2017 was a big year for us, but I am pretty sure 2018 will be bigger…
This month, as with any, I am working on several projects that intend to effortlessly relate interior and exterior space in a fashion that reflect my clients’ ideas, tastes, and intentions, whilst embodying the best of architectural design principles. These three factors of a strong inside/outside interconnection, a client-centric design process, and the intention to achieve the highest possible architectural standard seem such obvious, common elements of the architectural process that it’s quite hard to imagine that they aren’t always, and haven’t always been at play together in the design of residential architecture.
This month I’m going outside the box and looking at a beautiful house designed by Brillhart Architecture, who are based in Florida in the US. Normally, I like to narrow my focus to Australian and New Zealand architecture but I could not go past this lovely little prototype-type house that is deliciously pared back, vernacular inspired, and perfectly suited to its site and context. It inspires very positive things in me regarding the state of architecture in the world.
There is something quite strange about this house, it seems almost foreign, as though it might have once belonged in northern Europe and somehow floated into NZ, plot of land and all. Perhaps that is part of the reason that I like this house. It has no particularly stunning outlook or rugged landscape to contend with, but instead creates its own quiet, internalised vistas, and does so in a very neat and refined manner.
This month’s House of the Month is a conceptually well rounded alteration and addition that results in a neatly arranged conglomeration of well thought-out, readily communicating interior and exterior spaces. The appeal of this project lies in the clarity and focus of the planning, which places great emphasis on enhancing site lines and creating multiple indoor and outdoor rooms that act as new vistas seen from various vantage points throughout the house.
May and June this year is a bit of a[n exciting] switch up… Instead of my usual life and the usual monthly posts, I travelled through Europe and will be posting about my time spent exploring Istanbul, Greece, and France.
The beginning was Istanbul; seriously one of the most wonderful cities in the world. This is a place that architecture, food, and textiles reign supreme – in effect, it is exactly my kind of place!
I’ve been eyeing off the work of Herbst Architects for a few months now, so my only real issue today was in choosing which house to feature… Sometimes I feel as though I should be writing about the most recent, hot off the press architecture from around Australia and New Zealand, and then sometimes I find myself returning over and over to certain buildings, and that sometimes these buildings just aren’t brand spanking new. I don’t think that this really is a problem, I mean, good architecture should be some of the most lasting of all human creation, so surely a few years here or there doesn’t matter, right?
I’ve always enjoyed the work of Christopher Polly Architect. His practice is so aptly skilled at happily integrating the old and new, comfortably siting crisp black steel and white cladding up against old bricks and stone, and seamlessly refining exterior form to sit comfortably within its neighbouring architectural context.
This month a very calming and demure interior resultant of another successful collaboration between Robson Rak Architects and interior design firm Made by Cohen. Elwood House is a soothing retreat that draws upon classic interior elements and combines them with a light, contemporary touch to create spaces that feel warm and weightless.
I’ve come across Wolveridge Architects quite a bit recently, and am almost consistently found to be entirely won-over by their elegantly restrained forms and wonderful materials palette. Indeed, I have to say that it’s quite rare that I find myself drawn to a piece of contemporary architecture as a result of a distinct sense of warmth emanating from within (seems, in some ways, a bit of an oxymoron; contemporary and warmth..), but it is true of the works of Wolveridge Architects, and especially so in the case of their Eltham South house.
I got a bit excited when I saw this lovely little Paddington house by Adrian Amore Architects – for two reasons. Firstly, I have just realised that of all the focus I put on wonderful, contemporary, Australian Architecture, I have not yet featured a house from my home state of NSW – travesty! And then I noticed that AAArchitects are based in Melbourne; their Paddington house simply being a tasty diversion from their usual Melbourne-centric architectural works… I guess the NSW feature will have to come later!
I love this house. The materiality really gets me. And the light. I’m such a sucker for a warm, sunny little space, I can’t help it, it just appeals so naturally to my inner sun lizard. This house, however, has more than mere sunlight. It has a lot. The planning is careful and yet generous, no-where attempting to squeeze in too much, yet never forgetting anything. Within its little footprint, the house offers a genuine sense of space, openness, and repose.
This month, I’m back to sunny Brisbane, probably because the cold has now thoroughly set in here in NSW and with winter being my least favourite time of year (save for the novelty of dressing in lovely big coats), I feel an innate need to plant my mind somewhere characteristically warm and bright.
Indeed, this is another contemporary Queenslander; a space which bounces between inside and out, constantly eroding the edge between both, so that at any moment the architecture might slip into the guise of landscape and vice versa. This is such a clever approach to contemporary living for many reasons, but the most pragmattic (and as it happens, environmentally sustainable) is that it genuinely negates the relevance of sprawling square meterage, allowing for a smaller overall footprint, therefore inciting lower quantities of construction materials and a lessened overall environmental impact. It also leaves more room for grass, trees, and fresh air – what’s not to like?!
In 1965, Bunny and Paul Mellon built and decorated this incredible slice of French paradise designed by architect H. Page Cross in the heart of New York. The pair had a formidable sense of style and grace, owning several stunning estates, all of whom continue to exude the most enviable sense of warm and comfortable sophistication. The interiors of their Manhattan townhouse are the result of serious collaboration between several heavy weight designers, including [but not limited to] Paul Leonard, William Strom, John Fowler, Bruce Budd, and Bunny herself. The house is not only architecturally wonderful, but full of the character that years of collected art and furniture bring to a space. It really is a sight to be seen, and when I stumbled across the house via Architectural Digest and Sotherby’s real estate (up for sale for the at once ludicrous and yet absolutely deserved and dignified $43M) I fell into the world of late 20C New York interior design, and to be honest I would rather never retreat… Ahh, if only!
Only recently did I discover Auhaus, a small Australian architecture firm with a focus on finely crafted detail and a meticulous approach to materiality. In fact, they are so fussed about the details that they seem to be gradually developing their own range of interior elements; including lighting and door hardware. This practice’s interior spaces are so thoroughly thought through, and this is what fascinates me so about them.
Not that long ago I came across Studio John Irving Architect and was immediately impressed by their understated, yet somehow supremely confident design sensibilities. Waiheke Beach House is a great example of this – at once spacious, engaging, and subtle. Nothing about this space is boastful or showy, and yet I can’t help but feel jealous of the lucky people who get to call it theirs!
Each year The Australian Interior Design Awards “recognise and celebrate interior design excellence via a credible, industry-based program, which is backed by the Design Institute of Australia, the professional body representing Australian designers”. The awards are open to any design professional within Australia and can include projects from all over the world.
I’ve always appreciated the architecture of James Russell for their attention to detail and infinitely fine craftsmanship, as well as for their oft ingenious approach to the contemporary way of living. With an underlying focus on genuinely considering what one does and doesn’t really need from a Queenslander, the firm produce some wonderful examples of the contemporary verandah houses – those which Glenn Murcutt opened the world to back in the early days of world-class Australian Architecture. “A shelter can be as simple as a roof to shield the summer sun or a wall to protect from winter winds. The experiences derived from a building which allows you to interact with the environment, outweigh the occasional discomforts that may occur by not having “complete control” of the environment.” Of course, in designing houses which are at once inside and out, threshold spaces begin to take on a crucial role, and this is where James Russell Architect consistently prove themselves to be considerate, aware, and highly diligent designers.
This Thursday I will be doing a brief talk at The Architecture Foundation’s Annual Sponsor Event. The Architecture Foundation run the Parker Fellowship (previously the Eric Parker Travelling Scholarship, as it was known when I received the prize) and year after year go to the huge and wonderful effort of funding a travelling scholarship for one Newcastle University architecture student who shows great potential, interest and dedication. This award is about seeing, thinking and drawing, and literally changes lives. It is the most beautiful initiative, created in memory of Eric Parker, once a great influence in the Architecture Faculty of Newcastle University.
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!
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.
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!
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.