Peppertree Villa in Bellevue Hill by Luigi Rosselli Architects

I am forever in awe of projects that manage to masterfully blend contemporary references with existing heritage elements, creating an aesthetic that effortlessly straddles both, yet ultimately feels neither one or the other. Projects where designers and architects have masterfully shifted embedded visual time references that come with the existing bones of a heritage home and shaped them into a result all of its own.

Enter Peppertree Villa in Sydney’s Bellevue Hill. The grand old home’s late 1920s Art Deco aesthetic form the foundation for the classical, neutral mood that prevails the entire project. Apart from being a total knockout, what I truly love the most about this house is its ability to convey a new take on a heritage aesthetic by almost transcending the idea of time and shifting preconceived visual cues we subconsciously might expect to see.

Having completed the renovation of the adjacent house, which shares the vast canopy of the centennial Peppertree at the summit of Bellevue Hill, Luigi Rosselli Architects were engaged for significant structural improvements for this project too. They focused on delivering better flows between multiple living spaces, creating a direct link to a new garden, adding an attic room and a backyard swimming pool, and relocating the existing garage into the basement.

Another significant addition was the entirely new staircase that connects the two new levels to the rest of the house, providing an elegant climb to the bedrooms on the upper floors. Taking the form of a suspended ribbon, the sculptural stair is finished in stucco lucido (Italian polished plaster) topped by brass railing crafted on-site. On the ground floor, the architects replaced small timber windows with large steel-framed openings that offer uncluttered views onto a new Myles Baldwin-designed garden where the Peppertree still stands.

See more projects from Luigi Rosselli on Yellowtrace here.

The interiors by Alwill take things to the next level with a rich and complex palette that perfectly harmonises with the original bones of the home, at times making it impossible to discern where history stops and modernity begins. Smoky oak joinery, linen drapes, alpaca carpets, layers of marble, timber and leather, weathered brass and oxidised mirrors, polished plaster and solid timber panelling create an inviting, tonal interior that’s anything but insipid – visual interest is built up in different layers, with an overarching sense of warmth, elegance and calm, that feels both majestic and welcoming.

The kitchen is the heartbeat of the home – burnished brass cupboards, Viabizzuno lighting, and a dramatic Italian marble splashback give the space a polished edge. The living spaces maintain a neutral, tonal palette – heritage ceiling details and textures from natural materials like leather, linen, travertine and a horsehair sconce by Apparatus deliver an abundance of visual interest. An old TV room was transformed into a seductive formal dining room, wrapped in dark polished plaster, with Giopato & Coombes’ bubble-like pendant setting the mood for more formal gatherings.

The kids’ en-suites deliver a little element of surprise, with pastel colours driven by the concept of each space appearing as a box of macarons. And let’s not forget the master ensuite. Holy guacamole! The luxurious timber and marble interior features a centrally located freestanding bath, taking pride of place in what was once a sunroom, with views of the Sydney Harbour Bridge, no less. Facing the bathroom is the spectacular bespoke leather-lined bed, with oxidised brass-edged mirror sitting behind as a perfect nod to the villa’s Art Deco heritage.

Sure, this remarkable home is the result of a serious ka-ching-kind of budget in one of Sydney’s most exclusive suburbs, but this combination doesn’t always guarantee success. Nor does it deliver the sort of house that makes me feel elated and inspired, like this one does. Although, let’s face it, I mostly feel poor and kind of green with envy over here. But I’m kind of ok with that. I think.