Rozelle House

Photograph by Simon Kenny, Courtesy of the Tom Ferguson.

Project details

• Project Name: Rozelle House
• Client: Tom Ferguson
• Project Type: Residential
• Principal Designer/s: Tom Ferguson
• Design Team: Tom Ferguson
• Contractor/s: Steele Associates
• Date of commencement of project: Feb 2006
• Date of completion of project: Nov 2006
• Location of site: Sydney, Australia
• Site Area: 146sqm
• Built-up Area: 120sqm
• Cost of Construction/Execution: Confidential

Rozelle House

Tom Ferguson. Architect and Occupant.

How does the project contribute to contemporary design practice?

The project contributes to contemporary design practice by exhibiting both an awareness of contemporary interior design trends and a willingness to reject those trends if an alternate material, form or object presented itself as more appropriate for the project

The project uses materials that reference a variety of eras of design while taking advantage of contemporary construction techniques to apply those materials to contemporary forms.

The project eschews the current trend for 'surface indestructibility' and uses materials that have a surface characteristic that will allow them to mature in character over time.

Photograph by Simon Kenny, Courtesy of the Tom Ferguson.

Project philosophy and methodology

The philosophy behind the project was to make a contemporary addition to a traditional terrace house using materials and forms that were inherently sympathetic to the original structure.

The existing dwelling had layers of materials, forms and use patterns that had become evident over five years of occupation in its former 'rustic' state.

There was a strong desire to create an addition that allowed for a similar complexity to develop, which meant creating a space that layered materials and forms to create a certain complexity of occupation. At the same time, there was a strong desire to incorporate contemporary 'clean surface' forms and have a geometry that was clearly evident.

Photograph by Simon Kenny, Courtesy of the Tom Ferguson.

The methodology involved a simultaneous evolution of form and material. Some choices were clear from the start - the brick floor was always a part of the project, as was the sandstone wall of the existing house - while other elements changed continuously as the project evolved.

The extension was designed to be a series of three dimensional forms that slot into one another, and the materials had to be chosen both for their ability to adapt to these forms and their structure/surface characteristics.

As the materials and forms evolved they were tested exhaustively using three dimensional modeling and rendering.

As the project commenced, final material choices were confirmed with the assistance of visits to various production warehouses to sample the materials in their final form.

Photograph by Simon Kenny, Courtesy of the Tom Ferguson.

Material and detailing strategies

In terms of material choice, the general determinant was that a material should be chosen for the fact that it's structure was it's surface - concrete, brick, glass and wood.

This lends a certain honesty and solidity to the design both in colour and finish, and was strongly driven both by a general philosophy and by the strong presence of the exposed sandstone wall in the extension.

Detailing was driven by a desire to resolve the three dimensional forms of the extension to a finite degree.

Forms were not to be masked by profiles, cornices or skirting boards but were to meet and intersect cleanly.

This meant incorporating details that allowed for minimal tolerance and incorporating design elements frameless glass and pivot doors that required no reveal.

Construction was informed by 1:5 details of all significant junctions.

Photograph by Simon Kenny, Courtesy of the Tom Ferguson.

Principle materials

Courtyard/Living Room Floor	Full Brick Bowral Bricks Hereford Bronze
Kitchen/Dining Room Floor	Concrete Steel Trowel, Light Polish and Seal
Main Joinery (Wall Units)	European Ash, Veneer to cupboards, Solid Bench tops, Matt Polyurethane
Kitchen Ceiling Secondary Joinery (Sink Return)	Solid Tasmanian Oak. 90% Black 10% Walnut Stain, Matt Polyurethane.
Rendered Wall/Ceiling	Paint, Dulux Antique White USA
Timber Screen	Plantation Kwila 20mmx40mm battens
Carpet	Supertuft Groove Dark Brown
Tiles	Glass Mosaic, White 30x15, Green 30x30

Photograph by Simon Kenny, Courtesy of the Tom Ferguson.

Use of sustainable resources and principles

While small, the project incorporated principles of sustainable design where possible.

These included the re-use of existing bricks as fill for form work, use of recycled timbers in construction including the principle lintel for the rear doors, a high level of insulation and AAA rated water fittings.

The design also has good passive solar performance including elements like a heavy masonry floor for heat retention in winter, operable awnings for sun control in summer, a central courtyard to facilitate cross ventilation and an efficient gas hot water system.

These design elements mean that air conditioning is not required and heating loads are reduced.

Photograph by Simon Kenny, Courtesy of the Tom Ferguson.

Cost effectiveness

The budget was average to above average for a project of this size and was maintained by restricting the level of work to the existing house to restoration and surface redecoration.

With surfaces like the brickwork in the ensuite and the shiplap boards in the master bedroom being retained with only painting, where other projects might have sought to cover up.

This was consistent with the aim of the project to present the old and new together, each retaining their individual self while borrowing from the other.

Photograph by Simon Kenny, Courtesy of the Tom Ferguson.

Credits

• Text by Tom Ferguson
• Photographs by Simon Kenny, Courtesy of the Architect