Alternating cubes of timber and glass cover the back of this Sydney house extension by Australian office Panovscott, offering a balance of light, shade, views and privacy.
Three by Two house was designed by Panovscott for a couple with two young children, who wanted to transform their dark semi-detached Victorian house in an inner-Sydney suburb.
“Their second child was due shortly when they approached us, so they wanted light, air, a place for the family to commune, and they wanted a great building,” architect Andrew Scott told Dezeen.
The two-storey extension gives them a new kitchen on the ground floor, which opens on to the garden. Above, a bedroom and en-suite for the parents is set back slightly from the back wall to create a six-metre-tall double-height space at the rear.
“By pulling the bedroom back, the kitchen-diner below opens up to the light at the edge of the house,” said Scott. “The void also allows the parents to be part of the life of the house when they are in the bedroom, while still giving them privacy. In a constrained fiscal and spatial environment, sometimes an exuberant gesture is crucial.”
The western red cedar and glass sections on the rear facade act like blinkers, framing views of treetops while shielding the family from being overlooked. On the ground floor, glass doors and a timber panel fold back to open the house up to the garden.
Inside, a wall of the kitchen-diner has been covered with floor-to-ceiling cabinets made from kauri pine – a sustainable locally sourced plywood. For the flooring, a structural concrete slab has been polished to expose the aggregate, and then sealed.
“This room is conceived as a ‘great room’, based on the example of a medieval castle, in which a large space accommodated multiple uses at the centre, and more specific spatially constrained opportunities at the edge,” said Scott.
The extension offers a bright contrast to the front of the long, narrow house, which is just over four metres wide and attracts scant light throughout the day.
A long corridor leads from this existing part of the house to the extension at the back. The entrance to the new space is tilted, intended to offer a glimpse of the light on approach but saving the full impact of the large space as a surprise.
An indentation where the extension meets the existing house also allows for a small courtyard, which ensures light comes deeper into the narrow space.
Photography is by Brett Boardman.
Here is some more text from Panovscott:
Three by Two House, Sydney, Australia
This project is the renovation of a house, one of two semi-detached single storey dwellings located in Sydney’s densely inhabited inner west. Broadly speaking it is about the making of a new whole by retention of one half of a structure and reconfiguration of the other.
The environ is an increasingly gentrified subdivision originating around 1880 and characterised by predominantly narrow east-west orientated housing parcels fronting a large public park.
Approach to the house remains via the formal front garden up three generous steps and on to a narrow porch below a low curved corrugated roof. Within, the front rooms have been retained with minimal intervention allowing the continued manner of dwelling.
A long hall leads past two bedrooms. The high ceilings, small windows and wonderfully lean vertical timber construction establish the character typical of a Sydney terrace. Cool in both summer and winter and dark even on the brightest of days, these spaces offer the initial experience of homecoming and become a counterpoint for the character of the rear addition.
At the end of the existing hall a small opening twists to the sky bringing gentle light though the upper level and into the centre of the long plan. The light washes down a 45-degree splayed plywood panel. Visible from the dark front rooms and immediately upon entry, it announces the differing quality of the spaces ahead. Moving towards this quiet light, the thin sliver of a brighter room beyond gradually widens with the shifting perspective. Shunted off the previous axial alignment, and past a discreet bathroom, the great communal room of the house is revealed. Light filled, this is a combined kitchen and dining space of slightly smaller area than the lean-to it replaces. Here the elegant vertical proportions and lean timber construction techniques of the front part of the house are reinterpreted.
Continuing the homecoming journey the room increases to six metres in height reaching upwards at its far end. The number and size of windows also increase gradually to this point allowing the internal space to expand horizontally as well as vertically and for the light levels to approach that of the external environment. Turning 180 degrees and up a narrow stair concealed behind a ply lined wall, the level above contains a master bedroom and en-suite, with a tiny window looking back across the roof to the park. This moment completes the journey within to the most private realm of the house.
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Australian firm Henry Wilson Studio has transformed a former Sydney bakery into a retail space for skincare brand Aesop, exposing the original sandstone walls (+ slideshow).
Henry Wilson Studio removed the space’s former fit out, revealing the stone walls, fireplaces and previously hidden doorways.
Designer Henry Wilson told Dezeen the brief was quite open, and they tried to retain and expose as much of the existing building as possible in an attempt to reference the history of the area and of the building.
“My self-assigned brief and discussions with founder Dennis Paphitis were about reworking ‘off the shelf’ components [that are] Australian-made wherever possible,” Wilson explained.
“Before Aesop took over the space it was a bakery,” he added. “Prior to that, locals in the area tell me that it was once one of Balmain’s first pubs and even a brothel at some point.”
The designers chose a pale colour palette for the interior to compliment the yellow of the original sandstone walls and make the most of the natural light that floods in from the street front and rear windows.
“The stone walls are typical for buildings of the area, and of that era,” said Wilson. “Sydney sandstone is unique in its yellow colour and grey veins. It’s soft and easy to work and the evidence of the primitive tools and unskilled labour can be seen in all the original blockwork.”
A series of industrial metal shelving units have been added to display Aesop’s products and line one wall of the store. Smaller versions are used elsewhere, with some of the shelves replaced by sheets of bottle green glass.
A row of sinks and mirrors are set against the opposite wall, along with the cash register which is also fixed on top of a newer slab of locally-sourced sandstone.
Hanging plant baskets, cane furniture and exposed copper pipes also feature in the interior.
Here’s a project description from Henry Wilson Studio:
Aesop Balmain
The concept for the design of the Balmain Aesop store came from an understanding of the suburb, the existing materials and the context of the address. The aim was to present a space that was as familiar and utilitarian as the backyard shed, with a contrast that is the sophistication of the Aesop product and brand.
The history of Balmain and the neighbouring Cockatoo island is one of work, grit and industry. Much of this has moved on now, though, the legacy still resides in the buildings and foreshore.
The design of the Aesop store draws from these materials, colours and shapes. Removing the former fit out revealed raw sandstone walls, fireplaces and hidden doorways which have been retained and exposed as reference to this building history and place.
Detailing of the Balmain store centred around durability both visually and physically.’Off the shelf’ industrial components presented in an alternative way than that of their original purpose, provide solutions for interior fittings such as shelving and sink frames.
This ‘reworking’ extends to the vintage furniture and customised lighting. Tinted concrete terrazzo references the foyers of apartment buildings built in Sydney in the middle of the century. Pale Australian timbers and a light colour pallet has been chosen to emphasise the natural light from both directions.
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Australian architecture office Iredale Pedersen Hook has renovated a 1930s property in Perth and added an angular rear extension that contrasts with the traditional street-facing facade (+ slideshow).
Architects Adrian Iredale and Caroline Di Costa of Iredale Pedersen Hook own the house and have been gradually conducting renovations over the past four years to adapt it to the changing needs of their young family.
Mindful of preserving the property’s historic aesthetic while updating its functionality, the architects retained the front facade and based the faceted shape of the extension on the multiple sloping surfaces of the original roof.
“Folding forms developed from the existing roof achieve a reinterpretation of the surrounding streetscape and roofscape, binding old and new [as well as] historic and contemporary,” said the architects. “A Jekyll and Hyde quality, the street appearance remains almost untouched; a silent figure, a backdrop, the rear is the extrovert, complex and challenging.”
When viewed from the adjacent street, the house appears to retain the appearance of the Queen Anne Federation-style properties typical in the city’s Vincent district, which feature details reminiscent of the Baroque style of architecture that gained popularity in England during the early eighteenth century.
A key feature of this style is a sheltered verandah next to the entrance, which was popular with the Italian and Greek immigrants who moved to the neighbourhood following the First World War. The architects reintroduced this element to the building to enhance the connection between the house, the garden and the street.
The faceted extension extends upwards and outwards from the existing sloping roof at the rear of the property, which prevents it from being seen from the street.
Folding doors on the ground floor can be pulled back to connect the dining room and kitchen with a terrace that projects into the garden.
Above the terrace, the upper storey leans forward to shield the interior from the low summer sun and to make the most of views across the surrounding rooftops.
The facade of the extension is covered with fabric panels, which allow light to permeate and display shadows from the branches of nearby trees. Some of the panels at eye level can be opened to provide views of the horizon.
A cooling system that drips water down the fabric panels to chill hot air before it reaches the interior was based on the principle of the Coolgardie Safe – a traditional refrigeration technique employed by Western Australian miners to cool food.
The angular interior of the study and living room on the upper floor is entirely clad in plywood panels. The sloping back wall replaces the tiles of the original roof and provides a surface that Iredale and Di Costa’s two-year-old daughter uses as a slide.
As well as the roofline, the architects retained features including the chimney, which has been converted into a water collector, and a 1950s sliding door with an amber glass panel at the top of the stairs.
A multipurpose pavilion constructed in the garden features a pyramidal polycarbonate roof, culminating in a transparent panel that allows daylight to reach the interior and provides views of the sky.
Here’s a project description from Iredale Pedersen Hook:
CASA31_4 Room House
Conceptual Framework
CASA31_4 Room House re-interprets the role of memory, tradition and social and cultural value in a rich spatial experience that is simultaneous familiar yet unfamiliar. Our architecture preserves and reinterprets the past. History is layered but never erased. Fragments of the past continually remind us that we are only another layer in the rich and unfolding history of this place.
All spaces contain elements of the past, often manifest as objects of intrigue, the sloping floor (the former roof), the barge scrolls on the front fence, the roof tiles creating a musical score along the boundary, the chimney as water collector and the up-cycling of former building elements as decks, gates, architraves and furniture.
A front deck engages with the street, re-introducing the role and value of the front garden as social setting and meeting place, a past tradition by the immigrant Italians and Greeks that has almost disappeared in societies obsession with privacy and security.
Over the last 3 years we have explored our 1936 Queen Anne Mount Hawthorn Federation house scraping, layering, and peeling with 4 primary spatial ideas; the room to the interior, the room to the garden, the room to the horizon, the room to the sky.
The room to the interior explores what existed, years of layering, the art of construction, knowing what to keep, what to reveal and what to remove, knowledge gained from 13 years indulging in the past. Rooms become the embodiment of a city, a microcosm of the qualities that make a great city. The room to the garden focuses attention to the exterior at ground level, it is purposely heavy and grounded engaging with the earth, the section expands to the exterior, a series of folding screens layer the engagement.
A space of deep sensory delight, an architectural palette cleanser, transitions the ground and upper level, the eyes and nose are overpowered by the burnt and waxed plywood walls and the amber light cast by Nan’s 1950’s sliding door.
The room to the horizon filters the suburban roof tops, the screen abstracts the exterior world, the interior is one folded space formed through a play on the one point perspective that intensifies the horizon. Openable screens create a direct view framing the horizon, releasing the interior volume. The space is cooled with an interpretation of the old Coolgardie safe, water is dripped down the fabric cooling the outside air. The newly restored, 1956 Iwan Iwanoff Guthrie residence cabinet finds a new home after 15 years of storage in numerous architect’s garages. The roughly painted ‘I love Linda’ remains on the chimney, a rear window frames the distant Saint Mary’s Church.
The room to the sky creates a vertical spatial experience, a halo of love poems embraces us (former wedding installation) and at night a cross of light abstracted by polycarbonate awakens but unlike St Mary’s Church our little spire opens up to the heavens.
Contribution to lives of inhabitants
After 4 years of renovating it is now time to enjoy the richness and intensity of experience that this renovation has created. Every day is a different experience, one that is tender, unexpected, personal and embedded with history. The design enables our children and us to grow and evolve in a sequence of spaces that encourage engagement with each other and the dwelling and offers new ways of understanding and exploring family relationships and an understanding of space. Our house is simultaneous a memorial, playground, place of celebration, stage set, place of community interaction and most importantly ‘home’.
Program Resolution
The design exploits all areas of the site with an inherent flexibility for not only day to day use but the long term capacity to adapt to evolving and changing requirements as the family grows and ages.
It re-engages with the street and community allowing our children to play in safe environment connected to the street and house. Spaces are specific and flexible, while offering sufficient capacity for personal interpretation and use.
This project includes both a macro and micro approach to sustainability. It also extends the meaning of sustainability beyond environmental to include contextual, social, cultural and economic concerns.
This house will be a case example for the City of Vincent demonstrating the importance of preserving the 1935 Queen Anne Federation home with the capacity to embrace contemporary expectations of living, without comprising the street context or privacy of adjoining properties. The neighbouring house completes the street sequence of ‘twins’ and twins should never be separated.
The removal of material from site is minimised, an attitude of ‘upgrading’ ensures that materials once concealed for structural purposes are now used for furniture, decks, doorframes and architraves.
The upper and lower level spaces are protected from the low, intense summer sun with timber framed fixed and operable screens, the upper level is cooled with a manually operated reticulation system that drip feeds water on to the fabric, hot moving air is rapidly chilled, this is Perth’s largest ‘Coolgardie Safe’, a 19th century low-tech refrigeration system used by the Coolgardie WA gold miners to cool edible goods. Windows are strategically located to maximise cross ventilation or for winter heat gain (north facing highlight window with a deep reveal for shading).
All interior spaces preserve elements of the past, history is layered but never erased. Low energy light fittings, recycled light fittings, low water use and storage, pv cells and solar hot water systems all form part of the sustainable equation but is the focus.
Economy is achieved through re-cycling, restoring, re-interpreting building materials and historic traditions and minimising waste. This project represents a holistic approach to design and dwelling, where memories are preserved, carbon footprint minimised and the concerns of the broader community celebrated.
Folding forms developed from the existing roof achieve a re-interpretation of the surrounding streetscape and roof-scape, binding old and new/ historic and contemporary. A Jekyll and Hyde quality, the street appearance remains almost untouched, a silent figure, a backdrop, the rear is the extrovert, complex and challenging.
A front deck engages with the street, re-introducing the value of the front garden as social setting, a past tradition by the immigrant Italians and Greeks. A mosaic tiled seat offers a place to rest for neighbours. All exterior spaces contain elements of the past, often manifest as objects of intrigue.
As architect owners we were keen to maintain an open line of discussion that enabled details to be developed and refined as the project evolved. This often involved the capacity to re-use building waste. Our structural engineer and builder eagerly entered in to this arrangement in particular the role of the builder extended beyond the traditional role.
Architects: Caroline Di Costa Architect and iredale pedersen hook architects Architectural Project Team: Caroline Di Costa, Adrian Iredale, Finn Pedersen, Martyn Hook, Brett Mitchell, Sinan Pirie, Matthew Fletcher. Structural Engineer: Terpkos Engineering Builder: Hugo Homes Completion: December 2013
Reclaimed timber boards and sections of mesh fencing feature in this dimly-lit bar in Sydney by Australian studio Luchetti Krelle (+ slideshow).
Donny’s Bar, located in the northern beachside suburb of Manly, was designed by Sydney studio Luchetti Krelle to resemble a New York loft.
The bar serves a selection of Asian-inspired dishes, so the design team wanted to also incorporate Asian influences into the space to conjure up images of “a back alley in Chinatown”.
“The brief was to create a warm and friendly New York style loft bar which would serve Asian style tapas and dumplings – on a tight budget,” the designers explained. “Avoiding overt Asian theming, we instead opted for a pared-back approach to the design.”
A range of recycled materials were used to transform the stark space into a dark and atmospheric bar with exposed brick walls and concrete flooring throughout.
A polished copper counter forms a centrepiece in the downstairs bar area. Recycled timber boards and paving stones line the base of the counter, with lighting glowing through the spaces in between.
“The rustic quality of the timber contrasts with a shiny copper rectified top and perfectly mitred timber lining boards weaving diagonally across the lower ceiling and walls,” the designers added.
High tables and bar stools are set against the side walls, while worn leather armchairs, low tables and cushioned footstools are arranged next to a spiralling metal staircase.
Dozens of lights encased in small wire cages are suspended from the mesh-covered ceiling of the double-height space, creating a feature above the entrance.
On the mezzanine floor above, exposed brick and wood panels feature on some walls, while another features red Asian-style prints. Fluorescent lighting tubes illuminate the space and are covered by more sections of mesh wire.
Tables and chairs indicate a space for dining and are accompanied with seating booths tucked away in the corners.
Old toilet cisterns were incorporated into the bathroom, while light bulbs are fixed to a network of exposed pipes above the sinks.
Here’s a project description from Luchetti Krelle:
Donny’s & Co Manly
Conjuring up images of a back alley in Chinatown, Donny’s Bar is an unexpected and refreshing change to the coastal suburb of Manly and the bar scene there. The design resolution captures a careful balancing of the rustic versus the refined – where urban meets with an Asian Australian flavour.
The existing space was a stark white plasterboard box with a commercial look and feel. The brief was to create a warm and friendly New York style loft bar which would serve Asian style tapas and dumplings – on a tight budget. Avoiding overt Asian theming, we instead opted for a paired back approach to the design.
Our client is from rural NSW and we certainly played on his roots with the barn like scale and proportions of the space. The mezzanine is set back from the entry, allowing the volume of the space to be fully appreciated upon entry.
The bar front utilises railway sleepers casually bundled together with those adjustable ratchet straps used to tie down a load on a truck. The rustic quality of the timber contrasts with a shiny copper rectified top and perfectly mitred timber lining boards weaving diagonally across the lower ceiling and walls.
Canvas lorry tarps are casually tied off to walls and chain-link fencing stretches across the upper ceiling, screening the acoustic treatment from the eye. Recycled materials play a big role in the palette – from the brickwork painstakingly clad to the walls to the re-birthed old toilet cisterns.
When budgets are tight we need to work harder to innovate within our means and this project is an excellent example of such. More and more these days, we designers are being held to account for superfluous spending and budget overruns. We worked hard to nut out this concept and edit it back to its bare bones. We have been creative and clever in the use of every day materials like the chain-link fencing to become features and by using recycled timber and brick for the majority of the palette.
This design is sustainable – both in our design approach and its potential for longevity as a thriving small bar in Manly.
Sur les terres cultivées de Victoria en Australie, la firme australienne Branch Studio Architects a converti une vieille cabane en maison viable minimaliste et moderne faite de bois. La maison appelée « The Pump House » se situe près d’un lac et possède un intérieur charmant et chaleureux. Une cabane singulière à découvrir.
This zigzagging house in Australia by Iredale Pedersen Hook is raised above the ground on stilts to minimise its impact on the native landscape and wildlife (+ slideshow).
The holiday home was designed by Australian studio Iredale Pedersen Hook for a site near the town of Nannup. Situated between a forest and a flood plain, the area provides a habitat for local fauna including emus, kangaroos and snakes.
The house was given a cranked layout to create different experiences along its length. It was also lifted off the ground to enhance views and reduce disruption to the site.
“This is a holiday house, a place of temporary inhabitation that offers a variety of experiences and relationship to the native landscape,” said the architect. “Spaces are strung in a line, an open-ended line that allows one to enter, exist and then leave and continue.”
The kinked plan optimises different views of the forest on one side and the horizon on the other. It accommodates outdoor living areas, including an enclosed balcony at the rear of the property and a pointed terrace that projects towards the flood plain.
Windows on the angled facades alternate between vertical apertures that make the most of the view towards the nearby trees and longer openings overlooking the plain.
The use of the stilts and their diagonal cross-braces references the fallen trees that are a common feature around the forest edge, while the material palette used for the exterior references its natural setting.
“Materials were carefully selected to dialogue with the context,” the architects explained. “Dark Colorbond steel, rusting steel and recycled jarrah [wood] contributes to the notion of the building as ‘shadow’.”
Long steel grate ramps lead to an entrance at one end of the house and a balcony at the other, continuing past the master bedroom and main living areas to the sheltered terrace.
The main entrance opens into a dark corridor that meanders past bedrooms, a laundry and a study, before reaching the two terraces on either side of the bright, open-plan living and dining room.
The architects said they wanted to enhance the experience of moving between interior and exterior spaces by emulating the experience of “wandering through a forest in and out of darkness and openness.”
Richly textured, dark jarrah wood used on the floor of the corridor contrasts with the bright living spaces, while carefully chosen colours and textures were introduced throughout the interior to evoke the natural surroundings.
Treated plantation pine was used for 90 per cent of the building’s framework and recycled local timber features on the outdoor decks as well as internal flooring and storage.
Photovoltaic panels on the roof supply the home’s power and a solar-powered system heats its water, which includes rainwater captured from the roof.
Here’s a project description from Iredale Pedersen Hook:
Nannup Holiday House
The Nannup Holiday house forms part of a wandering path through the landscape from Perth to Nannup. This path dialogues with the landscape of intense forest, meandering river and rolling hills, each experience is carefully choreographed to enrich the occupancy of the house. A Jeykll and Hyde experience of the landscape is carefully controlled through oscillating vertical (forest) and horizontal (horizon) openings and the contrast of grounded and floating experiences. While the exterior dialogues with the numerous fallen trees, the interior is revealed through a sequence of ‘growth rings’ coded and extruded in relation to the building program.
Program Resolution
This is a holiday house, a place of temporary inhabitation that offers a variety of experiences and relationship to the native landscape. Spaces are strung in a line, an open-ended line that allows one to enter, exist and then leave and continue. The house is part of a broader and longer experience that constitutes the experience of being on ‘holiday’, the travel to and from the site and the experience of visiting local towns and tourist attractions are then contemplated and celebrated in the context of this residence. Spaces are organised to provide a sense of seclusion and retreat, guests view the forest from a distance through vertical windows, the boys view the horizon and rolling hills through shared horizontal openings and the parents almost touch the natural landscape. These areas are collected by a dark, twisting and cranking space clad in recycled jarrah that oscillates between interior and exterior creating a sense of ambiguity and wondering through a forest in and out of darkness and openness. Outlook from this space is carefully controlled to provide detailed relief, openings also align to view through interior to exterior to interior and back to exterior.
Built form context relationship
The building hovers above the native landscape minimising disturbance, it is a shadow to the immense forest, cranking in plan and undulating in section. The plan twists in relationship to program requirements and variety of views. The section undulates in direct dialogue to the backdrop forest enriching the spatial experience with variety and complexity; spatial proportion varies between rooms capturing the verticality of the forest and the horizontality of the horizon.
It sits between the edge of the forest and the edge of the flood plain, the space between fire and flood, a fragile zone of existence. The ground level is dominated by roaming wild pigs (the size of humans), tiger snakes, dugites and other less threatening native fauna including emus and kangaroos. The elevated house with access via the steel grate ramps creates a safe retreat to observe nature.
Materials were carefully selected to dialogue with the context, dark Colorbond steel, rusting steel and recycled Jarrah contributes to the notion of the building as ‘shadow’. This concept continues internally, the main passage being dark and an extension of the exterior (recycled Jarrah) and primary living spaces being lighter and more connected to the exterior (recycled WA Blackbutt). Small fragments of intense colour capture the colours of the forest undergrowth.
Integration of Allied Disciplines
The core building team camped on site during construction; it became an obsession, highly crafted and full of pride. Our structural engineer also travelled regularly to site while visiting his own holiday farm in the vicinity. His knowledge of local conditions and contractors was highly valued. The project enjoyed a high level of respect and collaboration between all teams; this is reflected in the end result.
Sustainability
This project offers a holistic approach to environmental sustainability commencing with design and placement of access paths. The vehicle access path is placed along the site edge an area that requires annual clearing for the firebreak. This enables us to minimise the clearing of land. The materials required to build the access path were quarried from the site (gravel and clean yellow sand). These areas were immediately rehabilitated with plant species already existing on the site.
The house was sited and designed to minimise clearing of bush and removal of trees. The area under the house is then free for re-introducing local species and will be fed by the grey water recycling.
Materials were selected based on a life cycle analysis of embodied energy, Colorbond cladding provides a durable exterior core and inhabited areas include recycled Jarrah and recycled WA Blackbutt. Timber off cuts was re-used for storeroom linings.
The building structure is 90% treated plantation pine and most furniture constructed from hoop pine plantation plywood. The structure was mostly pre-fabricated to minimise building waste.
The long roof form increases the capacity to capture rainwater, this is re-used in the house. Grey Water is recycled for garden watering under the house. Water is heated from a solar hot water system with back up instantaneous gas hot water systems located close to areas of water use to minimise water waste. Water consumption is reduces with rated fixtures and fittings.
Photo Voltaic cells balanced over the year easily cover consumption requirements. Power consumption is minimised through energy efficient equipment, use of LED and Compact Fluorescent globes and feature wall mounted light fittings manufactured from plantation plywood.
Applied coatings are minimised and generally Low Voc or oil.
Architects: Iredale Pedersen Hook architects Architectural Project Team: Adrian Iredale, Finn Pedersen, Martyn Hook, Drew Penhale, Caroline Di Costa, Jason Lenard, Matthew Fletcher Structural Engineer: Terpkos Engineering Builder: Brolga Developments and Construction
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