L L E R ), OB E RTO G I L L ( TORY B U RC H )
Blur hard lines with layers of natural materials, says Melissa Penfold. IF YOU WANT your space to feel more luxurious, think of layering it with curtains, throws, rugs and comforting cushions that can soften hard architecture lines. Each layer absorbs sound and promotes comfort. Soft furnishings and fabrics are what make an interior feel right so long as it feels good but if not don’t buy it. Handmade materials bring in a texture and warmth that’s not about design, it’s about nature and the earth. TRY TEXTURE Think of texture as a paint palette, coordinating or contrasting to build up layers for depth. Tactile materials such as wool, linen, shearling or velvet add another dimension to a space. Easily changeable layers of rugs, cushions and throws are a way of injecting colour, pattern and beauty. FABRIC KEY Soft furnishings and cushions are the key to comfort. Fabrics allow you to be true to yourself. Special fabrics on small pieces can make a big impact. RADICAL REFRESH Every 10 years or so sofas and chairs will need a new shot of life and fabric can also update old furniture or disguise mismatched pieces. If you’re quoted over half the cost of replacing it with something of equal workmanship forget it. The best upholstery is soft, plump and firm. Select a hardy fabric in a quiet colour or pattern with stronger notes on cushions. WALL ART Cover up uneven or patchy walls using chic, affordable coverings from Bunnings. Faux wallpaper can be used to add character, texture and colour to any area. Accessible and easy to use, these innovative panels (and murals) can decorate any wall in the house.
Find fabric the same colour as your wall, and whip up a slip cover for your existing bedhead or fold fabric and secure with ties or buttons. SLIP STREAM Loose covers are a great way to prolong the life of your upholstery and change the look of your sofas and chairs seasonally. Tailored, made-to-measure slip covers in plain, neutral colours will refresh all furniture – including chairs, wingbacks, bedheads, tufted ottomans, tables and stools – to make them fit into the scheme of a room. Best made in cotton, canvas or linen in plain, neutral colours (or stripes and checks) with ties or buttons to fasten. They can be popped in the washing machine when they get grubby and packed away when the colder weather returns. DRAPE WISE Curtains can warm things up in winter or cut the need for air-conditioning. Treat window and wall as a seamless surface so curtains blend in. Lining protects from sun, conceals hems and adds body. On a budget? Buy a generous quantity of muslin or do something with imagination and beautiful finishing. SMART PANELS Hanging fabric panels in a doorway can be a clever and versatile tool. They dull noise and stop cold drafts coming from real doors and add mystery. When closed, family members know to stay away. UNITY RULES Go for harmony when using different textures and soft furnishings so that each room in your home complements the others. Avoid using textures, patterns and styles on soft furnishings that change abruptly from one room to the next. BESPOKE BEDHEAD
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1 In a home by Edward Hurst, de Gournay hand-painted ‘Botanical Studies’ wallpaper by Michael S. Smith in Linnaeus on Ecru Indian tea paper, $2400/915mm panel, degournay.com 2 Cane lampshade, POA, matildagoad.com. 3 Cushion in ‘Seaweed’ linen, POA, sibylcolefax.com 4 ‘Tiger Grey’ sisal, $70/sqm, naturalfloor.com.au 5 West Sussex sitting room by Martin Waller from Melissa’s book, Living Well By Design, $45, vendomepress.com 6 ‘Sanctuary’ queen bedhead slip covers, $439 each, saarde.com 7 1970s Comini & Modonutti armchair, POA, nicholasandalistair.com 8 ‘Palmarum’ ashtray, $920, hermes.com/au 9 Sensi Studio straw vase, $241, matchesfashion.com 10 ‘Light Clint’ shawl, approx. $630, roseuniacke.com 11 Bedroom by Tory Burch from Melissa’s book, Living Well By Design, $45, vendomepress.com
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LISMORE A RC U S Artistry that breathes new life into an icon, the Lismore Arcus range showcases crystal-cut patterning that is inspired by unseen opulent interiors of Lismore Castle. Each fascinating piece embodies the vaulted ceiling architecture and century-old Gothic details. Luxury that is revered over and over, discover tradition with a twist of modernity. W AT E R FO R D C RY S TA L .C O M . AU
The Lismore L E G A C Y Seven Decades Encapsulated in Crystal
Creative Space
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Natural CONNECTION A shared appreciation of nature was a welcome element in Daniel Boddam’s transformation of a former warehouse into a tranquil workplace for landscaping practice Wyer & Co. Photography PABLO VEIGA
This page Landscape designer Anthony Wyer and architect Daniel Boddam in the lounge area at the entrance to the Wyer & Co studio. Designed as a workplace sanctuary, the Botany warehouse features locally crafted furniture, such as the ‘Wave’ sofa upholstered in ‘Fabio’ boulclé from Warwick Fabrics as well as the ‘Pipi’ table, both by Daniel Boddam. A bowl from Studio Elke sits on the table. ‘Odessa’ rug from Armadillo. Adding interest are the rammed concrete ‘Geo Drum’ side table/stool by Daniel Boddam and a carved totem sculpture by Clementine Maconachie.
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This page, clockwise from top left ‘Wave’ armchair by Daniel Boddam, bobbin stool from East Wing Studio and Nemo floor lamp. Bamboo floor lamp from The Vault Sydney, Frank Gehry ‘Easy Edges’ chair from Case 22 and sofa by Percival Lafer from Tigmi Trading. ‘Geo’ table with concrete legs and custom top designed by Daniel Boddam and made by Hugh Makin. Sculpture by Morgan Stokes. ‘Lina’ chairs by Daniel Boddam. ‘Regent’ round table from Coco Republic. Marset table lamp from Est Lighting on shelf.
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HAT WERE THE REQUIREMENTS FOR WYER & CO’S STUDIO, AND WHAT APPEALED ABOUT THE SITE?
Anthony Wyer: Ideally a building that could accommodate and meet the distinct needs of each of the three divisions of Wyer & Co under one roof. I had been actively looking for the right space for almost two years and was excited by its potential from the moment I saw it. The external presentation was exactly what I was looking for – beautiful brown bricks and steel windows – and the internal layout was ready for an overhaul. Daniel Boddam: Sharing an affinity for nature, we were able to transform Wyer & Co’s warehouse in Sydney’s Botany into a workplace sanctuary, with verdant landscaping, natural light, sustainable materials and locally crafted furniture. Our brief was to design a collaborative, creative hub – a place that would feel natural, calm, and welcoming. This was paired with modernising of the existing amenity and transforming it into an office space that could flex for both formal and informal client presentations. The sustainable and natural elements were a direct reflection of Anthony’s ethos. Our shared values as well as the warehouse itself appealed as an opportunity to celebrate nature within an industrial setting. WHAT DID THE ALTERATIONS ENTAIL? Daniel: A complete renovation was required. The ground floor contains parking, storage, bathrooms, kitchen and recreation area – all upgraded in terms of the finishes, furniture, lighting and custom joinery. With services largely confined to the ground floor, the first floor comprises meeting rooms, director’s office, communal workstations, and a lobby and gallery space that provides a unique welcome for guests and clients. The director’s office is centrally located between the main meeting room and the open-plan work area and given Anthony’s desire for an “opendoor policy” we designed a lounge area in his office to allow for informal meetings. HOW WOULD YOU DESCRIBE THE COMPLETED SPACE? Daniel: Warm, calm and inviting. Wyer & Co’s obvious connection to nature has been emphasised through the interior
This page, clockwise from top Daniel in the lounge area with his ‘Wave’ sofa, ‘Booham’ chair, ‘Portsea’ side table and ‘Pipi’ coffee table. Artwork by Morgan Stokes from Curatorial+Co. Vase by Alessandro Disarno. Nemo ‘Neo’ floor lamp from Mondoluce. ‘Lola’ table lamp from Ke-Zu. On the American walnut desk from Daniel Boddam sits a lamp by Sarah Nedovic Gaunt and antique ceramic from Redfern Art Gallery. Carafe and glasses from Space. Artwork by Lara Hutton. In the light-filled workspace, lamp from Spence & Lyda and stool from Fanuli.
connection to exterior landscaping and our considered selection of custom and bespoke furniture and joinery. High-quality materials come together with an abundance of light and space to create a tranquil work environment. WHAT ARE SOME OF YOUR FAVOURITE ELEMENTS? Anthony: I am thrilled with the overall scheme, but there are a few pieces that stand out. The workstations designed by Dan and his team have been a huge success. I really enjoy the natural timber doors and recycled timber boardroom table, also designed by Dan with tabletop by Hugh Makin. Daniel: I love the custom cabinet featuring the most beautiful cork inlay to its facade. Not only beautiful, the cork is ideal for pinning up client presentations while gently referencing the landscape. WHAT DO YOU ENJOY ABOUT WORKING IN THE SPACE? Anthony: The simplicity of the design, the tall ceilings and the natural light, which permeates the steel windows. There’s also a generous amount of space, encouraging collaboration between team members of each division without stepping on each other’s toes. It’s a very calm and enjoyable environment to work in. COULD YOU DESCRIBE A TYPICAL WORKDAY? Anthony: I’m an early riser, so my day always starts with exercise – either a one-on-one boxing session or a good sweat in the garage on my wife’s Peloton. I have four children so after exercise a little hustling is in order to get them up and ready for school. My day then goes one of two ways – either on-site consultations with prospective clients, which can take me all over the city, or straight into the office where I work on a range of projects at different stages with the design team. WHO HAVE BEEN
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Creative Space Anthony: My dear friend and former employer Will Dangar has always been a creative influence, as is anyone who approaches their craft with integrity and an open mind. My love of travel always provides endless inspiration and focus, and also a glimpse into the many different ways people live their lives, both inside and out. Daniel: One of my enduring creative influences is Christian Liaigre. I’m drawn to the beauty and simplicity of his designs and his celebration of materials. I’m also inspired by the thoughtfully detailed tropical modernist architecture of Bedmar & Shi, now known as Ernesto Bedmar Architects. WHICH OTHER DESIGNERS, SOME OF YOUR ENDURING CREATIVE INFLUENCES?
ARTISTS, MUSICIANS, WRITERS AND ARCHITECTS ARE INSPIRING YOU AT THE
Anthony: I am inspired by Robert Weir, Bruce Stafford and Rob Mills, and I also really enjoy working with Tamsin Johnson, Claire Delmar and Alexandra Kidd. From a landscape perspective I am drawn to the work of Brazilian landscape architect Luiz Carlos Orsini as well as Luciano Giubbilei. When it comes to art I can’t wait to be in a position to purchase a ceramic piece from Australian artist Alexandra Standen. Music – I just can’t get past the old stuff, Fleetwood Mac, Van Morrison and The Rolling Stones. Daniel: Currently I’m inspired and excited by Mexican architecture, in particular DCPP Architects and Alberto Kalach. I am looking forward to exploring their work in the flesh when I visit Mexico later this year. I love the way Pierre Augustin Rose recently photographed their latest furniture collection among antiquities – the juxtaposition is perfectly executed and a true inspiration. WHAT OTHER PROJECTS ARE YOU LOOKING FORWARD TO IN THE COMING YEAR? Daniel: I’m looking forward to travelling more freely again. Creatively, I find myself most inspired when experiencing another culture and environment. Project-wise, I’m continuously designing new furniture and lighting collections, which I’m looking forward to sharing over the next few months – including a series of lighting, tables and sofas all inspired by my past travel experiences and the Australian landscape. Also launching soon is my second virtual project, an architectural response to reconnecting with nature and the catalyst for a new furniture collection. I’m also looking forward to breaking ground on architectural projects in Palm Beach and Mosman, Sydney. danielboddam.com; wyerandco.com.au MOMENT?
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French heritage, antiques dealer Lydie has impeccable style credentials as evidenced in the highly covetable collection of pieces on display. lydiedubrayantiques. com.au 1 1950s French oak and straw fireside chair in the style of Charles Dudouyt whose work is known for its rustic and modernist sensibilities, $860, from East Wing Studio. eastwingstudio.com 2 Christian Fischbacher ‘Throw-Puro (Plains)’ alpaca throw in Coral, POA, from Zepel. zepelfabrics.com 3 Black and silver brooch, $69, from Twisting Vintage. (02) 4871 3080 4 Evoking the spirit of outdoor entertaining on a sunny terrace is the large striped ceramic fruit bowl from Puglia, Italy, $380, from Alex and Trahanas. alexandtrahanas.com 5 Throwback chic — a selection of vintage scarf pins, from $20, from Twisting Vintage. (02) 4871 3080 6+7 Leopard brooch, $99, and brass Brahmi containers, $150 and $199 each, all from Dirty Janes. dirtyjanes.com
This page Beautiful parterre gardens surround the turn-of-the-century property that is home to Lydie du Bray Antiques in the NSW Southern Highlands. With her
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This page Dirty Janes in Bowral is a magnet for lovers of vintage objets, furniture and clothing, eclectic finds and artisan pieces. More than 50 individual retailers offer their wares in an impressive space of more than 1600 square metres. dirtyjanes.com 1+2 East Wing Studio is a newly established source of modern and antique furniture, art and unique collectables from Europe, such as this vintage wrought-iron double candle sconce, $720, and short bobbin stools from France, $530 each. eastwingstudio.com 3 Vintage French frame, $95, from Lydie du Bray Antiques. lydiedubrayantiques.com.au 4 Animal attraction — Gucci zebra heels, $320, from Twisting Vintage. (02) 4871 3080 5 Straight out of a living room on Yellowstone is this cow skull, $295, from Dirty Janes. dirtyjanes.com 6 Casamance Archipel collection ‘Lombok’ wallpaper, POA, from Zepel. zepelfabrics.com 7 An assortment of pre-loved treasures on a c1927 English oak & EPNS silver railed Art Deco tray, $125, including a vintage skin clutch bag, $60, antique hand mirror, $70, vintage clothes brushes, from $25, and vintage travel souvenir fan, $45, all from Dirty Janes. dirtyjanes.com 8 C1940 marble bunch of grapes, $495, from Lydie du Bray Antiques. lydiedubrayantiques.com.au 9+10 Gillian Herne curates a swoon-worthy collection of high-quality, beautifully preserved fashion at Twisting Vintage, Mittagong, with pieces by Pucci and Vivienne Westwood, plus local labels such as Covers, and pristine 1950s David Jones hat boxes. Selection of vintage belts, from $25, and retro bodysuit by Ilja Caesar, $279, all from Twisting Vintage. (02) 4871 3080 11 One for the pool room, a vintage leather football, $125, from Dirty Janes. dirtyjanes.com
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This page The historic property ‘Kamilaroi’ was restored by Lydie du Bray and is now home to her antiques business which offers a cornucopia of treasures directly sourced from France as well as locally consigned items. lydiedubrayantiques.com.au 1 Perfect for passing around the martinis is this wooden Florentine serving tray, $390, from East Wing Studio. eastwingstudio.com 2 Vintage umbrella, $120, from Dirty Janes. dirtyjanes.com 3 1950s tabouret tripod chair in solid wood, $620, from East Wing Studio. eastwingstudio.com 4 The finest diamond studs can nestle in this vintage Limoges porcelain trinket box, $375, from Lydie du Bray. lydiedubrayantiques.com.au 5 Casamance ‘Jardin d’Hiver’ fabric, POA, from Zepel. zepelfabrics.com 6 Make an entrance in these Miu Miu suede pumps, $329, from Twisting Vintage. (02) 4871 3080 7 1970s metal flower wall sconce, $610, from East Wing Studio. eastwingstudio.com 8 With an ever-changing roster of pieces from garden follies to oil paintings, chandeliers to armoires, Lydie du Bray Antiques is a shopping experience like no other. lydiedubrayantiques.com.au 9 Light the way with a pair of c1900 French wall sconces, $950, from Lydie du Bray Antiques. lydiedubrayantiques.com.au 10 Add character to the hearth with embellished fire bellows, $120, from Dirty Janes. dirtyjanes.com 11 Verdigris lends rustic appeal to a mid-century Italian ceramic vase, $840, from East Wing Studio. eastwingstudio.com
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1 Dion Lee open-knit design polo shirt, $390, from Farfetch. 2 Carpe Diem sterling-silver men’s bracelet, $199, from Hardtofind. 3 Balenciaga ‘Explorer’ logo-appliqué canvas cross-body bag, $1090, from Matchesfashion.com. 4 Seguso Vetri d’Arte table lamp base by Archimede Seguso with custom shade in Pierre Frey fabric, POA, from Nicholas & Alistair. 5 Bernini ‘543 Broadway’ chairs by Gaetano Pesce, $34,520/set of four, from 1stdibs. 6 Comme des Garçons ‘Amazingreen’ EDP, $184/100ml, from Mecca. 7+8 Liberal Youth Ministry bleached cotton-jersey hooded sweatshirt, $336, and bleached cottonjersey track shorts, $258, both from Matchesfashion.com. 9 Alessi ‘Juicy Salif’ lemon squeezer, $175, from Hardtofind. 10 Klättermusen ‘Wunja’ meshtrimmed shell backpack in Gray, approx. $291, from Mr Porter. 11 Celine Eyewear square metal sunglasses, $680, from Matchesfashion.com. 12 ‘Squash’ limited colour-edition gold ashtray by Maria Sanchez for Memphis-Milano, $935, from 1stdibs. 13 Palomo Spain Spring 2022 Menswear. 14 Nike x J. Crew ‘Killshot 2’ sneakers, $214, from Farfetch. 15 Acne Studios wide-leg bootcut jeans, $460, from Farfetch. 16 Canetti red wall clock, $568, from 1stdibs.
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German-made Built-in Luxury First-class German technology where design meets functionality. The elegant glass and stainless steel components in the ICNh 5123 and ICNh 5133 make this luxurious combination the aesthetic highlight of your kitchen. Discover our new built-in appliances at home.liebherr.com.au
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HOMES
Photography ANSON SMART
The life-enhancing alchemy of light, colour, space and inspired design has conjured a new age for these seven fabulous homes, whatever their era.
SNACK B RE AK ‘Pretzel’ rattan armchairs from Atelier bask in a light-drenched sunroom in a Federation-style home recently revived by Belle Fanuli Interior Designers of the Year Arent&Pyke. See ‘Past Mastery’, p108.
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Past mastery Words JUDY PA SCOE Photography ANSON SMART Styling OLGA LEWIS
Arent&Pyke has the knack of mixing styles and eras with the greatest of ease, as evidenced by this inventive re-imagining of a Federation home for a vibrant young family.
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This page A breakfast nook at one end of the kitchen is the perfect spot for coffee, homework or a glass of wine before dinner, say the designers. “It’s a versatile and intimate area, still connected to the action.” The custom leather-upholstered banquette with linen cushions is set into a seagreen stained timber frame. The clients’ existing table was an appropriate fit for the space, paired with Artek ‘611’ chairs from Anibou. An Astep ‘VV Cinquanta’ suspension pendant light from Mobilia is a dramatic addition. Santamargherita terrazzo in Rosa del Garda from Classic Tiles and Ananke marble from Euro Natural Stone are used to great effect in the kitchen. On the bench is an artwork by Seth Birchall from Sullivan+Strumpf. Vase from The DEA Store. Wooden bowl on table from Ondene. Opposite page Above an original marble fireplace hangs an artwork by Barbara Kitallides from Curatorial+Co. Tom Dixon glass bowl from Living Edge.
This page An Ingo Maurer ‘Floatation’ suspension light from Space hangs above the ‘Tree’ dining table with bronze legs from Great Dane. Carl Hansen & Søn ‘CH24 Wishbone’ chairs from Cult. An Astep ‘VV Cinquanta’ suspension light from Mobilia hangs above the breakfast nook that has the clients’ existing table paired with Artek ‘611’ chairs from Anibou. ‘Komm’ wooden bowl by Michaël Verheyden from Ondene. The kitchen is layered in a mix of Santamargherita Rosa del Garda terrazzo from Classic Tiles and Ananke marble from Euro Natural Stone. Artwork is by Seth Birchall from Sullivan+Strumpf. Vase from The DEA Store. Opposite page, clockwise from top left The casual living and dining area flows from the kitchen. ‘Tree’ table from Great Dane. ‘Wishbone’ chairs from Cult. Sancal ‘Elephant’ stool from Ke-Zu. Artwork on the right wall is Sur Names by Mitch Cairns from The Commercial. A Turkish oushak rug from Tigmi Trading anchors the casual living room. A ‘Sunny’ sofa in Indigo linen from Jardan is matched with a DePadova ‘Yak’ armchair from Boffi and a vintage coffee table from Conley & Co. A ‘Song’ armchair from Maker&Son sits by the fireplace on the Turkish oushak rug from Tigmi Trading. Or Your Shadow Rising to Meet You 1 by Amanda Williams from The Commercial hangs behind.
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his delightful family home in Sydney’s inner west goes by the sobriquet ‘Layer Cake’, inspired by the interwoven elements that bind its heritage and contemporary architecture together. The icing on the cake, therefore, is surely the vision that designers Arent&Pyke brought to the project, to create a warm, stylish, light-filled haven for a family with three young children. Putting a contemporary slant on a Federation-era house without losing its intrinsic nature is a delicate art, but Juliette Arent and Sarah-Jane Pyke, along with design director Genevieve Hromas, finessed it to perfection, having become specialists in re-imagining heritage homes for modern living. They bring a bold perspective and inventive personality to each project, energising and invigorating them for a new generation. This home, on a large corner block, was renovated and extended by architects Carter Williamson in 2020, adding a second-storey master bedroom, ensuite and walk-in robe, and increasing the footprint downstairs with a new kitchen, casual living and dining leading to the garden and new pool. Arent&Pyke was consulted initially on interior architecture and furnishing plans as the owners were keen for the modern addition to respond sensitively to the Federation elements. The now four-bedroom-plus-study home “was full of charm from a bygone era”, says Juliette, and the heritage features – decorative pressed-metal ceilings, timber fretwork and leadlight windows – were integral to that charm. However, to »
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These pages, from left The formal lounge is painted a sunny yellow. ‘Cleo’ sofa from Jardan and vintage Danish armchairs from Grandfather’s Axe with a scalloped oval stone and timber coffee table from Zuster. Aerin ‘Benit’ sculpted pendant light from The Montauk Lighting Co. Antique Malayer Persian rug from 1stdibs. Vitsoe shelving unit with Oluce ‘Atollo’ table lamp from Euroluce. Framed artwork in bookshelf is Or Your Shadow Rising to Meet You 4 by Amanda Williams from The Commercial.
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Sydney « seamlessly unite the old and new, the home called for “layers of colour, materiality and fine craftsmanship. There is a richness to the use of colour and materiality that evokes the masterful and balanced layering of a fine pâtissier,” explains Sarah-Jane. As the home was also designed to accommodate festivities with extended family the notion of cakes was top of mind for the designers. With that, an assortment of corresponding materials and bold colour choices became the driving force throughout the project, creating a dynamic backdrop to busy family life. The
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selection of pink terrazzo in the kitchen was key “as that rich hue set the tone for the rest of the house in terms of intensity and warmth”, explains Juliette. Elsewhere, the formal lounge sings with an inviting, sunny deep-yellow shade, and a seating nook in the kitchen is finished in sea-green stained timber with a caramel leather banquette. “Colour acts as a guide throughout, leading from the original rooms into the extension,” says Sarah-Jane. “The boldness of the schemes is testament to our clients, who were excited to lean into these combinations. The home vibrates with energy.” »
This page In the hallway is a vintage Turkish oushak runner from 1stdibs. Custom console in oak from Zuster with Oko Olo handles. Artwork is Untitled 20172018 by Patrick Hartigan from The Commercial. Vase from Becker Minty. ‘Four-bowl’ pendant light from Anna Charlesworth. Opposite page A Gubi ‘Beetle’ swivel chair from Cult sits at the ‘Contour’ desk in smoked oak from Zuster. Artwork by Nathan Hawkes from Chalk Horse. Aerin ‘Benit’ sculpted pendant light from The Montauk Lighting Co. Vintage handmade rug from 1stdibs. In the sunroom beyond are ‘Pretzel’ armchairs from Atelier.
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SPEED READ » Design practice Arent&Pyke was charged with creating a contemporary interior to complement a Federation-era house in Sydney’s inner west. » A new upstairs addition and downstairs extension gave the home more space and opportunity for its young family occupants. » Maintaining the heritage features such as the leadlight windows and decorative pressed-metal ceilings, Arent&Pyke introduced a curated mix of pieces against a backdrop of rich layers of colour and texture to provide a vibrant environment that reflects the owners’ lifestyle and interests and brings the home into a new era.
« To parallel the Arts and Crafts character, contemporary materials have been combined with detailed craftsmanship in herringbone floors and fluted joinery, nail-raked rendering and fine timber battening on the ceilings. “These features subtly add depth and complexity throughout the addition and renovated wet areas, providing a nod to the ornate treatment of surfaces in the older rooms,” says Juliette. Balancing the light between the old and new parts of the home proved to be a challenge, but opening up the sunroom at the front – now framed with timber fretwork and salvaged brackets in keeping with the original detailing – allows light to flood into the study and entry. In the extension, a double-height void bathes the dining area and casual living space in a sunny glow and helps to brighten all the downstairs rooms. Decorative flourishes are many and come by way of vintage Turkish oushak rugs and Persian carpets that anchor the schemes in the living areas, sculptural lamps by Sarah Nedovic Gaunt and Jaime Hayon, and standout light fittings by Noguchi, Ingo Maurer, Michael Anastassiades and Anna Charlesworth. Furniture includes cushiony sofas, vintage pieces such as the Danish armchairs in the formal lounge room and design classics
such as Artek ‘611’ and Carl Hansen & Søn ‘Wishbone’ dining chairs, along with custom-designed items and artworks. It’s the details that beguile at every turn – the terrazzo tiling in the enclosed verandah burnished by the afternoon sunlight, the sweep of a linen curtain on herringbone floorboards, the texture of a French rattan wall light in the laundry, the bedheads upholstered in whimsical fabrics, featuring Provençal lemons or painterly vase shapes – and all the while the contemporary elements are both contrasting with and complementing the heritage features. This is a stylish family home where memories are being made, where convivial gatherings are easily accommodated, cascading out to the garden and pool. “Flow, connection to the outdoors and intimate moments are all accounted for,” says Sarah-Jane. “It is so satisfying to see how a space comes to life and is enjoyed by the family – the ease, the joy, the connection it creates.” The judicious mix of contemporary and heritage elements in the richly layered scheme serves to enhance the occupants’ lives by surrounding them with beauty but without any sacrifice of functionality. # arentpyke.com; carterwilliamson.com
This page, clockwise from top left In the ensuite bathroom Ananke marble from Euro Natural Stone was selected for the benchtop with Italian terrazzo used for the floors. ‘Petal’ wall light from Studio & Co. Handmade ‘Casa’ tiles from Onsite clad the shower wall. Sika Design ‘Charlottenborg’ armchair from Domo in a corner of a bedroom with Serax ‘Pawn’ side table from Finnish Design Shop. The children’s bedroom is enlivened by custom bedheads in Edit ‘Vases’ fabric. MD House ‘Vertex’ bedside tables from Fanuli with Jaime Hayon lamps from Cult. Kundalini ‘Kushi’ suspension light from Radiant Lighting. Tappeti custom rug. Opposite page The main bedroom has a custom bedhead upholstered in Studio Four NYC ‘Grove Citron’ linen. ‘Profile’ bedside tables in American oak from Zuster with ceramic lamps from Sarah Nedovic Gaunt.
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Words JUDY PA SCOE Photography RORY GARDINER
These pages, from left Intimate views of the beach and water are the main attraction of this Sydney apartment, but the interior decoration is equally dazzling. The third bedroom was opened up to allow for a larger living and dining zone. A European still life from auction house Shapiro hangs above a Spanish console from Tamsin Johnson. In the dining area is a Spanish c1910 oak table and four Audoux Minet chairs bought in Paris. The two end chairs, by Charlotte Perriand, were bought in Spain and have custom seat pads by AP Design House. Vintage Tuareg rug from Perryman Carpets. C1940 plaster wall sconce is one of a pair, bought in Paris and finished with a custom linen shade by AP Design House. ‘Triangle’ pendant light by Anna Charlesworth. Large artwork by Struan Teague from Fox Jensen Gallery. Ceramic platter on table sourced in Paris. Linen blinds by AP Design House.
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A deftly curated selection of vintage pieces, many sourced in Paris, finds eloquent expression in
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ith the pellucid blue waters beckoning beyond the windows and a casual, eclectic vibe inside, there’s more than a suggestion of the Riviera about this stylish beachside apartment on Sydney’s lower north shore. In fact, it’s very easy to visualise Tom Ripley sprawled out along the length of the custom sofa, basking in the elegance around him. Alexandra Ponting of AP Design House has conceived this mise-en-scène, and finessed it to the max. The apartment is in a modernist red-brick block that dominates the northern end of Balmoral and overlooks Edwards Beach. Once home to the fabled Star Amphitheatre, the building was constructed in 1951 and remains largely unchanged today. The owners, a downsizing couple, were understandably attracted to the property because of its position and priceless views to Sydney Heads. They engaged architect Michael Robilliard & Associates to renovate and rejig the apartment prior to moving in, altering its three-bedroom layout to two, enabling the creation of a larger living and dining space within the footprint. Alexandra came to the project on a chance encounter through Instagram. “The client was particularly drawn to two Jenny Topfer artworks we have hanging in the studio. She popped in one day and introduced herself and there was an immediate »
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This page The living room has a relaxed and open feel. Belgian linen sofa by AP Design House, a vintage Italian timber armchair with blue-and-white striped upholstery and an armchair in Italian navy linen sit on a custom jute rug. Brutalist-style coffee table with slate top bought in Paris on a custom limestone base by AP Design House. Bamboo side table by Vivai del Sud. Blackened steel side tables by AP Design House. Table lamps sourced in Belgium with custom shades by AP Design House. Large artwork by Jenny Topfer from Fox Jensen Gallery adjacent to a smaller 1960s lithograph by Antoni Tàpies. Artwork on wall in foreground sourced in Paris. Opposite page, from top A banquette seat runs the length of the windows and is an inviting spot to take in the exquisite surrounds. The softness of the Belgian linen sofa is contrasted with the Brutalist coffee table. The dining space looking towards the living area with a c1880 Arts and Crafts oak credenza bought in Paris. The c1940 plaster wall sconce is one of a pair, bought in Paris and finished with a linen shade.
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These pages, from left The c1910 Spanish oak dining table and four Audoux Minet chairs were bought in Paris. The two end chairs are by Charlotte Perriand and were bought in Spain. The chairs have custom seat pads by AP Design House. The c1940 plaster wall sconces were bought in Paris and finished with custom shades by AP Design House. Pendant light by Anna Charlesworth. Ceramic platter on table sourced in Paris. Linen blinds by AP Design House. Artwork by Isaac Nixon. The entrance hall offers a tantalising glimpse of the view. Custom jute runner with border by AP Design House. Console from Porta Romana holds a vase by Alana Wilson. Custom parchment and leather wall lamp, custom joinery and wall render by AP Design House.
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Sydney SPEED READ » Alexandra Ponting of AP Design House was tasked with delivering the decoration to this beachside apartment on Sydney’s north shore. » Located in a 1951-built block the apartment’s floor plan was reconfigured from three bedrooms to two by architect Michael Robilliard and Associates, allowing for larger living and dining spaces.
» To counter the absence of an outdoor area Alexandra specified built-in banquettes that run the length of the windows in the living room and main bedroom, and offer mesmerising views across the water. » A buying trip to Paris unearthed some eclectic furniture pieces and accessories that provide texture and personality against the backdrop of the rough rendered walls. » While the scheme is neutral, a sprinkling of blue and white stripes throughout adds to the charming coastal aesthetic.
This page The main bedroom enjoys the same sublime vista as the living area. Banquette seat with linen upholstery and bolsters, linen roman blinds and bedhead, all by AP Design House. Bed linen by Olatz. Vintage cane bedside tables bought in Paris. Custom leather and parchment wall light by AP Design House. C1960 bamboo and rattan wall mirror, in the style of Franco Albini, sourced in Paris. Opposite page Custom dresser designed by AP Design House and made by Jonathan West. Table lamp by Lucy Montgomery with custom parchment shade by AP Design House. Custom jute rug by AP Design House. French artwork in original frame from Studio ALM.
« affinity between us,” she says. The client was also attracted to the design studio’s casually elegant aesthetic and its facility for including unexpected elements. While the structural work was being completed, Alexandra devised a neutral palette for the apartment based around another Jenny Topfer work which now is a focal point of the living room. Tactile finishes enhance the subdued nature of the scheme with custom rough render on the walls and materials such as wicker, slate, stone and metal granted equal billing. “It goes without saying that the blue water and stunning view is the hero of the apartment and our design choices worked to support this and not overtake it,” says Alexandra. While the apartment had been almost completely gutted the original tall casement windows were retained allowing for the magic view to take centre stage, and the simplicity of the interior architecture called for graphic design notes. “Our brief was to complement and soften the sharp lines through decoration,” says Alexandra. In the monochrome living room an Italian timber armchair with custom striped upholstery and a custom swivel armchair covered in navy Italian linen add punch, with occasional tables in bamboo, blackened steel, and slate and limestone creating punctuation points. To counteract the absence of an outdoor terrace, Alexandra specified a linen-upholstered banquette seat that runs the length of the windows in both the living area and main bedroom. “It creates the illusion of hovering over the beach,
almost as if you are lying on the water,” the designer says. “It is incredibly special, and there is always a wonderful breeze that blows right through the apartment.” In keeping with the classic coastal ambience, blue-and-white stripes have been dotted throughout, from the upholstery on the Italian armchair in the living room to the bedhead in the main bedroom and the banquette seats. A buying trip to Paris yielded many of the standout pieces for this special abode, including the Brutalist slate-topped coffee table, Audoux Minet dining chairs, c1880 oak credenza and the Spanish oak dining table, and for the main bedroom, a 1960s bamboo and rattan mirror, and vintage cane bedside tables. To that were added custom pieces such as the cream Belgian linen sofa, the jute hall runner, and a parchment and leather wall lamp, as well as Tuareg floor rugs, sculptural pendant lights by Anna Charlesworth and Charlotte Perriand dining chairs from Spain. All add texture, personality and a sense of permanence. It’s a breezy, insouciant mix assembled with an assured hand yet it feels completely effortless. There is an artisanal, curated quality emphasised by the accessories, from the vase by Alana Wilson, a hand-painted ceramic platter found in Paris and a vintage French sketch in its original frame. The owners, who use the apartment as a retreat as well as a place to entertain family and friends, say they love every single thing about it. “It is just the best home. It feels so beautiful. When I walk in, my heart just feels so happy.” # apdesignhouse.com.au; michaelrobilliard.com.au
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These pages In the living room, a collection of artworks is displayed salon style. In the top row, artworks are by (from left) Todd Hunter, Huseyin Sami, Tom Polo, Jonny Niesche, Robert Owen and Gemma Smith. In the middle row, a work by Michael Staniak hangs above paintings by Karen Black and Robert Malherbe alongside works by Michael Muir, Claudia Damichi and Karen Black. In the bottom row, a landscape by Guy Maestri hangs above a work by Aida Tomescu. The large colourful work is by Robert Owen, beside which hangs works by Dane Lovett and Tom Polo, with a yellow work by Makinti Napanangka to the right. Antique table. John Pawson bowl/sculpture on a mirrored bench. A Cassina ‘LC2’ armchair by Le Corbusier, Pierre Jeanneret and Charlotte Perriand is placed in conversation with the B&B Italia ‘Charles’ sofa by Antonio Citterio.
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t’s hard to imagine that just a few years ago this home was in an 80s time warp of chequerboard marble floors, padded silk upholstered walls, heavy drapes with scalloped pelmets, shiny granite benchtops and decorative columns. When Melbournebased designer Shareen Joel and her husband bought the house it needed a contemporary rethink but it also had some major drawcards and much potential. “It was beautiful, in a Dynasty kind of way, and immaculate, as if nobody had ever lived there,” says Shareen. As an architectural designer, interior architect and registered building practitioner, Shareen recognised instantly the value of the structure’s solidity. Any glimmer of doubt was appeased by Michael Schuurmans at Visioneer Builders, the company she enlisted to work on the renovation. In a twist of fate, it turned out that Michael was the original foreman on the house in the 80s. “I drew up the floor plan before we even bought it to ensure we could get everything in. When I showed Michael he confirmed that not only was it a brilliant house but that we could definitely do what I wanted,” says Shareen. While she planned to retain the house’s single-storey pavilion concept, it needed to be widened to reconfigure some new spaces and utilities. Working with architect Tarryn Joyce, Shareen raised the ceilings throughout by removing a heavy, angled bulkhead running along the south side. She stretched internal openings to elongate the doorways, some of which were replaced with antique French doors. Outside, the parapets were lifted to conceal gutters and downpipes, and the facade shaved of decorative details, including ornate window frames and coining, for a seamless and slimmer appearance. »
This page, clockwise from top left A vintage artwork sits on a shelf above the sink in the scullery. The kitchen island and benchtop were fitted with a volcanic stone. In the background, the French doors are from Shareen’s personal collection. Cassina ‘Cab’ bar stools by Mario Bellini. New American oak floorboards were installed. Opposite page, from top Looking from the entrance into the dining room, an antique side table holds a small artwork by Scott Redford. The adjacent larger work is by Colin Pennock with another all-white piece by Gemma Smith behind the dining table and Cassina ‘Cab’ chairs. Moooi ‘Container’ round black table by Marcel Wanders from Space. In the study, where the cedar walls were charred and finished on site, Cassina ‘Cab’ chairs attend a Knoll ‘Tulip’ table by Eero Saarinen. Blue Armchair artwork by Clara Adolphs. Nemo ‘Lampe De Marseille’ wall light. On the shelves, a vintage artwork by an unknown artist sits beside a still life by Pam Tippett.
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Melbourne This page Shareen sits on a vintage desk with a vintage timber chair to one side and a Cassina ‘LC7’ swivel chair by Charlotte Perriand on the other. Cassina ‘Superleggera’ chair by Gio Ponti and Louis Poulsen ‘AJ’ floor lamp by Arne Jacobsen. Artwork by Colin Pennock.
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The living room with its B&B Italia ‘Charles’ sofa and ‘Diesis’ coffee table is reflected in the Glas Italia ‘Noor’ floor mirror by Piero Lissoni from Space. In the powder room, an antique mirror is positioned above a custom basin in volcanic stone. In the formal sitting room, the space is anchored by an antique Heriz rug, on which sits a sleek coffee table. B&B Italia ‘Tufty-Too’ sofa by Patricia Urquiola, antique bergère and Cassina ‘LC2’ armchairs. An artwork by Tom Polo is exhibited above a Vitra ‘Butterfly’ stool by Sori Yanagi.
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« To cosy up the front study and living room, the walls have been clad in a rich chocolate-hued cedar that was treated on site. “We burnt it with a blowtorch and then wire-brushed it to remove all the soft wood, leaving the hard wood which made the grain pop. I didn’t want timber off the shelf. I love that it still smells charred and a little bit of black is still visible on your fingers when you touch it,” says Shareen. As for the rest of the home’s chalky walls, their surfacing was a happy accident. “Because the house is such solid brick it needed to be plastered before being painted over. When we came back from a vacation early and I saw the untreated plaster I just fell in love with its rawness. There was no way I was going to paint over it. Because it’s not a decorative finish it needed to be waxed over to minimise any marking, but it’s the real McCoy. Had we come back from that holiday on time I never would have known.” The front portico opens into a generous entrance hall, its glossy floors replaced with American oak. To the right a newly designed powder room features a heavy volcanic stone basin juxtaposed with an oversized distressed French mirror. Opposite, running along the north side, is a timber-lined study followed by a generous lounge featuring an eclectic gallery of artworks and a bank of large windows. Behind a sliding door across the hall is a cosy family room, its dark walls illuminated with a bright artwork by Tom Polo. From the main hall, the floor plan narrows to accommodate a long kitchen and dining area before widening again for the private quarters where there are three bedrooms, all with ensuites. The home’s U-shaped »
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SPEED READ » When designer Shareen Joel purchased this home it was in mint condition and decorated in true 1980s style. » Shareen recognised the building’s high quality and solidity, which was confirmed by Michael Schuurmans, a founding director of Visioneer Builders, who, to her surprise, had worked as a foreman on the property when it was built more than 30 years ago. » Shareen both widened and lifted the ceiling by removing the bulkheads and stretching the doorways and windows. » The plastered walls have been left in their untreated condition for a raw, chalky appearance. » Clean, white joinery throughout has been topped with slabs of deep-grey volcanic stone. » The cedar timber cladding has been blowtorched and wire-brushed for a grainy texture. » The home is filled with vintage Italian furniture, modern art and antique French finds.
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« configuration frames an internal plunge pool and courtyard that will eventually showcase a large gnarled olive tree. The house is furnished with Shareen’s collection of vintage Italian furniture and a subtle infusion of traditional French features such as a bateau bathtub, classic tapware, a patinated crested mirror, a period chest of drawers and crinkled linen sheers. Combined with crisp-edged joinery and volcanic stone in the kitchen and wet areas, it’s a small Parisian nod among the modern. When Shareen lifted all her archival pieces from storage, she also took out some items to sell. A happy accident saw her move an old Moooi table to the central hall temporarily only to find it looked exceptionally well-suited in the spot. “It reminded me that if you buy things you truly love they will work anywhere,” she says. Similarly, an old pair of Cassina ‘LC2’ armchairs in a rich Bordeaux colour that she had planned to re-upholster also worked remarkably well. “I had every intention of changing the fabric. In fact, I hated that colour until I brought them here. Now, they look surprisingly perfect.” # shareenjoel.com
This page, clockwise from top An artwork by Gemma Smith enlivens the otherwise monochromatic palette and unfinished plaster walls in the master bedroom. Shareen favours classic features with French accents including the ‘Hanley’ bateau bath and tapware from The English Tapware Company. The deep-grey volcanic stone seen in the kitchen and powder room also stars on the bathroom surfaces. Opposite page In the master bedroom, an artwork by Martine Emdur and a smaller piece by Bronte Leighton-Dore are displayed with a Flos ‘Taccia’ table lamp by Achille and Pier Giacomo Castiglioni on an antique chest of drawers. Cassina ‘LC2’ armchair.
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These pages, from left In the spacious living room on the first floor, Noel Tunks’ exquisitely detailed portrait of Queen Elizabeth I painted with a white, distorted face has always been a talking point for jeweller Tony White’s guests. It is flanked by Troy Emery’s Lavender, 2017, in rayon fringing and polyurethane, and a mixed media work by Linde Ivimey, The Horseman, 2017, both of which sit on Italian ‘grand tour’ faux books on marble-topped tables. The shield-like wall sculpture is by Tony’s partner, Alexander Michael. Under the window is a long console in sterling silver and flame mahogany by Alexander, who also designed the cluster of mirrored tables. A recent addition, the armchairs are from Camerich. The exterior scheme of terracotta walls and blue and green trim was devised by George Freedman in the 1970s.
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JEWEL CITIZEN
A beacon of originality, this home luxuriates in gem-like colours seen on a dazzling collection of myriad forms. Words + styling JE AN WRIGHT Photography ANSON SMART
This page Keith Looby’s work The Last Supper presides over the living room on the second floor and comprises a Celtic cross in five panels. A Peter D. Cole sculpture stands on one of the mirror tables. An 18th-century Italian sunburst mirror radiates on the landing. Opposite page, clockwise from top left A window that faced a side street was filled in to display Linde Ivimey’s powerful mixed media sculpture, The Twelve Apostles, 2006. Suspended from the ceiling is Flight of the Unknown Apostle by Alexander. The 1909 three-storey Potts Point terrace offers glimpses of the harbour. In the expansive entrance hall busts by Guy Maestri, a recent commission by Alexander, are in cast bronze rendered to look like plasticine. Wide hallways are a feature of the terrace.
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ne of Australia’s most celebrated creators of fine jewellery, Tony White, who died in May 2020, began his glittering career after training as an architect and briefly practicing in the field. It was an experience that put him in “a different category”, as the multitalented artist later recalled, and in the 1970s, when I first met Tony, he was still working in architecture but had already started designing jewellery from the spare bedroom of his home, then in Paddington. Largely self taught, Tony first exhibited his jewellery and decorative objects at Bonython Gallery in Paddington when he was 29. Rather than shops, he opted to show in art galleries, where he was represented by Philip Bacon Galleries in Brisbane and Australian Galleries in Melbourne and Sydney, and his pieces were appreciated as the fine art they were. In later years, he held trunk shows in New York, Chicago and Houston. In 1979, Tony moved to this grand Victorian terrace in Potts Point’s Victoria Street, which he shared until his death with his partner, designer Alexander Michael, and their schnauzer, Bozo. Spacious and gracious, the house revels in high ceilings, wide hallways and fabulous staircases. The end house in a row of four 1909 terraces recently saved from demolition, it had been vandalised and needed major work when Tony first bought it. The original wooden staircases were intact, but the roof, ceilings, architraves and cornices all had to be replaced. The adjoining terraces had been divided into spacious apartments by architect Peter Stronach. The exterior colour scheme of terracotta walls, lattice verandahs in palest blue and trims in blue and green was devised by interior designer George Freedman who lived with his partner, architect Neville Marsh, in the top-level apartment next door (Belle May/June 1980). All four terraces are still distinguished with the same palette today. »
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This page The showroom and viewing room on the ground floor was designed by Alexander. Formerly black, the walls are now anodised aluminium panels studded with gilded bumblebees. The cabinet is filled with finds from Tony’s travels that were inspiration for his jewellery. On the Knoll ‘Tulip’ table the necklaces on the busts are African silver with Venetian glass beads. The tusks are set on silver bases. An artwork by Alexander is reflected in the mirror. Opposite page Tony’s street-level study displays a Keith Looby artwork behind the antique desk which is attended by a Herman Miller chair by Charles and Ray Eames. This work once hung in the dining room and was another that served as a talking point with its confronting, deranged faces. Desk lamp by Ralph Lauren. Original argon gas pendant light.
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« For Tony, the property served as both salon and showplace for his many fabulous finds from far-flung places, the rewards of years of collecting and travelling across the world that were often the inspiration for his jewelled creations. At the street entrance, Tony’s jewel box of a showroom on the ground floor was where favoured clients were able to have a special viewing. The living and dining rooms on the floor above housed his collection of wonderful paintings, fine antique furniture and objets d’art that spilled into the bedrooms on the top floor. His home was a harmonious mix of unexpected combinations. He was attracted to things that were beautifully constructed and finished, bold of colour, design, materials and vision, like his jewellery, where each piece was unique for clients that included Australian and international celebrities such as Carmen Dell’Orefice, Carla Zampatti, Cate Blanchett, Kylie Minogue and Ita Buttrose. Stylish dinner parties around the massive table were the norm with great food conjured by their live-in cook. Stuart Purves, director of Australian Galleries, describes those dinners, of which there were many, as “generous, intelligent, delicious, lively and accompanied by great humour”. Tony’s great friend Brett Whiteley was often there wearing the ‘yin yang’ brooch in gold, ivory and tortoiseshell that was created for him. Other artists frequently in attendance were Jeffrey Smart, who Tony met as an 18-year-old student, Charles Blackman and Margaret Olley, to name a few. Tony enjoyed creating shockwaves. He had a wonderful sense of humour and was a fascinating raconteur. The artworks he collected were a great conversation starter, among them Noel Tunks’ depiction of Queen Elizabeth I in an exquisitely painted gown and jewellery with a feather fan but with her whitened face mask-like and disturbingly scarred. Similarly, in the adjoining dining room, is another work by Noel featuring the warrior queen and feminine virgin with a skeletal horse looming over her. In the living room a street-side window was filled in to display Linde Ivimey’s work – her interpretation of the 12 apostles chained together in a row. Again, a great talking point that often set people thinking. Linde visited the house to install the works, which are quite delicate. In striking contrast the last work commissioned by the couple was by street artist Cameron Scott known as NOTNOT (@notnotcamscott) but sadly Tony did not live to see it installed. Following Tony’s death and prior to our photography much of his antique furniture, many artworks and all remaining jewellery were auctioned by Bonhams in October 2020. Contemporary seating in the living room now mingles with the remaining antiques and while what remains of Tony’s exquisite work is held in many galleries and museums, it is mostly in the hands of private clients, where it enriches the best collections around the world. In the words of his longtime friend, gallerist Philip Bacon, who wrote the foreword to the Bonhams catalogue, Tony’s jewellery gave “endless pleasure to its owners” and the man himself was an “endless delight to his friends”. His pieces can be seen in Tony White Jeweller by Andy Quan with photography by Grant Matthews, Stan Ciccone, Grant Mudford and David Roach. The book is available from Bonhams, Sydney, and the National Gallery, Canberra. # This page, from top Above a side table in the dining room an artwork by Noel Tunks features Queen Elizabeth I and a skeletal horse. The lamps are Georgian and the orange ceramic sculpture is by the late James Draper. A David Rankin artwork hangs in the passage from the kitchen to the dining room. Opposite page The dining room with its huge table where stylish dinner parties were once the norm. “It was a salon, a celebration of life and friendship,” says Tony’s friend and Brisbane gallerist Philip Bacon. A Georgian chandelier and the gilt mirror contrast with a pair of graphic works by street artist Cameron Scott flanked by a pair of carved angels. On the mantelpiece, a tortoiseshell mounted on silver and travertine by Tony. The period dining chairs were updated with skin throws.
This page In the second bedroom, which also serves as a study, a pair of 18th-century Italian chairs and on the mantelpiece a pair of gazelle antlers mounted on silver by Tony. A botanical work by Paul Jones rests on the writing desk. The antique chandelier is Russian. The ornate Chinese doors lacquered in black and gold are also antique. Opposite page In the main bedroom on the top floor there is a fox fur on the bed. The Jason Benjamin painting was bought at the artist’s first exhibition and has hung ever since above the bed. One of a pair of Chinese screens acquired with the help of Tony’s long-time architect friend, Kenneth Ko.
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SPEED READ » Bought by then aspiring jeweller Tony White in 1979, this 1909 Victorian terrace in Sydney’s Potts Point was the end house of a row of four. » The architect-trained jeweller shared the property with his partner, designer Alexander Michael. » Architect George Freedman devised the exterior colour palette of terracotta, blue and green, which is still in place today. » The original wooden staircases were intact but the property had been occupied by squatters and was in disrepair with the roof, ceilings, architraves and cornices needing to be replaced. » Tony proceeded to fill the terrace with fabulous travel finds, antique furniture and objects, and artworks, with some dating from the 1970s, and some pieces by Alexander. » The property also served as a showroom for Tony’s jewellery clients, who included celebrities from Australia and abroad including Carmen Dell’Orefice, Carla Zampatti and Cate Blanchett.
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Melbourne
Words JUDY PA SCOE Photography RHIANNON TAYLOR
L IG H T N E S S o f BE I NG
A light-handed intervention has brought a fresh energy and ease of living to this Edwardian-era home, helping to turn its owners into keen entertainers.
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This page The soft shades of Brush-tail Possum Dreaming by Judith Nungarrayi Martin keeps the mood fresh and light in the new open-plan space at the back of the house. Prostoria ‘Rhomb’ dining table and Softline ‘Karm’ chairs from Collective. DePadova ‘Elementi’ light fitting from Boffi. On the table, Atipico ‘Arca Centerpiece’ and ‘Classico’ object, both from Collective. Opposite page The entrance hall, like the rest of the house, was fitted with ‘Oak Superbianco’ floorboards from Admonter. Underfloor heating throughout helps to keep the atmosphere comfortable through winter. Woud ‘Tray Shelf’ from Floc Studio holds a sculpture by Jenna Lee from Mars Gallery. Muuto pendant lights from Living Edge. Walls painted in Dulux ‘Lexicon Quarter’.
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This page, from top The kitchen is restrained and elegant with its oak joinery, benchtops in honed Elba marble and splashback in Inax ‘Shijin Yu-Rin’ tiles from Artedomus. Skagerak Denmark ‘Georg’ rack in oak from Top3 by Design. Fisher & Paykel appliances. Qasair rangehood. Owner Lucy loves the facility of the island bench where she can prepare dinner while chatting to guests as well as supervising her young daughters. Opposite page The open-plan space is bathed in natural light and the pale palette chosen by Carole helps to keep the mood calm. Prostoria ‘Rhomb’ dining table with Atipico ‘Arca Centerpiece’ and Softline ‘Karm’ chairs, all from Collective. DePadova ‘Elementi’ light fitting from Boffi. Prostoria sofa from Collective in the sitting area. Vibia ‘Pin’ floor lamp and RBW ‘Ledge Round’ wall sconce, both from Koda Lighting. On shelf, small black vessel by Ella Bendrups from Craft Victoria and large white vessel by Katarina Wells from Curatorial+Co.
mbracing t heir new-found ent husiasm for entertaining, the owners of this recently renovated home in Melbourne’s Armadale give full credit to interior designer Carole Whiting for the change in their lifestyle. “We never thought of ourselves as very social people nor frequent entertainers,” says owner Lucy, “but the house is now so warm and inviting and easy that every weekend we seem to have guests over.” It’s a far cry from the c1901 house they bought in 2019. Lucy and her husband George loved the generous size of the property, the front and back gardens, and they could see the potential for creating an agreeable family home. The Edwardian-era detailing, high ceilings, marble fireplaces and deep casement windows were impressive but the house, particularly at the back, was dark and uninviting. “After spending three months there we knew we had to renovate soon because it was so cold and draughty,” says Lucy. Unfamiliar with the city’s design community, they searched for someone to help with the process. “We felt the home needed interior decoration rather than structural intervention so we spent a year going through the portfolios of designers on the internet,” says Lucy. Finally they found Carole through Instagram and instantly felt her ethos aligned with theirs. “Having spent so long searching for someone, once we engaged Carole we tried to be as hands off as possible. We trusted her to guide the process and relied on her expertise and relationships with suppliers and builders.” Carole immediately could see the need to open up the back of the house and she worked with Brayshaw Architects to modernise the floor plan and facilitate an easy flow within the existing »
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This page The sitting area of the new open-plan space is anchored by a rug from Halcyon Lake. Prostoria sofa, Montis ‘Ella’ armchairs, Pianca ‘Abaco’ coffee tables and Atipico vessels (left, on shelf), all from Collective. On shelf (right), small black vessel by Ella Bendrups from Craft Victoria and large white vessel by Katarina Wells from Curatorial+Co. Low resin bowl on coffee table from Dinosaur Designs. Vibia ‘North’ pendant lamp, Vibia ‘Pin’ floor lamp and RBW ‘Ledge Round’ sconces, all from Koda Lighting. Opposite page, from top The study area is neat and unobtrusive with American oak joinery and a felt-covered inset. Skandiform ‘Fendo’ chair from KFive. Small artwork by Kir Larwill. Vibia ‘Pin’ desk lamp from Koda Lighting. In the entrance hall, Woud ‘Tray Shelf’ from Floc Studio holds a sculpture by Jenna Lee from Mars Gallery. Black ceramic vessel by Cassie Hansen and small white ceramic vessel by Kris Coad.
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« envelope. As with most older homes light was an issue and “allowing the house to breathe” was an important consideration. The back of the house was awkward, with a small kitchen and a brick wall blocking access to light and the outdoors – not conducive to easy family living with the owners’ two young daughters. Opening up the rear of the house with tall steel-framed glass doors and designing a new kitchen and casual living area has completely reinvigorated the whole environment. “We wanted one space where we could cook, eat and have an area for the girls to play,” says Lucy. “Carole definitely fulfilled that brief, and we love that it’s so warm and inviting. It’s allowed us to feel very comfortable entertaining as I can cook and still connect with guests and with the kids as well.” Carole says, “The existing house provided opportunities to reveal and celebrate period details while introducing modern elements to newer spaces. Walls became less solid and transparent sections generated openness and expansiveness.” The distinct precincts – kitchen, pantry, laundry, dining, sitting and home office – all sit within plain sight of each other, yet while their texture and tone blend together, each feels quite separate. The textured and tempered palette of the new open-plan space creates a light, bright mood with the pale and neutral scheme defined by »
“T H E HOUSE IS N OW S O WA R M A N D I N V ITI NG A N D E A S Y T H AT E V E RY W E E K E N D W E S E E M T O H AV E G U E S T S OV E R .”
SPEED READ » The significant proportions and beautiful details of this c1901 home in Melbourne’s Armadale were not overlooked in the contemporary reinvention by Carole Whiting Studio. » The owners loved the expansiveness of the Edwardian-era property but the back was dark and uninviting and they wanted a large, open-plan space where they could cook and eat, and supervise their two young daughters at play. » Carole, along with Brayshaw Architects, created a contemporary, light-filled, multipurpose space that has more than satisfied the owners’ wishes as well as encouraging them to become frequent entertainers. » As a foil for the light, bright back of house, the master bedroom has been swathed in a deep inky blue, providing a play between dark and light and enhancing what Carole describes as “a journey of discovery” from the old part of the house to the new.
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This page, clockwise from top left The ensuite is a favourite part of the house. “We bathe the girls here at night – the underfloor heating makes it so warm and calming,” says Lucy. On the walls, ‘Spatula Bianco’ tiles from Tiento. Fiandre ‘Urban White’ floor tiles from Artedomus. Custom mirror. Sphera ‘O-Lamp’ wall sconces and RBW ‘Mori’ sconce, all from Koda Lighting. Agape ‘Immersion’ bath from Artedomus. Astra Walker ‘Icon+’ tapware and accessories from Mary Noall. SCP ‘Ulrik’ stool from Hub. Loom towels. The master bedroom has a Vibia ‘Tempo’ bedside light from Koda Lighting. Artwork by August Carpenter on Pianca ‘Dedalo’ bedside table from Collective. Opposite page The moody master bedroom is painted in Dulux ‘Biro Blue’ with an expanse of white Venetian plaster serving as a bedhead. Pianca ‘Piumotto’ bed from Collective. Pillowslips from Society Limonta. Bemboka bedspread from In Good Company. Skandiform ‘Fendo’ chair from KFive. Vibia ‘Tempo’ bedside light and wall sconce from Koda Lighting.
« American oak floorboards and joinery, Elba marble, and sleek, elegant furniture, complemented by contemporary lighting from renowned brands such as Vibia and DePadova. All feels very calm and refined. The pale oak floorboards were such a success that they were carried through to the rest of the house. “It’s by far my favourite feature, and with the underfloor heating, makes the house feel so warm and cosy,” says Lucy. To contrast with the white spaces at the rear the owners requested a dark and moody master bedroom so Carole swathed the walls in inky Dulux ‘Biro Blue’. “By introducing an extensive plane of Venetian plaster – acting like an oversized bedhead – into the dark room, we lightened the intensity and provided a link to the rest of the home,” says Carole. The bright ensuite bathroom with its glass panels beckons through the darkness of the walk-in robe. “Colour tells an important story here – both in its intensity and its absence,” says Carole. The play of light and dark is a theme throughout. “The house has a path that draws the visitor on a journey of discovery through the old to the new,” says Carole. “Handled deftly, open living spaces can still provide that sense of ‘reveal’.” Owners Lucy and George are delighted with their home’s new persona. “It feels very well designed but nothing seems too delicate. There’s a robustness which we appreciate with our two young children,” says Lucy. # carolewhiting.com; brayshawarchitects.com.au
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ROMAN Transformed into a glamorous entertainer’s dream, this Victorian home evokes all the elegance of an Italian villa.
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Words CHRIS PE ARSON Photography MARK ROPER
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This page Plush velvet Italian armchairs from Nicholas & Alistair with their elegant profiles make a style statement in the informal living area. Edra ‘Cicladi’ coffee table from Space. Vintage onyx dish from 1stdibs. 1930s Barovier & Toso six-shade Murano chandelier and 1970s La Murrina chandelier, both from Nicholas & Alistair. Shearling rug by David Hicks from Cadrys. Chairs reupholstered in linen and antique oak dining table, all from Graham Geddes Antiques & Antiquities. Reverie diptych by Agneta Ekholm from Flinders Lane Gallery. Walls in Dulux ‘Vivid White’. Existing timber floorboards were re-conditioned and custom stained. Opposite page The elegant facade, complete with turret, has been faithfully preserved.
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This page, clockwise from top left A 1940s Barovier & Toso Rostrato Murano pendant light from Nicholas & Alistair hangs above the kitchen island, which is clad in honed Cote D’Azur marble from G-Lux. Tapware from Zucchetti. Platter from Dinosaur Designs. Joinery in Dulux ‘Vivid White’ two-pack polyurethane. An archway, mouldings and stainedglass windows all lend gravitas to the heritage hallway. Vintage Murano mirror from Peninsula Antiques e Moderno. 1930s Murano pendant light by Archimede Seguso from Nicholas & Alistair. David Hicks bronze vessel from David Hicks Editions. Soapstone sculpture by Zimbabwean Shona carvers from Graham Geddes Antiques & Antiquities. Opposite page The bold marble on the island adorning both the bench and the cascading sides is a flamboyant artwork in its own right. Timber joinery on far wall in Makassar ebony. Oven from Gaggenau.
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rom dowdy dowager to charming contessa, this grand four-bedroom home in Melbourne’s south has enjoyed a miraculous makeover. “We have taken a Victorian lady, given her a facelift, dressed her in Italian couture, adorned her with jewels and sent her on a Roman holiday,” says its interior designer David Hicks. “Now she is well travelled and glamorous.” After the owners bought the house in 2002, she did decades of dutiful service as a functional family home. But, with their two children grown up, the couple wanted to elevate their cherished 1880s property to something more special. So, in 2020, they turned to David to make it happen. “They loved the way we integrate the new with old and that we design with a minimal palette that is also rich and luxurious. And, keen on mid-century Italian style, they had seen this, too, in our work,” he says. What David found behind the castle-like brick facade – complete with landmark turret – was a world away from that vision. “The house was dark, with orange timber floors and heavy timber mantel mirrors. The kitchen was in plain white laminate and the bathrooms in white gloss tiles,” he says. “Designed when living requirements were different, the rooms were small, segregated and cramped.” The solid shell and ornate detailing, such as cornices and ceiling roses, outweighed those shortcomings. “The substantial walls and plasterwork make this house so appealing. You can feel the history.” The practical brief was to open up the spaces and let in the light. “The clients wanted the house to feel larger and lighter, with »
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This page The custom mirror from David Hicks Editions neatly reflects the home’s period style and makes the space appear larger than it is. Antique oak dining table and chairs – reupholstered in white linen – all from Graham Geddes Antiques & Antiquities. 1950s Italian sideboard, 1930s Venini table lamp and 1970s La Murrina chandelier, all from Nicholas & Alistair. Opposite page ln the formal living room at the front of the house, Edra ‘Essential’ sofa by Francesco Binfaré from Space. 1950s Italian armchair, vintage Italian coffee table and 1930s Venini ‘Reticello’ chandelier, all from Nicholas & Alistair. Walls in Dulux ‘Caps’. Artwork by Dale Frank from Neon Parc. Curtain in Dedar ‘L’âge d’Or’ from South Pacific Fabrics. Custom Nepalese silk rug from Cadrys. Vintage Italian vase on mantel from Peninsula Antiques e Moderno.
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“WE STREAMLINED T H E L AYO U T, W H I L E R E TA I N I N G T H E E U R O P E A N ST YLE OF ROOM OPENING INTO RO O M. THIS KEP T THE H E R I TA G E F E E L ...” This page, from top In keeping with the home’s heritage features, David has eschewed open plan instead enlarging the internal openings for a better flow where appropriate. Antique oak dining table and chairs from Graham Geddes Antiques & Antiquities. Artwork by Agneta Ekholm from Flinders Lane Gallery. Vintage Italian armchair from Nicholas & Alistair. David Hicks shearling rug from Cadrys. Opposite page The luscious and sinuous 1930s Italian velvet sofa from Nicholas & Alistair is one of David’s favourite features in the house. Edra ‘Cicladi’ coffee tables from Space. Vintage chandelier from Nicholas & Alistair. Rug from Cadrys. Artwork by Dale Frank from Neon Parc.
« a better connection between the rooms and better flow.” They also asked David to reconfigure the first floor to provide a larger main walk-in robe and ensuite, and bigger bedrooms. Most importantly, they wished to up the style stakes by making the home more elegant and sophisticated with an after-five aura. “The clients love entertaining,” says David. “The wife, of Italian heritage, is passionate about food, design and fashion. They wanted something luxurious, yet simplified and European in feel, while also honouring the heritage aspects of the house. So we streamlined the layout, while retaining the European style of room opening into room. This kept the heritage feel while opening up the house and injecting it with a classic sensibility.” The floor plan for the more formal rooms at the front downstairs was retained, while in the informal section at the rear, David removed sections of walls and doors to foster a smoother flow and let in the light, while keeping within the existing footprint. Upstairs he shifted walls to create larger bedrooms and bathrooms. “We simplified the plan, while restoring the heritage details. To keep the integrity of the house, walls were replaced, where needed, with brick and hard plaster, cornices matched to existing detailing, and doors and architraves replicated,” says David. »
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SPEED READ » Having lived in this grand 1880s home in Melbourne’s south for nearly 20 years, the owners wanted to give it a brand-new look. » They engaged interior designer David Hicks to reconfigure the layout, opening up the house to create a smoother flow and letting in the light, while also honouring its heritage. » Lovers of all things Italian, the couple asked him to turn a family home, where they had raised two children, into something more adult, elegant and sophisticated, and geared to after-five entertaining. » David combined a rich palette of materials, such as marble, ebony timbers, solid plaster, bronze, glass and velvet, to create the ambience of an Italian villa, while always honouring the home’s period features.
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This page, from top The glamorous custom bedhead, in Dedar ‘Tabularasa’ from South Pacific Fabrics, elegantly echoes the outline of the mirror downstairs in the dining room. 1950s wall-mounted bedside tables by Osvaldo Borsani and 1980s Murano wall sconces, all from Nicholas & Alistair. Custom bedcover in Dedar ‘Tabularasa’ from South Pacific Fabrics. Custom bench upholstered in Rubelli ‘Caterina de’ Medici’ fabric in Nuvola from South Pacific Fabrics. Vintage Pierre Jeanneret armchair from 1stdibs. Custom viscose carpet by Pro-Spective Installations. Walls in Dulux ‘Caps’. In the main ensuite, wall and floor tiles in honed Cote D’Azur marble from G-Lux with honed Elba marble wall tiles from Artedomus in the shower. Tonic tapware, Sfera basins and Hydrotherm towel rail, all from Rogerseller. Joinery in Dulux ‘Vivid White’ two-pack polyurethane. Opposite page ‘Alberto’ fluted knobs from Mother of Pearl & Sons. Vintage Murano wall sconces from Peninsula Antiques e Moderno.
« New dark timber joinery and a carefully curated palette of finishes have taken the grande dame to a whole new level, while also honouring the old house. “We did not want anything to jar,” says David. With the clients’ leaning for all things Italian, he chose a rich, natural materials palette on a minimal canvas. “We wanted the background to be simple yet tactile, so we opted for an offwhite, bone-coloured hard plaster on the walls. Then we used marble to create a distinct Italian feel, with its beautiful organic pattern and glamorous feel. Next we layered other sumptuous materials such as Makassar ebony timber and silk carpet to provide the feel of an Italian villa.” With their translucent sheen, warm bronze, crisp chrome, fluted glass and plush velvets also come to the party with their after-five aura. David worked closely with the client to select an eclectic array of elements, from mid-century Italian furniture and lighting to contemporary items, with some pieces custom made. A special find was the mint-green vintage Italian sofa in the informal sitting room, with its sweeping, organic curves and plush texture. “It is so unusual and unique,” he says. “We wanted the furnishings, textiles, light fittings and artworks to provide the rich tapestry to the spaces, like a gallery of curated items. I am so proud of the end product, which is cultured and sophisticated.” While borders have reopened, now that their home has had the villa makeover with striking results, the chances are these lovers of all things Italian will want to stay put – for a while, at least. # davidhicks.com
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COASTAL CANVAS Words CHRIS PE ARSON Photography ANSON SMART
In this striking home perched on a hillside on Sydney’s Northern Beaches, the built environment and its coastal setting meld seamlessly into one. 162
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This page Water vistas take starring roles in almost every space, even hallways such as this which leads to the main living area. Erik Jørgensen ‘Konami’ sofa and Nau ‘Fat Tulip 88’ armchair, both from Cult. Rug from Armadillo. Ancestor YKB sculpture by William Versace from Curatorial+Co. Joinery in oak veneer from Sublime Custom Cabinetry. Turning Tide artwork by Lydia Miller. ‘Garonne’ limestone floor tiles from Eco Outdoor. Opposite page Kett ‘Addis’ outdoor extension table and ‘Wye’ chairs, all from Cosh Living. Walls clad in rosewood. ‘Garonne’ tiles around pool from Eco Outdoor. Custom barbecue from BeefEater.
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This page Conrad Johnston has played with geometry to brilliant effect on the facade with the huge picture window to the left and balconies orientated at intriguing angles. ProGlide ‘UltraFlat’ commercial windows from Central Coast Shopfronts. Walls in sandstone from Gosford Quarries and salvaged sandstone from the site by Drew Brown Landscapes & Stone. Cobblestone pavers on drive from Eco Outdoor. Opposite page, from top ‘Dita’ stools from Grazia&Co. Timber veneer joinery from Sublime Custom Cabinetry. Super White Dolomite benchtops from Euro Marble. On rear bench, white resin vase from Dinosaur Designs. Humble Matter ‘Eagle’ sculpture in white ceramic from Curatorial+Co. ‘Celsius Arc’ gold tap from Zip. ‘Garonne’ limestone flooring from Eco Outdoor. V-ZUG ‘Combair’ pyrolytic 60cm built-in electric oven from Winning Appliances. In the powder room, benchtop in Mint Ice marble from Euro Marble. Yokato tapware in tumbled organic brass from Brodware. Evolution sculpture by Dion Horstmans. ‘Anton’ mini wall sconce from Volker Haug.
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n this four-level home on Sydney’s Northern Beaches, a vast picture window frames the sweep of beach below and headland beyond. The dramatic scene is ever-shifting throughout the day with the tides and weather, the result a dynamic artwork where the brushstrokes never dry. It’s part of a gallery of ocean vignettes that runs through the house, where each window offers a different perspective on the spectacle, which, paradoxically perhaps, is both calming and energising at once. In this house of many moods, the back, by contrast, offers the serene, less mutable, aspect of bushland. After buying the property in 2000, the owners used the midcentury weekender on the site as a welcome retreat for them and their four youngsters. But, as the children began families of their own, the couple wanted to make this their fulltime home. For that, the site had to lift its game, so they hired Conrad Johnston of Studio Johnston to mastermind the build – and navigate a few challenges. They were clear about what they wanted. “Because they had been coming to the place for years, they were intimately familiar with the topography, climate and impact of the seasons,” he says. The spectacular location brought pluses and minuses. “The site is beautifully situated at the northern end of the beach, with a view of sand and surf. We wanted the house to connect with its natural setting, so that it was deeply embedded in the place,” says Conrad. But the southern aspect meant harnessing sunlight would be tricky. “The challenge was to create sunny outdoor areas protected from the climate where our clients could host up to 25 people and enjoy views of beach and bush.” The house also had to accommodate their children and grandchildren for extended stays. »
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« To master the steep, narrow site, Conrad burrowed into the hillside and connected its four levels internally with an elevator and externally by stairs. Entry is at the guest level above the garage where three bedrooms, three bathrooms and a play area bunker in towards the beach. A cylindrical skylight bathes the stairwell in daylight. Above, the first floor is a vast platform, with living, dining (with that picture window) and kitchen extending to a 470 square metre sheltered, sun-drenched terrace, complete with barbecue, pool, spa and motorised sunshades. To achieve this, Conrad offset the top two levels and angled the spaces to maximise sunlight. The guest level spans the site and forms a podium for the living areas and main bedroom levels immediately above, which taper in from the east and extend to the western edge, while also soaking up views of the beach. This deft sleight of hand brings northern light into the south-facing living areas while sheltering them from the wind. The living areas and main bedroom connect visually to both
bush and beach. “The tendency with sites like this is to focus only on the ocean view,” says Conrad. “We found ways of balancing that big ocean view with a more restful connection back to the bush.” With few windows, the steel-clad western facade cocoons rooms on this side, while the southern and eastern sides are more “porous”, with walls of glazing. The exterior features robust concrete, metal cladding and rosewood, which age and patina over time and require minimal maintenance, even in harsh environments. The owners specified “timeless and elegant interiors, calming, low-maintenance spaces with splashes of colour and the occasional striking stone,” says Studio Johnston director of interiors Stefania Reynolds. Pale grey Moroccan limestone flooring extends through the living areas and to the terrace. “By having the one material throughout, the space feels seamless and larger, and it is also convenient for grandkids traipsing in sand,” she says. Bathrooms feature milky-white Dolomite marble, infused with wisps of »
These pages, clockwise from left Pops of colour add interest and another layer to a predominantly neutral palette that takes its cues from the ocean and bush setting. Nau ‘Fat Tulip 88’ armchair from Cult. ‘Joy’ armchair from Jardan upholstered in mustard bouclé. Coffee table and side tables are all custom designs by Studio Johnston made by Sublime Custom Cabinetry. Ancestor YKB sculpture in blue resin by William Versace from Curatorial+Co. ‘Agra’ rug from Armadillo. ‘Garonne’ limestone wall tiles from Eco Outdoor. Joinery in oak veneer from Sublime Custom Cabinetry. Marset ‘Ginger P’ floor lamp from Est Lighting. Items in the cabinet include a Voltra lamp from Est Lighting and vases from Dinosaur Designs and Planet. In the dining space, Rolled Together triptych artwork by Stefania Reynolds. ‘Huxley’ table and ‘Mckenzie’ chairs from Jardan. ‘Ceto’ pendant light from Ross Gardam. Timber veneer joinery by Sublime Custom Cabinetry. Erik Jørgensen ‘Konami’ three-seater sofa from Cult. On the exterior, cladding in rosewood and ProGlide ‘UltraFlat’ commercial windows from Central Coast Shopfronts.
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SPEED READ » For years, a humble cottage on this site on Sydney’s Northern Beaches served the owners and their four children well as a welcoming weekender. » But, as the children grew up and started their own families, the owners wanted to better utilise this special site as their full-time home. » They asked Conrad Johnston of Studio Johnston to design them a house to also accommodate extended family, while making the most of the spectacular south-facing site. The trickiest challenge was maximising sunlight and minimising exposure to harsh southerlies, which he achieved with some clever angles and set-backs. » The owners specified calming interiors, where the home and its coastal setting become one, achieved by generous glazing, carefully curated materials and furnishings, and an all-encompassing blue-green palette.
This page, clockwise from top left Handmade Moroccan wall tiles in Mint from Surface Gallery clad the shower walls. ‘Garonne’ limestone tiles from Eco Outdoor. The bushland and sandstone setting offer a private outlook from the main ensuite. StoneKast ‘Pebble’ bath from Just Bathroomware. Solis curtain in Mint from Zepel. Benchtop and walls in Super White marble from Euro Marble. ‘Yokato’ brass tapware from Brodware. ‘Anton’ sconce from Volker Haug. In the bedroom, ‘Sweeney’ armchair and ‘Bandy’ stool from Jardan. Carpet by Bremworth. Opposite page Bedhead made by Sublime Custom Cabinetry. Linen from Cultiver and pillows from Jardan and Franka. ‘Roy’ bedside light from VBO Australia and Zetr switch. Eagle sculpture from Curatorial+Co., Voltra lamp from Est Lighting, artwork by Stefania Reynolds and sculpture by Dion Horstmans. Box from Greg Natale.
« grey – reprised in the kitchen – with soft pistachio green tiling and aged-brass tapware. A striking mint ice marble that adorns the powder room, forming a dramatic apron on the vanity, its black vein creating a sense of movement, is repeated in dining and bedside built-in joinery. With its warm American oak and brass edging, it contrasts with the cooler tiled floor and concrete, while aged-brass fittings complement brass shelves and translucent wall lights. Watery, blue-green hues in their endless variety bring beach and bush into the home, reinforcing that indoor-outdoor connection. The stairwell is painted a soft mint hue, ensuring a cooling calm as you glide from one floor to the next. Its expansive main wall, painted kelp green and accented by a fine brass balustrade, anchors the building. “Green is associated with a sense of calm, optimism, tranquility and nature,” says Conrad. “Part of the brief was to create relaxing, calm spaces. This palette, paired with the view and the sound of the waves, makes being in the space all encompassing.” Meanwhile, pops of colour appear in artwork and furniture. “We chose quality furnishings that would be long lasting. The lines are blurred between aesthetics and function, furniture and sculpture,” says Stefania. A mustard chair on a blue-green carpet makes a bold statement against the coastal scene, while a triptych above the dining table mimics the movement of water in colours that complement the home. But the most striking artwork is that view, framed at every opportunity, with the ultimate moment being the picture window. “No matter where you are in this house, you are reminded of its location,” says Conrad. # studiojohnston.com.au
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These pages Silver birches (Betula pendula ‘Moss White’) have been planted in small groves around the property to provide screening and verticality. The trees are underplanted with clipped shrubs such as gardenias (Gardenia augusta ‘Florida’), licorice plant (Helichrysum petiolare) and the flowering perennial sage (Salvia ‘Mystic Spires’) together with Miscanthus sinensis ‘Adagio’ grass. The driveway in Endicott ‘Filetti’ stone paving from Eco Outdoor complements the garage’s zinc standing-seam cladding in Graphite by elZinc.
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his striking anomaly of a standalone terrace in Sydney’s inner west – its neighbours never eventuated or were razed long ago – prompted a beguiling garden just as unique. In this, Adam McDonald, of Impressions Landscape Design, has delivered in spades, creating layered variety and seasonal shifts that surprise at every turn. When he encountered the property in 2018, it was a building site, with the grand 19th-century dame enjoying a dramatic makeover after decades of neglect. Benson McCormack Architecture was restoring the front to its former glory while adding a cutting-edge extension on the rear. Adam’s task was to subtly straddle the two styles by creating a garden that honoured the old while embracing the modern. “I was asked to talk to the architecture,” he says. “With walls of glass at the rear looking out to the garden, inside and out also had to become one.” It also needed stand apart from the more
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conventional gardens in the area. “Owners Jabbour and Rachel wanted something more in the Melbourne style, using tonal greenery mixed with perennials for a layered effect.” “We wanted something that changed with the seasons, robust, organic and even a little wild, informal and not too manicured,” says Jabbour. The rear had to function as an entertaining area and a recreational space for five active children so the couple requested lawn. “For that layering, the perimeter beds needed width,” says Adam. “It was a constant trade-off between lawn and garden to produce beds deep enough for me to play with the plantings.” Adam revived the sandstone on the front porch, and then ran sandstone steppers through the garden to complement it. A cobbled driveway, like finger tiles loosely laid in a brick-like pattern, provides texture and leads to a charcoal zinc-clad garage. The rear of the house “with its modern industrial vibe” is strikingly different from the front, with its off-form concrete walls,
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With a handsome freestanding terrace as its starting point, this unique garden was destined to stand out from the pack. Words CHRIS PE ARSON Photography NICHOL A S WAT T
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This page The pool hedge, in the fast-growing decorative conifer Podocarpus henkelii, provides a striking contrast to the flowing fronds of mat rush (Lomandra longifolia ‘Tanika’). In the pot, a San Pedro cactus (Echinopsis pachanoi) is underplanted with the cascading foliage of creeping thyme (Thymus serpyllum). Opposite page, clockwise from top left The street frontage is dominated by Betula pendula ‘Moss White’ silver birches underplanted with clipped shrubs, such as gardenias (Gardenia augusta ‘Florida’) and flowering perennials Plectranthus ‘Mona Lavender’ and sage (Salvia ‘Mystic Spires’). Masonry piers and fencing use traditional architectural mouldings, while crushed quartz pebble aggregate adorns a second driveway to the left of the house. In the back garden, a grove of silver birches is underplanted with a small crepe myrtle (Lagerstroemia ‘Natchez’) as an accent tree, ‘Dense Fence’ viburnum (Viburnum odoratissimum) as hedging, Boston ivy (Parthenocissus tricuspidata ‘Veitchii’), sage (Salvia ‘Mystic Spires’) and topiarised licorice plant (Helichrysum petiolare). A sparrow-pecked sandstone blade wall provides informal seating. On a silvered spotted-gum deck beside the pool, a Dedon Rilly ‘Cocoon’ lounger chair and Rilly footstool from Cosh Living.
“With walls of glass at the rear looking out to the garden, inside and out also had to become one.”
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crisp lines and generous glazing complemented by slick burnished concrete pavers in an outdoor dining area, while chamfered steps lead down to hardwood decking beside a moody, dark-tiled pool. An expanse of lawn abutting the pool is flanked by free-form concrete steppers in “obscure angular shapes” to loosen up the garden, while three sandstone blade walls provide impromptu seating. They are echoed by another higher sandstone wall, the stones again laid in a random pattern, which encloses a courtyard. “We have played with geometry, using simple materials to explore shape, form and texture,” says Adam. “And the muted tones in the buff sandstone and the grey concrete play off and complement the architecture without going over the top.” He has connected front and back by using similar plantings, but with a looser, less clipped look at the rear. “I have used minimal plants in the front. While similar to the back, they have been edited to keep the area simple and refined. The two parts of the garden feel united because of the uniform palette.” Grouped white moss birch trees appear front and back, because they are “architectural, tall and not too wide”. These are underplanted with clipped helichrysum and gardenias, which create a more formal look – a nod to the prim Victorian architecture – while dwarf perennial grasses (Miscanthus sinensis ‘Adagio’) loosen things up, lending texture and movement when shimmied by the breeze. Salvia ‘Mystic Spires”, sedum ‘Autumn Joy’ and lilium ‘Forza Red’, embracing the blue-to-red spectrum, provide perennial colour, “verticality and a woodland vibe”. As well as the lawn, ground
cover such as kidney weed (Dichondra repens) and baby’s tears (Soleirolia soleirolii) gives these outdoor rooms a dense carpet underfoot. Behind the pool, Adam has planted a lime-green screen of yellowwood (Podocarpus henkelii) while crepe myrtles (Lagerstroemia ‘Natchez’) provide a shady canopy above the lawn and the three sandstone benches. Instead of hedging, trees such as the grouped crepe myrtles, pencil pines (Cupressus sempervirens ‘Glauca’) and yellowwood, all fast-growing, preserve privacy. “I used variety to avoid the screening becoming one-dimensional,” he says. Meanwhile, the aspect beyond the office boasts a solo Japanese maple and concrete steppers planted out with white star creeper (Pratia pedunculata) ground cover. Framed by a wall of Vitrocsa windows, “it’s like an artwork”, says Adam, especially with the backdrop of a hand-chiselled sandstone wall. While the garden is largely tonal and textured, because of the deciduous trees and perennials, it’s always in a captivating state of transition. “White crepe myrtles flower in summer and the sedum produces pink-to-copper flowers in autumn, when the perennial grasses are also in flower, so there’s an evolution throughout the year,” he says. “I love the way the garden changes with the seasons,” says Jabbour. “We start each morning sipping coffee on one of the sandstone benches, so we are part of the landscape throughout the day – and the year. Adam really nailed our brief for something refreshingly different.” impressionslandscape.com.au
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This page, clockwise from top left A sandstone bench seat, with the flowering perennial giant hyssop (Agastache ‘Blue Fortune’) behind, sits together with pencil pines (Cupressus glauca), while kidney weed (Dichondra repens) provides ground cover. A grove of silver birches (Betula pendula ‘Moss White’) overlooks the rear lawn, while crepe myrtle (Lagerstroemia ‘Natchez’) forms a small accent tree underplanted with ‘Dense Fence’ viburnum (Viburnum odoratissimum) hedging, gardenias (Gardenia augusta ‘Florida’), giant hyssop (Agastache ‘Blue Fortune’), sage (Salvia ‘Mystic Spires’), topiarised licorice plant (Helichrysum petiolare) and miscanthus grass (Miscanthus ‘Adagio’). Patio in burnished concrete. Steel-beam pergola painted in Dulux ‘Flat Black’. Burnished concrete paving, steps and steppers, together with a sparrow-pecked sandstone bench seat, bring sculptural shapes and texture to the rear garden. A crepe myrtle (Lagerstroemia ‘Natchez’) and a pencil pine (Cupressus sempervirens ‘Glauca’) serve as accent trees, while Boston ivy (Parthenocissus tricuspidata ‘Veitchii’) softens the sandstone wall on the boundary. These are underplanted with bushes such as Indian hawthorn (Rhaphiolepis indica ‘Oriental Pearl’) and common thyme (Thymus vulgaris), together with flowering perennials Sedum ‘Autumn Joy’ and giant hyssop (Agastache ‘Blue Fortune’), mat rush (Lomandra longifolia ‘Tanika’) and kidney weed (Dichondra repens) as ground cover. A Japanese maple (Acer palmatum) glows in the internal courtyard to the right.
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BUYERS’ MARKET
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Prices shown are based on the average size in basic fabrics, finishes and standard operation. In this case, a 1510 x 1810 sized blind.
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 GREAT DANE For over 50 years Møller’s craftspeople have skilfully woven each papercord seat and bench with a single piece of cord. Exclusive to Great Dane, the ‘#63’ bench is perfect at the end of the bed, in the hallway or as a centrepiece in the lounge room. RRP $2750. greatdanefurniture. com 2 ARMAC MARTIN Crafted in Birmingham by artisans, the Digbeth collection of handles and pulls features hand-finished linear ridged details, yielding a distinctive look and feel just made for modern luxury living. RRP $606 (160mm shown). armacmartin.co.uk 3 ILVE Whether you want to steam, bake or microwave, Ilve’s latest three-in-one oven does it all with electronic controls allowing an array of functions for perfect cooking every time. ilve.com.au 4 LUXAFLEX Luxaflex® Pirouette® Shadings put light control at your fingertips with softly contoured, three-dimensional fabric vanes filtering sunlight and providing privacy to your home. Visit your local showroom for more information. RRP $2625.. luxaflex.com.au 5 PGH BRICKS Comfort comes in many forms: warm in winter, cool in summer and reduced energy costs for the life of your home, choose Bradford Insulation and experience for total home comfort. pghbricks.com.au 6 IITTALA The Teema collection showcases multifunctional, high-quality and timeless pieces that last for generations. The iconic ‘Teema’ 300ml mug now comes in charming Vintage Blue. The translucent feel of the shade makes it especially inviting. Mix the blue with white and brown pieces to create a new look. RRP $24.95. iittala.com.au 7 HARVEY NORMAN Boasting 79L worth of space in main multi-function ovens, glide-out separate grill and warming drawer, the Falcon ‘Elise 110’ cooker will add European flair to every kitchen. harveynorman.com.au 8 VOLA Designed by Arne Jacobsen in 1968, the Vola ‘HV1’ one-handle mixer features a fixed spout with a water-saving aerator and comes in an array of colours and finishes. RRP $1424. vola.com 9 CONTENTS ID The ‘Cos’ bar in Ebony is one of the most advanced bar cabinets on the market. It has the perfect mix of function and style that will help you channel your inner mixologist. RRP $6095. contentsid.com.au
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AM 20088/22 Murdie Nampijinpa Morris Malikijarra Jukurrpa (Two Dogs Dreaming) 2013 Acrylic on Belgian linen 91 x 182cm www.homestolove.com.au/directory
THE OFFICE
Moon phase Creating a bespoke workspace saw a chance to explore other creative passions for a jewellery designer and a tailor whose atelier now doubles as a design gallery. Photography JEM CRESSWELL
JEANNE KANG OF JEANNE KANG FINE JEWELLERY AND JOE HA OF THE FINERY COMPANY IN JOE’S WORKSPACE WITH AN ARTWORK BY SHANE BOWDEN.
HOW DID THE CONCEPT FOR FINEWORKS PADDINGTON COME ABOUT?
INITIALLY APPEALED ABOUT YOUR SPACE? The balcony and windows
Joe Ha, bespoke tailor and founder of The Finery Company: My wife Jeanne and I stumbled on this beautiful corner terrace in Sydney’s Paddington in late 2019 and fell in love with it. We renovated the building and moved our businesses, The Finery Company and Jeanne Kang Fine Jewellery, into the premises. We built the ground-level concept showroom for multiple functions such as small events and exhibitions as well as lifestyle retail. It is all about unique and beautiful art and design we both adore and are passionate about: mid-century furniture, jewellery, decorative art, vintage watches, fine teas, bonsai, pottery, et cetera. We have now rebranded as Fineworks Paddington. HOW WOULD YOU DESCRIBE YOUR WORK SPACE? We work in separate spaces upstairs when not in the showroom. It is nice and quiet above street level, and a balcony and windows look out to the beautiful Paddington and Elizabeth Street crossing. Downstairs we host vintage watch and tea events, and are planning furniture exhibitions. We want to be able to move things around easily and convert one set-up into another. Without all the pieces it’s like a blank canvas. WHAT
with street views. We raised the ceiling and changed the wall finish to create a unique, beautiful environment. HOW WOULD YOU DESCRIBE THE COMPLETED SPACE? It creates a private ambience and offers interest. I am especially fond of the Kim Woochang moon jar as it seems to complete the look. WHAT IS UNIQUE ABOUT THE SPACE? We do consultations, fittings and designing of clothes here so it is very functional yet aesthetically pleasing. WHAT ARE YOUR WORKSPACE ESSENTIALS? A perfect desk-to-chair relationship in terms of size, shape and aesthetic harmony. WHO HAVE BEEN YOUR CREATIVE INFLUENCES? Many of the people who designed the pieces in our showroom, particularly Charles Rennie Mackintosh. WHAT PROJECTS ARE YOU LOOKING FORWARD TO? A bonsai event and an exhibition of moon jars. We work with the artist in terms of the style, sizes, colours and number of moon jars, then curate the space around them. It’s exciting for us because we’re sharing our passion and as we already have established businesses we are able to run this more casually and creatively. thefinerycompany. com.au; jeannekang.com; fineworkspaddington.com.au
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