This month’s room of the week is the upper landing and hall of John B Murray’s Hudson Residence. This hall has an inherently subtle nature, relying on natural materials and views to the garden to enliven and decorate the space. The dappled light cast in shadows upon the floor describes the passing of the day, and in a more historical sense, the passage of time is conveyed by the aged timber furnishings within.
This April 1st at the Hotel Delany in Cooks Hill, Newcastle I will be doing a design talk to the public, [re]presenting my Final Year project. I will be followed by a bound to be revealing talk by EJE of Newcastle, who collaborated with Lyons Architects to design the winning entry for the proposed Newcastle City University campus. It should be a great night, so feel free to come along!
This month I have the pleasure of exploring the many and varied effects of Le Corbusier’s Ombre Naturelle. It is an immense, deep grey with warm undertones.
Ombre Naturelle embodies several characters, and is therefore an amazingly flexible colour choice. By it’s nature, it exudes opulence, and in formal living areas will provide a fabulous sense of old world sophistication. Along side crisp whites, neat geometric forms and modernist fittings it shifts to exuding confident masculinity. Yet up against rustic elements it begins to look more natural, evoking memories of Scandinavian woodlands, at once wild, cosy and crisp.
Hello world! I thought I had better write a post to introduce myself, and welcome you to my blog and website.
I’m really thrilled to finally get this going – properly. Architecture and Interiors are my two greatest passions, and luckily for me, they are also my job! I am a Masters of Architecture graduate from Newcastle, on the NSW coast of Australia. It’s a beautiful place to live, an even better place to study, and somewhere that is interestingly on the cusp of opportunity. The city is changing, and yet its industrial past heavily informs its character within the Australian context. For this reason, I think it’s a fabulous place to be a designer; people are aware of the values of this side of culture, excited to welcome intelligent thought and creation into the city, and happy that they [finally] have access to some of the best design talent, which might have previously been kept for Newcastle’s more dominant and powerful brother (sister?) of the South.
This month’s room is a dining and lounge in a meticulously renovated Chicago apartment building, interior designed by Michael S Smith, with interior architecture by Marvin Herman. With a portfolio of wonderfully elegant and warm interiors, Michael’s work incites a sense of restful calm and clarity, whilst also ensuring each space distinct character and originality.
I have been struggling to make the decision as to which house I’d like to feature as the inaugural post of the House of the Month series. This is largely because I simply cannot narrow my many loved pieces of contemporary residential architecture to the point of one single favourite! It is rare, in fact, that I could name my favourite contemporary architecture firm at any moment in time, for I know that just around the corner – or just behind me – might be creeping some amazing until-this-point undiscovered design classic. But alas, we must start somewhere, and although I wanted to save an Owen & Vokes & Peters feature until later in the series, I just can’t get them out of my mind. So here we go!
I am so excited to begin the Colour of the Month series! For the first few editions (at least) I’m going to go with colours from Le Corbusier’s Polychromie architectural, purely because it contains the most fabulous and reliably delicious range of colours. All were deveolped by Le Corbusier in the mid twentieth century after [30!] years of testing and careful consideration. I have very closely translated these colours into actual paint colours by Resene so that you can lather your walls with confidence.
Le Corbusier designed a set of paint colours in 1931 and again in 1959 for Swiss paint company Salubra, which he called his Claviers de Couleurs (Colour Keyboards). The paint swatch palettes incorporated a systematic means of co-ordinating matching colours via moveable pockets and windows. This meant a fool-proof method for creating lovely colour chemes for even the least design savvy client.
The colours themselves are beautiful and unique.
Click on the image below to have a look at an online version of the Colour Keyboards.