MODERN FAMILY
This Brutalist Beach House on Sydney’s Northern Beaches contrasts warm timber against cool concrete; copper, crystal and brass against plush velvet and gaping views of blues skies and seas to warm up minimalism.
A penchant for modern architecture results in a MOSMAN home that incorporates the movement’s philosophy with the Australian lifestyle. ENYA MOORE explores the multi-layered residence that allows its owners to live in harmony with the surrounding environment.
Of one of his most iconic works, pioneering modernist architect, Mies van der Rohe, once said: “If you view nature through the glass walls of the Farnsworth House, it gains a more profound significance than if viewed from the outside. That way, more is said about nature – it becomes part of a larger whole.”
The weekend retreat that Mies was commissioned to design and construct near the city of Plano in Illinois exemplified much of his approach to architecture and spoke volumes about the modernist movement. The striking, white, ‘skins-and-bones’ structure demonstrated a minimal framework where the inhabitants could exist in harmony with nature.
When Peter and Kirsty first walked onto the site that they purchased in Mosman, the desirable suburb on the lower north shore of Sydney, their task was immediately clear. Their ambition for their new home resonated with Van der Rohe’s vision for Farnsworth. “All you could see was the sky and water – we had to maintain it,” Peter recalls.
Peter, an avid fan of modern architecture, was set on creating a home that would allow a close relationship with the great outdoors. Mosman shares, in aesthetics, materials and concept alike, much with Farnsworth House. Kirsty, despite playing an integral role in the realisation of the family home, was not always a modern architecture enthusiast. “It’s actually
PREVIOUS | THE MOSMAN BEACH HOUSE WAS DESIGNED BY SOUTH AFRICAN FIRM SAOTO IN COLLABORATION WITH SYDNEY-BASED TKD ARCHITECTS. OPPOSITE | WOODEN DOUBLE DOORS ALLOW ENTRY TO THE MOSMAN HOUSE FROM STREET LEVEL. ABOVE | THE LIVING-CUM-DINING ROOM OFFERS UNOBSTRUCTED VIEWS OF THE HARBOUR.
an irony that Pete liked the modern home,” she smiles. “I didn’t because I came from a traditional federation house. Since we built this place I have gotten more and more into mid-century architecture and learning about the architects.”
Unlike Farnsworth house, Mosman is not set on a secluded meadow surrounded by trees. Recessed into the hills of one of Sydney’s most desirable suburbs, the architects had to work hard to maintain a connection with nature unobstructed by the countless properties surrounding them.
The monumental house achieves this through the culmination of a number of factors. Stepping through the imposing wooden double doors located at the main street level entrance, visitors are greeted immediately by a magnificent view of the harbour, interrupted only by bobbing sailboats. This scene stays with you as you venture around the house, discovering hidden nooks and discreet crannies. While the house itself is built from imposing, exposed concrete slabs, the innate feeling of being at once, inside and outside, is striking.
Split across three levels, the living space could be read as an ode to modern architecture. The flexible and open interior allows the family
Bolts of blue constantly remind visitors of the dazzling sky and shimmering sea that lies beyond the grey walls.
the freedom to experience and enjoy the house uninhibited, while the intense connection with nature remains constant. Not only is there the arresting indoor–outdoor quality, the largely concrete and glass structure continuously incorporates flourishes of nature; from smatterings of succulents to peep-through windows that reveal thriving gardens. The best example of said windows is the one that acts as a splashback in the kitchen. Instead of washing dishes, head down, engrossed in scrubbing, one has the opportunity to lose themselves in a miniature, enclosed jungle. Elsewhere, bolts of blue – electric in Melbourne-based Kerry Armstrong’s Storm Comes Early #1, royal in the opulent velvet armchairs by American modernist Milo Baughman and marine in Patricia Urquiola’s Tufty Time sofa – constantly remind visitors of the dazzling sky and shimmering sea that lies beyond the grey walls.
Not only do Kirsty and Peter have a good historical understanding of architecture, they also have a solid grasp of what is involved in building a house. Mosman is the third house they have developed and, with a build of 22 months and a commitment of four years, the couple has perhaps flown beyond the ranks of the amateur property enthusiasts. While their home is undoubtedly a labour of love, crafted with care by its proud owners, its success is thanks to a whole cast of actors. Kirsty and Peter sought out an international mix of architects and designers to create a dream team of sorts. After a few visits to South Africa, the couple became familiar with the work of Cape Town-based architecture firm SAOTO.
They were so enamored with the firm’s portfolio, they enlisted the practice for the project, despite the long-distance relationship it required. With Kirsty and Peter’s previous experience, they understood they could not realize the project without the help of a local outfit. In that respect, Tanner Kibble Denton Architects (TKD) was an obvious choice. Working in close collaboration with their South-african counterparts, TKD brought an important understanding of the locality to the project, particularly in terms of materiality. One of TKD’S principal architects John Rose explains; “In SAOTO’S design, there is materiality suggested but that materiality is from a South African point of view so we had to work out how to apply that to Australian conditions.” In addition to two architecture firms, Sydney interior designer, Alexandra Kidd was brought in to bring together the interior elements.
Despite the simplicity that has been achieved in the design, the complexity of the project defines it. Realising so many interlinking, open spaces, without losing the feel of a family home, was an element that Kirsty and Peter were keen to get right. “We wanted to create a sense of family and connection – the void spaces
open up the house,” explains Kirsty. “It can’t be a precious house or an art gallery. With kids, it has to be a lived-in home.” A tough task when working predominantly with glass and concrete as materials. However, a layered approach to materials means that rich fabrics and stand-out surfaces create a tactile interior that warms the colder base materials. This can be seen in the sleek wooden floor-to-ceiling cabinets in the dining room, the richly-veined marble in the powder room and the velvet-upholstered Platner lounge chair by Knoll in the master bedroom.
While the majority of the home speaks of a quiet elegance, a strong connection between the natural and the manmade, and distinct spatial harmony, there are some more eccentric moments. These ‘moments’ are perhaps testament to Kirsty’s Melbourne roots. Describing her favourite space, the powder room, as “very Melbourne”, Kirsty has incorporated Melbourne’s own Christopher Boots both here and throughout the house, too. His Prometheus wall sconce made from an eclectic mix of brass, quartz, crystal, iron and polymer is striking in the powder room, while his Phasmida pendant light takes pride of place in the entrance hall. In the famous words of Mies: “God is in the details”.