Industrial Home Of Copper And Arches

When industrial materials meet contemporary ideas, that is the recipe of a good home. SATORI & SCOUT have seen many warehouse-inspired homes during our scouting, and when they arrive with an address of one of the more downtown parts of Sydney (Australia), you know that the designer and home occupants have taste. Occupying the top level of a widely-known heritage building, this spacious apartment has been very well renovated by local-practice Josephine Hurley.

A warehouse conversion that was once a tea factory back in the more industrial days of the 1920's, via careful renovation and a completely new interior fit-out, the result of this home oozes heritage with a marriage of understated yet contemporary details, all in all to create a highly comfortable, yet practical home.

With the vaguely broad brief of being asked to breathe new life into this 300-square-meter private residence of two levels, each with wonderfully tall ceilings, Josephine Hurley's design offers refined edges, highly-considered minimal materials, a palette of little more than warm grey, timber, exposed brickwork and smooth white, and many continuing spaces between the apartment's walls that allow for practicality and good-design. With distinctive arched windows that welcome natural light throughout the residence, in which the client (an architect-turned-talented-musician) wanted the architecture to be a backdrop that facilitated that aspirational everyday living that SATORI & SCOUT equally strives for, this home considers so many practical ideas. Bespoke bike racks, a piano stage, dedicated living spaces and a functional kitchen are just a few of the creative function-first ideas.

Via the wonderfully exposed brick walls and arches, as well as the ceiling's structural details, there are some subtle hints of the apartment's previous use, with the home's industrial character being heightened with the extremely creative usage of copper piping for all lights. We're truly inspired, are you? Discover more at

Photography credit : Tom Ferguson

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