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Project posted by WILLIAM TOZER Associates

Vertical Loft

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Looking from the dining space, one can see the two distinct elements of the design—the modern composition of rectilinear white volumes and planes, and the found-object staircase and brickwork. Bridging these two realms is the floor—finished in salvage floorboards but articulated as an uninterrupted sculptural plane.
Looking from the dining space, one can see the two distinct elements of the design—the modern composition of rectilinear white volumes and planes, and the found-object staircase and brickwork. Bridging these two realms is the floor—finished in salvage floorboards but articulated as an uninterrupted sculptural plane.
The first-floor kitchen is composed of an L-shaped horizontal volume, and a larger, vertical volume—and is loosely divided from the adjacent dining and circulation spaces by a central volume concealing storage.
The first-floor kitchen is composed of an L-shaped horizontal volume, and a larger, vertical volume—and is loosely divided from the adjacent dining and circulation spaces by a central volume concealing storage.
Like the other floors, the first floor is open-plan but divided by planes and volumes that in turn conceal doors that enable the complete separation of the spaces into rooms.
Like the other floors, the first floor is open-plan but divided by planes and volumes that in turn conceal doors that enable the complete separation of the spaces into rooms.
Like the other floors, the first floor is open-plan but divided by planes and volumes that in turn conceal doors that enable the complete separation of the spaces into rooms.
Like the other floors, the first floor is open-plan but divided by planes and volumes that in turn conceal doors that enable the complete separation of the spaces into rooms.
Arranged over five levels and working with a long, narrow footprint, the project brings natural light into the middle of the building through two large roof-lights, an open-riser staircase, and elements of mirror and sand-blasted and clear glass.
Arranged over five levels and working with a long, narrow footprint, the project brings natural light into the middle of the building through two large roof-lights, an open-riser staircase, and elements of mirror and sand-blasted and clear glass.
As with the the first-floor floorboards, the grey carpet carpet on the second and third floors is installed without thresholds, similarly giving the impression of the floors as uninterrupted sculptural planes.
As with the the first-floor floorboards, the grey carpet carpet on the second and third floors is installed without thresholds, similarly giving the impression of the floors as uninterrupted sculptural planes.
As with the the first-floor floorboards, the grey carpet carpet on the second and third floors is installed without thresholds, similarly giving the impression of the floors as uninterrupted sculptural planes.
As with the the first-floor floorboards, the grey carpet carpet on the second and third floors is installed without thresholds, similarly giving the impression of the floors as uninterrupted sculptural planes.
The status of the salvage floorboards as an historical found object is further challenged by their use to clad the modern, open-riser staircase that connects the second and third floors.
The status of the salvage floorboards as an historical found object is further challenged by their use to clad the modern, open-riser staircase that connects the second and third floors.
Referencing the work of the installation artist, James Turrell, the large, frameless roof-light on the third floor brings unusual views and natural light into the open-riser staircase, and the first-floor spaces below.
Referencing the work of the installation artist, James Turrell, the large, frameless roof-light on the third floor brings unusual views and natural light into the open-riser staircase, and the first-floor spaces below.
The placement of areas of mirror and clear and sand-blasted glass results in deep penetration of natural light into the middle of the building.
The placement of areas of mirror and clear and sand-blasted glass results in deep penetration of natural light into the middle of the building.
The placement of areas of mirror and clear and sand-blasted glass results in deep penetration of natural light into the middle of the building.
The placement of areas of mirror and clear and sand-blasted glass results in deep penetration of natural light into the middle of the building.
The project incorporates two outdoor spaces—a large terrace to the second floor, and a small terrace to the third floor—and dramatic views of the sky through large roof-lights.
The project incorporates two outdoor spaces—a large terrace to the second floor, and a small terrace to the third floor—and dramatic views of the sky through large roof-lights.
In addition to the terraces and roof-lights, the design further amplifies the experience of the outside through the incorporation of a tree-house-like opening to the top of the street elevation.
In addition to the terraces and roof-lights, the design further amplifies the experience of the outside through the incorporation of a tree-house-like opening to the top of the street elevation.
In addition to the terraces and roof-lights, the design further amplifies the experience of the outside through the incorporation of a tree-house-like opening to the top of the street elevation.
In addition to the terraces and roof-lights, the design further amplifies the experience of the outside through the incorporation of a tree-house-like opening to the top of the street elevation.

From WILLIAM TOZER Associates

Each of the floors of the project is open-plan, but loosely divided into zones of use by white-painted planes and volumes. The scheme incorporates two floor materials—salvage pine floorboards and grey carpet—but both are articulated so that they appear as sculptural planes that continue uninterrupted under the dividing volumes.

The salvage floorboards, and the white-painted original staircase, and brick walls, are presented as historical found objects, original to the house. This perception is subverted by the new open-riser staircase which is clad in the same aged floorboards but is clearly modern due to the articulation of its form. Deep-plan areas of the project are naturally lit by large glazed rooflights, and through internal surfaces of sand-blasted glass and mirror. The exterior articulation of the two third-floor bedrooms is differentiated—one glazed floor-to-ceiling, the other only above balustrade height.