Una casa di famiglia di Beauty Point che dà al brutalismo un aspetto contemporaneo e moderno

A Beauty Point family home has been completed that reinterprets the brutalist architectural style of the 1970s with a contemporary twist. Designed by CO-AP, the firm led by architect Will Fung and co-founded by Tina Engelen, the residence is situated on a steep site amid mature eucalyptus trees overlooking Middle Harbour. The project was influenced by the Sydney-based 'nuts and berries' school of architecture, known for its bold forms and innovative approach, with notable figures such as Ken Woolley and Bruce Rickard. The homeowners, a couple with two children, expressed their admiration for 1970s brutalism during initial discussions with the architects, a sentiment that resonated strongly with the design team. The house is designed to respond directly to the topography of the land, which slopes down at a 25-degree angle from the street. From the pavement, the structure appears as a single-level building with a sharp, angular mansard-style aluminium roof. Once inside, however, the dramatic change in elevation becomes apparent, with expansive sliding doors and windows offering unobstructed views of the surrounding landscape. The layout includes a curvaceous outdoor terrace that extends from the sunken lounge, enhancing the visual connection with the water and broadening the perspective over Middle Harbour. The design process was partly inspired by the previous interwar house that once occupied the site. One of its defining characteristics was the inclusion of large picture windows that framed panoramic views of the surroundings. This feature was carried forward into the new design, ensuring continuity with the historical context of the location. The galley-style kitchen is a standout element, featuring mossy green porcelain tiles just six millimeters thick, complemented by a splashback of Verdi, a greenish marble. A custom-built island bench and table, supported by substantial steel legs painted in a soft mushroom tone, completes the space. The homeowners resided in the original house for over a year before beginning work on the new home. They developed a habit of enjoying coffee on the front verandah in the early morning light, a ritual that the architects have incorporated into the new design. A generously sized terrace has been integrated into the entrance sequence to provide a similar experience, allowing the residents to enjoy the same vantage point and ambiance. The house spans two levels, with the ground floor housing the kitchen, dining, and living areas oriented towards the northwest. Timber ceilings and a steel staircase add to the structural integrity and aesthetic appeal of the space. The upper level accommodates private areas, with careful consideration given to the existing flora on the site. Protected gum trees and an established angophora near the front door influenced the floor plan, particularly the circular courtyard-style void that separates the study from the kitchen. The color scheme was also derived from the angophora, guiding the choice of aluminum for the roof and interior finishes. In furnishing the sunken lounge, the architects began with two Gerrit Rietveld armchairs in an avocado hue, which the homeowners already owned. This decision set the foundation for the overall color palette, which extended to include hues reminiscent of cosmetics produced by major brands. Despite the emphasis on color, the design transcends mere aesthetics, focusing instead on meticulous spatial planning and subtle distinctions between different zones within the home. The openness characteristic of 1970s architecture is evident throughout, with clear sightlines and transparent partitions contributing to a cohesive yet functional living environment.