Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

be0210_Point Piper Home_02

133 views

Published on

  • Be the first to comment

  • Be the first to like this

be0210_Point Piper Home_02

  1. 1. 124 SYDNEY home these pages Colours and finishes in the living room reflect the abundant nature outdoors at this apartment in Sydney’s Point Piper. American walnut joinery by Glen Ryan and Associates. Grit-blasted‘AretusaLight’marbleflooringindoors and outdoors. ‘Empire’ sofa from Jardan. Arne Jacobsen‘Swan’chairandHansJ.Wegnercoffee table, both from Corporate Culture. Outdoor furniturefromRobertPlumbbyWilliamDangar. o n l y c o n n e c t Photographs ross honeysetT words nigel bartlett Capturing a harbour view isn’t simply a case of point and shoot. It’s about building an intimacy with the water and all its sights.
  2. 2. 126 “AS SOON AS YOU COME INTO THIS ROOM YOU FEEL AS IF YOU’RE FLOATING AMONG THE LEAVES. IT’S AS THOUGH THE FLOOR’S BEEN LAID ON THE BRANCHES.” O ne of the surprising challenges in designing a Sydney harbourside home is what to do with the view. Sounds like a simple problem with an easy solution: just point the windows at the water. But there’s more to it than that. At this apartment, for example, architect Andrew Burges was keen to ensure the occupants maintained a close connection with the harbour and all its sights, and that required a different mindset to that favoured in many waterfront homes. The apartment is one of two that Andrew designed on the site of a former family home in Point Piper. It is laid out over four descending floors, with living areas and kitchen on the entry level, the three bedrooms below, a separate loggia/garden level below the next apartment and, at the bottom, a self-contained ‘boatshed’ for house guests or informal parties on the water’s edge. With the connection to the harbour in mind, Andrew avoided creating enormous, expansive balconies that leave the occupants feeling remote and distant from the water. “That sort of very deep terrace creates a big separation, and I really wanted to create a much more intimate feeling,” he says. Windows in the main bedroom and living area wrap around the corner of the rooms to create a diagonal sightline across the harbour, taking in as much of the view as possible. And a second living area occupies what would have been part of the terrace in the hands of other architects. “Rather than just having one great big terrace running along the front, we’ve made what feels like an outdoor room that brings you close to the view,” says Andrew. An eight-metre-long window in that room takes in the upper branches of the large tree to the side of the building, creating the sensation of sitting in a treehouse. “As soon as you come into this room you feel as if you’re floating among the leaves,” says interior designer Christine Holman, who worked closely with Andrew. “It’s as though the floor’s been laid on the branches, then you walk in further and see the harbour. You become quite mesmerised.” While the home has a classic room structure, doors between each room are intended to be left open virtually all the time, again to maximise access to the views, sliding out of sight unobtrusively. And a mirrored wall at the rear of the kitchen reflects the harbour, despite being set deep into the apartment. Andrew and Christine chose finishes and materials with the location very much in mind. “There’s a kind of ostentatiousness in many waterfront homes that leads to a choice of colours and materials that’s quite incompatible with the harbour,” Andrew explains. “We wanted a look that felt opulent but in a casual way that related to the natural colours outdoors.” these pages A second living area, adjoining the kitchen, extends into a space that would have been a terrace in the hands of another architect. An eight-metre-long window down one side creates the sensation of sitting in a treehouse. The flooring is American oak and the sliding doors are framed in New Guinea rosewood. Interior designer Christine Holman picked the cowhide rug to suit the natural finishes. Sydney home
  3. 3. 128 sydney home “WE WANTED THE BOATSHED TO BE REFINED BUT ALSO ROBUST, HENCE THE USE OF CONCRETE AND WOOD.” thispage,clockwisefromaboveAmirroredwallattherearofthekitchenreflects the harbour views. Sitting in the boatshed, the jetty appears to run straight up from thewaterandintotheroom.Theloggiaisanotherspacefromwhichtocontemplate theharbour,withafencedgardenbeyondsothatchildrencanplayinsafety.OPPOSITE PAGEAbedbuiltintothewallallowstheboatshedtobeusedasaguestroom.Rough sandstonerelatesthelowerlevelscloselytotheharbour’srockedge.
  4. 4. 130 Hence, American oak flooring and American walnut joinery imitate the trees outside, Italian limestone walls and marble floors echo the colour of sand on the shore below, and the leaf-green upholstery on sofas and seating tie in with the foliage beyond the windows. “The trees play an important role, especially from the main bedroom,” says Christine. “When you lie on the bed, that tree frames the harbour icons. I find it quite beautiful, and we wanted to reflect that colour.” The two levels at the bottom of the building are spaces to truly get close to the harbour. On one, a loggia leads out to a fenced lawn that is secure enough for children to play in, while the ‘boatshed’ at the bottom creates a home away from home for the apartment’s occupants, with its own kitchen and bathroom for lazy afternoons by the water or relaxed get-togethers. And a double bed set into the wall means it can be used as a guestroom when needed. The look of these lower levels is quite distinct to that of the rest of the building, with natural sandstone exterior walls giving a rougher, more textured finish than the smooth, refined upper levels. The boatshed’s walls and ceiling are exposed concrete, wooden floorboards mimic the jetty outside, and access is via a sliding wooden door. “The aim was to create a completely different room right next to the harbour,” says Andrew. “We wanted it to be refined in its own way but also robust, hence the use of concrete, wood and rough sandstone. It’s more closely related to the rock edge.” And with the jetty seeming to run straight indoors, you can’t get more connected to the harbour than that. S p e e d r e a d Architect Andrew Burges and interior designer Christine Holman created this three-bedroom apartment in Sydney’s Point Piper. +The home has an intimate connection with the harbour, thanks to cleverharnessingoftheview.+Itavoidsostentation with understated and natural materials and colours. Lower levels have a distinct look to those of the upper levels, with rougher, more textured finishes. Sydney home thispageAfour-metre-longrecycledgreyironbarkbenchhadtobeliftedinbycraneandleftonsiteformonthsbeforethemasterbathroomwasreadyforitto beinstalled.‘Zuri’bathfromRogerseller.Santa&ColependantlightfromECCLighting+ Furniture.OPPOSITEPAGE Themaster bedroomwindowwrapsaround thecorner,givingadiagonalsightlinetotheHarbourBridge.MatthewJohnsonpaintingfromTimOlsenGallery.WalterKnollchairfromLivingEdge.ArneJacobsen ‘AJ’floorlampfromCorporateCulture.Andrew,ChristineandjoinerGlenRyanhand-pickedeachsheetof Americanwalnutveneerforthedressing-roomjoinery.

×