American single-storey architecture lends itself well to bringing the outside in with large expanses of glass. In the dining room, access to the garden was improved by replacing the old doors with new glazed ones running the length of the room. Reeded wooden panels were added to the walls to give texture and interest.
The entranceway is lined in Iksel’s ‘Japanese Cranes’ wallpaper, giving the space an enveloping feel. ‘This was the first thing Allison brought to the project,’ says Jen. ‘It reminds us of the wildlife we see in the creek; it sets the scene.’ The entrance gives way to the sitting room with its distinctive recessed tray ceiling. Here, Allison used a colour palette influenced by the late California-based, English designer Paul Fortune – nuanced shades from nature or, as he described it, ‘no blaring trumpets’ – which the team returned to again and again. The wood-panelled den is perhaps the place where the mid-century roots of the house are most on display. A long, low cabinet is built into the wall, complemented by a vintage Karl Springer table and a set of Franz Schuster chairs, placed in front of a painting by Charleston artist Fletcher Williams III.
The ‘Japanese Cranes’ wallcovering by Iksel and ceiling in Farrow & Ball’s ‘Inchyra Blue’ set off The Urban Electric Co’s ‘Leasowe V.2’ light.
Tim Williams
In the kitchen, a large wooden dresser by Jaworski Woodworks looks as though it has always been here. The smallest room in the house, the snug, with walls battened in Scalamandré linen-mix velvet inspired by 17th-century verdure tapestries, is where Dave starts the day with coffee. It is also where many parties end.
Outside, the aim was to consider how the landscape and house might share a language that felt consistent with the architecture. ‘Many people thought we should tear out the pool, but we felt it was typical of a house of this era,’ says Jen. ‘So we restored it – even down to a special stone edging we had made.’ A prized ginkgo tree towers above it, a present from the house’s original owner to his wife.
Tim Williams
Jen explains that what united the hotels that had made it onto their original mood board was a quality of atmosphere. ‘We’ve got that here now,’ she says. ‘It’s in the quiet details – a trim on a door, an interesting surface, or an unexpected corner to tuck away into.’
‘When the renovation was done, two people I really admire in the business came to see it and asked us if we had been to Villa Necchi Campiglio,’ says Dave of the house in Milan designed by Piero Portaluppi. ‘That felt really good. When we invited June back to see what we’d done, she said, “This is how this house was always meant to be.” That was, really, the best praise of all’.
The Urban Electric Co: urbanelectric.com
Daniel Beck Architecture: danielbeckarchitecture.com
Allison Abney Interiors: allisonabneyinteriors.com