On first impression, Rosedale House presents as a poetic enigma. The precision of its form is juxtaposed by tactile materiality that, in combination, attain to a different kind of architectural purity that mediates between clinical aesthetic beauty and sensorial engagement.
Cera Stribley Architecture and Interior Design are profoundly adept at recognising the social and environmental viability of projects within the built environment and Rosedale House is a bespoke realisation of this philosophy. Essentially, the home has been designed to respond to the specific idiosyncrasies of its residents – a family of six.
The resonance of its success can be largely attributed to pragmatic and uncomplicated design development. Both parents and children attended design meetings where all cards were shown. This open dialogue filtered directly into the planning process resulting in the efficient delineation of the home between kids and parents. But that is only the beginning.
Timber batons clad the facade of Rosedale House introducing tactile complexity to the geometric precision of the home’s overarching form.
Rosedale House’s entry is distinguished by a design purity. A soft, light-filled void which acts as a sensory reset, preparing for an engagement with what comes next. Artwork title ‘Arcane 11’ by Mark Roper from Otomys Contemporary.
The entry at centre of the house sits on an axis running all the way to the rear of the site through dining and living rooms to an outdoor terrace. Sofa from King Living.
Upon entering the home, a sensorial engagement is immediately established by a monochromatic exterior palette which, on closer inspection, bears an artisanal quality instilled by charred eco-timber batons cladding the facade in a striated pattern that appears to glow from within at nighttime. This hint of deeper complexity within a larger allusion to simplicity pivots expectations and allows for a cognitive openness which is reflected in the spacious, light-filled entryway.
Not much more than a volume of pure space elevated by a single bold artwork, it is an entrance that invites contemplation and a mental shaking-off of the day’s tribulations. For taking a lungful of air and observing the play of light from the exterior batons into a formal living area, imbued with a sanctuary-like calm, to the right. To the left, the home draws you farther through — past a sculpture by Hannah Quinlivan that mimics the minimalistic complexity of the surrounding architecture — via an axis that runs all the way to the rear of the residence.
Notable pieces in the dining room and kitchen includes Gaggenau appliances, an MDF Italia TENSE Table, 14.3 Pendant Lights by Omer Arbel for Bocci, Bertoia Moulded Shell Chairs by Harry Bertoia for Knoll and Livio Marble from CDK Stone.
It is as though the design amalgamation at Rosedale House intentionally re-establishes that there are no surprises here. Just unadulterated resolutions that have each been subjected to the right degree of consideration so as to never presume but always impressively perform their role. For example, the large living zone is surrounded by glazing that is both entirely striking and functionally vital. With young children running around, the large windows provide perfect lines of sight from the kitchen, dining, and living areas out to the pool and garden beyond.
Clever, subtle manipulations of the floor level upstairs and down, creates gentle divisions of space and gives an impression of increasing and decreasing grades of intimacy. Artwork continues to punctuate the home, subliminally conjuring moments and allowing for the essence of the architecture to ever so slightly recede, rightfully taking a backseat to the life playing out within its walls as all great architecture does.
The formal living area at the front of the house is imbued with refined yet evocative materiality. Notable features include artwork from Otomys Contemporary titled ‘Jumping The Gun’ by Ian Rayer Smith, Anda Armchairs by Pierre Paulin for Ligne Roset, ‘Moon’ light by Davide Groppi and rug from Halycon Lake.
The formal living room features the Essential Sofa by Francesco Binfare for Edra, De Sede DS-612 coffee table and Solveig Floor Lamp by Avril de Pastre for Ligne Roset.
Artwork by Simone Boon from Otomys Contemporary titled ‘Abstract Photographic II’ and the Pin Wall Lamp by Ichiro Iwasaki for Vibia in the bedroom.
Bathrooms continue the material dialogue established by the kitchen with accents of natural stone against a clean monochromatic palette.
The interior materiality at Rosedale House is a cohesive continuation of the exterior whereby the neutral palette and clarity of layout are balanced by the striking textures and patterns found in Livio Marble and Cote D’Azure stone from CDK Stone. The dynamic boldness of the stone is a beautiful graphic expression that, in combination with the strong monochromic aesthetics and a brilliant orchestration of light, makes for a durable elegance that will only benefit from the wear and tear of time and life.
Rosedale House gives credence to Cera Stribley’s studio sentiment, more than architecture. Its design outcome achieves all it set out to — spacious adult retreats, child-friendly territory that encourages connection and discourages closed doors, elevated amenity, and design-oriented aesthetics — while accentuating the art of consideration and precision. This is a family residence that combines all the expectations of profound liveability and then seeks to go further, forging solid relationships between home and how its residents respond to, navigate, and live within it.
