Collection by Peanutgallery
Fala designed the house’s custom oversize door pulls, as well as the hallway ceiling lights, which are made from the same steel pipe as the main stair’s handrail.
Fala designed the house’s custom oversize door pulls, as well as the hallway ceiling lights, which are made from the same steel pipe as the main stair’s handrail.
There are nearly 3,000 glass bricks in the walls running through the lower floor and upper level, where the bedroom is located.
There are nearly 3,000 glass bricks in the walls running through the lower floor and upper level, where the bedroom is located.
Vertical black-and-white stripes on the pantry doors help disguise how slim the house is, even at its tightest.
Vertical black-and-white stripes on the pantry doors help disguise how slim the house is, even at its tightest.
The interior paint is Roman Clay from Portola Paints & Glazes.
The interior paint is Roman Clay from Portola Paints & Glazes.
“In central London, to crane the glass in would’ve cost a fortune,” says Knight, noting that the contractor and team did an amazing job moving it into place. “That was definitely challenging to get the glass into this tight space.”
“In central London, to crane the glass in would’ve cost a fortune,” says Knight, noting that the contractor and team did an amazing job moving it into place. “That was definitely challenging to get the glass into this tight space.”
The wall behind the bed is covered in gold flecked hand painted wallpaper, Cosmos in Korinthian Sea, by Sarkos. The beechwood and marble nightstands are by Crate and Barrel, and the brass swing arm sconces are from Mitzi Hudson Valley.
The wall behind the bed is covered in gold flecked hand painted wallpaper, Cosmos in Korinthian Sea, by Sarkos. The beechwood and marble nightstands are by Crate and Barrel, and the brass swing arm sconces are from Mitzi Hudson Valley.
The Oswego Bed rests beside the Avers Nightstand, both by Hedge House. The couple wanted a low bed, “Just so the kids can do roly-polies through the house,” says Amber. The Cast Pendant light is by Thomas Chung & Jordan Murphy for Menu, and the linens are Cultiver.
The Oswego Bed rests beside the Avers Nightstand, both by Hedge House. The couple wanted a low bed, “Just so the kids can do roly-polies through the house,” says Amber. The Cast Pendant light is by Thomas Chung & Jordan Murphy for Menu, and the linens are Cultiver.
Floor Plan of Host House by Splinter Society
Floor Plan of Host House by Splinter Society
The dark cladding was initially intended to be shou sugi ban—a charred timber traditionally used in Japan. “It’s quite popular now, but back then you couldn’t get it,” recalls architect-owner Chris Stanley. “We tried charring the timber the traditional way by stuffing paper between the boards and lighting it, but we were putting fingerprints all over it. We then considered charing it while it was on the facade, but we thought we might burn our house down.” Eventually, the couple decided to simply paint the timber but used a finish that allowed the gnarly texture and knots to be preserved.
The dark cladding was initially intended to be shou sugi ban—a charred timber traditionally used in Japan. “It’s quite popular now, but back then you couldn’t get it,” recalls architect-owner Chris Stanley. “We tried charring the timber the traditional way by stuffing paper between the boards and lighting it, but we were putting fingerprints all over it. We then considered charing it while it was on the facade, but we thought we might burn our house down.” Eventually, the couple decided to simply paint the timber but used a finish that allowed the gnarly texture and knots to be preserved.
The couple wanted the house to be very open and connected, but still have a sense of rooms within it. As a result, most of the rooms are open, without doors—including a bathroom that looks out to the laneway.
The couple wanted the house to be very open and connected, but still have a sense of rooms within it. As a result, most of the rooms are open, without doors—including a bathroom that looks out to the laneway.
The home offers constant glimpses of the laneway through both strategically placed windows and the single paling fencing. “We loved living on the laneway—it was a circus day and night,” says architect-owner Chris Stanley. “There is a real permeability to the whole site and that was so important for us.”
The home offers constant glimpses of the laneway through both strategically placed windows and the single paling fencing. “We loved living on the laneway—it was a circus day and night,” says architect-owner Chris Stanley. “There is a real permeability to the whole site and that was so important for us.”
The couple often collect materials from warehouses and country yard sales. The exterior cladding is made from old Oregon timber beams from a warehouse in Sydney, while the joinery is crafted from Cypress timber from wind damaged trees that Chris purchased. “It’s about creating refined pieces from found materials,” explains architect-owner Chris Stanley.
The couple often collect materials from warehouses and country yard sales. The exterior cladding is made from old Oregon timber beams from a warehouse in Sydney, while the joinery is crafted from Cypress timber from wind damaged trees that Chris purchased. “It’s about creating refined pieces from found materials,” explains architect-owner Chris Stanley.
The couple often collect materials from warehouses and country yard sales. The exterior cladding is made from old Oregon timber beams from a warehouse in Sydney, while the joinery is crafted from Cypress timber from wind damaged trees that Chris purchased. “It’s about creating refined pieces from found materials,” explains architect-owner Chris Stanley.
The couple often collect materials from warehouses and country yard sales. The exterior cladding is made from old Oregon timber beams from a warehouse in Sydney, while the joinery is crafted from Cypress timber from wind damaged trees that Chris purchased. “It’s about creating refined pieces from found materials,” explains architect-owner Chris Stanley.
The couple wanted to keep the colour palette minimal and bring colour into the home through their collection of artwork. There is, however, a lot of texture. “Neither of us like plasterboard and we wanted to play with handworked finishes and recycled materials,” explains architect-owner Chris Stanley.
The couple wanted to keep the colour palette minimal and bring colour into the home through their collection of artwork. There is, however, a lot of texture. “Neither of us like plasterboard and we wanted to play with handworked finishes and recycled materials,” explains architect-owner Chris Stanley.
Enormous windows allow light to flood the interior, while carefully framed views of the garden blur the boundaries between interior and exterior. The deep concrete bathtub in the downstairs bathroom, for example, offers views of both internal and external gardens.
Enormous windows allow light to flood the interior, while carefully framed views of the garden blur the boundaries between interior and exterior. The deep concrete bathtub in the downstairs bathroom, for example, offers views of both internal and external gardens.
A feature display box-window in the front room was initially designed as a kind of “shop window” and was used to display the work of architect-owner Asha Nicholas, who is also a contemporary jeweller. The textured finish is discarded quarry stone skin, which reflects Asha’s use of stone, metal, and glass in her jewellery work.
A feature display box-window in the front room was initially designed as a kind of “shop window” and was used to display the work of architect-owner Asha Nicholas, who is also a contemporary jeweller. The textured finish is discarded quarry stone skin, which reflects Asha’s use of stone, metal, and glass in her jewellery work.
The couple travelled to Japan annually for almost a decade in the 2000s, and took inspiration from the way light was introduced into small spaces. “We are obsessed with the urbanism of Tokyo and how spaces have been designed to capture the light,” says architect-owner Chris Stanley. “We used a lot of those techniques—getting light in from the top and introducing long views—to make the home feel big.”
The couple travelled to Japan annually for almost a decade in the 2000s, and took inspiration from the way light was introduced into small spaces. “We are obsessed with the urbanism of Tokyo and how spaces have been designed to capture the light,” says architect-owner Chris Stanley. “We used a lot of those techniques—getting light in from the top and introducing long views—to make the home feel big.”

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