In architecture and design, as in life, nothing is static. The buildings and homes we occupy are in a constant state of flux, shifting and evolving to align with the needs of those who live, work and play within the sheltered structure of four walls and a roof. For many architects, this cyclical relationship between buildings and their custodians that we all know as renovation is akin to being a detective – unless of course they happen to be renovating a building they originally designed. 

Typically, when tasked with propelling a building into a new era, an architect first seeks to understand not only the lifestyle and vision of the client but also the bones of the original structure. It’s only when in possession of this intimate knowledge that it becomes possible to transform and evolve the form for now.  

When it came to the Yanakie house however, no detective work was necessary.  Donna Brzezinski and Adam Grundmann of Melbourne architectural practice BG Architecture designed the original home in 2000, and when the current owners, who had lived in the house for the past 10 years, felt it was time to update the ensuite they reached out to BG. 

As is often the case with renovations, the original brief quickly expanded to a full-scale renovation. 

“Once we started the concept plans for the bathroom, we could see the other main amenity zones needed work and could be significantly improved without major disruption,” says Grundmann. “The clients could see the value immediately and trusted us to manage the process of the evolving brief. We completed a full extension of the ensuite, walk-in wardrobe and master bedroom zone, as well as a complete upgrade to the kitchen, a complete overhaul of the lighting, incorporated new outdoor alfresco zones with a thorough landscape refurbishment and curated new furnishings throughout.” 

It’s not every day that an architect has the opportunity to revisit their own work nearly two-and-a-half decades later. When these magical moments do arise, it’s inevitable to be critical of some of the design decisions that your past self made. Certainly, over the intervening period, design skills, materials and technologies will have changed significantly.

For Grundmann, there was very little self-criticism. Not because he felt his original design didn’t warrant evolution, but because “it is a real privilege to work with new owners on an original design, to find the joy of what still works and instil new life into the parts that needed it.” 

The design vision for the Yanakie house and its future was to create sensuous tactile spaces that seamlessly connect with the existing interconnected courtyards. 

The original owners were “an eccentric couple with two young vibrant girls”, says Grundmann. “Our original design catered for big personalities. Zones were established for each individual, interspersed with common spaces to allow for regular soirées with friends and family. The forms were playful and followed organic lines broken by several central courtyards.”

Having this intimate understanding of the original design intent and rationale for the building’s program meant that Grundmann and his team were able to thoroughly enjoy the whole process – not something that can be said for many renovations, which often throw unexpected curve balls at an architect working ‘blind’. 

No project is without its challenges. Despite the team literally knowing the building inside and out, Yanakie house is no exception to the unspoken ‘rule’ of building and renovation – that it will take far longer and cost more than you expect. Reflecting on the most difficult aspect of the project, Grundmann highlights the need to carefully manage both budget and scope. 

“The renovation was difficult to scope for a competitive tender,” he says. “The project was such a success because we worked closely with a trusted builder, Tom Matthews from TEM Building to help manage the budget and scope. They were the perfect contractor for this type of project and the client/architect/builder relationship became a seamless experience.”

Success in this instance also arises from designing through the lens of “minimal disruption” that Grundmann kept top of mind. As the saying goes, if it’s not broken, don’t fix it. Anchored around the key functional spaces of the bathrooms and kitchen, Grundmann’s approach sought to “explore the interstitial spaces between inside and outside” via weaving together a timeless palette of materials, colour and texture and puncturing the building envelope at key moments to enhance flow and movement. 

“The natural crazy paving flooring in the bathroom with tinges of forest green was a natural choice,” says Grundmann. “Walnut veneers complement the green tones of the tiling and figured marble. In the ensuite, a makeup bench floats in front of a new courtyard rendered in autumnal red, providing a wonderful backdrop for the bathroom palette. 

“The kitchen was completely overhauled with the installation of large, glazed sliding doors to open the whole east side of the kitchen to a new deck that connects the main alfresco zone to the north. A warm, vibrant feature marble, bronze stainless steel and walnut veneers are the main elements of the kitchen, designed to provide a seamless transition to the outdoor alfresco zone. We also specified bespoke artisan light fittings and carefully curated the new furniture to enhance the interior experience.”

BG’s reimagining of what was already a highly considered family home is an exemplar of the design potential that exists in the adoption of a minimally invasive, collaborative approach. It successfully honours what was and simultaneously instils the home with the soul of the current owners while looking outward at the next 24 years, giving the clients a renewed sense of wonder with their own home. 

Styling by Karin Bochnik. Interior design and procurement by Bridget Auld.

The Yanakie House was captured by Melbourne architectural photographer Michelle Williams. Venture into her creative process in our recent Q&A about the art of architectural photography.