Man About the House

We have had the pleasure of performing in exquisite houses and buildings all around the world. See a catalogue of our shows below.

The Log Cabin, Melbourne, VIC

November 2015

This renovated 1970s suburban home in Melbourne’s Eastern Suburbs has been the buzz of the Design Blogs for a number of years and we are excited to spent an afternoon here.

Dolls House by Simon Knott BKK Architects, Melbourne, VIC

November 2015

Dolls House is an idea about providing flexible, highly sustainable living that is responsive to its context and able to adapt to the changing needs of a family over a long life-span. The first known Doll’s house, originally called a ‘baby house’ in 1557 was a showcase for local creatives and craftspeople to display their wares. The Dolls House later became a play thing for children; a space of imagination. Shared ideas of creativity, craftsmanship, play and imagination underpin this house, whilst also mirroring the flexibility of the Doll’s house where a bedroom can become a living room or dining room by simply moving furniture or joinery. The new addition is largely made up of two spaces stacked upon each other, with no doors or walls, just furniture and joinery to divide space and imply use. The two levels of the house are treated quite distinctly; the lower sunk below grade and heavily grounded, whilst the upper is soaring into the treetops. The new addition frees up the plan of the old house where the former living and dining areas have become a flexible buffer space with an artist studio and playroom that place creativity and play at the centre of the home.

Holman House by Durbach Block Jaggers, Sydney, NSW

November 2015

This show was hosted as part of a fundraiser for The Pool exhibition, Australia's pavilion at the 2016 Venice Architecture Biennale.

Sited on the edge of a 70-metre high cliff, the plan of Holman House refers to Picasso's painting The Bather. It contains a complex series of fluid living spaces set within a meandering perimeter that arcs, folds and stretches in response to sun, landscape and views. Living and dining areas cantilever out over the ocean, allowing dramatic views up and down the coast. The lower floor forms a base that is built from rough stone walls like an extension of the cliff below. These walls continue along the cliff edge to form a series of eccentric terraced gardens and a vase-shaped rock pool.

Walkley House by Robin Boyd, Adelaide, SA

October 2015

This show was proudly part of the Adelaide Festival of Architecture and Design.

Built in 1956 this house is a highly significant example of the 'International Style' and is stylistically linked to the work of notable overseas architects such as Philip Johnson's Glasshouse and Mies van der Rohe's Farnsworth House both completed in the late 1940s in the USA. In addition it is of considerable architectural interest for being the only structure designed in South Australia by the architect Robin Boyd who achieved international renown. Born in Melbourne in 1919 into a family of well-known artists Boyd became renowned as an architect of the 'new breed' of the 1950s who aspired to develop a functional style suited to the Australian climate and lifestyle. He wrote several widely acclaimed books including 'Australia's Home' (1952) and his attack on unimaginative architecture 'The Australian Ugliness' (1960).

Jacobi House by Hayes and Scott, Brisbane, QLD

October 2015

Architects of the mid-twentieth century steered Brisbane’s architecture in parallel with the utopian ideals of the modern movement. Jacobi House (1957) by Campbell Scott were part of a group of mid-century homes built at the time and an example of the international style in a local context.

Jacobi House is equally bound to modernist and subtropical architectural principles; a square, timber and glass pavilion, elevated on stumps and topped by a pyramid roof suspended from diagonal, laminated timber beams. Simple but effective technologies enhance the home, such as a roof sprinkler to protect the building from forest fires and integrated ventilation strategies to ensure good environmental performance. Cantilevered verandahs on three sides provide perimeter shading to generous, sliding and louvred openings to maintain effective airflow.

Griffin Willoughby Incinerator by Walter Burley Griffin and Eric Nicholls, Sydney, NSW

September 2015

Completed in 1934, The Griffin Willoughby Incinerator is a remarkable piece of early Australian Industrial heritage. Designed by Walter Burley Griffin and Eric Nicholls, the building is sited at the edge of what is now the Willoughby Centennial Parklands. In 1967 the incinerator was switched off, and the building lay dormant until undergoing adaptive reuse works in the early 1980’s to convert the building first into a restaurant and then a small office building. Vandals, fire, a lightning strike (that forced the removal of the ornate chimney top) and a series of unsympathetic additions all badly damaged the original fabric of the building. In 2006 SJB and Godden Mackay Logan were appointed by Willoughby Council to prepare documentation for the adaptive reuse of the badly damaged and maligned building. No ‘as built’ drawings were completed, so the building was 3D modelled from old photographs and very limited original architectural documentation. This unique interrogation (that could be described as ‘CSI Architecture’) informed a clearer understanding of the original building, including what potentially lay beneath the additions made in the 1980’s renovations.

Modelling the building allowed clear and concise communication of the buildings potential to a huge variety of stakeholders; Walter Burley Griffin Historical Society, NSW Heritage Council, Local Community, Client, Council Officers, Councillors, Consultants and the Builder appointed for the demolition and rectification works. The building rectification works have been a long, arduous and expensive task. Significant concrete cancer necessitated the replacement of much of the built form, while the reinstatement of the original chimney has given the building back it’s sense of scale. The building is now home to an ‘artist in residence’ studio, a community gallery space and a café and community meeting place. The incorporation of a lift to enable equitable access to the building included the commissioning of Artist Richard Goodwin for a sculpture to cloak the lift structure, kicking off the public acquisition program for what will become a public sculpture park. This is an ongoing project that will see this small civic building spread its tentacles into the surrounding parkland as funds become available and if the public’s will is expressed loudly enough.

Atherton House by Bill Baker, Sydney, NSW

August 2015

Built in 1959, Atherton House is regarded as a classic of mid-century architecture, complete with kidney-shaped pool and red lino floors, and features enough Eames chairs for the entire cast of Mad Men. 'It's also got floor-to-ceiling glazing, which was pretty typical of the period,' Ross says. 'It brings in all the light, so that on a sunny day the house literally smiles at you.'

This mid-century marvel was built in 1959, and it sure was lucky to find Tim in 2005 (he is only the third person to own the home)! SO many modernist homes in Australia end up being demolished or re-configured beyond any recognition (devastating!), but Tim is a self confessed architecture nerd, and has been extremely passionate about restoring his beloved pad in keeping with it’s original design. Much of the home is in original condition – sadly the bathrooms had already undergone unsympathetic renovations when Tim purchased the property, so Tim replaced these. Carpet from the 1980′s was removed and the original boards polished.

Tim’s passion for all things mid-century clearly extends to his choice of furniture and interior details. He’s is an avid junk shop fiend – favourite pieces include the Arne Vodder sideboard with the coloured drawers in the loungeroom, a wonky old featherston chair, the Finn Juhl chair in the lounge room… and ‘watching Michelle curl up in the old Womb Chair to feed Bugsy is rather sweet’ he says! Tim is a collector of MANY things – ‘cameras, old records, phones, teapots… I love all of them’ he says. ‘I have some German tea pots and cups that were leftover stock from a homewares store that my parents ran in the late 1960’s, they are rather special to me. I love the stories behind what we collect’.

Aireys House by Byrne Architects, Airley Inlet, VIC

June 2015

The house is essentially three levels, although both ground and first floor are split at key moments to take advantage of views and connect back to the landscape. There are three bedrooms at ground level, with the master bedroom, living and kitchen on the first floor and a basement with a-three car garage, workshop and wine cellar.

Central to the concept are ideas of fluidity and exploration. Between the site and the high cliff drop to the ocean are simple sand and gravel tracks, a rarity along the great ocean road. Cliff line trails rise and fall, bend and disperse like capillaries, on occasion opening up to expose exquisite hidden beaches.

Brick House by Clare Cousins, Melbourne, VIC

June 2015

The Brick House is an addition and renovation to a single fronted Edwardian house in Prahran. Craving privacy from looming neighbouring flats two new structures were conceived to cocoon a private central courtyard space between them.

Designed for a young family the house caters for their needs now and in the future. A flexible space, referred to as the studio, is housed on top of the new garage forming a double story mass at the rear of the site to help screen large neighbouring buildings. The single story addition to the house engages with the garden with its meandering facade of glass and brick.

(Pent)house by Harry Seidler, Sydney, NSW

March 2015

The Harry Seidler offices and top-floor apartments were developed in three stages. The first building (no 2 Glen Street) was completed in 1973. It is an 11 m clear span office building of prestressed expressively profiled T-beams with vertical exterior concrete sun blades.

The first addition (no 2A Glen Street), completed in 1988, extends the offices on the lower floors and adds a penthouse apartment on top. Entry to the penthouse is into a space two storeys high, with a presentation theatre and facilities for entertaining. A half-elliptical Indian granite dining table allows guests to sit at the curved side of the table so that they can see the splendid water view; the hosts sit on the opposite side, facing their guests. A curved stair leads to the upper floor lounge, study and master bedroom suite. Within the straight outline plan, flowing curves enrich the open interior. Only the artworks (by Albers, Stella, Lichtenstein, Mais, Perry and Noland) are colourful in contrast to the neutral grey, white and black interior.

Rose Seidler House, Sydney, NSW


Rose Seidler House is a heritage-listed former residence and now house museum located at 69-71 Clissold Road in the Sydney suburb of Wahroonga in the Ku-ring-gai Council local government area of New South Wales, Australia. It was designed by Harry Seidler and built from 1948 to 1950 by Bret R. Lake.

Donner House, Auckland, New Zealand


Tibor Donner was a serious modernist and the house he designed for himself has a lot of the key modernist elements, although it could be described as 'tropical' modernism in that it's quite fruity, with curved walls and crazy paving, with strong textures and a spiral staircase leading up to the roof.

Hotel Lautner, Palm Springs, USA

February 2015

Formerly known as the Desert Hot Springs Motel this unique property was designed and built by John Lautner in 1947 as a master planned community of over 100 buildings, storefronts and pools on 600 acres in Desert Hot Springs.

Gand House Palm Springs, USA

February 2015

Joan and Gary Gand heard the buzz about their Palm Springs home long before they saw it.

“It was this legendary, cool house where people were going to parties and falling in the pool and that sort of thing,” says Gary about the 1960 residence, which was recently nominated by the Palm Springs Preservation Foundation as a Class 1 Historic Site.

Seeing the property was on the market again, the couple called their real estate agent, who was also curious to see it. After only a 40-minute tour, Joan and Gary — who collaborate as professional musicians and avid collectors of midcentury design — knew they had to buy it.

Befitting a home of creatives, the Gand residence hardly seems to stand still. Dynamic changes and transitions occur at every turn; walls shift in angle and the ceiling slopes dramatically. The centerpiece, a sunken living room with the walls arranged in part of a hexagon, wraps around the swimming pool.

“The geometry is like a crazy quilt,” Gary says admiringly. “At times, you’re not quite sure where you are. It’s like those fun houses you went into when you were a kid.” Indeed, after a few drinks, it would be hard not to fall in the pool.

Heide II, Melbourne, VIC


Heide Museum of Modern Art began life in 1934 as the home of John and Sunday Reed and has since evolved into one of Australia's most important cultural institutions.

Soon after purchasing the fifteen acre property on which Heide stands in 1934, founders John and Sunday Reed opened their home to like-minded individuals such as artists Sidney Nolan, Albert Tucker, Joy Hester, John Perceval and Danila Vassilieff. They nurtured a circle of artists, writers and intellectuals who contributed to Heide becoming a place for the discussion, creation and promotion of modern art and literature.

John and Sunday made a lasting contribution to Australian culture through their support of creative endeavours in the visual arts, literature and architecture. In the mid-1950s the Reeds established the Gallery of Contemporary Art and in 1958, with the assistance of friend and entrepreneur Georges Mora, they re-launched the gallery as the Museum of Modern Art of Australia. This eventually led to the formal establishment of the museum.

Amassing an outstanding collection of the contemporary art of their time, the Reeds outgrew their original farmhouse, now known as Heide I, and in 1964 commissioned the construction of a ‘gallery to be lived in’ from David McGlashan. This modernist architectural icon eventually opened as a public art museum in November 1981 following its purchase by the State Government on behalf of the people of Victoria. Although the Reeds lived to see their vision fulfilled of Heide as a public museum, they both died shortly afterwards in December 1981, ten days apart. They are remembered as champions of modern art and literature and remain two of Australia's most important art benefactors.

Boyd Education Centre, Bundanon, NSW


Designed by internationally celebrated Australian architect Glenn Murcutt in association with Reg Lark and Wendy Lewin, the award-winning Boyd Education Centre provides arts education programs, hosts special events for visitors, and is available for large group residencies, corporate functions, seminars and conferences.

Spring Hill Reservoir, Brisbane, QLD


Spring Hill Reservoir 1871 Queensland.
This show will be performed underground in the former water storage facilities last used in 1962.
This show is part of Brisbane Open House 2015.

Queensland Art Gallery, Brisbane, QLD


Queensland Art Gallery