Northcote house no. 4

An unusual block wedging out to the north at the rear informed the design of Northcote house no. 04. From the street front, the house is quite narrow for a double-fronted Edwardian cottage, which paves the way for the surprise that unfolds as you enter and see what is to come.

Other than a quaint frontage, the existing house had few redeeming features. Original timber windows had been replaced with gappy metal frames and the front two rooms had their original pitched ceilings concealed beneath fake ones. The remainder of the house extended in a make-shift manner up the centre of the block with office-tile ceilings, limited northern openings, and three metres of wasted space along the southern boundary. A large garage dominated the northern wedge, leaving minimal backyard.

The roof structure over the front four rooms and the central hallway were retained but the house desperately needed access to its northern aspect so the decision was made to run the extension up the Southern boundary with alcoves and highlight windows providing interest, light and glimpses of green, not to mention a far bigger backyard to the North. 

The front of house was given a new lease of life with hardwood timber battens lining the ceiling pitches, in keeping with the cottage feel. Fretwork and timber windows were reinstated and a clear visual and spatial transition was established between the original home and the extension. The extension has a modernist feel, anchored by a sweeping brick curve at the heart of its boot-shaped layout. Exposed central beams run up the 'leg' of the boot, passing over the kitchen, living area and master bedroom in the south-west corner. At the tip, the dining area enjoys views to the west and to a small plunge pool to the North. Subtle zoning of the dining area is achieved by a lowered ceiling where structural beams run neatly into the plasterboard edge. A large u-shaped kitchen with central island bench sits at the heel of the boot, enjoying access to an alcove shared with the laundry and the main bathroom. Suspended shelving zones the kitchen area from the living area, allowing each area to feel intimate but interconnected. 

The living area, which is wide but not overly deep, is made to feel generous with a large built-in sofa backing onto the kitchen joinery and a large brick hearth providing extra seating. A mass of double-brick wall is punctuated by a frameless highlight window providing a ledge for the structural beams to slot into. The highlight window allows a controlled amount of afternoon light into the spaces and provides views to the treetops and train lines beyond. Large sliding doors on either side of the brick curve connect both the living and dining areas to the backyard, with garden views and a much smaller/better looking brick shed. Eaves, supported by the exposed internal structural beams running through, shield the interiors from excessive sun and heat.

The palette is for the most part earthy, relaxed and quite neutral. Joinery is a mix of blackbutt veneer, solid blackbutt and hand-painted finishes in soft warm greys and and off-whites. Ceppo di gres marble gives the kitchen and bathrooms a lift and pairs beautifully with the blackbutt-framed island bench and recycled messmate engineered flooring. The front study stands apart with its own personality – walls in a warm green-grey and a mix of timber and wall-coloured joinery. The battened hardwood ceiling is painted off-white to prevent the space from feeling too heavy and dark. Elsewhere, colour is introduced through artwork, accessories, and furniture. The blush tiles in the powder room and laundry add some fun, without overpowering the overall calm and cohesive palette.

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Builder CJV Building & Renovations.

Joinery by Inform Joinery.​

Drafting by Merran Thomas – design@MT.
Landscape design by Pipkorn Kilpatrick, hardscaping by Sempken Landscaping.

Artworks by Katarra Butler Napaltjarri and Yinarupa Nangala from Papunya Tula Artists, Mel Lumb, Michele Morcos, Emily Persson, Lisa GoLightly and Diya Sanat. ​

Photography by Martina Gemmola.

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