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    Galerie Philia presents design exhibition informed by Le Corbusier at Cité Radieuse

    Galerie Philia has unveiled Héritages, an exhibition at the Le Corbusier-designed Cité Radieuse building featuring work by designers such as Rick Owens that respond to the Swiss-French architect’s theories of modernism.

    Héritages presents work by eight international designers and seven visual artists that reference the modernist theories pioneered by Le Corbusier, whose designs are known for their functionality and minimalism.
    A daybed by Arno Declercq features in the “resonances” room. Photo is by Maison Mounton NoirGalerie Philia joined forces with the Parisian arts magazine Eclipse to curate the exhibition at Le Corbusier’s iconic Cité Radieuse building in Marseille, which includes a range of both design and art.
    Spread across two rooms in an apartment, the exhibited designers respond to the theme of “resonances” with work that is heavily influenced by Le Corbusier’s theories, while the artists are guided by the theme of “dissonances” and present work that opposes the theories.
    Fabrice Hyber created an oil painting for the “dissonances” space. Photo is by Maison Mounton NoirIn the first room, a brutalist yellow chair by Italian designer Pietro Franceschini is displayed alongside other work, including a geometric bronze candlestick crafted with clean lines by Californian fashion designer Owens.

    “For the ‘resonances’ room, I selected sculptural designers that are deeply influenced by Le Corbusier,” Galerie Philia co-founder Ygaël Attali told Dezeen.
    “Le Corbusier’s theory, especially in his writings published in the 1920s, was provocative and militant both in his refusal of decoration without functionality, his industrial-inspired aesthetic, and his clear and marked difference between fine arts and design.”
    A brutalist yellow chair by Pietro Franceschini features. Photo is by LodoclickAlso featured in this space are pieces such as a chunky daybed by Belgian designer Arno Declercq crafted from patinated and raw steel with sheep’s wool.
    Contrastingly, the “dissonances” room includes pieces by artists that intend to question Le Corbusier’s theories. For example, artist Flora Temnouche created three abstract oil paintings featuring organic or curved forms with soft lines.

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    “Le Corbusier’s theory almost denies a particular relationship with nature,” Temnouche told Dezeen. “My paintings show the inertia of the plant, diminished under the influence of humans.”
    “I was inspired by the idea of this meager relationship that persists despite everything in Le Corbusier’s work and theories.”
    Jojo Corväiá designed a table using volcanic clay. Photo is by Maison Mounton NoirOther works in this room range from an eclectic table by visual artist Jojo Corväiá crafted from volcanic clay and an ethereal, blown-glass light sculpture by Jérôme Pereira.
    “All of the works in one way or another are an answer to Le Corbusier’s theoretical and aesthetic heritage, either as a mark of resistance or a touching homage to his legacy,” concluded Attali.
    The exhibition intends to echo its location. Photo is by Maison Mounton NoirHéritages takes place until July at Le Corbusier’s modernist housing complex Cité Radieuse to coincide with the building’s 70th anniversary.
    Galerie Philia is an international contemporary design and art gallery with locations in Geneva, New York City and Singapore.
    Previous Galerie Philia exhibitions include a show that presented Latin American and European sculptural design and an exhibition of furniture by emerging Italian designers created in response to the work of Owens.
    The photography is by Lodoclick and Maison Mouton Noir.
    Héritages takes place at Kolektiv Cité Radieuse, Unité d’Habitation Le Corbusier, Marseille, France, until 2 July 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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    New Practice brings warmth and colour to Glasgow's century-old Kinning Park Complex

    A historic community centre that was saved from demolition by activists – including Scotland’s first minister, Nicola Sturgeon – has been given a new lease of life by architecture studio New Practice.

    New Practice founders Becca Thomas and Marc Cairns opted for a light-touch approach in the renovation of Kinning Park Complex, a century-old former school building in the southwest of Glasgow.
    A new roof dotted with skylights makes the building weather-proof againAlthough the building was in a poor state, with an extremely leaking roof, faulty electrics and a broken heating system, the Glasgow-based architects’ approach was to save as much of the existing structure and interior as possible.
    They adopted a reuse and recycle strategy, while also making subtle changes that improve the building’s functionality and accessibility.
    Pink denotes the community space on the first floorThe revamped interiors are animated by a system of colour-blocking, which helps to ensure the building can be easily navigated by people of all literacy levels.

    “One of our key aims was to keep the building feeling familiar,” explains Thomas in a video about the project.
    First-floor workspaces are picked out in yellow”Lots of people have hugely strong memories and love for the building and we didn’t want to change that too much. By taking this adaptive reuse approach, we just kept the building feeling like itself and tried to elevate that,” she said.
    “Every choice to remove something original has been taken only where we absolutely needed to remove that, for the safety and for the future of the building.”
    Kinning Park Complex was originally a school buildingKinning Park Complex first became a community centre after the school closed down in 1976, but looked set for demolition when the council announced plans to close it in 1996.
    Local residents and campaigners, including a then-25-year old Nicola Sturgeon, staged a sit-in to protest the closure. After 55 days, the council agreed to let the community take over the building’s running.
    The building stayed in use for another two decades, but over time its problems became hard to ignore.
    A reconfigured ground floor features a large community kitchenThe trustees, led by local resident Helen Kyle, approached New Practice after seeing Many Studios, a creative hub that the architects created in a converted Glasgow market hall.
    The challenge was not only to refurbish the building but also to help support the community’s ambition to buy the property, by improving opportunities for income generation.

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    Thanks to government and lottery funding, the architects were able to plan a full overhaul of the interior in collaboration with engineering firm Max Fordham.
    The roof was replaced as sensitively as possible, while the interior layout was gently adjusted to make room for a lift.
    A double-helix staircase, originally sub-divided, has been opened upThe atrium, which was once subdivided to separate boys and girls, is now opened up. The result is a space that feels generous and bright, thanks to the skylight overhead.
    Three floors of classroom and office spaces have been adapted for a range of uses. A community kitchen can be found on the ground floor, while the second level has become a co-working space.
    The building was taken over by the community following a sit-in in 1996″A key decision that we had to make was to ensure that the work that we were doing in the building didn’t sanitise this rich, abrasive history of activism and community-led dialogues and debates,” said Cairns.
    “We really tried to keep that at the forefront of our thinking.”
    Original wood floors have been rejuvenatedFlexible partitions allows the ground- and first-floor halls to be easily subdivided if required.
    Other spaces include a quiet room that could be used for anything from prayer to breast-feeding, and a series of small studios and workshops.
    The restored handrails are painted in the same burgundy they were in the pastRealising the project in the context of the pandemic proved a challenge. With the architects unable to be on site all the time, they found it difficult to fully realise their ambition to reuse as much as possible.
    Thomas and Cairns recall coming to site to find elements such as doors and balustrade railings had been thrown away by builders, despite their instructions.
    Nonetheless there are still plenty of recycled details to be found, including a framed patch of original wallpaper and a series of storage cabinets built into the walls.
    Original details, like a patch of ageing wallpaper, are celebratedThey hope the building can help to become a positive example of adaptive reuse, particularly in light of the COP26 environmental conference that recently took place in Glasgow.
    This sentiment is echoed by Sturgeon: “The challenge of refurbishing and imagining a building like this, for decades to come, is fantastically dynamic for the architecture and design industries,” she said.
    “We just took it for granted that buildings would reach the end of their natural life and then they would sort of fall into dereliction, and thankfully communities decided that that wasn’t going to happen. So we’ve learned how to reimagine things for the future and preserve for the future.”
    Photography is by Will Scott. Video is by Pretend Lovers.

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    Yinka Ilori gives London studio colourful revamp

    Designer Yinka Ilori has collaborated with British architect Sam Jacob to give his London studio and office a bright revamp.

    Ilori worked with Jacob to transform the standard industrial-style unit into a bright and lively flexible workspace.
    Yinka Ilori collaborated with Sam Jacob to redesign his studio”We wanted to rethink what an artists’ studio is and look at how we could experiment with space to create a flexible and multifunctional environment that could respond to the different needs,” Ilori told Dezeen.
    “Yinka’s brief at the outset was a really great question about what a designer’s studio could be: how it could be a place to create but also a place to share, to host and to communicate,” added Jacob.
    Ilori’s office space is largely pinkEntirely painted in the bright tones often used within Ilori’s installations, furniture and artworks, the space is divided into three distinct zones.

    These areas, which will be used as an office, exhibition area and archive with a kitchen, are divided by curtains and sliding doors so that they can be combined into a large space.

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    “The aim was to create distinct areas in the space, and we did this using different materials from solid walls, sliding doors, felt and translucent curtains so that there is a flexibility in the way the space can be arranged,” explained Jacob.
    “Plus the way Yinka uses colour has a real effect on the definition, organisation and feel of space.”
    A transparent curtain divides two spaces”We wanted the studio to have distinct zones but at the same time be able to open or close spaces to create privacy,” explained Ilori.
    “We’ve used a number of translucent and solid curtains as well as large sliding doors to my office which means all the spaces can feel connected or we can separate different areas out,” he continued.
    “We’ve also used colour to define the function of the space so my team and my work area is dominated by pink, while the communal spaces and display spaces use blues and yellows.”
    Ilori’s office is accessed through a pair of sliding doorsOverall, Ilori believes that the collaboration with Jacob has resulted in a unique office that makes the most of the space.
    “Sam and I have quite a lot of common ground in terms of our design aesthetic so it was a really interesting experience to be able to share our ideas,” he said.
    “We were both able to see things through the others’ perspective and specialism which is what has resulted in us creating something really quite unique.”
    Furniture is stored in the archive space”We spent a lot of time discussing the space together to see how we could make it work for me,” he continued.
    “It was through those discussions that we were able to shape the design to make sure it was as practical as possible and could really function as a contemporary studio.”
    Ilori recently created a colourful maze-like installation for the V&A Dundee and designed a rainbow-coloured basketball court in Canary Wharf.
    Jacob’s recent projects include London’s Cartoon Museum, an events space for the ArtReview magazine and a contemporary neolithic shelter in Shenzhen.
    The photography is by Lewis Khan.

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    Space Caviar creates “liquid landscape” inside Uzbekistan pavilion at Venice Art Biennale

    Italian studio Space Caviar has constructed Dixit Algorizmi: The Garden of Knowledge, an indoor garden with reflective steel steps for the Uzbekistan pavilion at this year’s Venice Art Biennale.

    The installation at the Uzbekistan National Pavilion mirrors the interiors of the Quarta Tesa, an old shipbuilding warehouse at the Arsenale – one of the international contemporary art exhibition’s two main sites.
    Dixit Algorizmi: The Garden of Knowledge is the country’s first pavilion at the Venice Art BiennaleThe layout of the 500-square-metre garden is informed by the garden at the House of Wisdom, an academic centre in 9th-century Baghdad where medieval scholars, including the renowned Persian mathematician Muhammad al-Khwarizmi, studied.
    Visitors at the 59th Venice Art Biennale can walk across the shiny floor of the installation and sit on glossy steps around what resemble traditional water basins.
    Space Caviar drew on the forms of historic Islamic gardens”Gardens are very important in the tradition of Islam and the Arabic tradition in many parts of Central Asia,” said Joseph Grima, co-founder of architectural research studio Space Caviar.

    “While today we’re accustomed to thinking of buildings and enclosed spaces such as research labs and universities as the space for the production of knowledge, in the days of al-Khwarizmi, gardens were typically the points of encounters, of discussion,” Grima told Dezeen.
    The pavilion is inside the Venice ArsenaleSpace Caviar constructed the interiors of Uzbekistan’s first pavilion at the Biennale in Venice from pine wood and sheets of stainless steel, which Grima chose to create the illusion of water.
    The material choice also means that when the installation is dismantled at the end of the seven-month-long Biennale, the steel can be melted and turned back into metal sheets once again.
    Stainless steel covers the floor”Stainless steel was chosen to create the effect of walking on water — one of the perceptions that you have when you are inside the pavilion is that you are in a liquid landscape,” Grima explained.
    “This was one of the effects that we wanted to achieve with the pavilion, we wanted to create a landscape that was kind of a miracle, that suggested a dream more than a literal garden,” he added.
    “We see it as a technologically augmented landscape in that sense.”

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    Throughout the Venice Art Biennale, the Uzbekistan pavilion will host a program of workshops and public events on the history of technological development in art with digital artists such as Andrés Reisinger.
    Visitors will also be able to listen to Uzbek piano compositions against a backdrop of floral sculptures and hanging clouds of sea lavender by Berlin-based Studio Mary Lennox.
    The steel will be melted into sheets and reused when the pavilion is dismantled”We tried to transform our pavilion into an Islamic garden so that visitors could sit by the water, listen to various sounds, smell the air and enjoy the botanic installation,” said Gayane Umerova, executive director of the art and culture development foundation under the Ministry of Culture of the Republic of Uzbekistan.
    “The Islamic garden is a place of rest and reflection par excellence, it provides means for contemplation through sensory experience – aromas, plants, water,” she told Dezeen.
    “Undulating waters and ambiguous lines together with plants and smooth surfaces offer a meditative yet contemporary attitude to the interior of the pavilion, bringing together traditions and new technologies,” she continued.
    Bunches of sea lavender hang from the ceilingGenoa-based Space Caviar was founded by Joseph Grima and Tamar Shafrir in 2013. The studio focuses on the intersection between design, technology, critical theory and the public space.
    Previous projects have included an algorithmic journalism machine that produces magazines on the fly and an exhibition at Biennale Interieur that explored how perspectives on the home have changed over time.
    Last year Grima took part in the Dezeen 15 virtual festival, where he proposed a new type of non-extractive architecture that conserves the earth’s resources.
    Photography is by Gerda Studio.
    Project credits:Curation: Space Caviar and Sheida GhomashchiCommissioner: Gayane Umerova
    Venice Art Biennale takes place from April 23 to November 27 in Venice. See Dezeen Events Guide for up-to-date details of architecture and design events around the world.

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    Studio McW carves up “post-lockdown” London home extension with darkened oak joinery

    Umber-coloured oak joinery divides the interior of this end-of-terrace home in London’s Willesden Green, which has been extended and refurbished by local architecture firm Studio McW.

    The two-storey Aperture House now features an additional pitched-roofed volume at its rear, that can be accessed via the main home or a second, less formal entrance set at the side of the property alongside a small planted courtyard.
    A darkened oak cabinet sits under Aperture House’s pitched roofThe residence’s owners, a journalist and a psychiatrist, worked from home throughout the coronavirus lockdowns of 2020 and grew to dislike using their kitchen, which was visually cut off from the rest of the house and the outdoors.
    They tasked Clerkenwell-based Studio McW with establishing a more versatile “post-lockdown” extension that can be used for cooking, dining, working and entertaining.
    The cabinet transitions into low-lying cupboards in the kitchenStudio McW’s approach sought to find a middle ground between a more sequestered layout and a vast, open-plan space, which can often feel impersonal according to the firm’s director Greg Walton.

    “I think lockdown has certainly compounded the failures of modern open-plan living,” he told Dezeen.
    “Open-plan layouts offer little privacy and occupants can feel a bit lost in the room. Residential architecture needs to work harder to meet new demands.”
    Walls throughout the extension are finished in plasterIn the case of Aperture House, this is achieved using blocks of dark-stained oak joinery. The largest is a cabinet, which is nestled beneath the eaves of the roof and acts as a divider between the external entryway and a small dining room.
    At its centre is a rectangular opening that offers a place to perch and remove shoes on one side, while in the dining area it acts as a reading nook and an additional seat when hosting larger gatherings.
    “By using joinery to break up the spatial layout you have the opportunity to create, in the same room, separate spaces to eat, cook, welcome visitors and relax whilst still maintaining a form of connection,” Walton said.
    In front of the kitchen there is space for a lounge areaThe cabinet transitions into a low-lying oak cupboard in the kitchen, which allows residents to rustle up meals while keeping the garden, guests and each other in sight.
    To the side of the kitchen is a series of taller oak cabinets, interrupted by another nook where small appliances like the kettle and toaster can be tucked away to keep the counters free of clutter.
    Just in front of the kitchen, Studio McW made space for a lounge area where the owners can retreat to work or relax during the day.
    Another opening in the joinery provides room for small appliancesRather than installing glass doors all the way along the home’s rear facade, Studio McW opted to front the extension with a pivoting glazed panel.
    “I think the ubiquitous sliding or bifold doors across the rear of a London terrace are becoming an unromantic ideal,” Walton explained. “They don’t offer places for respite and repose, there is no shadow or play of light.”
    “In this house, openings in the new extension are set back within deep, angled brick thresholds, which are designed to focus views and draw in light at specific times of the day.”
    The extension is fronted by a pivoting glass doorAnother example of this is the off-centre skylight that punctuates the extension’s roof and casts shafts of light into the plaster-washed interior.
    “Just like in photography, the apertures in a property affect focus and exposure,” Walton said.
    “Often, the act of bringing light into a home is interpreted as putting in as many windows as possible. But in doing so you create all the characteristics of an overexposed photograph.”
    The door is set within an angled brick recessA growing number of homes are starting to reflect the effects that the coronavirus pandemic has had on people’s lifestyles.
    Earlier this year, the co-founders of Studiotwentysix added a plywood-lined loft extension to their own family home in Brighton to make room for more work and rest areas. With a similar aim, Best Practice Architecture recently converted the shed of a Seattle property into a home office and fitness room.
    The photography is by Lorenzo Zandri. 

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    Daytrip transforms east London terrace house into understated apartments

    Design studio Daytrip has taken a less-is-more approach to the renovation and extension of this Victorian terrace house in London’s Clapton, which is now home to three separate apartments.

    The 250-square-metre Reighton Road development was designed as a “minimalist sanctuary” that could act as a blank canvas for residents’ belongings.
    A two-bedroom flat takes over Reighton Road’s ground floor and two basement levels (top and above)”A good home should be flexible and speak of its owners,” explained Hackney-based Daytrip. “The ability to cultivate and populate it over time with art, objects and personal items makes the home unique.”
    The largest of the flats has two bedrooms and takes over the building’s ground floor as well as two new subterranean levels, which are illuminated by a number of lightwells.
    Another apartment is self-contained on the building’s first floor and a third occupies the second floor and a new loft extension.

    Walls in the apartment’s kitchen are finished with tadelakt plasterIn the bottom apartment, the first basement floor accommodates a pair of spacious bedrooms, both of which were finished with poured concrete floors.
    Below that, the second subterranean level is meant to serve as a versatile studio-like space, where the residents can do home workouts or indulge in artsy hobbies.
    The kitchen’s rear wall is finished with grey bricksThe ground floor houses the apartment’s main living spaces including a new kitchen suite with handleless alabaster-white cabinetry.
    Save for a grey brick wall at the rear of the room, surfaces were washed with creamy tadelakt – a traditional lime-based plaster from Morocco.
    “It’s a purposely minimal and subdued kitchen, reserving the chaos to the cooking,” the studio said.
    The living room features white-oiled oak flooring and restored cornicingAt the front of the kitchen are wide glass doors that can be slid back to access the garden.
    London-based landscape design studio Tyler Goldfinch was brought in to give the paved outdoor space a wild, textured look using tiered planters overspilling with different types of grasses.
    There is also a silver birch tree surrounded by a circular bed of pebbles.

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    Unlike the rest of the apartment, the living room was finished with white-oiled oak flooring while the ceiling’s original cornicing was restored. These same features also appear throughout the other two apartments on the upper floors.
    To create a sense of cohesion, all three flats were styled by East London galleries Beton Brut and Modern Art Hire, which carefully curated a mix of Italian and Japanese furnishings for the development.
    The other apartments on the upper floors also feature white-oiled oak flooringMany of the pieces were crafted from velvet, boucle or raw timber, bringing a sense of warmth and tactility to the interiors.
    With this aim, all of the bathrooms were also finished with tadelakt walls and limestone floors.
    All furnishings were selected by Beton Brut and Modern Art HireThis is the second residential project in Clapton from Daytrip founders Iwan Halstead and Emily Potter.
    In 2020, the duo overhauled a five-storey townhouse in the east London district by turning its dated 1970s-style rooms into serene white-washed living spaces.
    The photography is by Jake Curtis.

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    Four-storey spiral staircase forms focal point of BSP20 House in Barcelona

    A towering spiral staircase and a golden kitchen are some of the features that Raúl Sánchez Architects has introduced in its renovation of this townhouse in Barcelona’s Borne neighbourhood.

    BSP20 House has been in the making since 2013, when Raúl Sánchez Architects was approached by the building’s owners to turn it into a live-work space where they could stay during visits to the city.
    A white spiral staircase rises up from the ground floorHowever, due to regulatory issues, construction works didn’t begin for another seven years. During this period the already dilapidated building fell into further ruin, and at one point was even used as a squat.
    When the renovation finally got underway in August 2020, Raúl Sánchez Architects decided to completely gut the building, only leaving behind the four exterior walls and roof.
    This level of the home also features a brass kitchen suiteAs a result, three new floor levels have been inserted, each installed in such a way so that they don’t touch the building’s front or rear facades.

    Some of the resulting gaps have been filled with panes of glass, allowing residents to steal glimpses of different levels of the home.
    The staircase grants access to each of the home’s four levelsA huge void on the right side of BSP20’s interior now accommodates a white spiral staircase that winds up through the ground, first, second and third floors, all the way to the decked terrace on top of the building.
    Positioned directly above the stairs is a glazed opening that lets natural light filter deep into the plan.
    Rooms have largely been left empty so they can be used for different purposesSeeing the building in such a bare state at the beginning of the renovation process encouraged Raul Sanchez Architects to keep its rough, time-worn brick walls.
    “Those four walls, over 15 metres high, are a museum of the building’s history, where any trace of its construction, and of its use, will be left unaltered, exposed in all its crudeness,” said the studio.
    Raúl Sánchez Architects has preserved the building’s original brick wallsA similarly hands-off approach has been taken with the rest of the interior; most rooms have been largely left without fixtures and fittings so that, if necessary, they can be used for different purposes in the future.
    On the ground floor there is a kitchen, its cabinetry crafted from lustrous brass.
    “In terms of materiality, a certain refinement has been pursued in the new elements to be implemented, in opposition to the crude expressiveness of the existing walls, conscious that the space must house a home,” explained the studio.
    Natural light seeps in from a glazed opening above the staircaseOn the second floor there is only a bathroom lined with cream-coloured lacquered wood, finished with gold-tone hardware.
    The electrics, air-conditioning system and telephone wires have also been concealed within six steel tubes that run upwards through the home.
    Pale lacquered wood lines surfaces in the bathroomWhen it came to restoring BSP20’s facade, the practice had to follow strict heritage guidelines – but it was granted more freedom in the appearance of the front door.
    It’s now clad with three different types of aluminium, and features a graphic rhomboidal design that nods to the patterned hydraulic floor tiles seen inside the house.
    The home was given a new geometric-print front doorRaúl Sánchez Architects has completed several residential projects in its home city of Barcelona.
    Others include The Magic Box Apartment, which features a huge gold wardrobe, and Atic Aribau, which has bright, stripped-back interiors.
    Photography is by José Hevia.
    Project credits:
    Architecture: Raúl SánchezArchitecture team: Valentina Barberio, Paolo BurattiniStructure consultant: Diagonal ArquitecturaEngineering: Marés Ingenieros

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    Luke Fry squeezes extension behind bungalow in Melbourne

    At the back of a narrow Edwardian bungalow in Melbourne, the studio of Australian architect Luke Fry has added a contemporary extension with greyscale interiors.

    The semi-detached bungalow, called Ripponlea House, is set down a tree-lined street in the titular Melbourne suburb and belongs to a young family.
    The owners initially wanted to turn their home into a two-storey property. But, undeterred by the bungalow’s small footprint, Fry instead opted for establishing better quality living spaces at ground level.
    Luke Fry’s Ripponlea extension features an open living and dining areaThe studio knocked down the entire rear of the house, preserving only a couple of rooms at the front of the plan.
    In its place now stands a lengthy volume that accommodates a dining-cum-living area, kitchen, bedroom and bathroom.

    A grey linen sofa and a couple of boucle armchairs lie at the heart of the lounge, accompanied by a wood burner and low-lying bench.
    The kitchen and dining area adjoin a smaller internal courtyardThe space is fronted by expansive three-by-three-metre glass doors that had to be lifted onto the site by crane.
    These can be slid back to grant the owners access to a paved garden with an L-shaped concrete seat in its corner, which is inset with a greenery-filled planter.
    To further amplify the home’s connection with the outdoors, Fry created a couple of smaller internal courtyards including one adjoining the kitchen.
    Durable materials like oak and stone can be seen throughout the interior”We focused on maximising the tight single-fronted site as best we could by carving courtyards into the building to enhance natural light and its connection to the landscape,” Fry explained.
    “The design, both internally and externally, is one that creates a sense of calm.”

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    The kitchen features oak cabinetry and a stone-topped island – materials that the studio says are timeless and durable. Oakwood also lines sections of the floor, while most of the brick walls were simply washed with plaster and sealed with wax.
    A corridor punctuated with a circular skylight leads through to the extension’s moody bedroom, which is decked out exclusively in grey tones.
    Grey tones permeate the bedroomIn the adjacent bathroom, an oak-framed washstand sits across from a deep-set concrete tub.
    “It’s hard for me to look past the concrete rendered bath as my favourite element,” Fry explained. “It was experimental for us and something which we are truly proud of.”
    A concrete tub features in the bathroomLuke Fry founded his eponymous studio in 2014.
    Ripponlea House joins a number of other design-focused homes in Melbourne including the Grange Residence by Conrad Architects, which is clad in acid-etched marble, and Pony by Wowowa, which features a scalloped metal roof.
    The photography is by Timothy Kaye.
    Project credits:
    Architecture: Luke Fry Architecture and Interior DesignBuilder: Cote Constructions

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