Homing Instinct
Belle Magazine Australia|August - September 2020
Once the domain of pigeons, this Victorian-era terrace has been revived with an infusion of light and space and furnished with an enviable flock of modernist classics.
Chris Pearson

This page Fronte del Porto (On the Waterfront) original 1950s Italian movie poster. Divergence 1 painting by Taj Alexander from Modern Times. Original floor stained in Feast Watson Black Japan. Opposite page Jeanneret Chandigarh-style chairs handmade by the owner under the tutelage of Stuart Faulkner of Heartwood Creative Woodworking. Flos ‘Snoopy’ lamp from The Conran Shop. Thonet ‘No.18’ and ‘B9’ dining chairs from Anibou surround a Knoll Studio ‘Tulip’ dining table bought vintage. ‘Zaza’ sofa from King Living. Vintage Afghan Kyber Mori tribal kilim. Tom Dixon ‘Screw’ marble-topped table from De De Ce. Walls in Dulux Mt Aspiring. Was War Won poster by Sterling Ruby from the Gagosian gallery. Night Water I photograph by Sam Taylor Johnson from the White Cube gallery. Six prints by Robert Mapplethorpe. On the mantel, Dollar Sign screenprint after Warhol done by the owner and ‘Tree Trunk’ vase from Hay. Mirror in custom steel frame from Majestic Glass.

This page George Nelson ‘Saucer Bubble’ pendant from Living Edge. Cassina ‘523 Tabouret Méribel’ and ‘524 Tabouret Berger’ stools in walnut by Charlotte Perriand from Space. Vase from Spence & Lyda. Cubist Land II by James Watkins. Cassina Le Corbusier special-edition ‘LC1’ UAM chairs from Space. Opposite page Thonet ‘No.18’ and ‘B9’ dining chairs from Anibou surround a Knoll Studio ‘Tulip’ dining table bought vintage. Bowl and vase both from Spence & Lyda. Tolomeo ‘Basculante’ pendant light from Artemide. ‘Tree Trunk’ vase on mantel from Hay. Largescale photograph by architect Tom Ferguson of the back of the house during renovation.

Old meets new in this 1890s heritage terrace in Sydney’s inner east. But not too intimately – rather they brush against each other, with a clear distinction between the two. The words of UK art historian Roy Strong resounded in the owner’s mind when he began its renovation with architect Tom Ferguson of TFAD.

“Strong said of restoring heritage buildings, ‘There is a fair balance to be kept between conservation and mummification’,” says the owner, a self-confessed modernist. “I didn’t want to mummify the building. My intention was to preserve and restore what I could, but I didn’t want a Victorian pastiche.” And in his friend, Tom, he found the perfect partner for the project. While always mindful of the origins of the grand four-level home, the architect has overlaid it with a crisp modernist aesthetic that ensures it is timeless.

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