Style Counsel

One clever designer shows how heritage features can complement contemporary living.

It may be a relatively small claim to fame, but this elegant 19th-century house is among Melbourne’s first Boom Style terraces. It’s also significant for its ‘widow’s walk’, a turret named for the mariners’ wives who waited there anxiously for ships to return to shore. These features were just some of the attractions that drew Fiona Mason and James Kelly to the three-level property in 2018. Inside, however, the decor hadn’t been touched for 20 years, which left the home feeling tired overall. Cautious of the home’s heritage overlays that prohibited any alterations to the exterior, Fiona and James planned to give the terrace a simple cosmetic refresh. But with the assistance of architect Penny Kinsella, the couple realised more was achievable than they first thought. “Penny showed us that we could open up some spaces so light could penetrate from front to back. Her vision was amazing,” says Fiona.

Typical of townhouses of this style and era, the lowerground floor is accessed via a separate entrance two metres below street level. Unsurprisingly, the subterranean location made the entire lower-ground floor extremely dark.

“The brief was for light, light, and more light,” says Fiona. And thanks to Penny’s clever replanning of the layout within the existing footprint, Fiona got her wish.

By switching out the solid front door in favour of a steelframed glass one, Penny created an uninterrupted line of sight all the way through to the study and garden at the rear. She also installed skylights to draw as much natural light as possible into rooms without windows, such as the ensuite to the guestroom on this floor. “Skylights are a great solution for drawing light into dark spaces and they’re really affordable,” says Penny. “The light here is fantastic and the revised arrangement of rooms works beautifully,” says Fiona. “The home office, which overlooks the pool, was a hotly contested spot during lockdown.” Further down the corridor, the one-metre opening between the living room and library was enlarged to three metres wide and fitted with a set of steel-framed glass doors. A couple of steps down leads to a second study. “I never imagined the basement could be so completely transformed,” says Fiona.

Pennyessentiallyreconstructedthebasementbyremoving some jarring columns and replacing them with visually lighter steel beams. Airconditioning ducts were stripped

out in order to raise the ceiling height, and a few arches removed to create clear expanses of wall to accommodate the couple’s extensive contemporary art collection – some pieces by Fiona herself. As the basement lacked any significant decorative elements, Fiona surmises that it may oncehavebeentheservants’quarters.“Wehadmorefreedom here because there were very few features worth salvaging,” says Penny. Now decorated in Scandi-style white and limewashedtimber–withthosebeautifulartworksdelivering pops of colour – the overall feel of this basement level is simultaneously fresh, refined and relaxed.

On the ground level, where the terrace’s heritage features were largely intact, Penny planned to keep the rooms formal to showcase the architecture. It also made sense that the furnishings here were more traditional in style. To improve the connection and flow on this floor, Penny cut a secondary doorway between the separate kitchen and adjacent dining and living areas. While Fiona had wanted a colourful kitchen, Penny convinced her to paint the cabinetry a muted hue, Dulux Grey Pail, to reference the decor on the lower-ground floor and to provide a clean, neutral backdrop for their art. “Previously, the kitchen was cut off from the rest of the house but now it reads as an integrated space with views to the city skyline and the gardens,” says Fiona. “There’s always food and cups of tea on the go and it’s a very happy place to be.”

On the first floor, Penny focused on the main bedroom suite. The furniture was reoriented to make the fireplace the focus. Existing built-in cabinetry was removed to create more circulation space and a door to the dressing room filled in. “There’s new panelling and a concealed door to the dressing room near the stairs,” says Penny. “It’s actually left open most of the time as there is a lovely view as you approach the room, plus it brings a lot of light into the circulation space.” Elsewhere upstairs there are another two bedrooms, a sitting room and bathroom.

“Penny has an extraordinary eye for design,” says Fiona. “The house is a joy to come home to.”

Penny Kinsella Architects, Toorak, Victoria; pennykinsellaarchitects.com.au. Mirabuild,

Hawthorn, Victoria; mirabuild.com.au.

GROUND-FLOOR LIVING Zanotta ‘William’ sofa and Metalarte ‘Inout’ floor lamp, both Space. Elephant sculpture by Geoffrey Ricardo, Australian Galleries. Lasvit ‘Neverending Glory’ pendant light, Living Edge. Custom coffee table. Jewel rug, Bayliss. STREET ENTRANCE Dating back to the late 19th century, the ornate terrace is a fine example of the Boom Style architecture unique to inner-city Melbourne. The wrought-iron trims, chequerboard path tiles and decorative cornicing are original elements that the owners restored.

KITCHEN Above and opposite Carrara marble benchtops, Corsi & Nicolai. All-In-One HydroTap, Zip. Barazzo Cubo under-bench sink, Abey. Island painted Dulux Natural White, wall-side joinery painted Dulux Grey Pail. Normann Copenhagen ‘Bell’ pendant lights, Huset. Stools from Ebay. Painting by Yvette Swan. Platter, Mud Australia. GROUND-FLOOR LIVING Antonio Citterio ‘Kalos’ armchair, Space. Original marble fireplace and reconditioned cast-iron insert. Custom coffee table. Wall bees by Richard Stringer. Painting by Alyce Bailey, Handmark Gallery. Jewel rug, Bayliss. DINING Dining table, Miguel Meirelles Antiques. Chairs, Roy’s Antiques. Rabbit sculptures by Peter McLisky. Zakkia ‘Podium’ plant pot from Ivy Muse. Lasvit ‘Neverending Glory’ pendant light, Living Edge. Original Baltic pine flooring. B&B Italia ‘Button’ side table and Antonio Citterio ‘Kalos’ armchair, both Space.

LOWER-GROUND LIVING Steel-framed doors by Aplo. Prostoria ‘Cloud’ sofa, Collective Furniture. Erik Jorgensen ‘Insula’ coffee tables, Cult Design. Icelandic sheepskins, Hides of Excellence. Iceland rug, Bayliss Rugs. Artworks by Nick Goodwolf (above sofa), Graham Fransella (near door) and Fiona Mason (pencil sculpture). STAIRWELL VJ cladding was installed over the original brick walls leading from the basement to the ground floor. “Partly as a design detail, partly to conceal a multitude of sins,” says Penny. For similar cladding, try Easycraft. Douglas fir solid-plank flooring, Dinesen.

LIBRARY Zanotta ‘Maggiolina’ lounge chairs and Gubi ‘Grasshopper’ floor lamp, all Cult Design. Prostoria Polygon low table, Collective Furniture. The fire surround is made from Bedonia limestone from Artedomus; the chimneybreast is polished plaster. European oak-veneer joinery. Artwork at left by Mark Schaller. Rug, Tretford. Steel-framed doors by Aplo.

MAIN BEDROOM The fireplace is an original feature that has been restored. Artwork by Joanna Logue from Scott Livesey Galleries. Throw, Mondopiero. Theory rug, Bayliss Rugs. On mantel (from left) ceramic from Ivy Muse; smoky quartz; ceramic by Amy Lee Worthy. MAIN ENSUITE Above right Custom vanity with Carrara marble benchtop from Corsi & Nicolai. Carrara marble wall tiles, Buckley Ceramics. Eccentric tapware, Falper Ciotola basin, Falper Ciotola bath and Zero 55 toilet, all Rogerseller. Custom wall mirror. GUEST ENSUITE Right Carrara marble vanity, Corsi & Nicolai. Eccentric tapware, Rogerseller. Cloche wall light by Porcelain Bear. Custom mirror designed by Penny Kinsella. Wall tiles, Tiento Tiles. Ceramic vessel by Adele Jade. Hand towel, The Lab Organics.