Houzz Tour: Art Deco Elevator Lifts Home to New Heights
A four-level harbourside townhouse elegantly shrugs off its former life with a dazzling renovation
Janet Dunn
9 October 2015
Houzz Australia Contributor. Former NZ House&Garden writer and stylist, and avid interior design enthusiast. Ex-restaurateur and caterer, with a Professional Certificate in Gastronomy, University of Adelaide.
Houzz Australia Contributor. Former NZ House&Garden writer and stylist, and avid... More
“It’s not every day you are asked to design a vertical house over four floors with a lift between to link them,” says architect Luigi Rosselli. “The client had lived in New York and admired the Art Deco elevators in apartment blocks there – central to his brief was a re-creation of one of those elaborately-detailed glass and metal filigree lifts.”
The owner of this home bought the Sydney building some ten years prior to this architectural and interior revival project, after several renovations had denuded the property of any vestiges of its Art Deco beginnings. Now it once again boasts the glamour and grace of the period, reinterpreted in a comfortable and contemporary harbourside setting.
Houzz at a Glance
Who lives here: A professional couple
Location: Sydney’s Lower North Shore
Year completed: 2013
Size: 3 bedrooms plus guest studio, 3 living areas, 2 ensuites, main bathroom, 2 powder rooms
Architect: Luigi Rosselli Architects
Interiors: Alexandra Donohoe, Decus Interiors
That’s interesting: The couple sometimes share their home by offering accommodation to members of the refugee community
The owner of this home bought the Sydney building some ten years prior to this architectural and interior revival project, after several renovations had denuded the property of any vestiges of its Art Deco beginnings. Now it once again boasts the glamour and grace of the period, reinterpreted in a comfortable and contemporary harbourside setting.
Houzz at a Glance
Who lives here: A professional couple
Location: Sydney’s Lower North Shore
Year completed: 2013
Size: 3 bedrooms plus guest studio, 3 living areas, 2 ensuites, main bathroom, 2 powder rooms
Architect: Luigi Rosselli Architects
Interiors: Alexandra Donohoe, Decus Interiors
That’s interesting: The couple sometimes share their home by offering accommodation to members of the refugee community
On Sydney’s Lower North Shore, a stylish contemporary home has emerged from a rather unpromising history. It began life in the 1920s as an apartment block, but had lost its period character through serial renovations and a conversion to an enormous multi-level family home.
As well as overwhelmingly beige ‘80s decor, a ten-metre-high glass brick wall, heavy bulkheads and an unfriendly layout, the house’s site was also in a heritage conservation area. “There were many old works to update, small rooms to open up and redundant services and walls to resolve,” says Rosselli. “We had to be sensitive to both its historical context and to the contemporary requirements of the new owner.”
But most notably, the owner’s request for a ‘birdcage lift’ was an exciting opportunity to create a stunning feature to integrate the multiple levels. His time in New York had engendered a fondness for the Art Deco elevators still in use in some city buildings, including the Empire State, and older apartment blocks.
As well as overwhelmingly beige ‘80s decor, a ten-metre-high glass brick wall, heavy bulkheads and an unfriendly layout, the house’s site was also in a heritage conservation area. “There were many old works to update, small rooms to open up and redundant services and walls to resolve,” says Rosselli. “We had to be sensitive to both its historical context and to the contemporary requirements of the new owner.”
But most notably, the owner’s request for a ‘birdcage lift’ was an exciting opportunity to create a stunning feature to integrate the multiple levels. His time in New York had engendered a fondness for the Art Deco elevators still in use in some city buildings, including the Empire State, and older apartment blocks.
On the upside, the building brimmed with possibilities: the construction was solid triple-brick, the Sydney Harbour views were superb and it was conveniently close to the CBD.
The facade of the building was as bland and faded as the interiors and required some restoration too. It was revived with Porter’s Paints ‘Stone’ finish, metallic painted window frames and adjustable cedar shutters. A Juliet balcony forms a small porch space, sitting over the new entrance.
The facade of the building was as bland and faded as the interiors and required some restoration too. It was revived with Porter’s Paints ‘Stone’ finish, metallic painted window frames and adjustable cedar shutters. A Juliet balcony forms a small porch space, sitting over the new entrance.
The entryway was designed for better connection to the quiet street. The front door is a patchwork of aged-bronze grilles, introducing the grid motif that repeats throughout the building.
Sweeping curved walls are somewhat of a Rosselli signature – these are in a traditional plaster finish known as ‘stucco lucido’, buffed to a soft light-reflecting white finish with beeswax. The floors are dark grey hand-cut smooth porphyry cobblestones from Jg Cobblestones.
A guest studio, cellar, laundry and garage are also located on the ground floor.
Flos ‘Taccia T’ lamp: Euroluce.
Sweeping curved walls are somewhat of a Rosselli signature – these are in a traditional plaster finish known as ‘stucco lucido’, buffed to a soft light-reflecting white finish with beeswax. The floors are dark grey hand-cut smooth porphyry cobblestones from Jg Cobblestones.
A guest studio, cellar, laundry and garage are also located on the ground floor.
Flos ‘Taccia T’ lamp: Euroluce.
Rosselli finds the architectural sketch the most effective way to convey initial creative ideas. This sketch is his image of the home’s entrance hall, showing the semi-transparency of the latticework on the door. Natural illumination coming into the building has been maximised, allowing floods of light to play on subtly reflective surfaces and materials.
The Birdcage Elevator design, which is a prominent feature in the home, dates to the turn of the 20th Century. It is characterised by ornate metal frames, usually steel, and glass panels. Originally manually operated, the Birdcage was Elisha Otis’ first electric lift.
A lift is typically a utilitarian structure, not often found in a single residence. Rosselli, along with project architect Simon Hassall, interpreted the classic Art Deco ‘birdcage’ design for the contemporary context of this home. It was constructed by Lift Shop and is clad in dark brown smoked European oak veneer. The lift rises from the garage to the upper floors, taking in panoramic harbour views from the outdoor terraces.
DID YOU KNOW? Australia’s oldest continuously operating electric lift, built in 1906 and fondly called The Birdcage, still operates in the City of Sydney Town Hall
A lift is typically a utilitarian structure, not often found in a single residence. Rosselli, along with project architect Simon Hassall, interpreted the classic Art Deco ‘birdcage’ design for the contemporary context of this home. It was constructed by Lift Shop and is clad in dark brown smoked European oak veneer. The lift rises from the garage to the upper floors, taking in panoramic harbour views from the outdoor terraces.
DID YOU KNOW? Australia’s oldest continuously operating electric lift, built in 1906 and fondly called The Birdcage, still operates in the City of Sydney Town Hall
This sketch of the birdcage lift at the first floor level, with its woven brass and steel lacework and grid, shows how Rosselli visualised the synergy of the lift and the stairs. The lift well channels light down through the centre of the house, while the stairway zigzags around it.
The dark smoked European oak stairs, a part of what Rosselli calls “a masculine palette”, navigate around the lift well and upwards to the main living areas. The lift moves through the core of the building, its fluted Italian glass and metal filigree creating an intricately detailed work of kinetic art.
With the inspiringly simple idea of painting the grouting black, the original glass brick wall on the stairwell became a source of filtered light, with a geometric Art Deco twist.
With the inspiringly simple idea of painting the grouting black, the original glass brick wall on the stairwell became a source of filtered light, with a geometric Art Deco twist.
On the second floor, the living areas are spacious and light-filled, with a sophisticated palette of warm greys, dark timber tones and natural stone. This is sharply accented by the steel grids on the double doors, which open to the harbour views.
With foot traffic running right through the middle of this large space, interior designer Alexandra Donohoe divided the room into two sections. It now has an informal sitting area on one end, and a more formal one at the other.
Window and door frames painted in ‘Blast Grey’: Resene
With foot traffic running right through the middle of this large space, interior designer Alexandra Donohoe divided the room into two sections. It now has an informal sitting area on one end, and a more formal one at the other.
Window and door frames painted in ‘Blast Grey’: Resene
Keeping to the masculine palette, the flooring for the entire second level is engineered smoked oak, with pewter and brown undertones and an oiled finish. Donohoe chose Resene ‘Double Truffle’ in half strength for the walls. In the formal space a huge artwork in earth tones hangs, inspired by the landscape of Uluru and the Olgas. The piece is by indigenous artist Bill Whiskey Tjapaltjarri.
‘Otta’ flooring: Tongue n Groove; vintage Paul Kafka chairs: Tyrone Dearing; custom wool/silk rug: Cadry’s
‘Otta’ flooring: Tongue n Groove; vintage Paul Kafka chairs: Tyrone Dearing; custom wool/silk rug: Cadry’s
Mid-century modern and Art Deco influences blend seamlessly in the informal sitting area. The 1951 Wegner-designed ‘Teddy Bear’ armchair is a whimsical touch. Its pointed leather-padded ‘paws’ reflect the shape of the armchairs in the formal room.
The two areas also share the same decorative brass pendant lights, while the cornice mouldings throughout this level make subtle reference to the ‘ziggurat’ stepped pyramid element of the Art Deco period.
‘Teddy Bear’ armchair and footstool: Cult Design; ‘Round Stepped Deco’ pendants: Charles Edwards
The two areas also share the same decorative brass pendant lights, while the cornice mouldings throughout this level make subtle reference to the ‘ziggurat’ stepped pyramid element of the Art Deco period.
‘Teddy Bear’ armchair and footstool: Cult Design; ‘Round Stepped Deco’ pendants: Charles Edwards
There’s a touch of Gatsby in the refined lines of the marble-fronted fireplace with smoked oak and black steel detailing, designed by Rosselli and Hassall. ‘Gris Cehegin’, a natural polished grey marble from Bisanna Tiles, is used throughout the house, including in the kitchen and bathrooms.
Fireplace: Corelli Joinery; panel mirror: Sally Beresford; rug: Cadry’s
Fireplace: Corelli Joinery; panel mirror: Sally Beresford; rug: Cadry’s
One of Rosselli’s tasks was to reconnect the building with its harbour surrounds. Both of the sitting areas embrace the sunny views through double steel-framed doors and deep decks.
In his brief, the owner mentioned a liking for the relaxed colonial style of the French Antilles, so what could be more fitting than the painted shutters, palm trees and sea breezes off the harbour?
In his brief, the owner mentioned a liking for the relaxed colonial style of the French Antilles, so what could be more fitting than the painted shutters, palm trees and sea breezes off the harbour?
The dining room connects to the sitting areas and features warm rusts and ochres in the rug and artwork. The walls are finished in burnished ‘stucco lucido’ plaster, and a French Art Deco pendant light illuminates the elegant table and mid-century dining chairs.
Much of the furniture and artefacts have been collected by the well-travelled owner – the sculpture on the side cabinet, bought in London, is made of translucent yellow stone.
Eero Saarinen ‘Executive’ dining chairs: Dedece; Contemporary Afghan ‘Hezari’ rug: Cadry’s
Much of the furniture and artefacts have been collected by the well-travelled owner – the sculpture on the side cabinet, bought in London, is made of translucent yellow stone.
Eero Saarinen ‘Executive’ dining chairs: Dedece; Contemporary Afghan ‘Hezari’ rug: Cadry’s
The kitchen, also on this level, was once awkwardly isolated. It now fits in more closely with the activities of the home. It can be closed off from the dining area or opened up to it by sliding doors. Donohoe’s palette in the kitchen – warm greys, marble, timber and antique white – blends well with the adjoining rooms.
Another feature, which visually draws the kitchen into the orbit of the rest of the home, is the unique rangehood, clad with perforated metal facings with grids similar to that on the front door and the lift cage.
‘Grigio Billiemi’ stone benchtop and splashback: Bisanna Tiles; Cassina ‘Cab’ barstools by Mario Bellini: Space Furniture; Il Fanale ‘Vecchia 3’ pendant light: Town & Country Style
Another feature, which visually draws the kitchen into the orbit of the rest of the home, is the unique rangehood, clad with perforated metal facings with grids similar to that on the front door and the lift cage.
‘Grigio Billiemi’ stone benchtop and splashback: Bisanna Tiles; Cassina ‘Cab’ barstools by Mario Bellini: Space Furniture; Il Fanale ‘Vecchia 3’ pendant light: Town & Country Style
Rosselli envisaged a surprising small space adjoining the kitchen – he calls this exotic hideaway “the Middle Eastern room”. He sketched it as a quirky corner in the otherwise elegantly restrained house. It is a sitting room plush with patchwork Turkish kilims lining the walls, a vintage Moroccan hanging lamp and low-slung caramel leather sectional sofas for reclining.
Lamp: Elements I Love; sofa: Simple Studio
Lamp: Elements I Love; sofa: Simple Studio
This unexpectedly casual and colourful room links to the outdoors through the dark grey-framed doors and sliding shutters. The lines of the sofas follow the curves of the corners and bulkheads, and are offset by the square grid of the rugs and shutters.
Laotian rain drums side tables: Orient House; Steel windows and doors in ‘Blast Grey’: Resene
Laotian rain drums side tables: Orient House; Steel windows and doors in ‘Blast Grey’: Resene
Three bedrooms are situated on the third floor. The master bedroom, shown here, works a palette of subtle neutrals, with delicate stepped cornices and a striking artwork by Ronald John Neal.
The 1936 Gerrit Rietveld-designed ‘Utrecht’ armchairs are upholstered in felt, with the chair’s trademark white blanket stitching on all seams.
Walls in ‘French Blue’: Porter’s Paints; Society Limonta quilt: Ondene; bench seat upholstered in de Le Cuona ‘Heritage’ paisley fabric: Boyac
The 1936 Gerrit Rietveld-designed ‘Utrecht’ armchairs are upholstered in felt, with the chair’s trademark white blanket stitching on all seams.
Walls in ‘French Blue’: Porter’s Paints; Society Limonta quilt: Ondene; bench seat upholstered in de Le Cuona ‘Heritage’ paisley fabric: Boyac
Clean lines, classic colours and subtle textures continue through to the master ensuite, in details like the fluted glass in the vanity lights, similar to the fluted glass in the birdcage lift panels. The timber vanity cabinet is custom-stained in chocolate brown.
Tekna ‘Mercer’ lights: Tigger Hall; Messina limestone floor: Onsite; ‘Zuri’ freestanding quartz bath: Rogerseller; ‘Gris Cehegin’ stone vanity top: Bisanna Tiles
Tekna ‘Mercer’ lights: Tigger Hall; Messina limestone floor: Onsite; ‘Zuri’ freestanding quartz bath: Rogerseller; ‘Gris Cehegin’ stone vanity top: Bisanna Tiles
A leisurely glide in the lift to the top level accesses further sitting/dining areas, a powder room and kitchenette. But the show-stopper is the terrace, which revels in a panorama of headland and harbour views.
At the highest point, the sensation of being on the top deck of a cruise liner is enhanced by the Art Deco influences in the furniture and curved ceiling – not surprising, as Rosselli lists one of his design influences for the project as ‘1930s P&O Modernist’.
Roomy lounges in oiled oak, with strong geometric lines, oversized brass screw details and generous cylinder cushions also decorate the space, along with a birch and white laminate tea trolley. This was designed in 1936 by Finnish designer Alvar Aalto, and helps to complete a luxurious and private space.
Autoban ‘Deco’ lounges: Spence & Lyda; striped hemp rug: Cadry’s; Tea Trolley 901 by Artek: Anibou
An archive of Rosselli’s architectural concept drawings was collated into an exhibition called Paper Arch, shown at Sydney’s Mils Gallery in April 2015. They were also compiled into a book, Perspective: Thirty Years of Sketches by Luigi Rosselli Architect.
At the highest point, the sensation of being on the top deck of a cruise liner is enhanced by the Art Deco influences in the furniture and curved ceiling – not surprising, as Rosselli lists one of his design influences for the project as ‘1930s P&O Modernist’.
Roomy lounges in oiled oak, with strong geometric lines, oversized brass screw details and generous cylinder cushions also decorate the space, along with a birch and white laminate tea trolley. This was designed in 1936 by Finnish designer Alvar Aalto, and helps to complete a luxurious and private space.
Autoban ‘Deco’ lounges: Spence & Lyda; striped hemp rug: Cadry’s; Tea Trolley 901 by Artek: Anibou
An archive of Rosselli’s architectural concept drawings was collated into an exhibition called Paper Arch, shown at Sydney’s Mils Gallery in April 2015. They were also compiled into a book, Perspective: Thirty Years of Sketches by Luigi Rosselli Architect.
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Classic , elegant art deco.
This is tasteful , subtle , almost understated in style.It works.
Cudos to the owner , architects , interior designer , and trades people that made this project happen.
Just love this - along with everyone else! Elegant and creative. Beautiful.
Absolutely spectacular