Concrete classic: South Melbourne House

The Roscommon House, located in a 1960s 'garden suburb' five miles west of Perth, Western Australia, draws significant inspiration from the area's modernist and brutalist architectural heritage. Neil Cownie Architects undertook extensive research into the local modernist buildings, identifying seventy still standing, after witnessing the demolition of a Brutalist concrete shell roof structure and a threat to demolish a beloved concrete kiosk. This spurred the architect to design a home that respects and converses with the local architectural ethos without merely replicating past styles. The suburb's history, characterized by wide blocks and substantial parklands, also influenced the design, particularly in the integration of landscaping. At 5,900 square feet, much of Roscommon House is single-story, occupying a significant portion of its lot. To compensate, the design cleverly incorporates 'pocket' courtyards and roof terrace gardens, blurring the lines between indoor and outdoor spaces. This spatial arrangement is also driven by environmental concerns, designed to maximize winter solar penetration and capture cooling breezes. The exterior features a strong, street-facing facade made from board-formed concrete, with a solar array discreetly tucked on the roof. The custom front door is crafted from textured wood and accented with un-lacquered brass, encouraging a natural patina over time. Inside, the design maintains material consistency, extending the exterior concrete finish into the interiors. This is complemented by timber cabinetry and walls, as well as bespoke lighting and furnishings created by the architectural firm. The master bedroom suite is located upstairs, offering access to a roof terrace, while the main living spaces and other bedrooms are situated on the ground level. A basement provides additional space. Throughout the house, wall cladding and cabinetry utilize engineered timber from ABODO's Elements range, and the engineered wood floors are by Mafi. The living room features a steel stair railing and a window wall with a Mondrian pattern in its glazing, adding an artistic touch. Custom-designed pendant lights over the stairs echo the undulating recesses found in the concrete ceiling, a sinuous motif that reappears in various forms throughout the project. The kitchen island's shape is a direct reference to the local iconic beachside concrete kiosk, a building saved by community efforts. Curved ceilings gently hover above the stricter lines of wall paneling and inset shelves, creating a dynamic visual contrast. A rounded skylight above the stairs introduces natural light. Outside, the undulating lines are continued in the pool's shape and its overhead awning, further integrating the architectural theme with the landscape. Through this project and community engagement, Neil Cownie Architects aim to foster appreciation and awareness of the area's unique architecture, ensuring Roscommon House possesses a strong sense of belonging to its site and history. #BrutalistArchitecture #ModernistDesign #ConcreteHomes #AustralianArchitecture #SustainableDesign #IndoorOutdoorLiving #CustomInteriors #ArchitecturalHeritage #LandscapeIntegration

The Cornerstone House in Melbourne, designed by Splinter Society Architecture, redefines residential design through its distinctive use of rough, natural materials and a focus on rugged beauty. The project involved the complete redesign of an existing home, transforming it into a contemporary dwelling where natural elements play a foundational role in both aesthetics and structure. The core concept is an 'ode to rugged beauty,' drawing inspiration from the quarries that historically characterized the Northcote area of Melbourne. A central feature of the house is the incorporation of large, brusquely honed boulders. Two robust monoliths guard the entrance, and a succession of these rocks is strategically placed throughout the interior and landscaped garden. These rocks, craned onto the site before the two-storey structure was built around them, maintain a rough-hewn state, appearing as though recently mined. They serve multiple functional and aesthetic purposes, acting as interior partitions, integrated joinery, flooring elements, and landscaping features. One notable instance is a finely shaved outdoor table slab, showcasing the versatility of the stone. This deliberate integration of natural stone articulates foundational and key aesthetic elements of the home, linking it directly to its namesake and the geological history of the region. The design harmoniously balances the substantial, natural qualities of the split-faced stone with refined architectural detailing. The exterior features a ribbed fabric of black steel cladding and vertical fins on the entrance façade, which tautly stretch over the family home and rise to angled peaks above modular bases. This contrast between the heavy stone and the sleek steel creates a dynamic visual tension. The architects also meticulously integrated natural light to alleviate the density of the surfaces and introduce a 'subtle sense of ornamentation' through shadow play. This approach was driven by the client’s desire for a robust, low-maintenance home that didn’t require external decorative objects. Various lighting techniques are employed to highlight the material textures and create captivating patterns. A seven-meter-long skylight animates the walls and polished concrete floors with patterns from charcoal timber slats and fine steel handrails. Another skylight above the fireplace illuminates a black granite wall, emphasizing its linear-sawed and chiseled features. An upper-level lightwell and balcony between the children's bedrooms ensure a steady stream of sunlight reaches the pool and garden below. Warmth is introduced through copper metallic finishes with their rosy tones, timber-clad bedroom walls, and a 12-seater custom recycled timber dining table, which provides a horizontal mass against myriad vertical rhythms. The architectural design also plays with inert and animated tensions, such as the sinuous curve of the roof above the lounge and dining spaces, which appears to float upon glass. This design element contributes to an air of calming decompression in the living area, while also drawing views of the surrounding landscaping indoors. The landscaping includes curved walkways, crazy paving, amoebic carpets of grass, and the ripples of the pool, all of which complement the teal sheen of the velveteen lounges inside. The house was designed with a focus on entertaining, including integrated technology like concealed multi-coloured LED strips to create a party atmosphere in specific zones. #CornerstoneHouse #MelbourneArchitecture #SplinterSocietyArchitecture #ResidentialDesign #RoughMaterials #NaturalStone #ContemporaryInteriors #ArchitecturalRenovation #SustainableDesign

Architect Sarah Henry, cofounder of Australian design firm studiofour, designed a house for her family in Melbourne with specific goals: privacy, family-orientation, unpretentiousness, health-focus, and sustainability. Drawing on expertise in architecture, interiors, landscape, art, and fashion design, studiofour developed a holistic plan. The design took inspiration from the Beaumaris neighborhood's classic midcentury modern homes, incorporating simple architectural lines and an integrated landscape. The natural slope of the land dictated the home's exterior, which appears bunker-like with concrete and gray-washed surfaces, creating a sense of privacy and seclusion. Narrow front steps lead to a discreet entrance, fostering a feeling of safety within. Internally, the land's slope is transformed into a single step that visually separates living and sitting rooms, and the kitchen and dining room, maintaining fluid and open spaces. The central feature of the home is an airy courtyard, accessible from every room and protected by a thick concrete fascia that blocks neighboring views while allowing sightlines to surrounding cedar trees. This courtyard is crucial to the open-concept design, facilitating a sense of togetherness among living areas and serving as a natural filter for light and shadow. Henry considers the courtyard a significant success, utilized for light, fresh air, and as an additional living space. The extensive use of concrete for the basic structure extends to the interior with exposed concrete brick walls, floors, and benchtops, establishing a serene backdrop. In the bathrooms, tadelakt, a waterproof Moroccan plaster, provides a polished concrete aesthetic. An existing Oregon wood coffee table, with its warm vibrancy, became a design pivot point. This wood element is reiterated in the dining room and kitchen through a long, combined-use table and Hans Wegner Elbow chairs, providing textural contrast and warmth against the grey concrete. Other low-sitting furniture, such as a plush navy sofa and beds, echo the coffee table's form, contributing to the room's spaciousness. Butterfly chairs in the living room and garden, with their slender wire frames, offer a lightweight contrast. This delicate contrast is mirrored by the olive trees' branches and the sheer white drapes. The house incorporates passive design principles to promote personal and environmental health. Careful wiring minimizes electromagnetic fields, and a comprehensive water filtration system provides purified water for all household uses. The selection of natural materials and maximization of light and ventilation ensure near-zero VOC emissions. For the Henry family, the home functions as an unobtrusive setting for shared moments, embodying the belief that simplicity fosters idleness, leading to a healthier state of mind. #ModernArchitecture #SustainableDesign #ConcreteHouse #CourtyardLiving #MelbourneHome #Studiofour #PassiveDesign #MidcenturyModernInfluence #IndoorOutdoorLiving

The Christchurch Town Hall, a building designed by Warren and Mahoney, is discussed in terms of its architectural significance, particularly its use of concrete. The author reflects on a 2013 conversation where broadcaster Kim Hill suggested the building was 'ugly,' prompting a defense of its design and material choices. Many view the building as a 'hulking mass of grey concrete' lacking grace, but for the author, the concrete embodies historical resonance and crafted beauty. The article delves into the historical context of exposed concrete in architecture, tracing it back to mid-century architects who valued truthfulness and reality. This approach, where buildings honestly revealed their materials and construction, was inherited from 18th and 19th-century architects. The concept received a significant boost with Le Corbusier's use of *béton brut* (raw concrete) in buildings like Unité d’habitation, which inspired the New Brutalists, a group of young, radical British architects in the 1950s. Initially, New Brutalism did not exclusively rely on concrete but emphasized a 'ruthless honesty in structure and materials,' evident in projects like the Smithson's Hunstanton School, which was primarily steel, glass, and brick, but without refined finishes. New Zealander Miles Warren, while on his OE in London in 1953, encountered this architectural movement firsthand. He worked for the London County Council, attended lectures, and visited sites, including Hunstanton School with the Smithsons and Ove Arup. Warren adopted the 'Corbusian influence' and returned to New Zealand with ideas that would shape his practice with Maurice Mahoney, formed in 1958. For the next 25 years, concrete in various forms became their material of choice, including load-bearing concrete block walls, precast concrete panels, and exposed structural elements. This approach, while shared by others, set the standard in Christchurch. Warren believed concrete was a natural fit for Christchurch and the South Island, connecting to the region's masonry traditions and offering robust protection against the cold. This contrasted with Auckland architects who favored lighter timber designs suited to a warmer climate. While Warren championed the 'honest use of materials,' his and Mahoney's use of concrete also had a strong aesthetic dimension, influenced by Christchurch's Gothic Revival and Arts and Crafts architectural heritage. By the time the Christchurch Town Hall design competition was launched in 1965, the use of concrete was an accepted element for modernist architects, who, much like earlier architects with stone, would not consider covering up concrete elements. The Town Hall's design was significantly driven by the acoustical and spatial requirements of its auditorium. New Zealand acoustician Sir Harold Marshall solved the challenge of achieving excellent acoustics and sightlines in a circular hall, creating one of the world's best concert halls. The thick concrete walls, floors, and ceilings are crucial for acoustically isolating the performance spaces from city noise. The building's exterior forms visually reflect the internal functions: the elliptical auditorium, the rectangular fly tower of the James Hay Theatre, and the multi-functional Limes Room. Soaring concrete columns, cast in situ, unify these distinct forms, creating a rhythmic pattern that extends indoors. The building's axial planning ensures clear circulation and distinct expression of its functions. The article highlights the craftsmanship involved in concrete construction during that era, from precisely textured formwork using timber to the careful selection of concrete mixes for specific colors and textures. Different concrete elements in the Town Hall showcase this artistry: timber-boarded formwork for columns and beams, roughcast render for service areas, and precast panels with exposed aggregate for most exterior walls. This 'bloody-minded, relentless use of concrete' is what critics often dislike, yet the concrete surfaces offer a nuanced palette of greys, reds, and browns that change with light and season. The exterior's ordinariness contrasts with the vibrant interior materials like white marble, brass, and rich red fabrics, creating a building rich in contradictions. These contrasting experiences, such as the compression at the low entrance leading to the vast auditorium, and the clear plan versus the visual complexity of the foyer's mezzanine levels, are central to Warren and Mahoney's design. The muted concrete exterior also serves as a backdrop to Pat Hanly’s colorful painting, Rainbow Pieces, in the foyer. The article concludes by noting the near loss of the building after the Canterbury earthquakes, with advocacy focused on its architectural history, acoustics, and cultural role rather than just its material. In light of climate change, the author suggests that concrete, a significant CO2 emitter, should be used less frequently in new buildings, making existing concrete structures like the Town Hall increasingly valuable for their rarity, aesthetics, and history. #ChristchurchTownHall #ConcreteArchitecture #Brutalism #ArchitecturalHistory #MilesWarren #MauriceMahoney #Acoustics #ModernistArchitecture #ArchitecturalDesign #NewZealandArchitecture

The Salmon House, located atop Northcote’s Ruckers Hill in Melbourne, Australia, is a multi-level residential project designed by the Australian studio True Story, led by Dan Gayfer and Lewis Marash. This architectural work combines sculptural design with detailed interiors, creating a living space that is deeply integrated with its urban environment. Situated on a prominent corner lot in Brunswick East, the Salmon House presents a striking facade composed of diverse materials including cast-in-situ concrete, reeded glass, rich timber cladding, and custom brickwork. This material palette provides a bold presence while maintaining an elegant aesthetic that balances privacy, openness, and connectivity to its site. The residence's architectural design thoughtfully responds to the sloping terrain, allowing its three levels to cascade from front to back. This layout incorporates strategic cutaways and sightlines that facilitate an intuitive flow throughout the home, guiding occupants between shared and private spaces. The design philosophy, as articulated by True Story, aims to create a sensory experience akin to a "salmon swimming upstream," where ascending through levels involves encountering diverse spaces and materials that evoke both activity and tranquility, leading to moments of family interaction, gentle reflection, and ultimate solitude. Local heritage guidelines played a significant role in shaping the home’s visual language and spatial organization, especially given its public-facing plot. Rather than creating a sharp contrast, the design team opted for narrow, textured glass to seamlessly bridge contemporary and traditional architectural elements. This subtle integration respects the historical context while introducing modern forms, thereby achieving both architectural relevance and contextual harmony. Inside, the Salmon House features distinct yet cohesive living areas. Communal spaces, such as a sunken lounge that extends to an outdoor terrace, are designed to foster connection. In contrast, private zones like a library and a rooftop terrace offer spaces for quiet retreat and contemplation. Large, floor-to-ceiling windows throughout the home frame panoramic views of Melbourne's skyline, firmly embedding the residence within its broader urban setting. The interior material selection reinforces the layered narrative of the house, incorporating finishes such as Grey Ironbark flooring, sculpted concrete island benches, and custom cabinetry made from warm, natural veneers. The sunken lounge features burnished concrete flooring that extends outdoors, effectively blurring the distinction between the interior and the exterior landscape. The primary goal behind Salmon House's conception was to create a space that strengthens family bonds by providing both communal living areas and opportunities for individual solace. An expansive outdoor terrace and an adjacent pool house are designed to encourage year-round social gatherings, while dedicated study and library spaces offer refuge and a focus on personal activities. The swimming pool itself serves as a unifying element, connecting the home and its outdoor environment into a single, cohesive experience. Adding to the unique indoor-outdoor integration are the glass-topped showers, which are open to the sky yet ensure complete privacy. These secluded bathing areas are bathed in natural light, offering a tranquil experience that further blurs the boundary between indoor comfort and the surrounding natural elements. The complexity of the Salmon House project necessitated extensive coordination among True Story, the structural engineer, the builder, and pool specialists. This collaborative effort ensured the seamless integration of various components, from the subterranean basement to the elevated rooftop terrace. The culmination of these efforts is a unified, warm, and inviting living environment that exemplifies modern family dwelling. #SalmonHouse #MelbourneArchitecture #TrueStoryStudio #LayeredDesign #UrbanWarmth #SculpturalArchitecture #ModernInteriors #ResidentialDesign #IndoorOutdoorLiving #SustainableDesign

In Melbourne's Armadale, amidst a streetscape of Victorian and Federation-style mansions, stands the Armadale Residence, a project by BE Architecture designed for a family seeking to downsize. The residence is notable for its substantial granite facade, weighing approximately 260 tonnes. Despite its mass, the silvery-grey, split-faced texture of the granite, characterized by quartz veins, lends a sense of weightlessness when light refracts across its surface, softening the modular design's hard lines. Large mechanical timber shades punctuate this stone sheath, complementing its organic feel and allowing daylight into the interior spaces. BE Architecture co-director Andrew Piva notes that the internal spaces are designed to be light and open, particularly the living area, which features fully retractable glazed doors that open onto an adjacent courtyard. The house occupies nearly the entire 537 sq m block, including a pool integrated with the rear wall. To manage the building's volume discreetly, the sleeping quarters, including additional bedrooms with en-suites for visiting adult children, are located on the upper level. A gym and a second study are positioned behind a subterranean double-garage, effectively concealing these areas from direct view. Landscape design, also handled by BE's in-house multi-disciplinary team, was crucial in creating an illusion of expansive outdoor space. A private Japanese garden adjoins the master bedroom's outdoor shower, while Mount Fuji trees line the front fence. This landscaping approach addresses the clients' desire for varied planted outlooks and terraces without the intensive maintenance associated with a full lawn. Throughout the residence, a juxtaposition of raw and refined materials is evident, with granite serving as a consistent element. For instance, flamed and brushed Torino Granite is used for the outdoor terrace, transitioning seamlessly into a honed, speckled version within the open-plan living area. The selection of a specialized stone mason by the builder, LBA Construction, underscored the importance of the stone's application, particularly in the master en-suite, where Fallow Granite was uniquely employed for custom bath and basin benches, engineered from solid blocks to achieve a dense, textural finish. An emotive quality is introduced through BE Architecture's manipulation of chiaroscuro. Generously proportioned doorways cast angular shadows, while a central oculus above the stairwell channels pure light, creating a crushed velvet-like appearance on the polished grey cement render of its curved walls. These sculpted planes stand out as the only non-linear elements in an otherwise linear construction, providing a striking visual contrast within the home's design. The granite facade itself is laid in a random brick bond pattern, incorporating three different-sized block profiles, a technique that references older brick-laying styles. This meticulous attention to detail extends to custom furnishings, such as the stainless steel kitchen benchtop, the elm dining table, and the Perspex ceiling light, all custom-designed by BE Architecture to integrate seamlessly with the architectural vision. The Armadale Residence exemplifies a sophisticated blend of natural materials, thoughtful spatial planning, and a nuanced interplay of light and shadow, resulting in a cohesive and thoughtfully designed family home. #ResidentialArchitecture #AustralianHome #GraniteFacade #MelbourneDesign #BEArchitecture #LuxuryLiving #CustomDesign #Materiality #DownsizingHome

Architect Matt Gibson designed the Concrete House in a Melbourne suburb, drawing inspiration from mid-century Modernist architecture in Brazil. The client, a commercial builder specializing in masonry, specifically requested a house constructed from a concrete and stone palette, with references to Brazilian Modernists such as Oscar Niemeyer, Lucio Costa, and Paulo Mendes Da Rocha. These architects are known for their bold forms, protruding volumes, and raw concrete surfaces, which heavily influenced Gibson's design. The Concrete House primarily utilizes concrete as a fundamental construction material, making it a defining element of the building's architecture and reflecting the owner's profession and craft. The compositional palette, combined with the client's specially sourced exterior stone, adheres to the specific requirements of the client's mid-century Modernist brief. The residence consists of two horizontally oriented, two-story blocks crafted from concrete, wood, and stone, positioned side by side. Living spaces on both the lower and upper floors are situated within the block closest to the rear garden, while the bedrooms and entrance areas face the street. The property is set back 10 meters from the street, with an opaque wooden screen at ground level providing privacy along the front facade. This facade also houses the main entrance and a large lift designed to transport the client's car to an underground parking space. A distinctive concrete block subtly overhangs the lower floor. This block features two wide windows, recessed within deep faceted frames, at both the front and rear of the structure. The tapered concrete form is strategically designed to maximize views in both directions, while the east and west elevations remain windowless to restrict sight lines to neighboring properties. Inside, a double-height living room featuring an integrated concrete chimney breast serves as the central focal point of the house. Glazed doors connect this lounge area to the rear garden, which was designed by Australian landscape architect Rick Eckersley. The garden incorporates planting pockets within concrete patios, along with a tennis court and a swimming pool. The interior design emphasizes vertical and horizontal material connections, weaving them throughout the spaces. White plaster is used for practical purposes and is interspersed among timber, stone, and concrete, creating a neutral backdrop for the client's lifestyle, furniture, and artwork. The main spaces are characterized by their formal simplicity, lofty ceilings, and airy atmosphere, reminiscent of mid-century Modernist material and compositional qualities, particularly those found in Brazilian Modernism. A smaller snug area on the upper floor overlooks the primary living space. This floor also accommodates three bedrooms and features a decked balcony extending along the garden-facing facade. The Concrete House exhibits similarities to several recently completed residences in Brazil, including Casa Cubo by Studio MK27, known for its seemingly wall-less living room, and a substantial concrete home designed by Isay Weinfeld for a graphic designer in São Paulo, further cementing its connection to the Brazilian Modernist aesthetic. #BrazilianModernism #ConcreteArchitecture #StoneConstruction #MelbourneDesign #MattGibson #MidCenturyModern #ArchitecturalDesign #ResidentialArchitecture #AustralianHouses

This project, located in the Melbourne suburb of Fairfield, Australia, involved the comprehensive restoration and reinvention of a late 19th-century Victorian residence. The clients, a retiring couple, sought a tranquil and connected home suitable for their next stage of life. Designed by Taylor Knights, the renovation aimed to sensitively balance the historical character of the original double-fronted brick dwelling with the demands of contemporary living, encompassing an area of 320 square meters and completed in 2024. The architectural approach focused on integrating the existing Victorian structure with new additions, creating a harmonious blend of old and new. Key elements of the design include the incorporation of a courtyard, which serves as a central organizing feature, enhancing natural light and ventilation within the home. The material palette likely reflects both the heritage context and modern aesthetics, with attention to detail in finishes and textures. The project is an example of adaptive reuse, preserving the historical essence of the building while upgrading it to meet current living standards and the specific needs of its occupants. The design team, led by Peter Knights, worked to create a residence that fosters a sense of calm and connection, which aligns with the clients' desire for a peaceful retirement home. The interior spaces are expected to feature carefully chosen materials such as glass, concrete, and wood, as evidenced by the project's visual documentation. These materials contribute to a sophisticated and comfortable environment, creating a dialogue between the robust historical shell and refined contemporary insertions. The use of glass, in particular, would maximize natural light and views towards the courtyard, blurring the lines between indoor and outdoor living areas. Landscape architecture by Peachy Green and structural engineering by Webb Consult played crucial roles in the project's execution, ensuring both aesthetic quality and structural integrity. The collaboration between the architects and consultants facilitated the realization of a complex renovation that respects its past while firmly establishing itself in the present. The photographs by Derek Swalwell capture the essence of the completed project, showcasing its architectural nuances and the successful integration of various design elements. Overall, the Fairfield Courtyard House by Taylor Knights represents a thoughtful architectural intervention that addresses the needs of a specific client brief within a heritage context. It demonstrates how careful consideration of site, history, and contemporary lifestyle can result in a dwelling that is both respectful of its origins and perfectly suited for modern living, providing a functional and aesthetically pleasing space for its inhabitants. #ResidentialArchitecture #HouseDesign #VictorianRenovation #CourtyardHouse #TaylorKnights #AustralianArchitecture #FairfieldMelbourne #HistoricPreservation

Mid-Century Modern architecture, characterized by its effortless cool and quintessentially Australian aesthetic, is experiencing a significant resurgence in popularity. This design style, prevalent from the 1930s to the 1970s, defines Australian homes through its distinctive flat or raked rooflines, expansive floor-to-ceiling windows, open-plan layouts, and seamless integration of indoor and outdoor spaces. Key materials commonly used include brick, concrete, and timber, contributing to a robust yet elegant appearance. Notable architects who shaped Australia's Modernist movement, such as Harry Seidler, Robin Boyd, Iwan Iwanoff, and Hugh Buhrich, developed groundbreaking designs in the 1950s and 1960s. Many of these historically significant structures now hold heritage-listed status, reflecting their enduring architectural value. The renewed interest in these homes has led many owners to prioritize restoration over extensive renovation, preserving the original character and integrity of these sought-after properties for contemporary enjoyment and future generations. The article showcases 19 exemplary Mid-Century Modern homes across Australia, ranging from faithfully restored original builds to new constructions inspired by the style. One such example is 'The Quarterdeck,' designed by Glynn Nicholls in 1959. Its recent restoration meticulously updated the interiors while adding two new wings, ensuring consistency with the original design. This project involved careful preservation of features like the butterfly roof, exposed structural steel beams, shiplap paneling, bagged brick interior walls, and original 1950s windows. Another featured property is a character-rich 1890s terrace in Paddington, where interior designer Madeleine Wood blended existing architectural elements with a Mid-Century aesthetic, enhancing its north-facing courtyard, high ceilings, and distinctive arches. In Torquay, a new build, conceived by Melbourne architecture firm Kennedy Nolan, draws heavily from 1950s Mid-Century design, incorporating a carefully curated palette of colors, materials, and textures based on the owners' detailed vision board. Photographer Kara Rosenlund's late 1960s Brisbane home underwent a sensitive renovation that honored its originality, preserving its wood, finishes, and tones to maintain its spirit. A once featureless 1970s brick house on the NSW South Coast was transformed by Madeleine Blanchfield Architects into a laidback, understated, and honest Mid-Century Modern home, using materials resilient to coastal conditions and bushfires. Sally McGarry's Byron Bay Hinterland home, 'Las Palmas,' captures the essence of her grandparents' Robin Boyd-designed 'The Fenner House' with its elongated roofline, extensive glazing, modernist lines, and passive orientation. A two-bedroom beach shack in Flinders, previously coated in brown paint and carpet, received a thoughtful revamp. Owners Bec and Marcus opted to work within the existing footprint, creating a spacious, open-plan family home without extending the original structure. An Adelaide Hills stone cottage, built in 1962, was updated in 2018 by architect Paul Cooksey and interior architect Bek Burchnall to improve insulation and refresh its interior palette while respecting its original design intent. M House on the Northern Beaches, designed by Rama Architects, presents a Brazilian modernist oasis that seamlessly blends indoor and outdoor spaces, reflecting a tranquil and private living environment. In Beaumaris, Victoria, an untouched 1960s brick and weatherboard house served as a canvas for a sensitive renovation, preserving and restoring original features while introducing new elements inspired by the home's heritage. A modernist-inspired contemporary holiday home demonstrates how classic Mid-Century design principles, such as steel and glass structures, brickwork, and timber paneling, continue to influence modern constructions. A 1960s bush retreat in outer Melbourne underwent a sensitive refurbishment, maintaining its original timber paneling and dark terracotta brick floors. A Mid-Century Modern home in Moorooka, Queensland, designed by Robin Spencer, remains a remarkably preserved 1960s masterpiece, with its original bathroom and kitchen still intact. A renovated 1950s home in Sydney’s North Shore features a "raw and earthy" palette and a "Palm Springs flavor," highlighted by a custom mosaic tiled island bench and amber-colored glass doors. Georges Antoni's contemporized 1960s bungalow in Sydney’s Garigal National Park showcases a monochromatic palette of render, stone, travertine, linen, and timber, creating a calming family home that embraces its Mid-Century origins. A Mid-Century marvel in Mosman, originally an 'Australian House & Garden' cover star in 1959, has been carefully renovated to retain its original timber paneling and crazy paving. A Palm Springs-style home by Sunshine Beach embodies modernist design with sleek lines, playful use of color, and spaciousness. Finally, a "funky and functional" family home in Adelaide draws on Mid-Century Palm Springs architecture, featuring curves, a Californian desert-inspired color palette, white painted brick, and a relaxed ambiance. A 1960s modernist home in Melbourne’s St Kilda received a "perky facelift" by Bower Architecture & Interiors and LBA Construction Group, extending over the former driveway to create more space and light while honoring the home’s historical context. #MidCenturyModern #AustralianArchitecture #HomeDesign #ArchitecturalRestoration #InteriorDesign #ModernistHomes #SustainableDesign #Renovation #HistoricHomes

The "Inside Her Home" series offers a glimpse into the residences of everyday women, detailing their renting or homeownership experiences. This installment features Lauren Li, a 45-year-old interior designer residing in Ivanhoe East, Melbourne. She lives with her husband and three children in a three-bedroom, two-storey home with an additional granny flat, which they rent for $3,910 per month. Lauren describes her home as a mid-century modern dwelling, built in 1961, retaining much of its original architecture. She emphasizes a deep connection to the house, feeling it "chose her" and that she and her family are deeply content living there. Lauren’s home is situated approximately 10km north-east of Melbourne's Central Business District. She highlights the fair price for the rental and expresses a strong belief that renters invest significant care and effort into making their houses feel like home. She and her family have occupied the property for three years, and her appreciation for the space has only grown. The house holds historical significance, having been the former residence of Victoria's first female Supreme Court judge, the Honourable Rosemary Balmford, who lived there since 1963. Lauren attributes the home's positive atmosphere and abundant built-in bookshelves to its previous owner, noting Balmford’s pioneering role as the first female lecturer in the University of Melbourne’s law faculty. The layout of the home is particularly appealing to Lauren, featuring a spacious living room with a fireplace, which provides ample room for the family while maintaining a sense of togetherness. The property also offers lovely views of trees, a beneficial feature for Lauren and her husband, who both work from home. The kitchen retains its original 1960s charm, which Lauren appreciates. The house includes an elevated deck that has been the setting for numerous family gatherings and summer dinners, contributing to its cherished feel. Their 12-year-old daughter enjoys a room with an impressive view of the Yarra River, while her 11-year-old sister and three-year-old brother share the other bedroom. Lauren explains that their move to this particular house was almost serendipitous. When their previous apartment was put up for sale, they needed to find new accommodation swiftly. A friend connected them with a real estate agent, and upon seeing the Ivanhoe East property, Lauren immediately felt a strong desire to live there. Her attachment to the house is so profound that she declares she is "never going to leave," underscoring her long-term commitment to the home. The article concludes with an invitation for other individuals to submit their homes for inclusion in the "Inside Her Home" series, encouraging [email protected] to be contacted for submissions. #HomeDecor #InteriorDesign #MidCenturyModern #RentalProperty #MelbourneHomes #FamilyLiving #RealLifeStories #HomeTour

The "Hug House" by FIGR Architecture & Design, completed in 2025 in Australia, is an architectural project focusing on spatial layering, material richness, and seamless indoor-outdoor integration. The design concept revolves around a central courtyard, which functions as a "green heart" to ensure privacy while allowing natural light and ventilation to permeate the residence. This approach creates a sanctuary-like environment, promoting a deep connection with the natural surroundings. Key design elements and features of the Hug House include a thoughtful arrangement of spaces that interact with the central courtyard. The project emphasizes visual and physical porosity, allowing residents to experience the changing light and air throughout the day. Material selections contribute to the richness of the design, likely incorporating natural textures and a palette that complements the Australian landscape. The integration of indoor and outdoor areas is achieved through large openings and strategic placement of living spaces that extend into the courtyard, blurring the boundaries between built form and nature. The project details indicate a 230 m² area, suggesting a moderately sized single-family dwelling. Collaboration was a significant aspect of its creation, involving industrial designer Corey Baker, JP Building Group PTY LTD for the collaborative build, Fusion Engineering Group for structural engineering, James Wallace as the landscape consultant, and Oliver Smith as the lead carpenter/craftsman. ARCH STYLING, led by Cat Brown, was responsible for the interior styling. These collaborations highlight a multidisciplinary approach to achieving the architectural vision. Photographs by Tom Blachford capture the essence of the Hug House, showcasing its design principles. The imagery typically focuses on how light interacts with the spaces, the quality of materials, and the connection to the outdoors. The project is categorized under 'Houses' and is located in Australia, reflecting a contemporary Australian architectural style that prioritizes environmental responsiveness and comfortable living. In summary, the Hug House exemplifies a modern residential design that prioritizes a harmonious relationship between the built environment and nature. Its central courtyard, material choices, and indoor-outdoor flow are integral to its identity as a light-filled, airy, and deeply connected living space. The project represents a collaborative effort to deliver a dwelling that serves as a private retreat while maintaining an open and engaging atmosphere. #ResidentialArchitecture #Houses #Australia #FIGRArchitectureAndDesign #CourtyardHouse #IndoorOutdoorLiving #SustainableDesign #ModernArchitecture

This article showcases a meticulously renovated 19th-century Melbourne home, “Victoria House” at 24 Northcote Road, Armadale, that seamlessly blends mid-century modern aesthetics with classic English farmhouse influences. Interior designer Tali Roth led the project for a couple in their 30s who appreciated the home's heritage architecture but desired a more contemporary feel without compromising its original integrity and soul. The renovation journey, undertaken during the COVID-19 pandemic, allowed for a deliberate and thoughtful selection of furnishings, with international lead times aligning fortuitously with the construction timeline. The design philosophy embraced the clients' contrasting tastes: one favoring modernist elements and the other, an English-farmhouse look. This dichotomy is evident throughout the house. For instance, the rose-pink library features a cheerful Giancarlo Valle ‘Smile’ chair alongside an 18th-century French verdure tapestry. In the sitting room, a pale grey modular USM ‘Haller’ unit is paired with an armchair re-covered in a decorative, puzzle-pattern fabric. Significant structural changes were made to optimize space and flow. A former bedroom, walk-in-robe, and ensuite were reconfigured into a sitting room, linen closet, and a redesigned bathroom. Existing corridor shelves were retained and repainted, and a floating desk and study nook were converted into a coat closet. The entryway and powder room feature new tumbled Carrara and Bardiglio marble tiles laid in a checkerboard pattern, extending from the hall to the powder room walls. The kitchen, though retaining its original layout due to the extensive scope a larger renovation would entail, underwent a complete rebuild. It now boasts a sophisticated and traditional look with classic tapware, shaker cabinetry, a reeded glass storage cupboard, and Arabescato Corchia marble countertops, replacing the old timber veneer joinery. The living area is thoughtfully curated with a custom steel coffee table, a plump Arflex ‘Marenco’ sofa upholstered in blue mohair velvet, and a large circa 1940s French oak sideboard, aiming for a purposeful, inviting, and usable space within a small footprint. Upstairs, the principal and second bedrooms share a bathroom. A home office overlooks the backyard, while a grand library, overlooking the street, is enveloped in Porter’s Paints French Wash in ‘Victoriana’ pink. This room serves as a reading space, featuring an antique Palladian bookcase, a six-panel Chinese privacy screen, an Artemide ‘Shogun’ floor lamp, and an oversized 18th-century French verdure tapestry. The master bedroom adopts a mid-century aesthetic with calm, muted tones, including Venetian plaster walls and a custom bed and wardrobes. The master ensuite features integrated Calacatta Viola stone for the bath and a custom travertine curved stone sink. The homeowners expressed satisfaction with the outcome, highlighting how Tali Roth's design successfully merged their personalities and preferences, creating a modern yet soulful home that can evolve with them. #HomeRenovation #InteriorDesign #MelbourneRealEstate #MidCenturyModern #EnglishFarmhouseStyle #HeritageHome #LuxuryInteriors #DesignCollaboration #PeriodArchitecture

Balmoral House, designed by architects Clinton Murray and Polly Harbison, is situated in Sydney's Balmoral, a location renowned for its scenic views of beaches, bay waters, and the bush-covered headlands that define the entry to Middle Harbour, with Grotto Point Lighthouse visible in the distance. Unlike typical houses in this area that prioritize capturing views for their occupants, often presenting a closed facade to the street, Balmoral House adopts a different approach. Its main living spaces are strategically designed to span over a central outdoor garden and sculpture courtyard, allowing passers-by to see through the site to the lighthouse and the harbour beyond. This intentional design choice signifies that the house is more than just a private residence; it also serves as a point of connection to the broader community and natural environment. The house demonstrates a dual intention: to protect and contain its inhabitants while simultaneously extending an invitation to guests and neighbors through a carefully orchestrated procession of spaces. For instance, there is no conventional front wall; instead, a modest setback and an open fence create an accessible entry, offering a full view of a civic-like outdoor space adorned with sculptures. A secondary street entry leads through this courtyard to an undercroft, which functions as an outdoor foyer for a hall where concerts are held, with music audible from the street. Similarly, the rear garden edges are ceded to the surrounding bushland reserve, conveying a sense of generosity and shared space. Art plays a fundamental role in the design of Balmoral House, envisioned as an integral component of the living environment. A piece by Antony Gormley, a prone figure with outstretched arms, is placed in the undercroft to spark curiosity. Inspired by artist Isamu Noguchi's philosophy of shaping space so that art integrates seamlessly with its surroundings, the architects collaborated with the owners, who are avid art collectors. The building's form, setting, landscape, and the extensive art collection are conceived as a fluid and interconnected system. Art is deliberately positioned throughout the house, including pieces at the entry that challenge traditional views of the water, and a central stairwell designed to showcase selected artworks. Natural light is meticulously utilized to highlight different spaces at various times of the day, further enhancing the artistic experience. The influence of Noguchi is evident in both the interior and exterior spaces, which feature box-like sculptural forms crafted from precisely cast concrete. These forms create diverse spatial experiences, from the human-scaled intimacy of the living room and library/study to the dramatic soaring height of the kitchen and the fluid circulation around the main bedroom. A unique feature is the powder room, a round, dusty red space with circular fittings and furniture, featuring an exaggerated high ceiling that evokes a whimsical, Alice in Wonderland-like effect. Ultimately, Balmoral House reflects the owners' inquisitive and open perspective on the world. It is a mature architectural work resulting from a collaborative effort between the architects and owners, creating a personal sanctuary that also facilitates shared enjoyment and challenges conventional expectations. Through thoughtful and skilled design, the architects have allowed their art to "disappear" into the richness of light, ideas, place, and community, crafting a home that is both a private retreat and a communal asset. #BalmoralHouse #ResidentialArchitecture #SculpturalDesign #ArtIntegration #CommunityConnection #ConcreteConstruction #LandscapeIntegration #SydneyArchitecture #PollyHarbison

The article highlights the enduring appeal and versatility of brick as a building material, challenging its perception as merely utilitarian. Despite being one of the world's oldest building materials, dating back to 7000 BC, brick is showcased through 15 diverse Australian homes as a timeless design element capable of inspiring and exciting. The discussion emphasizes brick's strength, versatility, and durability, which have contributed to its historical and contemporary popularity. Key advantages of using brick in Australian homes are outlined, including its low maintenance requirements, as it does not fade, rot, or rust, eliminating the need for frequent upkeep. Brick houses are noted for their energy efficiency, providing natural insulation that keeps interiors cool in summer and warm in winter. Furthermore, brick, being made from eco-friendly clay and shale, is presented as a sustainable choice. Its exceptional durability is underscored by the fact that many old brick homes continue to stand strong over a century after their construction. The article also touches upon some disadvantages, such as the potentially high cost due to demand and a limited color palette. The mortar used with bricks may also require repointing over time. However, these drawbacks are considered to be outweighed by the numerous benefits and aesthetic possibilities brick offers, particularly when incorporated into thoughtful designs. The main body of the article presents a curated selection of 15 beautiful Australian brick homes, each demonstrating a unique architectural style and approach to using brick. These examples range from a 1970s time capsule designed by Melbourne architect Nicholas Day, featuring original slate floors and exposed brick walls, to a Perth home by Gavin Hestelow and Tony Ricciardello that uses a mix of smooth and textured bricks in a geometric pattern. Another highlight is an 1890s manse on NSW's South Coast, celebrated for its classic heritage brick facade. An Edwardian-era stunner in Melbourne, conceived by BayleyWard, retains original exposed brick walls in its contemporary extension, maintaining a sense of history. Mid-century modern homes are also featured, with one situated in a high bushfire zone, where slender, off-white bricks were chosen for their non-combustible and low-maintenance properties. Modern farmhouses, such as one designed by Jillian Dinkel, show how traditional red bricks can be elegantly paired with parquetry flooring. A renovated period home in Melbourne, designed by Albert Mo of Architects EAT, incorporates dusty-purple brick flooring in its new wing, drawing inspiration from the original red-brick structure. The article showcases a renovated workers' cottage in Adelaide, where Benjamin Edwards of Ply Architecture utilized low-maintenance dry-pressed bricks to create a striking solid-to-void relationship with color and texture. An Italianate villa designed by Telly Theodore celebrates brick as a defining element of its extension, featuring handcrafted Danish Petersen Tegl bricks. Chyka Keebaugh's manor-style home exemplifies old-world charm with its ivy-clad brick facade. A reimagined Queenslander features a cantilevered living area with new brickwork referencing an original chimney. A post-war home in Maitland by Kennedy Nolan uses a simple palette of white painted brick and saw-cut travertine for consistency between old and new sections. A brutalist terrace extension by Inglis Architects utilizes handmade Danish bricks for a starkly modern exterior. A 'hit-and-miss' home by Clare Cousins Architects contrasts recycled red bricks with 'Chillingham White' bricks, while an industrial-inspired home in Mount Lawley blends seamlessly into its heritage suburb with reclaimed red bricks from demolished local buildings. These examples collectively illustrate brick's adaptability to various architectural styles, from Hamptons to industrial and contemporary, establishing its status as a versatile and iconic building material. #BrickHouses #BuildingMaterials #AustralianHomes #HomeDesign #ArchitecturalStyles #Renovation #HeritageHomes #ModernArchitecture #SustainableBuilding #InteriorDesign

The article details the transformation of two conjoined homes in Melbourne, Australia, into a single, cohesive living space for entrepreneur and yogi Cheryl Mainland and her three children. Mainland, who has lived in numerous cities globally, sought a home that could integrate her diverse collection of artwork and souvenirs while accommodating her family's needs. After an extensive search, she found an unconventional property in Armadale consisting of two merged houses, complete with two inner stairwells and two living rooms. Despite its ample size and lush garden, the property required significant renovation to align with Mainland's 'industrial beach chic' aesthetic. With the assistance of interior design studio Eat.Bathe.Live, Mainland initiated a comprehensive remodel. This included renovating existing bathrooms, adding a primary en suite, polishing concrete floors, and creating a dedicated library and office space. The subsequent phase focused on incorporating Mainland's cherished belongings, a task that led her to collaborate with Melbourne stylist Simone Haag. Despite their contrasting design preferences—Haag favoring neutral tones and Mainland having a strong affinity for color—they established an immediate rapport. Haag's team, led by senior designer Melissa Strauch, translated Mainland's vision, which explicitly excluded brown and 1970s styles, into a design that blended bright and muted hues, playful silhouettes, and natural fibers like sisal. The design drew inspiration from key pieces like neon Chinese icons by artist Juno Shen, London and California posters, and a Kit Kemp mannequin, establishing a vibrant palette of lilacs, pinks, and turquoise accented with natural tones. A particular challenge arose in the layout of the downstairs living spaces, where the entry points of the original two structures converged, creating what initially felt like a large circulation area. The existing concrete flooring and steel banisters contributed to a cold, industrial ambiance. To address these issues, Strauch creatively utilized awkward nooks under the staircases, incorporating sculptural storage solutions such as a rounded rattan console and a hand-painted hanging shoe cabinet. The designers introduced cozy textures through elements like a rainbow-hued wool, mohair, and alpaca fabric chair by Pierre Frey, seagrass floor cushions, and lima bean-shaped wood stools, aiming for a less structured, modern conversation pit aesthetic. The main bedroom became Mainland's favorite space, featuring a custom, channel-tufted headboard that spans the room's unusual width, providing scale and gravitas. The most dramatic transformation occurred in the powder room, which was adorned with graphic brushstroke wallpaper covering the walls, ceiling, and door. This was further enhanced with pink tile grout, a black-lit mirror, and a rose-toned sink basin, creating an immersive and joyful space. Mainland expressed immense satisfaction with the outcome, highlighting how the design team successfully integrated her love for colors and clashing prints, ultimately creating a house that truly feels like home after years of international living. #HomeTour #InteriorDesign #SpacePlanning #MelbourneHome #Renovation #EclecticDecor #ColorPalette #SustainableDesign

This article details the refurbishment of a five-bedroom Victorian home in Shepherd’s Bush, West London, by architect McLaren.Excell. The property, spanning four levels, maintains a traditional facade from the front, akin to other bay-windowed Victorians on its street. However, the rear reveals a distinctive and modern transformation. A key feature of the renovation is the bold, weathered Corten-steel-clad extension, which seamlessly integrates with interlocking concrete panels in the garden. McLaren.Excell’s design approach skillfully juxtaposes the robust, 'monolithic' qualities of concrete and Corten steel with the original 19th-century brickwork of the house. Complementing these strong materials, softer natural elements like Grey Elm and Douglas Fir are incorporated into the new loft extension, creating a deliberate contrast. The interior design fosters a continuous interplay between the old and the new, blending period features with modern interventions. In the living room, the original Victorian fireplace is preserved, flanked by alcoves thoughtfully lined with bookshelves. New parquet flooring extends into an adjacent, cozy second lounge, which also features floor-to-ceiling library shelves. This flooring leads into the newly constructed kitchen extension, which is clad in rusted steel, reflecting the industrial aesthetic seen from the exterior. The kitchen's central element is a monumental concrete island, designed with a stepped surface that transitions from a food preparation area to a dining table, accompanied by matching concrete benches. To introduce warmth into the space, bespoke timber cabinetry is used. The kitchen’s design also incorporates exposed rafters and a skylight, which collectively enhance the room’s verticality and natural light. Steel-framed glass doors provide access to the garden, where a complementary concrete bench is situated on large concrete slabs, bordered by Corten steel planters filled with native flora. While the downstairs areas are characterized by rugged materials and a patinated finish, the upstairs rooms adopt a more vibrant and lighthearted aesthetic. The main bedroom is decorated in a cheerful yellow hue, with bold accents provided by intricately patterned wardrobes and a fiery orange mantelpiece. The children’s bedrooms, though more subdued, feature soft pastel tones, contributing to a lively and colorful ambiance within the private quarters. A sense of calm is restored in the loft suite, where a palette of pale wood, white walls, and patinated brickwork establishes a serene and tranquil environment, with windows offering peaceful views of the garden, sky, and trees. The West London home is currently listed for sale with The Modern House at £1.75 million. #VictorianArchitecture #WestLondonProperty #McLarenExcell #CortenSteel #ConcreteDesign #ArchitecturalRenovation #HomeInterior #ShepherdsBush #ModernHouse