This video is brought to you by The Local Project’s print publication. Our tri-annual hardcopy publication contains over 350 pages of curated insight into the latest architecture and design across Australia and New Zealand.
Head to the description of this video to subscribe now and receive three copies each year. Delivery available worldwide. We like to name homes, we don’t just want to say it’s “Annandale House 3” because we think that’s impersonal. This house was clearly very personal so the name comes from three things; the brick was blonde, the floors were concrete, my favourite bands in the 80’s when I was a young man was Concrete Blonde. So the client of this house, the clients Peter and Irene, came to us with a dream of renovating a house that was not just a normal renovation or not a renovation in the term of, you know, real estate, but they really just wanted to make a home.
With Concrete Blonde there was this other conversation that we had particularly with Irene which circulated around a desire for having this lovely green gardens all around the building but not only around the building but can they creep into the building and start to inform the conversation of what those internal spaces would be.
Xem them lam video marketing tai day : https://kyxao.vn/video-marketing
Having our service walls anchor the building with this lovely soft green and then that flowing through the the whole house as this emotional memory became a really powerful part of the design dialogue. Incorporating the heritage facade into design is really a given with projects like this so Carter Williamson has a long history of working in council areas that have this heritage overlay or working with heritage items, so we always come to these projects with a great deal of respect for the existing dwelling. Also understanding that being a terrace house; what you see from the front is one part of the story, what you see from the back is an entirely different part of the story. What we try and do is respect the heritage buildings for what they are, we let them tell their story and we get to a certain moment within the building where there’s a clear incision where we cut the building and we say to; the left of that is the old building and we keep that and restore it, and to the right of that is where we tell the new story of this home.
Concrete Blonde is really challenged for light given that the tall part of the building faces the street so what we did is I guess a classical architectural device is at that junction where we separate old and new we introduced a light well so that light well becomes the light lungs of the home. But that wasn’t enough we didn’t feel for Concrete Blonde, we felt that we needed to do something more so we introduced a little light scoop that sat right up on the top of the roof right near the tallest part of the roof and that’s reaching out and grabbing that northern light and pushing it right down through the middle. When we started this process with Peter and Irene there was a conversation right from the get-go about longevity. Here’s a building that’d already been with us for more than 120 years and Irene and Peter were very conscious that anything we did we didn’t wasn’t going to be wasteful and if we’re going to make significant intervention into the house that had to be meaningful.
Tham khao gia san go tai day.
And if we did that right then we were setting this building up to live for another 120 years. We’re really designing a jewellery box getting all those little details working well so the house feels like it works easily even though it’s tight for space. Again a lot of the conversations about Concrete Blonde with Irene were about those personal connections she had not only with the old building that she found but the new building what it was to mean to her and Petera as this home intrinsically became hers. For Carter Williamson, Concrete Blonde is a deeply personal special project. Published three times a year, The Local Project hardcopy publication contains over 350 pages of curated insight into the latest architecture and design across Australia and New Zealand. Printed on exceptionally high-quality paper stock, the publication is designed to be read and enjoyed over time – a beautiful and valuable addition to any personal library or coffee table. Our latest issue, Edition Number 6, contains 20 projects from Australia and New Zealand’s leading architects, interior designers, as well as stories on industry-leading and emerging furniture designers and local distributors. Discover the latest projects such as the Sand Castle by Luigi Rosselli, his son, Rafaello Rosselli and interior designer Romy Alwill. Corner House by Archier. Chenier by emerging studio Eastop Architects. The award-winning 8 Yard House by Studio Bright. And Pearl Beach House by Polly Harbison Design in collaboration with Arent & Pyke. With world-wide delivery available, have the hardcopy print publication delivered straight to your door three times a year with an annual subscription. Head to the description of this video to subscribe to the tri-annual print publication.