URBAN THEATRE

[ Potts Point ]

A CLEVER DESIGN solution by Andrew Donaldson Architecture & Design delivered a couple retiring to enjoy the vibrant creative scene in Sydney’s inner east a versatile apartment in which to display their library and art collection as well as space for pursuits from digital photography to dressmaking. What was the brief? Our clients moved to the Kings Cross area for proximity to culture, with dreams of ageing in place through quiet reflection, cosmopolitan immersion and embracing their own creativity. Respecting the history and heritage of the 1928 Franconia building by architect Emil Sodersten, the client’s budget and desire to age in place, and the existing spatial constraints, we envisioned a single, bespoke joinery unit that links through its careful design multiple functions and requirements across multiple rooms in a single, focused design. What were the challenges of the space and how did you resolve them? Respecting the logic and material finishes of the architect’s original vision while delivering the brief with a contemporary spatial solution in a small area was a challenge. A number of activities had to be accommodated around the main insertion, an American white-oak timber bookshelf, display area and screening device. The relatively modest budget and the request for a high level of finish was also challenging. How would you describe the completed interior? Multifaceted, transformative and beautiful. What are some of your favourite elements? The interior architecture defers to Sodersten’s masterpiece. The furniture selections and artworks enriched the architectural insertion, with fittings deferring to the interior joinery itself to form a seamless whole. The pivotal design move was the insertion of the unit in the main living area but elevating it above the floor and ‘hovering’ it below the ceiling allows the space to feel considerably larger. There is now an area for writing, digital photography and a place to display paintings, books, objects and artefacts. What informed the selection of furniture, art, fittings and finishes? Some of the furniture, such as the 1950s chaise by Grant Featherston, ‘speaks’ to the curvaceous elliptical-shaped central unit in timber, which also adds a sense of warmth. Were the owners happy with the execution? Rosalie Lawler: We both wanted good, functional workspaces and ample storage for books, photography, files and craft needs. Early in the project Jérôme was hospitalised and unable to be involved. We aimed for St. Vincent’s Hospital and the architects to complete the project for his proposed return by Valentine’s Day – which was achieved. When friends first visit the comment is always ‘wow!’ andrewdonaldson.com.au

These pages, from left The original oak herringbone parquetry floors throughout the apartment were removed by hand, sanded and re-laid. Colour specialist Kerry Copp’s scheme saw the cement render, also original, painted in Dulux ‘Black Caviar’ on the columns and Porter’s Paints ‘Rubble’ on walls. The central joinery unit housing the gallery and library was designed by Andrew Donaldson Architecture & Design and built by Husk&Co in American white-oak solid timber and veneer with turned timber legs. Vintage Grant Featherston ‘Z300’ chaise lounge and mid-century glass vase from the owners’ collection. Entrance to the 1928 Franconia apartments in Potts Point, Sydney, designed by architect Emil Sodersten. The residence sits on Level 1, immediately over the Gothic cave mouth.

Photography TOM FERGUSON Production STEPHEN CRAFTI Styling WIRTH DESIGN

This page, clockwise from top Respecting the original architecture the American white-oak unit, which houses the owners’ collected mid-century glass and objects, skims below a beam to allow the decorative ceilings to be enjoyed and cantilevers above the restored timber parquetry floors. Colour design by Kerry Copp with walls and beams in Porter’s Paints ‘Rubble’. An artwork by Brent Harris, Into the forest (No.4) from 1998, is set against a feature wall painted in Porter’s Paints ‘Chinese Firecracker’ above a pair of Alvar Aalto ‘60’ stools and a vintage armchair. The joinery encloses a digital photography studio with custom metallic powdercoated photographic proofing surfaces and a writing desk attended by a Herman Miller ‘Aluminum Group Management’ chair by Charles and Ray Eames with its arms removed. The unit includes storage, areas to display art and a variety of spaces used for a number of purposes that overlap and can easily ‘morph’, depending on the activity. Opposite page Urisino Station – North artwork from 1996 by Joshua Yeldham.